Throughout today we have been running extended versions of our interviews from the premiere of The Woman In Black. One of the most interesting things that came up during those interviews related to Hammer Films plans for the future. During our conversation with Simon Oakes, CEO of the company, he revealed,

“We’re going to look more at our catalogue, our old characters, our old IP (intellectual property) like The Mummy and Dracula, and watch this space”

So, it seems fairly clear what the studio will be making in the fairly near future.

We’ve embedded our video of the full interview below. As well as talking about plans for the future, Oakes also talks about what turning The Woman in Black into a film could bring to the story. The video begins with Exclusive Media (Hammer’s parent company) execs, Marc Shipper, Guy East and Tobin Armbrust discussing the tight timescale they were working on while making the film, as well as just how little they had to change to keep the rating of the movie down to a 12A here and a PG-13 in the US.

If you still haven’t had your fill of all things Woman in Black, check out our review, our red carpet interviews with Daniel Radcliffe & Ciaran Hinds and with Jane Goldman & James Watkins.

Martin Guigui’s new horror thriller Beneath the Darkness has a new poster that hints (and by ‘hints’ I mean ‘sounds the fog horn’) at the horror to come.

The trailer for the film released back in June wasn’t too promising and believing that Dennis Quaid is a sadistic serial killer with his clean-cut All American persona may seem a bit of a stretch, but never fear – the poster is here to show you what a deranged monster he can be:

With Quaid seemingly on the prowl for babies to eat (that or laxatives) and his two younger co-stars looking both fresh faced and suspicious of the clogged up lunatic respectively, all looks to be in order for a meaty and underwhelming clichéd horror offering. But hey, what is horror if not predictable. Speaking of which:

In the film, Ely Vaughn (Dennis Quaid) is a pillar of the community in tiny Smithville, Texas. The town’s mortician, Ely has been revered since his days as the high school’s star quarterback. But since the tragic death of his wife two years earlier, Ely has withdrawn from his neighbours, while local teens spread stories of supernatural goings on at Ely’s mansion—which is also the funeral home. When high school friends Travis (Tony Oller), Abby (Aimee Teegarden), Brian (Stephen Lunsford) and Danny (Devon Werkheiser) decide to check out the rumours. In doing so they stumble on a grotesque, long-hidden secret. The sadistic mortician next door will now stop at nothing to literally bury his past.

Featuring an adversary so angry he can literally bury the immaterial construct of time, it all sounds a little silly. But silly can be fun if done in the right way. Details of the film are a bit thin on the ground but judging from the stills and this poster Dennis Quaid looks to be delivering his menace with a generous side of ham. Which in what looks to be such a formulaic offering is the best you can hope for really.

STYD

Laika Entertainment’s new 3D horror comedy ParaNorman wants you to know that even the misunderstood kids can be heroes with the release of its new one-sheet!

Directed by animation veterans Chris Butler and Sam Fell, and featuring the voices of Kodi Smit-McPhee (The Road, Let Me In), Anna Kendrick (Up in the Air, Twilight Saga) and Christopher Mintz-Plasse (Superbad, Kick-Ass), the film follows a quirky kid who can communicate with the dead and is thrust into a heroic situation when a curse puts his entire town in the middle of a zombie invasion.

Catch up on the trailer and synopsis here if you haven’t already seen it, and check out the colorful one-sheet of what will surely be a fantastic stop-motion 3D adventure below!

Paranorman hits theaters in the US August 17th, 2012.

Empire

The latest stop on the route to the Final Destination is here and if you get your kicks from pretty people featuring in over the top death scenes and playing a thankless game of Hide and Seek with Death himself then you’ll be in for a treat with the fifth in the series.

My review of the film (out on DVD and Blu-ray on Boxing Day) is right here and it’s safe to say that if you’re a fan of the series then you’ll love what’s on offer here.

The clip we have for you today is taken from the Special Features on the disc and concerns a plot twist which does cast the previous four films in a new light, suffice to say that //Spoiler Warning// if you’ve not seen the film please don’t watch this//Spoiler Warning Over//

Phew.

Also the clip has moments in it which make it a touch NSFW. Use brains and caution if necessary.

Proving the mendacious nature of the previous film’s title (or does it?) we gather around the latest ode to over the top death and dismemberment with Final Destination 5 to enjoy the silliest and goriest installment yet. There’s nothing here to shock and surprise, so closely does it follows its forebears, with the usual pretty young things escaping the clutches of death by scarpering from a phenomenally unlikely fatal accident, delivered with glee from the filmmakers to the delight(?) of the audience, who know exactly what’s going to happen.

I have no problem with a film following a formula, and this particular Final Destination does at least try to throw something new into the mix, and if the film is well made with a hint of wit then I’ll play along, however Final Destination 5 falls into the trap of most of the sequels to the original by making this all about death scene after death scene; playing with the audience’s’ expectations is far enough, and par for the course, but every situation becomes about waiting for the gruesome to occur. We don’t care about the story or the characters, it may as well be a nasty YouTube playlist of cinema’s most outrageous death scenes.

The opening scene is impressive and well handled by Steven Quale and he brings a certain solidity to some of the later scenes but there’s nothing that anyone can inject into the film to make it worthwhile. The actors are playing caricatures bound for an early grave in as many pieces as possible, the writers have worked out how to concoct the most dangerous situations and draw out the gory anticipation to breaking point and so it plays on and on.

Bottom line is if you enjoy watching people die in outlandish ways then you’ll love this, and now that we’ve five films in there’s very little to differentiate this from the last four films, and plastering every death from the series in quick succession over the credits is a sure-fire way to underlining the fact that everything between the fatalities is pointless.

**~~~ (2/5)

Extras

The accompanying documentary is the usual celebration of the splatterfest with an array of talking heads enjoying the even more outrageous deaths they put together for the film, and when they come to the twist, which effectively re-writes the whole series, there’s a lot of back-slapping and talk of how this was integral to the whole film. In truth it’s far less about the twist than they make out though it’s worth a watch to see the production team talk about the effects, the scene on the bridge for example, and this is the subject of the special feature that I did enjoy.

There is a breakdown of the film’s opening scene on the bridge which involves no voiceover, no explanation, no complicated discussion of the problems and pitfalls of shooting such a scene. Instead we have the entire scene cut together without any finished effects and green screens everywhere and in a small picture in a corner the completed scene plays along in synchronicity. This is a great way to watch the scene and take in the massive scale of the work which goes into the process. Not deal breaker stuff, but good to have if you’re a fan.

***~~ (3/5)

Here’s a rather nice new poster for Underworld Awakening which comes from the film’s Facebook Page via Latino Review. I have to admit, I’ve never actually made it through an Underworld movie (any of them!) without falling asleep! This fourth installment sees the return of Kate Beckinsale to the franchise after going AWOL in the third.

IMDb gives us a plot and we’ve had one trailer which you can see here.

When human forces discover the existence of the Vampire and Lycan clans, a war to eradicate both species commences. The vampire warrioress Selene leads the battle against humankind.

Thoughts in the comments below please. My thoughts are that I can get another 90 minute doze out of this one or am I missing something?

Underworld Awakening is released 20th January 2012.

This October, it’s nearly 100 years since Universal Studios made its first iconic horror films. Almost a century later Universal are re-releasing all of our favourite, most-watched and instantly recognisable horror films, all spruced up and re-released on Blu-Ray™ and DVD just in time for Halloween!

To celebrate, we’re giving away one goodie bag full of scares for one lucky winner!

1. Pennsylvania
2. Transylvania
3. Birmingham

COMPETITION NOW CLOSED

The small print:

• Open to UK residents only
• Only one entry per household will be counted
• The competition will close 7th November at 23.59 GMT
• The winner will be picked at random from entries received
• No cash alternative is available

The usual T&Cs can be found here. Good Luck!

After an almost ten year absence from directing feature films, John Carpenter is back with The Ward. The film is a mental hospital set horror starring Amber Heard, Lyndsy Fonseca, Jared Harris, Danielle Panabaker and Mika Boorem and it’s really rather good.

I was lucky enough to speak to John Carpenter earlier this year (bear this in mind for the section in which he talks about present/future projects) and you can read the fruits of this interview below. We covered a variety of topics including The Ward, Horror films, monster movies and much more. He also shared with me some very brief but details on the film project he’s currently working on.

Why did you decide to return from a break in directing features with The Ward and what were your reasons for taking the break?

I stopped in 2001 and I was seriously considering not making movies again. They were too hard, they weren’t fun. I think that my last film tanked didn’t help things at all. So I thought, I don’t know, maybe it’s time to quit. Then in 2006 Mick Garris came to me with this Masters of Horror idea. So he conned all of us into going up to Vancuver and shooting an hour television episode and we’d have complete creative control. Anyway, I went up there and it was a lot of fun. I had a real good time directing again. I thought, hell this is so good maybe I’ll give it a try again. The Ward came and along and it was the perfect choice to come back from being away from directing; It was a limited budget, a limited location, a few actors – very very talented actresses I worked with – and so I had a great time.

I thought the whole notion of it was pretty interesting and it was a chance to do something different, I hadn’t really worked with an all girl movie in a long time. It was just a lot of fun. And there was a lot of mood to the film and I thought I could bring something to that.

You’ve talked previously about directing large groups, on the commentaries for The Thing and The Thing From Another World. What was it like getting the opportunity to do it again here?

Originally when I was younger and making films that kind of thing scared me, having all those actors in one thing scared me very much but I got used to it and began to understand actors a lot more. Now, it’s fun. It’s a lot of fun. The dynamics of a scene can change and you see things you haven’t seen before. And if you get really good actors that’s your ticket to success.

What was it like working with the young cast of women?

It just reminds you over and over again, you forget sometimes, just how accomplished actors and actresses are and of all different ages. My cast really brought it every day to the set and boy they’re great. I love working with them. And it’s nice to have pretty girls on set every day. It doesn’t hurt ya.

Did you intend for audiences to piece together the true nature of the plot of The Ward before the end?

There are plenty of clues as to what’s going on but they’re very subtle so you wouldn’t necessarily catch it. I also didn’t want to give away too much. But we were all thinking about, how much does the audience know here, how much should the audience know here about what’s going on here.

How did you decide on Mark Kilian for the soundtrack?

Enormous talent was the first thing. I decided early on, well I decided a few years ago that I don’t think I’m going to do the scores any more. They’re just too hard to do. You get so burned out after directing and editing and then you step into the recording studio and it’s like eurgh no please save me. So I met a lot of composers and Mark was just talented and he read a script and he wrote some music based on what he read and it was just great. I love working with him, he’s a really talented man.

What do you find so appealing about Horror and what do you think is the key to it succeeding?

Horror has been around since the beginning of cinema, since the silent era it’s been around, and it keeps evolving with the times and it plays around the world. In other worlds, a comedy might not play as well in the United Kingdom as it does in the United States. But a Horror movie plays everywhere because the emotions invlved are universal, they’re worldwide. We’re all afraid, we’re all essentially afraid of the same things, we share fears. It unifies us [chuckles], it’s an odd thing but it’s true. In that sense it’s a kind of classical genre that goes beyond boundaries and is adaptable to changing times. There’s nothing bad to say about it.

Do you think more basic, primal fears work better in Horror films?

The loss of identity is a fear that humans have. It is a slightly more sophisticated fear than the creature’s going to come out of the dark and get me, which seems to be a holdover from when we were coming out of the trees. But loss of identity or questions of identity is all fertile ground and this was just fun to do because it played around with a lot of things… I mean, I don’t know, you go by your instincts after a while because that’s all you have and that’s what I did in this case.

What scares you in Horror films?

It’s all about what scared me as a kid. The most vivid memories, the most fondest memories you have of things like music and movies all comes from when you are young and open-minded. you get a little cynical as you get older and you say, no I don’t believe that could happen. But when I was young during the fifties there were a lot of monster movies, monsters from outer space and they were just fabulous, just wonderful. I just loved those movies. And there were a lot of fears of obvious things at the time, there were cold war fears, there were fears of what radiation would do to us, what it would cause in humans if we were exposed to it. Listen man, a lot of that stuff is still true. There may not be giant bugs crawling around attacking us but some pretty horrendous things happen. So it was all those things and I loved those movies. And I did my share of jumping and screaming when I was young.

Would you ever consider making a big monster movie yourself?

I would if they asked me. I’d love to make a Godzilla movie.

I understand you also love westerns. Have you got any plans to make any westerns in the future?

I’m working on a Gothic Western right now. An odd gothic western, an interesting subject matter. We’ll see if we can get it made. These are interesting different times in the movie business these days. And I’m an old-timer, who wants to see a movie by me.

(He was reluctant to give away too much as he is currently working on this film but he also described it as follows.)

…True Grit spliced together with Silence of the Lambs. How’s that?

Is there anything else you’re working on at the moment?

I’m also working on a comic book, which is very interesting. We’ll see if we can set it up. A couple of other things. Right now I’m focused like a laser on the NBA playoffs here in America. Extremely important to me.

You’ve been working on Fear 3 too, right? How are you involved in that?

A friend of mine is a comic book writer, Steve Niles, and he and I have worked on a movie project that never came to fruition ut we had a good time together. He got the gig to work on the script for Fear 3 and he said how would you like to work on it and I said that sounds great. Games are basically scripted out in great detail, about which level and what happens and what the story is. In between the gameplay there’s a lot of cut scenes, where the plot gets discussed, the characters get discussed. We worked on those, we worked on the dialogue primarily.

What’s your starting point with scripts?

It’s always about story first. Always, what’s your story, what’s it about. Then you start dealing with who are the characters, what are the conflicts. Just basic storytelling frankly. I haven’t written my own scripts in a long time because a) I’m lazy and b) other talented people are doing it. That’s it though, you start with a story. What if New York was a prison and we had a character that went in there. Then you start dealing with the other issues.

What’s your process like when writing scripts?

Coffee, cigarettes and a lot of concentration. It’s brutal, you’re a writer, it can be brutal. That’s how I do it.

What’s the importance to you of the ”John Carpenter’s…’ title for your films?

I did that back on Halloween because I though two things. One was it would identify me with the movie so I would become known as a director and I would have a career and survive and pay bills. And there was a popular thing going on in the sixties and seventies, A Film By…, and I thought that’s real pretentious because it’s a film by a whole lot of people. It’s not just one guy up there baking a cake. There’s a lot of people working very hard on a movie. So it was choice I made.

Which of your films do you have the most fondness for?

There’s a lot of them that I hold a lot of fondness for. I tend to think about what was going on in my life during the time I was making a movie. So it’s not simply just the story. Some more than others. there are some I like more than others. I’m just happy when I’m finished with them, I don’t have to think too much about them any more.

What about Lovecraft interests you so much?

I’d love to do a real Lovecraft story. He’s sort of an acknowledged early master of Horror and Science Fiction. His whole story of the things, old ones, the elders are coming back to get us. It’s just right stuff. I really enjoyed his Science Fiction stories a lot. Some of his writing, you have to cultivate a taste for it because he can be a bit much but I love H.P. Lovecraft.

How do you decide on particular technical approaches in your films?

It all depends on the story and that’s where what techniques you use come from the story. It really depends on what the story requires. There isn’t like one template for making a Horror movie or science fiction movie, it depends on what the movie’s about. Let that be your guide and it will never fail you. That’s what I always do. It’s always about the story.

The Ward is released on DVD and Blu-ray on the 17th of October and you can read my review of the Blu-ray here soon.

Unless you’re a four-year-old Skittles scoffer or a bored middle-aged Wii fitter, it’s fair to say that the Kinect has yet to really set the gaming world alight.

For every Child of Eden or Dance Central, there’s a family-friendly (read: predominately pants) Kinect Adventures or Fantastic Pets.

So SEGA’s foray into the world of the Kinect’s first horror game definitely peaked our interest. We like good horror. We like waving our arms about and screaming. And we certainly loved SEGA’s House of the Dead franchise back in the day.

Alas, Rise of the Nightmares is about as scary, tactile, responsive and enjoyable as your average budget funfair ghost ride – full of naff visuals, predictable shocks and guaranteed to leave you feeling shortchanged. Still, it’s not all bad – if nothing else, it’s the first game since Child of Eden to convincingly and blatantly attempt to ruffle the feathers of the system’s already staid set-up.

The story is about as involving and engaging as the zombie-blasting games of old. Whilst zipping through the predictably Gothic looking Eastern European countryside, your missus is wife-napped by a mad scientist, and you set off to find her.

Stepping in front of you moves you forward, while walking backwards moves you back (shocking, that), turning left and right is handled by a rotation of the shoulders, and a pointed lunge forward makes you move quicker. It all works fine in principle, and the ‘wandering along a train’ tutorial is enjoyably kitsch.

Unless you’re Siderodromophobic, it’s unlikely that a game titled Rise of the Nightmares is going to be concerned primarily with train-walking levels. So before too long, on your mission to save said wandering wife, you’re confronted with all manner of undead chompers – which is where both the controls and any sense of enjoyable consistency goes out the window.

When the blood starts to fly, so do your arms and legs. And while that’s an impressive level of engagement to aim towards, the reality is far more infuriating with sensitive controls picking up every minute movement and guaranteed to leave you either having your face munched off or repeatedly headbutting the wall.

The default cop-out mode allows you to progress through sections by limply raising your right hand into the air, and while that works, it also reduces the game to little more than the on-rails House of the Dead games of old. Which, again, was undeniably enjoyable once upon a time. Back in 1997. On the Saturn.

If you can get past the irritating set-up, the action portion is brainlessly brilliant fun. Whacking zombies with an energetic flailing of the arms is enthusiastically infectious, while the array of weapons you have to dismember them with (machetes, chainsaws et al) are suitably visceral. And like all good FPS-ers, you can affect your melee attack by actually kicking out ahead of you (best to stand back from the telly for that one).

It’s certainly a noble experiment, but one that’s ultimately unnervingly shocking and nightmarish for all the wrong reasons – and whether that’s due to its premature release in the Kinect’s relatively foetus-like technological development cycle, or due to a host of lazy, stunted developers is something that only time will tell.

**½~~ (2.5/5)

Rise of the Nightmares is on General Release now, and available on Xbox 360 Kinect.

Final Destination 5 is exactly the roller coaster ride you expect it to be (no pun intended towards the third entry in the series.) This time around Sam (Nick D’Agosto) saves his girlfriend (Emma Bell) and his friends from an untimely death on a collapsing bridge. As with the previous installments, death does not like to be cheated so one by one each of the survivors are killed in the traditional Final Destination fashion.

It’s the Rube Goldberg test of DEATH.

Final Destination, like many of it’s horror film brethren have a list of requirements for every entry: Death, destruction and enough loose screws to wonder if anyone even owns a screwdriver. FD has set itself apart by not having a tangible antagonist like Jason or Freddy, merely “Death” who haunts the kids and ultimately claims them in regular everyday places. While the set pieces are wildly outlandish and improbable, every one of them builds enough tension and suspense to make the gory pay off satisfying.

While I have never seen any of the other four entries, I must say that this film was surprisingly enjoyable. The premise is simple enough for newcomers like me to jump on board without having to think too much about it. I was on the edge of my seat for nearly every twist and turn of the overly theatrical deaths so you get what you pay for. The whole PURPOSE of a film like this is to have fun as you watch each elaborate and creative death scene. I can assure you that nearly every character in the film does not die the way you think they do from what is shown in the ads. Kudos to the marketing department for not spoiling the movie.

Heart and great storytelling have never been the pillars on which this franchise was built, but somewhere in there screenwriter Eric Heisserer was able to sneak in a just little bit of a conflict to make it interesting. In previous installments of Final Destination it was inevitable that all the kids die. So, how do you keep the audience interested at movie five? Simple: the kids can survive if they kill someone else. This moral conflict is central to the third act of the film and for once actually puts a face to something of a villain.

3D was meant for films like this

While the jury is still out on the ultimate fate of the cinematic novelty that is 3D, Director Steven Quale really makes great use of it in this film. As terrifying as the death scenes were, it made all the difference when someone got impaled and I felt like the pole was popping right off the screen. The addition of 3D and the use of 3D cameras truly pushes this film up to 11. The opening credits even set you up for what’s in store where different forms of death; knives/fire/water LITERALLY fly at you and break thru the “glass” of the screen. It’s a bit on the cheesy side of things, but the movie has a level of self awareness that just makes it fun.

Without spoiling the ending there is one final twist that will give fans of the series something to talk about. It also makes the audience wonder where Warner/New Line can take the franchise next as they have said that if this one is successful, even more are on the way. All I know is that this non-Horror fan was genuinely engaged in the events of the film and every single death was a painful one. While they may be following the same formula, they execute the required elements quite well and do their best to keep it dark and away from the cheese.

***~~ (3/5)

Here’s a nice little featurette / trailer from Warner Bros. showing clips from the past 4 Final Destination movies show Death doing his best to kill us! The movie is released August 26th and you can see our review of the movie next week. We also got to attend the US junket so will have interviews with all the main cast from the movie so keep your eyes peeled on all things HeyUGuys!

Final Destination 5 stars Nicholas D’Agosto, Emma Bell, Miles Fisher, Arlen Escarpeta, David Koechner, Tony Todd, Courtney B. Vance, P.J. Byrne, Ellen Wroe, Jacqueline MacInnes-Wood and is directed by Steven Quale.

Synopsis: In “Final Destination 5,” Death is just as omnipresent as ever, and is unleashed after one man’s premonition saves a group of coworkers from a terrifying suspension bridge collapse. But this group of unsuspecting souls was never supposed to survive, and, in a terrifying race against time, the ill-fated group frantically tries to discover a way to escape Death’s sinister agenda.

Source: Digital Spy

More death-defying teens are lining up for Final Desination’s fifth chapter and we’ve got five clips from the film for you today.

We spoke to some of the cast and that interview will be up on the site closer to the release date of the 26th of August and having read the embargoed review there’s something a little different on offer with this outing of the long running (and running out quickly out of stream) series – you’ll have to check back to read exactly what this new rule is but it does change things significantly.

It’s a 3D affair once again and this series shows no signs of slowing down. Here are the clips,

If you’re standing on a bridge that is coming apart at the seams then chances are that not the sharpest tool in the face, and thus it seems a little unlikely that you and your friends are able to pull one over on Death.

But hey – what do I know? Here’s the fourth sequel to Final Destination which will no doubt stick leech-like to the formula of the other films – a premonition of an accident leads a group of pretty teens to escape Death’s grip just in time for us to enjoy it happening to everyone else before Death comes to claim the saved souls in gruesome and ridiculously random ways.

This film has a bridge in it.

Eyes down for a poster, which if you click it will become big and slightly scarier,

This came from IMPA and Russia it appears.

You know the drill by now. A bunch of people with a high PYT quota survive a horrific accident due to a premonition by one of the group, however Death isn’t exactly chuffed at this turn of events and so decides to pick each one off one by one in stupid and gruesome ways.

Not exactly the highest of concepts, but at least the first film, and parts of the second, were decent horror films, whereas the rest of the unsightly mob are turgid lessons in sluggard suspense – just waiting for each one to die and being teased to the point of mentally expectorating whenever a sharp object comes into view. Final Destination? Don’t bet on it.

Here’s your trailer,

Making a movie about a cave diving expedition sounds like a treacherous, expensive, and most likely exhausting feat. Yet, the risk factor is, paradoxically, what attracts filmmakers – the more adventurous they are, the more they’ll get the difficult shots and complex sets and equipment as means to shine.

Perhaps this is just what drew daredevil James Cameron to produce Sanctum. But while difficulties do turn into opportunities when you know how to use them, sometimes hard work is just not enough.

Sanctum tells the story of a cave diving team headed to explore the least accessible, most daunting cave in the world, only to find themselves in serious trouble when nature refuses to behave and a storm ends up effectively trapping them underwater. Panic ensues, along with a stream of previously buried relationship issues, rivalries, and plain old egotistic displays which destroy the divers’ plans of survivals – and also make the viewer wonder why such a broken team has taken on this delicate and dangerous mission in the first place.

It’s human nature – the movie tries to tell us. Yet, the behaviours, feelings and interactions that would make us accept this explanation don’t have the depth and weight required to be truly emotionally effective – simply because the setting and the material effort to visually render this unusual adventure take over everything, effectively undermining the character development in favour of impressive underwater shots and unsettling scenes of danger and destruction.

The actors try hard enough, but their lines are so clichéd that they end up creating a cheesy collage of heard-it-all-before expressions (“He doesn’t play by the rules” is a painful one of them) and soulless attempts to adhere to accepted social values – for instance when the script requires father and son to resolve their conflictual relationship before either survives.

The movie is detailed and well researched – at least to the untrained eyes of the average viewer, who, however, will also coincidentally get confused and distracted by too many technical details and too little chances to actually empathise with the protagonists, no matter how clear their local cinema’s 3D glasses are.

Simple as that, no amount of technology or breathtaking views can instill soul and meaning into a movie that doesn’t have much of either to begin with. Sanctum succeeds in inspiring feelings of claustrophobia, breathlessness, and maybe an urge to run out of the screen and cancel your scuba diving trip, but these are pretty much all the emotions you are going to experience.

**~~~ (2/5)

Yesterday I posted the first trailer for the fifth instalment in the Final Destination franchise and now Apple have released the trailer in HD and shown us the first poster for the movie.

Final Destination 5 stars Nicholas D’Agosto, Emma Bell, Miles Fisher, Arlen Escarpeta, David Koechner, Tony Todd, Courtney B. Vance, P.J. Byrne, Ellen Wroe, Jacqueline MacInnes-Wood and is directed by Steven Quale.

Synopsis: In “Final Destination 5,” Death is just as omnipresent as ever, and is unleashed after one man’s premonition saves a group of coworkers from a terrifying suspension bridge collapse. But this group of unsuspecting souls was never supposed to survive, and, in a terrifying race against time, the ill-fated group frantically tries to discover a way to escape Death’s sinister agenda.

It’s scheduled for release in the UK 26th August and in the US 12th August.

Here it is people, the fifth movie in the Final Destination franchise. Interestingly, the previous movie was called The Final Destination but obviously people flocked to the cinema in droves to see it therefore bring us the fifth!!

Final Destination 5 stars Nicholas D’Agosto, Emma Bell, Arlen Escarpeta, Tony Todd, David Koechner and is directed by Steven Quale.

In this fifth instalment, Death is just as omnipresent as ever, and is unleashed after one man’s premonition saves a group of coworkers from a terrifying suspension bridge collapse. But this group of unsuspecting souls was never supposed to survive, and, in a terrifying race against time, the ill-fated group frantically tries to discover a way to escape Death’s sinister agenda.

Check out the trailer below.

The latest horror film sensation to be heard around the world is simply called A Serbian Film, a title which doesn’t prepare an innocent onlooker with the intense brutality that it possesses.

To sum it all up, Scott Weinberg from FearNET said that he “admire[s] and detest[s] it at the same time. And [he] will never watch it again. Ever.”  This is from one of the top horror sites on the net so you can imagine how intese it is. Our man Craig Skinner reviewed it for us here.

Anyway, this controversial movie has released two new posters for the film that are disturbingly fitting.  You can check them out below along with a synopsis for the film (in case you know nothing about it)

Milos, a family man and ex-porn star, misses his glory days when he could provide his wife and son with a life of luxury. When a mysterious movie director offers him a succulent job, he decides to go back to work. But what he never suspected is that what they’re about to film turns out to be heartbreakingly real. The new wave of Serbian horror appears to be prepared to make French genre films look like sweet caresses. Extreme violence and sex come together in this season’s most brutal movie.

Posters from IMPA

File this under S for Speculation for now, but the good folks over at Empire today received the potential scoop that Joel and Ethan Coen may have plans to make a “full-on horror film.” It’s an intriguing prospect, but with the Coens is anything ever that (Blood) simple?

Let’s weigh up the evidence.

Empire’s article states that, having popped into the magazine’s office to discuss the brothers’ latest Oscar nominated hit, True Grit, Ethan Coen was asked about what other projects he and Joel had up their collective sleeve. Questioned as to whether the duo would ever consider turning their hand to the horror genre, Ethan reportedly replied; “Funny you should ask, yes, we’re working on a couple of scripts now, one of which it would be fair to call a full-on horror movie. Frances McDormand is the monster.”

Judging by the fact that Frances is not only very pleasant, but also Joel’s wife, it’s safe to assume that the latter part of Ethan’s statement is a joke. But without being present to hear any pauses or tonal shifts, can we be so quick to write off the beginning of his response as well? Empire don’t think so, stating that “they believe him on the first part.”

If the suggestion proves an honest one, then there’s no guarantee that horror would be the brothers’ next move. However, Empire did find out which projects definitely won’t be. “Gambit [a remake of the 1966 Michael Caine title] was just a writing job,” Ethan told them, “it seems like the movie is going to get made but not by us.” And what about Old Fink, the Barton Fink sequel? “John Turturro is not old enough yet. And the whole thing may be more a thought experiment than a movie,” Ethan confided.

“We don’t really know what we’re doing yet; we’re working on a couple of scripts,” the writer-director concluded, which – as luck would have it – brings us right back to his statement about that potential horror project. Are there scares on the horizon of Coenville? With the brothers often filling their films with a unique combination of laughs, violence and human despair the idea definitely has legs… and perhaps they’ll be severed ones.

Source: Empire Online.

Well it looks like whoever is in charge of the marketing department over at Dimension can’t seem to hold back their excitement for Wes Craven’s latest Scream sequel, Scream 4.  Another image for the film has been released and it features the cameos by Scream alums Kristen Bell and Anna Paquin.

You can check out both of their concerned looks below:

Scream 4 hits theaters on April 15^th and stars Courteney Cox, Hayden Panettiere, Emma Roberts, Marielle Jaffe, Rory Culkin, Neve Campbell, David Arquette Erik Knudsen, Brittany Roberts, Marley Shelton, Anthony Anderson, Adam Brody, Alison Brie, Nico Tortorella, and Mary McDonnell.

ComingSoon pointed us to this.