After proving himself a master financial negotiator in the boardroom CEO Peter Ludvigsen (Søren Malling), fancies himself the ideal person to work out the release of the ship’s crew, despite being advised that this particular situation would be best handled by someone with practical experience, and without a personal attachment to the outcome. This hubris causes the negotiation to drag on, as days turn to weeks, and weeks turn to months. During this time, the hostages experience what is known as Stockholm Syndrome, wherein a type of traumatic bonding occurs. Over the course of their shared crisis, a spirit of uneasy camaraderie grows between the two disparate groups of men who bond when the simple task of catching a fish becomes a shared celebration by all, and the sailors teach the hijackers a bawdy sea shanty. Despite their vastly different roles, they are all in this situation together, and attempt to make the best of it.

Meanwhile, Ludvigsen is receiving a crash course in humility, after each of his counter-offers are met with increasing dissatisfaction by the pirates’ spokesman, Omar (Abdihakin Asgar) whose insistence that he is not a pirate is a matter of which he takes great pride, and sets himself apart from the gunmen. He is simply there to broker a deal, much like the CEO; the difference is that Omar understands the stakes of this game, while Ludvigsen has to learn the hard way that there is a vast difference between the boardroom and the real world.

As communications break down, Lindholm ratchets up the tension, careful to walk the thin line between drama and melodrama. The sailors all have homes and lives they wish to return to, while their captors can only lay claim to crippling poverty and desperation. This is not meant to give compassion to the pirates; rather, the intention is to simply illustrate the variance in perspectives. The film is also adept at casting a light on corporate arrogance, the notion that a man in a suit, by virtue of his position within a company, can dictate terms and conditions from the safety of his well-equipped office, secure in the knowledge that his life isn’t on the line and therefore won’t be adversely affected.

By way of its masterful handheld camera work, the film has a claustrophobic, documentary feel, and makes the viewer feel as though they are on the ship as well, bearing witness to the daily dehumanization of the crew, not just seeing but feeling the changes they are going through as the outlook becomes increasingly bleak, and the impression that they have been all but forgotten in the course of their captivity, while those who can bring an end to the crisis bicker endlessly over the price of their ransom. The exceptional cast performs admirably, bringing understated life and believability to their characters without ever stretching credibility. It is through the combined efforts of cast and crew that the film seemed less a work of fiction, and more a document of an actual event.

A Hijacking is one of several films either in release or are soon to be released; however, the tension and suspense created by Lindholm have set a standard by which all others, including the upcoming Tom Hanks film Captain Phillips, should be judged. The bar has been raised rather high, and all who come up short will be keelhauled and made to walk the plank.

A Hijacking is released theatrically across the USA on June 21st

Keep up to date with Magnet titles on their Official Page, Facebook and Twitter 

Zombiehamster.com is your new online resource for quality genre content:

Don’t forget to Like us on Facebook and follow us on Twitter

Michael LaPointe is a freelance writer and literacy advocate whose first novel, Revival, will be published in the summer of 2013. A lifelong fan of things that go bump in the night, he has written extensively on the subject of film in numerous forms of media. Michael lives in Huntington Beach, California with his wife Stephanie and their cats, Maggie and Homer. For book updates and other digressions, visit Michael at the Rogue Highways Official Site and on Facebook. 

The post A Hijacking (2013) appeared first on Zombie Hamster.

This is how Reviver, Seth Patrick’s debut novel gets underway. Set to be one of the most explosive debut fiction novels of the year, Reviver tells the story of a group of people with a very special ability.

Revivers are people possessing the ability to wake the recently dead, enabling them to bear witness to their own demise. Twelve years after the first reviver came to light, they have become accepted by an uneasy public. The testimony of the dead is permitted in courtrooms across the world and forensic revival is a routine part of police investigation.Jonah Miller is one of the best. But while reviving the victim of a brutal murder, he encounters a terrifying presence. Something is watching. Waiting.

Film rights have already been snapped for Reviver up by Legendary Pictures (The Dark Knight Rises, Inception, Watchmen, Man of Steel), so if you are a fan of getting in first, make sure that you pick up a copy of the book when it goes on general release on June 20th.

The book began during a short writing course run by bestselling crime writer Peter James.  At the end of the first class, Peter set a task for the following week:  to write the first 250 words of a horror novel, introducing the protagonist and a murder weapon. This was the genesis of Reviver!

As part of the release, Macmillan have teamed up with Blippar, an app that allows you to instantly convert anything in the static, print world into an interactive experience.With this app, you can bring the girl on the cover of the book back to life and hear what she has to say. 

Seth Patrick was born in Northern Ireland. An Oxford mathematics graduate, he works as a programmer in an award-winning games company. He lives in England with his wife and two young children. Reviver is his first novel. He can be found on Twitter, and we shall be speaking with him very soon. 

Find out more about Macmillan publications on their Official Website, their Facebook and Twitter pages.

Zombiehamster.com is your new online resource for quality genre content:

Don’t forget to Like us on Facebook and follow us on Twitter

The post Reviver – Seth Patrick appeared first on Zombie Hamster.

Publisher and filmmaker Rodrigo Gudiño returns for a special article on his stunning feature, The Last Will and Testament of Roaslind Leigh (We interviewed Rodrigo about the film last year), one of the finest recent examples of a haunted house feature, displaying a subtlety and craft which is rarely seen in contemporary horror.

Zombiehamster editor, Colin McCracken, has also contributed an exclusive feature essay on Robert Wise’s seminal 1963 movie The Haunting, which includes an interview with Claire Bloom, who recalls working with the cinematic legend on what is often listed as one of the most terrifying movies of all time.

Find out more about the July Issue of Rue Morgue on Twitter and Facebook, you can order the Magazine online at their Official Site, or purchase it on News stands at the beginning of every month.

Zombiehamster.com is your new online resource for quality genre content:

Don’t forget to Like us on Facebook and follow us on Twitter

The post Exclusive Feature on The Haunting in Rue Morgue #135 appeared first on Zombie Hamster.

Simmons has achieved worldwide recognition through his two sequential genre series’, Flu and Doll Parts. He is currently in preparation for the launch of his Cyberpunk novel Plastic Jesus, and is also working on a new project which promises to be a further departure from his current themes, while keeping with the tone of his earlier work.

Moody is widely regarded for his Autumn series, as well as the incredibly popular, Hater. His work has been adapted for the cinema, more of which he speaks about on the aforementioned episode of the Zombiehamster Podcast.

The two horror authors will be appearing together at Esquire’s Coffee House, in association with Waterstones Coventry, at 7pm, June 29th.

Tickets for this exclusive event at Esquire’s are just £3 and £2 can be redeemed off book purchases on the night

You can find Wayne Simmons on his Facebook and Twitter pages, likewise, David Moody can also be found on his Facebook and Twitter pages.

Zombiehamster.com is the primary online resource for quality genre content:

Don’t forget to Like us on Facebook and follow us on Twitter

The post Wayne Simmons / David Moody Author Event appeared first on Zombie Hamster.

Following the death of father, India Stoker (Mia Wasikowska) finds herself in uncomfortable close proximity with her troubled mother Evelyn (Nicole Kidman). At the funeral, a mysterious, and hitherto unknown, uncle named Charlie (Matthew Goode) appears, making the announcement that he is going to be staying with India and her mother for some time. India noncommittally accepts this and, before long, her already peculiar world becomes a far darker place.

Known for his extreme and deeply affecting movies such as Oldboy (2003), Thirst (2009) and Sympathy For Mr Vengeance (2005), it may serve as somewhat of a surprise to some to discover that Stoker is a predominantly understated affair, with subtlety and reflection taking place of frenetic viscera and startling gore.

Kidman is delightfully unbalanced in her depended, yet incredibly distant mother figure, whilst this is balanced wonderfully against Wasikowska’s suspicious and pensive youthfulness. A maudlin and curious figure, India is an intriguing focal point, for it is the actions which take place around her, and the resonance which they have on her life, which create the narrative grasp of the feature. Uncle Charlie is introduced with an air of dangerous ambiguity, and so the question is never about ‘What secrets he is hiding?’, more so, ‘When will they be revealed?’

Chan-wook makes remarkable use of tone and texture throughout, with materials forming a significant part of the aesthetic; from luxurious curtains and furnishings, to the harsher material of India’s clothing, sensuality is formed in the portrayal of fabrics, which are juxtaposed spectacularly amongst the grandiosity of the Stoker household. Insects too, are a regularly utilized metaphorical tool within the film. A stunning score by the always remarkable Clint Mansell ties everything together beautifully.

Its subtlety may not appease everyone; significant amounts of screen time are dedicated to people giving each other suspiciously analytical glances, and the first hour is, essentially, building the necessary tension which is required to effectively pull off the second half of the movie.

Produced by Tony and Ridley Scott, the former’s last film as a producer before his tragic suicide in 2012, Stoker is a sumptuous and delectable feast which in all its inherent richness, lacks the ferocity for which the director has become known. Ambling in places, but gorgeous enough to elicit forgiveness, it is a standout film of the year and one which will, hopefully serve as a catalyst for Hollywood to open its doors to more of world cinema’s finest.

Stoker is out today in the USA on DVD / BLU RAY from 20^th Century Fox, and on June 28th in the UK/IRE

The post Stoker (2013) appeared first on Zombie Hamster.

This is the basic storyline of Gilbert Chan’s Malaysian-Singaporean film 23:59, a tight, economical thriller that claims to be “Inspired by a true ghost story.” While not exactly a horror film, 23:59 finds its voice in relating the emotions of the characters involved, giving them time to develop by way of flashbacks that allow the viewer to see the events that make the characters (and the spirits) who and what they are, and the reasons they react to situations in the ways that they do. To do this indicates a degree of trust in the audience, a rather precious commodity in filmmaking of late. It is through these flashbacks that the emotional and physical reactions of those being haunted are explained, and the overall feeling is of loss and sorrow, rather than of terror.

Chan’s direction is competent and reserved, allowing the shots to flow organically, and the jungle in which much of the action occurs almost becomes a character itself, making the dull routine of a nighttime march an exercise of anxiety. Darren Ng’s music is sparse but effective, quietly adding to the action, rather than punctuating it. Running at a scant seventy-eight minutes, the film comes up short on story and there are a few minor plot holes; perhaps if more time was given, these issues could have easily been resolved. That said, the film manages to engage and entertain, and the subtitling detracts from the film not at all.

When at last we meet the ghost, the feeling is not of terror or even fright, but rather of sadness. As it is widely believed that ghosts are the energy of people who left this earthly realm early and/or by unfortunate means, it stands to reason that not all of them would be malevolent, especially if they weren’t so in their corporeal life. In this case, what is left is the spiritual residue of a mother and child, grossly misunderstood and harassed, but never understanding the hostilities that were leveled against them.

In real life, we grow as humans by way of our humanity. When confronted by fearful people or other entities, one might speculate that a small measure of compassion could make an enormous difference in the life (or afterlife) of another, and it is this message that comes across clearest in 23:59.

23:39 is now available on DVD from Magnet Releasing.

Keep up to date with Magnet titles on their Official Page, Facebook and Twitter 

Michael LaPointe is a freelance writer and literacy advocate whose first novel, Revival, will be published in the summer of 2013. A lifelong fan of things that go bump in the night, he has written extensively on the subject of film in numerous forms of media. Michael lives in Huntington Beach, California with his wife Stephanie and their cats, Maggie and Homer. For book updates and other digressions, visit Michael at the Rogue Highways Official Site and on Facebook. 

The post 23:59 (2011) appeared first on Zombie Hamster.

We are continuing the tradition of the last few years of announcing our opening and closing films ahead of the big main announcement of the full programme, which will be at 2pm on 28 June.

Each year we strive to give the platform of our opening slot to a locally produced British film, and this year is no different. We are delighted to be able to announce this year’s opening film will be the world premiere of The Ford Brothers latest, THE DEAD 2: INDIA, the first-ever International production of a zombie film shot in India.

The film follows the story of India-based American engineer Nicholas Burton (JOSEPH MILLSON) in a race against time to reach his pregnant girlfriend Ishani Sharma (MEENU). Burton enlists the help of an orphan street kid Javed (ANAND GOYAL) and together they make a perilous 300 mile journey across deadly landscapes as a zombie apocalypse threatens to engulf the entire nation. 

Two years ago Keshales & Navot Papushado’s burst on to the scene with their fabulous first film RABIES. Famously in a first for FrightFest we had to screen the film four times, such was the demand to see it. And now we are delighted to welcome them back to the Empire to close FrightFest 2013 with their extraordinary revenge thriller BIG BAD WOLVES. Soaked in twisted tension, fairytale myth and seat-edged suspense, the film follows the lives of three men on a collision course: following a series of brutal murders: the father of the latest victim now out for revenge, a vigilante police detective operating outside the law, and the main suspect in the killings – a religious studies teacher arrested and released due to a police blunder.

Aharon and Navot said today:

“We always dreamt of having a film which would be good enough to be shown at FrightFest, but not even in our wildest dreams did we think that an Hebrew speaking revenge thriller would get us there. FrightFest is really making history here.  As a token of our appreciation we promise to give everyone there a night they won’t easily forget”.

The Hollywood Reporter said in their review “Big Bad Wolves is mesmerising from start to finish, including a haunting final image that you’ll find impossible to forget”. All the directors and some cast members from both films will be attending the festival.

This years Opening and Closing Film choices represent everything FrightFest is about; the discovery, nurturing and celebration of vital new voices in the genre. FrightFest launched the Ford Brothers’ THE DEAD to worldwide acclaim in 2010 and Aharon Keshales and Navot Papushado’s RABIES in 2011, so we are delighted to welcome both duos back with their stunning new movies. These films bookend Film4 FrightFest perfectly and hint at what we are trying to achieve this year –  the best platform to deliver our broadest, most diverse and most surprising event ever”.

Film4 FrightFest, the UK’s biggest genre film festival, runs from Thursday 22 August to Monday 26 August at the Empire Cinema, Leicester Square. Festival & day passes go on sale from 29 June. Tickets for Individual films are on sale from 27 July.

Find out more on the Frightfest Official Page, Facebook and Twitter

Zombiehamster.com is the primary online resource for quality genre content:

Don’t forget to Like us on Facebook and follow us on Twitter

The post Frightfest 14 Announce Opening / Closing Features appeared first on Zombie Hamster.

The foundation of fan expectancy for a sequel can be easily quantified in terms of a few select criteria. Primarily, the film must move on, but not turn its back completely on what has come before, retain the elements that were popular previously, then make them evolve and, crucially, expansion ie. a bigger story with bigger ideas. With Barker stepping down as director and providing just the story, it was down to trusted Barker collaborator and director, Tony Randel, to pick up where ‘Hellraiser’ had left off and as Pinhead would say, “Time to Play”.

 Whilst attempting to follow-up an already established horror classic may appear to have been an unenviable task, ‘Hellraiser’s compact slasher, with a hugely unexpected twist, did lay the groundwork for future films and places for a franchise to go. The realm of the Cenobites which ‘Hellbound’ dubs ‘Hell’ is seen only fleetingly in both Frank’s flashbacks and Kirsty’s encounter with the Engineer. Barker and Randel were able to use Channard’s desire to see their world as the ideal basis on which to expand the story and allow the sequel to be full of the ideas and larger concepts that were attempting to burst through the seams of the original. The chimes of the Lament Configuration box provide a haunting prelude to the grander, imposing orchestral flourishes from returning composer, Christopher Young, in a neat allegory of ‘Hellbound’s progression of starting small and then dramatically increasing in spectacle.

The key difference between ‘Hellbound’ and its predecessor is a substitution of the ‘slasher’ element in favour of a grander vision to match its expansive aspirations. ‘Hellbound’ is a Gothic fairytale in the best possible sense. An innocent heroine fighting the forces of darkness and an over-riding message brilliantly conveyed in the antagonists of Julia and Channard that, ultimately, the evil men do is far scarier than that of the dark fantasy element of the Cenobites themselves. The film plays with audience expectation by having both its antagonists as ‘human’ and cleverly impresses the point that Channard himself is as twisted in his obsession with the far reaches of experience and his terrible treatment of his patients as any Cenobite. Julia augments the film’s gothic fairytale angle even further by directly referring to herself as originally being the “Wicked Stepmother” now transformed into the “Evil Queen”. It says a great deal about the film’s strength in upholding Julia and Channard as the ‘bad guys’ that the Cenobites do not even appear until just under an hour into the film. Once they have appeared, the film defies expectation once again, taking arguably the last bold step the franchise has made; the Cenobites swap sides and attempt to protect Kirsty, a move guaranteed to either unexpectedly impress or completely alienate the viewer.

There is always the risk that whenever a horror film such as ‘Hellbound’ attempts to build sympathy or even goes as far as ‘humanising’ the monster, any semblance of fear associated with them is lost instantly. It is to ‘Hellbound’s endless credit that it is successful in turning this notion completely on its head as the Cenobites are so much more than the products of a bad upbringing. The Cenobites are melancholic in their disposition, far less demonic punishers and more a representation of man’s submission to temptation and the sorrow of seemingly no longer taking pleasure in what they do. Never is this represented better than in the deceptively moving scene when Pinhead is presented with a photo of himself as British army Captain Eliot Spencer and the excellent acting of Bradley, eyes full of sadness, as he is reminded of the humanity he has long since left behind.

One of the film’s stand-out moments involves Channard allowing one of his patients to mutilate themselves with a straight razor on Julia’s mattress. With the quick cuts of shots from the patient’s deranged view of being covered in maggots to his vicious self inflictions,  it creates an intensely disturbing and yet brutally simplistic scene that still remains uncomfortable to watch, losing none of its visceral impact since 1988. As soon as Julia’s arms burst through the mattress, the film truly starts to burn brightest and continues to do so for the entirety of the remaining running time, with increasingly large set-pieces in an immaculately well paced design.

Whilst, for many, Channard’s transformation into a Cenobite is the highlight of the film’s final act, the true stand-out moment is when Kirsty confronts her uncle Frank once again. Aside from the twist that it was Frank who lured Kirsty to find him, rather than her father, the power behind the scene is that it is set inside Frank’s own ‘personal hell’. Frank’s ‘hell’ is a simple design with mortuary-like slabs sliding in and out of the walls, but it is the fact that there are phantom women who moan in pleasure, under bed sheets, who then disappear when Frank tries to touch them, where the psychological brilliance of the film takes centre stage. Combined with the two other ‘personal hells’ depicted, the horrifically surreal funhouse for Tiffany, and Kirsty’s blood-soaked home, once again the film it is presenting a spectacularly bold vision of the further-expanded universe that still leaves room for the imagination to dwell on what other horrors are contained in this ‘Hell’.

Perhaps the film’s greatest achievement is its astonishing overall look and production values, when taking into consideration that, due to an apparent financial dispute, its initial budget was cut dramatically. More often than not, however, financial constraints can ultimately be viewed as a spur for the effects team to be more creative and few could deny the wince-inducing power that the Cenobite make-up still has. The practice of using these levels of full-on makeup and practical blood and gore is now sadly adrift in a sea of cheap CGI which is yet another reason that ‘Hellbound’ deserves ‘classic’ status for deftly emphasising that the actual physical effects are both infinitely more scary and memorable than cheap-looking pixels.

The majesty and expansive style of Hellbound has seldom been matched, let alone bettered. It remains a tragically over-looked diamond in the rough in a series of severely diminishing in quality ‘Hellraiser’ sequels. Whilst ‘Hellraiser’s bold originality remains untouched and its status as a horror classic set in stone, ‘Hellbound’ is the gold standard of sequels and the rarest of beasts to have topped its predecessor. A true blueprint that all budding franchises should endeavour to emulate.

Clive Barker can be found on Facebook, Twitter and Tumblr

Zombiehamster.com is the primary online resource for quality genre content:

Don’t forget to Like us on Facebook and follow us on Twitter

The post Hellbound: Hellraiser II appeared first on Zombie Hamster.

Nordic Noir is a very fitting name for Arrow Films new off-shoot. The influx of Scandinavian drama’s in recent years, which began with the success of The Killing (2007 – 2012) only a few years ago, has shown that it isn’t just the US or UK that can make gritty and gripping shows. Once an interest had been created, TV studios and distribution firms snapped up the rights to shows such as Borgen (2010 – present) and The Bridge (2011). This has lead to movies like Jo Nesbo’s Headhunters (2011) and ID:A (2011) being released, all subtitled, to an ever growing fanbase.

Arrow have capitalised on this by looking into the past for something Sofie Grabol did before she became Sarah Lund, The Killing’s most iconic character. Accused was released originally in 2005 in Denmark and then spread to other countries in the surrounding Scandinavia area and is released on DVD this week.

While it is easy to see why Grabol is pushed as the focal point of the film, and given top billing, it is Lyby who is the real star of Accused. It is his character in the spotlight as the movie follows nearly every move he makes, after a very serious allegation is placed against him. When questioned by the police, or being held in a prison cell, he sits brooding. His intensity is evident and draws attention to his distinctive facial mannerisms. Mikkelsen, as his troubled daughter Stine, barely speaks and when she does it is mumbled and unclear. She only talks when in court, a scene that is powerful in atmosphere. Grabor, who does don a knitted jumper during Accused, is little seen and, while she puts forth a good performance, she struggles against Lyby.

With such a delicate matter involved and the emotions that it could evoke in reality, the level of realism and serious approach in what is said is compelling. There is a big shock in store as the film throws in a sucker-punch of a twist that will causes gasps and the dropping of jaws. The crimes Henrik is accused of are never explicitly explored; the only time it really happens is the court scene, but it is this lack of detail that makes the mind think of possibilities that a script writer could never hope to achieve.

Director Jacob Thuesen clearly knows it is imagination that sometimes makes the best stories. Never going in depth with the issue, instead concentrating on its impact is a device that draws in the viewer. The film will most certainly leave a lasting impression.

Accused is a movie that is finally getting a greater audience years after it entertained the Danish market. It feeds into the demand for more ‘Nordic Noir’ and justifies a long sought after UK release. Scandinavian thrillers and drama looks set to become even more popular.

A powerful story, tight script and impressive performance from Lyby makes this another ‘win’ for fans of the worldwide success story: Denmark. An unearthed great.

Find out more about Nordic Noir on the Official Website, and Twitter

Zombiehamster.com is your primary online resource for quality genre writing and more:

Don’t forget to Like us on Facebook and follow us on Twitter

The post Accused (2005) appeared first on Zombie Hamster.

Resistance is futile.

(Click to enlarge)

Monster of the Week is an ongoing infographic series, created by Stephen Wright, which is exclusive to zombiehamster.com

Bookmark the Monster of the Week category.

Zombiehamster.com is your new online resource for quality genre content:

The post Star Trek: The Next Generation – The Borg (MOTW) appeared first on Zombie Hamster.