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Exclusive: Gillian Jacobs Talks Bad Milo



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Exclusive: Gillian Jacobs Talks Bad MiloGillian Jacobs might not have the spotlight in Jacob Vaughan’s rectum horror opus Bad Milo, but that doesn’t mean she just fades into the background as a stereotypical wife.

In fact, she actually adds a much needed dimension as a woman who worries too much, a quality that only exacerbates her poor husband’s (Ken Marino) demonic indigestion. We spoke recently about her role in the film and how rewarding it was to work with some of the best comedic actors of this generation.

Click here for our two Bad Milo reviews and more.

DC: You’re not really a stranger to genre movies, but this is your first hybrid horror comedy, is that right?

GJ: Yeah, I would say so. Certainly my first movie with an anal demon.

DC: So, are you tired of all the comparisons to films like Gremlins and Ghoulies yet?

GJ: No! I feel like that’s exactly what we wanted to evoke, so any time it’s making you think of that, it means we’re doing our job correctly.

DC: I just think Bad Milo is kind of its own thing and it’s a little more current maybe in its themes about the everyday stresses of life and I think we could just let it stand on its own, can’t we?

GJ: Completely, but if we get people in the theater by saying the word Gremlins, then I’m happy about that. I’m not gonna turn down a viewer.

DC: Obviously, everyone expects this film to be full of toilet humor, but there’s an adult relationship and the stresses of marriage kind of make it more digestible to a more mature crowd. If this was just a stoner comedy, it wouldn’t have been as appealing to you I imagine.

GJ: Yes, completely, and I think that that was what was exciting about the fact that they had cast Ken Marino because I felt like he could do this grounded straight man performance at the center of a crazy movie in a way that was going to always be funny because he’s a deeply funny person. But also he is a great actor so he could pull that off, and it was very exciting to me that Jacob [Vaughan], the director, wanted to walk that line between the comedy of it and the grounded, you know, very, as you said, adult movie about coming to terms with your parents and your past and your own stresses and moving on with your life.

DC: What audience do you imagine is going to respond the most to Milo because of that kind of humor? Do you think it will appeal more to teens at first?

GJ: I hope that our beloved stoners find it and enjoy it as a midnight movie and I hope that they tell their friends, ‘Oh my god, it was actually, like, a good movie and it wasn’t so bad it’s good, it was good good.’ And then other people will give it a chance and hopefully word of mouth will spread from there and people who might be surprised by the fact that they enjoyed a movie about an anal demon will find themselves watching it.

DC: I like how you say ‘anal demon’; it seems a lot more politically correct.

GJ: (laughs) Rather than butt monster?

DC: So, are you ready for the horror fanbase and the diehard fans of “Community” to unite? It could be a perfect storm of geekdom.

GJ: Yeah, I definitely feel like if I can just slowly expand my bases, you know… I need to do a real sci-fi movie next and just completely take over the internet. That would be awesome.

DC: Well, The Box is pretty sci-fi…

GJ: The Box is pretty sci-fi! But do people remember that I was in The Box?

DC: I didn’t but it does say that on IMDB.

GJ: Well, yeah, maybe we need to feature that in this interview so that we can remind people that I also have a sci-fi background. I also was in an episode of “Fringe” in Season One and kidnapped a child.

DC: That’s great to have on your resume. So, there’s really this new comedy collective I feel like. A lot of the guys like Ken [Marino], obviously, have been around for a long time, but do you feel like you’re part of a movement of actors that are striving to do more with independent films or is it just the role that attracts you to something?

GJ: Well, obviously, I’ve been wanting to work with all of these people for a long time because they’re the people who make me laugh. The first time I ever met Ken actually I did a reading of Wet Hot American Summer up at the San Francisco Sketchfest and I read Elizabeth Banks’ part. It was Ken and Paul Rudd and Michael Showalter and Michael Ian Black and Amy Poehler… a lot of people from the movie. So I sort of felt like I was stepping into one of my favorite movies, which is a truly surreal experience. To look back and realize that I’m now getting to work with a lot of these people that I’ve admired a long time is really gratifying. And I feel like they all have an interest in doing things that are very funny but also grounded, and that’s sort of what I like as well. So the fact that I’m getting to work with Rob Corddry and Ken and I just did a short film with Rob Huebel and a web series with people like Thomas Lennon and Nick Kroll and all these people. It’s not bad company to be in.

DC: Not at all. Were you maybe a little disappointed to not have more opportunities to participate in some of the horror scenes and action beats in Bad Milo or is this kind of project and size role perfect for you and what your schedule permitted? Obviously, you get in on the action a little bit at the end at least.

GJ: You know, it’s fun to get to play the different kinds of roles and I knew what this role was going in. But I felt like she had enough of a personality and character on her own that I didn’t feel like it was just a cardboard cutout wife character. And I knew that it would be so amazing to get a chance to work with Ken and sometimes you just want to be a part of a movie you think is going to be great even if it’s not necessarily the showiest role. So I feel like I do a pretty good job of understanding my piece in the puzzle of each project that I’m in and I was happy to play this part.

DC: Was it incredibly stressful to balance the TV show schedule and a film career simultaneously and has your training at Juilliard and that experience helped you be able to manage that stress so you don’t wind up having a Mrs. Milo on your hands?

GJ: (laughs) Sometimes it’s difficult because if there’s certain opportunities you’re not able to pursue because of the TV schedule. But then there are other things you really try to make work, like I did this short film called It’s Not You, It’s Me and we shot it on two weekends while I was shooting “Community”. So, you hopefully find a way to pack in the kind of projects that you want to do in addition to the TV schedule. But I’m so grateful for my job on “Community” that I’m never going to be resentful of the fact that it takes up a lot of my time because I feel like I’m lucky to be on such a good show. We shot thirteen episodes last season and we’re going to shoot thirteen this year, so it does leave a lot of time. I did five movies and a web series during our hiatus so I feel like I’ve gotten to do a lot of film recently.

DC: That sounds exhausting!

GJ: (laughs) I did not take a vacation this summer.

DC: Seriously. So, speaking of schedules, did you come on later in the shooting schedule on Bad Milo to film the majority of your scenes? Did it feel like a boys’ club at all if you did come in late?

GJ: I was not late, I may have finished a little early because I feel like “Community” started right as Milo was ending, so I think I may have been there more towards the beginning. But no, I felt like it was just a really fun set and Ken was making me laugh so hard and Kumail [Nanjiani] and Mary Kay [Place] were making me laugh so hard. I did not feel like I was excluded out of some kind of boys’ club.

DC: Maybe it was the Indian food that spurred everything on at the beginning, that’s a definite possibility. So, would you be up for having an anal gremlin of your own for the sequel if there is a sequel? I know Jacob Vaughan is interested in a possible follow-up. It would be a more ladylike ass monster, of course.

GJ: Ladylike sounds boring, I’d like a full-on butt demon just like Ken got to have. Maybe it’ll have like a bow or something as a concession to the fact that it’s a girl.

DC: Kind of like Mrs. Pacman!

GJ: (laughs) That’s exactly what I want.

Bad Milo is now available On Demand with a limited theatrical run beginning on October 4.

Keep your eyes on the Bad Milo Facebook page for updates.

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Check Out the Opening 2 Minutes of Another WolfCop



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.


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



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

Created by Ryan Murphy and Brad Falchuk


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)


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.

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




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.


  • 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


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.

User Rating 3.9 (10 votes)
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