9 items from 2013
Photo: Sebastiano Rossi This Spring we reviewed the wicked Ep Whatta Mask from Italy's dark-edged Edm team Cyberpunkers, and they're back again with a new mini-album that finds them exploring many of the darker themes they tapped in the earlier release Old Skulls. Still upholding their motto “Give us a mask and we'll tell the truth” (inspired by the famous quote from Oscar Wilde), the mysterious duo return to more ominous, emotionally loaded grooves for their new Ep Shock, fusing elements of electro-punk, bass, glitch, industrial and cyber-metal into a big beat behemoth while exploring some surprising new melodic avenues. The amped-up intensity is immediately apparent in the opening cut “Beyond the Cover,” with its emphasis on knife-edged, high frequency percussion and an equally stabby lead synth line before the heavy bass drops take control (it's the one seriously bass-loaded track here, at least in the album version), but with »
- Gregory Burkart
Odd List Ryan Lambie 6 Nov 2013 - 06:50
From random films with altered names to unrelated storylines, we take a look at 15 incredibly tenuous horror and sci-fi film sequels...
The profit-driven nature of filmmaking usually means that, if a movie's a hit, sequels follow. And it's sometimes the case that, particularly in the realm of low-budget sci-fi and horror, those sequels are trotted out in a rush, or don't have anything to do with the film they're following.
This isn't to say that the sequels on this list are necessarily bad - it's a proper mixed bag of the great, the mediocre and the downright awful - but in each instance, these sequels have only vague links to their predecessors, or worse still, they're entirely different films rebranded to fit an existing franchise.
Our list is by no means definitive - rather, we've chosen a collection of films that we find the most memorable. »
Why are there so many horror-film remakes? Here's why: Psycho, Halloween, Friday the 13th, Dawn of the Dead, The Texas Chainsaw Massacre. Those titles immediately say something to a movie watcher, regardless if they're a casual fan of the cinematic arts or a seriously hard-core movie buff. These are "name brands," if we're being honest, and just because some of those remakes turn out to be good movies, the truth is that virtually all remakes are conceived with commerce in mind, not art. But then there are the true horror fans, those who recall some pretty decent scary movies from their childhood, but when they go to revisit a flick like, say, Wes Craven's Shocker (1989), they realize that nostalgic memories are sometimes better left unmolested. In other...
- Scott Weinberg
Feature Ryan Lambie 30 Oct 2013 - 07:02
In the late 60s and early 70s, horror cinema began to put aside the castles and capes of the past. Vampiric noblemen like Count Dracula were being replaced by new monsters like Mark Lewis, the serial killer photographer in Peeping Tom, and murderous motelier Norman Bates in Psycho.
Kicking and screaming, horror was moving into the present - into contemporary cities and respectable suburbs. In literature, authors such as Ira Levin, Richard Matheson and Stephen King were at the forefront of this new movement, with their work reinventing stories of the spectral, satanic and paranormal for a new age.
Wes Craven was one of a young generation of filmmakers who brought about a similar change in 70s cinema. Along with George A Romero, »
Welcome to Rebel Wilson's night! Ology is (was) live at the MTV Movie Awards in Los Angeles just moments ago, and is now giving you the latest news on the big night right here in the press room! We saw the kids of Teen Wolf and Awkward on the carpet, and will be giving you much more exclusives later this week about one of the biggest fan favorite award shows of the year! Stay tuned for some very cool interviews, and a behind-the-scenes look at what you may have missed while watching.
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- Stephanie Webber
A few years back Wes Craven went all remake happy, but thankfully cooler heads prevailed and the trend stopped with A Nightmare on Elm Street and The Last House on the Left. Still, there's one more movie in his canon he wanted to have another go at...
"I’d like to redo Shocker just to get the special effects right because we had a real special effects disaster on the film," Craven tells Crave. "The guy who was doing all the visual effects kind of flamed out, had a nervous breakdown because he was attempting more than he could actually do. When he told us towards the end of the movie that not a single one of the special effects was actually working, he was working on a new technique; my son’s job specifically became just to find all the negative. It was all around town in unmarked boxes »
- Uncle Creepy
Of course, neither of those remakes came to fruition, but that doesn't mean Craven can't stop talking about the prospect of rebooting either of those titles, especially Shocker (are you reading, Brian Collins?).
Read more »
This was supposed to be last weekend’s B-Sides, but I accidentally sent in the wrong file so you got another song from the Shocker soundtrack instead. Like that Wes Craven slasher, the soundtrack from which this weekend’s installment is taken is also a treasure trove of future B-Sides. So a belated New Year’s Evil rockin’ eve it is.
Cannon Films’ 1980 cult slasher favorite New Year’s Evil boasts a homicidal maniac who phones the lady rocker host of a New Year’s countdown show to let it be known he intends to murder someone each time the clock strikes midnight in a different time zone, and the last victim will almost certainly be her. Essentially, it’s the way you secretly deep down wish NBC’s New Year’s countdown show with Carson Daly would culminate. Well, it’s the way I wish it would end.
Ah, the soundtrack to Wes Craven’s Shocker - truly the B-Sides gift that keeps on giving. It wouldn’t be the most metal 80’s horror movie soundtrack without a hard rockin’ hair band power ballad. Every rose has its thorn; just like every sword had its stone; or something like that.
I can’t say I’m too familiar with the band Bonfire. All these long-haired hard rock bands from the mid-to-late 1980’s blend together after a while. “Sword and Stone” was originally recorded by Kiss for their Crazy Nights album but didn’t make the final cut and now can only be heard as an unreleased demo. The song then got passed on to Bonfire, and having heard both versions, I’d say the Bonfire version is vastly superior.
9 items from 2013
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