- FANGORIA Magazine Returns with New Subscription Offering
- MASTERS OF HORROR Rewatch: “Jenifer”
- Interview: Jamie Kennedy Talks TREMORS: A COLD DAY IN HELL
- WESTWORLD Renewed for a Third Season by HBO
- HAPPY DEATH DAY Sequel News Confirms Returning Cast
- Watch Burt Gummer and Friends Battle Graboids in Clips from TREMORS: A COLD DAY IN HELL
- Scream Factory to Unleash The Trickster with BRAINSCAN Blu-ray Release This August
- Killer Crowdfunding: RUBBERHEAD VOLUME II: SEX, DRUGS, AND SPECIAL FX and MAKING APES: THE ARTISTS WHO CHANGED FILM
- CTHULHU: THE MUSICAL! to be Featured at Hollywood’s The Hobgoblin Playhouse This June
- ScareLA Invites Horror Fans to “Descend Into Darkness” This Summer
Posted: 01 May 2018 05:35 PM PDT
Since Cinestate resurrected Fangoria back in February, horror fans have been eagerly awaiting to check the box next to a new subscription plan for the beloved magazine. That day has now come, as Editor-in-Chief Phil Nobile Jr has written a promising letter to longtime readers and newcomers alike, welcoming them into a new era of Fangoria with an exciting subscription offering that includes a very special option for those who may not have received their full orders in the recent past:
The post FANGORIA Magazine Returns with New Subscription Offering appeared first on Daily Dead.
Posted: 01 May 2018 02:54 PM PDT
When Showtime announced their lineup for their Masters of Horror anthology series back in 2005, one thing became clear pretty quickly: the show was going to focus almost entirely on American masters of horror. With the exception of Takashi Miike's "Imprint" in season 1 and Norio Tsuruta's "Dream Cruise" in season 2 (for what it's worth, both were the last episodes of their respective seasons—or, at least, they would have been had Showtime actually aired "Imprint"), the only episodes directed by a non-American are the ones directed by the great Dario Argento, the Crown Prince of Italian horror. And for those of you keeping score of these Italian horror designations, Mario Bava is the Godfather, Lucio Fulci the Maestro, Bruno Mattei the Fool. Everyone has their role to play.
Season 1, Episode 4: "Jenifer"
Director: Dario Argento
Original Air Date: November 18th, 2005
Argento's first Masters of Horror offering, called simply "Jenifer," is another highlight of the series and arguably the best thing the director has made since Trauma in 1993. Based on a 1973 comic book short story by Bruce Jones (and illustrated by the late, great Bernie Wrightson), Jenifer is ghoulish and perverse in a way that would have been right at home in the hands of fellow Master of Horror Stuart Gordon, but feels a bit different for an Argento film in terms of its near singular focus on sexuality. Yes, his films have had a focus on sex before, but not like this.
Steven Weber—who, impressively, also adapted Jones' comic book into the episode's screenplay—stars as Frank, who, as the story opens, is on a stakeout when he sees a man about to murder a defenseless woman. Frank shoots the man, who mutters only the word "Jenifer" before he dies. This Jenifer (Carrie Anne Fleming) is horribly disfigured and can't speak, seeming practically feral. He brings her to the hospital and returns home to his wife and son, unable to stop himself from having sexual thoughts about Jenifer. Eventually, he brings her back to his house to give her a place to stay, giving in to temptation and beginning a sexual relationship with Jenifer. As his life continues to disintegrate, Frank is unable to break the hold Jenifer has over him… nor is he able to see just how dangerous and deadly she may be.
More darkly comic than Argento's work typically is, "Jenifer" is full of gallows humor of the goriest variety. There is something inherently funny in the sight of Jenifer tearing apart and eating animals in gross, graphic detail and the other characters reacting with shock the way one might if a dog started peeing on the carpet: you don't want it to happen, but at the same time you're not completely surprised because you brought an animal into the house. Fleming's portrayal of the title character goes a long way towards selling the material as funny, too; she's so sincere (and often heartbreaking) in her actions and reactions that we can't help but laugh at the circumstances. She's only acting according to her nature. I mean, we knew she was a scorpion, right?
Therein lies the most compelling and potentially troubling aspect of "Jenifer." This is a story like, say, Lucky McKee's The Woman, about a feral woman that a man attempts to domesticate as part of his self-entitled power trip. This is a story about men who are powerless to control themselves around Jenifer, which on the one hand could be seen as a real indictment of male sexual desire. Jennifer is horrifying to look at, can't speak or communicate, but has a beautiful body and appears naked much of the time, which is apparently more than enough for every man to want to have sex with her. On the other hand, it is suggested that Jenifer's hold over Frank (and, by extension, other men as well) is somewhat supernatural in nature, which lets them off the hook for their terrible behavior. It puts the onus on Jenifer as a kind of succubus, trapping men under her spell and using them up until they're dead. This reading robs "Jenifer" of most of its power as any kind of political piece, but I suspect the true messaging of the episode lies confused somewhere in the middle. Then again, confused gender politics are a common occurrence across Argento's work, whose gialli of the 1970s often focused on cross-dressing or trans characters as central to the movies' murders either directly (Four Flies on Grey Velvet) or indirectly (Tenebrae). We shouldn't be surprised to see them surface again in "Jenifer." We knew he was a scorpion.
The other signifiers of "Jenifer" as an Argento film are much more enjoyable, whether it's the "You have been watching…" credit that appears at the end or the excellent score by Claudio Simonetti of Goblin, a frequent collaborator of Argento. Simonetti's music for "Jenifer" may be the best across all of the Masters of Horror episodes, which often feature scores that feel somewhat generic and, for lack of a better way of putting it, made for TV. The gleeful amount of gore on display certainly recalls the traditions of Italian horror, too, with lots of gooey gut munching courtesy of KNB EFX Group, leading to one of only two instances in which Showtime requested cuts to an episode of the series (the other being Takashi Miike's "Imprint," which the cable channel eventually opted not to even air).
While star Steven Weber's genre credits are limited (perhaps most famously to taking over the role of Jack Torrance in the TV miniseries adaptation of The Shining, directed by Mick Garris, creator and producer of Masters of Horror), it's fun to see him acquit himself so well within this space, especially knowing that he penned the screenplay and clearly has affection for the material. The real MVP of "Jenifer," however, is Carrie Fleming as the title character. It's an overused cliché to call an actor's performance brave—the sort of thing most critics reserve for when Jennifer Aniston appears in a movie without makeup—but there's just no other way to describe what Fleming does here. From lack of wardrobe to her lack of dialogue to her monstrous facial prosthetics, Fleming has to totally lay herself bare (literally), while simultaneously being robbed of many of her most valuable tools as an actor. That she manages to create such a powerful character is a testament to her fearlessness. It's exciting to watch an actor working without a net like this.
Only four episodes into this Masters of Horror rewatch and there hasn't been a dud yet, with Argento's "Jenifer" ranking right alongside Don Coscarelli's "Incident On and Off a Mountain Road" as the series' best offerings thus far. Though not as stylistically formal as Argento is known for being, it's distinctive enough in a number of ways to both stand apart from other episodes in the series and function as its own really good 60-minute movie. It's also the most transgressive entry in Masters of Horror to this point, reminding us horror fans that more than 30 years after directing his first feature, Dario Argento still loves to provoke his audience. Good horror is often good because it pushes buttons. "Jenifer" pushes buttons.
"Jenifer" Score: 4/5
Up next: Series creator Mick Garris adapts his own short story and directs his first episode. Get ready for "Chocolate"!
Posted: 01 May 2018 02:22 PM PDT
Out today on Blu-ray, DVD, and digital platforms everywhere is the latest sequel in the Tremors film series, A Cold Day in Hell, which has franchise stalwart Michael Gross once again teaming up with Jamie Kennedy to take on a new batch of Graboids, this time up in the colder climates of Canada. Daily Dead recently spoke with Kennedy about the latest Tremors, and he discussed his experiences working with Gross for a second time, how Travis evolves as a character in A Cold Day in Hell, going deep inside a Graboid, and the art of keeping a straight face when dealing with "Ass Blasters."
This Tremors felt like such a different ride for you guys. For you personally, what was different about this experience versus you coming into the franchise with your experiences on the last Tremors film?
Jamie Kennedy: With the last movie, there hadn't been another movie in like 14 years, so there was a certain type of pressure that came with that. We didn't want to disappoint the fans. They introduced my character, the son of Burt Gummer, which brought in this new generation with YouTube and social media, where my character is always telling Burt that he's got to reinvigorate his "brand."
And when we were doing Tremors 5, we were really running by the seat of our pants. We got together on this big action production in Africa where we had a limited schedule, and we're all getting to know each other's styles. But this one felt like more of a controlled environment. We had more time to get the script tight and refine everything. I'm really happy with this one. I was happy with the last one too, but my character grows into more of a leader in this one, which I thought was great.
I think what's interesting, too, is that your character really challenges a lot of Burt's stubbornness in a whole new way in this Tremors. There are even aspects of this story that force Travis to step up in a way that he didn't have to do in the last movie. Was it fun to explore that different dynamic to him, so that he felt more grounded this time, and he was more than just a guy who's really good with his quips?
Jamie Kennedy: That's so true. That's really a great point. It was. When I came in the first movie, this was all Michael's world. He knows it better than anyone. He is Tremors. But then, here's this kid Travis who comes in, and he's poking around and doing all these funny lines, and that was me still learning the ropes of this world. The same for my character, too. With this one, things get a little bit more serious where Travis has to step up, and I feel like that's what I had to do as an actor in this movie, too. It was really cool, actually, to do that in both respects, as a character and as an actor.
There seems to be a rite of passage now for characters in the Tremors movies, where they have to go into a Graboid. Michael has done it, and now you've done it, too. Did they make you go all the way into one of these things? It seems like an experience that would have my claustrophobia peaking.
Jamie Kennedy: Oh yeah, we had to go deep into the Graboid to get the shot, and I went all the way in. That is a rite of passage to crawl into the Graboid, I guess it's a "like father, like son" scenario. No, I actually went in it. Obviously, it wasn't a whole Graboid, but it was a big part of one, so I had to get in, and get covered with all that stuff. That was quite the day when we shot that.
You mentioned Michael earlier, and how he has become the heart of this series over the years. How has it been working with him now on these two different films, and building that chemistry between you two, and being able to really play around with these characters in this world?
Jamie Kennedy: Michael and I have a chemistry that we didn't know we would have when we first started working together. Michael raised me as a person watching TV. He was one of the building blocks of that era of television on NBC. Michael was one of the biggest stars on there, so I feel like in a lot of ways that he raised me.
So, to work with him, it has been a real honor. And I'm very different than he is. Michael is a theater guy, an actor's actor, and I am more of loosey-goosey type of performer who likes to improv. I like to try things to see what works, what doesn't, and I think those two styles conflict in a beautiful way. Because, if you think about it, that's what the characters are too, through the work that Michael and I have done together, we have really bonded. Sometimes we argue, but we respect each other's style, and we realize that we do have a good shared chemistry. We've given over to it, and so that's just us being real on screen.
Since you're a guy who has a great handle on comedy, I just have to ask, how much do you guys have to rein it in when you're saying, "Ass Blasters?" I mean, it's a pretty ridiculous name for these creatures, and I say that lovingly of course, but here you guys are, all straight-faced, saying, "Hey! It's Ass Blasters." I don't know if I could keep it together.
Jamie Kennedy: Oh, I know, right [laughs]? Ass Blasters in the Arctic, what the hell? Michael is so diligent with it, and knows the genealogy of it so well, so I think he has a handle on the terminology with a note of seriousness. He's like, "If you do not have Graboids, you've got Ass Blasters." So, when we were doing it, I'm just so locked in with him that I can treat it seriously too, but yeah, when I watch it I realize just how funny it is. We're just used to it. We're used to talking about Ass Blasting all day. That's all we talk about, in fact [laughs].
In case you missed it, read Heather's interview with Michael Gross, and watch the trailer for Tremors: A Cold Day in Hell below.
The post Interview: Jamie Kennedy Talks TREMORS: A COLD DAY IN HELL appeared first on Daily Dead.
Posted: 01 May 2018 02:03 PM PDT
There is a lot more to explore in the theme park of HBO's Westworld, as the network has just ordered a third season of their popular series.
The number of episodes and premiere details are understandably unknown at this time, but you can read the official announcement below, check here for our previous coverage of Westworld Season 2 (including Heather Wixson's preview article and interviews), and stay tuned to Daily Dead for more details.
Posted: 01 May 2018 12:01 PM PDT
After its well-received run at the box office (bringing in more than $100 million globally), a sequel to Happy Death Day had been teased by the cast and crew, but now it really is moving forward at Blumhouse, with the first casting news heralding the return of familiar faces from the first film [spoiler warning if you haven't seen Happy Death Day].
Deadline reports that in Happy Death Day 2, Jessica Rothe will reprise her role as Tree Gelbman, a college student who relived her own gruesome murder in a time loop on her birthday—a vicious cycle that stayed in motion until Rothe could either uncover her killer or die trying.
Rothe will be joined in the sequel by Israel Broussard, who will reprise his role as Carter Davis, Tree's classmate, confidante, and eventual love interest in the first film. Newcomers to the cast will reportedly include Suraj Sharma as "Samar Ghosh, a science enthusiast and geek who enjoys coding in his spare time" and Sarah Yarkin as "Dre Morgan, a science geek and tom-boy with a sleepy feline gaze who is Samar's partner-in-crime."
Christopher Landon will return behind the camera to direct the sequel, which was previously described by Rothe as having a Back to the Future vibe in an interview with Collider:
No release details are known at this time, but we'll be sure to keep Daily Dead readers updated as more info is revealed. In the meantime, are you looking forward to a Happy Death Day sequel?
The post HAPPY DEATH DAY Sequel News Confirms Returning Cast appeared first on Daily Dead.
Posted: 01 May 2018 11:04 AM PDT
The Graboids will take over on A Cold Day in Hell. Jamie Kennedy and Michael Gross return for the sixth installment in the Tremors franchise today, and to celebrate the release of the film on Blu-ray, DVD, and digital platforms, you can take a gander at several Blu-ray clips via Universal 1440 Entertainment.
The post Watch Burt Gummer and Friends Battle Graboids in Clips from TREMORS: A COLD DAY IN HELL appeared first on Daily Dead.
Posted: 01 May 2018 09:56 AM PDT
"Now that I have your attention, please allow me to introduce myself. My name is Trickster." Back in the mid-'90s, director John Flynn took viewers into an immersive video game with vicious consequences in Brainscan, and with virtual reality experiences now on the rise, Scream Factory has announced a new Blu-ray release of the 1994 horror film:
The post Scream Factory to Unleash The Trickster with BRAINSCAN Blu-ray Release This August appeared first on Daily Dead.
Posted: 01 May 2018 09:22 AM PDT
As someone who has had the pleasure of spending a good amount of time speaking with many different members of the special effects makeup industry over the last few years, I always get excited whenever new projects from the community are announced. Currently, there are two different crowdfunding efforts underway, and believe me, special effects fans are going to want to get involved with both.
First up is Steve Johnson's follow-up book Rubberhead Volume II: Sex, Drugs, and Special FX, which promises more mind-blowing content and wildly unforgettable tales from his glory days on the sets of films like Ghostbusters, Blade II, The Abyss, A Nightmare on Elm Street 4: The Dream Master, and many more. As someone who has had the pleasure of speaking with Johnson a few times—and I also recently checked out the first volume of Rubberhead, which was an absolute thrill to finally read—I can attest that no one spins a yarn quite like Steve does, and he has a beautifully gonzo writing style that fans of his work will certainly enjoy. To become a backer for Rubberhead Volume II, get the lowdown on the entire campaign right HERE. Note: There are less than two days left for this campaign, so I would recommend checking it out as soon as possible to get your chance to be involved.
The second campaign is something that I had heard about a few months ago before it was announced (which may or may not have to do with a certain book sequel this writer is currently working on), so I've eagerly been awaiting this announcement, and it's finally here. Making Apes: The Artists Who Changed Film is a comprehensive examination and celebration of the artists behind one of the greatest science fiction films of all time—the original Planet of the Apes—and Making Apes director William Conlin has teamed up with effects legend Tom Burman to give fans a deep dive into one of the most beloved and respected effects projects of all time. Making Apes features interviews with many legendary talents in the world of special effects who worked on Planet of the Apes (John Chambers included), a number of modern effects artists that the film influenced over the years, a handful of notable filmmakers, and more. If you are a fan of the Planet of the Apes films, you are definitely going to want to be a part of this one. For more information on the Making Apes: The Artists Who Changed Film campaign, click HERE.
Posted: 01 May 2018 09:03 AM PDT
Based in Oregon, Puppeteers for Fears will bring Cthulhu: the Musical! to Los Angeles this summer! Accompanied by a rock band and a full set of carefully crafted puppets, Cthulhu: The Musical! will reign over The Hobgoblin Playhouse as part of this year's Hollywood Fringe Festival:
The post CTHULHU: THE MUSICAL! to be Featured at Hollywood’s The Hobgoblin Playhouse This June appeared first on Daily Dead.
Posted: 01 May 2018 09:01 AM PDT
The 6th annual ScareLA wants to "Descend Into Darkness" this summer with an immersive show that gets horror fans excited for the best holiday of the year! Christmas in July? No, it's Halloween in August!
The post ScareLA Invites Horror Fans to “Descend Into Darkness” This Summer appeared first on Daily Dead.
|You are subscribed to email updates from Daily Dead. |
To stop receiving these emails, you may unsubscribe now.
|Email delivery powered by Google|
|Google, 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States|