Showing posts with label CBR. Show all posts
Showing posts with label CBR. Show all posts

Monday, October 24, 2016

Meet The Heroes Of The Doctor Who Spinoff: Class

Meet The Heroes Of The Doctor Who Spinoff: Class

Ever wonder what happens to the people left behind once the Doctor’s TARDIS whirs out of their lives? That’s the promising premise of BBC America’s upcoming spin-off “Class.” Created by YA author Patrick Ness, the adventure series follows high schoolers attending the Whoniverse’s notorious Coal Hill Academy. There teen angst over love, sex, friendship and family is enhanced by regular alien invasions and save the world missions.

Preceding “Class”s packed panel at New York Comic-Con, CBR sat down in a pair of roundtable interviews with Ness and his “Class” stars, Greg Austin, Fady Elsayed, Sophie Hopkins, and Vivian Oparah to discuss the show’s influences, how it connects to “Doctor Who,” and who the kids of “Class” are.

RELATED: Patrick Ness Explains How Class Fits With Doctor Who

We began with writer/creator Ness, who was unexpectedly offered “Class” after he turned down a guest writing gig on “Doctor Who.” “I had just done a bunch of adaptations and I was really at a point, where I was like I’d really like to do something that’s mine,” the author of A Monster Calls” recalled, “And they said, ‘Well, we have this other idea that’s we’re throwing around a bit, a spinoff set in Coal Hill.’ And suddenly, all these ideas started flying. And that’s how you know an idea’s going to work; it creates other ideas. I figure my job is just to grab an idea when it comes. And that was a real very, very pleasant surprise.”

Chief among those ideas was creating a show that was fresh and self-aware. Ness knew “Class” would not only be compared to “Doctor Who” and its spinoffs like “Torchwood” and “The Sarah Jane Adventures,” but also to other sci-fi/fantasy series like “Buffy The Vampire Slayer.” And that’s fine by him, because he credits “Buffy” as “the greatest television show of all time.” He added, “”Buffy” has this incredible elixir of emotional moments, scary moments, funny moments, and it turns and turns and turns. And that’s really hard to do. But why not try?”

“It’s part of a really good, really strong continuum of shows,” Ness said of “Class.” “You might as well acknowledge it and engage and subvert when you can…I think the worst mistake that YA television can make is trying to be ‘down with the kids,’ because that’s insulting. What you should do is make the best show possible, with the highest quality possibly. Then implicitly you’re respecting your viewer…And if you do that, then adults come in droves too because they read YA in the millions.”

For Ness, getting teen drama right for a savvy 2016 audience meant inclusive casting. “Cast” boasts lead characters who are female, people of color, and LGBTQA. But before we get ahead of ourselves, lets meet the heroes of “Class.”

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“April is a student at Coal Hill Academy,” Sophie Hopkins said of her role on the series. “She is grounded, and she puts others before her. She’s the sole carer for her mum, who was paralyzed in an accident. So that’s given her an insight into a bigger world, and that there are more important things than just high school. These are new friends. It takes quite a while for her to adjust. I think she’s more used to hanging out with adults.”

“Charlie is the new boy at school,” Austin began, “He’s a bit different. He’s kind of shy, but the way he’s thrown into the scenarios that they all have to go through, he starts making friends for the first time.” Austin, who co-starred with Jeremy Piven in the acclaimed drama series “Mr. Selfridge,” also teased that Charlie would have “some huge decisions he has to make” over the course of the first season. Austin demurred from specifying what these might be. Considering the trailer that debuted at the show’s NYCC panel revealed Charlie locking lips with a tall, dark and handsome young man, perhaps Austin’s alluding to Charlie’s coming out?

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Fady Elsayed seemed protective of his soccer jock Ram, saying, “He’s a cool, loving, caring, cheeky, very disciplined, very passionate young man.” The ingendude who made his film debut in the 2012 drama “My Brother The Devil” explained, “He could come across cocky to some people–I hope not–but he genuinely has a really good heart, which he gets to explore throughout the series. Which I’m really looking forward to sharing.”

Rounding out the fearsome foursome, Vivian Oparah makes her screen debut with “Class” as the tenacious and whip-smart Tanya. “Tanya is three years younger than everyone else, (but) she’s the brains of the operation,” Oparah said. “She got moved up into their (grade). For Tanya, she’s always been the young one, or someone’s little sister or the small one who’s really smart. She’s just trying to make a name for herself, and she’s also trying to make friends. But obviously being the younger one, it’s a bit scary. So she can come across as a bit defensive. But at the heart of it, once you’ve broken down the wall, there’s just a little girl who’s just trying to make her way and trying to make some friends.”

For the “Class” mates, diverse representation of the series is essential to making it “current and authentic.” Oparah expanded, “If it wasn’t like that, then how are you making a TV show in the 21st century and not touching on any 21st century issues? It’d be really really odd.”

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She went on, “For me, it’s amazing, because growing up I didn’t realize see myself (reflected in the media) that much. So I’m not playing the archetypal black friend who’s just off on the side. There’s layers to every one of our characters so you can’t just put us in a box. I think that’s innovative in itself. And like there’s a gay relationship (on the show), which I shouldn’t think should be a talking point. But it is at the moment. So, representation! And yes, I love Patrick for doing that…There’s so many layers that we can work with. You can try pin us down, but you won’t!”

Even the less likeable characters are given enough complexity and backstory to imbrue them with a relatable humanity, Esayed explained, adding, “So it’s never a stereotype. You actually get to explore the characters in depth.”

“There’s no heroes. We’re just people. And there’s no villains. We’re just people,” Oparah declared. “And I think that’s just like real life as well.”

Well, there’s one hero. But the Doctor comes and goes by the end of the pilot ep. “I thought from the very, very beginning it has to stand on its own,” Ness said of how “Class” fits into the Whoniverse. “We have the Doctor in episode one, which you want. Because this is really a different corner of the universe that we haven’t seen before. So we have to see how he sees it, how he looks at it. And then what’s interesting–what we’ve always talked about this show being–is Doctor Who has an adventure; it’s fantastic, then he leaves. And on (“Doctor Who) we go with him. And so this is what happens when we don’t go with him. This is what happens to the people left behind.”

“The prime thing about the show,” Hopkins noted, “Is that as well as the side order of fighting aliens and saving the world, it’s raw, real drama at the heart of it. And I think that’s why so many people will connect with it.”

“In the crux of it all,” Oparah agreed. “It just shows teenagers. I think young people are just really underrated for how much is thrown at them, and they just keep going. There’s aliens, and there’s love and there’s hatred, and friendships that you don’t want to be friends with. And they just keep going.”

Hopkins remarked that’s not the only way Coal Hill teens are underestimated, adding, “I think it’s what they can achieve as well. I think they are underestimated. If they knew that we were saving the world!”

Class - casting announcement

The “Class” cast admitted to a bit of geeking out when the Doctor himself, Peter Capaldi, came on set for the pilot ep. “His energy when he works,” Hopkins recalled, “Is a force to be reckoned with honestly. We were all fangirling. But once you get over that, he was such a lovely person to work with.”

Oparah added that even Capaldi’s brief time on the production made her a more confident actor. “He would just walk in, and play with stuff and play with the script,” she remembered, “And it just works…and then when you try it yourself, you know it’s okay to make mistakes–”

“And just experiment!” Elsayed chimed in. “It was a collaborative effort. We all could have an input, rather than the director being like, ‘Go away.’…But with Patrick he was so open to exploring.”

Will the “Class” kids to get to cross over to “Doctor Who?” “I wish!” Hopkins squeed, “That’s the dream.” No plans seem in the work just yet, but Elsayed gave a hopeful, “Maybe.” But Oparah had bigger goals, wishing to follow in Capaldi’s footsteps: “In twenty years, I want to be the new Doctor! That’s so 21st Century. I’d love that…I need to work up to it.”

“Class” premieres on BBC America in the spring of 2017. 

The post Meet The Heroes Of The Doctor Who Spinoff: Class appeared first on CBR.com.


Kristy Puchko
via Comic Book Resources


Entertainment Earth

Deadpool Fans Petition For Quentin Tarantino to Direct Sequel

Deadpool Fans Petition For Quentin Tarantino to Direct Sequel

Following the surprise departure of Tim Miller from “Deadpool 2,” Fox executives are undoubtedly scrambling to find a new director who can strike the right tone for the Merc With a Mouth. However, hundreds of fans think they’ve already found the perfect replacement: Quentin Tarantino.

A petition launched Sunday on Change.org calling for the filmmaker behind “Pulp Fiction,” “Kill Bill” and “The Hateful Eight” to not only direct but also write the “Deadpool” sequel.

“If there was ever a chance to see Tarantino do a project almost guaranteed to make a billion dollars, this is it,” writes the petition’s creator, Carl Champion Jr. “We got a great taste of what this could be like in ‘Kill Bill,’ but imagine having a guy like Tarantino write dialogue for The Merc with the Mouth! It would be so glorious.”

As of this afternoon, nearly 950 people have agreed with him.

RELATED: Did Cable Play a Role in Creative Clash Over “Deadpool 2”?

Miller reportedly dropped out of “Deadpool 2” on Friday, following creative differences with star Ryan Reynolds. Co-founder of the visual effects company Blur Studio, Miller was instrumental in convincing Fox to greenlight what was considered a risky film, which went on to earn $782.6 million worldwide.

It’s been suggested that the relationship between Miller and Reynolds had grown “contentious,” with the two disagreeing about the correct approach to the sequel and the casting of Cable.

quentin-tarantino

In an update to his petition, Champion acknowledged that differences would likely also arise between Reynolds and “the creative force” Tarantino, adding, “but I do believe that if Reynolds and Tarantino sat down and discussed their ideas for this sequel, they would love what each other had to say.”

“Another concern that I have heard about this is QT’s penchant for longer movies (I’d love a longer ‘Deadpool’), and his blending of genres might get in the way,” he wrote. “I don’t agree. Consider this, the best superhero movies we’ve seen recently have blended genres beautifully, and in many ways it is exactly what made them so great. Think of ‘The Dark Knight,’ a crime drama dressed as a superhero movie. Think of ‘Captain America: The Winter Soldier,’ a spy-thriller dressed as a superhero movie, and just to cite one more example look at what Marvel is doing on Netflix. ‘Jessica Jones’ is basically a noir movie and ‘Luke Cage’ is a blaxploitation movie, both wildly popular.

“Quentin Tarantino is the master of dialogue, and Ryan Reynolds is a master of delivering dialogue,” he concluded. “Tarantino makes ultra-violent movies where you love the characters, with horrible language, sexy women, and a villain you will NEVER forget.”

While it’s unlikely Tarantino would be interested in directing the “Deadpool” sequel, he once toyed with the idea of a superhero movie: He revealed last year that he briefly considered making a Luke Cage film as a follow-up to “Reservoir Dogs,” but ultimately decided on “Pulp Fiction.”

(via GeekTyrant)

The post Deadpool Fans Petition For Quentin Tarantino to Direct Sequel appeared first on CBR.com.


Kevin Melrose
via Comic Book Resources


Entertainment Earth

From Condoms To Tires: The 15 Most Ridiculous Horror Movie Monsters

From Condoms To Tires: The 15 Most Ridiculous Horror Movie Monsters

Happy Halloween everyone, it’s that time of year where ghosts and ghouls roam the streets, people can dress up as their favorite characters without looking weird and children go out trick-and-treating, resulting in them binging on candy.

RELATED: 10 Horror Movie Moments That Will Make You Sleep With The Lights On

Halloween is also the time of year where we can watch horror movies, ranging from the classics to unknown gems. However, for all the great horror movies and monsters that have graced the screen, there was also been some silly horror creations that filmmakers expect us to be scared of. It could be the result of a good idea poorly executed, an atrocious idea to begin with or simply a case of poor production values. So let us celebrate some ridiculous monsters in cinema history.

Bear (2010): A Psychic Bear

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On the surface, a grizzly bear would make a perfect monster for a horror film, or at the very least be a “Jaws” clone, even if you can go onto Youtube to watch videos of cats scaring off the beast. The 2010 movie “Bear” managed to ruin this simple premise of a group of people fighting off a bear in the woods and it has been referred to by some as one of the worst horror movies ever made.

“Bear” shows four unlikeable 20-somethings getting attack by the titular bear after they killed a different bear in the woods – the grizzly even has a flashback to the event. During the bear’s attempt to terrorize the people he gets electrocuted by a makeshift cattle prod and trapped in a car. Then there was the ridiculous twist of the bear having psychic powers and forcing victims to confront their unresolved issues.

Besides the twist, “Bear” has also become infamous because of its awful production values, ranging from bad lighting placement, boom mics in some shots and having a man running around in a cheap bear costume.

Orca (1977): A Vengeful Killer Whale

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Out of all the monsters to make it on this list, orcas (also known as killer whales) are vicious beasts to their prey, viciously biting and throwing their prey around before finally killing it. Alone and in captivity, they have even killed their trainers on several occasions, leading to the documentary “Blackfish”. So you’re asking why 1977’s “Orca” is a ridiculous offering? Well, it was a essentially a “Jaws” copycat that starts off with having an orca kill a great white shark as a piece of filmmaking posturing. Like the previous entry in this list, it’s also a revenge film in that a male orca is aiming to get back at Captain Nolan (portrayed by Richard Harris), who killed his pregnant mate. The orca’s scheme involves depleting the local fish supply and destroying the town’s electrical infrastructure so the townspeople would turn against Nolan. The film’s final battle features an epic stare down between Nolan and the orca as well.

Maximum Overdrive (1986): Killer Trucks

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“Maximum Overdrive” is the first and only movie to be directed by horror author Stephen King, based on his short story “Trucks.” In “Maximum Overdrive”  all electric devices have turned into killing machines – including from ATMs, chainsaws, vending machines, a steam roller and most famously a big rig with a Green Goblin mask after a comet passes Earth. The machines’ actions range from being rude by just throwing soda cans in someone’s crouch to literally crushing people to death.

King has been very frank about his experience directing “Maximum Overdrive.” He came off as childish (and worse) during production, which he has since admitted was due to being on copious amounts of cocaine when making the movie. He has even made the claim that “Maximum Overdrive,” despite being directed by him, is the worst adaptation of his works. When asked why he never directed another film, he frequently responds by saying “just watch Maximum Overdrive.”

Black Sheep (2007): Carnivorous Sheep And Weresheep

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The 2007 horror-comedy “Black Sheep” was advertised with the tagline “there are 40 million sheep in New Zealand and they’re pissed off’,” taking the most harmless animal possible and turning it into a bloodthirsty monster. Also, a bite from one of these fluffy killers can turn a person be human-sheep hybrid. Thanks to animatronics from Weta Workshop, these gargantuan weresheep at least look decent (as much as a gargantuan weresheep can look, anyway).

Set in a nation known for its delicious lamb (and where the amount of sheep outnumber the amount of humans), “Black Sheep” toys with the trope of genetic experimentation gone wrong. Or in this case, gone right, since the goal of the scientist actually was to take sheep and make carnivorous versions of them that are capable of turning humans into weresheep monstrosities after one bite. What went wrong is that one of these mutant sheep was let go by environmental activists. Without giving away too much of the plot, we’ll just tell you zoophilia is involved and explosive flatulence is what saves the day.

Night Of The Lepus (1972): Rabbits

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Many of the monsters that appear on this list are in horror-comedies, so they have the excuse of never meaning to be taken seriously. “Night of the Lepus” is one film that can’t make that argument because it treats its premise about giant rabbits terrorizing the American South-West seriously. Based on the novel “The Year of the Angry Rabbit,” “Night of the Lepus” sees a town being overwhelmed by a bunny population boom after the local predators (coyotes) died out. Not wanting to poison them with cyanide, they instead turn to genetic experimentation to see if they can mess with the rabbits’ birthrates. As you can imagine, one of the experiments goes wrong and a carnivorous rabbit gets loose into the gigantic rabbit population, leading to waves of killer bunnies.

The film used a variety of hokey special effects techniques like rabbits running around miniature sets, men dressed up as rabbits and putting ketchup on the rabbits’ nose after they ravaged a victim. It’s also slammed by critics for bad acting and poor directing. In the end, the only thing notable about “Night of the Lepus” is the fact that it was Deforest Kelley’s last acting role outside of the “Star Trek” franchise.

The Swarm (1978): Bees That Hate Sound

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“The Swarm” was a ’70s horror-disaster film that had a pedigree cast including Michael Caine, Katharine Ross and Richard Chamberlain. It was even directed and produced by Irwin Allen who also produced “The Poseidon Adventure” and “The Towering Inferno.” Despite all this, “The Swarm” is often regarded as one of the dullest movies made in that era. In fact, Michael Caine went as far as to claim it was easily the worst movie in his entire acting career.

“The Swarm” attempted to be a hybrid of the movie trends that were each so very popular in the 1970s, namely “Jaws”-like animal attacks and disaster movies. In it, we see dangerous South American bees making it to Marysville, Texas. There, they begin killing people, attacking trains and helicopters, and even invade a nuclear power plant. In the end, they discover it was alarm sounds that attracted the bees to the city, so they lure them out to sea where they douse it in oil and set it on fire to kill off the brutal bugs.

Troll 2 (1990): Vegetarian Goblins

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“Troll 2” is infamous for being one of the worst movies ever made, earning it cult status. Even if you’re not familiar with the film, you’ve probably stumbled onto this glorious bit of acting at some point by chance or had a friend tell you about it. Despite its title, “Troll 2” isn’t actually a sequel to the 1986 movie “Troll,” nor does it feature it any trolls. The monsters are in fact vegetarian goblins who turn people into greenery by contaminating their victims’ food. Once in leafy form, the goblins can then eat them. It takes a young boy urinating over a meal to save his family.

“Troll 2” originated as a screenplay called “Goblins” by director Claudio Fragasso as a way to let his wife to air her frustrations about their friends becoming vegetarians. It was then retitled by the production company to “Troll 2” to piggyback off the actual “Troll” film. “Troll 2” was also a difficult production due to the communication problems between the English-speaking cast and Italian crew, as well as only having a budget of $200,000. Despite the movie’s campy tone, Fragasso has defended his work, saying he was making a serious horror film.

The Happening (2008): Trees

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After burning his bridges with Disney when making “Lady in the Water,” M. Night Shyamalan moved on to his follow-up film “The Happening,” the first and only R-rated movie in his career. In “The Happening” people start to commit suicide when exposed to a neurotoxin. It turns out the source of the neurotoxin is trees, which are believed to be fighting against humanity for the environmental destruction they have caused. The trees have even somehow figured out how to prioritize their killings so that they kill off large groups of people. If you haven’t seen the film, note that this isn’t a bunch of trees come to life or are walking or anything like that. These are trees being trees, complete with multiple shots of trees just standing there in the wind.

Shyamalan expected audiences to be scared of trees and the wind. He also explained away that the toxin killed certain people but not others because they were “good people”. The survivor in the opening scene was a so-called good person, but this was only explained in the screenplay, not on-screen. Meanwhile, Mark Wahlberg and Zooey Deschanel were spared because of their love.

Birdemic: Shock And Terror (2010): Exploding Birds That Spit Acid

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“Birdemic: Shock and Terror” was a romantic horror movie that earned a cult following because of its laughably awful CGI, awful dialogue and acting, and nonsensical plot. Many claim it’s perfect for showing budding filmmakers how not to make a movie. “Birdemic” was the brainchild of James Nguyen, a man who says he was influenced by Alfred Hitchcock and even trademarked that he is “Master of the  Romantic Thriller”.

“Birdemic” was Nguyen’s attempt to homage “The Birds” and the first half was a tedious, poorly made romantic movie. The fun really begins during the second half when the CGI birds start attacking because of global warming. In fact, the DVD commentary explained global warming is also responsible for them spitting acid and being randomly explosive. Nguyen only had $10,000 to spend and the special effects definitely reflect this. The actors are often seen waving their arms around hitting badly superimposed vultures and eagles. It’s so wonderfully bad that it’s almost good. Almost.

The Leprechaun Series: An Obnoxious Leprechaun

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If you ignore his roles in “Star Wars: Return of the Jedi,” “Willow” and the “Harry Potter” franchise, then Warwick Davis is best known for playing the murderous leprechaun in the aptly titled “Leprechaun.” It also stars a young Jennifer Aniston before she landed her breakout role on “Friends.” In the first film, Aniston’s family has moved into a home where they find a magical four-leaf clover and a bunch of gold coins. However, those gold coins belong to the titular leprechaun, who goes on a killing spree in order to get them back.

Despite the first film being a flop, they didn’t stop with just one. It somehow managed to spawn five sequels and a reboot film. The settings for the sequels were eclectic, including one set in outer space and two in “the ‘Hood.” During the Leprechaun’s seven-movie run, it became known for his over-the-top kills that mix comedy and gore as well as for its awful one-liners. Some of his silliest moments include a riding a tricycle and rapping in a club. The 2014 reboot attempted to take the franchise down a more serious route, but it also underperformed critically and financially.

Sharktopus (2010): A Half-Shark, Half-Octopus Hybrid

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There have been movies with sharks in them and there have been movies involving a killer octopus before. There have even been movies between mega sharks and giant octopi. Naturally, the logical next step is to make a movie that combines the two in one and that’s exactly what happened in the 2010 SyFy movie “Sharktopus”. In “Sharktopus”  the US Navy commissions a team of geneticists to make what they thinks is the perfect weapon: a hybrid with the head of a shark and the tentacles of an octopus.. However, as expected in these type of movies, the military loses control of their creature and the Sharktopus goes on a rampage, killing people on a beach.

Staying out of the ocean isn’t enough for the film’s stars to save themselves from Sharktopus because the creature is able to walk on land as well as swim in the sea. “Sharktopus” was produced by B-movie supremo Roger Corman and starred Eric Roberts. Being a TV Movie for SyFy, the CGI effects were lacking, to say the least. However, the movie was made with a tongue-in-cheek tone and somehow spawned two sequels.

Rubber (2010): A Psychic Tire

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“Rubber” is an indie meta-horror comedy directed by Quentin Dupieux. It’s a movie that tried exploring the genre in a completely different way by incorporating intermissions of people watching the movie they’re in and trying to kill each other in order to make it end earlier. Why? For no reason, because the first intermission explains that the movie is an homage to the concept of “no reason.” A tire then becomes a psychokinetic killer for no reason.

“Rubber,” the film being watched by the viewer and the actors from the intermissions, follows a tire named Robert that has come to life and developed psychic powers. It first uses them against the local wildlife before moving up to people, blowing up their heads “Scanners”-style. While Robert does this he is being watched by the intermissions audience in an intentionally pretentious message about the media, explaining that the audience in the movie (and we, the movie’s actual audience) constantly yearning for violence leads to more violence. It’s the type of movie festival critics love, but general audiences were split on whether it was too artsy or gloriously stupid to the point of being amazing.

ThanksKilling (2009): A Demonic Turkey

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505 years ago, a Native American shaman used necromancy to summon a demonic, murderous turkey to kill all Caucasians. Now it’s back and trying to kill the descendants of the white man who first angered that Native American. With a premise like that, what could possibly be bad about this film? Everything, naturally, but gloriously so.

“ThanksKilling” was made on a budget $3,500 and it shows, having some of the worst acting ever put to film and a terrible puppet for the killer turkey (named Turkie, no less). The movie is filled with poor sex jokes and has Turkie being intentionally crass all throughout. It’s also filled with the turkey dropping a beautifully painful collection of one-liners, the worst (or best) being the turkey having sex with a woman while saying “you just got stuffed!” “ThanksKilling” is so beloved for being horrible that it received two sequels, the last one being funded through Kickstarter for $112,248.

Jack Frost (1997): A Killer Snowman

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A year before the release of the Michael Keaton family movie, there was already a movie called “Jack Frost” involving a man who turned into a snowman. The 1997 horror-comedy was a critically panned effort that somehow managed to get a sequel, as well as a proposed remake originally slated for December 2016. “Jack Frost” has one of the worst costumes in film history, so bad that the DVD cover could be seen as misleading advertisement. Most people only remember it for being one of Shannon Elizabeth’s first acting roles (American Pie would only come out two years later).

“Jack Frost” begins with a serial killer (conveniently named Jack Frost) getting driven by a prison van to his execution. However, the van crashes into a truck containing genetic material, causing Frost to mutate into a snowman after merging with the snow because… eh, science. Jack describes himself as “the world’s most pissed off snowcone.”Now an abominable snowman, Jack kills his victims in a variety of ways including decapitating a kid with a sleigh, strangling a woman with Christmas lights, shooting icicles and freezing a bath tub. He is eventually taken down by a group of people using hair dryers.

Killer Condom (1996): Literally A Condom That Kills

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It wouldn’t be CBR without at least one comic reference. Based on a comic book of the same name by Ralf König, “Killer Condom” sees the city of New York being plagued by living carnivorous condoms. Naturally, the film doesn’t even try to take itself seriously, with the American trailer for the movie using the glorious tagline “it’s the rubber that can rub you out.” The story follows Detective Luigi Mackeroni as he investigates a series of bizarre attacks in the seedy Hotel Quickie (yup): condoms are eating the penises off the men who wear them. The poor detective manages to avoid this fate, but not before losing a testicle to an evil condom instead.

Here’s something that’s possibly the most interesting thing about the film: famous Swiss surrealist artist H. R. Giger, best known for his work on the “Alien” series, worked as a creative consultant on the movie.

What’s the most ridiculous horror movie monster you’ve ever seen? Let us know in the comments.

The post From Condoms To Tires: The 15 Most Ridiculous Horror Movie Monsters appeared first on CBR.com.


Kieran Freemantle
via Comic Book Resources


Entertainment Earth

Celebrating Steve Dillon’s Legacy as a Master Storyteller

Celebrating Steve Dillon’s Legacy as a Master Storyteller

Scores of tributes are pouring in from the comics community following the death this weekend of artist Steve Dillon, the co-creator of “Preacher” and one of the defining artists of Marvel’s “Punisher” and Vertigo’s “Hellblazer.” For those who knew him, or had met him even once, and for the many more who admired and were inspired by his work, two themes emerged: first, his friendliness, good nature and powerful humor, and second, his astonishing skill as a storyteller from a young age.

RELATED: Becky Cloonan Remembers Punisher Collaborator Steve Dillon As a Legend

“Storyteller” is the word that’s used, even more than artist. His influence upon a generation of illustrators, both peers and up-and-comers, was substantial. On Twitter after his passing, Frank Miller described Dillon as “one of our best quiet dramatists,” while fellow “Punisher” artist Mitch Gerads wrote, “Steve Dillon was a master storyteller. ‘Preacher,’ ‘Punisher,’ all of it done with so much exceptional skill + magic. We lost one of the greats.”

But writers also praised Dillon’s storytelling power, citing its influence on their own work. Kieron Gillen, describing Dillon’s death as an “enormous loss,” characterized the artist as “one of the most gifted comic storytellers I’ve ever seen.” Scott Snyder also called Dillon a “master storyteller — brilliantly immersive, true original.”

A scene from "Preacher"

“I can think of few works that had a bigger impact on me than ‘Preacher,;” Gerard Way wrote on his Facebook page. “Some of the themes, and in some cases titles (although slightly altered), ended up in [My Chemical Romance’s] ‘Three Cheers For Sweet Revenge.’ For a time, as an intern working at DC Comics in NYC back in the day, I used to be the one to photocopy Steve Dillon’s work for editor Axel Alonso as it would come into the office. I remember learning so much about storytelling from simply absorbing and marveling at Steve’s work. And being such a huge Preacher fan at the time, it was a real treat to read the story this way.”

Dillon’s “pages were as fluid as camerawork, as efficient and composed as theater,” Warren Ellis told The New York Times.

Constantine Steve Dillon

Born in 1962 in London, England, Dillon’s comics career began at age 16, contributing to Marvel UK’s “Hulk Weekly.” He was a regular in many U.K. comics magazines, including “Doctor Who Magazine,” the anthology “Warrior,” and of course “2000 AD,” where he drew “Judge Dredd,” “Rogue Trooper” and “Bad Company.” With artist Brett Ewins, Dillon founded the influential “Deadline” magazine, an indie take on the British anthology formula, which introduced to the world Jamie Hewlitt and Alan Martin’s Tank Girl and premiered titles by Peter Milligan, Philip Bond and more.

Dillon’s best-known works, though, are his hugely influential collaborations with writer Garth Ennis on “Hellblazer,” “Punisher” and their original series “Preacher,” recently adapted to television for AMC. The writer-artist team infused their work with a dark, conspiratorial humor, rich characterization, and complex morality.

Dillon passed away in New York, City where he’d recently attended New York Comic Con, of a ruptured appendix. He was 54. His legacy will continue through young writers and artists who discover “Preacher” for the first time.

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Becky Cloonan Talks Art, Inspiration & Process for MondoCon

Becky Cloonan Talks Art, Inspiration & Process for MondoCon

The following interview was conducted prior to the passing of Steve Dillon, Becky Cloonan’s collaborator on Marvel Comics’ “Punisher” series.


Austin, Texas-based art company Mondo celebrates pop culture by enlisting artists to produce limited edition screen print posters for comics, movies, television and music. Because these posters are high quality and often capture the spirit of a project while looking at them in new and exciting ways they’ve attracted a devoted fanbase. Once a year, that fanbase flocks to Austin for MondoCon, a weekend gathering dedicated to art, artists and the other pop culture collectibles that Mondo produces such as vinyl soundtracks, and T-Shirts.

RELATED: This Becky Cloonan Clutch Album Cover Art is Pure Rock Fury

One of Mondo’s frequent contributors is Becky Cloonan, an artist who these days is probably best known to comic fans as the writer of the creator owned Image Comics series “Southern Cross” and Marvel’s current “Punisher” title. For the past several years, Cloonan has created original images for Mondo as well as a number of musicians and music festivals.

Ahead of her Mondocon appearance, CBR spoke with Cloonan about her artwork, it’s inspirations, and her process. We also present a special collection of her work, curated by Cloonan herself.

CBR News: Let’s start at the beginning, Becky — what led to your interest in art? When did you know this is what you wanted to do with your life?

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Becky Cloonan: I’ve pretty much always been keen on drawing, probably more than my parents or teachers thought was healthy. As a kid, I wanted to be an archeologist or a paleontologist (what kid doesn’t dream of digging up skeletons?), but as I got into my teens, I made up my mind that I had to draw. My poor parents.

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[Laughs] Your art frequently features images of horror or dark fantasy. Why do you think that is? What is it about those types of images that makes them so appealing to you as an artist?

I have no idea where that shit comes from. It’s like, I’m a pretty positive person for the most part. As I’ve gotten a little older, I’ve been able to exorcise a lot of the demons leftover from my youth, and worked hard to kick depression to the curb. I love laughing and generally try and enjoy every day. I know my weaknesses, so I’m always working on those, and trying to be better. I have no idea what draws me to the macabre or ultra melodramatic, which is kind of funny in and of itself.

It sounds kind of silly, but I feel like I have this hidden well of dark water deep inside me, and if I dive down to the bottom to see what’s there, I might never come back up. So I try not to think too hard about where these ideas come from; just hurry to the well, take what inspiration I need, and go back to the light and safety of the village.

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I’ve noticed that wooded areas and wilderness often appear as settings in your work. Is that coincidence? Or is there something about that type of setting that captures and fires your imagination?

I grew up in a pretty wooded area in New Hampshire, fishing, catching snakes, running around the woods and turning over rocks to see what kind of bugs were under them. We have deer and bear and wild turkeys — my mom still lives there and I love visiting more and more as I get older.

I also loved fantasy novels. I was a voracious reader as a kid, but as I got older I kind of left all the high fantasy behind. I moved to New York City in 1998 and soaked up all this new inspiration, which helped me grow, but after several years I decided to jump back into what had captured my imagination so much as a kid. In 2011 I made a mini-comic called “Wolves,” and that was that. I was home.

Music especially punk and heavy metal are also a big influence on your work. Do you listen to music when you work? If so, do you have any common go to albums or genres that you listen to while working?

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I’ve always been keen on music. I almost always have something on while I work, I love record shopping and going to shows, and I often pick what I’m going to listen to based on what I’ll be writing or drawing that day. I’ll make playlists for my books, or for characters to help get into their headspace. Lately, I’ve been listening to a lot of doom metal and a bit of psych rock, but I like to think I’ve got pretty eclectic taste in music. [Laughs] But it’s true — most of all I enjoy metal! [Cloonan throws up a metal horns salute]

[Returns the metal horn salute] You’ve also done a lot of art for bands and music festivals. What’s it like working on musically inspired projects instead of say film and comic ones where there are already established images associated with the project?

Gig posters and album art has been picking up for me. The last few years have been crazy. I did the art for Roadburn this past year, and also did a poster for Black Sabbath’s “The End” tour, I did art for a Clutch album and the Deathwaltz Records release of the “Castlevania” soundtrack on vinyl!

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I’ve also turned down a couple of amazing jobs this year because I had a feeling I wasn’t right for the project — this can be really hard, but you always gotta go with your gut on these things.

I guess I don’t really approach projects differently based on who or what they are for, it’s more like what format it will be, what am I going to bring to it, and what kind of story needs to be told. I guess with music there is a little more freedom when it comes to subject matter and imagery, but it’s still the same approval process, people need to sign off on it- even if I’m working for a smaller band, I want to make sure everyone is happy. A lot of times the musicians will have an idea of what they want to see anyway! And if they don’t, I always ask them what they don’t want me to draw.

I’m curious about your artistic process. Do you have a set way that you approach assignments like prints, posters and covers? If so, can you break it down for us?

I am very predictable in my approach and process. First, I’ll sketch out a bunch of rough thumbnails, try and get some juices flowing. A lot of times I will think of a story for the characters in the illustration I’m working on, and I throw in some symbolism that might not be completely obvious, but gives a hidden layer behind the illustration that you can kind of glimpse, and adds some emotional depth. If I feel it, and the characters are real to me, maybe they are real for the audience too.

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Anyway, then I’ll sketch more, and tighten up the lines. Often times I’ll scan my cleaner sketch and bring it into photoshop to refine it, then print it out larger and lightbox and ink it. Or I’ll just finish the project on my Cintiq, which is a lifesaver when I am on the road! It took me a few years to really get used to working digitally, but now that I’ve gotten the hang of it. I feel like it’s a powerful and indispensable tool.

Occasionally, I will experiment outside this process and surprise myself, but I’m comfortable working in stages. This way, I can show my clients what I’m doing and everyone is happy at the end.

People who are discovering your work for the first time via your art might be curious about some of the comic projects you’ve got going, like your creator-owned book for Image with Andy Belanger, “Southern Cross,” and the “Punisher” series for Marvel that you’re writing and Steve Dillon is drawing. What do you want curious fans to know about these projects?

Sometimes I feel like my comic projects and illustration are a little too separate, maybe because I wrote them and I’m not as involved visually. I’d love it for more people to read “Southern Cross” — Andy is killing the art and I am so proud of this book! It’s like “Murder She Wrote” meets “Aliens.”

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Writing “Punisher” is at the same time the hardest and easiest book to write. I don’t want to reinvent the wheel here, so if you are a Frank Castle fan, I think you will get exactly what you want from the book. Steve Dillon is going all-out “Punisher MAX” here! We are having a lot of fun.

If you are curious to read some books I’ve written and drawn, might I suggest my three short stories “Wolves,” “The Mire” and “Demeter.” They are all pretty personal and close to my heart, and if you are a fan of my illustration work these might be the stories for you. Oh, and they’re all on comiXology for 99 cents.

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Supergirl Saves President Lynda Carter In Fiery New Clip

Supergirl Saves President Lynda Carter In Fiery New Clip

On tonight’s “Supergirl,” fans of the CW series will get to meet the President of the United States as played by comic book icon Lynda Carter. The episode, titled “Welcome to Earth,” will see Carter’s POTUS come under attack — and a new scene posted to the show’s Twitter page shows exactly that.

The new scene depicts the arrival of the President and sees her come under fiery attack by a mysterious assailant. Fortunately for the Commander-in-Chief, Supergirl (Melissa Benoist) is present and able to save the day. But a bunch of Secret Service agents? They aren’t so lucky.

Lynda Carter’s debut on “Supergirl” tonight comes after months and months of anticipation. Executive producers Greg Berlanti and Andrew Kreisberg first discussed their dream role for Lynda Carter (who played Wonder Woman in the hero’s ’70s live-action TV show) way back in March, targeting her as their ideal president. This past summer, Carter was confirmed to have a role in the series — as the President of the United States. Now tonight sees her make her big debut. Who says dreams don’t come true?

Since then, we’ve seen images of Carter’s POTUS as well as heard about the actor’s presidential inspiration and seen her in action in a clip. Carter’s big debut comes in tonight’s episode, titled “Welcome To Earth.” You can read the episode’s synopsis below:

RELATED: Supergirl Reveals First Official Look at Lynda Carter as the President

An attack is made on the President (guest star Lynda Carter) as hot-button, alien vs. human rights issues heat up in National City. Supergirl (Melissa Benoist) and the DEO are assigned to protect the President and bring in the responsible party. Alex (Chyler Leigh) teams up with Detective Maggie Sawyer (Floriana Lima) to investigate the case while Kara searches for a recently escaped Mon-El (Chris Wood), who she fears may be the alien behind the assault.

Starring Melissa Benoist as the Girl of Steel, “Supergirl” airs Mondays at 8 pm ET/PT on The CW. The series also stars David Harewood as Martian Manhunter, Mehcad Brooks as Jimmy Olsen, Chyler Leigh as Alex Danvers and Jeremy Jordan as Winn Schott and features appearances by Calista Flockhart’s Cat Grant, Ian Gomez’s Snapper Carr as well as Tyler Hoechlin’s Superman.

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Batman V Superman Concept Art Reveals Early Design For Dark Knight’s Armor

Batman V Superman Concept Art Reveals Early Design For Dark Knight’s Armor

Concept artist Jerad Marantz has released early designs for the Dark Knight’s mechanized armor from “Batman v Superman: Dawn of Justice.”

RELATED: Step Into the Batcave With This “Batman v Superman” Concept Art

The Los Angeles-based artist worked with the film’s costume designer Michael Wilkinson on these initial sketches of the bulky armor Batman dons to fight Superman after he has weakened the Man of Steel by exposing him to kryptonite.

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The three renderings comprise two full body shots, as well as a detailed view of the costume’s arms, including its bulky shoulder pads and massive gauntlets. These images of are fairly close to the final on-screen version. The most notable differences in the drawings are the pointier ears on Batman’s helmet and the sharper blades on his gloves. Also absent is the ammo belt he has slung over his shoulder in the movie.

RELATED: “Batman v Superman” Concept Art Offers New Look at Gotham, Doomsday & More

Marantz is no stranger to comic book movies. On top of working with Wilkinson on the armor and the main Batsuit used in “Batman v Superman,” he’s also supplied concept art for “Guardians of the Galaxy,” “X-Men: Days of Future Past,” “The Amazing Spider-Man 2″ and the upcoming “Doctor Strange,” “Black Panther” and “Avengers: Infinity War.” He was also the lead character designer on the 2010 “Clash of the Titans” reboot, and Zack Snyder’s 2011 outing, “Sucker Punch.”

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Animated Logan Trailer Mashes Up X-Men Cartoons With Johnny Cash

Animated Logan Trailer Mashes Up X-Men Cartoons With Johnny Cash

After Fox dropped the first look at next year’s third and final Wolverine solo film, it was only a matter of time before an editor recut the trailer with footage from the ’90s “X-Men” animated series. That time has come, and YouTuber Phillysteak has made a mash-up trailer for “Logan” that, even using clips from the animated series, still packs an emotional punch.

RELATED: Logan Teams Up With X-23 & Johnny Cash In Moody First Trailer

Set to the strains of Johnny Cash’s “Hurt,” just like the real “Logan” trailer, the animated trailer reinterprets footage from the ’90s Fox series featuring Wolverine in street clothes and a bedridden Professor X, as well as an iconic scene from the series’ “Days of Future Past” adaptation, to get its bleak view across.

And, appropriately, the footage diverts from the ’90s source material to include clips from the early ’00s animated series “X-Men: Evolution.” That’s appropriate because that series is where X-23, played by Dafne Keen in the film, made her debut. And while we woulda liked to have seen ’90s cartoon footage of Caliban and Donald Pierce dropped into the trailer, it still works surprisingly well.

Directed by James Mangold, written by Michael Green, Scott Frank, James Mangold and David James Kelly, and starring Hugh Jackman, Patrick Stewart, Boyd Holbrook, Richard E. Grant, Dafne Keen and Stephen Merchant, “Logan” arrives in theaters on March 3, 2017.

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In DC’s Vigilante: Southland, Gary Phillips Explores Underbelly of L.A.

In DC’s Vigilante: Southland, Gary Phillips Explores Underbelly of L.A.

The hero known as Vigilante has a long history with DC Comics.

First introduced as a backup feature to Superman in “Action Comics” #42 in 1941 and created by Mort Weisinger and Mort Meskin, the motorcycle-riding Golden Age western hero was reimagined as a New York district attorney/street level crime fighter named Adrian Chase in the 1980s by Marv Wolfman and George for “New Teen Titans” Annual #2. the character proved popular enough to soon lands his own series, and though it didn’t last long, he’s popped up now and again throughout the subsequent years.

While Chase is now appearing as a non-costumed supporting character on the hit TV series “Arrow,” on the comics side, a new Vigilante debuts this week in a new miniseries titled “Vigilante: Southland,” written by crime fiction writer Gary Phillips and featuring art by Elena Casagrande.

CBR News connected with Phillips, most notably known for his series of detective novels starring Ivan Monk, to discuss his comics work and learned that while “Vigilante: Southland” is set in the current DC Universe, superheroes, magic and other masked characters exist ‘way at the edges’ of a story that features Donny Fairchild, a washed-out pro basketball player, who is now working as a maintenance technician at a private university. When his girlfriend Dorrie, a student and political activist, is killed, Donny sets out for revenge and redemption, hallmarks of the Vigilante character. And yes, the motorcycle is back!

CBR News: The solicitations posit an age-old question: If you witness bad things being done, how far would you go to set things right? What’s the answer?

Gary Phillips: The answer in comics is that circumstances will invariably pull you into doing something that you never thought you were capable of. [Laughs] Also, the good thing in comics is that allies will show up or at least, come to you for different reasons and aid you in your pursuit. That doesn’t hurt in this case because our hero, Donny Fairchild, finds himself in something that is deeper than what it appears on the surface as he gets more and more into it. And once you’re in, you can’t walk away. [Laughs] It also helps that he has Nina and Manny to help him. Manny is good with tech so that doesn’t hurt.

While this story is set on the West Coast, it is most certainly not a western, though the original Vigilante was a Golden Age western hero in the 1940s. With themes like revenge and redemption — hallmarks of classic western novels, comics and movies — at the center of this story, are there parallels between western and modern crime novels and comics?

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Cover for “Vigilante: Southland” #2 by Mitch Gerads

That’s a great point. I’m mostly a crime/mystery fiction prose writer, so of course, I know that the private eye is an extension of the old west gunslinger. There have been a few private eyes who have also been superheroes, so the private eye is the next in the lineage to the masked vigilante. Our guy doesn’t have any particular powers other than his own determination, so yes, he’s certainly a callback to the original Vigilante, Greg Saunders. Remember, he was a modern cowboy. He rode a motorcycle instead of a horse in the ’40s. We picked that up with Donny, because he also rides a motorcycle throughout L.A. Frankly, that’s the only way to get through traffic in L.A. unless you have your own helicopter. [Laughs] But you’re right; in terms of that lineage of the old westerns, Donny is definitely motivated by revenge.

When we first meet Donny, he’s an easy going guy. Life is good. He’s a b-baller. He has kind of a low-level job, he’s a maintenance man, but it’s at a fairly large private college, so it’s a pretty sweet gig. And he’s got a great girlfriend. Life is nice, and then something happens to his girlfriend and everything gets disrupted. All of sudden, it’s all topsy-turvy. He’s pushed by revenge, initially, but he’s also pushed by the notion that he asks himself, “Can I rise to the occasion?” That’s one of the through-lines of the miniseries, even for the folks that are helping him who have their doubts. He’s not a real gung ho guy. He’s not politically or socially motivated like his girlfriend, Dorrie. So the question is, can he do it? Can he make this thing happen? And will he stand up to the pressure? That’s part of the answers we look for in his arc of this series.   

The original Vigilante as Greg Saunders, was created by Mort Weisinger and Mort Meskin in the 1940s. Were you aware of the character before you landed this project?

Oh, yeah, man. Absolutely. I’m a long-time comics fan, so I’ve read the reprints of the old Vigilante stuff, and there have been some great retcons and revamping of the Greg Saunders character that I have read, too. I’ve also read the Adrian Chase version, which gives way to a female version of the character, Pat Trayce, which was all during the Marv Wolfman years. I am very conscious of the iterations of the character. On one hand, I am reimagining the character Vigilante for the modern era and certainly for the west coast of Southland where he hasn’t been before, but I also want to pay, in a certain way, homage to what has come in the past.

Rather than a lariat, he has a Kung Fu martial arts weapon that he is learning to use. [Laughs] Some of those iconic tropes from the past find their way, at least in a certain way, into this modern version.

I wanted to ask you about his weapon of choice, because his morning star appeared to be glowing in one panel sequence. Is that just a visual effect, or are we going to see magic and mysticism in this comic, as well as superheroes?

Magic and superheroes are not overt, at least in this outing, but it is, at least in my head, even though it’s an R-rated book because of the language, set in the DC Universe. It’s a DCU, as we have discussed, that you haven’t necessarily seen before. There’s certainly been other DCU efforts set in the West Coast, and even set in Los Angeles, but I think that this is a kind of L.A., or a kind of Southland that you haven’t seen before.

In the events of the story, Donny encounters some illegal cock fighting. There’s some kinky stuff going on, too, so this really the underbelly of the wider Southland that you haven’t encountered before. To answer your question, yes, other masked characters and superheroes and magic is here but it’s way at the edges. It’s not really even there. This is more of a street-level masked crime story but definitely those other elements of the DCU are there, if not overt, in this outing.   

There is actually a classic DC character named Doctor Spectro from the 1960s that was created by Steve Ditko and Joe Gill. Is there any connection to Spectros, your main villain?

No, there isn’t. I didn’t even know about Ditko’s character — that’s pretty interesting! When you are creating these characters and fleshing them out, you always have to get a name that’s memorable. For some reason or another, I locked onto the name ‘Spectros.’ I just like the way it sounded, and I like that he may have been, in another incarnation, a Bond villain. That’s what I was really grasping at. [Laughs]

How, if at all, does Donny relate to your other leading man, Ivan Monk?

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Cover for “Vigilante: Southland” #3 by Mitch Gerads

That’s an interesting question. When you have these characters and you set them in motion… I’ve done this before in some stories where it seems like a parallel world or arena, but I salt in — in a tertiary way — a mention of a character from another world. I haven’t specifically done that here in “Vigilante: Southland,” but if sales warrant and I get another bite of the apple with Mr. Fairchild, I want to fool around a little bit with that and plant a few Easter eggs.     

Finally, what can you share about your partner in crime, artist Elena Casagrande?

Comics are a visual medium and I think Elena is terrific. She’s an Italian artist, though I do think that she lived in L.A. for a while, but she really uses reference material and source material that I turn her onto to watch like ” Straight Outta Compton” or “Collateral” to get that look and feel of L.A. that’s not the L.A. of Beverly Hills and just palm trees. Her stuff comes alive on the page and I think how she embodies the various characters from Danny to his dad to Nina to Mike is so great. There is a reason that artists are the kings and queens of comics, as well they should be. As lowly writers, we just have to give them enough to let them go full throttle and deliver the goods in these pages. 

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