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5 Horror Endings that Made Us All Want to Vomit

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Night of the Living Dead

There’s nothing worse than an excellent piece of genre fare that keeps us completely captivated for 90 minutes, only to discover that someone – or everyone – came up completely devoid of a plan for the final act or sequence. It may not be the easiest feat delivering a powerful climax, but the five films you’ll read about here will leave you feeling as though the filmmakers didn’t even make an attempt at crafting a cohesive finale.

Shit, it seems as though these particular filmmakers forgot the importance of those closing moments altogether.

Whatever the case may be, these five films didn’t just sputter, they careened off a cliff, leaving fans to shake their heads in extreme disgust. But enough bashing – read on to see our five selections of horror endings that made us all want to vomit.

Creature: What in the name of fuck is happening in this film? We see some really out-of-place and discomforting incest sequences. We field a handful of groan-inducing performances from a group who seem to share very little in common ground. And then, well, there’s the finale, which almost pains me to speak on. So I’ll try to keep this one truncated: Creature has no actual conclusion, which leaves viewers feeling as though they’ve been robbed. How can you have no final showdown? And don’t even pretend to tell us that the whole we jump in a hole to battle the big baddie, only to crawl from the muck and declare the war over, was a good idea. Really? A final showdown… off screen? What a tremendous rip-off and sad maneuver from a fickle filmmaker who seemed genuinely puzzled at fan reception. Here’s a tip for Fred Andrews: Make a full fucking movie!

Creature

The Howling 3: The Marsupials: I’ll be completely honest here. I have no fucking clue what was happening in the final moments of The Howling 3: The Marsupials. It’s weird, it’s as out of place as a midget in a professional basketball game, and it’s hilarious in the worst of ways. There’s something of a nod to the original Howling here, but it’s so muddled, flabbergasting, and just plain… well, stupid that it wouldn’t work to stimulate a hardcore LSD addict. It’s just miserable in every sense of the word, which I suppose shouldn’t shock too many, knowing the overall “quality” of the Howling sequels. Our greatest piece of advice would be to ignore this one like the plague.

Howling 3

The Devil Inside: The Devil Inside was a dreadful (not as in “full of dread” but as in “dreadfully bad”) picture for more than one reason. But the real kicker, the kicker that had genre fans unleashing a collective “FUCK YOU!,” was the total and utter cop-out of a conclusion. (I don’t think the filmmakers had an effective finale to turn to, so they settled for the biggest bullshit close in years – perhaps ever). This one reaches a conclusion with the focal characters getting in a car crash, effectively resolving absolutely NOTHING! And then came the real slap in the face of horror fans, as a title card is soon displayed informing viewers they can get an idea of what actually happened by visiting a fucking website. And no, this isn’t bullshit. The film closes with a prompt to follow the investigation by – get ready for it – visiting a fucking website!! I don’t think I can hammer that home as hard as it needs to be. That website was TheRossiFiles.com, and what do you know, the site isn’t even active anymore. Cheap, insulting, infuriating – The Devil Inside was a fruitless cash grab that offered nothing in the way of redeemable qualities or resolution. If someone approaches you and declares The Devil Inside as the worst film they’ve ever seen, don’t argue – just agree with a painful grin on your face.

Devil Inside

Night of the Living Dead: Okay, I’ll concede that there’s a point in the conclusion of Night of the Living Dead. It’s a jaw-dropping slice of social commentary that no doubt had many in tears, and if not in tears, certainly feeling major discomfort in their insides. I can understand the message that George A. Romero was making, as he’s certainly no stranger to powerful social commentary, but I’ll be damned if it didn’t hurt all the same.

Duane Jones’ depiction of Ben was absolutely seamless, and to see a black man take the reins and serve as a truly heroic individual was moving, and no doubt turned a great number of heads in 1968. But make no mistake, whether racism circulated through the US like an unstoppable virus or not, this man simply didn’t deserve to die. Again, I understand the circumstances of the movie, the time and the decision to execute Ben, but that doesn’t change the fact this is a finale that’s going to enrage a great number of viewers, especially those who see it for the first time today.

Heartbreaking… insulting… depressing. And a reminder that sometimes the good guy gets the bad end of the stick – to relate that decision to rampant racism is understandable, but that doesn’t make it right. It makes it loathsome.

Night of the Living Dead

The Descent Part 2: If you recall – or have seen – both Descent films, you remember that there are two final shots from the first film. In the UK release we see Sarah escapes the nightmares below the surface, only to moments later realize that escape was nothing more than an illusion, as she’s still stuck in a subterranean hell. The US release played it a bit more straightforward, with Sarah actually escaping. So far, so good. No one minds a bonus alternate ending, after all. But in The Descent Part 2, things get awfully… weird. The sequel sees Ed, a mine shaft operator, rush Sarah to a local hospital for physical aid in the pic’s opening moments.

Still, so far so good. And then, after the film has run its course – Sarah being forced back into the caves to help any potential survivors – something very… absurd happens. Sarah once more emerges from her nightmare reality. But when she does breach the surface, we see Ed – formerly heroic – waiting to bash Sarah on the head and send her sprawling back into the caves. Apparently Sarah is a sacrifice of sorts… the problem is that it’s all profoundly ridiculous. Why save the woman when he could have just dumped her back into the hole to begin with? It’s weird. It makes no sense. And it’s one of the worst – and least logically speaking – conclusions you’ll see in a film, and it left a terribly bitter taste in the mouths of fans.

The Descent Part 2

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Friday the 13th: The Game Welcomes Back Shelly Finkelstein This Monday!

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Earlier this past year, all of us Friday the 13th Part 3 fans we delighted when “Friday the 13th: The Game” added in Fox (Gloria Charles) as a playable character.

And now we have the announcement that another beloved character from Friday the 13th Part 3 will be joining the game this December.

Yes, Shelly Finkelstein (Larry Zerner) will be coming back to Camp Crystal Lake!

The Shelly playable character will be available for free with the latest patch. The new update will be coming for PS4 and Steam on Monday, Dec. 18th. The Xbox One patch to follow shortly.

Below you can watch the announcement trailer which was posted on Twitter earlier tonight.

After giving it a watch make sure to let us know how excited you are to see Shelly (aka the man who gave Jason his mask) back in action below!

Shelly Finkelstein hits Friday the 13th: The Game for PS4 and Steam on Monday, Dec. 18th.

Welcome Back Shelly!

The man responsible for 'handing' Jason his mask, Shelly Finkelstein will be coming back to Camp Crystal Lake to troll his fellow counselors…that is until Jason shows up! Get Shelly for free with the latest patch!The latest update will be coming for PS4 and Steam on Monday, Dec. 18th with the Xbox One patch to follow shortly!

Posted by Friday the 13th: The Game on Friday, December 15, 2017

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Graham Humphreys Reveals His Poster For An American Werewolf In London

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Graham Humphreys continues to cement his position as one of the top horror artists in the business with his stunning new poster for An American Werewolf in London. This piece was created as a private commission, and fans of John Landis’ 1981 classic are going to love it. You can view the final design of this incredible poster below.

Final design with text.

Graham also provided us with a detailed statement about the creation of the piece, along with a bunch of screen grabs taken throughout the process. If you scroll down to the bottom of the page, you can see how the final image looks before the text was added. In case you missed it earlier, you can also check out our extended interview with Graham here.

Exclusive Statement from Graham Humphreys
As a commercial artist and illustrator, there is only limited scope to make a job entirely your own – so with each project you are answering a brief in order to fulfill the needs of a client. Of course, the client may choose to give you free reign, though this is with the understanding that you are acknowledging their needs and thus expected to work within certain unspoken parameters. Mostly, these confines are defined by how a product is to be sold, licensing instructions and an understanding a market. With this in mind, the client is paying and thus nominally always right… though it would be unprofessional not to make them aware that other options might work better for them!

Without these commercial constraints, a private commission can remove the barriers because no market is to be met and there is only the artist and the private client to answer to. Creating a poster for a familiar and heavily licensed title is an entirely different prospect if it is not going to be generating money in the public domain and is thus essentially ‘fan art’. Unlike say, a T-shirt company ripping off someone elses art and charging money for the printed image, or perhaps a poster reproduced without permission by either the license owner or artist, then sold for profit.

Here, Dread Central have asked me to talk through one such commission, ‘An American Werewolf in London’, painted as a private commission for an individual that wishes to own a unique image that they themselves have made happen. NB: All likenesses and specific imagery (including the title and names etc) are subject to license and copyright and not for any use other than as examples of a work in progress (and of course, all rights are reserved!). Just need to make sure that it absolutely clear!

The client had commissioned two previous posters from me (as well as numerous poster designs from fellow artists), so a basic understanding of expectations had already been established.

My work begins by watching the film from beginning to end – to re-establish my own connection to the film (if one already exists). I saw ‘An American Werewolf in London’ (in London!) on it’s first run and the proximity to many of the locations (Tottenham Court Road tube station, Piccadilly Circus, being the obvious ones) made it instantly impressionable for me. Existing posters, in particular the official theatrical versions and various home-entertainment sleeves, focused on a limited image pool. My job was to find new ways of representing the film, free of the past baggage, but also to listen to my clients requirements.

Looking for a fresh perspective means avoiding the familiar stills that have defined the past marketing, this is achieved by making screen grabs from the DVD or blu-ray. As with most commercial jobs, I generally make a selection of about 40 images, then review these reducing the number to about 15 that have the best narrative potential, including a good visual range of actor expressions and reactions. My client required the Werewolf, London references, the moors, David and Jack, a full moon and the ‘Slaughtered Lamb’ pub sign… then whatever else I chose to include.

On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

Selected screen grabs.

Selected screen grabs 2.

My first idea involved a portrait of David looking lost and frightened (I felt this was essential to the story), the Werewolf with it’s head bursting through the cinema shutters/signage (the idea of breaking the fourth wall), the decomposing Jack (a perfect metaphor for David’ s own life falling apart), his nightmare of the home invasion (one of the most effective and horrific moments in the film, I felt), plus Brian Glover’s ‘Slaughtered Lamb’ local – a look that defines rednecks and racists the word over when confronted by ‘other’!). I also wanted to add the tube attack victim to open up the carnage. Although Jenny Agutter’s nurse added the romantic dimension for an audience that expects the convention, I wanted to concentrate on David’s story, so chose to only include her face as if she were painted on the shutters, ie. a film poster element.

I was surprised that the client didn’t want the home invasion creatures, nor the reference to the sleazy cinema hordings (which I thought made a good location gag – obviously not!), they also did not want the rotting Jack. It was disappointing to lose these great horror elements, especially as they’d particularly wanted ‘horror’! But a compromise was reached by including the transformation scene at the bottom, and reinstating the moors (which I’d thought unnecessary).

Fortunately, my second sketch was well received and the painting could commence.

On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

Once I have my sketch approved I reintroduced the photographic source material over the sketched parts, so that my layout remains exactly as approved and so that I’ll have the best possible likenesses to trace onto the watercolour paper.

Early sketched elements.

I usually have a basic idea of what colours I’m going to use. In this instance I knew that I wanted a silvery blue moonlight to bathe the entire image, but also the contrast of the orange glow of artificial lighting, the pub and cinema foyer. I knew the big splash of red in the wolf’s jaw would jump out, becoming the focal point. This painting took about three days to complete, the sketch process (including the grabs) about a day upfront.

Composition design.

The final painting was scanned and all the text added in photoshop.

My client will now make a full size poster print, to be framed, from the file I send him. Next up, ‘The Thing’!

Final painting before text was added.

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Syfy Renews Z Nation for a 5th Season; Season 4 Finale Airs Tonight!

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Syfy’s popular zombie series “Z Nation” just keeps shambling on, and tonight the two-episode Season 4 finale, “Mt. Weather/The Black Rainbow,” airs. If you’re a fan of the show, we have good news for you… it’s not over yet as David Latt of The Asylum has announced on Twitter the pickup of “Z Nation” for a 5th season! So you can expect lots more adventures with the gang in 2018.

Below is the official word from David along with a brief synopsis of what’s ahead tonight in the finale, which kicks off at 9/8c.

Synopsis:
In the mind-bending two-hour Season 4 finale, Warren and the team must stop Zona from launching operation Black Rainbow, which will cleanse the landscape of both zombies and humans. In Part 2 the secret of Warren’s Black Rainbow dream is unlocked when they reach their final destination. The cast includes Kellita Smith as Roberta Warren, Keith Allan as Murphy, Russell Hodgkinson as Doc, Nat Zang as 10K, Gracie Gillam as Sgt. Lilley, DJ Qualls as Citizen Z, Ramona Young as Kaya, Justin Torrence as President Donald Trump, Michael Berryman as The Founder, Micheal Daks as Mr. Sunshine, Anastasia Baranova as Addy, Sydney Viengluang as Sun Mei, Joseph Gatt as The Man, and Natalie Jongjaroenlarp as Red.

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