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Looking for a good scare, but not sure where to start? The good news is Amazon Prime boasts quite a few quality horror films, even if the suggested title algorithm doesn't always bring the cream of the crop to the forefront. Looking for something classic? Go for An American Werewolf in London or Night of the Living Dead? Seen those already and looking for something new? No problem, Amazon's video service regularly updates with new favorites like The Blackcoat's Daughter and The Girl with All the Gifts (both of which earned a spot in the Best Horror … »
- Collider Staff
In today's Horror Highlights, we have a Q&A with The Gracefield Incident at Mathieu Ratthe, new stills from Volumes of Blood: Horror Stories, and details on Famous Monsters of Filmland's presence at this year's San Diego Comic-Con.
Thanks for taking the time to answer some questions for us, Mathieu. How and when did you first come up with the idea for The Gracefield Incident?
Mathieu Ratthe: First of all, thank you, Derek, for your interest in our film. I wanted to create a suspenseful story that scared the crap out of the audience, but also made them emotionally involved, which is really tough to do in this kind of movie, but I think we achieved it pretty well in our film.
The conceptual idea (or I liked to call it the “technique”) came after I realized how many days I was given to shoot our film with the budget that I had. »
- Derek Anderson
Experience the bone-chilling tale of supernatural evil when The Hatred arrives on Blu-ray (plus Digital HD), DVD, Digital HD and On Demand September 12 from Anchor Bay Entertainment, Bloody Disgusting leanred. Starring fan favorites Andrew Divoff (Wishmaster) and David Naughton (An American Werewolf in London), the film centers on a group of young women who […] »
- Brad Miska
Back in November it was announced that Max Landis had signed on to write and direct a remake of his father John Landis’ 1981 cult classic An American Werewolf in London for Skybound Entertainment and Universal Pictures.
We’ve heard very little about the project since the announcement, but now Max has been chatting about the film on The Rugged Man Podcast (via Dark Horizons), and judging by his comments, it seems it is far from certain that the remake will actually see the light of day.
“We’ll see if I can do it. We’ll see if I can pull it off. We’ll see if they even make it. My goal is I feel like all of the best remakes focus on one thing in the original movie, take a lot of the images of the original and then remix that really tightly. With American Werewolf I’m doing that, »
- Gary Collinson
It’s been a while since we heard anything about the long-rumored remake of cult classic horror comedy An American Werewolf in London, but the last update we got said that the project was finally moving forward at Universal Pictures, with a director attached: none other than Jon Landis’ always outspoken son, Max.
Landis Jr. has signed on to direct and write the movie, with The Walking Dead‘s David Alpert and Robert Kirkman producing through their Skybound Entertainment. Jon Landis is apparently also on board as an executive producer.
For those unfamiliar, the original ’80s flick told the story of a pair of American tourists who are attacked by a monster while trekking across the Yorkshire moors, one of whom also becomes a werewolf at the next full moon. As he struggles to come to terms with the terrible truth and endures regular visits from his recently deceased (and increasingly decaying) pal, »
- Matt Joseph
- Michael Kennedy
We haven’t heard much regarding the upcoming remake of the John Landis classic An American Werewolf in London, but that changed recently as filmmaker (and son of John) Max Landis recently appeared on R.A.: The Rugged Man podcast to discuss one… Continue Reading →
- Steve Barton
Review by Roger Carpenter
Made at the height of the creature feature resurgence popularized by films like The Howling, An American Werewolf in London, Wolfen, Humanoids from the Deep, and The Boogens, C.H.U.D. (1984) was a (very) low budget film that was briefly popular upon its release and became a staple of the mid-80’s video stores that seemed to pop up like weeds around that time. We tend to throw around terms like “cult classic” a little too lightly nowadays. I don’t think C.H.U.D. qualifies as a genuine “cult classic,” but the film certainly has legs over three decades plus since its original release.
Perhaps those “legs” have something to do with the coverage from the popular Fangoria magazine during production of the film. Or maybe it had to do with the schlocky but nonetheless horrific rubber monster suits worn for the CHUDs (actually foam latex) to go along »
- Movie Geeks
Not For Critics
It’s becoming a cliched response for directors, but Alex Kurtzman has played the “not for critics” card following the poor reviews for The Mummy. Although completely asinine, this isn’t the first time a filmmaker has fired back at critics for not liking their films, claiming they were made “for the fans” (which suggests that critics aren’t fans and that “real fans” will accept any old bollocks put in front of them). “I’m not making movies for [critics],” he told Business Insider. “Would I love them to love it? Of course, everybody would, but that’s not really the endgame. We made a film for audiences and not critics so my great hope is they will find it and they will appreciate it.” Read more here.
Landis Fires Back… Again
- Luke Owen
Legendary writer-director John Landis can be a divisive figure, but when it comes to ‘monster movies,’ his expertise is beyond reproach. Not only is he a world authority on the subject, but he also has a long-standing professional association with Universal, which is currently building its Dark Universe around monster movie remakes and re-imaginings. So, when John Landis says these films are disrespectful to their monsters, it’s time to sit up and take notice.
In his younger days, Landis worked his way up from the 20th Century Fox mailroom to become a director in his own right – making his debut in 1973 with Schlock, which was an homage to ‘monster movies.’ His long association with Universal began in 1978, with National Lampoon’s Animal House, and went on to include titles such as The Blues Brothers, Into The Night, Amazon Women On The Moon, Blues Brothers 2000 and An American Werewolf In London. »
- Sarah Myles
Director John Landis (An American Werewolf in London, National Lampoon’s Animal House) is at it again. Last week he criticized the current state of the Marvel Cinematic Universe while praising the Dceu’s first critical hit Wonder Woman, and this week he is dropping some harsh words on Universal’s Dark Universe that launched last Friday with The Mummy.
Speaking to Entertainment.ie, Landis made the case that the idea for a Universal Monsters cinematic universe is not new and that they aren’t respecting the actual monsters, stating that:
“It’s not a new idea. If you remember with Universal back in the ’40s, once they made all their classics, they started cross-pollinating. House of Dracula, House of Frankenstein, Frankenstein Meets The Wolf Man – you know what they used to call those? Monster rallies! (laugh) And then of course, one of the great ironies is what was considered… »
- Robert Kojder
Over the last few years, the Royal Albert Hall has become the go-to venue for a remarkable array of film music concerts, be they live orchestra alongside viewings of a movie (such as Raiders of the Lost Ark, which I was lucky enough to catch last year), blending orchestral pieces with film related music concerts for franchises such as James Bond, or in this case a bevy of classic film score suites composed by the late, great Elmer Bernstein.
One of the signature film music composers of the 20th century, arguably able to stand on a podium with the John Williams, Jerry Goldsmith’s and James Horner’s of this world, Bernstein scored some of the most legendary pictures in Hollywood history, from The Ten Commandments through to Ghostbusters and beyond. Royal Albert Hall, in presenting a »
- Tony Black
It’s Sunday, which means it’s time for the horror haul, our weekly round-up and one-stop-shop for all things horror. This week in horror, the legal rights battle over Friday the 13th is poised to cause some complicated franchise fall out according to an in-depth new report, The Strangers 2 is taking cues from some 1970s classics, and An American Werewolf in London director John Landis has some thoughts on why Universal's Dark Universe is off to a rocky start. Elsewhere, American Horror Story: Roanoke is set to scare up a maze at Universal … »
- Haleigh Foutch
Kong: Skull Island star Terry Notary told the press a few months ago that he was playing Thanos’ right hand man in Avengers: Infinity War, but a new report from McU Exchange has details on The Mad Titan’s Black Order. According to the site, The Black Order won’t stick strictly to the source material, but will instead tie into Nebula’s line from Guardians of the Galaxy Vol. 2: “You are a disappointment sister; out of all our siblings, I hated you least.” Read more here.
Landis Hates Marvel
Someone who probably won’t be seeing Avengers: Infinity War is An American Werewolf in London director John Landis, who threw some shade at the McU in a recent interview. “Truthfully, I’m bored shitless with the Marvel Universe now,” Landis told entertainment.ie. “All the superhero movies tend to be interchangeable, you always have these »
- Luke Owen
John Landis’ An American Werewolf In London is a seminal monster movie classic, fit with a style that mixes camp humor with terrifying horror, featuring make-up work from Rick Baker that’s as sure to entrance you as it is to haunt your dreams. In short, he has some clout when it comes to talking about movie monsters, and recently he had some thoughts about the newly released The Mummy, and the... Read More »
- Matt Rooney
Do you like shared universes? Well, you’d better. Because in today’s day and age it’s almost impossible to escape them. Sure, we still have more indie flicks and original ideas than ever before, but there’s no denying that the theater is packed to the brim with shared universes. We have the Marvel Cinematic Universe, the DC Extended Universe, the MonsterVerse, the Dark Universe, and even the Cloverfield universe.
In all honesty, it’s a pretty cool idea, but it can still feel a bit overwhelming to those who are looking for blockbusters that don’t necessarily feel the pressure to lead up to or connect with something else. I know what you’re thinking. “What does John Landis think of shared universes?” Oh, you weren’t? Well, regardless, speaking to the Irish Times, when asked about his thoughts on shared universes, he was quick to point out one thing. »
- Joseph Medina
It's certainly hard to discount the enormous success of the Marvel Cinematic Universe, which has released 15 hit movies over the past nine years with varying degrees of success, although none of their movies are considered total flops by any means. The McU's latest movie, Guardians of the Galaxy 2, is both a critical hit (81% on Rotten Tomatoes) and a commercial hit ($823.3 million worldwide), much like most of the other McU movies, but the franchise certainly has no shortage of detractors. One of those is legendary director John Landis, who bluntly stated that he's "bored s--tless" with the franchise in a new interview. Here's what he had to say, when asked his thoughts about shared universe's as a whole, and why Wonder Woman was received so well.
"I'm just... truthfully, I'm bored shitless with the Marvel Universe now. All the superhero movies tend to be interchangeable, you always have these mass »
While John Landis may not have directed a film since 2010’s “Burke and Hare,” his ongoing influence is undeniable. As the director behind “The Blues Brothers,” “Trading Places,” “Coming To America,” “Animal House” and “An American Werewolf In London” his work still resonates with the current generation of the filmmakers (Edgar Wright has already cited “The Blues Brothers” as an influence on “Baby Driver“).
- Kevin Jagernauth
The legendary Boris Karloff portrayed many iconic characters throughout his long career—The Monster in Frankenstein (1931) and Imhotep in The Mummy (1932) are undoubtedly two of the most recognizable. Mr. Karloff's roles in these films are a fundamental building block in creating the foundation for Universal Pictures, which would go on to make the classic monsters we can all identify today.
And now, Tom Cruise has been chosen to lead the Universal Monster universe in a new direction, with a new franchise. In recent years, the actor has become somewhat typecast as the "smartest guy in the room" action hero, and he's actually quite good playing this character. Mr. Cruise has a charisma about him and a dedication to keep everything authentic, even down to performing his own terrifying stunts or taking roles earlier in his career that were different and out of character. This makes it all the more »
- Monte Yazzie
With a property like The Mummy, you could take it in a couple of different directions. You have the horror route: Universal and Hammer Studios both went this route in the 1930s and 50s, proving that the schlocky idea of a looming curse can be presented in a sophisticated and chilling manner. You have the adventure route: The 1999 Mummy remake gave us a fun, Indiana Jones character in a pulpy page-turning excursion. As Universal begins its journey to create their own cinematic universe like Marvel – currently titled Dark Universe – an attempt is made to go in both directions at that same time, without successfully capturing either experience very well.
When Nick Morton (Tom Cruise) and Chris Vail (Jake Johnson) aren’t slinging jokes (bad ones, at that) during missions for the Army, the duo like to steal antiquities to sell on the Black Market. A treasure map leads the pair »
- Michael Haffner
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