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New York Comic Con 2013: Oldboy Footage Description and New Stills!



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New York Comic Con 2013: Oldboy Footage Description and New Stills!We’re neck deep in New York Comic Con, but our longest day is over, filled with interviews with folks from Legendary Comics, Big Ass Spider!, and “Robot Chicken,” wrapping up with Oldboy. For the latter we have new footage descriptions and a trio of special NYCC stills.

We’ll be back soon with more in-depth information from our interviews with Oldboy stars Pom Klementieff, who lost a toenail while doing battle on the set, and Michael Imperioli, who promised us that violence has a very important place in this film, and screenwriter Mark Protosevich, who assured us this incarnation of Oldboy will retain a level of intensity moviegoers won’t soon forget… so just give it a chance, won’t ya? In the meantime we figured we’d unload about the three excellent clips we caught at the show.

The film’s PR reps passed around a laptop for us to watch two clips we were told were exclusive to us in that room. The place was noisy, the picture was small, and there were six of us watching so bear with me. Suffice to say, mother fuckin’ SPOILER WARNING. Continue at your own peril.

Clip 1:
Joe Doucett (Josh Brolin) turns up at Chucky’s, a dimly lit bar run by his longtime friend who also happens to be one of the last people to see him before the disappearance. Chucky (Michael Imperioli) doesn’t recognize him at first but then welcomes him in, still uneasy. Chucky asks what he could have done to deserve what happened to him. Joe’s phone rings, and an image titled “The Invisible Man” pops up. Joe answers, hesitant, and is greeted by the voice of the film’s central villain, Adrian Pryce (Sharlto Copley). I heard very little of this last bit, but Pryce says some evil things to Joe and shakes him up.

Clip 2:
We are in Chucky’s bar again, and Joe is at a stool while the bar is populated with normal folks. Joe gets a call from Pryce again but this time realizes he is in the room. The second he sees him on the phone, he grabs a weapon and rushes toward him, only to be quickly manhandled and beaten down by Pryce’s female bodyguard, Haeng-Bok (Pom Klementieff). She’s quick to act and brutal in her execution. Joe is on the ground in seconds.

Clip 3:
This one was shown during the panel with a little intro from Josh Brolin brandishing a cardboard looking hammer he waved around with no small amount of amusement as he thanked the fans at NYCC for their support and hoped they’d like what they were about to see. Trust me when I say NO ONE was prepared for what they were about to see.

A bearded man arrives to pick up a large order of food from a busy Asian restaurant. Joe Doucett is watching. As the man leaves, Joe is in pursuit. As he speeds off in a black SUV, Joe snatches a hammer from a woman in an alley and steals a delivery bike to follow. Soon after, the car reaches its destination and Joe slips in, unnoticed. Joe takes out the first guard with barely a sound and confronts the bearded man in a freight elevator, sending his hammer crashing through his skull with a quick eruption of CG blood. A man looks over to the elevator camera monitor and sees Joe, whose face is shielded by all the food packages. The young guard tells him to drop the food on the table and Joe does so in a casual manner, then walks over to the guard and seems to stare into his face for a moment before burying the claw of the hammer in his skull. The motion was so forceful, it takes a little wiggle to get it back out.

Soon after, we see Chaney (Sam Jackson) sitting before a wall of monitors, all with prisoners like Joe. He says, “Feeding time for the animals,” and then he gets aggravated that the person who seemingly is to be doing the feeding has not arrived. He goes to check on the situation and is taken down by Joe. In the next scene we see Chaney is flat on his back. He angrily demands to be let free so they can fight man to man. Joe’s answer is to draw a dotted line on his neck. Chaney suggests he think about what he’s doing, prompting the badass response we know so well from the trailer: “I’ve been thinking about this for 20 years.” Then we get to see what happens next. Joe hovers over and goes to work. The act he is committing seems strenuous and Chaney is certainly not enjoying it, but you quickly realize it must not be something to cause a quick death as Chaney’s voice remains loud and strong. As Joe pulls back, we see he has not used his tiny box cutter to saw off Chaney’s head like I thought he would, but instead has cut a sliver from his neck. Joe then cuts a second sliver and puts it methodically into a nearby wastebasket. The size of the cut-out, in and of itself, is unnerving. Chaney suggests if Joe stops now, Joe might be able to get out of there alive. Joe seems amused by this and replies he’ll stop when he can pull off Chaney’s head with his bare hands.

End scene!!

This new version of Oldboy promises to follow the manga more closely than the original with as much character-driving dialogue as there is frantic, sudden, brutal violence. I, personally, can’t wait to see how this turns out!

New York Comic Con 2013: Oldboy Footage Description and New Stills!

New York Comic Con 2013: Oldboy Footage Description and New Stills!

New York Comic Con 2013: Oldboy Footage Description and New Stills!

Starring Josh Brolin, Elizabeth Olsen, and Sharlto Copley, Oldboy was directed by Spike Lee from a script by Mark Protosevich (I Am Legend, The Cell, Thor). The film was produced by Roy Lee, Doug Davison, and Nathan Kahane. It arrives in theatres on Wednesday, November 27th.

OLDBOY is a provocative, visceral thriller that follows the story of Joe Doucett, a man who is abruptly kidnapped and held hostage for 20 years in solitary confinement, for no apparent reason. When he is suddenly released without explanation, he begins an obsessive mission to find out who imprisoned him, only to discover that the real mystery is why he was set free.


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Three 1970’s Horrors That Remind Us Why We Enjoy Getting Mental at the Movies



Crazy is always creepy in horror movies, and it usually comes in two forms: insane escapees or the sane among the crazies.

It’s one storytelling technique when a mental patient escapes and enters our own ordered, peaceful world. It’s quite another when a film drops us in the middle of an asylum to cope with crazy people who, in those movies, always seem to want to stab us.

First off, let me say the mentally ill are one of the most misunderstood and scapegoated minorities in movie history. Other stereotypes have disappeared from the silver screen over the years, but it’s still convenient to blame a killing rampage on an escaped mental patient. We’ll just chalk this up to lazy writing and move on.

Yes, “mentally ill” has become shorthand for “bloodthirsty and lacking in social etiquette.” Kudos to “American Horror Story’s” second season, subtitled “Asylum,” for adding some subtlety to that convention. Seventies horror movies, though, were riddled with stereotypes, enough so that when we travel back to that groovy and dangerous time, we can merrily ignore them and enjoy the scare.

Silent Night, Bloody Night (1972) is a fairly standard who-is-the-killer flick that turns terrifying in the last 20 minutes, when all hell breaks loose and the inmates, quite literally, take over the asylum. There is a nice, icy buildup throughout.

The populace of a small town are suspiciously nervous when a local mansion that had once been a mental institution goes up for sale. Mary Woronov (Eating Raoul) plays it numbingly cool throughout, until the climax, adding punch to the big reveals.

Also known by Night of the Dark Full Moon and Death House, this film is directed by Theodore Gershuny and written by Gershuny, Jeffrey Konvitz and Ira Teller. It’s always a good sign for consistency of vision when the director is also a writer.

I don’t know a lot of people raving about this film. It’s certainly not perfect, but a solid effort in that ’70s B-movie category, seriously creepy, and worth watching. Recommended.

Asylum (1972) has everything I enjoy about well-done, early ’70s horror: a fairly simple premise, creepy sets, and solid acting. The anthology setup works well here, stringing four Robert Bloch stories together. Peter Cushing and Herbert Lom show up along with Britt Ekland and Barbara Parkins.

The effects are not at all bad. Hope you view a cut of this movie that shows a stagehand rather obviously moving a prop in the “Frozen Fear” segment because those kinds of mistakes are fun to see.

Directed by Roy Ward Baker, Asylum delivers like any of the Amicus horror movies: similar to Hammer in that you know you will be entertained. Recommended for classic pre-slasher horror movie fans.

Then there’s Don’t Look in the Basement (1973). I was smart enough to see this in a theater when it came out… but dumb enough to bring a date. What a terrible first date movie!

On the other hand, Don’t Look in the Basement is a very creepy horror film due to several elements that come together beautifully:

– First, it has that grainy, cheap look to it like many early ’70s B-movies that, for me, adds to the mood. That look tells me positively this is not a big studio production. “Oh, this is one of THOSE movies,” says my head. “Anything can happen!” Tension builds.

– Second, it has an obviousness to it that can be unnerving when filmed correctly. Hitchcock used to do this well: We in the audience know the danger, but the hero on screen is completely clueless. We know from the minute the blonde nurse accepts her new job she shouldn’t be there — heck, we knew she shouldn’t even have come into the house!

– Third, most all of the characters may be insane, but that doesn’t mean they don’t have their own distinct stories, personalities and phobias. Crazy is not random. As Grant Morrison wrote in Batman: Arkham Asylum, the thoughts of the insane are not unpatterned. Each person has his or her own complex view of reality, no matter how wrong that perception might be.

There’s also a good deal of blood. And a surprise reveal. Don’t Look in the Basement has been recognized as a B-movie classic, and I enthusiastically recommend it here.

Three 1972 to 1973 horror movies and all three recommended! You may or may not disagree, and if so, I want to hear why! What are your favorite asylum flicks? Comment below or on social media.

Gary Scott Beatty’s graphic novel Wounds is available on Amazon and Comixology. Is madness a way to survive the zombie apocalypse? The strangest zombie story ever written, Wounds throws us into a world where nothing is beyond doubt, except a father’s concern for his wife and daughter. If you enjoy that “What th-?” factor in graphic novels, you’ll enjoy Wounds.

For more from Gary Scott Beatty, visit him on Twitter and Facebook.

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Samuel L. Jackson Wraps on M. Night Shyamalan’s Glass



That was fast. It was just two weeks ago that we shared your first on-set look at Samuel L. Jackson as Mr. Glass in M. Night Shyamalan’s upcoming Unbreakable/Split sequel, and today we have news that Jackson has wrapped his role.

The update comes to us directly from Shyamalan himself who took to Twitter to let us all know that not only has Sam Jackson wrapped his role in Glass, but there is only one week left of filming overall.

Here is his tweet:

Does this mean the crew has gathered up enough footage to give us all a teaser trailer in the near future? I would think so, so let’s not be too surprised if that’s just what we get before the end of the year.

Fingers crossed.

The film is written & directed by M. Night Shyamalan and stars Bruce Willis, James McAvoy, Anya-Taylor Joy, Sarah Paulson, Spencer Treat Clark, Charlayne Woodard, and Samuel L. Jackson as Mr. Glass.

Glass hits theaters January 18, 2019.


Following the conclusion of Split, Glass finds Dunn pursuing Crumb’s superhuman figure of The Beast in a series of escalating encounters, while the shadowy presence of Price emerges as an orchestrator who holds secrets critical to both men.

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Short Film: Tony Morales’ Hada Will Creep You Out



Here at Dread Central, we are always on the lookout to peep and share cool new horror shorts from around the web. Case in point, director Tony Morales’ Hada.

The short film was selected for 260 festivals and received 50 awards, and you can now check it out in its entirety below.

I watched it this past weekend and there were more than a few shots contained within that chilled my bones. All about those feet moving up onto the bed. Brr. That’s all I’ll say.

Actually, I’ll say a (tiny) bit more: Someone needs to give Morales a shot at one of the new Conjuring-universe films. I think he’d knock it out of the park.

Watch the flick and you’ll see what I mean.

Again, you can check out the short below and then after giving the film a viewing, make sure to hit us up and let us know what you think in the comments below!

You can become a fan of the short film on Facebook HERE.


Tonight Hada comes to visit Daniel because his last child tooth has fallen out. What Daniel doesn´t expect is that his worst enemy is the light.

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