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During Microsoft’s XBox conference today the publisher announced a new survival horror game from developer SOEDESCO.
While exploring and finding your way out, you will uncover more information about the serial killer holding you captive. El termino Survival Horror se utilizo por primera vez en material de marketing del primer Resident Evil (Biohazard en Japon).
Project Firestart, un clasico de Comodore 64 de Accolade que abreva de la fuente del terror espacial de Alien y The Thing. Si Sweet Home trazaba el mapa narrativo y tematico de Resident Evil, Alone in the dark, de 1992 definio como se veria y jugaria la revolucion del gaming de terror. Aunque el primer Alone in the dark fue un exito, tuvo pocos clones- InfoGrames arruino la franquicia con secuelas veloces realizadas por otros equipos y la moda de los juegos de CD-ROM con secuencias de video interpretadas por actores reales saturo el mercado durante varios anos mas.
El padre del zombie moderno, nos dio el monstruo perfecto para estas fantasias de terror: lento, terco, letal en grandes grupos, algunos de los creadores de juegos Survival Horror tambien incorporan la critica social de este director. Experto para llevar sus personajes a extremos emocionales con sus ambientaciones claustrofobicas.
In this Australian entry, the backwoods take the intriguing form of an island where a yuppie couple gets stranded while boating. A seemingly kindly old lady living on a remote farm is in fact a bloodthirsty cannibal with a fondness for brains. Dark, disturbing and brutal, Wolf Creek takes advantage of the vast expanse of the Australian Outback, the perfect setting for a sociopath with a tow truck to lure in a group of young people whose car has broken down and then proceed to torture and kill them. In this campy farce, a small rural village whose inhabitants have developed a taste for human flesh struggles to keep everyone well fed. A group of partygoers in France accepts an invitation to an isolated farm, where they encounter a Satanic hillbilly with a fondness for murder and inbreeding.
This genuinely creepy tale combines slasher thrills with a supernatural element, as the proprietor of a remote roadside museum (played with a brilliant weirdo aplomb by Chuck Connors) has the power to control the figures in the exhibits with his mind.
Gleefully excessive violence colors this frequently absurd (in a good way) movie about a family of inbred cannibal mutants living in the West Virginia mountains. Filled with peril and exotic fauna, tropical rainforests have long been a source of cinematic adventure.
Welcome to the jungle – vast, savage, and clamorous with the din of life continuing its primeval cycle, far from the orderliness of civilisation.
Since the silent era, when filmmakers took their cameras around the globe to record for the first time far-flung places in motion for the benefit of science, knowledge and spectacle, this last stronghold of prehistory has provided an alluringly exotic setting for film adventures, an endless fount of jeopardy, colour and mystery. In the 1930s, Hollywood furnished the world with colonial-era fantasies, full of pith-helmeted explorers making their way through soundstage wonderlands of dappled light, pendular vines and menacing menageries. All jungles have their ghosts, and if memories of Tarzan and Kong still haunt the cinematic jungle, then Don Lope de Aguirre is there too – forever heading upriver on his beleaguered raft, his head crazed with fever and greedy dreams.
A tale of human folly and megalomania in the wilderness, at once surreal and documentary-like, Aguirre, Wrath of God was the first of many films that Herzog has made in the jungle – a terrain that fascinates him. From Tarzan via Herzog to the films of Thai auteur Apichatpong Weerasethakul, exploring cinema in the jungle is an expedition well worth making: you only need a few milestones to mark the way. By the 1930s, they’d given up their tenuous claims on science to concentrate purely on entertainment, collaborating in 1932 on The Most Dangerous Game, a thriller in which a big-game hunter becomes human prey on a jungly island in the Caribbean. Edgar Rice Burroughs’ Tarzan character, a British boy raised by apes after his aristocratic parents die in Africa, has appeared in over 80 films since 1918. Tarzan and His Mate was Weissmuller’s second outing in the Tarzan loincloth (following 1932’s Tarzan the Ape Man) and is often considered the best of the series. Notable for being the only film ever directed by Cedric Gibbons, whose name appears as art director on hundreds of golden age Hollywood productions, Tarzan and His Mate is also surprisingly erotic, pushing at the boundaries of film censorship with underwater skinny-dipping sequences in which O’Sullivan appears nude and free from the shackles of civilisation.
Perhaps you know Luis Bunuel the surrealist, who scandalised 1920s Paris with his avant-garde provocation Un chien andalou (1929), but do you know Bunuel the Boy’s Own adventurer? This 1956 French-Mexican co-production, made during Bunuel’s years of self-imposed exile in Mexico, is a thrilling action-adventure film set in an unnamed South American country, where a government crackdown on diamond mining leads to a disparate band of fugitives – including a priest (Michel Piccoli), a call-girl (Simone Signoret), a devil-may-care rogue (Georges Marchal) and an ageing miner (Charles Vanel) – fleeing for the Brazilian border through thick rainforest.
Rudyard Kipling’s Jungle Book stories have been filmed more faithfully in producer Alexander Korda’s 1942 version, featuring child star Sabu as the man-cub Mowgli, and in 1994 when Jason Scott Lee played him, but Walt Disney’s 1967 version, vibrantly animated and syncopated to a hepcat soundtrack of original songs (‘The Bare Necessities’, ‘I Wanna Be like You’) by the Sherman brothers, is perhaps the best loved.
War in the jungles of south-east Asia has provided the topic for many classic tales of endurance, from Samuel Fuller’s The Steel Helmet (1951) and Merrill’s Marauders (1962) to David Lean’s The Bridge on the River Kwai (1957). Transplanting the story of Joseph Conrad’s novella Heart of Darkness from the Congo to the humid rainforests of Vietnam, it tells of an American officer, Captain Willard (Martin Sheen), sent upriver in search of the renegade Colonel Kurtz (Marlon Brando), who has apparently gone insane with power amid the carnage of war. Filled with hallucinatory visuals, Coppola’s film turns the Vietnamese jungle into a hellish playground of the senses – the river inked with blood and petrol, the sky alive with flares and fire. After the ordeal of filming in the Peruvian jungle for Aguirre, Wrath of God, Herzog went back for more with an even more taxing, foolhardy enterprise.

Celebrating unfettered human passion and endurance, while in the same breath pointing to the absurdity of man’s ambitions over nature, Herzog’s film is conclusive proof of the director’s own extraordinary stamina and idealism.
With his Indiana Jones films, Steven Spielberg repopularised the kind of breathless exotic adventure found in movies of the 1930s and 1940s. Directed by Robert Zemeckis, Romancing the Stone is the most charming of the many knock-offs that Hollywood churned out in Indiana’s image. Perhaps sparked by Herzog’s ship-dragging feat in Fitzcarraldo, there was a mini-wave of serious-minded jungle movies in the mid-1980s, with directors Hugh Hudson, Peter Weir, John Milius and Roland Joffe each hearing the call of the wild. Like Herzog, John Boorman (Deliverance, 1972) is a director who has always been drawn to remote places, and in 1985 he cast his son Charley Boorman as Tommy, a teenage boy who has grown up among the Amazonian tribe which kidnapped him as a child. In the past decade, world cinema has found a new king of the jungle: Thailand’s Apichatpong Weerasethakul. 2004’s Tropical Malady begins in the city, as two young men embark on a romance together, taking trips into the forest for picnics.
Filmed in Central America in the space of just three weeks and for a budget of under ?500,000, Gareth Edwards’ feature debut is a model of low-budget genre filmmaking, with a simple but imagination-firing setup. Cleverly riffing on north-of-the-border paranoia about Mexico, it’s an unusually understated horror film, as memorable for its legion imaginative touches as for its nonetheless impressive special effects. Be the first to find out about all the latest news, events and offers from the British Film Institute. Dive into hand-picked classics and critically-acclaimed films, all for less than the price of a bucket of popcorn. Deformed maniac Victor Crowley lives in a shack in the middle of the Louisiana swamp and will rip to shreds anyone who comes close to his turf. Based on the Stephen King novel, this thriller isn't as graphic or perverse as many backwoods movies, but it shrewdly executes all of the elements, from the stranded traveler (in this case, a bestselling novelist who crashes his car on a snowy mountain road) to the unhinged recluse (a deranged fan) to the twisted cat-and-mouse game and, of course, the torture (hobbling!). In this Belgian film, a singer on his way to a gig stops to stay at a remote bed and breakfast when his car breaks down. This is backwoods horror-comedy at its best, as a pair of bumbling kidnappers take their victim to an isolated rural area that's inhabited by a crazed, homicidal farmer. This over-the-top French fare finds a group of looters at an secluded hotel that turns out to be run by neo-Nazis intent on using the guests to either procreate the master race or feed it.
The influential original set the standard for modern backwoods horror, with its tale of an insane family of slaughterhouse workers who enjoy killing, skinning and eating any outsiders who happen by. Wes Craven took The Texas Chainsaw Massacre and added the perverse streak of his own The Last House on the Left for the cult classic original, while French director Alexandre Aja managed to deliver a worthy reimagining. In this low-budget tale, a group of college students on their way to the Burning Man festival pick up a hitchhiker fleeing from a maniacal cult.
More of a survival thriller than a horror movie, this film finds a group of city folk on a hunting trip having a run-in with backwoods poachers.
Despite obvious budget limitations -- including egregious overuse of CGI -- there's obvious skill involved in this British horror-comedy about a backwoods family looking to breed, by any means necessary. Despite some annoying characters and uneven humor, Monster Man delivers a fun, blood-soaked tale of a pair of friends driving to a wedding (Has no one heard of the highway?) who encounter a mutant driving the coolest monster truck this side of Bigfoot. This ahead-of-its-time shocker, made in 1964 but not released until 1968, features an aging Lon Chaney Jr. In this darkly humorous British outing from the director of Triangle and Black Death, a company team-building retreat in the wilderness turns into a bloodbath when masked assailants target them for death. With multiple endings and an extensive randomization system that will ensure that every playthrough will always be different from the previous one, whether you as a player succeeded in escaping or not.
Locked up in a dark cellar, the player only has a short time to figure out what has happened and how to escape from the clutches of a dangerous serial killer. But should you be able to find a way to escape, you will be granted one of the many different endings depending on how many secrets you managed to unlock while escaping. Ancient occult magic and mysteries will be revealed, and you will discover that there is far more at stake than just your life… Inspired by authentic occult and religious texts, ENKI is under development by Storm in a Teacup, and will delight fans of horror, the supernatural and mystery. If you troll or post spam or act like a child we will send you to your room without dinner and take away your posting priviledges. Unfortunately for them, the isle is home to a barbaric family out to protect their marijuana crop from interlopers.
Iconic Hong Kong filmmaker Tsui Hark mixes horror with slapstick comedy, martial arts and a little bit of roller skating action to boot. With Aguirre, Wrath of God out now on Blu-ray, we trek into the heart of darkness in search of 10 of the best jungle films. Crocodiles, toucans, elephants and tigers shared space with Tarzan, King Kong, dubiously portrayed ‘savages’ and a creeping morass of vegetation.

In Werner Herzog’s classic Aguirre, Wrath of God (1972), Aguirre (played by Herzog regular, Klaus Kinski) is the Spanish conquistador leading a 16th-century expedition into the Amazon basin in search of El Dorado, the fabled lost city of gold.
Dim the lights, imagine the deafening drone of insects, and lay back in your hammock for 10 great films set in the jungle.
Then, in 1933, they created a sensation with a movie about a film crew – not unlike their own outfit – travelling to tropical Skull Island to track down a legendary giant ape. After the coming of sound in the late 1920s, he was embodied by Olympic swimmer Johnny Weissmuller, who forever popularised the image of Burroughs’ noble savage as a vine-swinging hulk communicating in monosyllables.
An archetypal example of Hollywood exotica, using the forests and lakes of California and Florida as stand-ins for the African jungle, it picks up where the first film left off, with society girl Jane (Maureen O’Sullivan) living her new life in the trees with Tarzan and his chimpanzee, Cheetah – an idyll that will be disturbed when two huntsmen arrive in search of ivory from a local elephant burial ground. The rainforests of central India are vividly reproduced in the hand-painted backgrounds, creating an illusion of depth of field with a dense world of vines, fronds and hanging fruit.
But Francis Ford Coppola’s magnum opus Apocalypse Now is the jungle warfare film to end them all. From the sudden flash of a tiger in the gloom, via the grotesque human pantomime of a Playboy revue, to the dreamlike slaughter of a water buffalo, this nightmarish vision of humanity at the end of its tether grips like malarial fever. Fitzcarraldo charts the wild-eyed efforts of rubber-baron Brian Sweeney ‘Fitzcarraldo’ Fitzgerald (Klaus Kinski) to bring culture to the wilderness, sailing up unnavigable waters with the aim of building an opera house deep in the jungle.
For one scene, he presided over a 350-ton steamboat being dragged over a hill – an Olympian feat inspired by the exploits of a real-life rubber-baron in 19th-century South America, despite history recording the real Fitzcarraldo’s load as ‘merely’ 30 tons.
Full of booby traps, lost treasures and cliff-hanging suspense, Raiders of the Lost Ark (1981) and its first sequel Indiana Jones and the Temple of Doom (1984) were naturally quite at home in the jungle, where the generous supply of snakes and creepy-crawlies ensured squirm-inducing moments of peril were never far off. Kathleen Turner plays Joan Wilder, a lonely-heart romantic novelist who suddenly finds herself heading to Colombia in search of her kidnapped sister, with a cryptic treasure map tucked into her suitcase. Though in many ways the story resembles an update of John Ford’s The Searchers (1956), with Tommy’s dad (Powers Boothe) conducting a years-long search to find his missing son, Boorman’s film is less a revenge drama than an ecological fable about the destruction of the rainforests by industry and the gradual disappearance of the centuries-old way of life of their indigenous peoples. From Blissfully Yours (2002), which features a young man with a skin condition trekking into the rainforest for respite, to the Palme d’Or-winning Uncle Boonmee Who Can Recall His Past Lives (2010), in which the dense vegetation conceals red-eyed phantoms and a talking catfish, the jungle is a recurring backdrop in his work – dark, mysterious and humming with life. But a sudden break in the narrative leads into the bizarre tale of a soldier who encounters a tiger shaman while lost in the woods.
In a Mexico that’s been quarantined after a crashed space probe has brought alien life forms to earth, two young Americans stranded south of the infected zone must find their way back to safety in the US. With a nod to Herzog, Apocalypse Now and the Spielberg of Jurassic Park (1993), the couple’s journey takes them upriver and then into the jungle, where the ruins of Mayan pyramids dot their path and the thick of the trees provides Edwards with plenty of scope to prove that the scariest frights come from the darkest corners. When they crash, they trek towards a house and are somehow surprised to find that it's owned by the truck driver. Entertaining, if a bit slow in stretches, due in large part to a great cast of recognizable character actors (plus a small role by a young Billy Bob Thornton). Strong acting, zany characters and kinetic direction reminiscent of early Sam Raimi propel this flawed but fun effort. His inbred family is into witchcraft and seeks a new body for the maimed, undead older brother. By finding items and solving puzzles the player can escape, but because of the smart randomization this will prove a challenge every time.
Following the sound of bone-chilling roars above the jungle canopy, King Kong’s first appearance out from the trees is one of the great entrances in cinema history.
Patience is required for these long scenes of the soldier trekking through the trees, but Weerasethakul slowly works his magic, and the otherworldly sights and sounds of the forest cast a delicious spell of entrancement.
Turns out he and his wife are deranged killers, and they have a daughter who suckers people in with her innocent appearance, like the Osmonds. When a pair of distant relatives arrive looking to take over the aging, remote estate, they fall prey to the murderous family, including the more deranged folk in the basement. Colton (Michael Douglas), who persuades her that they can find the treasure themselves before her pursuers. This standard setup is buoyed by an array of perverse characters, solid performances and surprisingly semi-intelligent dialogue, which occasionally makes you forget how cheap it all is. O’Brien, who’d had a dry-run for the film’s dinosaur fights in the 1925 version of The Lost World, Kong remains – 80 years later – the cinematic jungle’s most famous denizen.

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