Norwegian actor Sverrir Gudnason has been cast in the role of Mikael Blomquist in the upcoming Dragon Tattoo sequel, The Girl in the Spider's Web. The role was previously played by Daniel Craig in the David Fincher-directed film. Craig was awesome in the role. I have no idea how good Gidnasson will be because until today, I've never heard of him before. He did star alongside Shia LaBeouf in a movie called Borg/McEnroe.
Gudnasson joins Claire Foy, who is taking on the role of Lisbeth Salander; Sylvia Hoeks (Blade Runner 2049) as Salander’s twin sister, and The Square star Claes Bang as the villain. Fede Alvarez (Evil Dead, Don't Breathe) is directing the movie and David Fincher is a producer on it. The script was written by Alvarez, Steven Knight (Eastern Promises, Peaky Blinders) and Jay Basu (Metal Gear Solid). The movie will start production in January in Berlin and Stockholm. Here's a description of the story:
A genius hacker who has always been an outsider. A journalist with a penchant for danger. She is Lisbeth Salander, the girl with the dragon tattoo. He is Mikael Blomkvist, crusading editor of Millennium. One night, Blomkvist receives a call from a source who claims to have been given information vital to the United States by a young female hacker. Blomkvist, always on the lookout for a story, reaches out to Salander for help. She, as usual, has plans of her own. Together they are drawn into a ruthless underworld of spies, cybercriminals, and government operatives—some willing to kill to protect their secrets.
The movie, which is based on the book by Stieg Larsson, will be released on October 19th, 2018.
As many of you know, a remake of The Crow has been in and out of development for years. The movie is actually moving into production now with director Corin Hardy (The Hallow, The Nun) at the helm and Aquaman star Jason Momoa in the lead role.
The remake is said to be more of a closer adaptation to the comic from James O'Barr. We've been told time and time again that it's not going to be a remake of director Alex Proyas' film. It's going to be a film made directly from the source material. But everyone has their own opinion of what that all means.
Well, Alex Proyas is 100% against the new Crow movie and he took to his Facebook page to speak out against it in a heartfelt message explaining why the film shouldn't happen. The reasoning behind his opinion is the legacy of Brandon Lee, who was accidentally killed while shooting the film int he early 90s. Here's what Proyas had to say:
WHY I THINK THE CROW SHOULD NOT BE REMADE
I was privileged to know Brandon Lee – he was a young, immensely gifted actor with a great sense of humour and a bright future ahead of him. I was also privileged to have been able to call him a friend. Our working relationship as actor/director went beyond mere collaboration. We crafted a movie together which has touched many people.
I did not take a “film by” credit on THE CROW. I wanted it to be Brandon’s movie, because it was, and because he would not be able to make any more movies. He brought all his passion to the movie and it has lasted as his legacy. It is a film I know he would have been proud of.
I finished the film for Brandon – struggling through grief, along with the hugely supportive cast & crew who all loved Brandon, to complete it in his absence. We were imbued with the strength of Brandon’s spirit and his inspiration. Not only Brandon’s wonderful work as an actor and a film-maker, but as a man, who’s humanity had touched us.
THE CROW would not be a movie worth “remaking” if it wasn’t for Brandon Lee. If it wasn’t for Brandon you may never have even heard of this poignant little underground comic. It is Brandon’s movie. I believe it is a special case where Hollywood should just let it remain a testament to a man’s immense talent and ultimate sacrifice – and not have others re-write that story or add to it. I know sequels were made, and TV shows, and what have you, but the notion of “rebooting” this story, and the original character – a character Brandon gave life to at too high a cost – seems wrong to me.
Please let this remain Brandon’s film.
I can totally see and understand where Proyas is coming from. I can also see the reasoning behind why we are getting another Crow movie, especially with series creator James O’Barr wanting to see a movie that sticks closer to the source material.
In the end, it's ultimately O'Barr's creation, and whether fans like it or not, if he wants to see another movie get made, then there you have it.
Do you feel a remake of The Crow would be disrespectful to Brandon Lee’s memory?
I'm honestly surprised that it took this long for someone to do it. Ever since Guardians of the Galaxy 2 was first released I've been dying to share a video with Yondu superimposed into the film only to be disappointed day after day that one was not available. Just when all hope seemed lost, my salvation arrived in the eleventh hour, and it is even more perfect than I imagined.
Check it out below, and let us know how much you love this in the comments.
With The Disaster Artist, James Franco transforms the tragicomic true story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau—an artist whose passion was as sincere as his methods were questionable—into a celebration of friendship, artistic expression, and dreams pursued against insurmountable odds. Based on Greg Sestero’s best-selling tell-all about the making of Tommy’s cult-classic disasterpiece The Room (“The Greatest Bad Movie Ever Made”), The Disaster Artist is a hilarious and welcome reminder that there is more than one way to become a legend—and no limit to what you can achieve when you have absolutely no idea what you’re doing.
I recently had the opportunity to sit down with actor Paul Scheer and the co-screenwriter of The Disaster Artist, Michael H. Weber when they stopped by Boston to present the film. We get into some great topics such as Tommy Wiseau executing his singular vision better than Steven Spielberg, some big cameos that hit the cutting room floor and more.
The following interview has been edited for content and clarity:
Jay: Paul I know you covered The Room on an episode of your podcast, How Did This Get Made (I’m a big fan), but what was your familiarity with The Room prior to your work on The Disaster Artist?
Paul Scheer: I always say that The Room is like this ayahuasca-esque experience where you hear about it and you don’t know what it is, but then you’re kind of curious about it. And that’s kind of how I got brought into it. People would talk about it all the time, there was that billboard in L.A. and I watched it one night with a group of friends at a big… we like rented a house, and it was like one of those things like you’re sitting on the edge of your couch and you’re moving forward and you’re like, ” Wait, wait, what’s going on? The sex scene is playing again?” Our minds were blown. So much so that the next night we re-watched the movie again. It’s a move that keeps on giving, honestly. That was my first introduction to it. I think once you see The Room your next goal is to find someone who has not seen it and then introduce them to it.
When it came to our podcast, we wanted to do an episode about The Room, but it had been so often discussed, so we wanted to do it in an interesting way. We had a friend who reached out to us who said, “Hey would you like to have Greg (Sestero) on the show?” I was like, “Absolutely.” That’s where my love of The Room went deep, because he had not written the book at that point. I think maybe he has just sold a pitch for it. (He) just started telling these stories about these guys and I feel like that book became, which is an amazing book and a book that I listen to on audio cassette and I highly recommend because his voice is…
Jay: I have the book, but I did not know there was an audio book so I’m going to have to track that down.
Paul: It really is a treat. So (the podcast) led to that, which then led to this and it just keeps on going.
Michael H. Weber: Scott Neustadter, my writing partner and I, we would not have been able to write The Disaster Artist without the book. There’d be no movie otherwise. I am a lifelong New Yorker and my first trip to L.A. was probably in ’03 or ’04 and I remember driving around with Scott and it was also his first time there, and we saw the billboard and we were like, “What the fuck is that thing? Is it an immersive theater experience?” We didn’t call the number, of course. We were like, we don’t want to get murdered.
Scheer: That’s the thing about that billboard that I don’t think people realize, everyone knew that billboard. It was in a beautifully central location-
Weber: It worked!
Scheer: It worked. And there’s not many billboards up in L.A. where you’re like, “What is THAT?” And that managed to be this billboard.
Weber: In your lifetime, how many billboards do you remember anywhere?
Scheer: That was the one. On that level, Tommy (Wiseau) is a genius.
Weber: Really. For a guy that wore all the hats making his movie, the hacky warfare sort of marketing and publicity might have been the best of all.
Scheer: Yeah, it’s amazing. At the end of the day the person who is going to make the most money off of anything is Tommy. The DVD’s, the merch… If you see Disaster Artist you’re going to want to buy a “You’re Tearing Me Apart, Lisa” shirt and he’s got it already made and ready to go.
Weber: The book was sent to Scott and I by Franco and Rogen. We had never met those guys. We read the book and flipped for it.
Scheer: Was that just a cold call?
Jay: I was curious about that, too.
Weber: So one of our managers knew James Weaver, who works at Point Grey and basically is a producer that runs the company for Seth and Evan (Goldberg). I guess they were looking for writers who specialize in relationship stories rather than just… Look, they’ve worked with some brilliant writers, but who tend to have more of a comedy background than Scott and I do. So I think they were looking… They knew the comedy would come, which was great because Scott and I, we thought let’s, for the most part, write this like a drama, knowing it will be funny working with them. So that’s really how we approached it. Scott probably, I think he stopped after the third chapter and watched The Room. And I waited until after we wrote the first draft because the goal wasn’t just a movie that was fan service, it had to work for people who’ve never even heard of The Room. We like to strike a kind of balance when we approach any project, where usually one of us is more of an expert or inherently more interesting to one of us than the other. How do we get the other one more into it? That’s really how we came at it.
Scheer: I have a question, because I’ve heard you talk about this… What was your reaction to The Room after reading about it? That’s an interesting way in. It’s all laid bare and your mind is probably putting together a lot of things. Was that a trippy experience to kind of see it…
Weber: Yeah, the weird thing is I’d felt like I’d seen it, which I think is a tribute to the book. The book really is designed also so anyone can read it. You don’t have to be in the film industry and you don’t need to have seen The Room to read the book. It does such a great job of describing those moments of… like the flower shop and how certain scenes turned out the way they did. You know, at the end of the day the pull for Scott and I wasn’t, ha ha let’s make fun of this bad movie. It was, let’s tell the story of these two friends, because we related to it. We were two guys who met in New York working at a production company who did no want to be doing what we were doing at that production company. We wanted to be making movies. It seemed like everyone was telling us no. So that kind of friendship, forged in sharing a dream, you don’t need to see The Room for that.
Scheer: I always say that… By the way I acknowledge that we’re still on the first question. To me it’s like, the other thing like…There is… I don’t know if I’m articulating it well, but I will say there is no difference between Paul Thomas Anderson and James Franco and Tommy Wiseau in the sense that they are people who have visions and they want to create and tell a story. The execution is where the difference is. That instinct is, I think, the most relatable thing whether you’re in the business or not. I think especially if you’re in the business it’s like, yeah let’s build something. I come from the UCB, which is the Upright Citizens Brigade, and that was a very community based thing. Did I put up some of the worst shows ever? Yeah, I did. Robot TV, it was a show by robots for robots.
Weber: That sounds amazing.
Scheer: But there’s that thing where you have an idea and everyone is leading you on and like, yes that’s a good idea and sometimes it works out and sometimes it doesn’t. I think that’s relatable. That is the fabric of creation. You know? It’s not like you’re going to hit all of them out of the park.
Unless, of course, you’re Paul Thomas Anderson.
Jay: In your own opinions, what is the best entrance into The Disaster Artist? Is it seeing The Room before or after? I read the book after seeing the first trailer, then saw The Room, then saw The Disaster Artist.
Scheer: I will say the thing that I’ve been saying as we’ve been talking about this movie a lot. I think it works as a prequel OR a sequel. If you’ve seen The Room, like I did, and then saw this movie or read the script, it’s a great… It opens up your world. It’s a… I think it really works. But if you’ve never seen The Room… For example, my dad saw The Disaster Artist. He’s never going to see The Room, but I think he found so much joy in it that he might now want to see The Room because of it. Because he’s like, “Wait. That’s a real person?” I really think it works as a prequel or a sequel. I think there is no… I think that people are hesitant. “I don’t want to watch a bad movie.” For those people who are like that, go see The Disaster Artist first because you’ll be so intigued that you’re going to want to go see it. I think that’s a testament to these guys because the movie works independently of everything. You don’t need to know anything about it.
Weber: See, I think it’s a tribute to what Tommy made. The fact that we’re now having this discussion of how you approach The Room, he made a lasting piece of art that you can come at a bunch of different ways. You can argue about the technical qualities of various filmmaking elements within it, but clearly he made something lasting.
Scheer: In a world of bad movies, or in a world of movies that have questionable choices, he has reached the apex of that mountain unlike anyone else. I think you can be very hard pressed to come up with any other movie that is like this. If you tell me that Gary Busey is the gingerbread man, I can give you ten movies that are similar to that. It’s like, yeah schlocky, bullshitty… You know, how many mumblecore movies of coming to terms with being thirty-five in Ojai… There’s a million of them.
Weber: That’s my favorite genre.
Jay: Dinner party mumblecore films.
Scheer: Yes! So, in that world, yes, he’s created something so wonderfully unique and not able to be copied. Not even by Tommy. It’s this rare gem.
Jay: It’s almost like it’s one of those things where he came at it from such an honest and earnest place that anyone else who tries to do it is trying to do something ironically, which is not coming from the same place. Movies like Sharknado are purposely trying to generate cheesy. They know they’re being cheesy and they’re attempting to be cheesy and it’s not coming from a genuine place. Paul, you said that every choice Tommy made seems to be the apex of wrong.
Jay: But he doesn’t know that at the time. He thinks he making the right choices to make a good film, which is not something you can really replicate. His bad movie is so great because he thinks he’s making all the right decisions.
Weber: Also, I’ll say Tommy has a more singular vision than Stephen Spielberg. Spielberg will work with the best DP’s who have thoughts. Those guys don’t get steamrolled. They have ideas and the collaborate with Spielberg. Yes, he’s the captain of the ship at the end of the day, but Tommy… It’s really his vision. He was not taking input from ANYONE ELSE at any level of making the movie. It’s really fully his vision and what he wanted it to be.
Scheer: I will continue this and say the scotchka is a perfect example of The Room. It’s like, that is something that does not exist, scotch and vodka.
Weber: It shouldn’t.
Scheer: It shouldn’t and anyone should understand that. But the fact that Scotchka is in the movie is a testament to Tommy’s… Someone should tell him that that’s not a thing.
Jay: What has been your most surreal Tommy interaction?
Weber: He’s only on set once. He negotiated his own contract and we had to shoot a scene opposite Franco. It wasn’t like we could do him opposite someone else, so there was going to have to be two guys who looked like that somewhere. He didn’t negotiate that we had to use the scene. As you know, I don’t want to spoil anything-
Scheer: But definitely stay until the very, very end. The bitter end.
Jay: It’s tremendous.
Weber: That day he was on set we had written three or four lines for this little nub of a scene and Tommy showed up and immediately said, “This is it?” And he sort of ignored what was written and did his own thing, which was so bizarre. I said, this is what it must have been like on set the day on Being John Malkovich where Malkovich went inside Malkovich, because I felt like I was inside Tommy inside Tommy. It was crazy.
Scheer: I have had the rare distinction of acting opposite of Tommy in Tommy and Greg’s follow-up to The Disaster Artist, because in their mind they consider The Room the first and The Disaster Artist second and their new film third, the ending of the trilogy of these films called Best Friends. So, I got to do a scene with Tommy in a morgue in downtown L.A. late one night.
Weber: Did he know you were in…Because Greg knows. Did Tommy know you from other things?
Scheer: Honestly, no. No. Tommy literally does not recognize me every time I see him.
Weber: Same, same.
Scheer: So I’ve seen him obviously when I did the movie with him, and I’ve seen him when we went to Toronto and I’ve seen him at the premiere and I’ve seen him at the junket. And Every time it seems like, “Hai.” And some times some of those interactions are only separated by hours.
Weber: It kind of explains the “Oh” in “Oh hi.”
Weber: Because he sort of is almost faking remembering people because he doesn’t remember most people.
Scheer: I would love, speaking of John Malkovich, I would love Being Tommy Wiseau because I don’t know what’s going on inside that brain and it’s fascinating.
Weber: It’s almost a lock that, speaking of Sharknado, that Tommy’s in the next one.
Scheer: Oh, my gosh, he has to. By the way, what was the thing? We were having dinner with them and we asked what he was thinking about and he was like, “You don’t want to know.” and we were like, what are you thinking? And he goes, “Naked girls on the beach.” That is Tommy. He’s just daydreaming about naked women on the beach.
Weber: That’s amazing.
Jay: You guys obviously had a well written script, but was there room for improvisation? I know the scenes from The Room that were shot were meticulously planned and filmed but was there room for improv beyond that in the other scenes? Beyond Tommy tossing his lines, of course.
Scheer: I don’t think there was much improv in the movie. I would say the biggest things that James did so well was do very long takes. You would have a lot of fat on either side of that scene, in a way, so everyone would be in the moment. It was almost like a scene in The Office. Everyone, even though you’re not on camera, you’re in the background and working. So that, I think, helped energize scenes. When we shot Tommy’s death scene, spoiler alert, he let that go on a long time. But it was fun to be in character around it. It wasn’t in the movie, but I think it added to an element of everyone being always on and it was good.
Weber: As a screenwriter James was the ideal director. He created that environment where he was the most protective of the script, and yet it also felt like he gave the actors room to explore within the confines of what the scene was about. So we made sure to get what was scripted and he sort of allowed people to roam a little and make some discoveries, which is what you want. That’s the sort of fine line you have to walk. It’s not always like that. I’ve worked with directors who the screenplay exists only to get them to production and it’s sort of like, “We don’t need that anymore, we’ll just figure it out when we’re there.” That was not Franco’s attitude.
Jay: Outside of Tommy and Greg, did anyone meet of spend time with their real-life counterparts?
Weber: Ari (Graynor) spoke with Juliette (Danielle) quite a bit.
Scheer: I know Robin Parrish reached out to June (Diane Raphael). Some of them are difficult, some of them are harder to track down.
Weber: Jackie Weaver might have talked to… I wonder if Jackie Weaver talked to Carolyn Minnott?
Jay: It seems like you guys have every comedic actor in The Disaster Artist. I have to assume it’s because of how much people love not only Franco and his circle, but because of their love of The Room. Are you aware of anyone who wanted to be in the film that wasn’t? Did you have friends reaching out to you asking to get them in there somewhere?
Scheer: (to Michael H. Weber) You’d probably know more about that. Was any scene cut with people in it?
Weber: There was obviously, June had some more scenes.
Scheer: I mean, people that were cut.
Weber: Yeah, there were people that were cut. Zach Braff had a brief thing that got cut.
Scheer: Oh, I remember that.
Weber: And Jim Parsons had a thing as Greg’s agent and was cut.
Scheer: Did you guys ever shoot the Puppet Master stuff?
Weber: We did. We played around with the Puppet Master and shot that.
Scheer: I feel like the DVD for this will be really great.
Weber: And the Puppet Master scenes, the guy who directed Puppet Master came back and played the director in The Disaster Artist.
Scheer: Oh, wow. I think the one thing too, about this movie is that the ensemble doesn’t stick out.
Jay: It’s not distracting.
Scheer: Yeah. When you see Megan Mullally pop up, you’re excited for Megan Mullally but you’re not, “Oh, Megan Mullally…” It doesn’t feel like-
Weber: -They’re really smart, the production was mapped out. The Room stuff, making (the scenes from) The Room was the first couple weeks of production, so our movie was so populated and then the back side of production was, the final two thirds of it, was mostly James and Dave and a little bit of Alison Brie. But for the most part the back two thirds of production was almost like a play with the two brothers that was really great.
Jay: Thanks a lot guys.
The Disaster Artist is now out in select cities and opens wide December 8th.
If you're a big fan of Kurt Russell, I think you're going to like the latest movie role that he just landed! Russell has been perfectly cast as Santa Claus is new Christmas movie that is being produced by Netflix.
Russell is one of my favorite actors, and I love the thought of him taking on the role of Santa! He will be joining Judah Lewis in the film, who starred in Netflix’s fun horror-comedy film The Babysitter, along with Darby Camp of Big Little Lies.
Chris Columbus (Home Alone) is producing the Untitled movie and it's being directed by Clay Kaytis (Angy Birds). The movie is said to be a live-action film with a mix of CG elements. Here are the story details:
The story centers on two siblings (Lewis and Camp) who try to prove that Santa is real by catching him on camera. When they accidentally cause his sleigh to crash in Chicago, they have to help get Christmas back on track before it's ruined.
That sounds like it could be fun, but I'm mostly just excited about seeing Kurt Russell in the role of jolly ol' Saint Nick. The script for the film was written by Matt Lieberman, who recently wrote the stop-motion The Addams Family movie that's currently in development. The script is based on an original idea that was hatched by David Guggenheim, who is the creator of the TV show Designated Survivor, and Lieberman.
Netflix will start production on the film in January and it will be released during the holiday season in 2018.
Earlier this year, MoviePass announced that they were offering their subscription service for only $9.95. This deal lets you go and see any 2D movie at participating theaters whenever you want for only $9.95 a month. You can watch a movie every day for a month at that price. Many theaters weren’t too fond of this subscription service and as an example, Cinemark has now released their own subscription plan for moviegoers.
For those confused at or unable to watch the video below, I’ll help break it down. Cinemark wants to charge you $8.99 ($1 less than MoviePass) for one movie a month. Now, they offer other perks such as all tickets you buy are only $8.99 as well, you get 20% off snacks, unused tickets roll over into the next month, and they waive any fees for reserving seats in an attempt to sweeten the deal. SlashFilm is quick to point out that in Los Angeles, “[f]or years, the ability to reserve seats when you buy your tickets online has been free…”
I just checked my local Cinemark pricing and for a matinee, it’s already less than $7 and a General Admission ticket is $9. I wouldn’t be getting much of a bargain except on snacks I could save a couple bucks. I’m sorry, but if theaters want to compete with MoviePass, they’ll need a better deal than this. Not to say that this is completely useless though. I know some metropolitan areas have ticket prices much higher than $8.99 and Cinemark may be their only theater option. That is really the only time I see this being a good idea at all. However, most metropolitan areas I know of have dozens of movie theaters that I’m sure you could use MoviePass with or they are probably working on their own plan that is hopefully better than this.
While we wait for the trailer to be released for Jurassic World: Fallen Kingdom, Universal Pictures has sent us this wicked cool featurette to watch! It offers fans a behind-the-scenes look at the film. There's footage from the set, new footage from the film, and of course, interviews with the cast and crew, who are bringing this next chapter of the story to life. Some of the new footage offers us our first look at Jeff Goldblum back in the role of Ian Malcolm, which is pretty rad.
The story involves an erupting volcano on Isla Nublar that threatens the lives of the dinosaurs that reside on the island and Chris Pratt’s Owen Grady and Bryce Dallas Howard’s Claire Dearing embark on a mission to save them. The big question is, where do they plan on taking these dinosaurs!?
J. A. Bayona (A Monster Calls) is directing the film and it also stars BD Wong asDr. Henry Wu, James Cromwell as Benjamin Lockwood, Justice Smith and Toby Jones.
Jurassic World: Fallen Kingdom is set to be released on June 22, 2018. The full trailer for the film will be released tomorrow.
After near constant teases through the past week, we've finally been told Black Mirror Season 4 will arrive December 29th. A late Christmas present to be sure, but at least we're going to have one more great show to binge before 2017 takes a bow!
If you haven't watched the six trailers that have been released so far, you don't know that this season looks to be the strangest one yet with everything from Black Mirror themed museums to an episode that looks like Star Trek.
Netflix also released a full trailer for Black Mirror that you can watch below that offers us some more insight into what we can expect to see from this fourth season. It looks great!
I'm probably going to binge it all before 2018, anyone else think they're up for the challenge?
The horror genre has had a particularly successful year both on console format and for the PC, we’ve seen big-name hits like Resident Evil 7 and the continuing innovation of the Outlast series, now onto it’s second installment. I personally enjoyed Little Nightmares, a dark whimsical narrative which stylishly attempts to play on our childhood fears. On the horizon, it looks like 2018 and 2019 will repeat the genre’s success in 2017, there’s an incredible amount of potentially jaw dropping and pant wetting horror games which promise innovative fun and shocking narrative.
When it comes to Horror, there’s no more effective environments that setting your game in Hell itself, rather than being a place where semi-cute demons tote pitchforks to prod you with, Agony depicts a truly nightmarish vision of the Inferno. It’s a Survival horror game currently in development by Madmind Studio where the player begins their journey as a tortured soul with no personal memories. As they wander through the corridors of Hell, they find that they have the ability to possess demons and control other NPCs in their path.
The game looks visually stunning with highly detailed and imaginative depictions of the cruelty of the Abyss, the monsters look visually intimidating and it’s shaping up to be a powerful contender to take the crown of Outlast as a genuine First Person Nightmare.
It’s planned to be released on March 30th 2018 on Microsoft Windows, Playstation 4 and Xbox One
A dark, gory, brooding 2d Side Scrolling action platformer, with a beautiful pixel art style and a chilling environment which seems ripped from a Heavy Metal front cover, this seems to be a form of spiritual successor to Slain mixed with Dark Souls. In development by The Game Kitchen studios, this blood soaked game promises to deliver some epic boss battles and the most brutal violence ever to have been depicted by pixels. Can it live up to those epic claims? Find out in Q1 2019
Currently planned for release on Nintendo Switch, Microsoft Windows, Playstation 4 and Xbox One
Call of Cthulhu
If you want to base your horror game on a literary franchise, there’s none better than the mythos created by H.P. Lovecraft. This is based on the popular table top RPG game and places you into the role of a private investigator Edward Pierce as he investigates the death of an entire family on Darkwater Island. The player will be exploring this environment from a chilling and immersive first person perspective, the developers Cyanide Studios have revealed that this would be a semi-open world investigative RPG with gameplay having a mix of stealth and intense psychological horror. It looks beautiful and I’m excited to see how this classic horror tale has been adapted.
Currently planned for release next year and for Microsoft Windows, Playstation 4 and Xbox One.
This is the story of the aftermath of a zombie apocalypse, while not an original narrative context, SIE Bend Studio (who brought us the Syphon Filter series) promise to deliver an interesting protagonist for the player to experience a vast open world environment through. Deacon St John is a bounty hunter an a drifter, he prefers the open roads to safer survivor camps, the zombies of the story are called ‘Freakers’ and are evolving at a rapid rate. One unique feature which should set it aside from comparisons to The Last of Us, is how the real time day to night environmental system changes the AI of the zombies, there’s a crafting element promised and a myriad of different vehicles to drive to get to important destinations in the open world.
This is rumored to be released next year, but no official announcement as yet, it will be available on Playstation 4
This is a horror game which is unlike any others on this list, it’s an upcoming stealth survival horror game being developed by Dynamic Pixels. Your neighbour is hiding a horrible secret which you must uncover by successfully sneaking into his basement. There’s an incredible AI system promised, with the neighbor’s behaviour being modified based on the players past actions. This was demonstrated in a recent build of the game where the Neighbor set traps along a path that the player had previous followed.
You don’t have to wait to long for this to be released – 8th December 2017 and it will be available on Microsoft Windows, MacOS and Xbox One.
For those of you who are as excited about Steven Spielberg's film adaptation of Ready Player One as I am, you'll be excited to hear that a new trailer for the film is coming soon!
Alberta Film Ratings has classified the second trailer for the movie, which is based on Ernest Cline's amazingly awesome sci-fi novel. The new trailer is said to have a runtime of two minutes and twenty-four seconds.
Unfortunately, there's no release date for this new trailer, but word on the street is that it will play with screenings of Star Wars: The Last Jedi, which means it will probably be released online shortly before that. The Last Jedi opens in theaters on December 15th.
The first trailer for the film premiered at Comic-Con last year and it completely blew me away. I loved what I saw in that first trailer and I seriously can't wait to see more from this movie! It's one of my most anticipated films of 2018.
The film is set in 2045, with the world on the brink of chaos and collapse. But the people have found salvation in the OASIS, an expansive virtual reality universe created by the brilliant and eccentric James Halliday. When Halliday dies, he leaves his immense fortune to the first person to find a digital Easter egg he has hidden somewhere in the OASIS, sparking a contest that grips the entire world. When an unlikely young hero named Wade Watts decides to join the contest, he is hurled into a breakneck, reality-bending treasure hunt through a fantastical universe of mystery, discovery and danger.
The film stars Tye Sheridan, Olivia Cooke, Ben Mendelsohn and T.J. Miller, with Simon Pegg and Mark Rylance. It's set to be released on March 30, 2018.