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 Talks Child's Play and the Upcoming Video Game - Dread Central
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Alex Vincent
 Talks Child’s Play and the Upcoming Video Game



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Days of the Dead II is taking place this weekend in Atlanta, and one very memorable face from my childhood is here— Alex Vincent, aka Andy in the Child’s Play series. We chatted a bit about his experiences on the set of Child’s Play as well as TikGames’ upcoming Chucky game.

Alex Vincent
 Talks Child's Play and the Upcoming Video Game

AMANDA: You starred as Andy in the 1988 classic Child’s Play. How did you get the role in the film, and what was the audition process like?

ALEX: I auditioned for Child’s Play in New York City, like many others at the time. I was fortunate enough to get a couple callbacks for the role, and finally I was flown out to LA to audition against two other kids. I remember my mother was in the room with me during the audition, which was unusual, even at 6 years old. We got to the scene where I was supposed to say, ‘Aunt Maggie was a real bitch and got what she deserved.’ I wasn’t comfortable cursing in front of my mom so I pretended I couldn’t remember the lines. I left the room and started crying in the other room. My mom asked me what was wrong, and I told her; she told the producers why I pretended I didn’t know the lines. They were convinced that I had forgotten them and realized well, if he fooled all of us, then he must be able to act! I was offered the role the next day.

AMANDA: How was your childhood different than others while growing up as a child actor on the set of Child’s Play?

ALEX: My childhood was really not much different from others, except for going to NYC for auditioning all the time. When I was making the movies, I got a few months off of regular school, and that was nice. But other than that, life was pretty much the same for me.

AMANDA: While growing up, what did your friends and family think about you playing Andy and the movie as a whole?

ALEX: My friends and family were always very supportive of my role in the movies. It wasn’t until I got out of high school that I got a little bit of grief from kids that grew up in other towns. But all in all, everyone was supportive.

AMANDA: You were very young when you starred as Andy in the original Child’s Play. Did your parents allow you to watch horror movies before being cast in the film? What are some of your favorite horror films both past and present?

ALEX: I was certainly allowed to watch my film, and most other films growing up. I honestly have never been much of a fan of the horror genre though.

AMANDA: How did you prepare yourself to play Andy, and did you prepare any differently in the second film? Also, what is your favorite memory from filming the two movies?

ALEX: My favorite memories of working on the films are the times I spent with co-stars and crew involved in the film. Catherine Hicks and I were very close, as well as with my acting coach Margrit. She helped me a great deal in getting prepared for the role. As far as what those preparations included, its not anything in particular that I remember clearly.

Alex Vincent
 Talks Child's Play and the Upcoming Video Game

AMANDA: Since Chucky was such as big part of your life, what’s the craziest nightmare you can remember having about everyone’s favorite Good Guy?

ALEX: Believe it or not, I have no memory at all of ever having a dream with Chucky in it whatsoever.

AMANDA: There is currently a Child’s Play video game being developed by the company TikGames. Have you been contacted about this project? Are you a gamer, and do you plan on picking up the title once it is release?

ALEX: I actually have not heard anything about a Chucky video game. I’ve been playing video games since Atari, but not all that much in recent years. I still enjoy a good video game from time to time, and if a Chucky one was released, I’m sure I’d give it a shot. Haven’t gotten to kill that little bastard in a while so that would be fun.

We’d like to thank Alex Vincent for taking the time out of his hectic schedule to sit down and answer a few questions. You can also find Alex Vincent at Days of the Dead II this weekend as a special guest. For more information on Alex and his projects, visit the official Alex Vincent website and learn more on the Chucky game at the official TikGames website.

From the Days of the Dead Press Release
After a very successful first outing in Indianapolis, IN over last year’s July 4th weekend, DAYS OF THE DEAD has set its sights towards expansion and is bringing its highly acclaimed show to the Wyndham Peachtree Conference Center in Peachtree City, GA, March 9th-11th, 2012, in what marks the first ever horror convention to come to the greater Atlanta area!

Fans will be treated to a full weekend of horror related festivities and events, including film screenings, celebrity autograph signings and Q&A panels, a costume contest, tattoo contest, seminars, a collectibles dealer room, and more!

Special celebrity guests scheduled to be present to meet and greet fans include GARY BUSEY (Silver Bullet, Point Break), “ROWDY” RODDY PIPER (They Live, WWF Legend), SID HAIG (Devil’s Rejects, Spiderbaby), BILL MOSELEY (Texas Chainsaw Massacre 2, Devil’s Rejects), LINNEA QUIGLEY (Return of the Living Dead, Night of the Demons), DEREK MEARS (Friday the 13th), PJ SOLES (Halloween, Carrie), BARBARA CRAMPTON (Re-Animator, From Beyond), TYLER MANE (Rob Zombie’s Halloween), a WALKING DEAD reunion, and MUCH MUCH MORE!

For more information visit the official Days of the Dead website.

Alex Vincent
 Talks Child's Play and the Upcoming Video Game

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LIQUID SKY Blu-ray Review – You Don’t Need Acid For This Mind Melting Trip



Starring Anne Carlisle, Paula E. Sheppard, Susan Doukas, Otto von Wernherr

Directed by Slava Tsukerman

Distributed by Vinegar Syndrome

Succinctly summing up a slice-of-life avant-garde feature film can be difficult when the picture relies heavily on the audio-visual experience and not necessarily the story. Liquid Sky (1982) is an acid-fueled trip through the emerging New Wave movement, viewed through the vapid lens of the fashion world, where drugs and sex are a commodity to be frequently bartered. The film juxtaposes the grimy and gritty streets of New York City with liberal use of bright, flashy neon, creating an aesthetic that both revels in the post-punk subculture and looks forward to the eye-popping pastels that would come to define the ‘80s. Within this kaleidoscope is a story about androgyny, rampant drug use, pleasures of the flesh, sexual abuse, and tiny invisible aliens that subsist on the endorphins released when people either get high or get down. As director Slava Tsukerman states in the extras, the idea was to craft a unique visual palette, the likes of which cinemagoers maybe hadn’t seen before; in that respect, Tsukerman capably succeeded. This is true subversive cinema, not for the mainstream.

Margaret (Anne Carlisle) is an androgynous NYC fashion model, looking to get her big break into certifiable stardom. Her nightclub fashion shows bring out all the fringe of the city – drug users, sexual deviants, flamboyant personalities, and her rival, Jimmy (also Carlisle), who is a fiend for cocaine. Margaret’s girlfriend, Adrian (Paula E. Sheppard), is a coke dealer whom Jimmy constantly harasses for a quick high, despite the fact he never has any money. Sex is his usual currency, consensual and otherwise. For reasons unknown, though easy to glean, a tiny UFO has landed on top of the apartment building in which Margaret lives, the visitors here to feast on endorphins released by the brain during drug use… or explosive, orgasmic sex.

Jimmy has lunch with his mother, Sylvia (Susan Doukas), a television producer who he sees as little more than a blank check. Sylvia also happens to live across the street from Margaret’s building, making it the perfect vantage point for scientist Johann Hoffman (Otto von Wernherr) to observe the till-now undiscovered, minute aliens and their spacecraft. Margaret, meanwhile, finds herself in one compromising sexual position after the next, often against her will, though these (let’s be honest here and call them) rapes tend to end with her perpetrators dead, a thin crystalline sliver embedded within their skulls; brain removed. Margaret doesn’t quite understand why, but the frequent cause and effect makes her imagine she has unbridled power, able to kill anyone that has sex with her. Eventually, Margaret comes to use this “power” to destroy anyone who crosses or uses her, which as the film will show is a significant number of people. Little does she know, all this time her saviors have been invisible to the naked eye and living atop her building.

The above plot synopsis barely scratches the surface of the weird and insane places this film travels. The biggest takeaway here should be the ground Tsukerman was breaking, which feels very much in the vein of something Andy Warhol might have been behind. The cast is comprised of societal outcasts; populated by homosexuals, ambiguous individuals, gender-fluidity, heroin users, club cronies, kink, vulgarity… all things that in no way conform to societal standards of normality. Carlisle pulls double duty playing two characters – one reprehensible, the other vaguely sympathetic – yet both fall under the rubric of blurred lines; they embody qualities of both masculinity and femininity. Tsukerman embraces the abstract and absurd, delivering a film that is fiercely independent and wholly incapable of direct categorization.

Driving this tour de force is a cutting edge synth score that is constantly active and consistently weird. A trio made up of Tsukerman, Clive Smith, and Brenda I. Hutchinson composed the soundtrack, and it sounds alien and otherworldly while also capturing the essence of the New Wave. The electronic cues and deep bass beats are energetic and repetitive, often making use of bizarre time signatures. Large portions of it reminded me of John Massari’s stellar synth score to Killer Klowns from Outer Space (1988), as the synthesizer sounds are nearly identical in some passages. The grooves are infectious and wonderfully lo-fi, adding an audible assault to complement the visual feast.

Still, Liquid Sky is something of a challenging watch, especially a first-time viewing when expectations are impossible to calibrate. Because Tsukerman purposely made his film so esoteric and obtuse, it can be tough to settle into a comfortable viewing mindset because so much of the film is uncomfortable and unconventional. The acting quality is passable enough that viewers may find themselves watching the film less as a veritable feature and more a staged, lengthy piece of performance art, which it is in certain respects. Liquid Sky doesn’t lampoon the period or people associated with it, though it does offer an exaggeration of current trends. One thing is for sure, this is bespoke filmmaking at its core and a shining example of the marriage between emerging trends and psychedelic euphoria. Mind blowing stuff.

Vinegar Syndrome is consistently lauded for their A/V work and, boy, did they ever knock this one out of the atmosphere. The 1.85:1 1080p picture is pristine, making it almost impossible to believe this is a low-budget indie from ’82. The original 35mm negative has been given new life via a 4K scan, with the resulting image looking nearly flawless. Aside from literally two or three white flecks the picture is immaculate. Film grain has been smoothed out and minimized without the use of waxy DNR. Fine detail is exquisite, adding a sense of true life to these shiny and squalid environments. Colors are richly saturated and pop off the screen, just as eye-catching neon might do in real life. Color filters are used frequently, bathing the image in hues of blue or green or whatever color fits the intended mood. Skin tones are spot-on and accurate. There is nothing worth complaining about making this one of the finest images Blu-ray is capable of producing.

Although the audio is a single-channel English DTS-HD MA 1.0 mono track you’d never know it from the sonic quality. The synthesized score is catchy and constant, causing the film’s soundfield to be brimming with life at every moment. The aggressive mix and high levels cause a mild sensation of discomfort and unease for viewers, ensuring the picture is never viewed too comfortably. Dialogue is understandable and totally clean, with no indication of hissing or pops at any point. Subtitles are available in English.

An introduction is available before the feature begins, with director Slava Tsukerman giving viewers a brief greeting along with praise for Vinegar Syndrome’s new home video edition.

An audio commentary is available, featuring director Slava Tsukerman.

The disc also contains an isolated soundtrack, highlighting that groundbreaking score.

Interview with Slava Tsukerman is a recent chat with the Russian director, who touches upon his career, influences, and the legacy of his most endearing creation.

Interview with Anne Carlisle is a similarly themed chat, with the leading lady discussing topics ranging from her early beginnings to where her career has taken her now.

Liquid Sky Revisited is a nearly-hour long documentary covering all aspects of the film’s production, with Tsukerman delving into every bit of minutia behind the production, genesis, inspirations, etc.

Q&A from 2017 Alamo Drafthouse Yonkers Screening, featuring Tsukerman, Carlisle, and co-composer Clive Smith.

A lengthy reel of outtakes, alternate opening sequence, rehearsal footage, multiple trailers, and a still gallery complete the wealth of bonus features found here.

Additionally, the cover artwork is reversible allowing for display of the original key art or newly commissioned artwork.

Special Features:

  • BRAND NEW 4K RESTORATION OF THE FILM from the 35mm original negative
  • Brand new commentary track with: Slava Tsukerman (director)
  • Video interview with Slava Tsukerman
  • Video interview with Anne Carlisle (actress)
  • Director’s introduction
  • “Liquid Sky Revisited” (2017) – 50 minute making-of documentary
  • Q&A from a 2017 Alamo Drafthouse Yonkers screening with: Slava Tsukerman, Anne Carlisle and Clive Smith (music)
  • Isolated soundtrack
  • Never before seen outtakes
  • Alternate opening sequence
  • Behind the scenes rehearsal footage
  • Multiple theatrical trailers
  • Still gallery
  • Artwork designed by Derek Gabryszak
  • Reversible cover artwork
  • English SDH subtitles
  • Liquid Sky
  • Special Features


Supremely psychedelic and infinitely eccentric, Liquid Sky was 1983’s most successful independent film and for good reason: it is impossible to categorize and there are few films that color outside the lines so vividly and uniquely. You can’t explain it or understand it; you just have to see it. Vinegar Syndrome have raised the bar with their impeccable a/v quality and wonderful selection of extras.

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Even Sarah Connor Hated TERMINATOR: GENISYS



I think it’s safe to say there aren’t many people out there that were fans of Terminator: Genisys. The film was kind of a major mess and it looks like life on the set was as well.

That film’s new Sarah Connor, Emilia Clarke (Game of Thrones) was recently speaking with Vanity Fair about some other crap and then the conversation swung around to the failed reboot of the Terminator series. And Clarke had some interesting things to say…

First, she told the magazine how she was “relieved” when the film bombed at the box-office so she didn’t have to sign up for further sequels. And then Clarke says she watched frequent Game of Thrones director Alan Taylor “get eaten and chewed up on Terminator. He was not the director I remembered. He didn’t have a good time. No one had a good time.”

Damn girl, tell it like it is! Got to respect the woman for not holding back and sugarcoating things under the blanket of “creative differences.” Hell, maybe Clarke will be able to do the same regarding all the drama surrounding that new Lando: A Star Wars Story movie one day.

What did you think of the film? Make sure to hit us up and let us know what you think in the comments below or on Facebook, Twitter, and/or Instagram!


When John Connor (Jason Clarke), leader of the human resistance against Skynet, sends Kyle Reese (Jai Courtney) back to 1984 to protect his mother, Sarah (Emilia Clarke), from a Terminator assassin, an unexpected turn of events creates an altered timeline. Instead of a scared waitress, Sarah is a skilled fighter and has a Terminator guardian (Arnold Schwarzenegger) by her side. Faced with unlikely allies and dangerous new enemies, Reese sets out on an unexpected new mission: reset the future.


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Idris Elba Directs and Stars in Netflix’s HUNCHBACK OF NOTRE DAME



Like many of you out there, Idris Elba is one of my favorite actors working today. And it is with this in mind that I’m excited by today’s news that says Elba will be tackling The Hunchback of Notre Dame for Netflix.

THR reports that Elba will not only star in the film, but he will be directing and producing the music described as a “sonic and musical experience” as well. That’s a lot of hats there, Gunslinger.

For those who might be unaware, The Hunchback of Notre Dame is an 1831 novel by Victor Hugo that follows Quasimodo, a hunchback, who falls in love with the Gypsy Esmeralda. Michael Mitnick (The Current War, The Giver) will write the modern-day retelling with Fred Berger (La La Land) and Brian Kavanaugh-Jones (Midnight Special) producing along with Elba and Ana Garanito.

Are you excited by this news? Make sure to hit us up and let us know what you think in the comments below or on Facebook, Twitter, and/or Instagram!


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