Deep Blue Sea Year: So the fact that it succeeds as a loony popcorn shark thriller is worthy of a little bit of recognition. The effects are a bit dated now, but for it was actually pretty decent CGI, used to animate this story about super-intelligent sharks created in an underwater research facility. A few of the scenes are appreciably bloody, such as the live-shark brain surgery that ends with one of the researchers short a hand.

I can get behind that. Life After Beth Year: Reilly are his only sources of comfort.


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Not long after her funeral, he starts to notice some unusual occurrences around town—strange things are afoot at the Circle-K—and Zach discovers that Beth has risen from the grave. His initial reservations about her resurrection are quickly subdued by his tunnel vision of love. Essentially a one-woman, one-location show, it follows a rookie police officer on her first day on the job, working the overnight shift in an old police station that is about to be shuttered. Tales of Halloween Year: Various As the title suggests, the film occurs over the course of a single Halloween, settling on one American suburb where ten yarns unfold against a backdrop of festivity.

On occasion, the segments intertwine, either through the appearance of recurring characters or references to the aftermath of preceding material. Each short is as different in content as in style: Half the fun of films like this lies in arguing with friends over which narrative is best, after all, and while there are clear standouts among the pack, the real pleasure of Tales of Halloween is the ride rather than the destination: The film veers away from classical slasher in the sense that the kills are more on the realistic side than the cartoonish, although the latter might actually have made it more memorable.

Children of the Corn Year: The film focuses on a cult in a fictional Gatlin, Neb. We see Burt and Vicky played by Peter Horton and Linda Hamilton struggle to escape the small town after driving through and hitting a young, dying boy with their car.

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And like Lord of the Flies before it, this Stephen King-based story looks toward our kids to point out the oddities of our culture, including an obsession with religion. With that said, the performances are cheesy as hell—from both the adults and children.

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When Animals Dream Year: Jonas Alexander Arnby Puberty can be horrifying. Yet it wants to be both. It is, to describe in a single word: Everyone else is likely to laugh at the plight of the largely unlikable teens suffering this fate, and their understandably hysterical reactions to it. Of course, like most slashers, we ultimately want the villain to win. Even if the villain is a virus. Would You Rather Year: David Guy Levy Would You Rather is the kind of reductive horror film that follows in the wake of the Saw and Hostel generation of the s, where characterization is just an excuse to reduce each character to one driving motivation.


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  • Films like this are careful to not present any of the other characters as equally or more sincere in their desire than that protagonist, because that would introduce real moral ambiguity rather than the illusive choices here. If this movie had been made in , perhaps it would have been a minor classic.

    Extraordinary Tales is remarkable for the level of talent the filmmakers were able to bring on as narrators or voice actors: As Above, So Below Year: Unfortunately, though, it often meant that even found footage movies with more ambition or verve than typical, such as Grave Encounters or As Above, So Below , went overlooked. This one gets by on high concept more than anything else—a camera crew descends into the legendary catacombs beneath Paris, but finds much more there than would meet the eye.

    Even the jump scares are solid—in an era when shoddy found footage movies were being churned out en masse, As Above, So Below hardly deserves to be lumped in among its more forgettable peers. Evil , one of the best horror comedies in recent memory, director Eli Craig has finally returned with an exclusive for Netflix , Little Evil. Does she know that her child is the spawn of Satan, or as his mother is she just willfully blind to the obvious evil growing under her nose?

    Zak Hilditch A chameleonic performance from Thomas Jane anchors this understated, gothic story set in Depression-era Middle America, told in the style of a confession by the husband who we can tell right from the get-go is haunted by some horrible crime.

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    While they do clandestinely rule from the shadows, they unfortunately are un dead meat to our titular dhampir, and look nowhere as stylish wearing shades. Cult of Chucky Year: The real curse of the werewolf has always been the legs the human legs that could not be made to appear with canine angularity. Now Wes Craven and Spencer Cook have changed all that with their fun and scary rollercoaster ride.

    Cravens new film Cursed features what are without doubt the most realistic werewolves ever put on screen.

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    Created from three main sources a costumed actor, animatronics and a digital werewolf, the filmmakers no longer had to resort to shadowy suggestion to put across images of a truly hybrid creature as equally wolf-like as human. Spencer Cook, Sony Imageworks animation supervisor on Cursed , explains: The digital component was to replicate Rick Bakers werewolf costume, to make a digital copy of it.

    We modified it to some extent, because in the digital shots, you see the full werewolf from head to toe, as opposed to the performer in the costume, which you see only in close-up or from the waist up. And that was mainly because of the design of the werewolf with the canine legs the back legs of a dog, with the foot elongated, so the werewolf is walking on the balls of its feet, the heel much higher and the tibia bone much shorter. We modified the lower half of the body somewhat so it looked more natural. And then, of course, we animated it walking and running in an appropriate way as well.

    Its a much different kind of walk than a person could do. Cook came onto the project after animator Jeremy Cantor had done the preliminary work. Jeremy did the initial rig of the werewolf models, Cook explains.

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    Basically, the process was that Rick Bakers studio designed the werewolf based on Wess ideas, and input from the art director as well. A scale maquette was sculpted, and then a costume was made from that design. The animatronics were created mostly for the facial part of the costume, to move the lips, eyes, ears and wrinkle the skin.

    The costume was worn by a performer, and his facial expressions were the animatronic aspect of it. Cook adds that the model department at Sony designed and built the surface textures for the animation model, with all the muscle shapes and surface details. Once scanned and digitized, the animation could begin.

    The werewolf gets rigged with a series of joints that allows us animators to select certain controls and bend the arms, bend the leg, turn the head and do all the stuff we need to do to create a performance with it. Naturally, the final rendered image with fur, muscular details, deformations and lighting, takes hours per frame to complete. Hence during the animation stage, Cook worked with a lower-resolution version of the werewolf, which allowed him to see the movement of the creature in realtime. When we move the limbs, there is not a big delay the analogy I use is that were manipulating it like a stop-motion puppet.

    I come from a stop-motion background and to me it seems like the same thing theres a jointed skeleton inside this thing and it holds whatever position you put it in, and thats whats happening in the computer as well, youre selecting certain controls that move the joints, and so were posing it in that way. We work with a low-resolution figure so we can get the feedback quickly and see how the motion looks and feels, and then quickly make changes based on that.

    Cook describes the lower-resolution werewolf as looking like a somewhat blocky version of the final creature.

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    Using this version allowed him to create the animated motion of the werewolf, whose exterior details were afterwards swapped out for higher-resolution details. All we need is something that gives the basic idea of it when were first blocking out the animation and getting the general feel of where the characters going to be and in what frame. Thats when were using the low-resolution model, but as we get further in the animation, we can upgrade the model to the higher-resolution one and render it that way, so we get a better idea of how its looking and how the deformations are bending.

    That took a little bit longer to render; usually we did that at the end of the day and saw it in the morning at dailies. As well as finer detailed musculature, the higher-resolution version also included an approximation of the hair layer that conveyed an idea of what the overall bulk and the mass of the werewolf would ultimately be.