Latest news with #gore
Geek Tyrant
24-05-2025
- Entertainment
- Geek Tyrant
Brutal and Gory Claymation Short Film CLAYCAT'S DOOM THE DARK AGES — GeekTyrant
Here's an incredibly entertaining clamation stop-motion short film Claycat's DOOM: The Dark Ages and it's awesomely savage and gory, and we warch a cat warrior slay a bunch of deadly demons. It's a lot of fun to watch the cat brtually rip and devastate through a horde of demons! It certainly delivers some badass carnage!
Telegraph
12-05-2025
- Entertainment
- Telegraph
Final Destination: Bloodlines – Michelin-star-worthy carnage for connoisseurs
It's 14 years since the last Final Destination film – not the final one, then. That was the fifth. This is the rare horror franchise that resets each time, and gets away with casting cheap, since surviving it is a rarity. You could watch them in any order. The durable concept is Death being cheated by one person's premonition of a horrific tragedy… and Death then coming round to collect. Death, on this outing, proves to be a deranged psychopath who even goes in for extracurricular trolling. He's playing a long game: the twist in Final Destination Bloodlines is a half-century gap between sprees of extreme gore. The film's entertainment value remains at all times gleefully visceral, though. It is carnage for connoisseurs. Nothing in the series so far can quite prepare you for the intricate sadism of these set pieces. Jaws might drop, if they weren't busy being severed or pulverised. Anyone with a summer barbecue planned, a tattoo appointment, or (be afraid) an MRI scan, could miss this imminent trash classic and remain blissfully ignorant of the mortal dangers they are dicing with. We start in 1968, with Iris (Brec Bassinger) fielding a proposal from her boyfriend at the opening of a brand new sky-rise restaurant, essentially a bulb on a stalk. The soundtrack is rich with foreboding (that's to say, Johnny Cash's 'Ring of Fire' comes on). Fire will feature. So will cracking glass, lift malfunctions, and dozens upon dozens of screaming VIPs tipped out to go splat. It's a lot. We have a moment to catch our breaths before the next ordeal, because somehow, in 2025, the elderly Iris (Gabrielle Rose) has managed to stay alive, by barricading herself in a ludicrous 'safe house' that actually looks like the biggest death trap imaginable. Her premonition – ie, the prologue – stopped that disaster happening. It is now being experienced by her granddaughter Stefani (Kaitlyn Santa Juana) as a recurring nightmare. Meanwhile, Death is playing catch-up. Young Iris was pregnant at the moment she was meant to die, meaning her entire family have gate-crashed existence, and he isn't letting that slide. He comes after them in order of their births, using everything but the kitchen sink. The motif of a bad penny, which keeps lodging itself evilly in all the worst crevices, tops and tails proceedings almost elegantly. But no one is inviting Final Destination Bloodlines to the Met Gala. This thing is savage. You'll need to discover how, say, a trampoline, a lawnmower and a hidden glass shard tessellate into an uncle-shredding combo attack not easily forgotten. It's extremely funny that the non-blood-relatives in the family just sit out the whole affair, smugly chilling. Winking callbacks (especially to the infamous log-truck quietus in Final Destination 2) prove that the makers of this are interested in nothing but fan service. Staggeringly grisly, Michelin-star-worthy fan service. It's like the lid being whisked back on a silver tureen full of mashed body parts. Hideous, hilarious, and – boy oh boy – not for the squeamish.
