Fantastic Fest 2017: First Wave of Films Includes Gerald's Game, Blade of the Immortal, and More Genre Goodness - Dread Central
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Fantastic Fest 2017: First Wave of Films Includes Gerald’s Game, Blade of the Immortal, and More Genre Goodness

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It’s finally here! The first wave of films that will play at the 13th annual Fantastic Fest in Austin, Texas, has been revealed; and it looks like attendees will be in for one exciting year!

Tim League, festival founder and Alamo Drafthouse CEO, explains, “I’m proud to say that this is truly lucky thirteen for us. We have another ferocious slate celebrating new and returning filmmakers from all over the world. It’s again an honor and privilege to welcome them and their brilliant, brave work.

League isn’t joking when he says that films are coming from all over the world. There’s Takashi Miike’s Blade of the Immortal (Japan), Ruben Ostlund’s The Square (Sweden), John McPhail’s zombie musical Anna and the Apocalypse (Scotland), Marwan Hamed’s Al Asleyeen (Egypt), Stefan Ruzowitsky’s Cold Hell (Austria), and more!

Also showing at the festival will be the US premiere of Mike Flanagan’s Gerald’s Game, Justin Benson and Aaron Moorhead’s The Endless (review), Yayo Herrero’s Maus, and Zak Hilditch showcasing the world premiere of 1922, which is based on a Stephen King novella.

Fantastic Fest takes place September 21st through the 28th. Tickets are already available right here.

Fantastic Fest 2017: First Wave

1922
USA, 2017
World Premiere, 101 mins
Director – Zak Hilditch
1922 is based on Stephen King’s 131-page story telling of a man’s confession of his wife’s murder. The tale is told from from the perspective of Wilfred James, the story’s unreliable narrator who admits to killing his wife, Arlette, in Nebraska. But after he buries her body, he finds himself terrorized by rats, and as his life begins to unravel, he becomes convinced his wife is haunting him.

78/52
USA, 2017
Regional Premiere, 91 min
Director – Alexandre O. Philippe
This masterful documentary focuses on a single aspect of Hitchcock’s PSYCHO to demonstrate the master’s technical ability in storytelling. With expert interviews and rollicking analysis, 78/52 sets a new bar in how to examine film overall.

Anna and the Apocalypse
Scotland, 2017
World Premiere, 107 min
Director – John McPhail
Anna’s life is dominated by the typical concerns of her youthful peers until the Christmas season in her small town brings not Santa, but an outbreak of the undead in this genre-mashing holiday horror musical. Yep. Musical.

Anyab
Egypt, 1981
Repertory, 100 min
Director – Mohammed Shebl
ANYAB (FANGS) is an oddity worth rediscovering! An Egyptian take on THE ROCKY HORROR PICTURE SHOW, this eye-popping musical of madness manages to cram horror, science fiction and even social commentary together while charming with its outrageous costumes and action.

Blade of the Immortal
Japan, 2017
US Premiere, 141 min
Director – Takashi Miike
Takashi Miike’s 100th journey is an adaptation of the BLADE OF THE IMMORTAL manga. Manji, a samurai who cannot die, crosses paths with Rin Asano, a young girl whose parents were killed. Manji swears to help Rin Asano avenge her parents’ deaths.

Brawl in Cell Block 99
USA, 2017
US Premiere, 132 min
Director – S. Craig Zahler
S. Craig Zahler (BONE TOMAHAWK) returns with his sophomore feature, BRAWL IN CELL BLOCK 99. An exhilarating exercise in analog violence, CELL BLOCK follows the brutal exploits of a former boxer who finds himself incarcerated after a drug deal goes wrong. Trapped in a maximum security facility, he must fight to stay alive and to protect those he loves.

Cold Hell
Germany, 2017
US Premiere, 91 min
Director – Stefan Ruzowitzsky
A young Turkish woman living in Vienna feels increasingly lonely after she witnesses a murder and finds herself next on the killer’s agenda in this smart and gritty thriller from the director of ANATOMY and the Oscar-winning THE COUNTERFEITERS.

Dan Dream
Denmark, 2017
US Premiere, 97 min
Director – Jesper Rofelt
KLOWN duo Casper Christensen and Frank Hvam reunite for a true-life tale of epic failure. Witness the non-arrival of the Danish electric car!

The Endless
USA, 2017
Texas Premiere, 111 min
Directors – Justin Benson & Aaron Moorhead
When brothers Justin and Aaron return to the cult from which they escaped ten years ago, they encounter a web of secrets and mysteries that threatens to tear them apart.

Generation B (Generatie B)
Belgium, 2017
Eps. 1-4 = North American Premiere; Eps. 5-6 = World Premiere, 210 min
Director – Pieter Van Hees
The generation gap has never been wider than it is in Pieter Van Hees’ deliriously absurd satire, pitting old generation money against Millennial apathy — and the occasional naked anarchist — following Belgium’s economic collapse.

Gerald’s Game
USA, 2017
US Premiere, 103 mins
Director – Mike Flanagan
Flanagan unites with master of the macabre Stephen King for his cinematic interpretation of King’s beloved GERALD’S GAME. Starring Carla Gugino and Bruce Greenwood, GERALD’S GAME delivers pitch-perfect performances in a faithful adaptation where the horrors of the mind are much worse than what’s in front of you.

Hagazussa – A Heathen’s Curse
Germany, 2017
World Premiere, 102 min
Director – Lukas Feigelfeld
Set in the 15th Century in the Austrian Alps, Lukas Feigelfeld’s HAGAZUSSA takes us back to a dark period in which even the remotest parts of Europe suffered from the paranoia and superstition of the time.

Jailbreak
Cambodia, 2017
US Premiere, 92 min
Director – Jimmy Henderson
Cambodia’s traditional martial art of bokator is unleashed in all its bone-crunching fury in this action-packed tale of police trapped in the midst of a raging prison riot.

Juvenile
USA, 2017
World Premiere, 87 min
Director – Bradley Buecker
The emotionally powerful story of Billy, an angry youth who spends his evenings stealing cars with best friend Mikey while attempting to cultivate a stable relationship with his girlfriend, Jules.

The Killing of a Sacred Deer
Ireland / United Kingdom, 2017
US Premiere, 120 min
Director – Yorgos Lanthimos
The life of a brilliant surgeon is thrown into disarray when his friendship with a bizarre teenager threatens the lives of his entire family. Faced with a frightening choice, the man will be forced to assess all that he’s ever done.

King Cohen
USA, 2017
US Premiere, 104 min
Director – Steve Mitchell
Featuring interviews from some of the biggest names in genre cinema including Joe Dante, Robert Forster, and Fred Williamson, this documentary tells the story of one of the best and hardest working exploitation filmmakers.

Maus
Spain, 2017
World Premiere, 90 min
Director – Yayo Herrero
Yayo Herrero’s directorial debut is a couple’s nightmare journey into the heart of darkness. A superlative horror parable, this shocking film is an indictment of modern history, war, and the difficulties of reconciliation. It is a story for our times.

My Friend Dahmer

My Friend Dahmer
USA, 2017
Texas Premiere, 107 min
Director – Marc Meyers
This is the story of Jeffrey Dahmer, a high school loner whose life would shape up to be something far more frightening than anyone could have imagined.

The Originals
Egypt, 2017
International Premiere, 125 mins
Director – Marwan Hamed
Samir works for a bank, provides for his ever-demanding family, and dreams of being in an Egyptian talent show. When he’s unexpectedly fired, Samir finds himself recruited to be part of a secret society and finds a darker side to life in Egypt.

Ron Goossens: Low-Budget Stuntman
The Netherlands, 2017
North American Premiere, 78 min
Directors – Steffen Haars & Flip van der Kuil
The latest from the comedic team behind the NEW KIDS films and BROs BEFORE HOs. Ron Goossens is totally shitfaced. Only by working as a movie stuntman and bedding the hottest actress in the Netherlands can Ron save his marriage.

The Square
Sweden, 2017
US Premiere, 150 min
Director – Ruben Östlund
An art museum director’s life becomes a comedy of errors when trying to put together his latest exhibit in FORCE MAJEURE director Ruben Ostlund’s latest, which won the Palme D’Or at this year’s Cannes.

Super Dark Times

Super Dark Times
USA, 2017
Regional Premiere, 102 min
Director – Kevin Phillips
A split-second act of violence forever changes the lives of two ‘90s kids. Now they must cope with both the fallout of that moment and the pressures of high school in this clever and bloody coming-of-age thriller.

Three Billboards
USA, 2017
US PREMIERE, 110 min
Director – Martin McDonagh
A grieving mother takes drastic measures in an attempt to catch her daughter’s killer. Challenging the police to solve the case, she posts a series of billboards that threaten the fabric of rural Missouri.

Tiger Girl
Germany, 2017
US Premiere, 90 min
Director – Jakob Lass
Failing to crack the ranks as a would-be cop, Maggie begrudgingly settles for a security guard job until she encounters Tiger, a fierce young woman whose rebellious antics leave Maggie questioning which side of the law she truly belongs on.

Top Knot Detective
Australia, 2016
North American Premiere, 87 min
Directors – Aaron McCann & Dominic Pearce
Aliens! Ninjas! Robots! Enormous egos! Get ready to enter the world of TOP KNOT DETECTIVE! Possibly the greatest cult TV series you’ve never heard of, TOP KNOT DETECTIVE and its creator Takashi Tawagoto come to life in this gonzo documentary.

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Vampire Hunter D: The Series Gets Writer For Pilot Episode

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It’s been a little while since we’ve heard news about “Vampire Hunter D: The Series”, the CG-animated series based on Hideyuki Kikuchi’s titular character. However, some new news broke today over at ANN as they’ve reported that Brandon Easton, who is writing the scripts for new Vampire Hunter D comics, has been tapped by Unified Pictures to write the pilot for the series. The pilot will be based on Kikuchi’s “Mysterious Journey to the North Sea” storylines, which make up the 7th and 8th titles in the book series. Unified is making this series in conjunction with Digital Frontier, the Japanese animation studio behind the CG Resident Evil titles.

Easton told the site, “I’ve had to manage the expectations of three entities: the creator Hideyuki Kikuchi, the producers at Digital Frontier and Unified Pictures, and ultimately myself. This means that you have to find new and exciting ways of telling a story that has a set of concrete rules that have been fully established by the novels.

Meanwhile, the studio has also announced that Ryan Benjamin is taking over as the artist and colorist on the Vampire Hunter D: Message From Mars series with Richard Friend inking the issues.

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Watching A Quiet Place’s John Krasinski Get Scared by Freddy on Ellen Will Brighten Your Day

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I was just researching the new Platinum Dunes horror-thriller A Quiet Place and stumbled across this video. It features the film’s writer-director and star John Krasinski getting scared by a man dressed as Freddy Krueger on “Ellen.”

It’s as much fun as it sounds, and I’m sure it will make your day. It sure as hell just brightened mine.

Give it a watch below, and then let us know what you think!

John Krasinski directs the film, which will be the opening night entry at this year’s SXSW festival in Austin, TX. Emily Blunt stars alongside Krasinski, Noah Jupe, and Millicent Simmonds.

A Quiet Place will then open wide on April 6.

Synopsis:
In the modern horror thriller A Quiet Place, a family of four must navigate their lives in silence after mysterious creatures that hunt by sound threatens their survival. If they hear you, they hunt you.

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Interview: Director Jeff Burr Revisits Leatherface: The Texas Chainsaw Massacre III

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Director Jeff Burr was gracious enough to give us here at Dread Central a few minutes of his time to discuss the Blu-ray release of his 1990 film Leatherface: The Texas Chainsaw Massacre III. Recently dropped on 2/13, the movie has undergone the white-glove treatment, and he was all-too-happy to bring us back to when the film was being shot…and eventually diced thanks to the MPAA – so settle in, grab a cold slice of bloody meat, read on and enjoy!

DC: First off – congrats on seeing the film get the treatment it deserves on Blu-ray – you excited about it?

JB: Yeah, I’m really happy that it’s coming out on Blu-ray, especially since so many people bitch and moan about the death of physical media, and this thing made the cut, and it’s great for people to be able to see probably the best-looking version of it since we saw it in the lab back in 1989.

DC: Take us back to when you’d first gotten the news that you were tabbed to be the man to direct the third installment in this franchise – what was your first order of business?

JB: It was fairly condensed pre-production for me, and there really wasn’t a whole lot of time to think about the import or the greatness of it – it was basically just roll up your sleeves and go. It was a bit disappointing because a lot of times in pre-production you have the opportunity to dream what could be – casting had already been done, but certain decisions hadn’t been made yet. A very condensed pre-production, but exciting as hell, for sure! (laughs)

DC: R.A. Mihailoff in the role of Leatherface – was it the decision from the get-go to have him play the lead role?

JB: No – I totally had someone else in mind, even though R.A. had done a role in my student film about 7 years earlier, and we’d kept in touch, and I’d felt strongly because I’d gotten to know him a bit that Gunnar Hansen should have come back and played Leatherface, which would have given a bit more legitimacy to this third movie. He and I talked, and he had some issues with the direction that it was going – he really wanted to be involved, and it ended up boiling down to a financial thing, and it wasn’t outrageous at all – it wasn’t like he asked for the moon, but the problem was that New Line refused to pay it, categorically. I think the line producer at the time was more adamant about it than anyone, and Mike DeLuca was one of the executives on the movie, and he was really the guy that was running this, in a creative sense. I made my case for Gunner to both he and the line producer, and they flat out refused to pay him what he was asking, so after that was a done “no deal” I decided that R.A would be the right guy to step into the role. Since New Line was the arbiter of the film, he had to come in and audition for the part, and he impressed everyone and got the part. He did an absolutely fantastic job – such a joy to work with, and he was completely enthusiastic about everything.

DC: Let’s talk about Viggo Mortenson, and with this being one of his earliest roles – did you know you had something special with this guy on your set?

JB: Here’s the thing – you knew he was talented, and I’d seen him in the movie Prison way back in the early stages of development and was very impressed with him, and he was one of those guys that I think we were really lucky to get him on board with us. I really believe that The Indian Runner with he and directed by Sean Penn was the movie that truly made people stand up and notice his work. Every person in this cast was one hundred percent into this film and jumped in no questions asked when it was time to roll around in the body pits.

DC: It’s no secret about the amount of shit that the MPAA put you through in order to get this film released – can you expound on that for a minute?

JB: At the time, I believe it was a record amount of times we had to go back to the MPAA after re-cutting the film – I think it was 11 times that we went back. What a lot of people don’t realize is after Bob Shaye (President of New Line) had come into the editing room and he thought that it was very disturbing, and cut out some stuff himself. He thought that it would have been banned in every country, and it was banned in a lot of countries but so were the previous two. It was definitely on the verge of being emasculated before even being submitted to the MPAA, and I would have thought just a few adjustments here and there – maybe a couple of times to go back…but eleven? It was front-page news in the trade papers then, and I think that the overall tone of the film was looked at as being nasty. The previous film (Chainsaw 2) had actually gone out unrated, and with the first film being so notorious, I think it was a combination of all of that, and now even the most unrated version of this would be rated R – that’s how far the pendulum has swung in the other direction.

DC: Looking back at the film after all this time – what would be one thing that you’d change about the movie?

JB: Oh god – any film director worth his salt would look back at any of their films and want to change stuff up, and with this being 28 years old, I can look back and say “oh yeah, I’d change this, this and this!” You grow and learn over the course of your time directing, and this was my third movie and my first without producers that I had known, so the main thing that I’d do today would be to make it a bit more politically savvy. I had always thought that they wanted me to put my vision on this film, and that wasn’t necessarily the case, so maybe I’d navigate those political waters a little better.

DC: Last thing, Jeff – what’s keeping you busy these days? Any projects to speak of?

JB: Oh yeah, I’ve got a couple of movies that I’m working on – I’m prepping a horror movie right now, and then I’ve got a comedy film that I’m doing after that. You haven’t heard the last of me! I’ve had a real up and down (mostly down) career, but I still love it – it’s what I love to do, and it’s still great that after 28 years people still want to talk about this movie, and are still watching it – that’s the greatest gift you can get, and I thank everyone that’s seen it and talked about it over all these years.

BUY IT NOW!

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