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Edit of the Axe: 5 Fantastic Modernized Horror Movie Trailers

Posted by Chad Collins on April 21, 2022 edge of the axe trailersRecut horror trailers are all the rage.

4 Heroic Stoners To Remember On This High Holiday

Posted by Sharai Bohannon on April 20, 2022 matthew lillard scooby doo - 4 Heroic Stoners To Remember On This High HolidayWho needs capes when you can have vapes?

‘Halloween’ Has a Massive Karen Strode Problem

Posted by Chad Collins on January 28, 2022 Halloween 2018 Laurie Strode Daughter Photo - 'Halloween' Has a Massive Karen Strode Problem

Halloween Kills, the second entry in David Gordon Green’s rebooted Halloween trilogy, is poised to be this generation’s Halloween 3: Season of the Witch. While Season of the Witch controversially retconned Michael Myers entirely, focusing instead on mystic Halloween masks and druid rituals, Halloween Kills subverts Myers’ legacy so thoroughly, it’s bound to have the same effect. Spoilers, naturally, will follow.

When David Gordon Green and Danny McBride were first announced as the arbiters of Myers’ new legacy, fans were naturally wary. Neither had considerable experience in the horror genre and the resuscitation of Myers, the apex slasher, seemed too great a responsibility. Still, John Carpenter himself was impressed with their vision, and the early marketing made a considerable zeitgeist push. Halloween (2018), beyond being about everyone’s favorite masked killer, was also about trauma. It explored the generational links that bind, how the sins of a parent can infect their children, and even threw some #MeToo iconography in to boot. The final product was a welcome return to form, even if Green’s lofty thematic aspirations fell short of what he intended.

The core idea, though, was brilliant. Green expanded his scope to not just reintroduce Laurie Strode, the original final girl, but her family, as well. Jamie Lee Curtis returned, but Judy Greer and Andi Matichak were introduced as Karen and Allyson Nelson, respectively, her daughter and granddaughter. Matichak’s Allyson struggled to understand the breadth of her grandmother’s psychoses. But Greer’s Karen was mindful of it every day. Her performance was subtle yet incredibly effective. In every scene, she looks worn down and terrified, infected by her mother’s paranoia that Michael Myers wasn’t done—that one day, he’d be back to kill them all.

In early childhood, Karen underwent considerable survivalist training. She was trained with firearms and knives, locked away, and denied any semblance of normalcy until social services took her away at 12 years old. Laurie, though, never budged. She never apologized nor endeavored to make amends. Instead, she continued to haunt Karen just as Michael haunted her. To Karen, Laurie Strode—her own mother—was the boogeyman.

Green, in his first trilogy entry, at first seems eager to explore this behavioral thread. But he too easily concedes to the demands of the franchise. Michael is back, and whether intentionally or not, Laurie Strode is vindicated. She was right the entire time; her daughter’s traumatic childhood be damned. Part of the problem perhaps lies in just how peripheral the Strode women are in Green’s original. Outside of the climax, Laurie, Karen, and Allyson are outside of Michael’s path, only encountering him when chaotic variable Dr. Sartain (Haluk Bilginer) brings him to them. Halloween Kills retroactively alters the myth, making it clear that Michael was never interested in pursuing Laurie Strode; he only wanted to go home.

This, no different than Green’s 2018 threads, could work. Karen herself remarks as much in Haddonfield Memorial Hospital while her mother undergoes emergency surgery for the knife wound she received earlier in the night. Her mother put both her and her daughter in harm’s way. Michael only attacked them because Laurie brought them to her compound. Worse still, Karen’s husband, Ray (Toby Huss) is dead because of Laurie. Had she let them stay in their own house instead of weaponizing fear to whisk them away, Ray might still be alive.

This, though, is just as swiftly dropped, with Karen’s characterization reworked into the voice of reason. She simply wants to protect her mother and daughter alongside responding incredulously to the violent mob forming in the hospital lobby. Greer, as with the first, is a talented enough performer to make this work. Her horror filmography especially is a considerable reminder of just how much she can bring to the most incidental of characters. Cursed is a camp classic and she seamlessly took up Betty Buckley’s torch in Kimberly Peirce’s Carrie remake. It is also, unfortunately, a reminder of how often she’s given nothing to do. An actress of her stature deserves more in Jurassic World than standing around off-island worrying about her two sons. It hurts, too, to see early promotional material for Halloween Ends quickly substitute her for Kyle Richards’ Lindsay Wallace.

Halloween Ends Set Photo Unites the Returning Survivors
Jason Blum/Twitter

Halloween 2018 did have the decency to give her what is arguably the movie’s best moment. As Michael intends to make his way into the hidden bunker at Laurie’s compound, Karen is armed with her childhood rifle. Ostensibly terrified, she shouts to her mother upstairs that she can’t do it; she can’t kill Michael. Michael then swiftly appears in the stairwell, and as he does, time slows, and Karen pulls the trigger. “Gotcha,” she says. It worked like gangbusters. It gave Karen both something to do and some semblance of agency beyond the trauma her mother cultivated.

Halloween Kills endeavors to replicate the moment, right down to the iconic line. But it simply doesn’t work the same way, especially after the movie once again sidelined her trauma for several other disparate threads. As Karen’s agency swells in the finale—she saves her daughter and delivers what is believed to be the final blow to Myers—it almost immediately dissipates. Upstairs in the remodeled Myers house, finally believing evil has died, Michael appears. He savagely attacks her, slashing and stabbing her in the same spot he killed his sister decades before. Karen falls to the floor, bloodied and dead.

The ending was likely conceived for two reasons. The first of which, naturally, is shock. Killing a major character in the final reel is the perfect way to shock audiences and embed anticipation for the third and final entry. Within the framework of what Green is trying to do, too, the ending was likely positioned as a galvanizing kill; it’s the final incentive for Laurie Strode to take the boogeyman on once and for all (Kills never acknowledges that she’s had several “final fights” with Myers). That is all incidental or nonexistent, though. What it really does is betray both Karen Strode and the trauma-informed Halloween movie Green ostensibly desired to make.

As muddled as the message was to begin with, Karen’s death radically undermines what Halloween and Halloween Kills wanted to say about trauma. In lieu of general depth and interrogation, Kills especially wastes time on underdeveloped community threads and mob mentalities, ignoring the big, traumatic knife in the room. Laurie Strode was Karen’s Michael Myers. She consistently put her daughter in danger and rendered her incapable of living a life beyond fear. Just as Myers kept Laurie trapped in her own violent, traumatic past, Laurie did the same to Karen. She didn’t have to, though. Laurie had sundry opportunities to do and be better. It’s arguably the only way this new trilogy could have worked the way Green and McBride intended. Imagine the thematic possibility of refracting the generational evil of a famed serial killer through one of the genre’s most enduring survivors.

Laurie is never held accountable. Sure, her daughter is killed. But for as much as Kills wants that blame put on Myers, it’s shared in equal measure with Laurie. Even in the face of death, she prioritizes her own mythic status over the safety of her daughter and granddaughter who, lest we forget, has now lost both of her parents in one violent night. Karen Strode deserved better. Unfortunately, just as Kills stumbles with internal consistency or motivated plotting, it stumbles with Karen. This whole time, it seems we were the ones duped. I can see the filmmakers now, crouched and terrified in the basement. It was a “gotcha” moment all along.

The Bangs Are Back: Kyle Richards to Return in ‘Halloween Ends’

Posted by Mary Beth McAndrews on December 9, 2021 Halloween

Grab those scissors, folks, because Kyle Richards is coming back to Haddonfield with her signature Lindsey Wallace bangs. That’s right, the child star-turned-reality-TV star is coming back in Halloween Ends.

Richards starred in John Carpenter’s original 1978 film when she has just a kid. Her character Lindsey was babysat by iconic final girl Laurie Strode (Jamie Lee Curtis). Richards then reprised the role in 2021’s Halloween Kills, the second in David Gordon Green’s trilogy. Lindsey has a small, yet important, part in the film. She faces off against the vicious Michael Myers and survives by the skin of her teeth. She’s seen at the end of the film being wheeled into Haddonfield General Hospital, so her fate was open-ended.

Now, Variety has confirmed that Richards has officially signed on for Halloween Kills, which is the final entry in the trilogy. The film is said to start filming next month with an anticipated release date of October 2022. We don’t have any plot details quite yet. But we do know that the film is set four years after the events of Halloween Kills.

Also Read: Halloween II — The 1981 Sequel is a Worthy Follow Up that Didn’t Need to be Retconned

You may be asking yourselves why I’m so fixated on her bangs. Well, if you’re a Real Housewives of Beverly Hills freak like myself, you’ll know the season where she was filming Halloween Kills was all about the new haircut. Fans took to Reddit and Twitter to make snide comments about Richards’ new ‘do. But hey, any press is good press, right? Since the announcement of her role in the next film, fans have already started joking about seeing those bangs back on their TV screens. I for one welcome the next chapter in Richards’ bang saga.

According to Variety, fan reception was so positive for Richards that Green rewrote the script to include her in the final film. I’d like to think that the Bravo Hive helped keep her alive and well in the rebooted series.

The Glamour Of The Bat – Makeup Tutorial

Posted by Ingram Draco on November 13, 2021

Among all the creatures that make us think of all things spooky immediately after gazing upon them, the best and more representative are, of course, bats. They always carry with them a spooky atmosphere wherever they go, and when we see one, it immediately triggers ideas of hauntings, monsters and other scary scenarios that could follow after them.

For this reason, it is a great idea to try this subtle but glamourous style that Alice Lockhart has prepared for you, where she shows you how to create this look where your eyelashes turn into little bats, ready to fly and flap around.

This is a refreshing look that maintains the face with a white tone to keep the focus on the eyes, while adding tones of orange to the lids and lips, which make the bat decoration stand out even more, while also giving the lips and eyes a candy-like finish with the color, which works unbelievably well as a style that will help you give a whole new meaning to the phrase: batting your eyelashes.

Hey guys! We’ve got another spooky glam makeup look for Halloween! I’ve been wanting to try bat wing eyeliner since I’ve seen sooo many pics of it on IG. Here’s what I came up with! Let me know what you think 🎃

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Ethereal Might And Knowledge – Goth Makeup Tutorial

Posted by Ingram Draco on November 12, 2021

Emilina Nicole brings colors and gems together in this makeup tutorial to create a nice White Witch look for making an impression going to the grocery store, and there’s a certain level of mystique to it, as it is the look of a witch that seems to have such understanding of the energies that make this world work and how to manipulate them, showing not just an almost ethereal and imposing look about her, but an energy, a pull, a sense of the otherworldly that sends shivers down your spine as her eyes seem to reveal to you that she knows not only who you are, were and want to be, but that she also understands exactly why you are in her presence, and has already decided whether or not to honor your request, and the price she’ll ask in return for her mighty intervention before you have even had a chance to open your mouth to voice a greeting. Such is the magical ability of a witch, and this one wears her power on her sleeve.

HEY BEST FRIEND!!!! This look is far spookier than the last one, but isn’t that what Halloween is all about 😉 This look is very interpretive so you can change it and make it your own as you please! I had a lot of fun with this one so I hope you ENJOY!

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Love you see you in my next video!!!

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‘Halloween Ends’: David Gordon Green Compares New Draft to ‘Christine,’ Says It Has a “Very Different Tone”

Posted by Max Weinstein on November 8, 2021 'Halloween Ends' 'Halloween Kills'

Tonally speaking, Halloween Kills runs the gamut: Some scenes, like the ones with quick-witted queer couple Big John (Scott MacArthur) and Little John (Michael McDonald), lean heavily into horror-comedy, while others, like the brooding hospital-bound exchanges between Laurie Strode (Jamie Lee Curtis) and Officer Hawkins (Will Patton), feel more like macabre melodrama. But director David Gordon Green says that its sequel, Halloween Ends, will feel like something else entirely.

When Green recently joined the Empire Spoiler Special Podcast, he shared a bit about what fans can expect from the tone of Halloween Ends.

“It’s kind of a coming-of-age film, and it’s a very different tone,” Green says. “That’s what excited me about it, is to have the three chapters that I’ve been involved in be very different from each other. They are all there to honor Carpenter, but aren’t necessary just emulating him.”

Also Read: Halloween Ends — David Gordon Green’s Halloween Kills Follow-Up Will Hop Four Years Into the Future

Halloween Kills traded in nostalgia and had its share of callbacks to previous entries in the franchise, even including a nod to the iconography of Halloween III: Season of the Witch. But Green says that in Halloween Ends, “there’s not a lot of games in it. There’s not a lot of wittiness and retro joy.”

Green also hints that Carpenter’s 1983 car horror film, Christine, was a key influence on the Halloween Ends script.

“I sent Carpenter the new draft the other night, and I said, ‘If it feels too [much like] Christine, let me know,'” he continues. “For Halloween Ends, it’s just a love of Carpenter. It’s more than just, ‘Hey, here’s a character and a community that you’ve created.’ It’s, ‘Here’s an appreciation of your legendary body of work.’”

Halloween Ends is currently slated for an October 14, 2022 theatrical release.

A Godlike Alteration – Makeup Tutorial

Posted by Ingram Draco on November 6, 2021

Heather Moorhouse undergoes an amazing transformation in this tutorial where she starts by covering her face with touches of grey, which she then shades with black lines to create a smokey eye which is then adorned by a touch of golden eyeshadow to create that god-like contrast that makes the eyes look more compelling.

Since this is a Baphomet makeup and this Deity is essentially a goat, she adds heavy lines around the nose to give it that slim doe-like appearance, contouring it with black and leaving the top in white to highlight the slimming effect. The lips are joined to the nose with black lines as well to give an animal-like finish to the lips while maintaining the lower lip emphasized by a lighter tone.

To complete the goat look, she works with both the makeup and a pair of horns that she secures with glue and a bit of latex to make sure she can blend their color with the rest of her face. She even adds a deep-black color to her head and gives some areas a fuzzy-looking finish, to give the impression of fur, and to maintain the otherworldly look, she adds a pentagram on the forehead, which adds the final mighty touch to this amazing dark style.

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A touch of occultism is always welcome, all year round. I hope you enjoy my interpretation of the ol’ sabbatic goat themself – Baphomet!

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A Message Of Darkness – Goth Makeup Tutorial

Posted by Ingram Draco on November 5, 2021

This is a makeup tutorial by _blueNeon where she showcases the look of a Bad Omen for a spooky makeup idea, and since an omen is essentially a prophecy of some event to come in the future, in this case, a bad one, to keep with the spooky theme, she uses dark colors like black around the eyes, and a gentle color of makeup on the lips. Around the face, she adds a visual effect to make it look like there are some veins slightly popping out.

This style also calls for some props, and the ones she wears on her head are some jewels and black feathers. There’s also something she uses on her eyes that enhance the look beautifully, because she wears false eyelashes that resemble raven feathers, which are creatures believed to carry these sort of mysterious messages from the otherworld into ours, and their addition to this look, along with the strong feel they create for this makeup style, is spot on, as it expresses how the embodiment of either the messenger from the great beyond, or the message itself, would make you feel when it shows it’s dark presence.

Happy Spooky Season!
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‘Halloween Kills’ Star Omar J. Dorsey Discusses Sheriff Barker’s Future [Video]

Posted by Josh Korngut on November 2, 2021 omar j dorsey halloween kills 1 scaled - 'Halloween Kills' Star Omar J. Dorsey Discusses Sheriff Barker's Future [Video]

As Halloween Kills draws closer to a Blu-ray release, we sit down with franchise star Omar J. Dorsey to discuss his turn as Sheriff Barker in the new Blumhouse Myers trilogy.

In our video interview, Dorsey shares his experience working with David Gordon Green, Jamie Lee Curtis, and even dishes on his ongoing creative collaborations with Ava DuVernay.

Aside from Halloween and Halloween Kills, you may remember Dorsey from his film roles in Selma, Django Unchained, and The Blind Side. Although he’s perhaps best known for his starring role in Ava DuVernay’s OWN series Queen Sugar.

Check out our video interview with Omar J. Dorsey here:

Not only is Dorsey a famous actor, the creative has also been behind the camera recently to direct Live, a social media-infused thriller starring Vanessa Simmons. When asked if he would ever direct a traditional horror flick, Dorsey was enthusiastic but adamant he would need a reliable editor in order to approach such a tactical genre.

That said, Halloween and Halloween Kills are not the actor’s first foray into the genre. You might remember his turn in the first season of Soul City, a horror anthology series produced by Topic. Each season for the anthology sees the multicultural world of a select American city. It then highlights its Black population through the lens of psychological horror stories. New Orleans was the debut city for the series in 2020.

Big Kills, Bigger Bills

Halloween Kills has already earned a stunning $120 million against a $20 million budget in only a few weeks. This is especially impressive since the Blumhouse sequel was released onto the streaming platform Peacock on its day of release.

On the go? You can also listen to our interview with Omar via Development Hell on the DREAD Podcast Network.

Check it out here:

Lastly, what did you think of Halloween Kills?  Let us know in the comments below or on Facebook, Twitter, or Instagram! Dread Central is now on Google News!