Masters of Horror ... Treffen der Genre-Großmeister

[StS]

Lucky McKee's Sick Girl
Reviewed by Tex Massacre (Bloody Disgusting)
2 Skulls or 4/10

Director Lucky McKee burst on the independent film stage in 2002 with his brilliant Argento-esque horror drama May. At the same time that McKee was making his stellar entrance into the genre he was also introducing the world to a lesser know talent, the incomparable Angela Bettis. Bettis had made her film debut a few years earlier with bit parts in Bless the Child and Girl Interrupted, but nothing could prepare the scene for the waifish tragedy that was her embodiment of May. Soon after its release, Bettis and McKee's coup d'etat was greeted as a welcome new dish in the banquet of horror cinema. Fast forward 3 years and McKee and Bettis are back with a TKO of new thrillers, collaborating on The Woods and the upcoming film Roman in which Bettis will write and direct and McKee will star as a young man with the same tragic velocity as the troubled May. But before those two films come to fruition later this year, Bettis and McKee are set to take on the small screen with this week's latest episode of Showtime's Masters of Horror.

Bettis portrays Dr. Ida Teeter a lesbian entomologist who's learning some love-life-lessons about how difficult it is to find the right partner when your apartment is crammed to the hilt with creepy crawlies of every persuasion. On the morning our tale opens, Ida discovers a package has arrived at her front door from a mysterious man in Brazil. What the box contains, is a weird and wonderful insect that looks to be part spider, part mantis. This bizarre creature stirs the endless fascination of Ida almost as much as the unusually attractive girl who spends her days sitting cross-legged in the lobby silently sketching portraits of fairies. After a series of wondrously uncomfortable introductions, Ida eventually stirs up the courage to ask the shy young girl, Misty (Erin Brown), out for what must be the most intensely awkward dates ever committed to celluloid. Soon romance blooms between the young lovers as Ida realizes that her eccentric pet collection is of no consequence to her lovely new admirer. It seems that all is moving along perfectly in Ida's life until the peculiar insect escapes and the bizarre bug unknowingly bites Misty's ear. As the effects of the bug's bite begin to make their dangerous presence known, Misty soon starts to behave in a strange and awful manner, forcing Ida to the realization that her exotic new pet may be something more sinister indeed.

Sick Girl marks the film debut of Erin Brown, although you may have seen her before. Erin Brown is the alter ego of B-Movie princess Misty Mundae, who at the ripe old age of 26 had already lent her starpower to over 50 direct to video titles. It appears that Misty has shed her more famous moniker in an effort to establish her self as a serious actress and she performs remarkable well here. As a send off to her past or perhaps, a knowing wink to her post DTV future, McKee has chosen to keep the designation of Misty for Brown's character. Regardless of the etymology of the name, Brown is fascinatingly innocent and later wickedly vicious as Bettis' precious paramour, proving that she certainly gives the impression that she holds the acting chops to make a splash in the mainstream movie marketplace.

McKee makes Sick Girl a fairly straightforward love story between two socially self-conscious ladies both of whom have a secret to keep. Where the episode fails, and fails completely is in its concept as a horror movie. Other than one scene of bloodshed and a severely nasty looking ear appliance, this episode plays out more as character study than stereotypical horror.

The postmodern horror film has made strident efforts over the past several years to feature women in power positions, be that as the heroine or as the psychotic, women's rolls in the horror genre have been rapidly evolving. McKee, who created the indelible image of May, a lost, lonely and haunted figure, yet beholding a dense inner strength that affords her the ability to overcome a tragic existence and find happiness, even her outlet is less that the textbook definition of healthy, makes a major misstep here. In Sick Girl, he presents Misty and Ida, but especially Ida, as mostly ineffectual. Later Misty is given the opportunity to change, even though the catalyst of that change is the result of the toxins introduced by the insect. But, Ida makes no effort to break the mold, and rally against the uncontrollable path her life is taking. In the end, that inability to effect changes will prove to be her undoing. I often found it cumbersome to endure Ida's natural predisposition to moments of uncontrollable crying and I seriously began to question if the story was ever going to pick up. The cardinal sin of the horror genre is producing a film that bores its audience, and Sick Girl commits that trespass with terrible ease.

As it has been proven over the past ten episodes, the title Master of Horror is one of dubious distinction at best. To name McKee a Master of Horror after directing one feature film and one film festival favorite is a bold and perhaps slightly rash statement. Yet it remains true that many a great filmmaker who have fallen in their follow-up efforts have later redeemed themselves to great avail. So, as it stands, I can only sit and await the promise of future efforts before I endeavor to write the book on the currently uneven career of Lucky McKee. As for Bettis and Brown, they both performed admirably with what they had, so it remains unfortunate that what they had was not a masterful piece of horror.

[StS]

Garris Confirms New & Old for 'Masters of Horror: Season 2'

After a highly successful first season, Showtime and creator Mick Garris are already working on Masters of Horror (all reviews) Season 2. But the question remains who will the next round of 'Masters' be? A mix of the old and new- creator/executive producer Mick Garris confirms that John Landis, Stuart Gordon, Joe Dante, Tobe Hooper, John Carpenter and himself will be back, according to Fangoria. Regarding directorial newcomers, "Brad Anderson is one of the new faces on board this time," Garris reveals. "I'm a huge fan of his 'Session 9' and 'The Machinist'. We're trying to lock up several others, but schedules this year are increasingly difficult to coordinate. We hope to have Guillermo del Toro and Rob Zombie on board as well."

(Bloody Disgusting)

[depalma]

bei soner musik wuensch ich mir fast nen stummfilm :algo:

Bei so einer Musik reicht eigentlich schon der Soundtrack! Genial!

[StS]

It's True! Takashi Miike's TOO Horror for 'Masters'

What the f-ck is this? Seriously I cannot believe what I am reading. Takashi Miike's Masters of Horror entry entitled Imprint is too shocking for Showtime audiences- too horrific. Wow, now that's why Mick Garris has a show entitled Masters of Horror? Apparently, there were 'fetuses' involved in the pic... oh how could they! I seem to remember a lil movie caled Three... Extremes in which a woman east baby fetuses hitting theaters, maybe that should have been saved for DVD too? "Imprint" may go even further, and clearly represents something more than Showtime bargained for. "I think it's amazing, but it's even hard for me to watch," said Mick Garris, the creator and executive producer of the series. "It's definitely the most disturbing film I've ever seen." It will now be released directly to the DVD market through IDT's home video subsidiary, Anchor Bay Entertainment, along with the rest of the episodes in the series. No date has been announced.

The New York Times writes:

Showtime cable network says that the broadcast of "Imprint," the penultimate episode of its 13-part anthology series "Masters of Horror," has been cancelled. Through a spokesman, the network declined further comment.

Originally scheduled to have its premiere on Jan. 27, "Imprint," directed by the renegade Japanese filmmaker Takashi Miike, will be replaced by "Haeckel's Tale," an adaptation of a short story by Clive Barker directed by John McNaughton ("Henry: Portrait of a Serial Killer"). All references to "Imprint" were removed from the Showtime Web site, though a trailer for the episode remains on mastersofhorror.net, the site sponsored by the series's production company, IDT Entertainment.

The concept behind "Masters of Horror" was to give carte blanche to a group of respected horror film directors, both veterans like John Carpenter, Joe Dante and John Landis and newcomers like Lucky McKee ("May") and William Malone ("Fear Dot Com"). The filmmakers would be given their choice of material and freedom from corporate censorship in exchange for creating their work on a tight budget and short schedule.

Mr. Miike, 45, is a deliberately and spectacularly transgressive director whose work is lionized by a substantial share of the young generation of Internet critics and horror film fans, while routinely rejected as repulsively sadistic by much of the mainstream media. To date, his most notorious film has been "Audition" (2000), a cautionary tale about a middle-aged man who holds a fake audition for a movie role to search for a bride, only to be caught in his own game of cruelty when one of the candidates, a seemingly demure young woman, turns the tables on him and subjects him to a prolonged session of graphic torture.

"Imprint" may go even further, and clearly represents something more than Showtime bargained for. "I think it's amazing, but it's even hard for me to watch," said Mick Garris, the creator and executive producer of the series. "It's definitely the most disturbing film I've ever seen." It will now be released directly to the DVD market through IDT's home video subsidiary, Anchor Bay Entertainment, along with the rest of the episodes in the series. No date has been announced.

Mr. Miike, who speaks no English and is rushing to complete his latest theatrical feature, "Waru: Final," for release in Japan on Feb. 25, was not available for comment.

"Imprint," which has a much more polished look than most of Mr. Miike's work, plays like an infernal variation on "Memoirs of a Geisha." In mid-19th-century Japan, an American journalist (the genre stalwart Billy Drago) goes in search of the prostitute he has fallen in love with but was forced to abandon.

The American's quest leads him to a mysterious island zoned exclusively for dimly lighted brothels, where one procurer, a syphilitic midget, introduces him to a relatively sympathetic prostitute (Youki Kudoh, who also appears in "Memoirs of a Geisha"). Hideously deformed, the right side of her face pulled into a permanent rictus, the nameless woman tells the American the terrible story of what happened to his lover, throwing in at no extra charge the story of her own hideous childhood as the daughter of impoverished outcasts.

As the woman's story continues, her revelations, scrupulously visualized, become more and more outlandish, and her descriptions of the violence done to the missing prostitute, who was suspected of stealing a ring from the brothel's madam, become more cruelly imaginative and difficult to stomach. But the most shocking imagery is yet to come, as the nameless woman describes her collaboration in her mother's work as an abortionist.

"Imprint" was filmed in Japan under the aegis of Mr. Miike's regular production company, rather than in Vancouver, where the series is based and most of its other episodes were shot. "Definitely, at the script stage we made comments about the aborted fetuses," Mr. Garris said. "We made it clear that we were going on American pay cable television, and even though there wasn't as much control over content, there still were concerns. And then when we got the first cut, it was very, very strong stuff, and we made some suggestions on what might help before we showed it to Showtime. The Japanese made the changes they were comfortable with, and eventually we arrived at a film that he was happy with and we're all happy with. But Showtime felt it was not something they were comfortable putting out on the airwaves."

"Imprint," Mr. Garris suggested, was not the sort of film that could be trimmed a bit here and there to make it more acceptable. "It is what it is," he said.

"It really was, let's try and not hack this up," Mr. Garris concluded. "Let's all just agree to release it in its complete form on the DVD, and hopefully its audience will be able to find it that way."

Source: NY Times

[Hana-Bi]

Hab mir sowas ähnliches schon gedacht. Manchmal denke ich die Ammis Mobben die Japaner. Ist schonmal jemanden aufgefallen das kaum ein Japanischer Schauspieler/Regiesseur ein Bild bzw. eine Biografie in der IMDb hat ?

[StS]

Miikes Beitrag kommt ebenfalls schön auf DVD raus - auch in D, wo die VÖ-Termine ja auch schon stehen!  :D

DT Entertainment's Anchor Bay Entertainment proudly announces the upcoming exclusive DVD release of Takashi Miike's controversial film "Imprint" from the critically acclaimed MASTERS OF HORROR anthology series.

Premiering on the Showtime cable network in October 2005 to critical and public acclaim, each MASTERS OF HORROR film stands alone as an exercise in terror, written and directed with complete artistic freedom by the genre's leading practitioners.

MASTERS OF HORROR is the ultimate director-driven project. "Imprint" is the only one from the thirteen episodes produced that will not air. "Like all the films in this groundbreaking series," says executive producer John W. Hyde, 'Imprint' was made with no restrictions whatsoever on the filmmaker and we are honored to be able to bring Miike's unadulterated vision to the fans."

Miike observed: "To tell you the truth, I was not surprised to hear that 'Imprint' would not air. Through the experience of directing this episode, I have discovered that while humor can have its limits, fear has no limits. I could not suppress the volume of terror that this film conveys."

Based on the terrifying novel "Bokkee Kyoutee" (Kadokawa Shoten Publishing Co., LTD) by Shimako Iwai, Takashi Miike's "Imprint," produced by Kadokawa Pictures USA and filmed at Kadokawa Pictures in Tokyo, Japan, is set amid the corpse-strewn riverbanks of 19th century Japan in this tale of an American journalist (Billy Drago, "The Untouchables" and "Demon Hunter"), hoping to find a love he left behind. The journalist's hunt leads to a dark island where the only refuge is a brothel. Spending the night with a unique woman (Youki Kudoh, "Memoirs of a Geisha"), he learns the danger of dredging up old ghosts.

Anchor Bay Entertainment will release "Imprint" on DVD in fall 2006. Anticipated bonus features include exclusive behind the scenes footage, trailers, stills and more. Kadokawa Herald Pictures in Tokyo, Japan is planning its world premiere and release soon thereafter. (Bloody Disgusting)

[StS]

Season 2 ist nun offiziell angekündigt:  :D

Showtime Networks has ordered a second season of IDT Entertainment's critically acclaimed anthology series, MASTERS OF HORROR, it was announced today by Robert Greenblatt, President of Entertainment, Showtime Networks Inc. Thirteen new, one-hour episodes, to be produced by IDT Entertainment, will feature the most prominent and exciting directors in the horror genre and will premiere in Fall 2006.

The first season, which USA Today called "a horror hall of fame," premiered on SHOWTIME in Fall 2005 and featured such horror film notables as Dario Argento ("Suspiria," "Opera"), John Carpenter ("Halloween," "The Thing"), Larry Cohen ("It's Alive"), Don Coscarelli ("Phantasm," "Bubba Ho-tep"), Joe Dante ("The Howling," "Gremlins"), Mick Garris ("Riding the Bullet," "The Stand"), Stuart Gordon ("Re-Animator"), John Landis ("An American Werewolf in London"), Tobe Hooper ("Texas Chainsaw Massacre," "Poltergeist") William Malone ("FeardotCom"), Lucky McKee ("May") and John McNaughton ("Henry: Portrait of a Serial Killer") directing original one-hour films.

"Showtime has been a wonderful partner," says IDT Entertainment COO John W. Hyde. "We look forward to providing the world's leading horror filmmakers a supportive environment in which they can express their creative vision."

"We are delighted to once again be working with some of the most talented directors and writers in the horror genre," said Showtime's Greenblatt. "This unique series offers viewers a one-of-a kind experience and demonstrates the immense popularity of the horror genre."

Masters of Horror grew out of an informal bi-monthly dinner attended by many of the horror genre's most highly regarded directors. Mick Garris transformed their collective desire to work together into reality, and will continue to serve as the series' showrunner

Source: Showtime

[muellke]

Hoffen wir das beste:

http://www.cinefacts.de/dvd/archiv/news.php?newsid=1273

:respekt:

Und hoffentlich gibts dann auch noch ne dicke,fette box davon !

[notrickz]

Cool, das hoff ich auch und ich hoffe ausserdem das die Quali der Scheiben gut wird und das sie bezahlbar wird......

[StS]

Masters of Horror: Episode 1.11
Larry Cohen's Pick Me Up
Reviewed by Tex Massacre (Bloody Disgusting)
2 1/2 Skulls

When I first read the plot summaries for Season One of Masters of Horror, I have to admit, the one episode pitch that really piqued my interest was the one directed by unquestionably the least qualified recipient of the designation Master of Horror. Director Larry Cohen has made a career out of coming last to the banquet table. With the exception of 1974's Its Alive, Cohen has made a lifetime worth of bad films, including Return to Salem's Lot, The Stuff and Wicked Stepmother, which holds the distinction as being the last and arguably the worst film ever made by 3 time academy award winning actress Bette Davis. So, suffice to say, my excitement was tempered with a fair shake of panic and a slight hint of nausea as I sat down to take in, the most exciting premise I could image for a one-hour spot - Dueling serial killers.

Michael Moriarty portrays Wheeler, a truck driving whack job who bides his lonesome travels by killing off the occasional hitchhiker, or two. Warren Kole plays Walker, a hitchhiker, who takes his joy in torturing and murdering the folks who are kind enough to offer him a ride. Same methods but different madness move these two maniacs into an epic game of cat and mouse and you can bet your life that it is going to be one bloody showdown. Stuck in the middle of the road, like a deer in the headlights of our lunatics' gaze, is heroine, Stacia (Fairuza Balk), the lone survivor of a bus trip that ran afoul of these two highway killers.

It is easy to see that this episode belongs to Moriarty and Kole; each actor injects their portrayal with a sharp and immoral humor dancing about their roles with contemptible glee, as they trade barbs and terrorize Balk. Both actors really took their parts to town, offering candid observations on their own personal murder philosophies and never missing an opportunity to explore what makes their individual attitude the superior one. The utter contempt that Moriarty and Kole show for one another offers the viewers a ludicrous look into the twisted mind of a serial murder while blending that psychosis with a droll sense of self-effacing humor. Both characters feel as though they could very well inhabit the mountain roads of American, slowly and methodically plucking their victims from the nameless, faceless passersby.

After finishing the film, and it has one helluva final scene that I won't spoil here, one thing becomes crystal clear; Moriarty and Kole are the only reason to see this episode. For all intents and purposes, Pick Me Up is as lackluster an entry into the series as the parade of episodes that have come before it. The plot is virtually nonexistent, the supporting characters hardly have one dimension to work with and Balk, who has made a career out of playing no nonsense bad ass bitches, has virtually nothing to do here but scream and look pissed off, and frankly, Balk looks kinda creepy when she's glum.

The episode has a few highlights hidden away for the audience to find, particularly gratifying is a scene in which the killers are barreling down the highway, Balk in tow, and suddenly stop for some 2 minutes, to wait while a rattlesnake crosses the road. This is exactly the type of moment that makes the argument for allowing filmmakers total artistic freedom on the episodes. I wish we could have seen more of this type of left of center direction from this series. If only the other directors had taken that ball of freedom and actually run with it, then we might have had some great episodes instead of the collection of mediocrity that Masters of Horror has become.

[StS]

Die deutschen Cover sind aber mal wieder so richtig häßlich geworden - da zieh ich die UK-Dinger auf jeden Fall vor:

[Moonshade]

Hat mal wieder der Praktikant mit Photoshop machen dürfen!

[Neo]

tja, das fragt man sich echt, was so schwer daran ist, die UK Cover zu übernehmen und lediglich ins Deutsche zu übersetzen.  :doof:

@Moonshade
ach red nicht, in 30 Jahren finden wir die Cover geil und sie werden wie (jetzt) CMV Tapes gehandelt werden  :icon_mrgreen:

Neo

[Moonshade]

Die CMVs, die waren doch noch handgemalt... *gg*...das war Kunst...

[StS]

Masters of Horror 1.12
John McNaughton's Haeckel's Tale
Reviewed By: Tex Massacre (Bloody Disgusting)
6/10 or 3 Skulls

Don't lie, this is the episode you have been waiting for, a genre geeks wet dream, the horror in Masters of Horror. The pedigree is damn near flawless. Haeckel's Tale was originally to be directed by Zombie legend George Romero. Unfortunately, time constraints forced Romero to step aside, though the episode is justifiably dedicated to him. Director John McNaughton (Henry: Portrait of a Serial Killer) then stepped up and fell into some mighty hefty lead boots. Here was McNaughton, about to direct a Zombie film, that was to be the coup de grace of the first season of Masters of Horror, based on a short story by the dark prince of horror sleaze – Clive Barker, and adapted for the screen by the executive producer and creator of the show – Mike Garris. Strictly speaking of course, McNaughton also holds the marked distinction of being the only director working on the first season of Masters of Horror who has not technically made a horror film - "Henry" arguably being a psuedo-biopic. So, how does the film fare? Well, you've heard the old adage about too many cooks 'eh?

The story is some gross amalgamation of classic 1950's Vault of Horror mixed with the very best of the 1960 house of Hammer, a dash of 70's intestine eating and some unmistakable Clive "Bizzaro" Barker sex scenes and what you have are clearly not the makings for a Chaucer homage. Haeckel's Tale is neatly broken up into two acts. The first focuses on the title characters obsession with what we will call "The Frankenstein Syndrome" and the second upon the nightmare that befalls our tragic hero. But before we get into all of that we need to start at the beginning, and like all tales that must be told, they must be a reason for the relation.

Distraught over the recent loss of his wife, Ralston (Steve Bacic) visits the secluded cabin of a fabled Necromancer to beg for the resurrection of his wife's corpse. After the Necromancer refuses, she offers Ralston a deal, "If you truly love your wife, I will tell you the tale of Mr. Haeckel and upon hearing the tale, if you still wish above anything to have her back, then I will return her to you". And so, begins the tale of Mr. Haeckel. Ernst Haeckel (Derek Cecil) is an idealistic medical student who believes above all else that he can grant the power of life. Ignoring his instructors quips and discounts, Haeckel sets out to prove his power. After an epic failure, Haeckel gains word of a local Necromancer, who is reported to have risen the dead. Haeckel takes a visit to the man only to dismiss his powers as a fool's chicanery. Soon after his return, Haeckel discovers that his father, who has long battled illness, has taken a turn for the worse and so, Haeckel is summoned to his side. At once Haeckel sets off on the journey to his fathers deathbed, but the road is long and he must rest as the fall of night and inclement weather have staid his travels for the day. Haeckel is soon offered shelter at a nearby cottage by a pleasantly strange old man and his young and beautiful wife. The old man warns Haeckel of spending his nights in the vicinity of the Necropolis and offers wine and soup to sate the traveler's thrust. Soon after filling his gut, Haeckel makes his way to the bedroom for a night like no other. You see, this house, this man and this woman are not what they appear to be, and the gruesome and carnal aberration that will transpire before the morning light will set in motion a living nightmare of unholy circumstance that will drive Haeckel to an immortal madness from the likes of which he will never recover.

This episode should have worked like gangbusters, even with McNaughton's less than stellar résumé. Barker's storylines, unlike Stephen King's often overcome even the most inept direction, including that of Barker himself. So I find it difficult to lay blame directly on Barker, Garris or McNaughton. It seems that once again, time was the ingredient that spoiled our chef's banquet of blood. The first half of the film sets up Haeckel's arrival at the cottage where the real meat and potatoes of the plot takes place. Unfortunately, with the set up of the lead characters motivation eating up 30 minutes of runtime before even meeting the catalysts for the films climax, the introduction of the man, his wife, their backstory, the tension, the execution, the climax and the aftermath is a tall order for the final 25 minutes of any film. So dear friends, as the season ends, we'll chalk up one more episode of Masters of Horror into the " what coulda been" category.

As the first season has drawn to a close, I would be remiss without expressing a thought or two. The largest hurdle to vault for the filmmakers of Masters of Horror was the constraints of episodic television. Since Showtime, Garris and IDT allowed the directors full reign over content the last great mountain to climb, was transferring that unfettered vision to the screen in a reasonable amount of time. A few potentially excellent episodes of Masters of Horror have suffered immeasurably through the limitations of the hour-long format. Since I cannot foresee any resolution to this problem I fear that Season Two will also suffer this same fate. As for the first of what I would hope to be many future seasons of Showtime's epic new series, I can only say that it was uneven at best but the episodes that worked, worked beautifully and some of those episodes like John Carpenter's Cigarette Burns are the epitome of what great genre filmmaking should be. I know that I, as a genre fan, was eager to see thirteen masterpieces of modern horror as much as all of you. What we got may not have been the Grand Guignol of horrordom but it was a damn fine start and we can always hold out hope that Takashi Miike's "lost:" episode -Imprint will blow our minds when it makes its DVD debut later this year.

[throatslit]

Also der Trailer zu Dario Argento´s "Jenifer" ist ja wohl super geil!
Erinnert mich an die Alte aus Fright Night :)

[Necromancer]

Wieviele Episoden/Folgen kommen denn bei der Masters of Horror noch?
Ich bin mal gespannt welche Infos es zu IMPRINT (Ep. 13) geben wird :)

[McHolsten]

Wieviele Episoden/Folgen kommen denn bei der Masters of Horror noch?
Ich bin mal gespannt welche Infos es zu IMPRINT (Ep. 13) geben wird :)

Nach Episode 13 soll mit der Staffel Schluß sein.

[Hellseeker]

Die zweite Staffel ist aber bereits beschlossene Sache.

[MPAA]

Nur eine kurze Frage (habe die 3 Seiten nicht gelesen :icon_redface:)

Kommt in den USA 100%ig eine ganze Box mit allen Folgen von AB oder nur alle Einzeln oder erst alle einzeln und nachder eine komplette Box?

Nix für ungut.

gruss MPAA

[StS]

Über eine Box ist offiziell noch nichts bekannt, obwohl man davon ausgehen kann.

[MPAA]

Danke!

Werde dann wohl regelmässig die AB HP checken.

gruss MPAA

[StS]

RC1-Box-Set ist so gut wie amtlich (war klar!) ...

First up was Mick Garris who scooped us, that on Masters of Horror season 2, Director Brad Anderson of The Machinist and Session 9 is now officially on board and putting rumors to rest that Don Mancini is NOT yet on board. A few of the first season guys will be back, as well as promises for a couple even BIGGER names, but no word yet on who the others will be. My vote is out for Justin Ritter of KatieBird and 2001 Maniacs director Tim Sullivan...come on Mick show us some love and let a couple newer guys take a crack at it. He also mentioned that, yes, we will for sure see the "banned" Takashi Miike episode when it hits DVD. Also, there will be a box set put out after the single episodes are released by Anchor Bay, so us fans get to spend even more money on stuff that we already will own.

(Bloody Disgusting)

[MPAA]

Ok, dann warte ich definitiv. Für mich kommt es nicht in Frage, für eine Episode viel Geld aus der Fenster zu werfen.

Gruss MPAA

[StS]

Ok, dann warte ich definitiv. Für mich kommt es nicht in Frage, für eine Episode viel Geld aus der Fenster zu werfen.

Sehe ich auch so. Die deutschen DVDs kann man sich ja getrost dann ausleihen und so die Zeit bis zur Box überbrücken...   :icon_wink:

[Tomalak]

Die Erwartungen sollten auch nicht allzu hoch angesetzt werden. Die Serie ist durchaus sehenswert, kommt aber auch sehr konventionell daher, sowohl inhaltlich als auch visuell. Auch wenn die Reihe "Masters of Horror" heisst, hätte ich mich über ein / zwei Episoden gefreut die ein bisschen den Rahmen des klassischen Mainstreamhorror hinausgehen.

[HiFidelity]

Tja, man wartet vergebens auf Miike's "Imprint" (Folge 13):

"Originally scheduled to air January 27, 2006 on Showtime ( January 28 on Scream in Canada), Imprint was abruptly shelved less than a week from its airdate. Apparently, Showtime executives were extremely unhappy with the episode that was screened for them and determined that that scenes depicted during the episode's broadcast would not be appropriate for their audience.

At the present time, the episode is scheduled to be released , with the other episodes produced, on DVD at a future date to be determined."

-Quelle: tv.com

Da lassen selbst die amerikanischen Kabelkanäle nicht alles durchgehen.  :king:

Na, dann eben auf DVD.

Gruß.
HiFi

[McHolsten]

Tja, man wartet vergebens auf Miike's "Imprint" (Folge 13):
Na, dann eben auf DVD.

4.4. GB TV

[Kirsten_Dunst_Fan]

Habe ganz große Augen gemacht als ich die ersten beiden DVDs heute in der Videothek gesehen habe, sollten die nicht erst später rauskommen? Habe mir die beiden DVDs mal geliehen und werde sie mir anschauen. Auf der einen ist "Cigarette Burns" von J. Carpenter & "Chocolate" von Mick Garris drauf, auf der anderen "Jenifer" von D. Argento & "Deer Woman" von J. Landis.

[mandator]

Wie im SB-Forum geschrieben wurde, ist an den Masters of Horror die Schere hier und da angesetzt worden. Danke Splendid.