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New Artwork for Spiders 3D Gets Caught on the Web

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We’ve been talking about Tibor Takacs’ new flick Spiders 3D for a long time now but it sadly slipped off of our radar. Thankfully it’s back on it or we wouldn’t have this badass new one-sheet for you!

Patrick Muldoon, Christa Campbell, William Hope and Jon Mack star. Still no word on a release but we’ll keep our ears to the ground.

Synopsis
Following a crash of an old Soviet space station in New York City’s subway tunnel, a new species of poisonous spiders is discovered. Inadvertently the spiders mutate to gigantic proportions and wreak havoc on the entire city.

New Artwork for Spiders 3D Gets Caught on the Web

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Metro Exodus Gets a Haunting New Cinematic Trailer

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One of the biggest horror games of 2018 is Metro Exodus, the third installment in the critically acclaimed post-apocalyptic first-person franchise based on the novel by Dmitry Glukhovsky. We haven’t heard much about the game since it was announced at E3, although a brand new cinematic trailer debuted at the Game Awards ceremony. And while it didn’t show any actual gameplay footage, it did give us a look at some of the hideous monsters we can expect to encounter in the Russian wasteland when Metro Exodus launches on PS4, Xbox One, and PC late next year.

Like the previous entries in the franchise, Metro Exodus will be developed by Maltese developer 4A Games and published by Deep Silver.

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Children of the Fall Review – This Israeli Slasher Gets Political

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Starring Noa Maiman, Aki Avni, Yafit Shalev, Iftach Ophir, Michael Ironside

Directed by Eitan Gafny

Reviewed out of Utopia 2017


Slashers are a subgenre of horror that are often looked down upon. After all, what can a movie about a killer slaughtering multiple people have to say about, well…anything. Those of us in the community know full well that this is nonsense and that any kind of horror movie can be a jabbing (no pun intended) commentary on society, culture, politics, art, etc… And that’s precisely what Eitan Gafny aims to do with Children of the Fall, one of the few Israeli slashers ever created.

Set on the eve of the Yom Kippur war, the film follows Rachel (Maiman), a young American woman who comes to Israel to join a kibbutz after suffering some serious personal tragedies. Her goal to make aliyah (the return of Jews to Israel) is however hampered by some rather unpleasant encounters with local IDF soldiers and members of the kibbutz. Pushing through, she makes friends with others in the commune and her Zionistic views are only strengthened, although they do not go untested. Once Yom Kippur, one of the holiest holidays in Jewish culture, begins, a killer begins picking off the kibbutz workers one by one in violent and gruesome ways.

Let’s start with what Children of the Fall gets right, okay? As slashers go, it’s actually quite beautiful. There are wonderfully expansive shots that make use of the size and diversity of the kibbutz. The film opens with a beautiful shot of a cow stable, barn, water towers, and miscellaneous outbuildings, all set against a dark and stormy night. The lighting of this scene, and throughout the film, is also very good. I found myself darting my eyes across the screen multiple times throughout the film thinking I’d seen something lurking in the shadows.

The kills, while unoriginal, are very satisfying. Each death is meaty, bloody, and doesn’t feel rushed. In fact, the camera has no problems lingering during each kill, allowing us to appreciate the practical FX and copious amounts of blood used. And if you believe that a slasher needs to have nudity, you won’t be disappointed.

The acting is middle of the road. Maiman is serviceable as Rachel but the real star of the film is Yafit Shalev as “Yaron”. His range of emotion is fantastic, from warm and welcoming to Rachel when she arrives to emoting grief and pain during his Yom Kippur announcement where we learn that he was a child in a concentration camp. The rest of the cast are perfectly acceptable as fodder for the killer.

So where does Children of the Fall stray? Let’s start with the most obvious part: the runtime. Clocking in at nearly two hours, that’s about 30 minutes too much. The film could easily have gone through some hefty editing without affecting the final product. Instead, we have a movie that feels elongated when unnecessary.

Additionally, the societal and political commentary is very in-your-face but the film can’t seem to make up its mind as to what it’s trying to get across. Natalia, a Belarussian kibbutz worker, raises the concept of Israeli racism, misogyny, and xenophobia, her hostility unabashedly pouring out in the midst of IDF soldiers, locals, other kibbutz members, and more. Is there validity to what she’s saying? Undoubtedly. But there is also validity to Rachel’s retorts, which include calling this woman out on her own vitriolic views. This back-and-forth mentality frustratingly prevails throughout the film, as though Gafny was unwilling to just commit.

The dialogue is also quite painful at times, although I attribute this to difficulties with translating from Hebrew to English. Even the best English speakers in Israel don’t get everything perfect and the little quirks here and there, while charming, are quite detracting. Also, why is this movie trying to tell me that Robert Smith of The Cure is a character here? While amusing, it makes absolutely no sense nor does it fit in Smith’s own timeline.

Had this film gone through a couple rounds of editing, I feel like we’d have gotten something really great. Eitan Gafny is definitely someone that we need to be watching very closely.

  • Children of the Fall
2.5

Summary

While Children of the Fall has a lot going for it, it has just as much working against it. Overly long, you’ll get a really great slasher that is bogged down by uneven social and political commentary.

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Netflix to Tell The Frankenstein Chronicles in the States

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There’s still a big part of me that wonders why Universal – or anyone for that matter – has not been able to reboot classics like The Mummy, Dracula, and Frankenstein. Maybe they’re trying too hard? Maybe they keep putting the wrong people at the helm?

Look at del Toro’s The Shape of Water… It’s pretty much a new version of The Creature of the Black Lagoon with a heavier emphasis on the relationship between monster and chosen mate. Even though there are a couple of hokey parts, it really works and is excellent. So maybe we need to look elsewhere throughout the world to meet with success. Case in point: “The Frankenstein Chronicles.”

Variety is reporting that the hit six-episode UK series starring Sean Bean will be coming Stateside and more via the ever-growing streaming service Netflix.

This deal opens the way for Netflix to make further seasons should it resonate with its U.S. and global subscribers.

“The Frankenstein Chronicles” is a re-imagining of Mary Shelley’s classic novel. Set in 1830s London, Bean (“Game of Thrones”) plays John Marlott, a war veteran and river policeman. Season 1 of the serialized show sees him investigating the case of a corpse made up of body parts from different children and finding the matter involves senior establishment figures and demonic forces.

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