Face Off: "Serpent Soldiers"

by Eleni 17. September 2014 15:59

Sssssssssssssssssnakes. That's what this week was all about. That's all you need to know.


The artists meet McKenzie on an old battleship, where she tells them that their next challenge will be inspired by G.I. Joe. Or more specifically, by Snake Eyes and Cobra Command. On the deck of the ship, McKenzie has assembled nine different snakes. (In aquariums—not just slithering around.) Each contestant must pick one of these reptiles and make a G.I. Joe super soldier based off its look. Also, there's a prize: this week's winner will receive a G.I. Joe toy package. "I want this so bad," said Cig, after learning about the reward.

Here's how their choices broke down:

George: Green Anaconda
His character's official name is "Nick Strangle," and its code name is "Manaconda."

Rachael: Green Tree Python
Her python will be a jungle assassin.

Cig: Christmas Tree Eyelash Viper
Making a female ninja assassin with the code name "Lashes."

Stella: Namibian Coral Cobra
Her slithery motorcycle chick is one of the villains.

Damien: Gaboon Viper
His snake-human hybrid was injected with viper DNA.

Keaghlan: Albino Reticulated Python
Creating a femme fatale who's transitioning from human into snake.

Sasha: Hognosed Snake
Sasha's piggy serpent uses his snout to dig in the dirt.

Drew: Tiger Rat Snake
Instead of making a snake-human hybrid, he's making a human who's turning himself into a snake through body modification.

Dina: Rainbow Boa
Building a dangerous and alliterative "super sexy sniper snake."


Stella, George and Damian were all on the OK list this week. Here are their final looks.

Stella faced a serious hurdle this challenge: halfway through day two, she learned that her model had strep throat, and would be replaced with a model with a much smaller face. This meant none of her prosthetics would fit! But she still pulled off a decent makeup with the help of a red wig.

George's "Manaconda" was deemed an "Ehn-naconda" by the judges.

And Damien's viper was decent but boring.


"This is the quintessence of the bold, graphic action figure style," Glenn said when Cig stepped forward for judging—adding that he'd buy one of these guys to play with and one to keep in the box. Cig changed his whole concept after failing to dibs a female model, so it was a relief to come out on top. Lois complimented his character's snake-head epaulets, and Neville was especially impressed with the form development in the face.

Drew took a huge chance on this challenge. While all the other artists built huge, snake-human hybrids, he focused on simple prosthetics and super-realistic paint. Glenn thought the idea was brilliant, and added that Drew's choice to go against the pack defines him as an artist. Lois loved the tattoo pattern and said "well done" on the authentic skin tone. Neville was also surprised—in a good way. "I'm so pleased that you did something completely different," he said, "It's intelligent and it's risky."

But Dina's more traditional—and totally flawless—snake-ductress won the day. Neville said her choices were "perfect," and Glenn said she reached "a phenomenal equilibrium between the action-figure aesthetic and a prosthetic makeup that would work onscreen." Lois loved it, too. "It's an astounding amount of work. Extraordinarily well-done," she said.


Rachael knew her work sucked this week. While she was sculpting she was complaining about how it sucked—but plowed ahead anyway to get it all done. Neville thought the head was a bit bulbous, and the scales were too random. And Glenn burned her for rushing to get to the scales while ignoring her character's forms.

This was embarrassing. After being saved last week, Sasha didn't exactly make a comeback. In fact, she blew it all over again! Lois immediately spotted the resemblances to Sasha's owl from a few weeks ago, while Neville said the overall head shape was just too simple.

But Keaghlan blew it worse. Neville thought her dominatrix looked more like a cat than a reptile, while Lois couldn't get past the paint job. "It's all gone a bit mimsy. There's nothing punchy about it," she said. And while we don't exactly know what that means, we know it's not good. For Keaghlan, this was the end of the line.

Thoughts going into next week: Next week's challenge is about scary clowns. So they'll all be making Glenns?

Watch the whole episode here!


Meet this week's Wizard Wars Challengers

by Eleni 17. September 2014 12:49

New week, new lineup of Wizard Wars challengers. For those who haven't yet checked out the show—which you can do by clicking this link—here's how it works. Every episode, four up-and-coming magicians compete against each other in teams of two. Their routines are judged by a panel of expert magicians, including World Champion of Magic Jason Latimer and the legendary Penn and Teller, with the winning team moving on to the Wizard War. For this nail-biter showdown, they must face off against two of the show's expert wizards—Justin Flom, Angela Funovits, Gregory Wilson, and Shimshi—for a shot at $10,000.

So who are this week's challengers?

1. Nathan Burton

Nathan Burton has performed all over the Vegas strip, and has appeared twice on America's Got Talent. So his Wizard Wars gig isn't so much a shot at the big leagues as a chance to get back to his roots. "I really want to prove to myself that I still have the creative bug," he said during his pre-show interview.

2. Marcus Eddie

Marcus Eddie is known as a creator: he makes tricks and illusions for some of the biggest magicians and magic companies in the world. Which is why he's excited to put his own close-up performance skills to the test on Wizard Wars.

3. Tommy Wind

Originally from Staten Island, this dude now owns his own theatre on the Vegas strip. And he describes his style of magic as "rock 'n' roll." And he wears a huge, crystal-encrusted watch.

4. Chris Randall

Chris Randall is most famous for his trick "The Inception," which sold over 1000 copies in a month. He says that as a creator, he's constantly "at a ten"—so expect some 10/10 tricks from this guy on Wizard Wars. Also: he wears a really, really bright pink shirt—which is a nice match for his partner Tommy's blingy wristwear.


Blu-ray of the Week: Godzilla

by Neil 16. September 2014 17:34
60 years after first erupting from the sea to turn Tokyo into a pile of dust, the King of Monsters is back—on DVD, Blu-ray, and Blu-ray 3D!

This Godzilla is a major evolution for director Gareth Edwards (whose only previous feature directing credit is 2010’s low-budget creature feature, Monsters) and a colossal improvement over Roland Emmerich’s 1998 stinker.

Seasoned actors Bryan Cranston and Juliette Binoche are great as puny humans, but unfortunately don’t stick around long enough, and the younger cast is either underwritten (Elizabeth Olsen) or doesn’t have the personality to keep us invested in their story (Aaron Taylor-Johnson).

But when it comes to the big green guy, Godzilla is an exhilarating disaster flick. Whether he’s stomping on cities or battling other massive monsters (M.U.T.O.s, in this case), there’s a sense of terror and wonder that shows faint glimmers of Spielberg’s Jaws, Jurassic Park, and War of the Worlds.

The most crucial thing to point out about Godzilla on home video is that it looks and sounds superb. While I can’t vouch for the 3D Blu-ray (didn’t get it), like almost all 3D cinema experiences, the theatrical presentation was too dark for my taste. The look of the film definitely has an overall murkiness to it regardless of how many dimensions you’re watching it in, but it’s definitely less prominent on 2D Blu.

Extras are pleasing, if a little light. Highlights include an extended look at the film’s opening sequence/government film, a video about the history of the M.U.T.O. monsters, a 20-minute chat with Edwards about what Godzilla means to him, a look at some of the real-world disasters that inspired the carnage in the film, and a Puffy/Jimmy Page music vi—wait, wrong movie.

All and all, this is a solid package. It would likely surprise no one if a more robust edition came out in the near future (no film is safe from that), but fans with a half-decent home theatre should get a lot of mileage out of this one.

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Intruders: "Ave Verum Corpus"

by Eleni 16. September 2014 15:45

We all know about Amy's newfound—and totally spooky—love of jazz. But she isn’t the only character whose intruder has a connection to music. At the outset of this week's episode, Madison is asleep in a cab, having flashbacks. When her family first rented the beach house, they were excited to discover the piano—Madison had wanted to take lessons. As the realtor showed them around their new digs, Madison sat down and banged out a tune: a perfect, complicated tune. Which was surprising, because she had never played a day in her life.

In present day, Madison—as Madison—tells the cabbie she just wants to go home, but she doesn’t know where that is. "The man makes me not remember," she says. Then suddenly, she switches to Marcus. "You know what, bro? Here's good," he/she says, handing over a $100 bill.

While going for a walk in Seattle, Gary explains to Jack how he first got involved in the Bill Anderson case. Joseph Cranfield is a self-made billionaire, and a client at Gary's law firm. Gary says Cranfield seemed "born ready"—like nothing was ever new to him. For the past 15 years, whenever Cranfield needed legal aid, he turned to Gary. He never needed anything illegal or weird—until a year ago, when Cranfield got Gary to help him disperse his fortune. "On the day he dies, it'll all be gone," Gary says.

The old friends continue their walk, surveyed by the ubiquitous man in black. How has Jack not noticed this dude yet?

Amy watches old newsreel footage describing the death of jazz legend Leon Bismarck "Bix" Beiderbecke in 1931. With tears in her eyes, she crawls toward the screen and strokes Leon's face. "Soon," she whispers.

Then she has a flashback: herself, rolling on the ground, clutching her womb, blood everywhere. She picks up a fire iron and smashes the TV.

Gary and Jack continue to talk. When Cranfield dies, each of his kids gets a billion dollars, and so does his wife. The remaining $6 billion was deposited into the account of an obscure hundred-year-old charity called the Secomasy Trust. Now there are just two outstanding matters. The first is one "weirdo beneficiary" who keeps sending back a cheque for a $10 million: Bill Anderson. The second has to do with Amy. Cranfield put one property in trust—a building Gary and Jack just so happen to be passing at that moment. This is the place where Gary snapped Amy's photo the day before.

Madison/Marcus takes a break at a children's bookstore. Great place to steal cookies and read up on the #9 book! "There are places on earth where it is easier to cross from the living to the dead… and back again," the book says.

Meanwhile, Gary and Jack are apparently entering one of those places: the building. Gary explains that the structure has belonged to the Crane family—i.e. Todd Crane—for over a century. For over 150 years, The Crane family has been on the board of the Secomasy Trust, which leases the building from Crane. The building has three trustees: Todd Crane, Marcus Fox (who apparently vanished 9 years before), and Joseph Cranfield. Upon Cranfield's death, his protégé will become the third trustee.

The building is completely empty—Gary explains that he first thought it was a front for something. Then he found the connection to Amy: she is the person listed on the official documents as Cranfield's protégé. Jack is disturbed. He tells Gary to send over his info on Bill Anderson—then to stay the hell away from him.

As Jack leaves, the phone on the wall rings.

At home, Amy's phone also rings. When she picks up, the only sound on the other end are ambient space noises. She smiles.

And outside the house where Bill Anderson's wife and son were murdered, Jack gets a call, as well: Unknown Number. He picks up, and a modulated voice tells him to stop what he's doing. "Only reason to go in that house is to see what it would be like if it happens to you," the voice says.

Jack goes in the house anyway. He pokes around in the dark until he finds a weird metal box. The cops interrupt, but not before he manages to snag a photo of the box's serial number.

Shepherd also gets a call, and the modulated voice on the other line is peeved. They want to know what Shepherd's been up to. "Not what I told you," they say. Shepherd points out that he killed Oz Turner, but the voice reminds him that he's supposed to be going after Bill Anderson. The voice tells Shepherd to do his job. "All right, Rose," Shepherd responds, "I'll do my job."

Madison/Marcus orders breakfast at a diner and starts flipping through his book. One word is written repeatedly on the inside cover: Alison. It seems to be some kind of memory trigger—but for what? Madison/Marcus picks up a newspaper. Mariners beat the Rangers 5-3, its says. 5-3. 5-3. Suddenly it hits her: 503 will call her mom! Madison runs to a payphone outside, but she's all confused. Her mom—Alison—asks where she is. "I want my mom so bad," Madison says, "But the man won't let me. He wants to see some man named Crane."

Then she faints.

The cops question Jack. Is he one of those conspiracy guys like Oz Turner or Tim Truth? Jack has never even heard of them. After exchanging semi-friendly, semi-passive-aggressive banter, the cops let him go—Gary posted bail.

Out in the hall, Jack says he has a new idea for how they can communicate with Anderson. Cranfield! After all, he's the only person they know who can tell them about Anderson. Jack urges Gary to call Cranfield—but when Gary dials the number, all he gets are weird space noises.

Madison/Marcus storms in on Todd Crane at his office. She told the receptionist she was a kid from Crane's daughter's school, but something is clearly off. This kid is rude. And bossy. Actually, downright aggressive. "There's some shit I need from you," Marcus says, "I want to talk to Cranfield." Crane tries to act like he doesn't know Cranfield, but Marcus calls bullshit—Cranfield's time must almost be up. And that's when Crane seems to get it. "Mr. Cranfield is very sick…Marcus," he says. How sick? Marcus wants to know. And also: who's next? "Not Rose," Marcus says. Then adds: "Was Rose triggered?"

At that point, Crane calls security. Once Marcus is gone—issuing his usual "what goes around, comes around" catchphrase on the way out—Crane makes a call to Rose. "It's urgent, intensely urgent," he says.

Jack and Gary pull into Cranfield's mansion—the plan is to pay him a visit, but Gary isn't sure it's such a good idea. In any case, they only get partway up the driveway before a security guard tells them they have to leave.

But Jack isn't deterred—he wants to get in through the back. The two men hop the fence, and find a spot in the bushes from which they can watch a bizarre ritual happening inside. Candles are lit. An old man lies on a bed, wrapped up like a mummy—it's Cranfield. First, Shepherd holds a small vial of something over his body. Then a woman approaches and waves some sort of oil in front of his face. Men come in and start wrapping his face in bandages; Cranfield flails a bit, resisting, but men hold him down. Then someone else enters the frame: Amy! Jack is shocked, and snaps a photo of her on his phone.

Before they can see more, two guards emerge from the house. Jack and Gary make a run for it.

Once they've driven a safe distance away, Jack gets Gary to stop the car. He's losing it. What was that? Was it a funeral? And what was his wife doing there? Gary says he doesn't know. And now who are they going to get answers from? "There's still Bill Anderson," Jack says.

So they send him a coded message via Tim Truth's podcast. They should have been more cautious, though—somewhere on the road, Shepherd is listening too.

Later, Gary and Jack wait for Anderson at a restaurant. He apparently understood their message, because he shows up.

Jack asks why he didn't accept Cranfield's $10 million. Anderson says it was because of the conditions: he could take the money, but only if he promised to stop his research. Gary is confused—as far as he knew, there were no conditions. Jack asks what Anderson was working on. He says "sound"—infrasonics, specifically. Very low frequencies: not heard, but felt. These frequencies may allow us a glimpse into natural phenomena that human beings were not intended to see or hear. "What things?" Jack asks. "I made a ghost machine," Anderson says.

A statement like that obviously needs further explanation. But before Anderson gets the chance to elaborate, Shepherd enters the restaurant and shoots him dead.

Lingering Questions
• Why was the phone on the wall ringing at the building?
• Who is Rose? What's her role in all this?
• What is the purpose of Anderson's ghost machine?
• What were they doing to Cranfield at that house??

Watch the whole episode here!


Doctor Who Quiz Time: “Listen”

by Space.ca 16. September 2014 11:31

On this week's episode of Doctor Who: Clara and Danny try (semi-successfully) to go on a date, the Doctor faces his under-the-bed demons, and Clara interlopes on the Doctor's childhood. Take our quiz to test your knowledge of the latest ep!




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4 things we dug about Z Nation's first episode

by Eleni 15. September 2014 15:23

Less than four minutes into the Z Nation series premiere, a zombie projectile vomits blood. And that pretty much defines the tone of this messy, brain-splattery, 100-mph-hour classic zombie show. We start off three years after the initial outbreak. Cities are crumbling, survivors are hiding, and the zombies want their dinner. A dinner of brains. Amid the chaos, there's one final shot for humanity: an ex-con who survived eight zombie bites moments after being force-administered an experimental vaccine. A team of ragtag survivors must now transport this man from the East Coast to California, in the hopes of reaching the country's last functioning medical lab.

Z Nation's debut featured more than it's share of smashed skulls. Here are some things we dug from our first watch.

The breakneck pace

It's natural to compare Z Nation to The Walking Dead. But at the Z Nation panel at Fan Expo Canada a few weeks ago, co-creator Craig Engler emphasized that his show moves at a much faster pace. "We go through more plot in an episode than they do in a season," he said. The sprinting-ahead vibe was obvious from the premiere, which featured zombie attack after brain explosion after zombie attack.

The blood

And on the topic of brain explosions, there are a lot of them. And face explosions. And flesh eating. You know, zombie stuff.

The killer baby

Hey, look. Babies can be zombies too. And just because they're cute, doesn't mean they shouldn't be killed. The biggest question of the premiere might be: who's got the cojones to put a bullet in a baby?

DJ the deejay

Actor DJ Qualls plays Citizen Z, a survivor stationed at a remote northern outpost from which he can communicate with non-infected humans trying to get by further south. And by the end of the episode, he literally starts DJing the proceedings. Follow him on Twitter to keep tabs on things yourself!

Catch Z Nation Fridays at 10e 7p, and check out our interview with co-star Tom Everett Scott below:


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Utopia season two premieres tonight

by Space.ca 15. September 2014 14:29

It's kind of gloomy outside, the latest episode of Doctor Who is now streaming online, and you're probably thinking: how can I make this day even more British? Well, we've got an easy answer to that one: by watching the Utopia season two premiere tonight at 10e 7p.

In the first season of the BBC series, a group of strangers found themselves on the run after coming into possession of the manuscript for a sequel to The Utopia Experiments, a mysterious graphic novel that is rumoured to have predicted the most deadly disasters of the past century. A prophesizing comic book may seem like fun stuff, but The Network, the shadowy organization out to get the book's owners, couldn't be more serious—or deadly. As the season two trailer suggests, the group won't now just be fighting for their own lives, but the fate of the world.

And if you need more proof that Utopia is worth a watch, there's an American version in the works, which will be directed by David Fincher and scripted by Gone Girl author Gillian Flynn. Get ahead of the hype by watching the original!


Doctor Who: "Listen"

by Eleni 15. September 2014 14:23

We're still getting to know the Twelfth Doctor, and "Listen" explores an important piece of his new persona: vulnerability. So far, this Doctor seems more off-kilter, more internal, and in Peter Capaldi's own words, "more alien" than previous incarnations. So it suits his regenerated character that this initial exploration of his vulnerable side would look not at his failure to connect with other beings—which we've visited many times with previous Doctors, and will likely visit again—but something more basic: his childhood fears.

Clara comes home from an abortive date with Danny Pink to find the Doctor in her apartment, eager to test a hypothesis. What if there was a creature so good at hiding that no one has ever seen it? His theory is this: everyone has, at some point, dreamed of a creature under the bed—what if that creature was real? To suss this out, the Doctor wants to visit Clara's childhood and literally look under her bed. But her timeline gets mixed up with Danny's, and they end up visiting the ex-soldier at the children's home where he lived as a boy—where it seems there is, indeed, some kind of menace under the bed. The Doctor's determination to learn the identity of this menace will lead them to the end of the universe—and then back to his own childhood on Gallifrey, where he spent his nights crying under the covers in a barn.

It's rare to see the Doctor outwardly show fear of monsters—usually he faces danger by either fighting it head-on or gleefully running away. But "Listen" provides a touching reminder that before he became a Time Lord he was just another scared child. And that child still exists today—though he usually stays buried under wit and bravado and bowties. The Doctor presents fear not as something that needs to be conquered or even faced, but as normal—and even powerful—emotion. When comforting the weeping child-Doctor, Clara tells him, "Fear can make you kind." The episode's lesson seems to be that the power inherent in our fears lies not in the strength it gives us to fight slimy monsters, but to be good to each other. It was also interesting how this episode presented both Danny and the Doctor—two traditional hero types—as scared children. Clara, and her powers of providing comfort, came to the rescue of both men.

"Listen" also raises many questions about the future of Clara and Danny's relationship. Judging by their date, it's hard to imagine they have much potential. Clara makes a tasteless joke about Danny being a killer—he's insulted. Then he makes a comment about "people like her"—she storms off. But when they encounter Orson Pink, an astronaut from the future who looks exactly like Danny, he suggests that time-travel runs in the family. And while it's not clear if that comment is a reference to Clara or Danny—or both—it's clear from Clara's late-night visit to Danny's apartment that their romance doesn't end here.

As a final note: this Doctor really gets a kick out of insulting Clara's appearance. There's definitely some Malcolm Tucker in that impulse—if much, much less profane.

Watch the whole episode here!

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Midnight Madness Report: What We Do in the Shadows

by Melody 13. September 2014 20:38

New Zealand might be known for its orcs and elves, but Taika Waititi and Jemaine Clement are determined to add vampires to the country’s cast of notable creatures. Together, they co-direct and star in What We Do in the Shadows, which premiered at Midnight Madness, and thankfully, it was no three-hour epic. Instead, the film is a mockumentary about a group of vampires who live together in the New Zealand suburb of Wellington; a comedic adventure that packs its laughs in a mere 85 minutes.

Following friends Viago, Deacon, and Vladislav, documentarians capture the mundane problems of living with roommates alongside more complex issues for vampires like adjusting to modern-day technologies and society. Things are further complicated when a newly-bitten addition, Nick, invites a human into the circle and causes chaos with his vampire naïveté.

The audience roared with laughter with every punchline and it was evident that fans of Clement’s notable TV series and band, Flight of the Conchords, were present. Cheers even erupted for New Zealander and Flight of the Conchords star Rhys Darby when he appears as the leader of a pack of nerdy wolves whose motto is “werewolves not swearwolves.”

Audience members couldn’t contain their fandom as one later asked Clement if she could rap the song, “Hiphopopotamus vs. Rhymenoceros” with him (his reply was, “Later…”) and another asked if there was thought of adding a musical number to What We Do In The Shadows. “Well, that just wouldn’t work for a documentary,” Clement points out.

What We Do in the Shadows stands on its own, though, as one of Clement’s best works yet. The film cleverly blends genre lines, injecting humour into vampire mythology while spraying blood all over the style of documentaries. Clement revealed his love of vampires, adding in the Q&A afterwards that he started a gang as a teen called The Vampires. “We wore plastic fangs and scared girls,” he says. He even adds a tidbit that ties him to New Zealand’s most famous film export, the Lord of the Rings series, explaining that their make-up artist probably used discarded elf parts to create the costume of the film’s oldest character, Petyr. Clement adds, “He was probably wearing elf ears.”

Click here for more information on TIFF's Midnight Madness program or to purchase tickets

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Midnight Madness Report: The Editor

by Carly 12. September 2014 14:36

“The quota is excellence,” said Midnight Madness programmer Colin Geddes to a packed theatre just after midnight on Thursday in response to a question about the amount of Canadian content that must be included in this series. Apparently, that’s none. But Geddes was happy to announce that the giallo-spoofing murder mystery The Editor, made by Winnipeg’s own film collective Astron-6, is one of the few Canadian entries to ever make the cut.

In line with other over-the-top selections in this year’s Midnight Madness program—from Tokyo Tribe, to Tusk, to Big GameThe Editor slices and dices the Italian cult film genre known as giallo. Replicating and lampooning its sexual exploitation and low-budget gore, this film showed no mercy until laughs and cheers spilled out of the entire theatre. Mostly written by, produced by, edited by, and shot by Matthew Kennedy, Adam Brooks, and Conor Sweeney, The Editor tells the story of a formerly esteemed film editor Rey Ciso (Brooks) who lost his fingers in a freak editing accident who is suspected of a series of gruesome murders on his film set. And here’s why Astron-6 delivered a searing spin on the genre that you can enjoy even if you’re not a giallo aficionado.

Bad dubbing

Geddes admitted that when the technical team at TIFF first saw the final copy of The Editor, they freaked out over how mismatched the dialogue recording was with the actor’s mouths. Actually, that was entirely intentional—since original giallo films were shot without sound and dubbed over in a notoriously terrible way. Though jarring at first, The Editor’s overtly awkward sound makes sure that even the most grotesque murder scene keeps an element of humour.

Sex and sexism

“Women’s eyes weren’t meant to see such things,” explains the film’s detective (played by Kennedy) after his wife becomes blind after discovering her two dead co-stars. In The Editor, women are emotionally frail, rarely clothed, brutally murdered, or otherwise slapped around by men (in true 1970’s giallo style). Of course, lines like these point out the obvious sexism inherent to the genre, but The Editor adds a bit more feminine oomph with the horror star Paz de la Huerta (also known from Boardwalk Empire) as Rey’s narcissistic wife. Still, despite the fun and games, this element to the film won’t be for everyone.

Blood, sweat, and more blood

The murders. Oh, the murders. No one simply dies in The Editor, just like one does not simply walk into Mordor. Electric chainsaws, scissors, axes, you name it—they all leave their mark on the film’s characters and get the fake blood flowing. The more gruesome and drawn-out the deaths, the bigger the cheers, and Astron-6 gave the audience what they wanted.

Click here for more information on TIFF's Midnight Madness program or to purchase tickets

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