Dark Floors

Written By And Featuring Infamous Eurovision Winning Monster Hard Rock Band LORDI

Synopsis
Sarah is an autistic little girl whose father is worried about her health. Concerned for her, the father sees her removal from the hospital by force as the only option. An elevator breakdown prevents a smooth exit and leaves them trapped with a group of others.

Yet the incident is only the beginning of a descent into nightmare. As the doors open the hospital appears mysteriously deserted. When mutilated bodies are found, creatures from a dark world start a frightening attack. It soon becomes clear that the survival of the group may rest solely on the little girl.

In the same vein as The Ruins, The Devil’s Rejects and Resident Evil, Dark Floors is set to be the one of the most terrifyingly bloody monster horror films of our time.

Special Features

Behind The Scenes of Dark Floors

Cast & Crew Interviews

Dark Floors World Premiere featurette including:

Q&A with Lordi

Cast and Crew and live Lordi performance

DVD & Blu Ray Release date: 20th April 2009
Running time: 81 minutes
DVD RRP: £12.99
Cert: 18

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Read about the series here.

Two 2001 Music Scores? Oneword’s Score Plays Them Both

I was listening to The Score, a programme about film music on Oneword Radio, a UK digital station.

On June 24 they played both scores for Kubrick’s 2001: A Space Odyssey. I was unaware there were two scores but you may not be so ignorant. However if you are then it is a fact that Stanley Kubrick commissioned Alex North to write the score for his film 2001: A Space Odyssey, but decided against it in favour of the classics we know. North’s score is in two movements, reflecting the first and second chapters of the film.

Wikipedia states:

‘The 2001: A Space Odyssey score is an unused film score composed by Alex North for Stanley Kubrick’s 1968 film, 2001: A Space Odyssey.’

‘North, unaware that Kubrick had decided not to use the score in his film was “devastated” at the 1968 New York City premiere screening of 2001 not to hear his work, and later offered this account of his experience:

“Well, what can I say? It was a great, frustrating experience, and despite the mixed reaction to the music, I think the Victorian approach with mid-European overtones was just not in keeping with the brilliant concept of Clarke and Kubrick.”‘
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