We bring glad tidings for people who want to see Salma Hayek kill a large number of people in a comparatively small space. EW can exclusively reveal that director Joe Lynch‘s new film Everly—in which the actress does just that—will be available to screen on iTunes and VOD from Jan. 23 and will arrive in cinemas, Feb. 27.
Tag: Horror Movies (11-20 of 438)
For her debut feature film, writer-director Ana Lily Amirpour decided to make a black-and-white, Iran-set, Farsi language vampire-western about a female, skateboarding neck-biter called A Girl Walks Home Alone at Night. So, let’s get the most obvious question out of the way first: Why? According to Amirpour, she came up with the idea for the movie (which opens in L.A. and New York tomorrow) when she was making a short film and saw someone walking by with a chador, the open cloak worn by many Iranian women.
How did actor Nick Damici prepare to play a blind army vet in the new werewolf movie Late Phases? Painfully, it seems.
Stuart Gordon shot his first film, 1985’s much beloved gorefest Re-Animator, in Los Angeles but then decamped to Italy to shoot Dolls, his second movie and second terror tale. While there, Gordon was also taken down a peg, or 12, by a local craftsman. “They didn’t shoot sound in Italy, they weren’t used to that,” says Gordon, whose other directing credits include From Beyond, Castle Freak, and 2005’s William H. Macy-starring Edmond. “I remember there was one day when I was shooting something and there was a carpenter hammering in the background, working on another one of our sets—hammering and sawing. I said, ‘Please stop that.’ And he said, ‘Senor Fellini always lets me work when they’re shooting.’ I said, ‘Well, I’m not Fellini.’ And he said, ‘That’s for sure!”
In the new independent horror movie Refuge, Carter Roy, Amy Rutberg, and young actress Eva Grace Kellner play a family trying to survive in a post-apocalyptic world where the population has been almost entirely wiped out by disease. Given recent, panic-causing news events, the film could hardly be more topical. So what is it like to have made a movie about a global pandemic just as people are reaching for their face masks? “It’s incredibly coincidental that it’s peaking right now,” says Refuge director Andrew Robertson, whose film recently played the Toronto After Dark and L.A.-based Screamfest genre festivals. “It’s certainly not something that we would want to exploit. The particular nature of this extinction event just happens to be a plague. But there are so many other things that we have anxiety about: nuclear war, or asteroids hitting the earth, or climate change.” And a “Happy Halloween!” to you too, sir!
Horror directors these days seem to almost automatically genuflect before the altars of such ’70s and ’80s filmmakers as John Carpenter and Dario Argento. But writer-director Jennifer Kent sought inspiration from much older auteurs while crafting her debut film, the much-acclaimed, Sundance-screened, The Babadook. “I’ve watched everything, from Mario Bava to Dario Argento—all of those ‘70s guys, including John Carpenter, who I love,” she says. “But I feel very drawn also to the early stuff. There were directors in the ’20s and ’30s—Carl Dreyer, Fritz Lang—who were making films that were art and they just happened to be terrifying. I think somewhere along the way we denigrated the art form and horror really has become a dirty word. I think that’s a shame, because it’s really cinematic.”
Horror anthology sequel ABCs of Death 2 delivers a second slate of 26 fatality-featuring short films overseen by an array of directors, which, this time around, includes Evan Katz (Cheap Thrills), Larry Fessenden (Beneath), Rodney Ascher (Room 237), Jen and Sylvia Soska (American Mary, See No Evil 2), Vincenzo Natali (Cube, Splice), and Julian Barratt, from cult British comedy duo The Mighty Boosh. But one of the film’s highlights comes very early with its opening credit sequence, an animated riff on the children’s books which inspired the franchise in the first place.
With Halloween fast approaching, EW is picking the five best films in a variety of different horror movie categories. For the past week and a half, we’ve been posting our top picks from several specific groups—demons, ghosts, slasher movies, and so on—and giving you the chance to vote on which film from each category is your favorite. On Oct. 31, EW will reveal your top choices.
We already covered vampires earlier today—but now it’s time to tackle their furry, sharp-toothed nemeses.
We’ve never really had a Werewolf Moment. Vampires have been popular figures onscreen since the silent film era. Zombies experienced a post-millenium burst of popularity that has never really died down. In that company, the history of werewolf movies can look a bit shrimpy. READ FULL STORY
More than a quarter of a century ago, author and Hellraiser director Clive Barker set out to create what he intended to be “Star Wars for monsters,” a film called Nightbreed in which a group of freakish-looking creatures would be the heroes and mankind itself the villains. But the Nightbreed thathit theaters in 1990 was both a box-office flop and far removed from Barker’s vision following edits mandated by Morgan Creek Twenty-five years later, horror imprint Scream Factory is releasing this week a long-awaited “Director’s Cut” of the film on Blu-ray—with the approval of Barker and the support of Morgan Creek—that utilizes long-lost film elements recently discovered in a midwest storage facility.
In addition to the longer cut of the film, the Blu-ray also boasts a number of bonus features, including a documentary called Tribes of the Moon: The Making of Nightbreed. You can see a clip from that film below—and you can read more about the story of Nightbreed in the current issue of Entertainment Weekly. READ FULL STORY
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