Color Out of Space is the Adaptation Arkham Deserves

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Wicked Horror is the author of Color Out of Space is the Adaptation Arkham Deserves. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

It is The Color Out of Space which H.P. Lovecraft regarded as his favorite among his tales. That’s high praise from an author known for being overly critical of his work. Enter director Richard Stanley. Stanley was introduced to the writings of Lovecraft by his mother Penny Miller. When she was dying of cancer, the young Stanely would sit at her side reciting their favorites. He notes that The Color Out of Space has “always been a part of his psychological make up”. This is also his return to Hollywood since the events behind the 1996 adaption of H.G. Wells’ The Island of Doctor Moreau. All of this and more is revealed in the documentary Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau. I’d highly recommend anyone interested watch this before viewing Color Out of Space (trailer here). With a story stamped with the approval of the Master of Macabre himself and the deep emotional connection present between Stanley and Lovecraft’s work, you should be as excited as I was to watch this film. I loved it and I will surely get to why soon. And it may or may not have a lot to do with Nicolas Cage. Regardless of your opinion on Cage, there’s no arguing that when he is in the zone, he in the zone. However, there is, I feel, only one way to begin here. Stanley knew just as Lovecraft knew.  West of Arkham the hills rise wild, and there are valleys with deep woods that no axe has ever cut. There are dark narrow glens where the trees slope fantastically, and where thin brooklets trickle without ever having caught the glint of sunlight. On the gentler slopes there are farms, ancient and rocky, with squat, moss-coated cottages brooding eternally over old New England secrets in the lee of great ledges; but these are all vacant now, the wide chimneys crumbling and the shingled sides bulging perilously beneath low gambrel roofs. -H.P. Lovecraft, The Colour Out of Space (1926) One of the most difficult aspects of adapting cosmic horror and Lovecraft specifically to film, for me, is the removal of the pulse of the prose. The monsters, gods, multi-dimensional deities themselves are all unnamable and amorphous. The fear emanates from the fingers of its creator. The dread rhythm of the atmosphere and setting pull the reader into a deadly dance. To give a face to the faceless and to name the unnamable is to remove a bit of the mystery. And as the adage goes, ” The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” Related: Things Unseen: Why it’s so Hard to Adapt H.P. Lovecraft to Film Color Out of Space opens appropriately with the words of the writer and the archaic roots and rivers of the deep woods of Arkham. From the inaugural scene, the atmosphere is set. And you can feel it. For fans of the mythos, you will be happy to know Stanley slyly tosses in our favorite book of the damned The Necronomicon and makes you wonder if it means everything to the plot or nothing at all. The movie is shot beautifully and the otherworldly Color Out of Space, while alluring, still exudes oddness. This story works so well as an adaptation because it is the setting itself that becomes the antagonist. Does that leaf look a little… different? The wind doesn’t feel quite the same. Is the world around you changing or are you losing your mind? I’d argue those two aren’t mutually exclusive.  Also See: Mandy is Metal AF [Blu-ray Review] As a result, Thomas Gardner (Cage) and his family is forced into a situation where their home has now become just as foreign as the depths of deep space. Besides the promise of potential madness, Color Out of Space offers several slices of dark humor. I found myself laughing hysterically at a few scenes. It’s not something you expect going in, but it’s so well done, you want more. Thomas Gardner is so out of touch before things get weird, you feel like you’re losing your mind along with this crazy guy. Daughter and witch Lavinia (Madeleine Arthur) along with sons Jack and Benny (Julian Hilliard and Brendan Meyer) slowly succumb to the sickness of the land as their mother Theresa (Joely Richardson) and father spearhead their way to crazy-town. Cage is at his best when he’s crazy. Welcome to Arkham. WICKED RATING: 10/10 Director(s): Richard StanleyWriter(s): Richard Stanely, Scarlett AmarisStars: Nicolas Cage, Joely Richardson, Madeleine Arthur, Brendan Meyer, Elliot Knight, Tommy ChongRelease: January 24th, 2020Studio/ Production Co: SpectreVision, XYZ Films, ACE Pictures EntertainmentLength: 111-minutesLanguage: EnglishSub-Genre: Cosmic Horror

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Rob Zombie’s 3 From Hell Comes to Shudder in Time for Valentine’s Day!

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Wicked Horror is the author of Rob Zombie’s 3 From Hell Comes to Shudder in Time for Valentine’s Day!. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Rob Zombie’s 3 From Hell, has found its exclusive streaming home on AMC’s horror subscription service, Shudder! The film will make its debut in February 13th. Just in time for Valentine’s Day viewing with that special horror fan in your life. In this latest outing with the Firefly Family, we find Baby, Otis, and Captain Spaulding behind bars after barely surviving a shootout with police. But evil can only be contained for so long. After teaming up with Otis’ half brother, the infamous clan is set loose to unleash a new wave of death and depravity. 3 From Hell is written and directed by Rob Zombie. It is produced by Mike Elliott and Zombie. The film stars Sheri Moon Zombie, Bill Moseley, the late Sid Haig, Richard Brake, Dee Wallace and Danny Trejo.  Related: Read Our Justin Young’s Review of the Film Right Here! Follow us on social media: Twitter, Facebook, Instagram, and YouTube!

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Helen Lyle Will Feature in the Candyman Reboot

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Wicked Horror is the author of Helen Lyle Will Feature in the Candyman Reboot. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

It’s been a little while since we got any news about the upcoming, hugely-anticipated Candyman reboot-quel. But, off the back of the legendary Tony Todd confirming he’s returning in an as-yet-undisclosed role, we now know someone else from the beloved movie will be coming back alongside him. According to Bloody Disgusting, Helen Lyle, the character made famous by Virginia Madsen in Bernard Rose’s original nightmare-starter, will be a main component of the new Candyman. It’s not yet clear whether Madsen will be taking part in Nia DaCosta’s upcoming movie, but BD confirmed Lyle will be played by Cassie Kramer. Kramer joins Aquaman‘s Yahya Abdul-Mateen II in the flick which is co-written and produced by horror hero Jordan Peele. The story reportedly takes place in the same neighborhood as the  original film, a now-gentrified section of Chicago where the Cabrini-Green housing projects were originally located. The upcoming Candyman reboot, described as a “spiritual sequel” to Rose’s film, fills us with both excitement and anxiety. First off, it’s being helmed by DaCosta, whose debut, Little Woods, was a startlingly self-assured calling card. But, without Tony Todd as the titular character, is it really a Candyman movie? To be fair, nobody has explicitly confirmed Todd isn’t returning as his most famous character, but no news isn’t necessarily good news when it comes to horror remakes (just ask Kane Hodder). Abdul-Mateen II was initially announced as Todd’s successor, but DaCosta clarified those reports with Collider: It’s been slightly misreported. I can’t say what’s happening in the film because we want it to be a surprise, but he’s not replacing Tony Todd Likewise, speaking to Forbes, Todd himself assured fans there was nothing to worry about, because the project is in the right hands: In Jordan Peele’s case I really like what I’ve seen of his work so far. I have full confidence in that remake being in competent hands and he and I have talked. I can’t say anything further than that, but I think the fans are going to be happy Most tantalizingly, a video posted by Sofa King Cool magazine, taken from an interview with the great man at Nickel City Con, gave us even more reason to hope Todd will be involved in the upcoming flick proper. The Horror Icon once again reiterated his support of and love for Peele, noting he was “a little concerned” at first but was happy to receive a phone call from the Get Out director while on location for another movie. Todd then teased fans on what to expect from his involvement in the remake: It’s going to be an applause worthy moment… He also, once again, reiterated his undying love of Candyman, noting how “flattering” it is people still care about the movie nowadays. Todd also argued that anything that could bring renewed attention to the original could only be a good thing. The plot of the upcoming movie is being kept tightly under wraps, but we do know Teyonah Parris (Chi-Raq, If Beale Street Could Talk) will also feature, as the girlfriend of an art dealer who becomes obsessed with the Candyman legend. Judging by Todd’s recent comments, he might very well be appearing as the entity himself again. The Candyman reboot hits theaters on June 12, 2020. Stay tuned to the site for more info on the movie as the date draws nearer. Follow us on social media: Twitter,Facebook, Instagram, and YouTube.

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Four Horror Sequels That Cursed Their Own Franchise

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Wicked Horror is the author of Four Horror Sequels That Cursed Their Own Franchise. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

When a horror movie is hugely successful, sequels are an inevitability. Quickly after that, it can blossom into a franchise. Typically, it doesn’t take long for the films that follow to become convoluted. Sequels are pumped out on a regular basis with only the vaguest regard for overall quality and generally no attempt at cohesion for the series at large. Sometimes these sequels wind up making it harder for the franchise to continue. Other times, they just drive the ongoing plot into a corner or maybe they present a story that is hard to follow up. This can come about in many different ways. Filmmakers who don’t understand the material or know what direction to take the series in can often mean the death of a property. Other times, it might just come down to a fickle audience that isn’t ready for something new. Here are four horror sequels that cursed their own franchise. Halloween: The Curse of Michael Myers This one is obvious. While I admire its ambitions, it didn’t work. It’s actually famous for how much it didn’t work. But its tough to blame it on any particular person or even a single group of people. Curse of Michael Myers inherited its problems from Halloween 5, which introduced random plot elements it had no intent of tying together, leaving a mess for the next person to clean up. The sixth film did the best it could at trying to tie together the series’ plot holes and it deserves credit for that. There was nowhere to go after this overly intricate storyline and Halloween: H20 essentially had to unofficially reboot the franchise in attempt to get back on track. Related: The Curse of Michael Myers isn’t Actually a Bad Film: Here’s Why Wes Craven’s New Nightmare  Wes Craven returned to the Nightmare on Elm Street franchise a decade after he made the original with New Nightmare, which is one of the best of the franchise and one of the best horror movies of the 1990s in general. It’s an incredible, fascinating film. But it actually hurt the series overall. People, at the time, didn’t want a commentary on the movies they just wanted to see Freddy back in action. While New Nightmare did have that, it wasn’t enough to appease movie goers and the film didn’t make much at the box office. It was a great picture, but because of dismal box office returns and a major plot departure, it made a follow-up virtually impossible. After that, it was nine years before Freddy vs. Jason would finally get off the ground. Related: New Nightmare was a Sequel Ahead of its Time [Retrospective] Texas Chainsaw Massacre: The Next Generation  The Texas Chainsaw Massacre series has never been much for continuity. Each movie is completely different from the last while, at the same time, being a vague remake of the first. Next Generation is the worst offender though. It was made after the third had a terrible run at the box office and was directed by original co-writer Kim Henkel to try and restore the series to its former glory. It failed miserably. Despite featuring both Matthew McConaughey and Renee Zellwegger, it was a totally nonsensical entity that suggested the whole series was actually part of an Illuminati, possibly extraterrestrial plot to maintain control over life and death. This ended the original franchise. Remakes, a prequel, and a soft reboot have followed with varying degrees of success. Also See: Script to Pieces: Beyond the Valley of the Texas Chainsaw Massacre Jason Goes to Hell: The Final Friday  This one’s tough because the intent was to end the Friday the 13th series. But it was also planned for Freddy vs. Jason to follow fairly quickly on its heels, as is evidenced by the ending. But Freddy vs. Jason wound up not happening until ten years later. Jason Goes to Hell was so different from what people were expecting that it hurt the property more than it helped. While the crossover had its share of development problems, Jason Goes to Hell did little to help keep Jason alive in the public consciousness. Related: Why Jason Goes to Hell is Worth Another Look Follow us on social media! Twitter, Facebook, Instagram, and Youtube.

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Overlooked Horror Franchises That Need More Love

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Wicked Horror is the author of Overlooked Horror Franchises That Need More Love. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Most horror fans discover the genre through the major monsters. If it’s not the likes of Freddy Krueger, Jason Voorhees, Michael Myers, Leatherface or Chucky then it will be the classic monsters like Dracula, Frankenstein, or The Wolf Man. And there are even plenty of fans who sharpened their teeth on the Saw and Final Destination franchises. But there are many  largely overlooked franchises that really do not get the love they deserve. Today, we are shining the spotlight on five franchises that rarely get the love they deserve. Sleepaway Camp Released during the mad rush of slasher films of the early 1980’s, Sleepaway Camp offered a different sort of slasher than what people were used to. It’s a quirky, sleazy, sort of horror comedy that—while entertaining—has an uncomfortable tone from beginning to end. Its biggest surprise came when the killer was revealed to be the young female protagonist, who was then revealed to be transgender. Two sequels followed later in the decade. Sleepaway Camp 2 and 3 were very different and very cheaply made but maintained the same quirky sense of humor and outrageous death scenes. And since then, there has been a lost fourth film released, not to mention Return to Sleepaway Camp, which came out in 2008. Also See: The Pros and Cons of Sleepaway Camp as a Trans Narrative Pumpkinhead Pumpkinhead is one of the great movie monsters, period. Even if the sequels never equaled the impact of the first. Even if they got cheaper as they went along, the creature was always a highlight. The whole story has such a rich mythology to it that it’s a shame the follow ups never truly had the budget with which to further explore it. But at least the SyFy Channel original films Pumpkinhead: Ashes to Ashes and Pumpkinhead: Blood Feud were respectful of the original film. Also See: How Pumpkinhead Became a Cult Classic  Subspecies Fans who are nostalgic for the Hammer horror titles or love German Expressionist cinema like Nosferatu should check out Subspecies. It’s sort of a combination of those two great eras of vampire cinema, which were very different and make for an interesting juxtaposition. It’s clunky by today’s standards, but that’s because it was clunky by the standards of the time in which it was released. It’s a feature from 1991 that feels like it was made decades earlier, not only in terms of location and atmosphere but in its camera work and pacing as well. While the series is hammy, it provides an interesting story over the course of the first three films. However, the fourth is almost unwatchable. Related: Why Subspecies is the Perfect Throwback to ’60s Gothic Camp! Critters After Gremlins came Critters and while it gets a lot of flak for being a ripoff, the two movies could not be more different. This one is a total throwback to the ’50s monster movies with an ’80s rock-and-roll sensibility. The little alien porcupine monsters have a distinct look that makes them both frightening and cost effective, given that they’re barely more than hand puppets. As a franchise, Critters is one of the few with continuity between almost every film. The only one that doesn’t carry on directly from the last is Critters 3. And the fourth, while dull, even gives the whole series an almost tragic ending. While the first is great, the second—which is the film debut of genre legend Mick Garris—might actually top it! Related: Critters: A New Binge Falls Short [Review]  Puppet Master It’s amazing how long-running the Puppet Master series is when virtually no one aside from die hard horror fans have heard of it. Now, of course, people will accidentally come across it in the 8-Movie packs at Walmart, but there was a time when these features were out of print. The first was made just as the video market was taking off at the dawn of the 1990’s. It had great rental success and that was surely enough to sustain it for the first two or three sequels, given the fact that they were not made for very much money. While there are more than ten movies in the franchise, there has never been a theatrical entry and the series somehow survived through the death of the video era. It has spawned comics, statues, Halloween costumes and even an action figure series. Yet you would be hard pressed to run across a horror fan who has ever seen more than one of the movies in the entire franchise. It’s a shame, because the first couple are great low-budget slashers and the third crafts a legitimately compelling story. The fourth and fifth are perfect dumb, Ray Harryhausen-style B-Movie fun. After that, however, I’d advise all but the most curious to stay away (save for the more recent Puppet Master: The Littlest Reich). Related: Charles Band Talks Bunker of Blood, Puppet Master, Primevals and More [Exclusive] Follow us on social media! Twitter, Facebook, Instagram, and Youtube.

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Justin Long is Reliably Great in The Wave [Review]

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Wicked Horror is the author of Justin Long is Reliably Great in The Wave [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Justin Long should do more horror movies. His brand of schlubby, down-on-his-luck nerd lends itself incredibly well to situations of escalating tension and terror, all the way back to Jeepers Creepers which, although it bears the distinction of a trailer scarier than the finished product, kick-started a journey for the actor that’s mostly been diverted since (the exceptions being Tusk, Yoga Hosers, and Drag Me to Hell). The Wave, the debut feature from Gille Klabin (he directed a documentary back in 2011, entitled 30 Day Feature Film Challenge: The Movie) from a script credited to Carl W. Lucas (who, it must be noted, has a tenuous personal connection to the story), offers Long the opportunity to do what he does best in a somewhat more psychedelic mold. It’s not a horror movie per se, but it’s horror adjacent, and that will suffice for the time being. Related: Is It Just Me, Or Is Tusk A Really Great Example Of Body Horror? Long is Frank, a well-meaning lawyer on the cusp of a massive promotion that will also, unfortunately, doom some poor family to a life of destitution (this is the part Lucas has personal experience with, via a deceased cousin). His work buddy Jeff (played by Donald Faison with hair, something we haven’t seen since he was shaving his head to keep it real in Clueless) suggests a night on the town and the two head out looking for adventure. After hooking up with a couple ladies in a bar, one of whom is played by A Girl Walks Home Alone at Night‘s Sheila Vand, in one of many ethereal weirdo roles she’s been gifted since that film broke her out, they end up at a rowdy party where Frank is offered a new party drug by a huge, hulking Scot in a fur coat (think Paul Hollywood, but even more intimidating). After being told only that it’s “gonna hit you…like a wave” (see what they did there?) the film smash cuts to the next morning, with Frank totally discombobulated. The Wave is one of those regular-guy-having-a-really-bad-day style movies that only work if we care about the protagonist. Considering, in this case, it’s Justin Long, there’s no problem there. We’ll gladly hop on his back, as the freewheeling camera often does, and ride around Los Angeles getting gradually more confused as he does. The film is dynamically shot to be purposely discomfiting, both for Frank and us. The idea of a drug’s effects never wearing off is a scary one and the onscreen representation is very well done here, particularly when it results in bizarre, dark visions or Vand’s character appears as an angelic-like figure. There’s much talk about chaos, and The Wave is quite a chaotic movie. There are moments when it flirts with Pulp Fiction-esque vibes, particularly in Frank’s interactions with a drug dealer, but this isn’t as cohesive a story as Tarantino’s purposely scattered mini-narratives. Long is very good, as always, and his rapport with Faison is strong — in fact, The Wave would’ve benefited from even more of their double act (put them in another film together immediately, damn it!). Likewise, a blossoming pseudo-romance with Vand’s mystery lady isn’t overplayed, and both actors should be commended for making a close-up French kiss (to share the catalytic drug) not look gross for once. Less effective is Frank’s nagging wife, a tiresome cliche at this point, whose harsh characterization is neither necessary nor justified. Long, as a performer, is schlubby and pathetic regardless — except in Zack and Miri Make a Porno, in which he plays a horny gay porn star to hilarious effect, clearly relishing being allowed to play outside his regular sandbox for once — so he doesn’t need to be further pushed down by an abusive spouse. Making wives the villains is so last decade, last century even, so it’s disappointing to see here. How much you enjoy The Wave will depend on your tolerance for smash cuts, wild detours, and the dismantling of previously established rules of time travel. I’m not sure it all hangs together necessarily, but it’s a pleasurable enough watch, and Long is reliably likeable as always. Catch The Wave on VOD and theatrically on January 17, 2020 Wicked Rating: 6/10  

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Script to Pieces: Tom Savini’s Graveyard Shift

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Wicked Horror is the author of Script to Pieces: Tom Savini’s Graveyard Shift. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Welcome to Script to Pieces, a recurring feature at Wicked Horror where we look at the best, most interesting and at times most unbelievable horror movies that never happened. Sometimes these will be productions that never came together at all, other times, they will be original incarnations that were completely different from what we wound up with. Each should be fascinating in its own way, because the stories of movies that never see the light of day can sometimes be even more interesting than the stories of those that do. Also See: Script to Pieces: Beyond the Valley of The Texas Chainsaw Massacre The 1980s were a heyday for Stephen King adaptations in a way that it would seem we’re close to recapturing at the moment, between the upcoming adaptations for both the big and small screen—not to mention all that have been released in the past few years. Reading through issues of Fangoria and GoreZone at the time, it seemed like there was a new King adaptation announced every day. Many of them didn’t happen, while others—even many of the most famous ones—went through many surprising changes of hand. George Romero was originally attached to versions of Salem’s Lot, Pet Sematary and The Stand before those eventually happened. Don Coscarelli was originally going to do Silver Bullet. Larry Cohen had even penned a rejected version of Salem’s Lot before getting the chance to do A Return to Salem’s Lot, his drastically different sequel. One of the less talked about versions, yet one of the most interesting, is the original incarnation of Graveyard Shift. Based on one of the first stories King ever sold professionally, it centers on a dying Maine mill with a serious rat problem, rats that come in all different terrifying shapes and sizes. Eventually, the story was made into a film from Paramount in 1990, which was hardly well-received at the time but has gained a cult status, to be sure. Also See: Script to Pieces: The Big Screen Buffy Reboot When it was first announced, though, Graveyard Shift was a huge project that seemed designed to have horror fans drooling. Originally, New World Pictures, Roger Corman’s company responsible for Hellraiser and so many others, had purchased the rights to the story. And from the moment of that announcement, Fangoria readers of the day had reason to be excited, because the movie was going to mark the directorial debut of Tom Savini. By this point in the late ‘80s, Savini had already directed a few episodes of Tales from the Darkside. He was even up for Tales from the Darkside: The Movie around the same time as Graveyard Shift, but there was too much in this Stephen King project to pass up. Especially when the script was being written by King himself. During the ‘80s, this wasn’t much of a surprise. King had written the adaptations of his work before and during the second half of that decade he seemed to do it even more, penning Silver Bullet, Cat’s Eye, Maximum Overdrive and Pet Sematary himself. But surprisingly, he also had stories rewritten and sometimes the scripts that he turned in were completely scrapped. This had been the case with 1984’s Children of the Corn, which scrapped King’s script in favor of something a little more upbeat. This is already an insane amount of talent going into an adaptation of a Stephen King short story, but it gets even crazier from there. King’s script was rewritten after a certain point, likely for being too ambitious as the original story is almost Gremlins-esque with its array of different kinds of bizarre rat monsters. But the script was rewritten by someone who you’d absolutely think of as the last person to scale something down or make it less ambitious: Clive Barker. Also See: Script to Pieces: John Landis’ American Werewolf Part II Barker was right at the height of his breakout stardom in the horror community at this point. He’d been championed by Fangoria since the publication of The Books of Blood and had received the career-making quote from Stephen King himself: “I have seen the future of horror and his name is Clive Barker.” On the power of that quote alone, that was enough to make him a clear choice for Graveyard Shift, though it is a little surprising he agreed to do it as his voice is so different from King’s. That’s also, of course, one of the things that would have made it so interesting. Having King, Barker and Savini all come together on this movie would have been absolutely insane to see. Of course, we didn’t actually see any of it. That’s ultimately what makes this development so wild. This is such a long and star-studded gestation for what is now largely known as a minor effort in a long, long list of King adaptations. King’s script was scrapped, as had been previously done before, most notably on Children of the Corn. The new script was written by John Esposito, who would go on to be a producer on Robert Rodriguez and Quentin Tarantino’s From Dusk Till Dawn, as well as a writer on The Walking Dead. The movie was directed by production manager and second assistant director Ralph S. Singleton. It was his only film. As an admitted fan of the schlocky 1990 Graveyard Shift, particularly Brad Dourif’s insane performance, I’m nonetheless more of a fan of King, Barker and Savini and can’t help wondering what that could have looked like. Tom Savini still jumped ship to make his directorial debut on another project at the same time: the remake of his buddy George Romero’s iconic Night of the Living Dead. While that is a largely well-regarded movie at this point, it was a notoriously troubled production for Savini and he has never directed another feature film. Being a huge fan of that remake, I’m certainly glad Savini got the chance to direct it. But I’d be lying if I wasn’t endlessly curious as to just what this adaptation from three of the biggest names in horror at the time might have entailed. Follow us on social media: Twitter, Facebook, Instagram, and Youtube

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