Showing posts with label horror. Show all posts
Showing posts with label horror. Show all posts

Friday, July 6, 2012

Terror Train and The Funhouse to scare BD, DVD




A few months back Shout! Factory unveiled their latest brand, Scream Factory. The new label is dedicated to vintage cult horror from the '70s, '80s and '90s. Their first two releases will be Halloween II and Halloween III: Season of the Witch, which make their premiere on Blu-ray and DVD September 18, 2012.


Now, Scream Factory sets its sights on another Jamie Lee Curtis thriller, Terror Train, as well as The Funhouse, from director Tobe Hooper. Like Halloween II and III, both discs will receive Collector's Editions, featuring loads of bonus material as well as remastered audio and video.


"Take an excursion into terror with Jamie Lee Curtis in this classic shocker from director Roger Spottiswoode (Tomorrow Never Dies). It's New Year's Eve and group of college co-eds have planned a masquerade bash aboard a chartered train. What they didn't plan on was that a knife-wielding psycho would crash the party and begin slaughtering the guests one by one!  Who is this brutal costumed killer? Climb aboard the Terror Train for a frightening combination of blood-curdling horror and intriguing mystery. Also starring Academy Award-winner Ben Johnson (1971, Supporting Actor, The Last Picture Show), Hart Bochner (Die Hard) and D.D. Winters (aka Vanity, 52 Pick-Up) and David Copperfield as The Magician."


Terror Train will feature a 1080p high definition transfer (1.85:1 aspect ratio) with 5.1 DTS-HD Master Audio. Please note that this release is a Blu-ray/DVD combo pack. No separate DVD will be released for this film. Fans can expect the following bonus features (preliminary confirmed lineup):



  • Audio Commentary by Director Roger Spottiswoode

  • Still Gallery

  • Theatrical Trailer And TV Spots

  • and more to be announced


Suggested retail is $29.93. Just like the Halloween Collector's Editions, if you pre-order your copy direct from Shout! Factory's website, you'll receive an exclusive 18”x24” poster featuring the newly commissioned artwork!  Less than 500 have been made, so these are only available while supplies last.


"Director Tobe Hooper (The Texas Chainsaw Massacre, Poltergeist) pays affectionate tribute to various classic horror movies in this tale of two teenage couples who spend the night in a sleazy carnival funhouse. On her first date with Buzz (Cooper Huckabee, True Blood), Amy (Elizabeth Berridge, Amadeus) disobeys her father and goes to the carnival with Richie (Miles Chapin, Hair) and Liz (Largo Woodruff), but their first date may end up as their last. After witnessing a murder, the four terrified teens are trapped in the maze of the funhouse and stalked by a real monster, a horribly deformed killer who lurks among the freakish exhibits to butcher them one by one. Also stars Sylvia Miles (Midnight Cowboy) and Kevin Conway (in three roles). Featuring special makeup designs by Academy Award-winner Rick Baker (An American Werewolf In London, Ed Wood)."


The Funhouse will feature a 1080p high definition transfer (2.35:1 aspect ratio) with 5.1 DTS-HD Master Audio on Blu-ray. The DVD (a separate release) will boast an anamorphic transfer with 5.1 audio. Extras will include the following (preliminary confirmed lineup):



  • Audio Commentary by Director Tobe Hooper, Hosted By Director Tim Sullivan

  • Theatrical Trailer

  • TV and Radio spots

  • and more to be announced


Suggested retail for the Blu-ray is $29.93 and $16.50 for the DVD. Fans who pre-order the Blu-ray or DVD directly from ShoutFactory.com will receive an exclusive 18”x24” poster featuring the newly commissioned artwork! Less than 500 have been made, so these are only available while supplies last.


Be on the lookout for more updates, news and reviews regarding all Scream Factory titles. We hear word from Shout! that John Carpenter's They Live will be hitting Blu-ray and DVD next, on November 6, 2012. Stay tuned for more!







"Who will dare to face the challenge of the Funhouse? Who is mad enough to enter that world of darkness? How about you, sir...?" Follow R.L. Shaffer on Twitter, Facebook and MyIGN for quotes, rants, reviews, news and more!



Source : ign[dot]com

Friday, June 29, 2012

Storage 24 Review




Take a group of people, stick them in an enclosed space, add a monstrous creature to the equation, and watch the horror unfold. It’s a tried and tested formula that has served the genre well for decades, and new Brit-flick Storage 24 mines that very same territory, with decidedly mixed results.


Noel Clark – on whose idea the film was based – plays Charlie, a sorry excuse for a man struggling to come to terms with the fact that he’s just been dumped. Proceedings kick off with Charlie and best friend Mark (Colin O’Donoghue) travelling to the storage facility of the title to pick up his belongings post break-up.




Noel Clark as Charlie in Storage 24.



But wouldn’t you know it, former girlfriend Shelley (Antonia Campbell-Hughes) is there with friends Nikki (Laura Haddock) and Chris (Jamie Thomas King) to collect her things, making for a painfully awkward encounter.


Humiliation and embarrassment do not a horror movie make however, and at around the same time, something hits London hard. Initial reports suggest an earthquake or bomb, but it soon becomes clear that the threat is from another world, or more specifically, the alien contents of a military cargo plane that has crash-landed in the middle of town.


For convenience sake, the creature ends up in Storage 24, the crash sends the facility’s security system into lock-down, and the malevolent monster and our five miss-matched humans become  trapped inside. Cue broken bones and spilled blood as the creature goes on the rampage and the humans fight to survive.


And that’s about it in terms of story, though while Storage 24 hardly re-invents the narrative wheel, it does have enough jumps, scares and laugh to make it a passable entry into the over-crowded sub-genre.







Director Johannes Roberts’ previous effort was school-based horror F, and Storage very much follows in that film’s footsteps, the tension largely arising from the protagonists being stalked through dark corridors by an unseen assailant.


By the climax of the film we do get a good look at said creature however, and it proves to be the film’s crowning glory – an eight-foot monstrosity that’s a testament to the talents of effects maestro Paul Hyett – a mess of teeth and claws that’s a worthy opponent for our heroes.


Unfortunately, there’s just not enough meat on the bones of Storage 24 to put it in the same league as the numerous movies that follow the same template.


That’s because the internal strife between the characters never quite rings true, while the alien never gets the back story it deserves, making for an unsatisfactory (albeit visually arresting) villain. The addition of a homeless conspiracy theorist briefly livens things up, but he serves little purpose other than to fleetingly advance the plot.




Laura Haddock delivers a star-making turn as Nikki.



Noel Clark gives his most sympathetic performance yet as Charlie, kicking off proceedings an annoyance but gradually finding the hero within when the chips are down. The other acting standout is Laura Haddock – so memorable as Will’s love interest in The Inbetweeners – whose Nikki is a scream queen with brains whom you genuinely root for in the film’s final third.


But the result is a film that apes Alien at every turn without ever coming close to its slow-burning brilliance. And if you want to see a film about an alien invading South London, try Attack the Block, which betters Storage for both laughs and scares.


Without going into spoiler territory, the climax does set things up for a sequel, though while certainly a tantalising glimpse at what might be to come, I’m not sure the events that proceed it entirely warrant one. Taken on its own terms however, Storage 24 is an entertaining if unremarkable B-movie, and there’s no shame in that.



Source : ign[dot]com

Project Zero 2: Wii Edition Review




There aren’t many survival-horror aficionados who would dispute that the Project Zero/Fatal Frame games rank alongside the finest that the genre has offered over its bumpy-but-glorious twenty-year history. With its snap-happy combat, relentlessly sinister ambience and nightmarish narrative, Tecmo's series deserved far better than mere cult status.

That's fine, but why release a 2003-vintage PS2 title just before the Wii passes the baton onto the upcoming Wii U? Also, why only release it in Europe and Japan (no North American release date has been confirmed yet)? Well, there's evidently a method to the madness, with Nintendo now officially co-owning the IP to the ghost-busting series – perhaps it sees the excellent Project Zero 2 as the ideal opportunity to 'relaunch' the brand in advance of an all-new Project Zero/Fatal Frame on the Wii U. We can but hope.

Unlike so many games from our misspent youth, Project Zero 2 has aged remarkably well and arrives on the Wii feeling perhaps fresher than it did all those years ago. With classic survival horror conspicuous by its absence in 2012, going back to explore the murderous mysteries of the mist-shrouded All God's Village is a rare treat.



For the benefit of those of you who missed out on Tecmo's classic the first time around, the story focuses on the perilous journey of twin sisters Mio and Mayu, who stumble upon an eerie village where the tortured souls of the dead roam. But their misfortune is somewhat balanced out when they chance upon the Camera Obscura - no, not fey Scottish indie popsters, but an antique device that can take pictures of the undead and exorcise their spirit in the process.


“ The game's ghost-busting combat is endlessly fraught.


Armed with this one and only weapon, you work your way around the village and its various rickety buildings, zapping ghosts and finding objects that help you gain access to the next section. Structurally, it's classic survival horror fodder, albeit in a satisfyingly self-contained set of environments that keep annoying backtracking to a minimum.

The real star of the show, of course, is the game's endlessly fraught ghost-busting camera combat, and it's an element that's tailor made for the Wii's fluid point-and-click control system. During your travels, you'll inevitably stumble across a few tortured souls angling for some aggro, and - more often than not - the only way to progress is to put these screeching spooks out of their misery.



Rather than wee yourself and curl up in a ball when a ghost approaches, the answer is to whip out your mighty Camera Obscura and show this undead the power of exorcism. Loaded up with special ghost sensitive film, the action flicks to a first person viewfinder mode, whereupon you attempt to take a series of ghost-troubling snaps to literally suck the life (or death) out of them. By tilting the Wiimote, you can adjust your viewing angle, and by locking-on with the Z button, you can begin to charge up your shot. Once the reticule is fully filled, you're ready to loose off a shot with the B button, repeating the process until they're finally out of commission.


“ As a mechanic, it's deliciously nerve-wracking.


As a mechanic, it's deliciously nerve-wracking, with each ghost wriggling around with inconsiderate unpredictability, nipping in-and-out of shot, and often re-appearing right behind you to give you a welcoming hug. This being a Wii version, such moments of intimacy result in you having to flail for your life, so make sure pets and other loved ones are out of arm's reach before you wind up giving someone a black eye in a moment of uncontrolled alarm.

Nintendo has also managed to turn the simple task of object collection into a disproportionately nervy minigame, with ghostly hands often reaching in for a smooch just as you're about to pick something up. It's enough to give those of a nervous disposition a heart attack.



There’s also a new Haunted House mode brought to this special Wii Edition. Each of the Haunted House missions is curated by the sinister Kureha, who likes nothing more than to hear the piercing shrieks of the terminally afraid. Set in a sequence of on-rails missions, the basic premise of these short interludes is to walk slowly from A to B without keeling over with fright, as the game measures your jumps and terrified flailing through the Wii remote and nunchuck’s motion sensors.

Some test you in your ability to remain cool and calm while being subjected to various other worldly shrieks, moans, bangs, warped faces and generally unsettling nonsense, while others task you with collecting dolls while being chased by everyone's worst nightmare: a long-haired Asian goth schoolgirl. Turning around periodically stops her in her tracks, but if you allow her to get too close, you must suffer the indignity of an unwelcome cuddle. And we all know how that feels. Aside from this welcome-but-throwaway new mode, most other changes to the Wii Edition are subtle and cosmetic, with widescreen support, a new pulled-back third person camera angle, cleaned-up visuals, brand new voice acting and a slightly less cutesy look to Mio and Mayu - not that the latter point will be especially apparent if you've not played the original for a long time.



Source : ign[dot]com

Sunday, June 24, 2012

ZombiU: Good Cop / Bad Cop




ZombiU was one of the surprise hits of this year's E3. A return to classic survival horror gameplay, it makes extensive use of the Wii U controller's screen and shows Ubisoft is serious about supporting Nintendo's new platform. But is it really going to be a great game, or were gamers just excited to see something that isn't a sequel?


IGN Australia's Lucy O'Brien and Cam Shea have both played the game, but came away with contrasting opinions. They battle it out in another classic IGN AU Good Cop / Bad Cop debate...







Good Cop Lucy: As you know Cam, I am a massive survival horror fan. My love for the genre knows no bounds. Well actually it does; I played Silent Hill: Homecoming. But as we all know, it’s a genre on its knees, long overtaken by balls-out action clamoring for our attention spans. Remember when the scares in video games came from what we couldn’t see? Remember when we weren’t ultra-powered space marines with muscle to spare, but weedy everymen? Remember that frantic scramble past packs of zombies to reach that single green plant?


Luckily for me, a bunch of good folk at Ubisoft remember all that stuff too, and are currently developing something remarkable on the new Wii U tech – a game that actually evokes our sense of dread. The use of the Wii U controller as both a useful tool and a means to put your character into a vulnerable position is a killer blow to our senses, and I found myself terrified despite the fact I was surrounded by a bunch of media and a Ubisoft rep who politely ignored my loud swearing. I caught up with you later that day, sure we were going to riff gleefully on ZombiU’s virtues, only to find the game left you cold. What gives?







Bad Cop Cam: It's not that I hated ZombiU, more that I found the demo resolutely mediocre. I agree that there's a lot of potential for tension in the inventory mechanic, which leaves the player vulnerable while they rifle through their backpack on the Wii U tablet screen, or pick items off a corpse, but the gameplay itself was too predictable for this tension to ever come to fruition. I didn't ever feel I was doing anything I haven't done before, so whether it was zombies shambling towards me on the post apocalyptic city streets or zombies lurching at me in the darkness of a dank basement, it just didn't get my blood pumping. I may be way off, but I wonder whether the fact that the traditional survival horror genre is "on its knees" means you're willing to cut this a lot more slack than I am. For me, very little about the E3 demo seemed particularly fresh or compelling.


Even what is arguably the game's most interesting feature - the fact that the player starts afresh as a new survivor when they die - isn't something that I think is necessarily going to work that well. On the one hand, I like the idea that you'll have to find the zombie version of your former self to retrieve your stuff. This should make for some incredibly tense sequences. On the other, it's still really 'gamey'. I can see waking up over and over again in the safe house, then - essentially - teleporting back to the start of the area you died in, getting old really fast. Are all these survivors just lining up outside the safe house? Twiddling their thumbs waiting for their turn? Ubisoft is selling this as something unique - no checkpoints and no game over screens, but the system effectively is just another form of checkpoint… with infinite lives and more time required to get back into the action.


There's also the potential for horrendous bottlenecks where the player dies in a situation that's going to take a lot of attempts to get through. Oh great, I'm back in the safe house. I'm all for making it challenging, but this is going to have to be balanced really tightly to work. I also thought it was interesting that the team has said that survivors gain 'skills' the longer they last. When a survivor dies, you can retrieve their stuff, but not their skills. This may make sense, but - again - could be a source of frustration and feel overly punitive. Am I missing the point?


Good Cop Lucy: It’s a pity you found the gameplay mediocre. I agree that my love of the genre could have meant I was more ready, more open, to being scared, but I found the careful dispersion of zombies and claustrophobic environments absolutely terrifying. So while the demo may not have been ‘fresh’ as you say, it struck me as very finely-tuned. And that’s not taking into account the implementation of the gamepad.


I’m sure Ubisoft will build a narrative wrapper around the survivors being re-spawned, and considering you re-spawn as a whole new person, losing your skills whenever you die makes sense. And it’s a brilliant punishment, too, as the finality of every playthrough demands a hugely considered approach. I don’t know about you, but I was moving forward at a snail’s pace, taking into account every part of the map, every corner of my current surroundings and nerve-jangling groan in the background. In this sense the game can be compared to Dark Souls, another game where achievement feels more euphoric thanks to punishing mechanics. ZombiU’s online integration – where you can encounter other zombified-survivors – also echoes Namco’s title, their presence acting as both a warning and a threat. Isn’t it time for more games where greater punishment offers greater reward?




The best backpack management sim ever?



Bad Cop Cam: Sure, and hopefully the development team can make the most of it. I just worry that the kind of game design where dying actually punishes the player - or is something to be avoided at all costs - and this particular game may not gel that well. Survival is a reward for skilled play, but this is a horror experience built on manipulating the world around the player to surprise and scare them, as opposed to giving players a lot of choice in how they're going to play, thereby putting survival on them in no uncertain terms. Survival horror games need things jumping out at the player, they need claustrophobic environments where there's very little room to move, they need weapons and ammo to be scarce. Do you think it would be fair for ZombiU to, say, drop the player into an enclosed space with five zombies, then punish them for failing to find the door quickly enough, or having the wrong weapon equipped? That's what's going to happen, and the fine line between fair and frustration will be crossed - particularly if you lose something significant as a result. Compare this to a game like Diablo III and its hardcore mode. A hardcore character's death is permanent, but players with skill and a deep understanding of the game mechanics will be able to survive. Such are the options available to the player that if they die, it's pretty much their own fault.


I'm getting a little sidetracked here, however, as we don't yet know what skills the player will earn in ZombiU, and thus what will be at stake. I will say, however, that you very clearly played through the demo in the spirit of the game more than I did. I assumed I'd be able to take on whatever the game threw at me, so wandered about hitting zombies with cricket bats then shooting them in the face with relative abandon. If death had been permanent in the demo I would have played it differently, but instead I wasn't too worried about dying, because hey, I wanted to see how the safe house mechanic worked, anyway. This obviously means it was stripped of a lot of its atmosphere, and is probably the reason it felt so unremarkable. I just wasn't doing anything all that interesting. Shooting zombies? Done it a million times. Finding a key card to open a locked door? Ditto. Finding medicine for some dude? Yawn. Being forced to step on a burnt section of floor that I know is going to collapse then having it collapse? C'MON!?


Did any of the uses for the Wii's second screen - aside from backpack management - excite you? Lockpicking? Scanning the environment?




Dying on work's Stupid Hat Day... how embarrassing.



Good Cop Lucy: I understand your concerns regarding ZombiU’s ‘survive at all costs’ pillar, but the game isn’t quite as ruthless as you’re suggesting. The game always presents the player with a variety of options, so it’s up to you to decide if you’re going to crouch in a darkened corner, hands over your ears while mumbling the national anthem, or if you’re going to quickly scan the room, bolt towards some ammo and carve your way through. At one point during my E3 playthrough I was totally overwhelmed by a horde and seemingly trapped without an escape route or ammo, and my first instinct was to back into a wall and more or less crucify myself. But somehow – and honestly, I experienced an inexplicable zen - I put some space between the horde and myself, enough to spot some obstructed stairs. Anyone who’s played a Resident Evil or Dead Island will know that the top of a flight of stairs are your friend, particularly when you have a cricket bat. Sure, it’s not a great example of rewarding knowledge of comprehensive game mechanics, but it’s a great example of the minute-to-minute challenge to keep your sh*t together. In this regard, the player takes total ownership over the outcome.


And while I wasn’t thrilled by lockpicking and scanning the environment as singular experiences, I did enjoy the way they helped gel the experience together into something more cohesive. It’s a tactile thing, nothing more, but having an actual 'toolkit' in your hands helps immerse you in the game, doesn’t it? For me, that immersion has always been the appeal of the Wii U’s second screen. And ultimately, I think it’s exciting to see Ubisoft doing new things with the tech. They’re paving the way for other publishers, and they’re being bold with their experimentation. For that reason alone, I’m glad ZombiU exists.


(Not Particularly) Bad Cop Cam: Here's hoping I got the wrong impression. This game definitely has potential, and while the demo didn't excite me a great deal, there's no doubt that there are some good ideas here. I liked the sequence, for instance, when you encounter that teleporting mini-boss and the feed to your "prepper" (the player's guide, essentially) is cut. Suddenly the second screen's only showing static and your ties to everything you've been relying on is gone. Doesn’t necessarily make a great deal of sense, but it shakes things up nicely.


Coming back to the parallels with Dark Souls, you can also leave messages on walls for other players that are only visible using a black light pick-up you get at some point. I should also mention that when you finish the game you unlock Nightmare mode, where you have just the one survivor. I've already voiced my concerns about this, but that's a good addition if they can make it work. And last but not least, I also agree it's great to see Ubisoft taking a leadership position with Wii U and creating a game that isn't based on an existing franchise. Fingers crossed you make me eat my words later this year!



Source : ign[dot]com

Tuesday, May 29, 2012

Alan Wake's American Nightmare Review




With a few notable exceptions, video games – even the ones that brand themselves as "horror" – aren't that scary. This is also true, by and large, of movies, books, you name it. It's hard to scare people, to really scare them; just as hard as it is to make them laugh or cry. So, it shouldn't come as much of a surprise that Alan Wake's American Nightmare, much like the game it expands upon (Alan Wake), isn't frightening in the slightest. What come as a shocker, however, is the fact that it's so damn fun.



Presenting itself as an episode of a Twilight Zone-esque television show called "Night Springs," complete with a Rod Serling soundalike narrator, Alan Wake's American Nightmare sees the titular hero facing off against an evil manifestation of himself, called Mr. Scratch. Scratch has taken up residence in a small Arizona town, and has turned most of the population into zombie-like hostiles called "the taken." Much of Alan Wake's American Nightmare's gameplay involves dealing with the taken, who attack Wake at regular intervals. The taken are usually protected by a cloak of shadows, which must be "burned" away using Wake's flashlight beam before he can then employ firearms to permanently put them on the other side of the dirt. Dodging enemy melee attacks is a heavily emphasized element of the gameplay: successfully doing it both slows down time and lets Wake get some distance from bad guys.


At first, this dodge-and-shoot, third-person zombie bashing is a pretty cool mechanic, as the variety of conventional and light-based weapons (i.e., flares, flashbangs) and the game's first three maps provide a solid initial challenge (along with a decent, if rather pathetically Stephen King-wannabe-ish storyline). But things start to lose their luster when you play those first three maps a second time, immediately after completing them. And then, after completing those, you play them a third time. Sure, Alan Wake's American Nightmare truncates them a bit and saves you some time, but you're still playing the same maps, fighting basically the same enemies, and finding the same equipment, three damn times in a row. Even if the story weren't told through the clumsy mechanic of finding lost journal entries, it would still wear thinner than a politician's veneer of trustworthiness after two complete repetitions of the same stuff.


And the same is true of the gameplay, at least in the story mode. There are only so many times you can dodge the same arc of electricity, or fight the same zombified fireman, before you start to ask yourself if your leisure time couldn't be better spent watching your hard drive defragment. But, weirdly, I did keep on doing it. And I kept coming back again, and again. There's something bizarrely enthralling about Alan Wake's American Nightmare – something that drew me in, despite its on-paper shortcomings.



Part of the reason for this is that the game's simple, third-person shooter mechanic is surprisingly fun to play with. Nowhere is this more apparent than in the game's Arcade Mode. Here, Wake is pitted for 10 minutes against waves of increasingly difficult zombies (or one continuous wave if you play in Nightmare difficulty), on small maps strewn with items and ammo that you can collect between waves -- or during, if you're a true badass. Points are earned for enemies killed, and streaks of killings build up your score multiplier, as does successfully dodging enemy attacks. Like the Survival Mode in Resident Evil 5 (although it lacks that game's co-operative multiplayer), something about Alan Wake's American Nightmare's Arcade Mode keeps you coming back for more, to see if you can't surpass your score and kick even more ass in ten minutes. Because weapons are unlocked in Arcade Mode by collecting more journal entries in Story Mode, you're encouraged to play both, and online leaderboards are there so you can compare your abilities with others' as you get better and better.




Source : http://www.ign.com/articles/2012/05/29/alan-wakes-american-nightmare-review-2

Monday, May 28, 2012

Resident Evil and the Hollywood Zombie Movie





Capcom's Resident Evil series has changed dramatically from 1996 to 2012, its humble beginnings as a haunted house survival horror increasingly distant in the rear-view mirror. It’s easy to look back on the original as a dusty curio now, but its influence still lingers, even if the series itself has taken an action-orientated turn.

The same goes for the Hollywood zombie movie. When Night of the Living Dead debuted in 1968, George A. Romero introduced the shambling re-animated corpse to the world and built a sense of escalating dread around it. Nowadays, the zombie movie is often a hard-edged thriller featuring fast-paced creatures – rarely is the word ‘zombie’ used anymore - or tongue-in-cheek schlock intended to be watched with a raised eyebrow through a pair of Buddy Holly glasses.

In fact, the recent drought of decent undead cinema leads us to wonder if the genre has temporarily dried up, or perhaps it's just enjoying its affair with the small screen. The Resident Evil series, however, is continuing to reinvent itself in order to stay relevant, sometimes to the chagrin of its fans.

With Resident Evil 6 on the horizon, it's time to take a look at the evolution of both the iconic game series and the zombie film, as bloody bedfellows.

This article contains minor spoilers. And we’re sticking with Resident Evils 1-5 for reasons of sanity and simplicity.

Resident Evil (1996) / Night of the Living Dead (1968)

Famously influenced by early ‘survival horror’ games such as Alone in the Dark and Sweet Home, Shinji Mikami’s Resident Evil also shares many similarities with Romero’s Night of the Living Dead. An emphasis on escape over combat and survival on limited resources is typical of both, as is the ‘shambling’ zombie. Both are eerily quiet experiences, a nervous mixture of sudden shocks and quiet dread of what could be behind the next door.

Ultimately, both impacted the genres in which they were working in irrevocably – Living Dead serving to popularize the zombie in cinema, while Resident Evil ushered survival horror into the mainstream.



Resident Evil 2 (1998) / Dawn of the Dead (1978)


While Resident Evil 2 may not have been as influential, it succeeded in perfecting its predecessor’s formula. The same can be said for Romero’s 1979 sequel, a bloodier affair with significantly more bite. By taking the scares ‘out of the house,’ Resident Evil 2 and Dawn of the Dead serve up a potent array of unique moments.  Resident Evil had ‘lickers,’ giant crocodiles and dogs in the sewers, while Dawn of the Dead had an entire mall to soak pulpy red.

Today, Resident Evil 2 and Dawn of the Dead are considered classics, their critical and commercial success cementing the longevity of their franchises. It is only in the brains department that the pair part ways – Dawn of the Dead is a successful allegory on consumerism, whereas Resident Evil 2 retains that dunderheaded charm so particular to the series.



Resident Evil 3: Nemesis (1999) / Evil Dead II (1987)

Okay, this was a tough one. Resident Evil 3: Nemesis never really felt like a 'proper' sequel - perhaps because it was never intended to be. Originally pitched by Capcom as a side-quest story, Nemesis focused on Jill Valentine, leading up to the events of Resident Evil 2. It was a limited exclusivity deal with Sony that demanded the numerical title, despite the ongoing production of Resident Evil: Code Veronica, who many consider to be the purer sequel.

Sam Raimi's Evil Dead II, while not a zombie movie in the classic sense (bear with me), built upon the foundations of the original Evil Dead with only cosmetic additions. Set in the same cabin a few hours after the events of Evil Dead, number two was essentially a remake, defining itself with a schlockier tone and an upping of bloody ante. Like Nemesis, it plays like a '0.5,' bridging the gap between its predecessor and a vastly divergent sequel.

It's a stretch, but hey, it's creative.



Resident Evil 4 (2005) / Dawn of the Dead (2004)

With a new over the shoulder perspective and emphasis on fight over flight, Resident Evil 4 was a thrill to play. It did, however, remove much of what had become so typical of the series, and indeed, typical of survival horror in general.  No longer were we crippled by sluggish controls or a scarcity of bullets; new precision aiming and (relatively) plentiful ammo meant Leon Kennedy had a glut of ways in which to dispatch his foes. It was a resounding success, Pandora's box had been opened, and the genre never fully recovered.

Zack Snyder's 2004 Dawn of the Dead remake pumped similar adrenaline into the zombie genre. With its alt metal soundtrack, sprinting zombies and frenetic action, the remake hurtled zombies into, somewhat ironically, the video game era. For better or worse.



Resident Evil 5 (2009)

Diary of The Dead (2007)

While Romero’s found footage-style Diary of the Dead may not share obvious similarities with Resident Evil 5, both did one thing extremely well: divide their audience. A dedicated audience of fans will flock to anything Romero directs, but Diary’s meditative tone and lack of any real scares lead some fans to question his authoritative grasp on his own genre.

Resident Evil 5 had similar speed bumps to overcome; after the triumphant 4, it was a predictably anticlimactic entry into the series’ catalog.  Criticism was leveled at the addition of a chatty partner and the brute power of Chris Redfield, stripping the game of the tension the series was renowned for. Both Diary and Resident Evil 5 were ambitious entries - successful in many ways - yet ultimately burdened by their own legacies.






Source : http://www.ign.com

Monday, May 21, 2012

Storage 24 Inspired by Gremlins and Spider-Man




Saturday afternoon at Kapow! saw Noel Clarke and Johannes Roberts (director of the impressive and underrated ) on a panel to talk about their latest sci-fi horror flick, .

The film - in which Clarke takes lead actor, writer and producer credits - sees a military cargo plane crash and spew its highly classified contents all over London. With all electricity down, a group of friends are trapped in a storage unit and it soon becomes clear they are not alone, as a terrifying predator is hunting them down.


The panel treated us to exclusive stills of huge explosions and wounded characters scrambling through air vents, as well as an exclusive clip, which gave the first look at the mysterious other-wordly creature tormenting the group. In the clip, Clarke’s character comes face-to-face with the alien – a 7-foot tall, bony monstrosity with bulging yellow eyes and a claw-like drooling mouth. As the alien closes in on a trapped Clarke, a yapping toy dog distracts him and Clarke is able to narrowly escape. The dog, sadly, isn’t so lucky.

For the look of the alien, Clarke was inspired by the Spider-Man villains Venom and Carnage. Unlike other creature features that keep the big nasty mostly off screen, Clarke and Roberts made a point of giving the creature a big personality and wanted him to be fully present as a terrifying being on screen. Roberts revealed that, to the cast, the alien was actually female and called Gertrude – something the Design Department really ran with, as Noel explained: “They made the suit with a huge vagina, and I saw it and was like, ‘That bit has got to go. This film is a 15.”

Talking about the film’s overriding genre, Roberts noted: “It’s very sci-fi. The whole movie is really retro – it almost borrows from and other '80s movies.” Despite these allusions, the panel went on to discuss Clarke’s desire to create something new, something that no one else is currently doing in the British film industry. There are obvious comparisons to 2011’s big-budget British alien horror but although it’s a similar genre, Clarke feels he has done something different with because of the disparity in budget. Clarke is keen to prove he can make entertaining big-spectacle movies to rival even Hollywood’s output of sci fi/horror, and for a fraction of the cost. Or, as Roberts neatly summed it up, “ is a f**k-sight better than .”

Talking about his upcoming projects, Clarke revealed that there are plans for a sequel to , currently being called . Both he and Roberts feel that his character and the creature are too good not to be used again. He’s also about to start writing the 4. 3. 2. 1 sequel - entitled 5. 4. 3. 2. 1 - but is refusing to give away any plot details just yet. On top of this he currently has six scripts on the go. His pace of work is impressive - last year he wrote three scripts in 55 days, and was one of them.

So it looks like you’d be mad to miss out on seeing when it hits U.K. cinemas on June 29. We’ll leave you with the same advice that Clarke gave to us when talking about the scariness of the film’s final scene – take a spare pair of pants.



Source : http://www.ign.com

Friday, May 18, 2012

Depp's Night Stalker Stakes Out a Writer




His latest big screen adaptation of a cult classic horror TV series isn't exactly doing great business at the box office, but that apparently isn't deterring Dark Shadows star Johnny Depp from moving ahead with his plans to produce and star in a feature film version of The Night Stalker.


The Hollywood Reporter says D.V. DeVincentis (High Fidelity, Gross Pointe Blank) has been hired to script The Night Stalker based, like Dark Shadows, on the 1970s Dan Curtis TV series.







Scott Pilgrim helmer Edgar Wright will direct The Night Stalker for Disney.




Source : http://www.ign.com/articles/2012/05/19/depps-night-stalker-stakes-out-a-writer

Daniel Radcliffe @IGNUK Twitter Takeover




Daniel Radcliffe, the star of box office horror smash The Woman In Black, doesn't do Twitter. There are plenty of imitators out there, but none are the real deal. This will all change this afternoon at 4pm (GMT) on Friday May 18th as the actor formerly know as Harry Potter takes over the @IGNUK Twitter feed for 30 minutes.




"Hashtag terrified."



Daniel will be taking over the 140-character reigns to answer your questions about The Woman In Black, his past and future projects, and anything else you care to quiz him about. So, if you've ever wanted to ask Daniel about his thoughts on ghost stories, horror films, or just his preferred sandwich filling, this is the time to do it.


To submit a question for Daniel simply tweet it to @IGNUK using the hashtag #WomanInBlack and we'll try to get as many of your questions answered as we can between 4pm and 4:30pm.


The Woman In Black is out on DVD and Blu-ray on June 18th, 2012.




Source : http://www.ign.com/articles/2012/05/18/daniel-radcliffe-ignuk-twitter-takeover