Warning: This post contains some spoilers for the original Descent.

It's been a while since we've heard anything about the promised sequel to Neil Marshall's The Descent, and fans of the film who rolled their eyes at the initial announcement may have gotten their hopes up. But no: the sequel is still going forward with Descent editor Jon Harris making his directorial debut, and James Watkins (My Little Eye), who had nothing to do with the first film, writing the screenplay. The new info is that Shauna McDonald and Natalie Mendoza, who played protagonists Sarah and Juno, will reprise their roles in the sequel. The cast will also have some Y chromosomes this time around, in the form of Gavan O'Herlihy, Joshua Dallas and Douglas Hodge.

The plot will involve "the survivor" -- that would be Sarah -- "forced back into the system of caves she battled her way out of in the first film, in a bid to locate the rest of her group." Shockingly, this probably means that the sequel will take the American "Lionsgate ending" (in which Sarah gets out) as canon, rather than the original ending, where Sarah's escape is a dream sequence and the final shot shows her remaining in the cave. I suppose this could be explained to overseas viewers (who were, after all, responsible for more than half of the first film's $57 million box-office) by claiming that she got out later, in some other way. But it'll be tough.

You'll think I'm shamelessly name-dropping but it's a relevant (and amusing) story, so here goes: I once got to sit down with director Neil Marshall during a one-on-one interview at the Sundance Film Festival. (I agreed to the interview because I'd seen both of the guy's movies and was very enthusiastic about both. Ask Kim or James how often I do interviews. I can't stand 'em.) Anyway, more than eight months later I was in London to visit the 28 Weeks Later set, and one night a bunch of us horror nerds went out drinking. "My friend Neil is going to meet us here," said the lovely Axelle Caroyln of Fangoria Magazine. So imagine my surprise when "Neil" turned out to be not only Neil Marshall -- but also that the guy actually remembered dorky ol' me from that Sundance sit-down!

So yeah, the director of Dog Soldiers and The Descent is every bit the low-key, good-natured, horror-addicted movie freak you might suspect, and the whole bunch of us spent about three hours in a dingy pub discussing the guy's next movie. The script was called Doomsday, the conversation was off the record, and (needless to say) the night was a drunken hoot.

So now that Mr. Marshall's Doomsday is finished production in London, Scotland and South Africa, and marching firmly into the realm of internet marketing, I thought it was time to take a closer look at a project I know only from one lengthy and beer-filled conversation. (See? I told you that anecdote was relevant!) So far we know that Doomsday will be a gritty futuristic action thriller that stars Rhona Mitra, Malcolm McDowell, Bob Hoskins and the awesome Sean Pertwee. So far so good. The story deals with a Britain that's been walled up and infected for three full decades -- until someone has to re-enter the danger zone for a very important reason. (Yes, I'm still trying to remain relatively spoiler-free.)

Focus Features/Rogue Pictures has just sent Cinematical two images from Neil Marshall's Doomsday; an upcoming action-thriller from the guy who brought us the well-received horror flick The Descent. Although I never saw The Descent, our own Kim Voynar loved the film when it was released last summer and Stephen King even placed it on his top ten list of 2006. Thus, I imagine lots of folks are eagerly anticipating Marshall's follow-up film, which looks to mix a little bit of 28 Days Later with Children of Men. And that can't be bad, right?

Here's the plot synopsis we were provided with: "In the action-packed new thriller from writer/director Neil Marshall ("The Descent"), authorities brutally quarantine a country as it succumbs to fear and chaos when a virus strikes. The literal walling-off works for three decades – until the dreaded Reaper virus violently resurfaces in a major city. An elite group of specialists, captained by Eden Sinclair (Rhona Mitra), is urgently dispatched into the still-quarantined country to retrieve a cure by any means necessary. Shut off from the rest of the world, the unit must battle through a landscape that has become a waking nightmare." Aside from Mitra, pic also stars Malcolm McDowell, Bob Hoskins, Nora-Jane Noone and Alexander Siddig. I've also included a pic of Marshall on set after the jump. Currently, there's no official release date, but look for Doomsday to attack theaters early next year.

The last casting announcement we got from the sci-fi thriller Doomsday, was an exclusive from the director Neil Marshall (The Descent), to our own Chris Ullrich. Now Empire Online has reported that Malcolm McDowell is the latest addition to the cast. The story takes place 30 years after a plague has wiped out a good chunk of the population; inspiring a quarantine that mainly entails walling off the infected. Of course, the virus doesn't stay contained for very long and an elite team is put together to stop the disease from spreading. Written and directed by Marshall, the film also stars Bob Hoskins, Rhona Mitra, and Alexander Siddig. McDowell has signed on to play Kane, a global expert on the virus who advises the team on how to fight the spread of the disease.

It seems slightly out of character to have McDowell in a good-guy role in a film. Despite his varied career, nobody can play the steely-eyed villain like McDowell. Well, maybe Paul Bettany, but I guess that example might not really count. McDowell is currently doing his bad-guy best as Linderman on the NBC series Heroes right now, but there is no solid word on whether his work on the show is firmly in the guest star camp, or whether he has signed on for the long haul. Production on Doomsday began back in February, and between his turn as Dr. Loomis in Rob Zombie's Halloween remake later this year and his possible TV commitments, it looks like we will be seeing plenty of McDowell soon.

One of the cool things about working here at Cinematical is that we often get info on films, casting, directors and the like before it gets announced to the rest of the world. Such is the case today with some casting news about director Neil Marshall's latest film, Doomsday. As I reported before, the pic currently stars the super-hot Rhona Mitra, and now, according to our new info, she will be joined in the film by the Oscar-nominated actor Bob Hoskins. The post-apocalyptic pic, also being written by Marshall, concerns a lethal virus that has spread throughout a major country and wiped out most of the populace. To contain the virus, authorities enforce a brutal quarantine by walling-off the infected parts of the country.

This puts an end to the threat, until it resurfaces years later in another major city, forcing an elite team of specialists, led by Eden Sinclair (played by Mitra), to enter the quarantine area on a desperate mission to find a cure. Hoskins will play cop Bill Nelson, who nominates Mitra's character for the perilous mission and monitors her progress while giving, one would assume, nuggets of wisdom and aide along the way. In addition to Hoskins, other cast members include e Alexander Siddig, recently of Fox's 24, as well as previous Marshall alumni such as Sean Pertwee and MyAnna Buring. Production on the film begins February 9.

I slept with a cross in my hand for a month after watching The Exorcist. I did. I swear. I was terrified after seeing the film -- I think I was thirteen at the time -- and definitely old enough to be able to handle such a film. Well, apparently not. I might have benefited from attending a support group for people terrified by fictionalized stories of horrifying situations (do those exist?). What I didn't realize was that filmmakers of horror films had a support group of their own.

Horror film directors have made it a mission to reinstall the bloodiest and most gruesome situations in this cult favorite genre. To be honest, the last film that I saw of this type was The Descent -- which I very much enjoyed and only ragged on the acting abilities of the cheating husband once -- but think that amount of blood may be all I can handle. Films such as Saw and Hostel, I think, go beyond what I find as an audience member to be pleasurable to watch. These films are different in the sense that they are borderline NC-17 flicks and mostly revolve around endless torture of hapless victims. In Variety's article they describe a scene where a victim's face is blow torched off and the torturer then clips off the victim's eyes (not exactly something I want to think about while eating lasagna at Christmas dinner).

This group of filmmakers has been dubbed the Splat Pack. I must say, I do love the name even though my stomach can't handle the majority of what they're making. Give me Dawn of the Dead or any zombie movie for that matter, but the torture genre I just can't take. Even though I can't bring myself to buy a ticket to see their films, I love knowing that the Splat Pack has been offering up a great deal of support for one another as they do face issues with ratings; inspiration to go further with gruesome ideas, and even funding films. Rob Zombie and Quentin Tarantino have become the godfathers to many up and coming horror filmmakers. Tarantino was described as "showing the ropes" to Hostel director Eli Roth. Horror films definitely have an audience -- the films often times gross more than large blockbuster films -- therefore the work will continue to be made. They just need the backing of each other to make sure that the ratings board doesn't take a chainsaw to the final cut of their films.

Well, another year is in the can folks, and what do we movie lovers have to show for it? Actually, we have a lot. 2006 has seen it's highs (Martin Scorsese gives us his best flick since 'Goodfellas'; a "racist" Kazakh reporter draws the fury of thousands, bags Pamela Anderson -- literally -- and scores box office gold) -- and its lows (Sidney Lumet's 'Find Me Guilty' is guilty ... of sucking; all couples who go see 'Date Movie' together break up within two weeks). I was lucky enough to see a whole lot of good flicks and only a moderate level of what we experts like to call crap. Below, I present my picks for the Top 10 Movies of 2006.* My fellow Moviefone editors will be posting their own lists later this week, so remember to check back for those. Happy Holidays!

10. Children of Men
Director Alfonso Cuaron follows up his masterful 'Harry Potter and the Prisoner of Azkaban' adaptation with a film about a war-torn future world in which women no longer bear children. Not surprisingly, the flick is bleak and most certainly not for kids. But its hopeful message is more powerful than a hormonal teenaged wizard hopped up on gillyweed.

9. The Descent
This lean, mean thriller about six sexy female spelunkers battling bloodthirsty cave mutants avoids all the classic horror-film pitfalls: lame plot twists, gratuitous shower scenes (OK, I secretly approve of these) and a silly hook-wielding killer. Plus, it oozes with a certain quality lacking from so many horror pics these days: actual horror.

8. Stranger Than Fiction
Will Ferrell tones down his shtick and reaps the benefits in this funny and poignant tale about an IRS agent who awakes one day to find that his life is being narrated by an author bent on killing him. The cornerstone of the movie -- the budding romance between Ferrell and the baker (Maggie Gyllenhaal) he's auditing -- is so sweet you'll want to start dating a baker just so you can bring her "flours."

7. Apocalypto
Say what you will about Mel Gibson, but the guy took a cast of mostly Yucatec-speaking non-actors and a topic (the downfall of the Mayan civilization) that isn't exactly hot-button and made a two-and-a-half-hour film that's gorgeous, captivating, unique, supremely violent and, frankly, awesome.

6. Casino Royale
Finally, a James Bond flick where 007 is a real guy who bleeds when the bad guys cut him, scars when the love of his life hurts him and wins the day with brut force and smarts rather than gadgets. It sounds like blasphemy, but Daniel Craig might be the best Bond ever. Yes, even better than George Lazenby.

5. Thank You for Smoking
Writer-director Jason Reitman has done something awe-inspiring with his adaptation of Christopher Buckley's satiric novel: He's made the smug, self-righteous chief lobbyist for Big Tobacco into a -- wait for it -- sympathetic character. For this, he owes no small debt to Aaron Eckhart, who imbues said lobbyist with equal parts piss, vinegar and vulnerability. Sounds gross, but it goes down smooth.

4. Borat
Despite offending just about every ethnic, religious, political and gender group known to man, woman or goat, Sacha Baron Cohen's improvisational road-trip comedy was a runaway hit and hands-down the funniest flick of the year. By the time the credits roll, you'll want to make sexytime with this moviefilm. Niiice.

3. Little Miss Sunshine
Dysfunctional family dramedies have become something of a cliché these days (damn you, 'Family Stone,' for being the nail in the coffin!), but the yellow-VW-van-driving Hoovers somehow managed to weasel their way into my heart nonetheless. Every performance -- from Steve Carell's gay, suicidal Proust scholar to Alan Arkin's drug-snorting, curse-spewing grandpa with a heart of gold to Paul Dano's mute, Nietzsche-loving pilot wannabe -- deserves an award. And, more importantly, despite their Grand-Canyon-deep flaws, each character is, at his core, good and intensely likeable. You'll laugh, you'll cry and you'll go wild for the film's finale, set to none other than Rick James' 'Superfreak' -- because they're the Hoovers, bitch!

2. Pan's Labyrinth
Fantasy and reality -- harsh reality, actually -- collide in director Guillermo del Toro's captivating yarn about a 10-year-old named Ophelia (the brilliant Ivana Baquero) who, at the behest of a faun named Pan, undertakes a harrowing quest to protect her family at the tail end of the Spanish Civil War. I'd say it's a fairy tale for adults, but not too many fairy tales feature a peasant being bludgeoned to death with a wine bottle. Still, it's beautiful, hopeful and more heartbreaking than anything I've seen in a long, long while. If you don't cry at the end, you have no heart in your hollow tin chest.

1. The Departed
Martin Scorsese's blood-soaked, cuss-filled urban morality tale about two undercover moles on opposite sides of the law (one a cop infiltrating the mob, the other a mobster posing as a cop) boasts a pitch-perfect script, some of the best actors in the biz (DiCaprio, Damon, Nicholson, Wahlberg, Baldwin) at the very top of their game and an ending so powerful it'll knock the wind out of you like a Louisville Slugger to the nards.

Honorable Mentions
Babel
Brick
Half Nelson
The Illusionist
Inside Man
The Last Kiss
The Prestige
Slither
Superman Returns
United 93

*Note: A few films that might have made this list were left off because I was not able to see them in time. These include, but are not limited to, 'Dreamgirls,' 'Notes on a Scandal' and 'Letters From Iwo Jima.'

POST: Do you agree with these picks?

POST: What are your favorite movies of 2006?

Right up front I'll say that Neil Marshall's horror film The Descent is one hell of a scary piece of filmmaking. I've seen a few horror films in my time (ok, more than a few) but this one actually scared me at many points while I was watching it. In fact, I'll go out on a limb and say The Descent is one of the scariest, most well done, horror films I've seen in many years. Certainly, it's far superior to the majority of the Splat-packing Saw clones we've been graced with at the theaters of late.

Plus, keep in mind that The Descent was not Marshall's first film. He also directed the very impressive, but less scary, Dog Soldiers. So, The Descent was no fluke; this guy has got some talent. That said, what does my nominee for best horror director of the last few years do for an encore? Not another horror film, exactly -- although from the description it does seem to have some horror elements. Instead, according to Sci-Fi Wire, Marshall will follow up The Descent with a futuristic action thriller called Doomsday for Rogue Pictures and producers Steven Paul and Benedict Carver.

Marshall will also be writing the script for Doomsday, which tells a story set three decades after a biological catastrophe that leads citizens of a city to close themselves off from the rest of the world by building a large wall around their city. Then, when the biological agent that caused the catastrophe resurfaces in another country, an elite group is sent to that country to find a cure. In addition to Marshall's involvement with Doomsday, it was also announced that the stunning Rhona Mitra, recently of the TV series Nip/Tuck and the upcoming films Skinwalkers and The Number 23 with Jim Carrey, will be joining the cast of Doomsday. Mitra will play the leader of the elite team sent into the plague-ridden wasteland in search of the cure.

As a huge fan of Marshall, his films and the super-hot Rhona Mitra, I'm especially interested in seeing this. To me, it sounds like Marshall is combining the best elements of The Descent and Dog Soldiers to make this new film. If he's successful (and I have every confidence he will be) Doomsday could definitely turn out to be a worthy successor to The Descent. No word on other casting but production is scheduled to begin in early 2007.

If there's one thing the media really loves to do, it's lump a bunch of barely-connected people into an ill-fitting group -- and then give that group a clever name. Whether it's The Rat Pack, The Brat Pack or The Splat Pack, I just get irked whenever a new "pack" makes it into the cultural lexicon. Oh, you're not familiar with that last one? Yeah, it's a moniker that's been given to a bunch of "new" horror filmmakers, one that seems to imply that these guys get together every weekend to smoke weed and watch Halloween 2 together.

According to a recent article in Time Magazine, one that seems to approach horror flicks the same way a prissy schoolmarm would approach some inappropriate comic books, the members of "The Splat Pack" are Eli Roth (Cabin Fever, Hostel), Neil Marshall (Dog Soldiers, The Descent), Alex Aja (High Tension, The Hills Have Eyes), Rob Zombie (House of 1000 Corpses, The Devil's Rejects), and James Wan, Leigh Whannell and Darren Lynn Bousman of the Saw trilogy. (Apparently Wolf Creek director Greg McLean was part of the original pack, although he goes unmentioned in the Time article, probably because he hasn't made much money yet.)

But what do these guys have in common, really, other than the fact that they all make horror flicks? I see Americans, Brits, Aussies and a Frenchman in the mix, and while some of the guys are fresh-faced and 20-something, guys like Roth have been toiling away in backstage anonymity for years. Plus, c'mon, Rob Zombie is 42 years old, so how exactly does he tie in with these kids? And why is it that Neil Marshall never seems to be quoted in these articles? Is he just included because his horror movies are ... GOOD? Apparently the Splat Pack label was created by Alan Jones of Total Film, and I'm sure the guy's an absolute expert on horror flicks -- but labels create limits, exclusions and oversights. And, ultimately, articles like this one, I suppose. (Either way, I bet Jones bangs out a book called The Splat Pack by the end of 2008.)

The UK's Christopher Smith (Creep, Severance) is young and horror-heavy, so why isn't he a member of The Pack? Shouldn't (Dawn of the Dead screenwriter, Slither director) James Gunn be one of the den mothers? Lucky McKee has made only two feature films (May and The Woods), but they're both downright excellent pieces of horror. Why's he not a member? Uwe Boll's done a bunch of horror flicks that could be accurately described as " laden with torture," so why not throw him an invitation? You want a guy who loves the word splat? Try Jake West, the guy who directed Evil Aliens. Plus I read another article a while back in which Jonathan Liebesman (Darkness Falls, The Texas Chainsaw Massacre: The Beginning) was considered a member of The SP! Now, if that guy can be considered some sort of "future of horror," I'll eat my hat.

The common themes among the Splat Packers are ... what? They all like horror movies, they don't shy away from intense chills, harsh themes or copious gore, and they're all carbon-based life forms, I guess. But really: Does anyone out there think the work of Eli Roth is even remotely similar to that of Neil Marshall? Does a Rob Zombie flick remind you of what was seen in, say, High Tension? I mean, if you're going to define a term, then define it. And as a big fan of just about all these movies, I just gotta scratch my head when I hear these guys lumped together in one basket.

And what happens when guys like Ryan Schifrin (Abominable), Adam Green (Hatchet), J.T. Petty (S&Man) Scott Glosserman (Behind the Mask: The Rise of Leslie Vernon), Jon Levine (All the Boys Love Mandy Lane) and Adam Mason (Broken) start to make their way up the ranks? Will we have the arrival of Splat Pack 2: The New Generation? Back in the late '70s/early '80s, did we need a goofy little heading to remember names like Carpenter, Hooper, Craven, Dante, Landis and Cunningham?

Ultimately, I have no real point. I'd just seen the phrase "Splat Pack" one too many times and felt the need to vent. Opposing viewpoints are welcome, as long as they agree with my own opinions.

Halloween is a great time of year if you love horror movies. I'm not what you'd call a horror buff -- I'm way too much of a weenie. I'm the person you see at horror flicks hunched way down in my seat with my jacket ready to hide my face in if it gets overwhelming. Plus, I have a very active imagination, and when I see a really scary movie it stays in my head, and then late at night when I'm taking a relaxing bubble bath after the kids have gone down for the night, I'll hear the voice of Pennywise the Clown giggling in the drain, telling me how "we all float down here." God, I hate clowns.

Nonetheless, there is something shiveringly delicious about being scared just the right amount, isn't there? That rush of adrenaline, that thrill of being in danger, tempered by the knowledge that we are perfectly safe in a theater seat with a bag of popcorn and a box of Whoppers to help see us through. Here are some horror flicks that really scared me, that stayed in my head somewhere to haunt me late at night, to come creeping out of dark shadows. They're scary, but oh so good ...

The Changeling -- This is my favorite horror movie ever. George C. Scott stars as a writer who, after the death of his wife and daughter in a tragic accident, rents a spooky mansion. All by himself. Right away, creepy things start happening -- and I mean creepy. This film is packed with send-a-shiver-up-your-spine moments: The spooky voice of Joseph, a ghost child recorded on tape during a seance, audible only when it's played at the right speed; a ball bouncing down the stairs; visions of a bathtub with a drowned child. Look! I have goosebumps just thinking about it! And yet this is one scary movie I can watch over and over again. Once you've seen this movie, you'll never look at wheelchairs the same way again.

Horror has been a sort of win-win genre in the States for over 30 years now, as slasher films and cheap gorefests have shown incredible stability at the box office. It isn't a surprise that studios were quick to do away with press screenings for the genre, since it typically performs well regardless of how critics respond. Though, not every horror film made in Hollywood is successful, and the market is often a bit flooded by too much product, but generally they're a safe bet.

The same hasn't been true for horror in the Netherlands. Since the 1992 disappointment of Rudolf van den Berg's The Johnsons, the Dutch haven't been too keen on producing films in the genre ... until now. After more than a decade, horror is making a comeback in the Netherlands, punctuated by a few special premieres at the upcoming Dutch Film Festival (Sept. 27-Oct. 6). The highlights of the series, called "Nederhorror and other strange phenomena", are Erwin van den Eshof's teenage slasher pic Doodeind (Deadend), Sl8n8 (Slaughter Night) and Horizonica. Van den Berg, whose last film was a romance starring Burt Reynolds and Julie Christie, is also returning to the genre with Exhibition, which goes into production later this year.

We'll have to wait and see if the Dutch will try exporting their new horror films to the States. While Asian horror is popular mostly in terms of being remade into Hollywood versions, European horror has a slightly better chance of getting released in the U.S., if it can follow in the footsteps of High Tension (which sold well because it was easily dubbed) and The Descent (which is British, and thus had no language issues). The last big attempt to break the American market, Dick Maas' Down, which starred Naomie Watts and was an English-language remake of Maas' The Lift, ended up going straight to video, and received little interest. Earlier this year, it was being reported that Quentin Tarantino is thinking about remaking Doodeind (likely as producer, not director), so maybe he can help bring a wave of interest.

A few days ago, Slither-maker James Gunn mentioned on his MySpace page that his adorably splattery sci-fi horror rom-com was the receipient of four Fangoria Chainsaw Award nominations. My response was "Hey, cool. Where are the rest of the nominations?!?!?" And now, a few days later, here they are. Neat-o.

Although Fangoria has been doing their annual Chainsaw awards for over a decade now, 2006 marks the very first time the event will be televised, much to the delight of zombie freaks and slasher geeks all over North America. The event will be held in L.A. on October 15th, although the Fuse Network won't be airing it until the 22nd. (Which means if you want to watch the event "un-spoiled," I wish you luck.) Want to throw your own votes into the tally? Fine. You can vote right here, but only between September 1st and 13th (which is a Friday, mwaahaaa!)

After the jump you'll find a complete list of all the 2006 Chainsaw nominees, plus my own predictions on which flicks would win if the event were called Amazing Geek Weinberg's Horror Awards instead of The Chainsaws.

I'm a film critic and I love horror movies. According to the studios, I do not exist. This year they have decided that horror movies (among other types) don't need reviews, and they have opened some dozen of them without press screenings, the latest batch being Pulse, Snakes on a Plane and The Wicker Man. Now, it may be that these movies are terrible. Or perhaps they just require a certain sensibility to understand them. In any case, they deserve a shot, and to show the studios that we critics are capable of getting horror movies, I worked on a list of the seven best from the past seven years. Surprisingly, my master list came out to more than 30 titles, which I painfully pared down to this final seven (I even had to leave out Saw and Ravenous!). Significantly, each of these films was made available to the press prior to their openings.

1. Pulse (2001, Kiyoshi Kurosawa)
This, the scariest movie I've seen in years, gave me the creeping tingles. Like Lynch or Bunuel, Kurosawa has the power to tap right into our most nightmarish fears, but does it subtly, normally, like something lurking just outside the periphery of our everyday existence. Released in the U.S. in 2005.

2. Land of the Dead (2005, George A. Romero)
Romero adds another chapter to his legendary, brilliantly masterful zombie series, evoking all manner of classical imagery to build a harrowing portrait of the way we live today. And that's really scary.

3. Audition (2001, Takashi Miike)
Three words: watch the bag.

4. The Blair Witch Project (1999, Eduardo Sanchez, Daniel Myrick)
Pushing through the hype, the money, the buildup and the backlash, one can find at the rocky center a really good, quite imaginative and gripping film done with an eye on the unseen and the unknown.

5. The Descent (2006, Neil Marshall)
The second-scariest movie I've seen in years features incredible use of total darkness as well as a surprising look at the darkness of the soul.

6. Session 9 (2001, Brad Anderson)
This underrated, barely noticed film is perhaps the most intelligent haunted house (or rather haunted hospital) movie I've ever seen.

7. The Devil's Backbone (2001, Guillermo Del Toro)
This creepy flick, improbably set in an adobe school smack in the middle of the bright Spanish desert, may be Del Toro's finest hour.

Since I don't tend to watch a lot of trailers online (unless there's one that has particularly good buzz), I hadn't actually caught the one for 13 (Tzameti). Until last night, that is, when I went to the theater to see The Descent with my husband, my brother and his grilfriend, and they showed the trailer for 13 (Tzameti) before the main attraction (WARNING: If you want to actually be intrigued by this film, do not watch the trailer). I was so blown away by how completely bad the trailer was, that it almost (but not quite) spoiled my repeat viewing of Neil Marshall's claustrophobic cave flick.

What I want to know is this: Who decided it was a great idea to take a film whose premise depends on the audience NOT knowing, along with the protagonist, just what he's getting into, and then give away that entire premise in the trailer? What were they thinking? Do they want people not to see this film? Because everyone in the theater last night seemed stunned into silence by the trailer, and not in a good way. A guy behind us muttered, "So, that's basically the film in three minutes, right?" and his companion added, "Well, guess we don't need to go see it now."

If I had made the trailer for 13 (Tzameti), I would have shown just enough to intrigue the viewer without giving away what happens: Shots of the protagonist, Sébastien, listening through a hole in the roof to his employer talking about a job that will bring in a lot of cash; the employer dead in a bathtub; Sébastien with the train ticket and hotel reservation in hand; Sébastien seeing the guy in the car holding up the card with "13" on it, and Sébastien holding up his matching card. And that's it. Period. That's all anyone needs to know going into this film the first time. If I'd known as much about the film as the trailer gives away, it would have totally spoiled my first viewing -- if I'd even gone to see it at all. Who made the call to give away the whole plot in the trailer? Fire that person, now, because he or she should be henceforth banned from ever being responsible for a trailer again. Bah.

I was poking around the corners of some horror sites this morning over my morning coffee (not because I dig horror first thing in the morning, but I was checking out a site submitted for Film Blog Group Hug, and suddenly found myself ass-deep in blood and gore), and ended up over at Final Girl's site, which recently hosted a Film Club discussion on The Descent, which I really liked (WARNING: major spoilers are in that post, so if you haven't see the film, you might hold off on clicking until you do).

Then I saw something in the comments that made me go, "Oh, no!" so loudly that it scared my kids: A rumor of a sequel to The Descent. Oh, I know, this is old news to you horror buffs out there -- Scott even mentioned it a while back at the bottom of a Descent round-up -- but it wasn't to me, and it was rather upsetting to read about before the caffeine had even properly filtered into my bloodstream. So off I went to try to further confirm the scurrilous rumor, and I found mention of Neil Marshall talking about that very thing at Comic-Con on both Bloody Disgusting and Dread Central. Curses.

There's already a sequel to Marshall's 2002 Dog Soldiers underway, but hopefully the rumor of a sequel to The Descent will die quietly. How could they (damn those "they", they're always up to no good) possibly make a sequel to The Descent? Feel free to discuss at will in the comments, but if your comment includes spoilers, kindly include a warning. IMDb, I should note, has Marshall next working on a post-apocalyptic number cheerily titled Doomsday.