10 Awesome Movies You Might Have Forgotten About - Dread Central
Connect with us

News

10 Awesome Movies You Might Have Forgotten About

Published

on

Black Sheep

It feels as though we see more horror films hit the market with each year that sprints by. The genre isn’t just growing, it’s thriving: Get Out just made nearly $200 million at the box office; Kong: Skull Island raked in nearly $560 million worldwide; Split did about $275 million worldwide. All three of those pictures, for the record, are top 10 earners (thus far) in 2017.

It isn’t likely that we’ll forget any one of those films (all of which, for the record, are exceptional), but there are an awful lot of lower budget indie films and foreign pieces that go unnoticed entirely or slip from our memories with alarming frequently, lost in a structure loaded with too many movie memories to count.

Well, we’re looking to dig up bones for our wonderful readers. If you spot even one single film on this list that you enjoyed but had forgotten about, then we’ve succeeded in doing our job. So sit back and dive in – you’re more than encouraged to take notes. We don’t want these beauties dropping from your radar again!

Abraham Lincoln: Vampire Hunter
Abraham Lincoln: Vampire Hunter wasn’t a stellar picture, technically speaking, but it was one hell of an entertaining adventure loaded with cool action sequences, surprisingly impressive character exploration, and a general concept that is absolutely mind-boggling. Throw in the fact that it’s a period piece. and you’ve only got more greatness to anticipate. All that said, the film simply shouldn’t work, given how far out it is, but it does work. It’s swift, slick, and savage in the right moments; and it deserves a place on your frequent watch list.

Abraham Lincoln Vampire Hunter

After Midnight
One of the more uncommon anthologies out there, Jim and Ken Wheat’s 1989 offering After Midnight has a couple of downright awesome segments. But the movie’s greatest success lies within the picture’s wraparound, which is – quite simply put – amazing. There’s no need to spoil this one, but know that you’ll get a good mix of content, and though a lot of it feels familiar, a lot of it also feels like a perfect example of the 1980s, captured seamlessly and immortalized for all to revisit.

After Midnight

Asylum Blackout
The year 2011 gave us some stellar pictures. Among those top-notch efforts was Asylum Blackout, a criminally underrated piece about a cooking crew trapped in an insane asylum when the residents break free of their confines and take to slaughtering the staff. It’s dark, it’s eerie, it relies on brewing dread as opposed to cheap jump scares, and it also boasts riveting performances from Rupert Evans and the perfectly sinister Richard Brake. If you’re after an indie flick with an enormous heart, you should look into Asylum Blackout.

Asylum Blackout

Attack the Block
Another one of the treasures that landed in our laps in 2011 was Joe Cornish’s frenetic invasion flick Attack the Block. It’s a blast of a film, stuffed full of witty humor, killer special effects, and characters we can really care about (seriously, if Moses didn’t you over, you probably flatlined long ago). The aliens themselves look terrific, and the mountain of conflicts introduced in the movie is resolved in satisfying fashion. Those who are after a somewhat atypical invasion film will find that Attack the Block is a surprise hit of the sub-genre.

Attack the Block

Black Sheep
No one should need to sell you on the idea of a movie about killer sheep. That’s an idea that does a pretty good job of marketing itself. But the beauty behind Jonathan King’s outlandish comedy is the fact that it truly is hilarious. There’s some potentially offensive material in the film, which won’t work for the thin-skinned, but if you’re not overly sensitive and you get a kick out of bold horror comedies, Black Sheep is a real must-see.

Black Sheep

The City of Lost Children
Back in 1995 Marc Caro and Jean-Pierre Jeunet joined forces to treat us to one of the most aesthetically pleasing genre films in existence, The City of Lost Children. The story itself is wildly dark, focusing on a madman who kidnaps children in order to steal their dreams, but the picture as a whole never feels overtly taboo or too risqué. Rather, this one is strangely innocent in vibe (a perfectly played counter to the bleakness of the plot), very engaging with some superb performances from Ron Perlman and Dominique Pinon, and heavy on atmosphere that’s certain to unsettle.

City of Lost Children

Dead Heat
How in the world can anyone forget a supernatural action piece with Treat Williams and Joe Piscopo in the lead roles? Okay, don’t answer that. This totally forgotten ‘80s beast is fun from the get-go and features some slick practical effects work, and that’s what matters. It isn’t the easiest film to track down anymore, but the small cult following the flick has is more than deserved. If you get the chance, refresh your memory with a return visit to Dead Heat.

Dead Heat

Grabbers
Any movie that offers us the idea that intoxication is the key to survival is a movie that’s a-okay in my book. Jon Wright’s gorgeous monster movie has flown under the radar for years, but it’s a terrific little picture with some hilarious laughs and kick-ass characters waiting to win you over. The visual effects are heavy, but they’re surprisingly well assembled for a film that doesn’t look as though it enjoyed the benefits of an enormous budget. Grabbers is a piece you need to see; it’s also most definitely one of the finest Irish horror pics out there, no debate.

Grabbers

Severance
Christopher Smith has put together some downright badass movies (see Creep, Triangle, Detour, and Black Death), but the very best of his ledger is right here for the taking. Severance is a mind-bender of a film that drops a group of traveling employees in the middle of nowhere, where strange happenings abound and something lurks just beyond eyesight. This is a slick picture that toys with every trope you know, right before yanking the rug from under our feet and spinning a web we never see coming. It’s intelligent, the cast is Grade A in regards to pure talent, and the final act is one of the best we’ve seen in the last few decades.

Severance

The Windmill
Believe it or not, The Windmill is probably the best slasher to see release since the first two Cold Prey movies shocked audiences 11 and 9 years ago, respectively. The film is typically well written, and the cinematography is just gorgeous. The idea behind the film, the special effects – both practical and digital, and the menacing antagonist introduced to audiences are all top-notch. It won’t be easy for any of the younger screen villains to develop enormous followings and longevity, a la the big three (Myers, Voorhees, and Krueger), but if there’s one out there that stands a chance, it’s the crazy miller who likes to mow down the unsuspecting with an enormous scythe. And yes, the movie is every bit as cool as it sounds.

The Windmill

Continue Reading
Comments

News

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

Published

on

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

Continue Reading

News

Graham Humphreys Reveals His Poster For An American Werewolf In London

Published

on

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.

Continue Reading

News

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

Published

on

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.

Continue Reading

Recent Comments

Advertisement

Go Ad Free!

Support Dread Central on Patreon!

Join the Box of Dread Mailing List

* indicates required

Trending