Horror fans know that when it comes to streaming services, Shudder is a must have. Though it doesn’t host as many films as giants like Netflix and Amazon, it focuses exclusively on horror making it a far superior source for genre aficionados looking for the best of the best.
We’re getting word that Shudder is gearing up for Halloween by bringing fans new content every week leading up to October 31st. The best part is, the festivities kick off today! Check out the full scoop in the press release below.
(September 10, 2018, New York, N.Y.) – Shudder is all you need to get your fill of frights this Halloween season. With a new scary movie premiering every week, the leading premium streaming service for thriller, suspense, and horror kicks off the fun beginning September 10 and running through Halloween.
“We’re taking Halloween to an unprecedented level this year with a killer lineup of seven original and exclusive films that starts with the breakout movie REVENGE and culminates with the shocking slasher SUMMER OF 84,” said Shudder General Manager Craig Engler. “We’re also premiering the hit U.K. series True Horror, launching season 3 of Channel Zero and bringing back amazing classics like John Carpenter’s Halloween and a massive Hitchcock collection.”
The season begins with Shudder’s VENGEANCE IS HERS collection onSeptember 10. Hell hath no fury like a woman scorned, and the femme fatales of these films are no exception. Headlining the collection is REVENGE, a Shudder Original that delivers a razor-sharp feminist subversion of the revenge-thriller, available starting September 13.
Weekly new releases continue with HELL HOUSE LLC II: THE ABADDON HOTEL on September 20, CHANNEL ZERO: NO-END HOUSE on September 27, SATAN’S SLAVES and TRUE HORROR on October 4, TERRIFIED on October 11, WITCH IN THE WINDOW on October 18, and CHANNEL ZERO: BUTCHER’S BLOCK and SUMMER OF 84 on October 25.
Shudder also has a killer classics selection in October with THE HALLOWEEN COLLECTION, available October 1, featuring John Carpenter’s landmark film Halloween plus Halloween 4, Halloween 5, and Tobe Hooper’s legendary film The Texas Chainsaw Massacre. The very next day, Shudder delivers a treasure trove of tales from the master of suspense himself. THE ALFRED HITCHCOCK COLLECTION, debuting October 2, includes Psycho, Vertigo, Rear Window, The Birds, The Man Who Knew Too Much, Rope, and Shadow of a Doubt.
Throughout the Halloween season, engage with @SHUDDER on Facebook, Twitter, Instagram, and YouTube for access to polls, quizzes, contests, and extra programming content.
Look out for Shudder at a number of fan events throughout October. Shudder’s New York Comic Con panel on October 4 features exclusive sneak peeks and discussions with the stars and creative minds behind upcoming premieres. Follow along on social media for live coverage throughout the panels. If you’re looking for a more up-close-and-personal experience, visit Shudder’s booth to encounter the Meat Servant from CHANNEL ZERO: BUTCHER’S BLOCK – preferably before your next meal.
In Los Angeles, find Shudder’s booth at LA Comic Con from October 26-28 for swag giveaways, and join Shudder every Saturday in October at Street Food Cinema for special screenings.
Do you agree that Shudder is a must-have streaming service for dedicated horror fans? Are you excited about their new weekly content celebrating the Halloween season? Sound off in the comments below or on Facebook, Twitter, and/or Instagram!
Ever since it was announced that Blumhouse was taking on the new Halloween, it has been met with a mix of excitement and skepticism. Any time a popular property looks to erase or rewrite canon, it’s usually met with backlash, but the Blumhouse team made pretty much all the right moves here, including bringing back Jamie Lee Curtis in a starring role, and involving John Carpenter, who serves as an executive producer and worked on the score with his son, Cody Carpenter, and Godson, Daniel Davies. I’m happy to say that the new Halloween was not only created with reverence for what John Carpenter created in 1978, but goes out of its way to be its own thing, giving us an intense and terrifying face-off between Laurie Strode and Michael Myers.
Taking place 40 years after the events of John Carpenter’s Halloween, this movie erases the stories of all previous sequels, giving us an alternate timeline where Michael Myers has been locked away for 40 years after the killings that took place in 1978. Laurie Strode is a mother and grandmother who still hasn’t gotten over the events of that Halloween, and has been preparing for Michael’s return. When Michael Myers receives a visit by people looking to better understand the killings, it sets off a chain of events that unleashes The Shape back on the town of Haddonfield.
A gut reaction from many fans would be that the main ingredient of a successful Halloween movie is Michael Myers, but Laurie Strode and Doctor Loomis are just as important. Looking at their options, Blumhouse could have rebooted and/or recast, started fresh with new characters, or retconned with their new movie, but when you know that Jamie Lee Curtis is interested in returning as Laurie Strode, the answer for which direction to go is clear.
The movie could have easily taken the Jurassic World route, giving us a glorified reboot, but the new Halloween is able to effectively mix old and new here with impressive results. While there are definitely familiar story beats at times, director David Gordon Green also cleverly subverts expectations, knowing that the movie’s target audience has been watching the original Halloween (and other slashers) for decades. Similarly, kills are a mix of old and new, with some very effective off-screen kills mixed with brutal on-screen deaths that are up there with what we’ve seen in Rob Zombie’s Halloween movies.
This movie’s success or failure rested on Jamie Lee Curtis as Laurie Strode, and she delivers a powerhouse performance. This version of Laurie Strode has an overt strength, but the character and performance are perfectly layered with moments of strength and the vulnerability that’s needed to make her clash with Michael believable. Halloween is also strengthened by the fact that its supporting characters and their dialogue are not taken for granted. Some of my favorite character moments do not even have Laurie Strode in the room, and you can definitely see where Danny McBride was able to help punch up these character scenes when writing the script with David Gordon Green.
Obviously, you can’t talk about Halloween without discussing Michael Myers, and there’s a lot to like here. The mask design is one of the franchise’s best, but more importantly, James Jude Courtney plays the role with a nuanced physicality that gives Michael Myers a lot more life than we’ve seen in other sequels. Without being able to talk, it’s so important that the physical acting and choreography make Michael Myers seem real and terrifying, and Courtney and Nick Castle (who played Michael Myers in the original Halloween and cameos in the role here) accomplish both in this movie.
When we see studio horror films, most of them are designed for the masses first, especially those that are younger and haven’t built up their horror IQ. This often leaves longtime horror fans feeling like they’re seeing a muted version of the same old thing to appeal to everyone. This Halloween was designed inversely. If you’re a diehard fan of John Carpenter’s original, this movie was made for you and will play significantly better. That said, new horror fans will still find plenty to like here, and the new movie will turn a new audience on to the Halloween franchise, with longtime fans still smiling ear to ear with some of the movie’s references and Easter eggs.
Kudos to the entire creative team, especially director (and co-writer) David Gordon Green, for the care they put into making this film. Going this direction was certainly a gamble, and it would have been much easier to just reboot or start fresh with a new group of teens, but after seeing this movie, they 100% made the right decision to create this alternate timeline with Jamie Lee Curtis. I’m happy to say that the new Halloween is an excellent companion piece to John Carpenter’s 1978 masterpiece. I can’t wait for longtime fans of the franchise to check this one out, and I’m so happy that we get a new Halloween movie to terrify audiences just in time for Halloween 2018!
Nekrotonic is 2018 Australian science fiction comedy horror feature film directed by Kiah Roache-Turner from a screenplay co-written with Tristan Roache-Turner (Wyrmwood: Road of the Dead). The movie stars Monica Bellucci, Ben O’Toole, Caroline Ford and Tess Haubrich.
Sanitation worker Howard (Ben O’Toole) discovers that he is actually a powerful necromancer who must stop the Queen of the Demons (Monica Bellucci) from consuming 1.3 million souls via a network of Nekropod power boxes in a giant pentagram around the city…
“Where the film falters, or the component that most dampens its enthusiastically juvenile appeal, is the formulaic plot. Bellucci is a campy villain and her internet domination plans are beyond silly, but the accidental white hetero saviour who swoops in the save the day (at the expense of the far more qualified female protagonists no less) is at best too familiar and at worst frustratingly reductive.” Joe Lipsett, Bloody Disgusting
” …while it very much looks like a B-movie, it looks like a B-movie with a budget. The visuals are also very vibrant and filled with more colour than Wyrmwood, which is justification for a more riotous feeling — and the really bad jokes support that spirit. But the ultimate reason to sit through this very boring, exhaustive assault on the senses is for Monica Bellucci. She chews scenery whether it’s for the benefit of comedy or horror; no one else comes close.” Christopher Cross, Goomba Stomp
” …nobody that sees Nekrotronic will expect it to be anything more than ridiculous fun. Roache-Turner delivers on that end, and shows that he has the potential to become a great director. There are some pieces still missing from the film, especially in the storytelling, that hold it back. Despite its flaws, it’s still entertaining throughout its whole running time.” Anthony Le, Keithlovesmovies
” …there’s virtually nothing here to wholeheartedly (or even partially) connect to, with the lack of any real stakes certainly preventing one from working up any real interest in or sympathy for the protagonist’s ongoing endeavors. The endless, special-effects-heavy climax ensures that Nekrotronic concludes with a whimper…” David Nusair, Reel Film Reviews
I’ve always been a disaster for horror games. I get interested in the characters, the stories or even unique mechanics that some of them offer, but it’s hard for me to take the first step. Even with one or several friends alongside me, I could never shake off a particular feeling whenever I’m traversing new scenarios. And I think that a big part of my fear comes from the uncertainty that doors hide within.
In some games they are a mere illusion, serving a purpose of decoration or design with an unsurprising “blocked from the other side” message. But in the horror genre they take a starring role and depending on the studio’s vision over what they want to accomplish in the game towards the player’s feeling, they’ve made different use of them throughout history.
Back when Resident Evil was trapped under console limitations, doors were used as a mask for loading screens whenever you entered a room. But if like me, you were lucky enough to go through it without this in mind, they were a mystery. In a matter of seconds, you would start thinking what could be expecting you on the other side of the door, firmly holding your gamepad and trying to remember how many bullets you had left.
They served a purpose, technically speaking, but the developers were well aware of their potential almost to the point of worshipping each one of them. There are 167 door load screens in the first Resident Evil, including some ladder and gate screens as well.
Games like Amnesia and Outlast started to treat them differently. Instead of a slow, meticulous pace, these both modern takes on the horror genre had you constantly escaping from danger, including a key difference: you can’t fight back using weapons. In each, doors became both a way to defend yourself from your own sanity or terrifying, surprisingly fast patients. But they were also an obstacle in certain situations, and it didn’t take long for you to regret closing every door behind you when you’re forced to turn back in order to escape.
Under these two visions, Resident Evil 7 managed to find a balance. During my first minutes into the game, everything was going fine while I was roaming through Baker’s house perimeters. Yet an eerie, familiar sensation came to me once I opened the door on the back, finding myself against a pitch dark room. I immediately paused the game and started streaming it, so a friend could later join me on the distance to keep me company.
While the influence had a leading role in the first part of the game, it didn’t take long for Resident Evil 7 to remind me that I actually had an inventory with weapons on my disposal. But doors were no longer in a leading role with a loading screen, and I’ve had several tools to defend myself now.
And yet, while a new standard was starting to finally settle down, Paratopic showed up with three completely unique ways of using them within. This lo-fi surreal experience does a lot in under an hour, but doors carry some of the most memorable moments of the story.
Stranded in the forest, taking photos of birds and enjoying that is perhaps too calm, we find a cabin. There doesn’t seem to be anything inusual at first: a mattress and a pair of empty food cans showcase a mundane picture. But there’s a closed door beneath it, and the sole response we get are a few knocks from inside if we’re insistent enough. It remains a mystery that can be completely skipped if you choose to ignore it, but ever since I did nothing but wonder what’s behind that door. This moment became such a huge collective question that the developers decided to answer it in the Definitive Cut edition.
The second door in Paratopic has a completely different momentum, being opened abruptly by kicking it and immediately followed by a fleeting glimpse of violence, surrounded by the dark synth sounds of the marvelous soundtrack. The third, however, involves an elevator along with probably the slowest sequence in the game. The player is set to wait in a room, watching how it slowly descends to the floor. It might seem like a moment of respite, but you start feeling anxious, scared. If there’s something in that elevator, you have no way of escaping. And, when you least suspect it, the door opens…
Even after witnessing dozens of different mechanics and moments surrounding doors, there are still new ways to experiment with them. The importance of them to horror, even if it’s just a sound or a transition, shouldn’t be taken for granted. It’s in the attention to detail that doors proved to be much more intimidating than they actually should be, forcing you to think twice about investigating a room or making you jump once you hear one being slammed on your back. But every time, it’s about now knowing what’s on the other side, and it’s one of the most valuable elements that horror games can offer.
This Friday, Saban Films and Roadside Attractions are releasing Lizzie, the latest movie from filmmaker Craig William Macneill, into theaters everywhere in the US. In this haunting character study of a woman who seemingly crumbles under the oppressive thumb of both society and her family, Chloë Sevigny stars as the infamous Lizzie Borden, who was suspected of murdering her parents (played by Jamey Sheridan and Fiona Shaw) in cold blood with an axe.
Before the death of her mother and father, Lizzie finds a kindred spirit in Bridget (Kristen Stewart), a housemaid recently employed by the Bordens who shares a deep connection with the titular character, giving Lizzie her very first taste of freedom, and propelling the troubled woman to cut her family ties, both figuratively and literally.
Daily Dead recently attended the press day for Lizzie, and had the opportunity to chat with both Sevigny and Stewart about their experiences collaborating on the film together. Sevigny, who also produced Lizzie, discussed how her long-running fascination with one of the most notorious women in American history led to this project, and Stewart talked about how she approached her character and her performance in the film. Both actresses also chatted about how Lizzie taps into some of the issues women are still facing to this day, and more.
There are three states of being. Awake. Asleep. And somewhere in between.
We now have a brand new clip from Clive Tonge’s Mara, wherein Javier Botet (Mama, [REC], Insidious: The Last Key, IT) plays the title character alongside Mitch Eakins (Glory Road, Evil Bong) and Olga Kurylenko (The Death of Stalin, Oblivion, Vampire Academy, Quantum Solice, Hitman).
From a producer of Paranormal Activity and Insidious comes this “shock-filled descent into fear”:
“After a man is seemingly strangled in his bed, criminal psychologist Kate Fuller (Kurylenko) interviews the sole witness, the victim’s eight-year-old daughter, Sophie. When asked to identify the killer, Sophie says, “Mara.” As Kate digs into the case, she unearths a community of people who claim to be tormented by a shadowy menace, a centuries-old demon who kills her victims as they sleep.”
Mara is now available on Digital HD and VOD everywhere.