The most treasured of all Antarctic deep-freeze creepfests, John Carpenter’s THE THING, is at last seeing a long-mooted follow-up courtesy of Universal Pictures. Not a remake or a reboot, but a prequel, whose final reel will end immediately where the Carpenter classic begins. So yes, we’ll finally get to witness first-hand the original discovery of the alien craft—seen only in silent, black-and-white video footage in Carpenter’s 1982 film—and experience the bloody events leading to the destruction of the Norwegian camp, from which the shapeshifting “thing” escaped to U.S. outpost #31 and its inhabitants, including pilot R.J. MacReady (Kurt Russell).
Word raced across the web this week that one of our favorite horror thrillers of recent years, 2005’s WOLF CREEK, would be getting the sequel treatment (see item
As the fifth season of Showtime’s hit pseudo-serial-killer-thriller-drama DEXTER begins to spill its DNA all over the airwaves, it’s important to analyze what makes the show tick. Of course, it’s chief asset is a dynamic, layered central performance from actor Michael C. Hall as everyone’s favorite bloodthirsty, half-mad vigilante murderer, a serial killer who only targets other killers. The supporting cast (led by Jennifer Carpenter, who plays his butch but still fragile sister) who—like everyone else in the show—are oblivious to the darkness in Dexter’s heart. And, of course, the music by composer Daniel Licht. What’s that? You've never stopped to think about how vital Licht’s experimental, organic sounds are to manipulating your emotions and eliciting a visceral response every week? Well, then…you just don’t know DEXTER well enough, do you?