Alam Nyo Ba?

Tyler

With the release of the re-imaging of Faces of Death recently, it got me thinking about the original film and how controversial it was at the time. The film was essentially a legend, much in the same way that Cannibal Holocaust was. The information age of the internet has gotten rid of this kind of hysteria, with mostly films being easily researchable. But there was once a time where school yard talks would say how “they were real, trust me!” There’s just nothing quite like a controversial horror movie.

Some have lost some of their edge over the decades while others are just as poignant and disturbing as the day they were released. Ranging from banned by entire countries to just shunned by online communities, we’ve got a wide variety of films to look at. So let’s take a look at some of the most controversial horror films of all time.

Inside (2007)

The mid-2000s gave us the French Extreme era and it was glorious. While this is more of a slow burn, it has one of the most disturbing endings you can imagine as a pregnant woman is terrorized by a woman who wants her unborn baby. She wants it so bad that she eventually cuts the baby out of the woman’s stomach with scissors, all shown on camera. So if you’re pregnant, definitely avoid this one.

Faces of Death (1978)

Presented as a real documentary, this looks at various gruesome ways of dying. Most of the deaths are fake but there are some using archival footage and the aftermath of some real-life deaths. As much as the “torture porn” era of the 2000s has been lambasted, I would consider this to be so much more disturbing as it’s no story, just horrible deaths. And it doesn’t help that there are also real animal deaths in the film, which is something I’ll never be okay with for entertainment purposes. There have somehow been multiple sequels to this film, following in the same style. Then we obviously just received a re-imagining in 2026.

Cannibal Holocaust (1980)

This is the story of a documentary crew that terrorizes an indigenous tribe, and their footage is found by a separate documentarian. It speaks on who the actual cannibals are, as the original crew is full of absolute monsters. I’ll always be disturbed by the animal abuse that is featured in the film, but the other stuff can be a bit tame by today’s standards. There’s a version of the film that gets rid of the animal abuse, and it makes for a much more palatable version of the film. It was considered a snuff film at one point, and the director actually had to prove that it was not, in fact, real.

The Human Centipede 2: Full Sequence (2011)

I suppose all three of the Human Centipede films belong on here for their own unique brand of depravity but the second entry has always seemed like the most disturbing of the trilogy. Sequels always have to go bigger than the first, and what’s bigger than three people sewn ass to mouth like a centipede? Twelve people! This one does go the meta route, with someone being obsessed with the first film, and wanting to make a human contraption all his own. As if the centipede element couldn’t be worse, there’s even a guy jerking off with sandpaper. This one is just…yeah, I don’t want to even talk about this movie anymore.

The Last House On The Left (1972)

Wes Craven was one sick bastard, and none of that is exemplified more than in his 1972 film. Sexual violence in film has never been my thing, and the prolonged rape of a teenage girl just makes me squeamish even typing it. It follows a group that commits that violent act, only to come across the girl’s family, where they make them pay for their sins. Thankfully, this one gives us a bit more revenge and retribution than many others on this list and

Antichrist (2009)

I’ve seen this 2009 Lars Von Trier film a grand total of one time yet there is still imagery that I cannot get out of my head. A penis being smashed with a hammer. A woman’s clit being cut off with scissors. It’s the kind of thing that makes you go “What the fuck am I watching?” It follows a married couple played by Willem Dafoe and Charlotte Gainsbourg who lose their infant child and go off to a cabin the woods to grieve. There, thing take a turn as the couple starts losing their minds.

A Serbian Film (2010)

I’m not sure there’s ever been a film as depraved as this one. It’s really the only one of the list that I just don’t understand the appeal of in any way. This one just feels like someone very sick in the head trying to live out their fantasies. It follows a struggling pornstar as he’s offered a chance to star in an art film that ends up being  a disgusting snuff film. Pedophilia and Necrophilia should be enough to turn most people away, and I can’t blame you. I have no interest in watching this one and it is firmly the most controversial and just plain disgusting film of all time.

What do you think are the most controversial horror films of all time?

Related

Faces of Death red carpet interviews with Barbie Ferreira, Dacre Montgomery, and more

The post Ranking the Most Controversial Horror Movies Ever appeared first on JoBlo.

Across a career spanning silent-era experiments to Technicolor masterpieces, Alfred Hitchcock refined the art of making audiences feel trapped, uneasy, and complicit in what they were watching. Whether it’s a shower curtain being pulled back or a bird circling overhead, Hitchcock turned simple moments into cinematic landmarks of tension. This list ranks the 10 most iconic scenes from Alfred Hitchcock’s filmography, highlighting the sequences that best showcase his mastery of suspense and visual storytelling. From Psycho to North by Northwest, these moments not only defined his career, but the language of modern thriller cinema itself.

The 10 best Alfred Hitchcock scenes include the shower scene in Psycho, the crop duster chase in North by Northwest, and the binocular reveal in Rear Window. These scenes are considered iconic due to their suspense, editing, and innovative filmmaking techniques.

Top 10 Best Alfred Hitchcock Scenes (Ranked)

1. Shower Murder – Psycho (1960)
2. Crop Duster Attack – North by Northwest (1959)
3. Thorwald Discovery Scene – Rear Window (1954)
4. Attic Attack – The Birds (1963)
5. Bell Tower Climax – Vertigo (1958)
6. Margot Kills Attacker – Dial M for Murder (1954)
7. Statue of Liberty Sequence – Saboteur (1942)
8. Suggested Assault – Marnie (1964)
9. Opening and Closing Scenes – Rope (1948)
10. Bus Bombing – Sabotage (1936)

#1. SHOWER MURDER (PSYCHO)

• Film Title: Psycho
• Release Year: 1960
• Scene Name: Shower Murder
• Primary Characters: Marion Crane, Norman Bates
• Setting: Motel bathroom
• Scene Type: Murder / Shock set-piece
• Key Techniques: Rapid montage editing, implied violence, sound design (screeching strings)
• Themes: Vulnerability, voyeurism, sudden violence
• Narrative Function: Inciting shock; disrupts protagonist expectations
• Iconic Elements: 70+ cuts, knife never visibly penetrating skin

Why it’s iconic: Revolutionary editing and sound design create shocking violence without explicit imagery, redefining horror cinema.

Come on, you already knew what the top spot was! The infamous shower scene in Psycho, in which Hitchcock bumps off his leading lady (Janet Leigh) a half hour into the picture, is just as shocking narratively as it is visually (and was even more so in 1960). Of course, as always the case with Hitch, meticulous planning went into this scene, 52 different cuts inter-spliced throughout, each dancing off the harsh sting of Bernard Herrmann’s searing string arrangement. The best part? We don’t see one bit of bodily penetration. Hitch creates something far more sinister in the viewer’s mind than what we’re actually shown. He actually holds the mirror up and reflects the evil in ourselves. The power of editing!

#2. CROP DUSTER ATTACK (NORTH BY NORTHWEST)

• Film Title: North by Northwest
• Release Year: 1959
• Scene Name: Crop Duster Attack
• Primary Characters: Roger Thornhill
• Setting: Rural highway / open farmland
• Scene Type: Suspense / Action
• Key Techniques: Wide framing, delayed payoff, isolation
• Themes: Paranoia, mistaken identity, exposure
• Narrative Function: Escalation of danger
• Iconic Elements: Minimal dialogue, sudden aerial attack

Why it’s iconic: Turns an open, empty landscape into a suspense set-piece, subverting expectations of where danger can exist.

Pick your poison with North by Northwest, one of the best on-the-run suspense thrillers ever crafted. I could have just as easily cited the climactic showdown atop Mount Rushmore, a lofty idea executed to near perfection. Instead, I’ve gone with the iconic crop duster sequence, in which Cary Grant makes a mad dash for his life through a field. The images of Grant running with the plane on his tail are legendary. But that’s not all. After being rained on by some insecticidal dust, Grant makes another run for it, only to come close to being run over by a car. Not to be outdone, Hitch goes pyro when the plane crashes and explodes into flames.

#3. THORWALD DISCOVERY SCENE (REAR WINDOW)

• Film Title: Rear Window
• Release Year: 1954
• Scene Name: Thorwald Discovery Scene
• Primary Characters: L.B. Jefferies, Lars Thorwald
• Setting: Jefferies’ apartment
• Scene Type: Suspense / Confrontation
• Key Techniques: POV framing, lighting contrast, slow reveal
• Themes: Voyeurism, guilt, exposure
• Narrative Function: Confirmation of danger

Why it’s iconic: Masterful use of perspective and silence builds unbearable tension as the watcher becomes the target.

Possibly Hitch’s finest hour, at least technically. The master heightens an overt voyeurism and male gaze he’d been subverting for years in movies and delivers them full bore in Rear Window, a work of A-grade entertainment. The mystery, the suspense, the claustrophobia, the tension, all the notes are played virtuosically. But if I had to single out a specific moment, I’d go with the shot where Thorwald (Raymond Burr) suddenly discovers LB (Jimmy Stewart) spying on him in the apartment across the way. The POV shot pans back and forth innocuously, and when it swings back into focus, Thorwald’s ugly mug staring dead into the camera is an ultimate gasp moment. It was in 1954 and still is now.

#4. ATTIC ATTACK (THE BIRDS)

• Film Title: The Birds
• Release Year: 1963
• Scene Name: Attic Attack
• Primary Characters: Melanie Daniels
• Setting: Attic room
• Scene Type: Horror / Assault
• Key Techniques: Sound design (no score), chaotic editing
• Themes: Nature’s wrath, helplessness
• Narrative Function: Climactic horror escalation
• Iconic Elements: Sustained bird assault in confined space

Why it’s iconic: Sustained chaos and lack of musical score create a raw, unsettling depiction of nature turning hostile.

Anyone who saw The Girl on HBO knows just how harrowing the final attack in The Birds was to achieve, especially for actress Tippi Hedren, who was brutally assaulted by real birds during the shoot. Not that I lend credence to the lecherous claims the film makes about Hitch as whole, but as a fastidious filmmaker, yeah, I buy the multiple takes and the physical torment and exhaustion created as a result. But if we’re talking verisimilitude, there’s never a false note onscreen. It’s like Marilyn Burns in the OG Texas Chainsaw Massacre; at some point “acting” is no longer the case. Hedren, like Burns, was truly living the horror in the moment. And it translates on screen!

#5. BELL TOWER CLIMAX (VERTIGO)

• Film Title: Vertigo
• Release Year: 1958
• Scene Name: Bell Tower Climax
• Primary Characters: Scottie Ferguson, Judy Barton
• Setting: Mission tower
• Scene Type: Psychological climax
• Key Techniques: Dolly zoom, subjective camera
• Themes: Obsession, illusion, guilt
• Narrative Function: Final resolution
• Iconic Elements: Vertigo effect visualizing acrophobia

Why it’s iconic: Combines psychological obsession with innovative camera work to visualize fear and vertigo.

Can’t blame Jimmy Stewart, Kim Novak would give any man Vertigo! That said, Hitchcock uses the titular dizziness as a great visual tool, with cool in-camera optical FX to make us feel like Stewart – completely panicked! One specific scene crystallizes this motif: the oft-cited tower sequence. When Stewart chases Novak up a vestibule tower, jarring zoom-down and pull-up shots stir a sense of vertigo in us, which, given Stewart’s affliction, is emotionally motivated as well. And if that wasn’t bad enough, Novak falling past the window purview is sure to make your heart drop upon first showing. Imagine seeing that for the first time in 1958!

#6. MARGOT KILLS ATTACKER (DIAL M FOR MURDER)

• Film Title: Dial M for Murder
• Release Year: 1954
• Scene Name: Margot Kills Attacker
• Primary Characters: Margot Wendice
• Setting: Apartment living room
• Scene Type: Self-defense / Murder
• Key Techniques: Blocking, real-time tension, color emphasis
• Themes: Survival, entrapment
• Narrative Function: Plot reversal
• Iconic Elements: Sudden use of scissors as weapon

Why it’s iconic: A sudden, brutal act staged in real time that showcases Hitchcock’s precision in confined spaces.

Out of all of Hitchcock’s dalliances with death, few ring as memorable as what Grace Kelly pulls on her assailant in Dial M for Murder. When the dastardly Anthony Dawson skulks into Kelly’s apartment in the dark, sneaking up on her from behind (as she’s on the phone with Jimmy Stewart), he swaddles a necktie around her throat with intentions to kill. A struggle ensues, and with her life slowly leaking out, Kelly suddenly reaches for pair of large scissors, quickly jabbing them into Dawson’s back. He recoils and ultimately succumbs. This is a masterfully crafted scene; the shot selection, the lighting, the music, the suspense, all of it.

#7. STATUE OF LIBERTY SEQUENCE (SABOTEUR)

• Film Title: Saboteur
• Release Year: 1942
• Scene Name: Statue of Liberty Sequence
• Primary Characters: Barry Kane, Frank Fry
• Setting: Statue of Liberty
• Scene Type: Thriller climax
• Key Techniques: Vertical staging, symbolic imagery
• Themes: Justice, patriotism
• Narrative Function: Final confrontation
• Iconic Elements: Villain falls from torch

Why it’s iconic: Climactic suspense unfolds on an American landmark, blending spectacle with high-stakes tension.

For a foreigner, Hitchcock sure tackled American landmarks more fearlessly than any of his native counterparts ever did. The jaw-dropping Statue of Liberty cliffhanger sequence in the early work Saboteur is a perfect example of such, and I have to believe such a set-piece made him want to up the ante when we shot the Mount Rushmore scene in North by Northwest. And I’m glad he did! In any event, the Statue of Liberty scene is awesome to this day, and must have been flat out heart-stopping in 1942. The action is basically a chase scene that culminates in a dude hanging from Ms. Liberty’s torch. As the seam of his jacket slowly tears, suspense mounts into a fatal finale.

#8. SUGGESTED ASSAULT (MARNIE)

• Film Title: Marnie
• Release Year: 1964
• Scene Name: Suggested Assault Scene
• Primary Characters: Marnie Edgar, Mark Rutland
• Setting: Cabin bedroom
• Scene Type: Psychological drama
• Key Techniques: Suggestion over depiction, performance focus
• Themes: Control, trauma, consent
• Narrative Function: Character turning point
• Iconic Elements: Ambiguous, disturbing implication

Why it’s iconic: Disturbing psychological complexity challenges audiences with morally uncomfortable subject matter.

Tippi Hedren as the titular Marnie becomes victimized by Sean Connery in a very disturbing, if only suggestive assault scene. “But I do want to go to bed, Marnie. I very much want to go to bed.” Marnie just stands there still, silent, eyes lifeless… Connery advances and shreds her clothes off. An embrace follows suit, then a kiss, and as Marnie gives in, Connery pushes her onto the bad, a lustful glint in his eye. For 1964, it’s pretty damn harrowing.

#9. OPENING & CLOSING SCENES (ROPE)

• Film Title: Rope
• Release Year: 1948
• Scene Name: Murder Opening & Reveal Ending
• Primary Characters: Brandon Shaw, Phillip Morgan, Rupert Cadell
• Setting: Apartment
• Scene Type: Experimental / Suspense
• Key Techniques: Long takes, real-time illusion
• Themes: Intellectual arrogance, morality
• Narrative Function: Framing device (beginning + resolution)
• Iconic Elements: Hidden body in plain sight

Why it’s iconic: Long-take illusion and real-time storytelling create an immersive, claustrophobic experiment in tension.

Since the entire conceit of Rope (one of my favorite Hitchcock films) is to appear as if the movie plays out in one single continuous take, we could technically cite the whole film as one of Hitch’s greatest “scenes.” That said, the opening and closing scenes are really quite magnificent. As we pan to a window to start and immediately cut inside an apartment, we see a man being strangled to death by two men with a rope. They cram the corpse into a credenza, then inconspicuously host a party in the apartment, serving food and drinks right off the dead man’s tomb. But when Jimmy Stewart shows up in the end and lays down a harsh diatribe, the neon signs blinking in and out of the apartment, Hitch tightens the rope with a satisfactory finale.

#10. BUS BOMBING (SABOTAGE)

• Film Title: Sabotage
• Release Year: 1936
• Scene Name: Bus Bombing
• Primary Characters: Stevie
• Setting: London bus route
• Scene Type: Suspense / Tragedy
• Key Techniques: Dramatic irony, ticking clock
• Themes: Innocence, inevitability
• Narrative Function: Shock event
• Iconic Elements: Bomb detonates before expected

Why it’s iconic: A slow-building sequence of dread that shocks by defying audience expectations of safety.

This is perhaps his first great example of suspenseful mastery (a young boy unwittingly delivering a bomb to a bus in the 1936 film Sabotage), and it remains a classic example of Hitchcock’s talent. It’s literally a ticking clock scenario, as the audience is given the bomb’s detonation time. Hitch toys with us by repeatedly showing clocks winding down to said explosion point. And since the boy is in a public square, completely oblivious of what he holds, the collateral damage of the bomb exploding offers a horrific what-if situation. Of course, the result is just as shocking as the setup was tense. Trivially, Hitchcock regretted ending the scene the way he did, as it lent the exact shock value he wanted to avoid. If done over, he would have offered the audience relief.

Rank	Scene	Film	Year	Type of Suspense	Key Technique
1	Shower Murder	Psycho	1960	Shock / Horror	Rapid editing, sound design
2	Crop Duster Attack	North by Northwest	1959	Environmental Suspense	Empty space tension
3	Thorwald Discovery Scene	Rear Window	1954	Voyeuristic Tension	Restricted POV, silence
4	Attic Attack	The Birds	1963	Survival Horror	No score, escalating chaos
5	Bell Tower Climax	Vertigo	1958	Psychological Suspense	Camera distortion, vertigo effect
6	Margot Kills Attacker	Dial M for Murder	1954	Domestic Thriller	Confined staging, real-time tension
7	Statue of Liberty Sequence	Saboteur	1942	Action Suspense	Public landmark escalation
8	Suggested Assault	Marnie	1964	Psychological Drama	Implication over depiction
9	Opening & Closing Scenes	Rope	1948	Real-Time Suspense	Long takes, continuous staging
10	Bus Bombing	Sabotage	1936	Political Suspense	Delayed payoff, built dread

These ten scenes represent Alfred Hitchcock’s most influential work in suspense cinema, spanning psychological thrillers, environmental terror, and groundbreaking editing techniques that defined modern filmmaking.

Frequently Asked Questions About Alfred Hitchcock Scenes

What is Alfred Hitchcock’s most famous scene?
The most famous scene is the shower scene in Psycho (1960), known for its rapid editing, piercing score, and shocking impact on audiences.

What is considered Alfred Hitchcock’s best scene?
Many consider the crop duster attack in North by Northwest (1959) his best scene due to its innovative use of space, tension, and visual storytelling.

Why are Alfred Hitchcock’s scenes so effective?
Hitchcock’s scenes are effective because he uses camera perspective, editing, and sound to control what the audience sees and feels, building suspense through anticipation rather than action.

Which Alfred Hitchcock movie has the most suspense?
Rear Window (1954) is often cited as his most suspenseful film because it traps the audience in a single viewpoint while gradually revealing danger.

What makes the Psycho shower scene so iconic?
The shower scene in Psycho (1960) is iconic for its fast-paced editing, minimal on-screen violence, and the use of music to intensify fear.

Did Alfred Hitchcock rely on special effects?
Hitchcock relied more on practical filmmaking techniques like editing, lighting, and camera angles than on special effects, making his suspense feel grounded and realistic.

What is a good Alfred Hitchcock movie to start with?
A great starting point is Psycho, Rear Window, or North by Northwest, as they showcase his signature suspense style.

The post 10 Best Alfred Hitchcock Scenes Ranked (Psycho, Rear Window, Vertigo & More) appeared first on JoBlo.

Mike

Have you ever wanted to revisit RoboCop vs. Terminator from the ’90s without digging out a Super Nintendo or Sega Genesis? We’ve got you covered. Not only are we diving into the game, but we’re also breaking down the full story behind it – because yes, the game was based on a four-issue comic book series written by Frank Miller. And if you didn’t know, the Super Nintendo and Sega Genesis versions were wildly different experiences.

Let’s go back to a time when plastic cartridges, comic books, and R-rated sci-fi crossovers ruled everything. Because honestly, the concept was simple: take two of the most iconic sci-fi action characters ever created… and make them fight.

This is RoboCop vs. Terminator, the game and comic that defined a generation.

The Origins: Frank Miller and the Comic That Started It All

In the early ’90s, crossover culture felt limitless, even before Freddy vs. Jason or Alien vs. Predator hit screens. Kids were already imagining dream matchups, fueled by comics, cartoons, and action movies. The idea of RoboCop fighting Terminators? It just made sense.

But the real origin traces back to RoboCop 2. After the success of RoboCop (1987), Orion Pictures brought in Frank Miller, fresh off The Dark Knight Returns, to write the sequel. His vision was darker, more violent, and more satirical than the studio expected. Too dark, in fact.

The studio heavily rewrote his script, and Miller walked away from Hollywood frustrated. But he didn’t abandon his ideas: he repurposed them into RoboCop vs. Terminator, published by Dark Horse Comics in 1992, with art by Walt Simonson.

The Comic Story (Quick Breakdown)

The story opens in a bleak future where Skynet is on the verge of wiping out humanity. A resistance fighter named Flo discovers the truth: RoboCop’s technology led to Skynet’s creation. His fusion of human consciousness and machine inspired the rise of sentient AI. So she does what any time-traveling soldier would do: goes back to kill Alex Murphy before it all begins.

Of course, Skynet sends Terminators back to stop her.

Meanwhile, RoboCop is… not doing great. He’s emotionally broken, clinging to duty while mourning his lost humanity. When Flo confronts him, he eventually believes her and even agrees to sacrifice himself to prevent the future.

He dies. The future heals. But Skynet isn’t done.

It sends another Terminator back, alters the timeline again, and traps Murphy’s consciousness inside its system, forcing him to witness humanity’s destruction. That’s when things get wild.

Murphy turns himself into a self-replicating virus, overwhelms Skynet, takes control of its factories, rebuilds his body using Terminator tech, and launches a full-scale counterattack. He even creates an army of RoboCops.

Skynet tries to bargain, offering power, godhood, even… questionable incentives. Murphy’s response? “Shut up and die.”

He destroys everything, including himself, resetting the timeline once again. And yes, the comic ends with a Terminator getting crushed by a dinosaur.

From Comic to Cartridge: The Game Is Born

By 1993, publishers saw the potential. Virgin Interactive and Interplay paid around $2 million in licensing fees to bring RoboCop vs. Terminator to life across:

• Super Nintendo
• Sega Genesis (Mega Drive)
• Game Gear
• Game Boy

Lead designers John Botti and Tim Williams drew inspiration from Contra III, which shows in the game’s fast-paced, side-scrolling chaos.

SNES vs. Genesis: What’s the Difference?

Both versions follow the same core premise: RoboCop’s existence leads to Skynet and now he has to stop it. But the execution differs significantly.

Sega Genesis Version

• More violent (enemies explode in blood)
• Simpler storytelling
• Faster, more arcade-style pacing
• Ends with a quick victory message

Super Nintendo Version

• Closer to the comic storyline
• Presented in comic panel format
• Less graphic violence
• Includes a final escape sequence after defeating Skynet

The SNES ending adds tension: after defeating the boss, you must escape before the facility explodes, something the Genesis version skips entirely.

Gameplay: Brutal, Frustrating, and Addictive

You start on one of three difficulty levels:

• Wimpy
• Normal
• Killer

And “Killer” lives up to its name. Enemies attack from every direction – not just left and right, but diagonally and vertically. You’ll constantly adjust your aim while navigating rooftops, hazards, and tight platforming sections. Ammo bursts, Terminator enemies, robotic dogs, and flying Hunter-Killers make every level feel overwhelming.

And just when you survive it all? Boss fight. Every time. And they do not go down easily.

Weapons, Levels, and Atmosphere

Despite the difficulty, the game nails its atmosphere. You’ll fight through:

• Detroit streets
• Toxic waste zones
• Delta City construction sites
• OCP labs
• Skynet facilities

Weapons include upgrades like the ED-209 arm cannon, giving you moments of absolute power amid the chaos.

The real magic, though, is how seamlessly the worlds of RoboCop and The Terminator blend together. Even when both characters aren’t on screen, it feels like they belong in the same universe.

Soundtrack and Presentation

Both versions feature strong but very different soundtracks.

• Genesis: Edgy, electronic, occasionally bizarre (yes, it literally says “Terminator” out loud)
• SNES: More subdued, but still catchy and effective

Neither is definitive, they just hit differently.

Final Verdict: A Flawed Classic That Still Hits

RoboCop vs. Terminator wasn’t perfect. It was difficult. Sometimes unfair. Occasionally frustrating. But none of that really mattered. Because at the end of the day, it delivered exactly what ’90s kids wanted: a brutal, over-the-top crossover between two iconic franchises.

Would it have worked without RoboCop and Terminator? Not even close. But with them? It became unforgettable. Like peanut butter and jelly. Or Ecto Cooler and Bagel Bites.

The post RoboCop vs. Terminator: The Brutal 90s Game That Still Hits Hard appeared first on JoBlo.

In the build-up to the release of Evil Dead Rise (read our review right HERE) in 2023, Evil Dead franchise rights holders Sam Raimi, Bruce Campbell, and Rob Tapert let it be known that they were already looking forward to producing more entries in the series, with Campbell revealing they were hoping to make a new sequel / spin-off every two or three years. Last year, they proved their commitment to this idea by hiring Sébastien Vaniček, who made his feature directorial debut on the French horror film Vermin, a.k.a. Infested, to write and direct a new installment in the franchise, which is going by the title Evil Dead Burn. Warner Bros. Pictures and New Line Cinema had been planning to give the film a theatrical release on July 24th – but now, the release has shifted forward two weeks, to July 10th!

It’s also being reported that a teaser trailer (different from the one shown at CinemaCon earlier this week) is attached to this weekend’s release of Lee Cronin’s The Mummy. Unfortunately, that teaser hasn’t made its way online yet.

What do we know about Evil Dead Burn?

New Line Cinema and Sony Pictures are co-financing the film, which Vaniček is directing from a screenplay he wrote with Florent Bernard. Sony will distribute internationally, with Canal Plus distributing in the UK and Metropolitan distributing in France.

Details on the story Vaniček will be telling in Evil Dead Burn have been kept under wraps up to this point, but he has said that he has complete creative control on his Evil Dead movie, and intends to give it a French twist. 

Sam Raimi made his feature directorial debut with the original The Evil Dead, which introduced Campbell as iconic hero Ash Williams. Ash returned for Evil Dead II, Army of Darkness, and the Ash vs. Evil Dead TV series, with Raimi directing the films and the first episode of the show. After seeing a short film directed by Fede Alvarez, the Evil Dead rights holders gave him the chance to make his feature directorial debut with the Ash-less 2013 Evil Dead. Then Lee Cronin was hired to make the Ash-less Evil Dead Rise based on the strength of his own feature debut, the 2019 film The Hole in the Ground. So Sébastien Vaniček being hired to make the next Evil Dead movie right after entering the feature world with Vermin / Infested is very on brand for this franchise.

Vaniček’s Evil Dead Burn isn’t the only Evil Dead movie on the way. Two months after he was hired to make his movie, the rights holders also hired Francis Galluppi, who just made his feature directorial debut with the crime thriller The Last Stop in Yuma County, to write and direct his own Evil Dead flick, which is called Evil Dead Wrath. An animated series follow-up to Ash vs. Evil Dead is also in the works.

Who’s in the Evil Dead Burn cast?

Dune: Part Two‘s Souheila Yacoub, a Swiss former rhythmic gymnast who won the Miss Suisse Romande beauty pageant before getting her acting career started, landed the lead role and has been joined in the cast by Hunter Doohan (Your Honor), Luciane Buchanan (The Night Agent), and Tandi Wright (Pearl).

Are you excited for Evil Dead Burn, and are you glad to hear that the release date has moved forward two weeks? Let us know by leaving a comment below.

The post Evil Dead Burn release date moves forward two weeks appeared first on JoBlo.

Almost two years have passed since the Chucky TV series, which aired on both Syfy and USA Network in addition to streaming on the Peacock service, was cancelled after three seasons (even though series creator Don Mancini had already pitched his idea for season 4 to the networks). The show is over, but Mancini was quick to promise that Chucky will return, and we’ve known for a while that he was planning another movie. Now, our friends at Bloody Disgusting have confirmed that Mancini is writing the script for the next film and plans to direct. He’s also hoping that this will pull the franchise out of the direct-to-video / TV world and get it back into theatres!

What was Chucky about?

A follow-up to all of the Child’s Play movies (remake excluded), Chucky picked up where Cult of Chucky left off. Don Mancini, who has written every film in the franchise (except that remake) and directed a few of them, developed Chucky with producer David Kirschner. Mancini and Kirschner executive produced Chucky with Harley Peyton, Alex Hedlund, and Nick Antosca. The first season had Chucky terrorizing Hackensack, New Jersey, then he was sent off to a Catholic boarding school for season 2. With season 3, it was D.C.’s turn to experience some Chucky trouble.

Will the new movie be connected to the TV show?

Bloody Disgusting reports that Mancini gave a status update on the new movie during an appearance at Steel City Con in Pennsylvania. He said he’s taking a Curse of Chucky approach to this one – and if you recall, that one was an attempt to get back to a more grounded, scary tone after the franchise had gone way over-the-top with Seed of Chucky.

“His next Chucky movie will not only throw back to those Curse of Chucky franchise reset vibes, but the plan is for the movie to also connect itself to the events of the television series and previous movies. Mancini is big on continuity, with all of his movies and the show existing in an impressively connected single timeline.”

Mancini wants this one to be scary, along the lines of Curse of Chucky and the first two Child’s Play movies. And, as mentioned, he wants it to be a theatrical release.

Jennifer Tilly, who played Tiffany Valentine, the love of Chucky’s life (whether he likes it or not), in Bride of Chucky, Seed of Chucky (where she also played herself), Curse of Chucky, Cult of Chucky, and the TV series, recently confirmed there is “more Chucky and Tiffany in the works.”

Brad Dourif has said that he’s retired from acting, but will come back to voice Chucky for as long as his services are needed.

Are you glad to hear that Don Mancini is working on the next Chucky movie, with the goal being to get it into theatres? Share your thoughts on this one by leaving a comment below.

The post Don Mancini is writing and plans to direct the next Chucky movie appeared first on JoBlo.

Production is underway on Dexter: Resurrection season 2, and Variety has just broken the news that Bookem Woodbine (Fargo) and Nona Parker Johnson (Mayor of Kingstown) have joined the cast! Johnson will be playing Fiona Mixon, “a training officer in the Homicide unit, a nepo-baby in the police world, and Harrison’s (Jack Alcott) new love interest.” Woodbine takes on the role of Captain Mixon, “a bulldog of a homicide captain and Fiona’s father.” These are both series regular roles.

Last time we saw Harrison, he had a girlfriend named Gigi. There’s no word on what happened with that character, but moving on from Gigi to someone who’s training in the Homicide unit and has a police Captain father sounds like a very bad move for a guy who’s the son of a serial killer and has a kill count of his own. (Current kill count: 1.)

What we know about Dexter: Resurrection Season 2:

• New cast: Dan Stevens, Brian Cox, Bokeem Woodbine, Nona Parker Johnson
• Returning: Michael C. Hall, Jack Alcott, James Remar, Uma Thurman
• Filming: Began April 2026
• Expected release: Late 2026
• Setting: Continues post–New York storyline

What is Dexter?

For eight seasons and 96 episodes, from 2006 to 2013, the series Dexter ran on Showtime, telling the story of Dexter Morgan, a blood spatter analyst for the Miami Metro Police Department who is also a vigilante serial killer. Clyde Phillips was showrunner on Dexter for the first four seasons, and in 2021 he and Showtime brought us the revival series Dexter: New Blood… which, for a time, also seemed to be the end of it all. But that’s not the case.

Showtime has tasked Phillips with continue to build up the Dexter franchise, first with a season of the prequel series Dexter: Original Sin and then with the New Blood follow-up called Dexter: Resurrection, which premiered last July. (You can read our review HERE.) Now, Dexter: Resurrection season 2 is moving forward.

Phillips had also been expecting to put together another season of Dexter: Original Sin, but Showtime decided to reverse their decision to renew the show and cancelled it.

During an appearance on The Dark Passengers: A Dexter Podcast four months ago, Phillips said that the Dexter: Resurrection season 2 writers’ room opened on October 6th and that it would take around five months to write all of the scripts. Filming will then begin on Monday, April 13, 2026. Like the first season, the new season will be set and shot in New York City.

A Showtime Studios and Counterpart Studios production, Dexter: Resurrection is being executive produced by Clyde Phillips, Michael C. Hall, Scott Reynolds, Tony Hernandez, and Lilly Burns. Marcos Siega is the producing director. The series is distributed by Paramount Global Content Distribution. 

Who is in the Dexter: Resurrection season 2 cast?

Michael C. Hall, who played Dexter Morgan in the original series and Dexter: New Blood, and also provided the in-character narration for Dexter: Original Sin, is back in the lead for Dexter: Resurrection. Hall is joined in the cast by fellow series regulars Jack Alcott and James Remar, with Alcott reprising his Dexter: New Blood role of Dexter’s son Harrison, and Remar returning as Dexter’s adoptive father Harry Morgan. We’ll probably be seeing the return of some of the new supporting characters that were introduced in the first season as well.

Uma Thurman’s character is Charlotte “Charley” Brown, a former Special Ops operator who worked as Head of Security for serial killer enthusiast billionaire Leon Prater. Charley left New York City with her mother at the end of the first season, going home to Amherst, Pennsylvania… but it looks like she’s still going to be part of Dexter’s life in some way.

Two weeks ago, we learned that Brian Cox (Manhunter) has joined the cast of Dexter: Resurrection season 2 as the New York Ripper, “a serial killer who terrorized the City years ago. Though no longer active as a killer, he’s found a new way to live into his infamy by continuing to taunt the survivors of his long-ago murder spree.“

Earlier this week, it was announced that Dan Stevens (The Guest) will be playing Owen Stark, “the Five Borough Killer, and the second big bad of Season 2. Owen is a serial killer who, much like Zodiac, taunts the police with phone calls threatening the murder of innocent citizens. When he follows through with the awful deeds…the City and the Police are terrorized.“

Are you a Dexter fan, and are you looking forward to Dexter: Resurrection season 2? Let us know what you think of Bokeem Woodbine and Nona Parker Johnson joining the show as series regulars by leaving a comment below.

The post Dexter: Resurrection season 2 adds Bokeem Woodbine and Nona Parker Johnson to the cast appeared first on JoBlo.

PLOT: The young daughter of a journalist disappears into the desert without a trace. Eight years later, the broken family is shocked when she is returned to them, as what should be a joyful reunion turns into a living nightmare.

REVIEW: It feels a bit weird to have a new Mummy movie while a sequel for the Brendan Fraser series is in production, right? Part of me thinks that Blumhouse would have been better off just naming this something else. Maybe, Evil Dead: Egypt, since the film is so obsessed with trying to have the same aesthetic as that series that it loses any sort of originality that it could have had. And sure, this is technically based on a property that’s nearly 100 years old and already has many different interpretations. But that also means it has a lot of baggage.

I should get it out of the way that I wasn’t a fan of Evil Dead Rise. But, despite finding that mediocre, I went into Lee Cronin’s The Mummy with an open mind. I even tried to ignore the fact that this was produced by Blumhouse, who hasn’t delivered anything of the non-mediocre variety in quite a while. And it’s not all bad, as there are some good performances from Jack Reynor, May Calamawy, and Natalie Grace. Unfortunately, it just can’t settle on what it wants to be, and every time it’s on the right track, it makes a massive misstep.

The Mummy (because putting your name in front of it feels very pretentious for such a young career) follows a family after their daughter is abducted in Egypt, and she returns to them eight years later. There are two stories running parallel: the family and their possessed daughter, and the Egyptian detective trying to solve the mystery of what happened to her. I actually enjoyed the moments in Egypt and when the lore is introduced. That all felt very apropos, and I liked what they were setting up with an ancient evil. It’s just too bad they felt they needed to go all Evil Dead with the family stuff.

It really doesn’t help that the mummy constantly acts like a Deadite, going full crude humor and strange twitching. There were times when I was half-expecting Ash Williams to show up with his chainsaw to start laying down the business. The power levels of the mummy are very inconsistent and seem to just flow with what the narrative needs at any moment. It’s never properly defined. The violence is nothing extraordinary and doesn’t take advantage of its setups. Everything happens so quickly, and it would have really benefited from more practical effects. There’s a scorpion gag that is cool in concept but looks really cheap in execution.

There’s been a lot of discussion around the film’s runtime, which clocks in at 2 hours and 13 minutes. There are times when you can certainly feel it, but it’s not nearly as egregious as I was expecting. There’s definitely some stuff that could be cut, and scenes could have been tightened up, but it’s never boring, which is impressive. Though it definitely should have ended a couple of minutes earlier, as it’s practically slapping the audience over the head with the point.

The star of the show is the cinematography, as DP David Garbett gives us some beautiful shots. I loved how the film dealt with darkness, especially in the house, which has an almost haunted house feel to it. I just wish the editing wasn’t so rapid and we got some time to appreciate the beauty. Also, I’m not sure there’s anyone in the world who loves a split diopter shot more than Lee Cronin. I stopped counting somewhere around the dozen mark, and it got to be incredibly distracting. There’s a reason that it’s something that’s usually used sparingly in other films.

Despite enjoying the cinematography and some of the performances, The Mummy just feels too familiar. If it had just gone a more straightforward route rather than trying to make everything Evil Dead-lite, then it could have given something to sink my teeth into. Instead, it can never quite find its footing and feels very “style over substance.” From the generic family to the bad CGI in the third act, this feels too Blumhouse for my liking. By the end, I was quite annoyed, and that carried over to this review.

Lee Cronin’s The Mummy is playing in theaters on April 17th, 2026.

Related

Box Office Predictions: The Super Mario Galaxy Movie will have no trouble holding on to the top spot

The post Lee Cronin’s The Mummy Review: An Evil Dead ripoff that lacks its own identity appeared first on JoBlo.