Bad Grandpa
Jackass Presents: Bad Grandpa
Film Synopsis
When Irving Zisman’s crack addict daughter is arrested, it falls to him to take his eight-year-old grandson to the boy’s father in North Carolina. After a failed attempt to ship the boy there via UPS, the pair embarks on a hazard-filled road trip that they will be lucky to survive.
A werewolf, also known as a lycanthrope, is a mythological or folkloric human with the ability to shapeshift into a wolf or a therianthropic hybrid wolf-like creature, either purposely or after being placed under a curse or affliction (e.g. via a bite or scratch from another werewolf).
In The Company of Wolves (1985)
Werewolf of London (1935)
Underworld (2003)
Curse of the Werewolf (1961)
Dog Soldiers (2002)
Wolfman (2010)
Wolfman (1941)
An American Werewolf in London (1981)
The Howling (1981)
Vampires are mythical beings who subsist by feeding on the life essence (generally in the form of blood) of living creatures. Bram Stoker’s 1897 novel Dracula is remembered as the quintessential vampire novel and provided the basis of the modern vampire legend. The success of this book spawned a distinctive vampire genre, still popular in the 21st century, with books, films, and television shows. The vampire has since become a dominant figure in the horror genre.
Bram Stroker’s Dracula (1992)
Nosferatu (1922)
Salem’s Lot (1979)
Near Dark (1987)
From Dusk Till Dawn (1996)
Interview with a Vampire: The Vampire Chronicles (1994)
Lost Boys (1987)
30 Days of Night (2007)
Fright Night (1985)
Blade II (2002)
Dracula (1931)
Dracula Has Risen from the Grave (1968)
Frankenstein, or The Modern Prometheus, is a novel written by British author Mary Shelley about eccentric scientist Victor Frankenstein, who creates a grotesque creature in an unorthodox scientific experiment.
Lon Chaney Jr. in Ghost of Frankenstein (1942)
Tom Noonan in The Monster Squad (1987)
Glenn Strange in House of Frankenstein (1944)
David Prowse in Frankenstein and the Monster from Hell (1973)
Christopher Lee in The Curse of Frankenstein (1957)
Shuler Hensley in Van Helsing (2004)
Nick Brimble in Frankenstein Unbound (1990)
Robert De Niro in Mary Shelley’s Frankenstein (1994)
Fred Gwynne in The Munsters (TV Series 1964-1966)
Boris Karloff in Frankenstein (1931)
Alien Chocolate Easter Egg
Alien Easter Bunny Egg Coloring gone wrong
Alien Easter Themed Movie Poster “In space no one can hear you scream Chocolate!”
Twilight Zone: The Movie (1983)
January Q. Irontail (voiced by Vincent Price) in Here Comes Peter Cotton Tail (1971)
Very Creepy Easter Bunny
Easter Bunny Blood Bath (2010)
Easter Egg Hunting with Rabid Rabbits
Zombie Chocolate Bunnies
The Killer Rabbit from Monty Python and the Holy Grail (1975)
Happy
Katy Perry as “Goldie the Dancer”
FROM: BeautyBlitz.com
Katy Perry is debuting a new video this week called “Birthday,” and today the pop star has released a teaser that introduces us to the upcoming video’s six different terrifying characters, all played by the singer herself. Some serious special effects makeup went into transforming Perry into the “World’s Worst Birthday Party Entertainers.”
Katy Perry as “Kriss The Clown”
Katy Perry as “Yosef Shulem the MC”
Katy Perry as “Ace the Animal Trainer”
Katy Perry as “Princess Mandee”
Katy Perry’s Birthday Music Video Preview
Mad Monster Phoenix 2014
FROM: Phoenix New Times
The Mad Monster Party — a weekend-long horror, science fiction, and fantasy-themed convention — is scheduled to take place from Friday, June 13, to Sunday, June 15, at the Sheraton Phoenix Downtown Hotel, according to an announcement posted to Facebook on Monday.
The three-day con is being put on by Mad Monster, a Southern California-based entertainment company that produces horror-themed events in L.A. and across the country, as well as publishing a “retro-style throwback” monster magazine.
Fox has released the final trailer for Dawn of the Planet of the Apes (2014). In theaters July 11, 2014.
A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species.
Dawn of the Planet of the Apes (2014)
20th Century Fox has released a featurette for the film which gives us a behind the scenes look at the visual effects that were created to help bring this story to life. (FROM IGN)
Dracula Untold (2014)
Dracula Untold is an upcoming American drama-horror film directed by Gary Shore and written by Matt Sazama and Burk Sharpless,based on the novel Dracula by Irish novelist Bram Stoker.
Official Trailer
FROM: LA Times
By
Before a genre movie such as “Carrie” comes out, studios like to go viral with all sorts of novel video, often from the film itself.
But when it comes to these marketing videos, nothing beats seeing real people in a crazy situation — especially if it involves telekinesis.
Check out the above video. People in a New York coffee shop look aghast when a patron begins to levitate items and humans, Carrie-style. Well, “people in a New York coffee shop” — from the way it’s all set up, there’s a certain actor-y feel to it all. Still, it’s a pretty cool trick.
The stunt was orchestrated by MGM and Screen Gems, which are set to bring out the remake of the Brian de Palma staple, based on Stephen King’s iconic novel and starring Chloe Grace Moretz, on Oct. 18, 2013.
If only they could use telekinesis to get viewers into theaters.
FROM: EmipreOnline
The Godfather of Makeup has passed away
by Ben Kirby
Dick Smith, the renowned “Godfather of Makeup”, has died aged 92. Smith was a legend in the field, pioneering an astonishing number of different techniques and trickery in-camera. He’s best known for his work on an impressive list of classics, including Taxi Driver, The Godfather, The Exorcist and Amadeus. Indeed, it’s a tribute to his talents that – The Exorcist aside – audiences often forget that these films had such extraordinary special effects and makeup, all hiding in plain sight.
Born in June 1922, Smith began his career in television as head of the New York NBC make-up department in 1945. He was one of the first pioneers in using small sections of foam latex (instead of one whole mask), which freed an actor up to be far more expressive and mobile. During that time, he worked on shows from Roald Dahl’s Way Out to cult hit Dark Shadows. However, it is for his work in films for which Smith is primarily remembered.
The list of his achievements is remarkable, beginning with his first big job on The Godfather. Here, he transformed Marlon Brando from a matinee idol to the aged, jowly Vito Corleone, using a variety of techniques that were all the more impressive considering this was the same year Brando was naked and far more youthful in Bertolucci’s Last Tango In Paris.
One year later, Dick Smith became a part of horror legend with The Exorcist in 1973. The gruesome transformation of Regan (Linda Blair) from a sweet 12 year-old girl into a demon-possessed monster was vivid and wholly believable, thanks in large part to Smith’s astounding work. As if this wasn’t enough, three years later he helped bring the bloody climax of Scorsese’s Taxi Driver to life. In fact, so realistic were the prosthetic injuries shown onscreen that Scorsese famously had to desaturate the colours, making the blood less red, in order to be granted the necessary R rating.
From there, Smith went on to work on Marathon Man, The Deer Hunter and Amadeus, where he transformed the then 44 year-old F. Murray Abraham into a 73 year-old Antonio Salieri. Together with Paul LeBlanc, Smith won the 1984 Academy Award for Best Makeup, while Abraham also won Best Actor. Smith himself recalled afterwards, “It was the best job I ever had. I did all the work, had plenty of time, total co-operation, [and a] proper screen test.”
Following this triumph, Smith continued to work on various projects, including on the TV show Monsters and Robert Zemeckis’ effects spectacular Death Becomes Her. He also continued to offer training and courses on movie makeup, passing on his pioneering techniques to new generations of artists. In 2011, he received one of the film industry’s highest accolades when he was given an Honorary Award from the Academy. Accepting the award, he said, “This has been an incredible joy… I have loved being a makeup artist so much, but this kind of puts a crown on all of that.”
A younger legend of movie makeup, Rick Baker, said of Smith, “There’s never going to be another Dick Smith. Dick is, without a doubt, the greatest makeup artist who’s ever going to live.”
In this jam-packed jamboree of conversations, more than 60 movie veterans describe their experiences on the sets of some of the world’s most beloved sci-fi and horror movies and television series. Including groundbreaking oldies (Flash Gordon, One Million B.C.); 1950s and 1960s milestones (The War of the Worlds, Psycho, House of Usher); classic schlock (Queen of Outer Space, Attack of the Crab Monsters); and cult TV favorites (Lost in Space, Land of the Giants), the discussions offer a frank and fascinating behind-the-scenes look. Among the interviewees: Roger Corman, Pamela Duncan, Richard and Alex Gordon, Tony “Dr. Lao” Randall, Troy Donahue, Sid Melton, Fess Parker, Nan Peterson, Alan Young, John “Bud” Cardos, and dozens more.
Tom Weaver lives in Sleepy Hollow, New York, and has been interviewing moviemakers since the early 1980s. The New York Times called him one of the leading scholars in the horror field and USA Today has described him as the king of the monster hunters. Classic Images called him “the best interviewer we have today.” He is a frequent contributor to numerous film magazines including Starlog, Fangoria, Monsters from the Vault and Video Watchdog, and he has been featured in the prestigious Best American Movie Writing. A frequent DVD audio commentator, he is the author of numerous reference and other nonfiction books about American popular culture, including Universal Horrors: The Studio’s Classic Fims, 1931-1946.
Exploitation filmmaker Herschell Gordon Lewis is credited with single-handedly creating the gore genre with the 1963 release Blood Feast. This low-budget shocker would ultimately influence nearly every horror movie which has followed, as well as “high-brow” films as varied The Wild Bunch and Reservoir Dogs. Lewis, dubbed “The Godfather of Gore,” crafted more than thirty-five films in his ongoing career (the exact number varies depending on whom you talk to). Lewis would ultimately work in a number of genres, including gothic horror, drama, sexploitation, blaxploitation, and even musicals, and each of his low-budget productions features a singular style and vision that cannot be ignored. No matter what genre Lewis worked in, he remained at the forefront of cinematic trends and movements. In The Godfather of Gore Speaks: Herschell Gordon Lewis Discusses His Films, the filmmaker explains his choices and motivations – from concept to finished product – in much more detail than ever before. Assisted by noted film historian Andrew J. Rausch, Lewis shares often hilarious anecdotes and provides analysis for the thirty-nine films which he either directed or assisted with direction. “Herschell Gordon Lewis is known all over the world as ‘The Wizard of Gore.’ He’s a whiz of a wiz in just about everything else, too, including, but not limited to, brain surgery, moonshine making, international diplomacy, auto body work, nuclear physics, and siding sales. He writes textbooks and does windows, and don’t ever challenge him to a game of Scrabble.” –David F. Friedman “Herschell Gordon Lewis is the man who put red meat into the American cinematic diet. Ultimately Herschell made Quentin Tarantino possible.” –Joe Bob Briggs
Vampires, monsters, sadistic psychopaths, serial killers, vengeful ghosts, and Satan himself have been frightening and entertaining filmgoers for generations. This comprehensive, chronological film guide summarizes the 101 most important horror movies ever produced, from the 1922 silent classic Nosferatu to the low-budget, 1999 Sundance Film Festival hit, The Blair Witch Project. General editor Stephen Jay Schneider presents film summaries, reviews from a wide array of critics, cast and credit lists, and film production notes. The book’s 200 illustrations include unforgettable still shots from the movies as well as iconic film posters. Horror film buffs who open this book will renew their chilling memories of Hitchcock thrillers like Psycho and The Birds, revisit Dr. Frankenstein’s castle with Boris Karloff, haunt the sewers of Paris with Lon Chaney’s Phantom of the Opera, and recall Anthony Hopkins’ most chilling role in The Silence of the Lambs. 101 Horror Movies is international in scope, and covers films from Japan, Russia, Italy, Germany, France, and Australia. Fans of horror movies will want to see all 101 films before they die–and they’ll also want to own this entertaining and informative book.
Steven Jay Schneider is a film critic, scholar, and an author and editor of several books on films and filmmaking, including Barron’s 1001 Movies You Must See Before You Die. He is currently in Hollywood, where he plans to produce movies of his own.
As the horror subgenre du jour, found footage horror’s amateur filmmaking look has made it available to a range of budgets. Surviving by adapting to technological and cultural shifts and popular trends, found footage horror is a successful and surprisingly complex experiment in blurring the lines between quotidian reality and horror’s dark and tantalizing fantasies. Found Footage Horror Films explores the subgenre’s stylistic, historical and thematic development. It examines the diverse prehistory beyond Man Bites Dog (1992) and Cannibal Holocaust (1980), paying attention to the safety films of the 1960s, the snuff-fictions of the 1970s, and to television reality horror hoaxes and mockumentaries during the 1980s and 1990s in particular. It underscores the importance of The Blair Witch Project (1999) and Paranormal Activity (2007), and considers YouTube’s popular rise in sparking the subgenre’s recent renaissance.
Alexandra Heller-Nicholas is an adjunct research fellow at the Institute of Social Research at Swinburne University of Technology in Melbourne, Australia. She publishes regularly in a number of international magazines, journals and books on horror film and related subjects.
Kiana Jones Freakmo SFX
GM: When did you make the decision to enter the field?
KJ: I always liked putting a lot of time and effort into costumes for parties, which lead to an interest in learning makeup effects. I was invited to a Zombie Crawl at my university in August 2012, and I put some time into learning how to use latex and fake blood on Youtube. My costume and makeup got a lot of attention at the zombie crawl, so I posted it onto Reddit. It made the front page, and I got a lot of praise and encouragement, and since then I’ve been practicing makeup consistently. Around Halloween that year, I started a Youtube channel which is the main area I practice makeup in currently.
GM: Who inspired you to start – who was your influence?
KJ: Stuart Bray has been my strongest influence from the early days until now. He works in the industry (including working on Game of Thrones!) but also has a Youtube channel, posts makeup tutorials to instructables, and has online e-courses, and DVD’s available for sale. It’s great seeing someone with a lot of experience still take the time to teach others techniques, and to see the magic happen.
GM: What is your Favorite Special Effects memory (from a TV show, Movie or Book)?
KJ: It has to be from The Walking Dead. Greg Nicotero just pushes the makeup to limits and has these disgusting practical makeup ideas, then works them into the storyline. In particular, I think it’s in the second season, there’s a car crash, and a zombie tries to stick its face through the broken windshield, which rips and pulls back the flesh on their cheeks.
Kiana Jones severed fingers
GM: How did you get started working in the industry?
KJ: I went into a store here in Perth called Kirkside Products which supplies a lot of the mold-making materials, and started talking to a really nice guy called Will Huntly who works there. Will was a makeup artist back in LA before he moved to Australia, and I excitedly showed him some of the makeup I’d been working on for Halloween. He wanted to introduce me to another MUA in Perth, called Kate Anderson. Kate Anderson called me shortly afterwards asking if I’d like some experience doing makeup on set for an indie film being made in Perth (Fallout: Lanius). Since then she’s been kind enough to invite me onto a few other projects of hers, include a John Butler music video, some private events, and a new TV show being made for our ABC.
GM: What current projects are you working on or excited about?
KJ: I really want to create the makeup of someone who’s whole face has been degloved – to have it as a single piece which you can hold in your hand, and then to create the muscles and bone structure behind that. This is what I’m most excited about currently.
I just finished work on a show for ABC 2 here in Australia, which involved my first assistance with bald cap application, and learning how to use an air brush, which was really fun.
Kiana Jones Maggot Eye
GM: What was your toughest job?
KJ: When I first learned how to encapsulate silicone, I made a large piece to go onto my own face. It went quite far around the side of my head to my ears, and that eye was mostly covered. I didn’t consider how I’d be able to see what I was doing or blend the sides out, so that ended up being quite difficult.
GM: What was your favorite job?
KJ: My favorite job was a look I did on myself for the Warm Bodies premiere. I worked out how to create a gouged eye, with an arrow coming out of it.
Kiana Jones Arrow Wound
GM: What was the best advice or training you ever received?
KJ: It was from a Stuart Bray DVD – how to apply blood more realistically, or how to create a messy look which doesn’t look too carefully placed, while not hiding your makeup underneath the blood. But basically he uses tissues to smudge and remove a lot of the blood, while leaving hints of it, and shows where to place splatter or drips to get a maximum effect with minimal blood.
GM: How do you pick your makeup for a project? Do you make your own?
KJ: A lot of it is having used the products before and knowing their qualities and how easy they are to apply. If it’s something I want to do quickly and cheaply, and doesn’t have to withstand a lot of time or movement, then I could use something as simple as nose and scar wax. If it has to last a long time and be flexible, I will use silicone (Sculpt Gel). And just considering exactly how the injury was made – how old the blood will be (whether to use fresh or aged blood) how old the bruise would be (whether to include yellows and greens), etc. The only thing I’ve made so far is gelatine, and the experience was… interesting. It smelt very strongly of parmesan cheese and vomit.
GM: Are there brands you recommend?
KJ: I really like all the products that Mouldlife makes; they’ve all been great quality. I have their sculpt gel, baldiez, super baldiez, silicone pigments, flocking powder, platsil gel-10 and deadener, and their Kensington Gore blood is fantastic.
Kiana Jones Bloody Eye
GM: How do you envision the future of makeup effects? Do you think that CG is hurting the industry?
KJ: I don’t think so. I think they work well together. If it can be created with makeup effects, I think it’s easier for the actors to respond to it, and it involves a lot less post-production, and will usually look more realistic than the CGI stuff (if you’re looking for it). But there are situations where you need to have a whole part missing from a face or body, which can only be achieved with CGI, but with makeup surrounding those parts, it’s perfect.
GM: Are there any breakthroughs in the industry that excite you?
KJ: It’s not a recent breakthrough, but boy I’m glad I’m learning this while encapsulated silicone is a thing. Melting away cap plastic for seamless edges is exciting, and the movement and feel of silicone is just amazing. The most comfortable and realistic makeup that I’ve worn was encapsulated silicone.
GM: Is there someone new to the industry that you like? Someone we should watch for?
KJ: Kate Anderson. I have been able to work under her for most of my makeup jobs in Perth, and on top of being a cinephile/film geek, she’s an amazing makeup artist; I’ve never seen someone get so excited over makeup products, her passion shows through, and she’s also one of the loveliest people to work with. She’s been making an impression in Perth’s film sphere, and has begun assisting in makeup departments on feature films, and being the head of makeup for music videos.
Kiana Jones more Maggot Eyes
GM: Whose current work do you admire?
KJ: As mentioned before, Stuart Bray, and Neill Gorton, and also Greg Nicotero, these are my current favorites.
GM: Do you have advice for the beginner or someone just getting started in the business?
KJ: Practice as often as you can, learn as much as you can. If you’re passionate enough to always be investigating makeup tutorials, learning about new products and techniques, and practicing whenever you get the urge to be creative, I think these things help the most. If you’re not the kind of person to be self motivating, then schools can help, but so many in the industry are self taught. Lastly, make sure you know the safety requirements of all of the materials that you’re working with; it’s really important.
GM:: What are your top five special effects movies? (The movies can have practical or visual effects).
KJ: Jurassic Park, Terminator 2, Any Lord of the Rings movie, Gravity, and Pan’s Labyrinth.
Visit Kiana’s sensational Youtube channel Freakmo SFX to see video demos of her amazing special effects work!
https://www.youtube.com/user/kianabjones/featured
