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Mark Margolis Discusses Joining the Cast of American Horror Story: Asylum

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Mark Margolis Discusses Joining the Cast of American Horror Story: AsylumWith well over 100 projects to his credit, Mark Margolis can certainly be described as a true veteran actor. He recently joined the cast of “American Horror Story: Asylum” as Nazi hunter Sam Goodman and sat down with Dread Central to discuss the show and his role in it.

“I think it’s a pretty terrific show,” Margolis said about “American Horror Story.” “They don’t cut any corners. They go the whole way even though sometimes it’s incredibly gory or awful.”

Margolis, whose credits include “Breaking Bad,” “Oz” and The Wrestler, had not seen “American Horror Story” before joining the cast but now thoroughly enjoys the show. “They do some interesting editing,” Margolis said. “They do some quick cuts that are very reminiscent of what Darren Aronofsky did in the movie Pi. I’ve been in all his movies. You’ll see a quick flash of a needle and then an eyeball and then something else popping. It reminds me of that stuff.”

When asked how he got involved with the project, Margolis said dryly, “I slept with the director.” Then continued, slyly. “No, they came and requested me. They couldn’t find any professional actors to do it.”

“American Horror Story” is becoming well known for its extreme content. Margolis commented, “My wife can’t watch it. She runs away from it. It’s too gory for her. But on the other hand, she can watch a movie where you see 72 people get shot. She’s fine with that, but the minute somebody comes along with an axe and chops off somebody’s hand, she can’t watch anymore. She’s into a different kind of violence. Gun violence is all right with her, but gory violence with knives and scissors and needles and tools or whatever, that throws her. I don’t have a problem with it because I know this stuff is done by creative people.”

Margolis’ character, Nazi hunter Sam Goodman, was introduced in last week’s episode, “I Am Anne Frank.” He was involved in a scene with Jessica Lange as her character, Sister Jude, attempts to acquire Mr. Goodman’s services. “She comes to me because I’m a known Nazi hunter that survived a concentration camp in Europe,” Margolis said. “Goodman is European. You’ll have to see the other episodes to see what happens. She thinks Doctor Arden (James Cromwell) is a Nazi, but I’m going to point out… he’s just an actor, and I know that because I’ve seen him in films. She’s confused.”

When he discussed working with Jessica Lange, though, Margolis stopped joking. “She’s a marvelous creature to work with,” he said. “She’s an incredible actress, and she’s a very strong lady to work with. When I’ve seen her in films, there’s always a degree of fragility, there’s a fragile side. But in working with her, and watching the way she deals with the director, the writing in the script, she’s a pretty tough lady who knows just what she wants. She’s also a lovely, sexy creature from my point of view. Even though she’s not 27 years old anymore, she’s a very attractive lady. I enjoyed working with her. She’s very real.”

On the day of our interview with Margolis, it was announced that “American Horror Story” had been picked up for a third season. Margolis discussed that success and talked about the secretive nature of the production. “I heard that ‘American Horror Story’ got renewed for a third season. Maybe I’ll be in the third season as some of the cast from the first season showed up in the second. I love doing it. They do some very nice work. The writing is wonderful, but they only let me see pieces of the script so I didn’t actually know what was happening in the rest of the episode. I never had that experience before. Usually you get the whole script, no matter what you’re doing in it. They’re very secretive about everything, and for whatever reason, they don’t want the actors to know what’s going on with the other characters in the show. Like, I knew nothing about the Anne Frank character when I did this.”

However, Margolis said he wasn’t bothered by the unorthodox style of distributing the scripts. “We don’t always know the whole backstory of the characters we’re interacting with in our real lives,” Margolis said. “But when you get a whole script, you know the beginning, the middle, who did what and the end. In this case, I really didn’t know anything but my own character and this nun coming to see me about a guy. It was even awhile before I knew she was talking about the character James Cromwell plays.”

As for upcoming projects, Margolis has an impressive one coming out soon. As he mentioned, he’s been featured in all of Darren Aronofsky’s films and will be included in his newest, Noah, as well. “Aronofsky has an incredible new film, the story of Noah and the ark with Russell Crowe playing Noah and Anthony Hopkins playing Methuselah, Noah’s grandfather, and Jennifer Connelly as Noah’s wife. All very good actors. We shot part of it in Iceland and part of it here in New York. But we used Iceland because it’s an incredible place. It looks like the beginning of the world there in some places. It’s a marvelous country, like no place you’ve ever been to. Lovely people there as well.”

Margolis finally gave us a heads-up as to what to expect in upcoming episodes of “American Horror Story: Asylum.” “Check it out next week,” Margolis said. “There are some surprises coming.”

“American Horror Story: Asylum – Episode 6: “The Origins of Monstrosity” (airing November 21st at 10:00 pm e/p)
A mysterious little girl is abandoned at Briarcliff. The Monsignor makes a Faustian pact with Dr. Arden. The origin of Bloody Face is revealed. Directed by David Semel and written by Ryan Murphy.

American Horror Story: Asylum

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Check Out the Opening 2 Minutes of Another WolfCop

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It was just earlier today that we brought you guys The Dude Design’s the newest poster for writer-director Lowell Dean’s horror-comedy sequel Another WolfCop.

And now we have the movie’s opening 2 minutes!

The clip showcases the new flick’s villain trying to sell us on his “Chicken Milk Beer” before losing his cool and taking it out the commercial’s crew. We then cut to a ragtag group of criminals, dressed as homeless Santas trying to outrun the cops.

A fun two-minutes if you ask me!

You can check out Another WolfCop‘s opening scene below and then make sure to hit us up and let us know what you think in the comments below or on social media!

The film is written and directed by Lowell Dean, produced by Bernie Hernando, Deborah Marks, and Hugh Patterson, and distributed worldwide by Cineplex.

Another WolfCop co-stars Amy Matysio, Jonathan Cherry, and Serena Miller. The film also features special appearances from Canadian music icon Gowan and legendary filmmaker Kevin Smith. It was executive produced by Sean Buckley, J. Joly, Bill Marks, Brian Wideen, Michael Kennedy, and Michael Hirsch.

The film is slated for a wide Cineplex theatrical release on Friday, December 8, 2017, with the film seeing a Blu-ray/DVD/Digital home entertainment release through A71 and Black Fawn in 2018.

Synopsis:

A month has passed since the eclipse transformed hard-drinking Officer Lou Garou into the crime-fighting hellion WolfCop. Although the Shape Shifters controlling the town have been extinguished, Woodhaven is far from returning to normal. Lou’s liquor-fueled antics and full moon outbursts are seriously testing his relationship with Officer Tina Walsh – the new Chief of Police. An old friend has mysteriously reappeared with a truly bizarre secret to share, and a homicidal new villain has emerged from the shadows looking to finish what the Shape Shifters started. To defeat this lethal adversary, it will take more than a lone wolf packing a pistol.

Prepare for the next chapter of WolfCop that will be more dirty and hairy than the original! Consider yourself warned.

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AHS: Cult Review – Clowns, Cults, Politics, and Peters

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Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill

Created by Ryan Murphy and Brad Falchuk


** NO SPOILERS **

It’s here. We’ve reached the end. The newest season of “American Horror Story” has ended and now we are here to provide you guys with our season review of AHS: Cult.

Spoiler free.

To start things off let me say I’m not the world’s biggest fan of “American Horror Story”. It breaks down like this: I enjoyed the absolute hell out of the first season of the series (“Murder House”), couldn’t get through “Asylum” (I know, I know, I’ve tried), dug “Coven” for what it was, really enjoyed “Freak Show”, and again I couldn’t get into “Hotel” or “Roanoke”.

That’s the story of me and “American Horror Story”. Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let’s find out.

Back when the seventh season of AHS was first announced (then going by the title “AHS: Election”) I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, “Freak Show”.

Now I’m a fan of ghosts and weird creature-men with drills for d*cks, don’t get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than “Freak Show”) so this major change of pace was again welcomed by this guy.

Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.

Oh, and clowns. Like a lot of clowns.

But just because this new season didn’t include anything supernatural, that doesn’t mean the 11-episode season wasn’t filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn’t be out of place in a Rob Zombie flick. It was all good.

But let’s backtrack a bit here.

Allow me to rundown the season’s plot for those who may be unaware. “AHS: Cult” tells the tale of a world post-election night. The literal dawn of Trump’s America. In one corner we have Sarah Paulson’s soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).

And in the other corner, we have Evan Peter’s angry, white (blue-haired) male, looking to seize Trump’s new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I’m just going to say the dude’s got big plans.

Like Manson-size plans. Let’s leave it at that.

With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.

Overall “AHS: Cult” belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy’s horror show and this season was no different. Peters’ turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.

I can only hope he doesn’t pull a Jessica Lange and opt-out of more AHS next year.

Speaking of top performances, “AHS: Cult ” showcases some other chilling and memorable turns with Alison Pill’s strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!

Along with Pill, actress Billie Lourd killed it time and time again. The “Scream Queens” breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.

Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch’s return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?

On the sour side of the season, I didn’t dig Sarah Paulson’s character. At all. But I’m sure that was the point. Right? I’m still not sure. But, boy, I wouldn’t even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season’s 11-hours with her and her whiny bullshite. Urgh.

That said, she pulled it out by the finale. That’s all I’ll say.

In the end, I enjoyed this season as much as – if not more – than any other of the series. “Murder House” will still no doubt go on as my favorite season of the series, but “AHS: Cult” will rank third after season one and “Freak Show”.

While I was on the fence about the season after three episodes, the show ended up ditching Paulson’s character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.

Not a bad way to spend my Tuesday night for the past 11 weeks.

Bring on season 12.

  • American Horror Story: Cult (2018)
3.5

Summary

The seventh season of Ryan Murphy’s American Horror Story was Evan Peters’ show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.

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User Rating 4 (3 votes)
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The Axiom Review – A Stylish and Clever Slice of Independent Horror

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Starring Hattie Smith, Zac Titus, Nicole Dambro

Directed by Nicholas Woods


The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.

ADDITIONAL THOUGHTS:

  • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
  • Give back Mia Sara’s DNA, Hattie Smith!
  • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
  • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
  • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
  • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
  • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
  • The gore effects in the movie are both realized and utilized very well.
  • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
  • The Axiom
4.0

Summary

In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

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User Rating 3.9 (10 votes)
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