I love scary movies and I love blood and guts and severed heads and tangled up intestines everywhere. I guess tangled-up intestines are kind of the same thing as guts, but, wow, do I love grisly gore. It seems like older horror movies often focused more on the psychology of how horrifying a situation or act was and newer horror movies put more attention into convincingly showing every stab and every spurting artery on camera. For example, especially when you factor in what audiences of the time were used to, Last House on the Left was really shocking in 1972. It’s slogan was “To avoid fainting, keep repeating it’s only a movie, only a movie, only a movie.” Most of the most horrible events in the movie, you hear the suffering, but you can’t really see what is going on. By contrast, the 2009 version seems to be shot somehow higher quality, partly just due to the technology of modern cinematography. To my modern eyes, the color palette is more pleasing in the 2009 Last House on the Left. More of the gruesome parts are visible, although they could still go more extreme with that, for my taste. But the new one somehow loses some of the aura of menace, while at the same time vastly improving special effects and general overall look. Partly I suppose Aaron Paul just didn’t seem very scary to begin with and he already seemed like a tragic hero to anyone who had seen him play Jesse in Breaking Bad. You can research more about both the 1972 film version and the more recent 2009 remake at Wikipedia and you can read a bit about Last House on the Left distribution channels for horror at Blue Blood.
Horror special effects definitely have come a long way since the seventies. Now though, the special effects are, not to sound ironic, to die for. Trust me, if the quality of movies were still the same as they were a few decades ago, you can bet that I wouldn’t drop what I was doing over at http://www.partybingo.com just to watch some crappy special effects, and acting that we will just label as sub-par. Thank god though, that isn’t the case! To prove my point, just go watch one of the many (I think there are eight) movies in the Saw series, or if you are really up for some cringing, then watch Hostel.
So, in conclusion, I’ll watch the seventies movies for the acting and the newer ones for the special effects, but the special effects really have to be pretty impressive. I’m thinking about going to see Texas Chainsaw Massacre 3D. I figure, even if the acting is all Disney Channel, the special effects on that have to be worth a theater ticket.
Blanc/Biehn Productions wants to wish everyone a Happy Thanksgiving, and to add a bit of spookiness to your holiday, they’ve just released the poster art for Brianne (“True Blood,” Among Friends) Davis’ directorial debut, The Night Visitor 2: Heather’s Story.
The Night Visitor 2: Heather’s Story was written by Kevin and Bradley Marcus and Mark Gantt. Caitlin Carmichael, Mark Gantt, Chip Coffey, Jennifer Blanc, and Michael Biehn star. Frequent Blanc/Biehn collaborator Lony Ruhmann is executive producer.
Synopsis: The Night Visitor 2: Heather’s Story is a sci-fi thriller that runs parallel to the original The Night Visitor, telling the story of Heather (Carmichael), a special young girl who must protect her family and the planet from the same other-earthly being. The sequel delves deeper into the mysteries that plagued the Stevens family and their son, Ricky, with the help of psychic and medium Daniel (Coffey).
We last saw him tending to the needs of “Dracula” on NBC, and before that he butted heads with Khaleesi on “Game of Thrones” as Xaro Xhoan Daxos, a powerful merchant prince from Qarth. The next time we’ll be seeing Nonso Anozie in a TV series is in CBS’s upcoming “Zoo,” and we have the details on his part right here.
Per THR, Anozie has been cast as Abraham, a Botswanan safari tour guide with a deep understanding of wildlife — and an even deeper empathy for the struggles of humanity.
He joins the previously announced James Wolk and Nora Arnezeder. Wolk stars as American zoologist Jackson Oz, who spends his days running safaris in the wilds of Africa until he begins noticing the strange behavior of the animals. As the assaults become more cunning, coordinated, and ferocious, he is thrust into the race to unlock the mystery of the pandemic before there’s no place left for people to hide. Arnezeder plays Chloe Tousignant, a French investigator who meets Oz while she is on an African safari.
The 13-episode drama series will be broadcast in summer 2015.
Zoo, a novel by James Patterson and Michael Ledwidge, was originally published in September 2012 by Little, Brown and Company and was a #1 New York Times bestseller. It’s been translated into six languages and has sold more than four million copies worldwide.
Jeff Pinkner, Josh Appelbaum, Andre Nemec, and Scott Rosenberg (who also wrote the script together) are executive producers with Patterson, James Mangold, Cathy Konrad, Bill Robinson, Leopoldo Gout, and Steve Bowen. Brad Anderson (Stonehearst Asylum, The Call, Session 9) is directing. “Zoo” is a CBS Television Studios production.
The series will be distributed domestically by CBS Television Distribution and worldwide by CBS Studios International.
Back in May we got word that Greg McLean (Wolf Creek) would be directing Jungle, a thriller based on the memoir written by Yossi Ghinsberg, who was lost for three weeks alone in the Amazon rainforest back in 1981. And now we know one of the people who’ll be starring in the film.
Per THR, Kevin Bacon, who previously worked with McLean on 6 Miranda Drive, is re-teaming with the Aussie helmer for survival drama Jungle, which Arclight Films took over after See-Saw Films and the Spierig brothers (Daybreakers, Predestination) left the project. Justin Monjo wrote the script, and Gary Hamilton, Dana Lustig, Mike Gabrawy, and Mark Lazarus are producing.
Jungle will tell the story of Yossi, a young enthusiastic man with adventurous dreams who heads into the Bolivian jungle with two friends and a fraudulent guide. Their journey turns into a frightening psychological test of faith and human fortitude against the deadliest threats of the wilderness. Filming kicks off at the end of the year on location in La Paz, Bolivia, and in the rainforest of Australia’s Gold Coast.
“I am so thrilled to be making a film about this astonishing true tale of survival and personal transformation,” said McLean previously. “The raw and honest narration of both book and script read like a classic thriller that has deep spiritual resonance alongside the challenging and horrific events that unfold.”
“The commercial value of this film, combined with the brilliant, mind-bending action and adventure filmmaking unique to Greg McLean, immediately captivated us,” said Gary Hamilton, Managing Director of Arclight Films. “Jungle is a film that is bound to thrill audiences worldwide, and we’re all delighted to be part of this exciting journey.”
Jungle was one of 11 projects to receive $9.2 million (AUS $10.7 million) worth of financing from agency Screen Australia, including psychological thriller Joe Cinque’s Consolation, the debut feature from Toronto International Film Festival short film winner Sotiris Dounoukos, and Porchlight Films’ next feature, Jasper Jones, based on the best-selling novel of the same name by Craig Silvey and adapted for the screen by the writer of The Snowtown Murders, Shaun Grant. Rachel Perkins (Bran Nue Dae) will direct.
The good folks over at BlackBoxTV have conjured up another prank video that will fit in just fine with your holiday meal! Open up and say, “Ahh!” Then pass the stuffing, you greedy bastard; you’re always hording that shit!
Check out the video below in which the turkeys get their revenge! And as well they should! How would you like to have your neck chopped off and put into a bag along with your organs that will inevitably be shoved up your gaping asshole before being frozen and then roasted?
A new horror anthology called Volumes of Blood is currently filming in Owensboro, Kentucky, and right now we have a side order of gore to go with your holiday meal! Dig in!
P.J. Starks, HorrorHound and Scream Factory artist Nathan Thomas Milliner, Jakob Bilinski, Lee Vervoort, and horror author John Kenneth Muir direct. Jim O’Rear (Days of the Dead), pinup model Vixxxen Lucy Lynn, Roni Jonah (The Zombie Movie), Jason Crowe (Easter Casket), and many more star. Lynn Lowry (The Crazies and The Cat People) is executive producing.
Synopsis: Five tales of dread are interwoven when a sociology student gathers several of his friends at the local library on Halloween night to help him create a new urban legend with deadly consequences.
Lily is in for a late night of researching and needs something to keep her going. It isn’t until she’s approached by a mysterious stranger that her luck may change… for the worse. A typical night of work for a librarian becomes a classic ghost story with a modern twist.
Sometimes you can’t keep a bad book down; Sidney is allowed to stay after hours to study for a test. It’s not until she suddenly awakens in the darkened library that she realizes the horrifying truth of what lurks among the stacks of books after midnight. She better pray she doesn’t become the prey.
Paige faces regrets that she’d do anything to take back. When an ancient and arcane spell book literally falls into her lap, she decides to make a grave decision. Be careful what you wish for; it might just kill you.
V/H/S: Viral makeup FX artist Vincent J. Guastini has made the leap into the director’s chair with “The Future Executive,” a segment of the upcoming horror anthology Hellevator Man, featuring Cortney Palm (Sushi Girl, Zombeavers) and world-famous WWE wrestler Mick Foley.
Hellevator Man is the latest horror production by Blanc/Biehn Productions, who have so far confirmed segments helmed by Guastini and short film fave Patrick Rea, whose piece is titled “It’s Hell Getting Old.”
Dread Central: Can you talk a little bit about how the project came to you? Was it already a story that was presented, or was it your idea for the script?
Vincent J. Guastini: Jennifer Blanc [the producer] came to me and said, ‘Listen, did you ever want to direct?,’ and I said, ‘Yeah!’ The first thing I ever wanted to do was direct after I saw Star Wars. And when the 80’s interrupted all that and it shifted to special effects and I saw The Howling and American Werewolf and The Thing, then I kind of shifted from wanting to produce and direct and went into makeup effects. That’s how I got into makeup effects, but I always wanted to direct or at least produce. And so, over the years, when my career progressed, I had a few chances or people came to me… I had this script, this alien script, that everybody really loved, and it got close. But some of the dynamics of what was going on with money or what was going to happen didn’t quite feel right or I didn’t feel like anything was ready yet, so it didn’t happen. When Jennifer came to me and I told her all this, she said, ‘Well, we have this thing called Hellevator… it’s an anthology and it’ll be like six stories.’ She then asked, ‘If you want to do one of the scripts, do you write?’ And I said, ‘Kind of. I’m more of an idea guy and I know dialogue and I know what’s real doesn’t sound real. And also, story-wise I may have a couple ideas.’ So she says, ‘Well, if you want, come up with an idea and present it to us and we’ll let you know what we think because we would like you to direct one.’ And she’s talking to me about directing some other project for her, and I said, ‘Sure, but let me come up with an idea…’ And she says, ‘You have to be in an elevator.’
So I immediately thought it was a horrible, awful first-time opportunity to direct something like that, and I was really actually kind of upset. And I said to myself, ‘Are you kidding me?’ And when I heard the limitations of that, out of the frustrations of the limitations, I came up with the idea to slowly broaden the whole idea of the elevator because I knew everybody’s preconceived ideas was where I was coming from at that moment when I was offered that which was, ‘Well, we’ve seen Devil and we’ve seen all these other stories and they’re kind of boring and lackluster because what more can you do with an eight by eight space?’ So I decided in the story to slowly grow something so that I’m destroying the location I hated and make it move and make other visual aspects of introducing not only what I do with effects with my company, but also showing the most important thing, which was that I didn’t want to be a first-time director that just came in to do something just for effects. So I wanted to make a powerful story with some great performances and really great dialogue that was believable and something that you cared about the characters first… you can do all kinds of pretty window dressing being an effects person, but if you don’t care about the characters and you don’t care about the story and you don’t care about any of that, it’s not going to work. It just becomes an effects reel, and that’s not what I wanted to do.
So, story is very important to me… dialogue is very important to me… then we can get into everything else. But even with that stuff I wanted to make sure that it was not only real, but visceral, exciting, cinematic. So that’s where we went, and on these budgets I didn’t think we could get there at first so I decided, even at the beginning, I was going to try and slowly massage everybody to get there and really push for what I wanted s, I was very clear about what I wanted to see since when I presented the script, they loved it. Everybody fell in love with it, but I wanted to make sure what was on the page was actually going to get on screen, and that was my worry. I didn’t want to be a first-time effects director who was going to come out with a piece of garbage, and I don’t want to be in that universe. I don’t want to be anywhere near it. I want it to be where if anybody’s going to look at me for my bigger credits, the stuff that I worked on before somewhat matches what I’m going to do as a director; even if it’s a low budget thing cinematically, there’s something bigger and much more going on.
I’m happy to say with the support of Jennifer and Mike and me sacrificing all my money and them giving me extra and being there as my friends and believing in me, they changed my life because right now, on this set, I don’t know what’s going to happen with editing, but I’m telling you what we’re getting on camera is so much bigger… I was trying to get 80%; I’m getting 157%. So we’re way beyond and out of the boundaries of where I thought we were going to be and I’m making my days and we’re getting amazing shots. Like, amazing.
DC: The segments — they’re satellite productions, not all filmed in L.A., right?
VG: Yeah they’re all separate and it’s all coming together under one big umbrella. So I also said, ‘If I could suggest other people to direct things, let’s elevate the whole movie. Let’s get other really creative people involved.’ So I got Eric England, which is a friend of mine. He’s going to come up with one, a story, so he can direct. And I just feel that if you just get enough strong [directors], the whole movie will be strong. Which will make them sell it more and it’ll be, you know, just taken really seriously.
DC: What is the basic premise of your story?
VG: I guess I could tell you. The basic premise is there are three people trapped in an elevator. It’s in a corporate office. And what happens is the kind of office clerk that works there is telling one of the people stuck in the elevator, who’s basically an office executive–she’s very high-end, very corporate kind of cold–that he’s had a thing for her, has been in love with her from a ar. And while being stuck in this elevator he expresses how he feels about her for all this time. And it starts to melt her cold exterior that she’s actually starting to notice him in a different way and not just some office guy that works in the mail room. That he’s actually somebody that is special and didn’t realize that somebody like that could have feelings for her like that. So it melts her outer exterior.
In the meantime, while this is going on, they’re stuck in the elevator with the biggest asshole ever on the planet who’s basically his past can be from prison. And there’s a slight hint that he might be a rapist or a murderer, and as things go on, they have a climax between the guy that’s falling in love with her and him, and a fight ensues. Not unlike the fight that would be in They Live but a hundred times worse, the fight between Keith David and Rowdy Roddy Piper. And so I wanted to use certain elements that attracted me like Fight Club and Raging Bull. And as the story heightens, the elevator goes crazy and goes up and down and becomes a runaway train type of situation. To break the atmosphere of just being four walls, I put a window in the elevator. A small window so that when things go crazy and we see the floors going up and down and out of control, we have that element inside the elevator adding more danger. Emergency lights and things like that that belong. So it becomes an action movie now.
DC: Where are you in the production right now?
VG: We’re on the final day, and we have a lot of makeup effects that go into a different area because we have a very big surprise ending that is very broad and really cinematic and really big, and there’s a big punch line at the end of it – what you find out about these people and what they may or may not be.
Starring Ralph Richardson, Joan Collins, Peter Cushing, Glynis Johns
Directed by Freddie Francis, Roy Ward Baker
Distributed by The Scream Factory
When it comes to horror anthologies, no single studio stands out more than Amicus Productions. Though the company may have existed in the shadow of Hammer’s peak output period, their most valued contributions have been portmanteau pictures that were good enough to attract some of Hammer’s top talent. After successfully producing a handful of horror anthologies scripted by famed writer Robert Bloch, the studio looked across the Atlantic to America; specifically, New York City, home to EC Comics. Amicus co-founder Milton Subotsky was a long-time fan of their comics – titles such as “Tales from the Crypt”, “The Haunt of Fear” and “The Vault of Horror” – so he convinced one of his partners to acquire the rights to a handful of their tales. Their initial production, Tales from the Crypt (1972), proved so successful that a follow-up, Vault of Horror (1973, also known as Tales from the Crypt II in some markets), went into immediate production. Fans can debate which the superior film is (for me it’s Tales) but there’s no question that the winning combination of Amicus’ horror anthology acumen and EC Comics’ strong storytelling yielded two of the greatest multi-storied horror pictures conceived.
Tales from the Crypt begins with a wraparound wherein five strangers are inexplicably drawn to aging catacombs. There, they meet the Crypt Keeper (Ralph Richardson), an enigmatic, hooded individual who proceeds to tell each of them their eventual fate. Joanne (Joan Collins) is subjected to the terror of a deranged Santa Claus after killing her husband on Christmas Eve, leaving her unable to phone the police lest they discover her dead beau’s corpse. Carl (Ian Hendry) leaves his family behind to elope with a younger mistress, but their plans of future bliss are cut short due to a violent car crash, one which Carl only appears to have survived. The Elliotts – Edward (David Markham) and his unscrupulous son, James (Robin Phillips) – do everything in their power to rid the neighborhood of kindly old Mr. Grimsdyke (Peter Cushing), a lonely widower who takes great pleasure in fixing toys for the local kids and raising a stable of dogs. When their efforts succeed beyond their wildest dreams, a visitor from the grave ensures they won’t be around long to wallow in hateful bliss. Ralph (Richard Greene) and his wife, Enid (Barbara Murphy), have fallen on hard times. A Chinese figurine they discover claims to hold the power to grant them three wishes, hardly what they should consider a blessing given the outcome of the old “Monkey’s Paw” tale. Finally, a home for the blind is being run by newly-appointed head Major William Rogers (Nigel Patrick), a stern military type who rations everything from food to heating due to “economic concerns”; this despite the fact that he continues to live and eat like a king on the premises. The poorly-treated residents of the home don’t take kindly to his cruel rules, leading them to give the Major a taste of his own medicine. The film wraps up with the Crypt Keeper letting the five strangers in on a little secret, one which becomes clearer and clearer as the finale draws closer.
The greatest strength in Tales comes not from the acting or directing – both of which are perfectly sound – but in the rich stories culled from the comics. Somewhat ironically, most of the stories come not from Tales but some of EC’s other publications, though that’s more a minor bit of trivia than a condemnation. Each segment tells a full story in brief time, often with a morality angle and always ending poorly for the amoral characters who act as though they’re above reproach. Additionally, the film nails what many anthologies often don’t: the wraparound, which here is just as intriguing and mysterious as any one of the film’s stories. Also, maybe it’s the accents, but British horror pictures tend to have an air of regality about them that elevates the material ever so slightly; a touch more prestige, if you will. There’s also a great deal of wonderful practical FX on display, in particular the zombified Grimsdyke who isn’t on screen for nearly long enough. In fact, no segment overstays its welcome, ensuring the audience is hungry for more once the credits begin rolling.
And they remained hungry, so much so that Amicus quickly shuttled a sequel into production. Vault of Horror opened the following year, presenting a storyline virtually identical to its predecessor. Unlike Tales, which included a couple stories from its namesake comic, Vault pulled entirely from other publications; in fact, the majority of the stories are actually found in Tales. Not that any of this matters; it’s more about capturing the spirit of EC Comics’ publications than slavishly adapting them.
Here, five men find themselves on an elevator heading toward a destination none of them anticipated: the building’s sub-basement, where they find a posh room housing a large table and plenty of drinks. And, so, seemingly trapped here with time to kill each recounts a recurring nightmare they have experienced. The first, Harold (Daniel Massey), tells of visiting a mysterious village looking for his sister, who just inherited a large sum of money. He finds the townspeople odd and unhelpful, but eventually tracks down his sibling whom he promptly kills so the inheritance money will go to him. Death must cause considerable hunger because he heads to a local eatery for a bite, only to realize these are not normal people… and he’s just been added to the menu. Arthur Critchit (Terry-Thomas) is a fastidiously clean fellow, unlike his young wife, Eleanor (Glyns Johns), who is unable to meet his OCD demands. She’s such a nitwit that when she does try to earnestly clean, it only produces a bigger mess. And when Arthur gets home he erupts, finally pushing Eleanor to do some erupting of her own. Sebastian (Curd Jurgens) is a magician on vacation in India. He’s also a total dick who exposes fellow magicians to their rapt audiences. When he meets a woman who does extraordinary things with a rope (not that kind of extraordinary), naturally he decides the best way to acquire her skill is to kill her. What he doesn’t count on is the rope may not need the woman to perform its magic. A scam artist, Maitland (Michael Craig) concocts a scheme to collect insurance money on his own life by using a serum to give the illusion he has died. A friend of his is set to collect the money and, after burial, retrieve Maitland from the grave so he can live high on the hog for the rest of his days. Things, naturally, go poorly for all parties involved. Finally, Moore (Tom Baker), a painter in Haiti barely scraping by on his meager wages, learns his old art cohorts have sold his “worthless” paintings for a mint. Moore visits a voodoo priest and is given the power to use his artistic abilities for evil purposes, literally painting his enemies to their deaths. Moore, however, shows he’s a bit of a moron by painting a portrait of himself, which couldn’t possibly be damaged accidentally, could it?
The stories told in Vault of Horror are not quite as strong as those in its predecessor, but by no means is the film poor. It’s likely no accident the picture feels very much like an imitator of Tales from the Crypt given how popular that title was at the time. The tales aren’t redundant in any way, with each thematically different from the others. Conversely, three of the segments in Tales dealt with the living dead, whereas not a single one features a lumbering zombie here. Still, Vault can’t help but feeling a bit pedestrian, with no one story standing out as a clear winner. The onus of success then falls not on the writers but the actors, nearly all of whom turn in commendable performances. Terry-Thomas steals the show, if anyone does. His expressive face and trademark gap-toothed grin convey comedy and stern authority in equal parts. Plus, he was great in Danger: Diabolik (1968). The wraparound is the only piece that feels rehashed, though it’s still nicely done.
Let’s get to what’s really enticing for fans here: Vault of Horror is, at long last, available fully uncut. Horror fans know that often times literal frames can significantly impact a film’s, um, impact. This is absolutely the case with Vault, and the uncut version restores the neck tap, “odds & ends”, the result of a hammer blow and the aftermath of losing one’s hands. After watching the film for the first time, I cannot imagine having these crucial scenes trimmed. The big payoff in at least two of these stories would be greatly diminished had Scream Factory not made all the effort possible to make sure the film’s integrity was restored.
Tales looks absolutely marvelous, with a sharp 1.78:1 1080p image that is outstanding. Definition is strong, thanks to the impeccable print from which it was sourced. Colors appear vibrant and strong; just look at the kaleidoscope of hues on display in Joan Collin’s home during the first story. Contrast handles well, though black levels do sporadically look a little hazy. Shadow delineation is perhaps the image’s only deficient area, with moving images nearly completely lost in dark shadows. But, thankfully, that issue crops up only once or twice. Surprisingly, there’s even a decent level of depth to the picture.
Vault also features a 1.78:1 1080p image, though it’s just a bit below Tales in terms of clarity. The print looks pretty clean, as expected given the work Scream Factory put into it. The biggest difference between the two films is Vault simply isn’t as sharp, often looking a tad softer than Tales. Grain is present and aids in a filmic look, with only minor specks appearing occasionally. Colors are saturated nicely, and black levels are stable.
Rarely does Scream Factory disappoint in the audio department, and neither of the English DTS-HD MA 2.0 tracks is problematic. Both Tales and Vault enjoy strong fidelity, with excellently balanced dialogue, notable depth & range for each of their respective scores, and sound effects that carry a real weight to them. Subtitles on both films are included in English.
Don’t act so surprised there’s virtually nothing in the way of bonus features; Scream Factory said on their Facebook page that nearly all of the budget for this release went into making sure Vault of Horror was presented uncut. Film always takes precedence over supplements, but they did sneak a couple of features onto Vault. Also, if you call it a bonus, there are actually three versions of Vault of Horror included.
Tales from the Crypt holds no bonus material, but Vault of Horror includes the following:
The film’s theatrical trailer, presented in black & white, and an alternate title sequence, this one carrying the Tales from the Crypt II title.
Most fans will likely forego watching either cut included here, but for the sake of completists Vault of Horror is included in both the PG-rated theatrical version and a rare open-matte version of the BFI uncut master.
Another update has come our way for the new PC game Last Year, and it looks stunning! This new work-in-progress video shows off the killer’s axe, and the powers-that-be are utilizing all the latest bells and whistles of Unreal Engine 4.5, including a 60fps option that looks super smooth.
Last Year is a 5 vs. 1 multiplayer survival horror game tin which you are the hunter or the hunted. In Last Year you’ll experience the nightmare together as you and 5 friends struggle to survive against one player who is playing as the Killer.
Explore familiar territory based on classic horror movie locations including Camp Silver Lake and East Side High. You’ll play the roles of 5 stereotypical high school characters while co-operating to complete objectives and survive. Playing as the Killer, you’ll utilize game-changing predator mechanics to help you hunt down and eliminate your victims before they have a chance to escape.
Players will sneak and slash their way through a suspenseful atmosphere that keeps them on the edge of their seat as they compete to be the top Killer or Survivors.
Happy Thanksgiving, Dreadies! There is nothing better on Turkey Day than to get a nice big slice of the bird and dig in. But when the thought of slices came up, we just had to give it a nasty twist and bring you the Top 11 Slices in Horror.
Today we’re talking about the most memorable times some kind of a blade met some kind of unappreciative flesh. Be it a butcher knife, axe, scalpel or another type of slicing instrument, these are some of our favorites of all time. Slide right in and see if you don’t agree.
As always, honorable mentions need to be recognized before we get into the best of the best. Gareth and remnants of the Terminus crew certainly did some nice slicing on poor ol’ Bob early in Season 5 of “The Walking Dead.” And there is one particularly memorable decapitation scene in the oh-so-legendary Silent Night, Deadly Night. Both Dr. Heiter and Martin did outlandish slicing in The Human Centipede films (with more certainly to come in The Human Centipede 3), and Johnny Depp himself provided plenty of the red stuff in Sweeney Todd: The Demon Barber of Fleet Street, accompanied by a slew of catchy tunes. Our beloved Lola Stone left her mark on a number of unfortunate boys in The Loved Ones. The Trent Haaga-directed vehicle Chop saw a poor soul lose one body part after another… and a brand new micro-budget Norwegian film entitled Christmas Cruelty provided multiple instances of insanely realistic moments of blade hitting flesh that are outstanding considering the financial constraints the filmmakers were up against. And finally, we must remember that the Final Destination and Saw series are loaded with one brutal slice after another.
And now on to the Top 11 Slices in Horror!
The Seasoning House (2012) – Captured girl
An absolute punch-in-the-face of a film, The Seasoning House is a tale of young girls forced into drugged prostitution in the Balkans during wartime. An awesome revenge flick that will simply exhaust you, The Seasoning House attacks with vivid imagery. Not the least of which is a combination practical/digital F/X throat cut that occurs early in the movie (the beginning of the effect can be seen around 1:50 of the trailer below… but you’ve got to experience the entire movie to really appreciate the power of this scene). Rosie Day is incredible as a seemingly harmless waif that scuttles between the walls of the brothel until the right moment arrives. Sean Pertwee also stars, and believe us; he’s much more likable in his current role as Alfred Pennyworth on “Gotham”!
See No Evil 2 (2014) – Tamara
Glen “Kane” Jacobs returns for another round of slaughter in See No Evil 2. And, although it wasn’t quite as spot on as directors Jen and Sylvia Soska’s previous films, it does have some great directorial moments and contains one particularly awesome death scene. This involves Soska favorite Katharine Isabelle, who plays party girl Tamara. Incidentally, it must be noted that Isabelle’s performance is indeed the highlight of the movie. She is very entertaining and her death scene follows suit. It’s an amazing throat slash with an implement called a “fleshing knife,” and again, the combination of digital and practical F/X, as well as an amazing performance by Isabelle (she does this thing with her neck just at the right moment that really sells it), makes this an absolutely fantastic special effects moment.
Depending on when you’re reading this, you have either already been or are about to be elbow deep up the ass of a dead bird in search of The Bag™. We are right there with ya and have the number of a good therapist on hand, just in case.
Another year has passed, and we’re thankful that despite a flailing economy and the constant yappin’ of Generation Outrage, Dread Central is still carrying on, and that’s all because of you guys. I’ve said it before, and I’ll say it again… it’s you who allow us to exist. It’s your support that keeps everything moving. We even like when you yell at us from time to time because it keeps us on our toes. We know the anger only comes from passion, and we could never fault you for that. We hope you see that very same passion in our work. We love you, and we’ll never ever forget or take for granted what you guys bring to the table. You’re our peers, and this site is just as much yours as it is ours.
May everyone’s Thanksgiving Day be filled with laughs, love, and lunacy; and may your early morning hunt sticking your hand up a dead bird’s ass until you find the dreaded Bag™ housing its entrails and neck be swift, painless, and non-psyche scarring.
We thank you guys for all that you do. You have no idea how much you mean to us. Thanks to Fright Rags for the incredible holiday eye candy you see below! EAT UP!