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Can we get a NIGHTBREED reboot…please?

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It’s been close to 25 years since the movie hit the screens, but no movie has ever had the same effect on me as this one did when it arrived. At the time, I was so used to seeing Clive Barker’s Hellraiser, I don’t think I knew what to expect, but Nightbreed was a clever mix of fantasy and horror and although I normally frown on reboots, this is exactly the type of film that needs to be rebooted for today’s audience.

Sure the effects where generally top notch for the nineties, but with so much unexplained and so many character’s, who’s stories were left untold, I feel this is ripe for the picking. However, the question will come up in board meetings “Is there still a fan base?” My answer would be, if you could reboot Judge Dredd you can reboot this. It’s not about a fanbase anymore, but how you market it that matters. There are a number of films that came up from scratch and have done well and with so many horror and comic book conventions around the world, a few dollars would be all we needed to resurrect the dead.

I look at Nightbreed as the Pokemon of horror flicks. There were so many monsters in this film and all with their own unique abilities, that marketing would be a snap. Give each character their moment and a bad ass line and you’ve gotta hit. Just think of the potential.

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Another way to market this film, is give it a comic book, something that delivers the back story of every character. Did they transform or were they born that way? Are they from the U.S or from all over the world? How old is each monster and what powers do they posses? You see where I am going here?

If you’ve seen the movie, you know the lead character Boone/Cabal, is the tamest looking monster in the whole film. Well..we could beef that up…hell, give the guy some demonic looking wings even. Winged critters always make for good car chase scenes.

I’m realizing, as I write this, that a lot of you would probably like to know what this film is about.

Nightbreed is based on a book by Clive Barker called Cabal and the story goes like this…

The film features Craig Sheffer as Aaron Boone, an unstable mental patient led to believe by his doctor (David Cronenberg) that he is a serial killer. Tracked down by the police as well as by his doctor (the actual murderer) and his girlfriend (Anne Bobby), Boone eventually finds refuge in an abandoned cemetery called Midian, among a community or “tribe” of monsters and outcasts – known as the “Nightbreed” – that hides from humanity.

The film was unfortunately a flop when it released in 1991. The mistake Hollywood made with Nightbreed, was they didn’t know what kind of film it was. Clive Barker was known for his work with Hellraiser, so the tendency was to promote the film as a horror, but that’s where they went horribly wrong. The film is more fantasy than horror. Sure there are some gory moments and satanic imagery, but it’s based more in myth and ancient lore than it is in the occult. If Guillermo Del Toro, Neil Gaiman or Peter Jackson had been around back then a.k.a huge, this film would’ve been done right.

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Watching the movie now, I see so many missed opportunities, to expound on a world that, for all intents and purposes, is as vast as Middle Earth. Instead we get this hodge podge of imagery, that doesn’t make a lot of sense, but you want it to. From the cave paintings in the opening credits to the dream sequence when we see the Nightbreed being persecuted “Inquisition” style.

nbcbSome of these mysteries are supposedly explained in Cabal:The Directors Cut, that just released, but according to several horror sites it does nothing to elevate the film as a whole. It’s more or less a think piece or blue print, if you will, of the differences between the story the director wanted to tell versus what the studio wanted. I also hear the quality is horrendous. It’s a slow death for a film, that should’ve been rebooted years ago

  (Via. Shock Til You Drop)

The focus is more on Boone and Lori.  In fact, I’d go so far as to say the Cabal Cut is really Lori’s film.  A lot of the emotional weight rests on her shoulders.  Boone is still all over the map and drops out of the film for a bit (when he tells Lylesberg he’s going to see Baphomet, it’s apparently a really, really long walk to go downstairs) and Decker is sidelined as one of the film’s myriad threats.  There is the introduction to a voice in Decker’s head, beckoning him to put on the mask and kill.  This detail is wildly inconsistent and comes in way too late in the film, still, it’s an interesting touch if it was established properly.

 This is what they had to say regarding the finale/raid on Median:

Another notable addition that affects the film: The extended raid on Midian which seems much more brutal now and includes more monsters getting blown away by Eigerman’s men.  This draws the whole third act action scene out and may be satisfying to some.

So it basically sounds like what needed to happen is the film needed to be re-shot and more character development and that’s what I’m saying could happen with a proper reboot people.

In closing, if you decide to rent this film and feel like I don’t know what I’m talking about, that’s fine and I appreciate you giving it a chance, but if you agree with me and can see this film for what it could truly be…you’re welcome. Fuck Robocop…give us NIGHTBREED.

Want to know more about NIGHTBREED or The CABAL CUT? Checkout these websites!

Occupy Midian

AMAZON

Beyond The Black Rainbow is true 80′s horror

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Originally I had intended to watch this movie at a local art house theater, but I saw that it was available on Amazon on Demand, so I decided to enjoy the movie in bed with my wife, dog and laptop. What you notice immediately about Beyond The Black Rainbow is that it draws heavily upon the 80′s science fiction horror aesthetic. It’s easy to see why it has been compared to such films as THX 1138, A Clockwork Orange, The Hunger and pretty much all the works of David Cronenberg, but not to be caught up in the smoke and mirrors there still has to be a good story…right? Searching for a viable plot in such artistry can sometimes be a daunting task, but you soon realize that the formula is the same, but it’s just being presented like a sarcophagus at a museum or vestige of some by-gone era that the director Panos Cosmatos (son of George P. Cosmatos, who directed Tombstone, Cobra, and Rambo: First Blood Part II) has meticulously decided to pay homage to. BTBR speaks in metaphors, the viewer is meant to take something from every single frame, the director even goes as far as beginning these super short scenes with fade in and outs of the grittiest red instead of the usual black.

Right now’s when you’d probably like for me to explain what the fuck this film’s about…

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Deep within the mysterious Arboria Institute, a beautiful girl (Eva Allan) is held captive by a scientist, Dr. Barry Nyle (Michael Rogers). Her mind is controlled by a sinister technology (a mysterious pyramid-shaped light). Speechlessly, she waits for her next session with the deranged Dr. Nyle. She escapes her cell under the watchful eye of Dr. Nyle peering through video monitors. She journeys through the darkest reaches of the Institute but Nyle wonʼt easily part with his most gifted and dangerous creation.

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It all makes for some amazing vintage horror done with a committed cast and one hell of an art director Antonio Colin and costume designer Kathi Moore. Shot entirely in Vancouver, the story travels along an analog path of science verging on insanity. As we learn more about the Arboria Institute we find out about or at least we think we find out about what the institutes real mission is and that’s when BTBR begins tinkering with the idea of the occult and going places with the storyline that all good 80′s horrors can’t do without. Like Alejandro Jodorowsky’s psychedelic masterpiece Holy Mountain, BTBR toys, ever so slightly, with god/devil themes in the form of glowing masonic style triangles and the Sentionauts (ominous albino baby faced worker bees or minions for the Arboria Institute) but doesn’t try to be what it’s not thus elevating the films level of genius by acknowledging the Satanic prime directive and moving on. It has to be said before I continue that the soundtrack is near flawless. Panos obviously knew that if the image was the vehicle the music had to be the engine so he did what any film/indie video director does and enlist the help of none other than Jeremy Schimdt from the synth rock band Black Mountain to pepper this art piece in a blanket of moogness, add that sound to the brilliant cinematography of Norm Li and you have a film fit for any classic VHS library.

The following Interview with Panos Cosmatos in it’s entirety is available @ Dork Shelf

DS: How involved were you with the score because it felt so integral to the mood and tone? I’d imagine it was something you wanted to be heavily involved in.

PC: Well, Jeremy Schmidt from Black Mountain wrote the score and has an amazing record collection of soundtracks Panos Cosmatosand synth music from the 70s and 80s. He’s very influenced by that time and writes this amazing music that he records on analogue synthesizers. Once I discovered him, I really wanted him to score it. I showed him a rough cut and he really wanted to do it. I think he drew influences from a lot of not just soundtracks, but different artists from that era. John Carpenter was definitely part of that, but there were so many. I don’t know, our musical sensibilities were so close that I gave him some guidance, but generally I just let him create and it was like Christmas. Because I’m a fan of his, it was amazing to just to get to hear him create music and put it on my movie.

Overall the film’s formula isn’t anything something we’ve never seen before, but what Panos has done was added more to an era of films that had no idea what is was then or what it would become.

DS: How difficult was it to find financing for a project as experimental and out there as this? I’d imagine there would have been a lot of scratched heads while you were pitching it around.

PC: Well, I self financed it, but that didn’t stop people from scratching their heads when I was trying to talk them into working on it (laughs). The people that responded to it responded to it very strongly and wanted to be involved. It was just hard to find those people at times. The only reference they had for my work was a music video that was online. So that would show them that perhaps that mentality combined the script could be something interesting.

BTBR is what was to be expected of the son of the director of COBRA and seeing the world through his goggles and knowing the urge to go totally modern and sell this to the studios and not doing it, is a feat within itself and should be celebrated in this age of overdone. I bet no one could have seen this rebirth of 80′s coming and most won’t understand it or they think they will, but due to their lack of love for films, won’t be able to place a proper finger on it and that’s what I believe directors like Panos Cosmatos and Ti West (House Of The Devil) has set out to create…enigmas. Films without a home, but stand alone as works of art never to be looked upon as a movies in the Hollywood sense. BTBR is pure aural and eye candy for lovers of great science fiction (notice how I didn’t write 80′s science fiction). You won’t find me trying to even coddle those less likely to watch this movie cause there’s a time and place for everything and unlike some films from the past this one harnesses it’s own power, and because of modern technology, will be less susceptible to degradation/wear and tear unlike it’s 80′s predecessors, and that’s a bit of next gen that I’m sure even Panos Cosmatos is happy with.

Will Antiviral Get Under Your Skin?

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Imagine a world in which celebrity infatuation has reached a fanatical new extreme.  Do you find yourself obsessing over your favorite actress and want nothing more than to be close to them?  Search no further – the Lucas Clinic has what you desire.  For a price, you can have yourself infected with their ailments – bringing them, and their world, as close as your very own skin.

Brandon Cronenberg has some crazy large shoes to fill.  Any way you slice it.  And with his first feature filmAntiviral, it’s probably safe to say he’s cut from a very similar cloth as Father, David Cronenberg.  With Antiviral‘s sparce and vividly visceral use of blood, gore, needles, and other body horror related ephemera, Cronenberg shows he’s not afraid of the obvious familial comparisons that will be drawn – even if he never set out to make a film like his Father.

Brandon Cronenberg's AntiviralStarring Caleb Landry Jones as Syd March, Antiviral plays with our oft times sickening fascination with celebrity.  It may leave you saying, “serves them right,” and it will certainly have you cringing.  What I find particularly attractive, though, is Cronenberg’s completely flat and humorless attitude about celebrity.  Bleak and sterile, it’s as if his vision of the near-future has somehow mutated our morbid curiosity into mental zombism.  We see something/someone we desire.  We obsess.  We long to fill our every moment (meals and illnesses included) with the object of our obsession.   This psychologically complex model is turned into a societally accepted state of being – I mean, people are eating genetically modified celebrity meat and voluntarily infecting themselves with celebrity Herpes.

<Face slap>

And by <face slap> I mean – awesome!  Sort of.  I have only occasionally been as freaked out and intrigued by intimacy as I was when initially began watching this film. anti3 And yes, worth noting is the element of the sexual amidst everything here – needles penetrating skin, impregnating oneself with bacteria and other assorted sundry to achieve satisfaction.

But it all feels, if you’ll forgive me, a little skin deep.

Antiviral is a strong first showing although it loses some of its initially strong auteur vibe as the story begins to wind down.  I’m a fan of what Cronenberg has done with his incredibly considered use of blood and violence.  Beyond the obvious needle phobia, he’s managed to suggest a terror so small it can only be seen upon careful observation, and then, occasionally, not at all.  And what’s more insidious than that?

Brandon Cronenberg's AntiviralSure, Jones could be accused of coming on a bit strong and even overplaying his role.  His pasty complexion and dead shark eyes do nothing to help convey his character’s motivations and, to be honest, I’m not sure I’d let him inject me with anything … but, I say that about everyone.

Malcolm McDowell arrives and stays too briefly as physician to the film’s object of the greatest obsession, Hannah Geist (played by Cosmopolis stunner Sarah Gadon).

If anything, Brandon Cronenberg proves he is a director to keep a keen eye on.

 

 

 

M.I.T.N.G reviews Panos Cosmatos’s Reagan era inspired science fiction horror Beyond The Black Rainbow

M.I.T.N.G reviews the new science fiction anime short “PostHuman”

M.I.T.N.G TAKES A LOOK AT THE WORKS OF COMPOSER “HOWARD SHORE”

FULL LENGTH TRAILER FOR THE PATTINSON/CRONENBERG FILM “COSMOPOLIS” ARRIVES!

A few weeks ago or maybe it was a month, M.I.T.N.G brought you the teaser trailer for the new David Cronenberg film COSMOPOLIS starring Robert Pattinson, well now we’ve got the full length and it’s as confusing as the teaser, but it’s pure Cronenberg. There’s always a protagonist, there’s always a woman, there’s always drugs and there’s always an establishment our hero must fight. The storyline is not unlike his other films Videodrome and ScannersSure David might be still smoking that stuff, but he’s still one of the few directors from the eighties whose still doing it and seems to be getting better and better at it. Cosmopolis stars Robert Pattinson, Juliette Binoche and Paul Giamatti and will premier next month at Cannes Film Festival.

TRAILER FOR THE NEW ROBERT PATTINSON FILM “COSMOPOLIS” BRINGS THE STRANGE!

Robert Pattinson (Twilight,Water For Elephants) has teamed up with legendary director David Cronenberg (Videodrome,History Of Violence) to bring us, what just looking at the trailer, I can only describe as a  visual feast. Sex and violence and what appears to be a hundred foot honey badger in the middle of a busy street. For Robert, this marks the ninth film he’s done since starting the Twilight series and my respect for his acting decisions grow with each one. I mean the guy pushes himself, even before Twilight, he starred in a small indie film called Little Ashes, playing none other than the maestro himself Salvador Dali. As for Cronenberg, what’s not to like? He’s one of a few true noir/ science-fiction/ horror, directors still left on the planet. Always groundbreaking, relevant and controversial and kudos’ to any actor willing to buy a ticket on his ride. This movie looks like a thrill.

P.S.

David Cronenberg, please reprise your role as Dr. Phillip K. Decker in Nightbreed. I miss that button-eyed freak!

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