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Awesome New One-Sheet for Argento’s Dracula

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Source Name:

Entertainment Weekly

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http://www.ew.com

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Awesome New One-Sheet for Argento's DraculaThat’s right, kids! A pretty friggin’ awesome one-sheet has arrived for IFC’s release of Argento’s Dracula (review), and it makes us wish that the movie was as good as the artwork itself. Check it out.

The film features Asia Argento as Lucy, Thomas Kretschmann as Dracula, Marta Gastini as Mina, and Rutger Hauer as Van Helsing. Miguel Angel Silvestre and Miriam Giovanelli also star. Argento’s Dracula will be released on October 4th, both in select theaters and on cable and digital VOD, under the IFC Midnight banner. Look for it in 3D on DirecTV, AT&T, Verizon, Comcast, CableVision and Time Warner cable and satellite platforms as well as in theaters.

Synopsis:
TRANSYLVANIA, 1893.

One night in the woods adjacent to Passo Borgo, at the foot of the Carpazi mountains, a couple of young lovers, Tania and Milos, secretly meet. On her way home, Tania is chased and overcome by a “dark shadow” that kills her. In those days Jonathan Harker, a young librarian, arrives at the village hired by Count Dracula, a nobleman from the area. Tania’s body mysteriously disappears from the cemetery. In the meantime Harker, before going to Count Dracula’s castle, takes the opportunity to visit Lucy Kisslinger, his wife Mina’s best friend as well as the daughter of the local mayor.

Upon arriving at the castle, Harker is greeted by Tania, brought back to life from the dead and made vampire, who tries from the very beginning to seduce him; however, they are interrupted by Dracula’s entrance welcoming Harker. The following night Tania tries again to bite Harker; she is close to his neck when she is stopped by the count, who gets the upper hand, and it is he himself who bites Harker’s neck, however allowing him to live. The following day, weakened but still conscious, Harker attempts to escape, but as soon as he is outside the castle, a large wolf with a white lock assaults and savagely kills him.

Meanwhile, Mina, Harker’s wife, arrives in the village and is guest for a few days at the home of her dearest friend Lucy Kisslinger, who will also be bitten and vampirized. The day after, Mina, worried about her husband, goes to Count Dracula’s castle.

Their encounter makes her forget the reason for her presence there. She is completely under the count’s influence; the count had orchestrated the events leading up to their encounter; in fact Mina looks exactly like his beloved Dolinger, who died some centuries ago. Upon her return to the Kisslinger house, Mina learns of the death of her dear friend Lucy.

The sequence of such strange and dramatic events summons the aid of Van Helsing, vampire expert of the techniques used to eliminate them. Van Helsing, aware of the circumstances, decides to act swiftly and prepares the tools needed to combat vampires. He directs himself to the center of evil, Count Dracula’s castle.

Meanwhile Dracula, in the village, kills the inhabitants who rescinded their pact, while Van Helsing, inside the castle, is able to definitively eliminate Tania. Dracula, intent on his desire to reunite with his beloved wife, leads Mina, completely hypnotized, to the castle where Van Helsing is waiting. He has decided to engage in a deadly fight with his evil foe. During the struggle Van Helsing loses his gun with the silver bullet, and Mina, still under Dracula’s spell, gathers it and tries to aid Dracula, but she misses the target and involuntarily kills him. The special silver bullet transforms Dracula into ashes; but his spirit lifts the ashes into the air and uniting, they shape into a large bat with a mocking grin.

For more visit the official Argento’s Dracula website.

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Blumhouse’s New Halloween Will Change The Original Film’s Ending (Slightly)

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As you can imagine, one of the films all of us here at Dread Central are looking forward to the most is Blumhouse’s upcoming sequel to John Carpenter’s Halloween.

The new film is co-written by Danny McBride (as strange as that may sound) and David Gordon Green and will be directed by Green.

Speaking of Kenny Powers himself, Danny McBride, the actor was recently out and about promoting the new season of HBO’s “Vice Principals” and dropped some new insights into Halloween (2018).

“We’re kind of ignoring all the films past the first one,” McBride told Yahoo! “It picks up after the first one, but it’s sort of an alternate reality. It’s as if the first Halloween ended in a slightly different way.”

Really? Interesting… But what about the new film’s tone? Should we be scared, Danny?

“I think you should be very scared,” McBride says. “I mean, this isn’t a comedy at all. I think there was, like, maybe one joke on the page, but the rest is straight horror. So hopefully it gets in people’s heads and keeps them up late at night.”

Sounds good to us!

McBride then talked a bit about how original Halloween star Jamie Lee Curtis came back into the fold for this new installment.

“I think everyone was kind of on the mindset of it’d be a grab to get her, but no one really knew if we would be able to,” McBride said. “So Dave and I just busted our ass on this script to really make that Laurie Strode character something she wouldn’t be able to say no to. When we finished the script, we sent it to her, and she said she was in. So we just flipped out. We were over the moon about her involvement.”

And finally, Kenny Powers spoke a bit about the huge pressures that are on him and his collaborator David Gordon Green with taking on such a beloved series.

“I just hope that we don’t f*** it up and piss people off,” he said. “This is such a diehard fan base. You don’t want horror fans being your enemies because they show up at your house with masks on. We are diehard fans of Halloween. We’re watching all the sequels and where things have taken left turns here and there that maybe bites for fans, and at least trying to deliver what we would have wanted to see. Hopefully, that will line up with most fans.”

What do you think of McBride’s new comments regarding Blumhouse’s Halloween? Do they make you more (or less) excited to check out the new installent?

Make sure to hit us up and let us know in the comments below or on social media!

Halloween (2018) is written by Danny McBride and David Gordon Green with Green directing. Creator and original director John Carpenter will be acting as executive producer on the new film with franchise regular Malek Akkad producing.

Look for the next Halloween film worldwide on October 19, 2018.

Synopsis:
Jamie Lee Curtis returns to her iconic role as Laurie Strode, who comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago.

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Exclusive: This Nails Clip Proves Dingy Hospitals Will Always Be Creepy

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Today sees the VOD release of Dark Sky Films’ Nails, the directorial debut of screenwriter and Cinelicious Pics Head of Distribution Dennis Bartok. Following the story of a woman who goes through a near-death car accident only to find herself paralyzed and trapped in her own body. She then becomes convinced that a strange and malevolent entity that she dubs “Nails” is set on destroying her marriage, her family, and, ultimately, her life.

To celebrate the release of the film, we’ve got an exclusive clip that you can watch below. In it, Leah McNamara’s Gemma is walking through the bowels of a hospital when she stumbles across a bed with a working gas mask. When an alarm suddenly goes off, she jumps in surprise, knocking over a nearby tray, spilling sharp instruments across the floor. It’s while she attempts to clean the mess that Nails makes an appearance…

Nails also stars Shauna McDonald, Ross Noble, Steve Wall, and Charlotte Bradley. You can watch the film on iTunes.

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The Shape of Water Review: A Quirky Mix of Whimsy and Horror That Does Not Disappoint

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Starring Sally Hawkins, Michael Shannon, Richard Jenkins, Michael Stulbarg, Doug Jones

Directed by Guillermo del Toro


“True Blood,” Beauty and the Beast, and Twilight aside, the notion of romantic love between humans and otherworldly creatures has been a popular theme throughout storytelling history. The ancient Greeks told tales of Leda and the swan, while stories of mermaids luring sailors to the lusty demise where met with wonder worldwide, stemming from Assyria c. 1000 BC. To this day, there’s Creature From the Black Lagoon fanfic that’s quite racy… for whatever reason, some people are fascinated by this fantasy taboo.

The new period film from cowriter/director Guillermo del Toro, The Shape of Water, dives right into the erotic motif with the tale of how Elisa (Sally Hawkins) and Amphibian Man (Doug Jones) fell in love. (While I personally could have done without the bestiality angle, I do applaud del Toro for having the balls to show what’s usually implied.) Having said that, The Shape of Water is about more than just interspecies passion.

The Shape of Water is a voluptuous, sumptuous, grand and melodramatic gothic fable at times (there’s even a lavish 1940s style dance routine!), but mostly it’s an exciting and gripping adventure, pitting the good guys against one very bad buy – played with mustache-twirling (minus the mustache), bug-eyed glee by Michael Shannon. Shannon is Strickland, a sinister and spiteful Cold War government operative who is put in charge of a mysterious monster captured in the Amazon and shipped to his Baltimore facility for study. When using cruel and abusive methods to crack the creature’s secrets doesn’t work, Strickland decides to cut him open to see what’s ticking inside.

Elisa, a lowly cleaning lady at the facility, has meanwhile grown fond of “the Asset,” as he’s called. She’s been spending time with him on the sly, not even telling her two best friends about her budding tenderness for the mute and isolated alien. She relates to him because not only is she lonesome, she’s unable to speak (an abusive childhood is alluded to – which includes water-torture). Using sign language, she first tells her out-of-work commercial illustrator Giles (Richard Jenkins), then her coworker Zelda (Octavia Spencer), about the need to rescue her waterlogged Romeo from Strickland’s scalpel. Needless to say, it won’t be easy sneaking a classified government experiment out of the high security building.

The Shape of Water is vintage del Toro in terms of visuals and accoutrement. The set-pieces are stunning to say the least. Elisa and Giles live in cozy, cluttered, age-patinaed apartments above a timeworn Art Deco moving-pictures palace; Strickland’s teal Cadillac is a collection of curves and chrome; and the creature’s tank is a steampunk nightmare of iron, glass, and sturdy padlocks. DP Dan Laustsen (Crimson Peak) does justice to each and every detail. Costumes (Luis Sequeira) and Creature (Legacy Effects) are appropriately stunning. The velvety score by Alexandre Desplat (“Trollhunters”) is both subdued and stirring.

While the film is a fantasy-fueled feast for the senses, it’s really the actors who keep you caring about the players in such an unrealistic, too-pat story. Jones, entombed in iridescent latex and with GC eyes, still manages to emote and evoke sympathy as the misfit monster. Jenkins is endearingly morose as a closeted gay man surrounded by his beloved cats and bolstered by the belief his hand-painted artwork is still relevant in an ever-more technical world. Spencer is the comic relief as a sassy lady who’s hobbled by her station in life but leaps into action when the chips are down.

Del Toro cowrote the screenplay with Vanessa Taylor, whose credits in the television world are numerous – but she’s probably best-known for her work on “Game of Thrones” – which adds an interesting and feminine perspective. The story definitely feels more comic-book than anything, which is OK I guess, but I prefer del Toro’s deeper delves into history and character (The Devil’s Backbone is still my fave). But, for those who love del Toro’s quirky mix of whimsy and horror, you will not be disappointed.

The Shape of Water is a dreamlike, pulpy adult fairytale that dances on the surface of reality while remaining true to the auteur’s vision.

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