Earlier this summer, Scream Factory got down with the sickness with they announced new Collector's Edition Blu-rays for the Dawn of the Dead remake and George A. Romero's Land of the Dead. Now they've announced a new Halloween release date for both Blu-rays, as well as a bunch of new bonus features, including interviews with James Gunn, makeup effects artists David Anderson and Heather Langenkamp Anderson (who also played Nancy in the Nightmare on Elm Street movies), actor Ty Burrell (see a tease of that interview here), and much more:
Press Release: This Halloween, get ready for a double dose of zombie apocalypse mayhem and trips to hell! On October 31, 2017, Scream Factory™ is proud to present Dawn Of The Dead Collector’s Edition 2-Disc Blu-ray andGeorge A. Romero’s Land Of The Dead Collector’s Edition2-Disc Blu-ray. These two definitive collector’s editions boast new 2K transfer,...
Press Release: This Halloween, get ready for a double dose of zombie apocalypse mayhem and trips to hell! On October 31, 2017, Scream Factory™ is proud to present Dawn Of The Dead Collector’s Edition 2-Disc Blu-ray andGeorge A. Romero’s Land Of The Dead Collector’s Edition2-Disc Blu-ray. These two definitive collector’s editions boast new 2K transfer,...
- 9/20/2017
- by Derek Anderson
- DailyDead
Sometimes the emails start piling up here at Hug A Zombie HQ.
It happens, but sometimes the emails start piling up here at Hug A Zombie HQ. Especially when it comes to everybody's favorite game/movie franchise, Resident Evil. Here are a few items from the past couple weeks to keep you pumped for the upcoming Resident Evil: Afterlife, and keep playing the rotten control scheme action of Resident Evil 5. Check it out below:
— Resident Evil: Afterlife (and Resident Evil: Extinction) editor Niven Howie spoke to Fangoria about what it was like to edit Afterlife compared to Extinction.
It’s a much bigger, bolder and more ambitious idea that we’re trying to achieve here. And having 3-D also complicates matters slightly. However, it’s looking wonderful; the sets look amazing, and everyone’s going to love all the different environments we’ve created. As far as challenges, it’s the same deal for me,...
It happens, but sometimes the emails start piling up here at Hug A Zombie HQ. Especially when it comes to everybody's favorite game/movie franchise, Resident Evil. Here are a few items from the past couple weeks to keep you pumped for the upcoming Resident Evil: Afterlife, and keep playing the rotten control scheme action of Resident Evil 5. Check it out below:
— Resident Evil: Afterlife (and Resident Evil: Extinction) editor Niven Howie spoke to Fangoria about what it was like to edit Afterlife compared to Extinction.
It’s a much bigger, bolder and more ambitious idea that we’re trying to achieve here. And having 3-D also complicates matters slightly. However, it’s looking wonderful; the sets look amazing, and everyone’s going to love all the different environments we’ve created. As far as challenges, it’s the same deal for me,...
- 7/20/2010
- HugAZombie
3D looks really cool, but is it hard for a filmmaker to work in? I chatted with editor Niven Howie on the set of Resident Evil: Afterlife and he told me what it was like cutting his 3D teeth on such a beloved franchise. Hit the jump to find out what Howie had to say. Is cutting for 3D more complicated than 2D? Not really. It really hasn't changed the way I work much. The software on the Avid machine is very good, so it emulates the way I would normally work. The only real difference is that I have a 3D screen off to one side. Everything I watch in 2D, but then when I am ready I can watch it in 3D. Any kind of layering or keying becomes more complicated...
- 5/26/2010
- FEARnet
Opens
Friday, April 30
Ostensibly timely, "Godsend" is a cautionary tale about genetic science that uses hoary conventions of devil-child horror to make its argument. Despite a likable cast and atmospheric lensing, this thin concoction of domestic drama and thriller suspense won't hold up after the curiosity factor runs its brief course. Neither Robert De Niro nor a phalanx of a dozen producers can deliver "Godsend" from unintentional comedy.
De Niro plays the pioneering fertility specialist who offers a miracle to a grieving couple after their 8-year-old son dies in an accident. Richard Wells has perfected a cloning method that he's eager to put into practice, and the Duncans (Greg Kinnear and Rebecca Romijn-Stamos) are ideal subjects.
Jessie is receptive to the idea of giving birth to Adam again. The more skeptical Paul resists the notion, not only for ethical reasons but because he's reluctant to leave the city. If they agree to the doctor's plan, they'll have to relocate to his Godsend Institute and sever ties with everyone they know. In ultracliche fashion, Paul overcomes his doubts after watching home movies of Adam Cameron Bright) being lovably precocious.
Flash-forward to the eighth birthday of Adam No. 2 (Bright), which brings the Duncans' suburban idyll to a screeching halt. As he enters territory uncharted by his predecessor, the boy falls into the grip of something unseen, and his dreams and waking visions are filled with portents of violence and a ghoulish alter ego named Zachary.
Paul is not satisfied with Richard's pat reassurances that Adam is merely suffering from a temporary sleep disorder. Jessie, on the other hand, accepts Richard's authority, even when he tells her with quiet menace to "rein in" her husband.
While her deference to the doctor arises quite naturally from her pain and neediness, an undeveloped background factoid posits that she's a former student of Richard's. Like much in Mark Bomback's script, it serves only to puzzle, going nowhere and taking a while to get there.
Making his U.S. feature debut, British director Nick Hamm ("Talk of Angels", "The Hole") knows how to orchestrate sudden sounds and shock images to make an audience jump. But beyond the instant of impact, those images look like dusted-off relics. However laudable Hamm's decision to avoid CGI-enhanced gore in favor of character-driven suspense, when the characters are so insistently lacking in dimension, it's hard to generate dramatic momentum.
Romijn-Stamos conveys wounded maternal instinct, while Kinnear and De Niro manage to kick up a few mild sparks as dueling father figures. Newcomer Bright provides the requisite creepy monotone and haunted stare, but as with all the performances, the impact is dulled by the muddled story and Bomback's flat, sometimes ludicrous dialogue.
GODSEND
Lions Gate Films
Artists Production Group in association with 2929 Entertainment
Credits:
Director: Nick Hamm
Screenwriter: Mark Bomback
Producers: Cathy Schulman, Sean O'Keefe, Marc Butan
Executive producers: Todd Wagner, Mark Cuban, Jon Feltheimer, Mark Canton, Michael Paseornek, Michael Burns, Eric Kopeloff
Director of photography: Kramer Morgenthau
Production designer: Doug Kraner
Music: Brian Tyler
Co-producers: Steve Mitchell, Mark Bomback
Costume designer: Suzanne McCabe
Editors: Steve Mirkovich, Niven Howie. Cast: Paul Duncan: Greg Kinnear
Jessie Duncan: Rebecca Romijn-Stamos
Richard Wells: Robert De Niro
Adam Duncan: Cameron Bright
Running time -- 102 minutes
MPAA rating: PG-13...
Friday, April 30
Ostensibly timely, "Godsend" is a cautionary tale about genetic science that uses hoary conventions of devil-child horror to make its argument. Despite a likable cast and atmospheric lensing, this thin concoction of domestic drama and thriller suspense won't hold up after the curiosity factor runs its brief course. Neither Robert De Niro nor a phalanx of a dozen producers can deliver "Godsend" from unintentional comedy.
De Niro plays the pioneering fertility specialist who offers a miracle to a grieving couple after their 8-year-old son dies in an accident. Richard Wells has perfected a cloning method that he's eager to put into practice, and the Duncans (Greg Kinnear and Rebecca Romijn-Stamos) are ideal subjects.
Jessie is receptive to the idea of giving birth to Adam again. The more skeptical Paul resists the notion, not only for ethical reasons but because he's reluctant to leave the city. If they agree to the doctor's plan, they'll have to relocate to his Godsend Institute and sever ties with everyone they know. In ultracliche fashion, Paul overcomes his doubts after watching home movies of Adam Cameron Bright) being lovably precocious.
Flash-forward to the eighth birthday of Adam No. 2 (Bright), which brings the Duncans' suburban idyll to a screeching halt. As he enters territory uncharted by his predecessor, the boy falls into the grip of something unseen, and his dreams and waking visions are filled with portents of violence and a ghoulish alter ego named Zachary.
Paul is not satisfied with Richard's pat reassurances that Adam is merely suffering from a temporary sleep disorder. Jessie, on the other hand, accepts Richard's authority, even when he tells her with quiet menace to "rein in" her husband.
While her deference to the doctor arises quite naturally from her pain and neediness, an undeveloped background factoid posits that she's a former student of Richard's. Like much in Mark Bomback's script, it serves only to puzzle, going nowhere and taking a while to get there.
Making his U.S. feature debut, British director Nick Hamm ("Talk of Angels", "The Hole") knows how to orchestrate sudden sounds and shock images to make an audience jump. But beyond the instant of impact, those images look like dusted-off relics. However laudable Hamm's decision to avoid CGI-enhanced gore in favor of character-driven suspense, when the characters are so insistently lacking in dimension, it's hard to generate dramatic momentum.
Romijn-Stamos conveys wounded maternal instinct, while Kinnear and De Niro manage to kick up a few mild sparks as dueling father figures. Newcomer Bright provides the requisite creepy monotone and haunted stare, but as with all the performances, the impact is dulled by the muddled story and Bomback's flat, sometimes ludicrous dialogue.
GODSEND
Lions Gate Films
Artists Production Group in association with 2929 Entertainment
Credits:
Director: Nick Hamm
Screenwriter: Mark Bomback
Producers: Cathy Schulman, Sean O'Keefe, Marc Butan
Executive producers: Todd Wagner, Mark Cuban, Jon Feltheimer, Mark Canton, Michael Paseornek, Michael Burns, Eric Kopeloff
Director of photography: Kramer Morgenthau
Production designer: Doug Kraner
Music: Brian Tyler
Co-producers: Steve Mitchell, Mark Bomback
Costume designer: Suzanne McCabe
Editors: Steve Mirkovich, Niven Howie. Cast: Paul Duncan: Greg Kinnear
Jessie Duncan: Rebecca Romijn-Stamos
Richard Wells: Robert De Niro
Adam Duncan: Cameron Bright
Running time -- 102 minutes
MPAA rating: PG-13...
Opens
Friday, April 30
Ostensibly timely, "Godsend" is a cautionary tale about genetic science that uses hoary conventions of devil-child horror to make its argument. Despite a likable cast and atmospheric lensing, this thin concoction of domestic drama and thriller suspense won't hold up after the curiosity factor runs its brief course. Neither Robert De Niro nor a phalanx of a dozen producers can deliver "Godsend" from unintentional comedy.
De Niro plays the pioneering fertility specialist who offers a miracle to a grieving couple after their 8-year-old son dies in an accident. Richard Wells has perfected a cloning method that he's eager to put into practice, and the Duncans (Greg Kinnear and Rebecca Romijn-Stamos) are ideal subjects.
Jessie is receptive to the idea of giving birth to Adam again. The more skeptical Paul resists the notion, not only for ethical reasons but because he's reluctant to leave the city. If they agree to the doctor's plan, they'll have to relocate to his Godsend Institute and sever ties with everyone they know. In ultracliche fashion, Paul overcomes his doubts after watching home movies of Adam Cameron Bright) being lovably precocious.
Flash-forward to the eighth birthday of Adam No. 2 (Bright), which brings the Duncans' suburban idyll to a screeching halt. As he enters territory uncharted by his predecessor, the boy falls into the grip of something unseen, and his dreams and waking visions are filled with portents of violence and a ghoulish alter ego named Zachary.
Paul is not satisfied with Richard's pat reassurances that Adam is merely suffering from a temporary sleep disorder. Jessie, on the other hand, accepts Richard's authority, even when he tells her with quiet menace to "rein in" her husband.
While her deference to the doctor arises quite naturally from her pain and neediness, an undeveloped background factoid posits that she's a former student of Richard's. Like much in Mark Bomback's script, it serves only to puzzle, going nowhere and taking a while to get there.
Making his U.S. feature debut, British director Nick Hamm ("Talk of Angels", "The Hole") knows how to orchestrate sudden sounds and shock images to make an audience jump. But beyond the instant of impact, those images look like dusted-off relics. However laudable Hamm's decision to avoid CGI-enhanced gore in favor of character-driven suspense, when the characters are so insistently lacking in dimension, it's hard to generate dramatic momentum.
Romijn-Stamos conveys wounded maternal instinct, while Kinnear and De Niro manage to kick up a few mild sparks as dueling father figures. Newcomer Bright provides the requisite creepy monotone and haunted stare, but as with all the performances, the impact is dulled by the muddled story and Bomback's flat, sometimes ludicrous dialogue.
GODSEND
Lions Gate Films
Artists Production Group in association with 2929 Entertainment
Credits:
Director: Nick Hamm
Screenwriter: Mark Bomback
Producers: Cathy Schulman, Sean O'Keefe, Marc Butan
Executive producers: Todd Wagner, Mark Cuban, Jon Feltheimer, Mark Canton, Michael Paseornek, Michael Burns, Eric Kopeloff
Director of photography: Kramer Morgenthau
Production designer: Doug Kraner
Music: Brian Tyler
Co-producers: Steve Mitchell, Mark Bomback
Costume designer: Suzanne McCabe
Editors: Steve Mirkovich, Niven Howie. Cast: Paul Duncan: Greg Kinnear
Jessie Duncan: Rebecca Romijn-Stamos
Richard Wells: Robert De Niro
Adam Duncan: Cameron Bright
Running time -- 102 minutes
MPAA rating: PG-13...
Friday, April 30
Ostensibly timely, "Godsend" is a cautionary tale about genetic science that uses hoary conventions of devil-child horror to make its argument. Despite a likable cast and atmospheric lensing, this thin concoction of domestic drama and thriller suspense won't hold up after the curiosity factor runs its brief course. Neither Robert De Niro nor a phalanx of a dozen producers can deliver "Godsend" from unintentional comedy.
De Niro plays the pioneering fertility specialist who offers a miracle to a grieving couple after their 8-year-old son dies in an accident. Richard Wells has perfected a cloning method that he's eager to put into practice, and the Duncans (Greg Kinnear and Rebecca Romijn-Stamos) are ideal subjects.
Jessie is receptive to the idea of giving birth to Adam again. The more skeptical Paul resists the notion, not only for ethical reasons but because he's reluctant to leave the city. If they agree to the doctor's plan, they'll have to relocate to his Godsend Institute and sever ties with everyone they know. In ultracliche fashion, Paul overcomes his doubts after watching home movies of Adam Cameron Bright) being lovably precocious.
Flash-forward to the eighth birthday of Adam No. 2 (Bright), which brings the Duncans' suburban idyll to a screeching halt. As he enters territory uncharted by his predecessor, the boy falls into the grip of something unseen, and his dreams and waking visions are filled with portents of violence and a ghoulish alter ego named Zachary.
Paul is not satisfied with Richard's pat reassurances that Adam is merely suffering from a temporary sleep disorder. Jessie, on the other hand, accepts Richard's authority, even when he tells her with quiet menace to "rein in" her husband.
While her deference to the doctor arises quite naturally from her pain and neediness, an undeveloped background factoid posits that she's a former student of Richard's. Like much in Mark Bomback's script, it serves only to puzzle, going nowhere and taking a while to get there.
Making his U.S. feature debut, British director Nick Hamm ("Talk of Angels", "The Hole") knows how to orchestrate sudden sounds and shock images to make an audience jump. But beyond the instant of impact, those images look like dusted-off relics. However laudable Hamm's decision to avoid CGI-enhanced gore in favor of character-driven suspense, when the characters are so insistently lacking in dimension, it's hard to generate dramatic momentum.
Romijn-Stamos conveys wounded maternal instinct, while Kinnear and De Niro manage to kick up a few mild sparks as dueling father figures. Newcomer Bright provides the requisite creepy monotone and haunted stare, but as with all the performances, the impact is dulled by the muddled story and Bomback's flat, sometimes ludicrous dialogue.
GODSEND
Lions Gate Films
Artists Production Group in association with 2929 Entertainment
Credits:
Director: Nick Hamm
Screenwriter: Mark Bomback
Producers: Cathy Schulman, Sean O'Keefe, Marc Butan
Executive producers: Todd Wagner, Mark Cuban, Jon Feltheimer, Mark Canton, Michael Paseornek, Michael Burns, Eric Kopeloff
Director of photography: Kramer Morgenthau
Production designer: Doug Kraner
Music: Brian Tyler
Co-producers: Steve Mitchell, Mark Bomback
Costume designer: Suzanne McCabe
Editors: Steve Mirkovich, Niven Howie. Cast: Paul Duncan: Greg Kinnear
Jessie Duncan: Rebecca Romijn-Stamos
Richard Wells: Robert De Niro
Adam Duncan: Cameron Bright
Running time -- 102 minutes
MPAA rating: PG-13...
- 4/30/2004
- The Hollywood Reporter - Movie News
Although "The Hole" might spark easily made comparisons with "The Blair Witch Project" -- terrified teens stalked by an evil presence -- it is actually a shrewdly made chiller that has a good deal to offer. With the right handling, this film could make a nice hit in that hefty marketplace for "teens in peril" movies.
While the film is a U.K.-French production set firmly in rural England, the fact that the key young leads, Thora Birch and Desmond Harrington, are Americans tips us off that this is a film made for the international marketplace.
The film is structured in the form of a series of flashbacks, which gradually reveal more and more about the events, cleverly mixing true memories with alternate variations. The film opens impressively with the shocked, frightened Liz (Birch) wandering into a village where, in a series of flashbacks, she explains to psychologist Philipa Horwood (the always fine Embeth Davidtz) what has happened.
It seems she and fellow pupils from an English public school had gotten out of a school trip by hiding out in an old World War II bunker. Liz was keen to go into the hole with American hunk Mike (Harrington) because she had the hots for him, while fellow students Geoff and Frankie engage in a little quality time together.
Liz initially blames much of what happened to them in the hole on another student, Martin (Daniel Brocklebank), who she says was jealous of her feelings for Mike. But as the police interrogation of her and Martin continues, more and more is revealed of the actual events in the bunker. Without giving too much of the plot away, it becomes clear that someone is controlling the events in the bunker. As the bodies start to fall, fear and paranoia increase.
"Hole" is impressively directed by Nick Hamm (whose previous film was the romantic comedy "Martha, Meet Frank, Daniel and Laurence"). He makes great use of the frightening location of a dark, shadowy bunker, though his work is much assisted by a fine, intelligent script from Ben Court and Caroline Ip, who give depth and variation to their characters. The hole is nicely designed by Eve Stewart, and, as shot by cinematographer Denis Crossan, it makes for a fine twist on the old-dark-house format.
Birch is asked to offer different levels to her character as the truth behind what happened is gradually revealed, and she does an excellent job of presenting a character who lurches between shy and mousy to cunning and sociopathic. The rest of the young cast is impressive, especially Brocklebank as Martin.
"Hole" is a fine, tense piece of chilling entertainment that deserves to reach an audience.
THE HOLE
Pathe Pictures presents in association with the Film Council and Le Studio Canal Plus
Cowboy Films/Granada Film Prods. in association with Cowboy Pictures
Producers: Lisa Bryer, Jeremy Bolt, Pippa Cross
Director: Nick Hamm
Screenwriters: Ben Court, Caroline Ip
Based on the novel by: Guy Burt
Executive producers: Francois Ivernel, Andrea Calderwood
Director of photography: Denis Crossan
Editor: Niven Howie
Production designer: Eve Stewart
Music: Clint Mansell
Costume designer: Verity Hawkes
Color/stereo
Cast:
Liz Dunn: : hora Birch
Mike Steel: Desmond Harrington
Martin Taylor: Daniel Brocklebank
Geoff: Laurence Fox
Frankie Smith: Keira Knightley
Dr. Philipa Horwood: Embeth Davidtz
DCS Tom Howard: Steven Waddington
Running time -- 102 minutes
No MPAA rating...
While the film is a U.K.-French production set firmly in rural England, the fact that the key young leads, Thora Birch and Desmond Harrington, are Americans tips us off that this is a film made for the international marketplace.
The film is structured in the form of a series of flashbacks, which gradually reveal more and more about the events, cleverly mixing true memories with alternate variations. The film opens impressively with the shocked, frightened Liz (Birch) wandering into a village where, in a series of flashbacks, she explains to psychologist Philipa Horwood (the always fine Embeth Davidtz) what has happened.
It seems she and fellow pupils from an English public school had gotten out of a school trip by hiding out in an old World War II bunker. Liz was keen to go into the hole with American hunk Mike (Harrington) because she had the hots for him, while fellow students Geoff and Frankie engage in a little quality time together.
Liz initially blames much of what happened to them in the hole on another student, Martin (Daniel Brocklebank), who she says was jealous of her feelings for Mike. But as the police interrogation of her and Martin continues, more and more is revealed of the actual events in the bunker. Without giving too much of the plot away, it becomes clear that someone is controlling the events in the bunker. As the bodies start to fall, fear and paranoia increase.
"Hole" is impressively directed by Nick Hamm (whose previous film was the romantic comedy "Martha, Meet Frank, Daniel and Laurence"). He makes great use of the frightening location of a dark, shadowy bunker, though his work is much assisted by a fine, intelligent script from Ben Court and Caroline Ip, who give depth and variation to their characters. The hole is nicely designed by Eve Stewart, and, as shot by cinematographer Denis Crossan, it makes for a fine twist on the old-dark-house format.
Birch is asked to offer different levels to her character as the truth behind what happened is gradually revealed, and she does an excellent job of presenting a character who lurches between shy and mousy to cunning and sociopathic. The rest of the young cast is impressive, especially Brocklebank as Martin.
"Hole" is a fine, tense piece of chilling entertainment that deserves to reach an audience.
THE HOLE
Pathe Pictures presents in association with the Film Council and Le Studio Canal Plus
Cowboy Films/Granada Film Prods. in association with Cowboy Pictures
Producers: Lisa Bryer, Jeremy Bolt, Pippa Cross
Director: Nick Hamm
Screenwriters: Ben Court, Caroline Ip
Based on the novel by: Guy Burt
Executive producers: Francois Ivernel, Andrea Calderwood
Director of photography: Denis Crossan
Editor: Niven Howie
Production designer: Eve Stewart
Music: Clint Mansell
Costume designer: Verity Hawkes
Color/stereo
Cast:
Liz Dunn: : hora Birch
Mike Steel: Desmond Harrington
Martin Taylor: Daniel Brocklebank
Geoff: Laurence Fox
Frankie Smith: Keira Knightley
Dr. Philipa Horwood: Embeth Davidtz
DCS Tom Howard: Steven Waddington
Running time -- 102 minutes
No MPAA rating...
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