Come Into Me's Lonnie Nadler Shares His Favorite Body Horror Films - Dread Central
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Come Into Me’s Lonnie Nadler Shares His Favorite Body Horror Films



A couple of months ago, we ran an interview with writers Zac Thompson and Lonnie Nadler about their upcoming body horror comic mini-series Come Into Me, which will be published by Black Mask Studios in March. Featuring art by Piotr Kowalski, the comic, which is hailed as The Fly meets Eternal Sunshine of the Spotless Mind, is already making waves and drumming up serious interest. In fact, the two writers have built such a name for themselves that they’re currently writing a Marvel series around Cable (interview interview here).

In anticipation of the upcoming release of Come Into me, we got Nadler to share several of his favorite body horror films, the ones that helped inspire his writing of the upcoming comic series. You can read them below!

Also, make sure to follow Lonnie on Twitter here.

5. The Thing

The Thing is the ultimate paranoia film, dripping with the dread of what lies hidden beneath the surface. In this case, that surface is the body itself. Carpenter and co. explore the idea that everyone is in the constant process of becoming, of putting on a facade, that nobody is who they present themselves to be. The film revels in the metaphor that we can never truly, ontologically know what other people are like inside, and for that reason you can’t trust anyone but yourself, not even the dog. These heavy themes are amplified by the all male cast, and thus The Thing doubly works as a subtle commentary on masculinity. All these elements combine to create a pitch black movie that fires on all cylinders, from the still-spectacular special effects, to Ennio Morricone’s chilling score, to Carpenter’s taut direction. Like some other films on this list, The Thing was way ahead of its time, but thankfully its cultural impact can now be seen across mediums, in everything from “Stranger Things” to Dead Space to the Oats Studios short films. Few films, in any genre, achieve such a lasting influence.

4. Under the Skin

A lot of people wouldn’t consider Jonathan Glazer’s non-didactic, evocative masterpiece “body horror” in the traditional sense. It may not be in your face with gorey special effects or feature mutating bodies, but look no further than the film’s apt title to put things in perspective. Under the Skin not only refers to Glazer’s goal – to get under the audience’s skin – but also refers to his subject of exploration. He’s asking us to consider, “What does it ultimately mean to be human when you strip away all that flesh and sinew that binds us?” The result is a pervasive existential angst and a persistent haunting atmosphere that that’s impossible to escape, just like our bodies. What I love most Under the Skin is its obsession with the fragility of flesh, the ease with which our bodies can be spoiled. By constantly forcing us to confront images of literal vacant bodies, awkward sexual encounters, and “deformed” individuals, it forces the viewer to question these organic vessels that carry us around, and what remains underneath it all. Glazer’s answer? Perhaps it is nothing but an endless black void.

3. Eraserhead

Cliche as it may be, I’ll never forget the first time I saw Eraserhead. I was alone in my university dorm room at 1:00 AM. What proceeded was a ninety-minute fugue-state that forced me to question everything I knew about cinema. I’d seen a couple of Lynch movies before, but I’d never felt so privy to someone else’s unfiltered, thoughts, perversions and all. I knew immediately that the film had left a mark on me, and to this day it’s that exact feeling I seek when watching movies. From the baby’s ultimate transformation, to Henry’s unbearable repression, to the mutated cheeks of the sweet Lady in the Radiator, Lynch explores the crossroads between sexuality and the grotesque, between inner and outer worlds, twisting familiar images into something entirely uncanny. Though there are no shortage of theories about Eraserhead’s intended meaning, it remains an enigmatic film to this day because Lynch refuses to give answers. For me, Eraserhead has always been about the horror of the spaces we inhabit and the others we allow into those spaces – our homes, our minds, and our bodies. But it’s precisely that inimitable mysterious mood that Lynch has founded his career upon, and that gestating desire for answers makes his films all the more alluring.

2. Possession

Possession didn’t garner much attention inside or outside the American horror community until recent years. It was hard to get a hold of and it’s not exactly the easiest film to recommend given the three-and-a-half minute miscarriage scene. For all its oddities, at the core of Żuławski’s magnum opus is an age old tale of love and the monsters it creates. Possession examines how over the course of a romantic relationship we bond with another person, mentally and physically, until a point of dependency. We belong to them, and they to us. When relationships come to a halt, when we are physically torn apart and the drug is gone, it possesses your every thought and transforms you into a different person. It throws your entire world out of joint, and both parties act psychotically and irrationally. Żuławski externalizes all those horrible and complicated feelings that come with dying love in the most horrific of ways, and while it may be too bizarre or metaphysical for some, there are few films that capture the emotional and physical horrors of break ups like Possession.

1. Tie: The Fly / Videodrome / eXistenZ

These are the most quintessential of all body horror films in my mind. Truthfully, all of Cronenberg’s films should be on this list, and there’s no filmmaker who gave more to the genre than him. Cronenberg kept with horror for over two decades and his infatuation with the human body was apparent from his earliest films. What makes Cronenberg’s body of work stand out is his curiosity and refusal to abide by genre tropes. While gore or sexuality are staples of horror it’s abundantly clear that the viscera is not merely for the sake of it with Cronenberg, but rather a means to investigate deeper themes about how we interact with technology, each other, and our subconscious desires. While The Fly was almost immediately perceived as a genre-blending masterpiece, his other work, like Videodrome and eXistenZ, were largely panned upon release because the public didn’t understand what he was doing. How could they? Nothing like it had ever been seen before. Cronenberg was operating way ahead of his time, using his art and twisted imagery in attempt to understand how humans might physically engage with technology, with the future, each other, and how that could lead to either the evolution or the degeneration of the species. Cronenberg understands better than anyone that the basis of humanity is that we exist as physical beings and yet we have an innate desire to be more than that.


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#Brainwaves Episode 86: Darin Scott – Director of DEEP BLUE SEA 2, Producer of TALES FROM THE HOOD, and Lots More! LISTEN NOW!



For the 86th episode of Brainwaves: Horror and Paranormal Talk Radio, we went deep… deep into… well, trouble, per usual; but aside from that, filmmaker Darin Scott, whose latest film, Deep Blue Sea 2, is currently taking a shark-sized bite out of home video, joined us for some talk about that flick, Tales from the Hood, working with Spike Lee, and a whole lot more!

It’s radio without a safety net, kids. It’s Brainwaves: Horror and Paranormal Talk Radio.


Listen to Stitcher

Brainwaves: Horror and Paranormal Talk Radio is available to subscribe to on iTunes and Stitcher.

Spooky, funny, touching, honest, offensive, and at times completely random, Brainwaves airs live every Wednesday evening beginning at 8:00 PM Pacific Time (11:00 midnight Eastern Time) and runs about 3 hours per episode.

Knetter and Creepy will be taking your calls LIVE and unscreened via Skype, so let your freak flags fly! Feel free to add BrainWavesTalk to your Skype account so you can reach us, or call in from a landline or cellphone – 858 480 7789. The duo also take questions via Twitter; you can reach us at @BrainwavesRadio or @UncleCreepy, @JoeKnetter, or @MrDarkDC using the hashtag #BrainWaves. You can also check us out on our Brainwaves Discord channel!

Have a ghost story or a paranormal story but can’t call in? Feel free to email it to me directly at with “Brainwaves Story” in your subject line. You can now become a fan of the show via the official… BRAINWAVES FACEBOOK PAGE!

Brainwaves: Horror and Paranormal Talk Radio is hosted live (with shows to be archived as they progress) right here on Dread Central. You can tune in and listen via the FREE TuneIn Radio app or listen to TuneIn right through the website!

For more information and to listen live independent of TuneIn, visit the Deep Talk Radio Network website, “like” Deep Talk Radio on Facebook, and follow Deep Talk Radio on Twitter. And don’t forget to subscribe to Brainwaves on iTunes.


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Exclusive: Concept Art and Video From Tim Burton’s Cancelled SUPERMAN Plus Art From Clive Barker’s MUMMY Project



Special FX artist Steve Johnson has a long and storied career in Hollywood. From working on films such as Predator, A Nightmare on Elm Street 4: The Dream Master, Lord of Illusions, and more, to to makeup on Return of the Living Dead III, Nightwatch, and Night of the Demons 2, his work has been seen in a swath of films that genre fans know and love. Hell, the guy even created Slimer from Ghostbusters! If that doesn’t make him Hollywood royalty, I honestly don’t know what does.

Right now, Johnson has a Kickstarter going for Rubberhead Volume 2: Sex, Drugs, and Special Effects, the second book in a five volume series that chronicles the work he’s done over the years. Included in this particular book is a section called “The Ones That Got Away”. That’s what brings us to today and to this particular article.

We were absolutely fascinated with some of the films that Johnson got to work on that never ended up seeing the light of day and we managed to get our hands on some exclusive concept art from both Tim Burton’s cancelled Superman and Clive Barker’s Mummy project. We also have a suit test video from the former, which features Danny Elfman’s music from Batman, so it’s extra thrilling.

You can read about both projects and see the concept art below (the Superman suit video is above). Also, click on the Kickstarter link above if you want to help make Johnson’s second book a reality!

Tim Burton’s Superman:

For the ill-fated Tim Burton Superman movie, Johnson was contracted to craft all manner of elaborate costumes, props, puppets, and prosthetics for a project that was to be doomed by an overextended budget.

It was absolutely massive because not only were we working on these Superman suits, we were doing Doomsday, we were doing a Menagerie, a Brainiac and an entire spaceship that was literally filled with creatures. It looked like the Star Wars cantina on steroids,” Steve Johnson exclaims.

Of the standout pieces were multiple bioluminescent Superman regeneration suits, all of which glowed purely by way of practical effects. The effect was created using cyalume, the active liquid in glow sticks, strategically pumped through a series of elaborate tubing patterns which gave the appearance of glowing blood pumping through veins.

Other suits were powered by a fiber-optic light setup informed heavily by Johnson’s groundbreaking work on James Cameron’s The Abyss, a creation he claims pleased him more than any other in his entire career.

Clive Barker’s Mummy:

Clive Barker had teamed up with Mick Garris (Critters 2, Psycho IV) on a brand new Mummy concept that the two pitched to Universal. The hyper erotic plot involved a transsexual occultist protagonist who attempted to reanimate mummies within a prestigious museum setting.

Shortly after collaborating with Barker on Lord of Illusions, Steve Johnson signed up to help him create a visual proof-of-concept in order to help Barker pitch the project which had not yet been greenlit. Johnson signed on and even built proof-of-concept creatures, funding the endeavor entirely out of his own pocket to help Barker sell it in to Universal.

For inspiration, Barker and Johnson exhaustively researched museums, Egyptian sculptures, statues and artifacts to ensure historical accuracy while imbuing the mummies with a heavy dose of classic sadomasochistic Clive Barker style.

Johnson explained, “If you do your research on real mummies in Egypt they look nothing like Boris Karloff mummies or mummies in the new mummy movies. The goal was to include all of the realistic detail and adornment in a way that was accurate to real Egyptian mummies which had never been done before. We were going to make them fascinating, cenobite-like creatures but based entirely in reality and history.

Unfortunately, the project was never greenlit by Universal. Clive Barker told Fangoria, “Looking back, our version of The Mummy was precisely what the powers that were at Universal did not want.


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TREMORS: A COLD DAY IN HELL Clip Features Graboids on Ice!



The newest entry in the always lovable Tremors series will be hitting Blu-ray Combo Pack, DVD, On Demand, and Digital on May 1st.

And today we have a fun new clip from Tremors: A Cold Day In Hell to share! It features a sequence that reminds me A LOT of the ice planet creature vs Kirk scene in J.J. Abrams’ Star Trek.

You can check out the clip below and then make sure to let us know what you think in the comments below or on FacebookTwitter, and/or Instagram!

Tremors: The Complete Collection will be available on DVD on May 1; and Tremors: A Cold Day in Hell hits Blu-ray Combo Pack, DVD, On Demand, and Digital also on May 1st.

Special features include:

  • The Making of Tremors: A Cold Day in Hell: Filmmakers, cast, and crew discuss why Tremors: A Cold Day in Hell is the most bone-blasting Tremors movie yet.
  • Anatomy of a Scene: Watch as we break down the various elements that need to come together to film the first underwater Graboid attack.
  • Inside Chang’s Market: Chang’s Market is an iconic location in Tremors history. See how it was recreated and updated for this installment of the franchise.

Burt Gummer (Michael Gross) and his son, Travis Welker (Jamie Kennedy), find themselves up to their ears in Graboids and Ass-Blasters when they head to Canada to investigate a series of deadly giant worm attacks. Arriving at a remote research facility in the Arctic tundra, Burt begins to suspect that Graboids are secretly being weaponized, but before he can prove his theory, he is sidelined by Graboid venom. With just 48 hours to live, the only hope is to create an antidote from fresh venom — but to do that, someone will have to figure out how to milk a Graboid!


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