#Blum House Productions

[floorman3]

Five Nights at Freddy's Review- Half a Good Film Doesn't Make A Whole Great Film Unfortunately

Lately, the world has been inundated by all the video games that have been made into movies and television series.  Just this year alone there have been The Super Mario Brothers Movie, The Last of Us, Gran Tourismo, and another Peacock property Twisted Metal. The newest property coming to the streaming service Peacock is Five Nights at Freddy’s. Based on the children’s video game. Mike Schmidt,…

[eddieredmayneargentinablog]

"Cabaret 2024 Musical Ending Explained"

By Gillian Blum Posted: June 29, 2024, for The Direct.

Elusive by nature, Cabaret at the Kit Kat Club is not exactly the Cabaret audiences are used to, and its ending reflects that.

At its barest of bones, Cabaret at the Kit Kat Club starring Eddie Redmayne tells the same story as the four Broadway productions of the show before it. A writer checks into a Berlin boarding house, meets and becomes intimately involved with a tormented Cabaret singer, and watches as the city falls victim to the atrocities of World War II.

Beyond this basic skeleton, though, the 2024 take is not the Cabaret theatergoers are familiar with. Audiences are fully immersed in the story being told on the circular center stage, with the August Wilson Theatre having been transformed into the nightclub from the show itself.

How Does Cabaret 2024 End?

Cabaret at the Kit Kat Club uses its signature shock value to bring a message to the conclusion of the show that audiences familiar with Cabaret might not expect.

In all versions of the show, the Emcee (Eddie Redmayne in 2024) speaks directly to the audience over the course of several interludes throughout the musical. Sometimes he moves the story along, akin to a narrator, sometimes he is part of the story, sometimes he is simply commenting on the story or its setting at large.

The Emcee has been portrayed differently over the years, which will be discussed in more depth later. But at his core, the Emcee is always a unique enigma. He does not fit into any sort of box or label, he is in the show but he exists outside of it, he is crazy but he is also an intelligent guide.

As it repeatedly says on the revival's website, the Kit Kat Club is somewhere to "Relax. Loosen up. Be yourself." So, as Berlin is falling to the Nazi regime, the Emcee exists inside of the club that allows others to escape the chaos of the outside world.

In 2024, the Emcee's intense individuality is portrayed in many ways, including the Emcee's costumes (and those of the ensemble at large). Throughout the show, he wears elaborate, often androgynous, costumes that match the strange, almost Eldritch-like way Redmayne portrays the character.

That is, until the show's finale, wherein the Emcee bids the audience auf Wiedersehen dressed in a plain, gray suit.

In fact, throughout the show, more and more of the ensemble and cast start replacing their loud, colorful, extravagant costumes with this identical gray suit, ending the show all wearing the same, dull outfit.

2024 Cabaret Finale Meaning + Changes Explained

At its core, Cabaret is a show about the dangers of political ignorance or indifference. Sally Bowles quite literally chooses to ignore the outside world, in favor of losing herself to drugs and alcohol in a desperate attempt at escapism.

The Emcee's role in that messaging differs from production to production. In the original Broadway version from 1966, Joel Grey's Emcee represented the city of Berlin itself, his malevolence most obvious in the dark conclusion.

When Sam Mendes re-imagined the show, first in London in 1993 and then on Broadway, with Alan Cumming taking on the role of the Emcee, the character's metaphorical significance was drastically changed. Rather than being the perpetrator, the Emcee represented the victim.

Instead of through extravagant costumes like in 2024, Cumming's Emcee displays his uniqueness through unabashed sexuality. He spends the show essentially seducing the audience and wearing revealing costumes, seemingly without shame.

This version ended with the Emcee taking off an overcoat to reveal a striped concentration camp uniform, with badges denoting him as Jewish, Communist and/or Socialist, and part of the LGBTQ+ community. This was done in an effort to highlight the tragedy faced by the victims of the Holocaust — people like the Emcee who were perceived as "different" in some form or another.

In the 2024 Broadway revival (another reimagining that originated in London, this time by director Rebecca Frecknall in 2021), the Emcee's role in the show's messaging has changed once again.

Redmayne explained to the Washington Post that in playing the Emcee, he shows that even the most silly and out there people "can then shape-shift their way into being something that is serious and is quite dangerous:"

“It was intriguing to me that those people that perhaps you don’t take seriously can then shape-shift their way into being something that is serious and is quite dangerous.”

Throughout the show, there was this idea that no matter what is going on in the outside world, within the Kit Kat Club, "life is beautiful." Despite the spread of Nazi ideology, the Kit Kat Club remains a place where people can express their individuality. The Emcee's (and ensemble's) extravagant costumes demonstrate this.

The gray suits represent the cracks in this fierce escapism, with the darkness and chaos of the crumbling city around them slowly infiltrating the Kit Kat Club. But whereas the ensemble is seemingly forced to conform, the Emcee just shifts into a new role, one that perpetuates this loss of individuality.

Talking to the Washington Post, Redmayne described this new role as the Emcee "being puppeteer, conductor, perpetrator," and not "a victim:"

"Individuality was stripped away as fascism rose and people had to become more homogenized ... So the idea, therefore, of our Emcee as being puppeteer, conductor, perpetrator — rather than the version of the Emcee as a victim — was important."

The Kit Kat Club could not remain somewhere to escape to, it was swallowed up by the chaos many characters hoped it would protect them from. Those who saw the club as refuge, a place to be their unconditional selves, lost the individuality they once proudly demonstrated within the Kit Kat Club's walls.

And the Emcee simply embraced it, just as he had previously embraced the individualistic culture the Kit Kat Club had once been home to.

Why Did Cabaret Change Its Ending?

The 2024 revival of Cabaret is a drastic re-imagining of how the musical can convey its story most effectively.

By immersing the audience in the Kit Kat Club, the show is able to reinforce the feelings of escapism the club offers, before stripping it away and turning it into another place consumed by Nazi conformism.

For her version of the story, Frecknall wanted to emphasize "it being the ensemble’s tragedy," not the Emcee's. Part of this, she explained to the Washington Post, is because, Redmayne is a "a cis, White, beautiful Aryan man," and so "would have been okay" in the eyes of the Nazis.

Despite the Emcee being the pinnacle of individuality throughout the show, when push came to shove, he could adapt and become the Nazi ideal. So many others did not, and those were the people whose story Fracknell wanted to highlight:

"“Productions often land on the tragedy of the Emcee, which works really successfully ... But I was interested in actually getting to the end and it being the ensemble’s tragedy. You know, Eddie would have been okay. Eddie is a cis, White, beautiful Aryan man. I thought it was interesting just really acknowledging that and going, 'Actually, you would walk out of this and these people wouldn’t.'"

Cabaret at the Kit Kat Club is now playing at the August Wilson Theatre.

[disneytva]

Gargoyles Live Action Reboot Gets New Co-Production House As Blumhouse And Atomic Monster End Merger

More than a year after stating their intentions to combine their companies, horror maestros Jason Blum and James Wan have made it official. Wan’s banner Atomic Monster and Blum’s Blumhouse have closed a deal to merge, Jason Blum announced on X on Tuesday with a video showcasing titles such as  "Five Nights At Freddy's", The Conjuring, M3GAN and Get Out.

The two banners have worked together previously, and have the feature Night Swim in theaters Friday from Blumhouse’s longtime home Universal, where his and Wan’s combined company has a first-look deal. The pair also were behind the 2023 hit "M3GAN" and first partnered on the Insidious franchise in 2010.

One of the many projects joining the Blumhouse home for upcoming productions is a Gargoyles live-action series for Disney+ which got announced to be on development in October 2023. The live-action reboot series will have Gary Dauberman (Warner Bros "It" Franchise and "Anabelle" franchise),  acting as showrunner with James Wan and Michael Clear (Universal Pictures "M3GAN"), joining the executive producing ranks with Atomic Monster as production label with Disney Television Studios and Disney Branded Television. As of December 2023 there hasn't been any information if original series creator Greg Weisman will be involved.

[dailyanarchistposts]

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Writings of Leon Trotsky: Supplement (1934–40), Pathfinder Press, New York, 1979. Writings 1936–37, Pathfinder Press, New York, 1978. Writings 1933–34, Pathfinder Press, New York, 2003. Writings 1932, Pathfinder Press, New York, 1999. Writings 1930–31, Pathfinder Press, New York, 2002. Writings 1930, Pathfinder Press, New York, 2003. Terrorism and Communism, Ann Arbor, 1961. The Revolution Betrayed: What is the Soviet Union and where is it going?, Faber and Faber Ltd, London, 1937. Leon Trotsky Speaks, Pathfinder, New York, 1972. How the Revolution Armed: the military writings and speeches of Leon Trotsky, vol. I, New Park Publications, London, 1979. How the Revolution Armed: the military writings and speeches of Leon Trotsky, vol. II, New Park Publications, London, 1979. How the Revolution Armed: the military writings and speeches of Leon Trotsky, vol. IV, New Park Publications, London, 1979. Stalin: An Appraisal of the man and his influence, in two volumes, Panther History, London, 1969. The Death Agony of Capitalism and the Tasks of the Fourth International, contained in How Solidarity can change the world, Alliance for Workers’ Liberty, London, 1998. First Year Years of the Communist International, (in 2 volumes), New Park Publications, London, 1974. The Third International After Lenin, Pioneer Publishers, New York, 1957. The Challenge of the Left Opposition (1923–25), Pathfinder Press, New York, 1975. The Challenge of the Left Opposition (1926–27), Pathfinder, New York, 1980. On Lenin: Notes towards a Biography, George G. Harrap & Co. Ltd., London, 1971. “Lessons of October”, pp. 113–177, The Essential Trotsky, Unwin Books, London, 1963. Leon Trotsky on China, Monad Press, New York, 2002 In Defense of Marxism, Pathfinder, New York, 1995. Platform of the Opposition, available at: http://www.marxists.org/archive/trotsky/works/1927-plo/ch01.htm The Lessons of October, available at: http://www.marxists.org/archive/trotsky/works/1924-les.htm How Did Stalin Defeat the Opposition?, available at: http://www.marxists.org/archive/trotsky/works/1935-sta.htm Work, Discipline, Order, available at: http://www.marxists.org/archive/trotsky/works/1918-mil/ch05.htm More Equality! available at: http://www.marxists.org/archive/trotsky/works/1919-mil/ch12.htm The Revolution Betrayed, available at: http://www.marxists.org/archive/trotsky/works/1936-rev/index.htm The Class Nature of the Soviet State, available at: http://www.marxists.org/archive/trotsky/works/sovstate.htm The Path of the Red Army, available at: http://www.marxists.org/archive/trotsky/works/1918-mil/ch02.htm The Moralists and Sycophants against Marxism, contained in Their Morals and Ours, pp. 53–66, Pathfinder, New York, 1973. The Makhno Movement, available at: http://www.marxists.org/archive/trotsky/works/1919-mil/ch49.htm Stalinism and Bolshevism, available at:http://www.marxists.org/archive/trotsky/works/1937/1937-sta.htm

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[arkus-rhapsode]

So I try to keep recent news out of my posts. Usually I like to wait for a situation to pan out to avoid snap judgements. But recently, some news has been playing out that really made me upset.

If you haven’t heard, SAG-AFTRA (Screen Actors Guild – American Federation of Television and Radio Artists) had recently signed a deal with an AI voice production company known as Replica Studios for licensing actor’s voices in video games.

This is coming off the massive strike where SAG was fighting against things like AI implementation in film and script development. Though the claim is that this will be an “ethical” implementation of the technology. And the irony and backlash was quite apparent. But the important thing that should be obvious to everyone is the ones this affects the most, voice actors.

This article by Forbes has many links to some of the people I’ll be citing and their reactions. So please check that out if you want a more professional run down: https://www.forbes.com/sites/conormurray/2024/01/10/video-game-voice-actors-criticize-sag-aftra-over-agreement-with-ai-company/amp/

So the reaction from VAs has been pretty understandably upset. Well known VAs like Steve Blum, Veronica Taylor, Allegra Clark, and Brenden Blaber. Expressing disappointment in the union and that this opening a gateway for video game companies to cut use their voices without actually needing them to record. Now this deal is for just Replica Studios, but it’s still very disheartening that this was a concession.

Now I am not an actor. My career and life doesn’t hinge on the choices of millionaires running film production companies and what policies or investments they make that would require me seek out a union’s protection. Any discussion around how SAG itself internally operates and it’s treatment of certain professions over others is not my place to talk about. I instead implore you to listen to people have been a VA and part of that Union and listen to their experience with them. So why make this post? I’m not particularly important or an influencer. Well the answer is simply I love voice acting and care about it as a profession. Even if I’m not one, I can’t tell you how so many of my favorite moments in fiction/media were elevated by someone’s acting. And this is prominent in video games.

This blog has many times devoted itself to live blogs and posts about games. Games like Fire Emblem Three Houses, Persona 5, and Danganronpa. Games with noticeable voice acting involved in their presentation and their narratives. And in my experience some of those performances are tied to some of the enjoyment and identity of the game. And it sucks knowing how all those things you love or admire can potentially be replaced by machines. When there was a union that had been fighting to avoid things like this for on screen actors.

I cannot imagine the hurt this has caused for people’s whose job is to be a professional VA, and you are hearing about companies in the video game sphere like Square Enix and Microsoft going hard in AI. I can imagine many are scared for their livelihoods. And knowing how greedy or unscrupulous some game companies can get, the possibility they go through with AI will be not in the favor of “ethics” it’s in the favor of profits.

All I can say is that im a VA fan. And I know plenty of games that have been elevated by their voice acting. And I will say that voice acting is acting. It is an art form that deserves the same amount of protection as screen actors.

Please support the VAs. Even if you don’t think about it as much, if there’s a character you liked in Persona or Fire Emblem game, please check out who is doing those voices. Because their work is part of the experience.

[jamiewrandall]

Finally Five Night's at Freddy's Finds Flawed Fruition in Film

After 8 years I'm dissapointed but not surpised. From merely the logo and trailer I got a sense that the Five Nights at Freddy's mythos wouldn't be adapted to film in a satisfying way.

★★☆☆☆

There is a lack of style and atmosphere, a lack of horror; it doesn't lean into the sci-fi/ fantasy of it’s animatronics or the gruesome suspense of the missing children that are both core to the beloved fan crafted story.

An opportunity to compound nearly 10 years of videogame and book lore into an engrossing story for both fans and newcomers is squandered and only weak foundations are built. Foundations that don't contain the iconic Bite of '87 or the clandestine luring and murder of children by an ambiguous figure.

The final product, dethatched from pre-existing franchise conceptions, is meandering and aimless but not an endurance test, with its tame violence still offering action and struggling protagonists creating some enigma. Set design and creature design is pretty great but the direction doesn't take full advantage of the towering animatronics (built by The Jim Henson Creature Shop) or all the grimy retro rooms of the pizzeria. In terms of story, I don’t think there’s much in it for anyone who can’t fill in blanks with existing knowledge and even that makes for a scrappy experience.

Overall, I'm not sure who this film was made for. It’s very mild content perhaps suggests tweens, but aren't those 2014 fans old enough now? It's genre and Blum House stamp suggests horror film viewers, but where's the scares? Another victim of films and tv aiming so broad with their targeted audiences that it just alienates fans and befuddles curious outsiders.

The FNAF movie has been a long time coming, with a slow, and what I hoped to be considerate, production history dating back to 2015 and a relationship with Warner Bros (a relationship which spawned the gorier Banana Splits Show the Movie). This development hell is potentially to blame on FNAF's God Scott Cawthon, who I believe this film was made for, an opportunity to rewrite his story with a decade of hindsight and ambitions for sequels... sequels that I’m actually optimistic for, there is definitely a goal in mind for this strand of the franchise, we’ll just have to wait and see what that is.

[galaxy-beast]

[Image ID: Screenshot of a tweet from @FazBearCollects on Twitter, posted on Nov 7th 2023, that says "NEW IMAGE OF YOUNG VANESSA AND THE FIXED VERSION OF THE ANIMATRONICS!!" with a photograph underneath. The photo is a behind the scenes peak of the Five Nights at Freddy's movie, with a child Vanessa holding an orange toy plane, dressed in a creamy, pale orange collared shirt, blue jeans, and white shoes. She's smiling and looking at someone off camera to her left. In front of young Vanessa is a member of the production crew. Dressed in an entirely black outfit, with a pink medical face mask. They're looking at Freddy—who is behind Vanessa—and their arms are out in front of them as if they were using their hands to explain something.

Behind Vanessa are the four main animatronics, cleaned and patched up. From our left to right is Foxy the Pirate, Freddy Fazbear, Chica the Chicken, and Bonnie the Guitarist. Foxy, Freddy, and Chica have their mouths slightly open, and their arms at their sides. Freddy is holding a microphone in his right hand, and is wearing his usual black bowtie and black hat. Foxy has fuzzy legs instead of his regular endoskeleton ones, and light brown shorts. Chica is holding Mr. Cupcake on a white plate in her right hand. She's wearing his classic "Let's Eat!" bib with colorful confetti on it. Bonnie is leaning towards Chica with his head tilted to the side and mouth closed. He's wearing his dark red bowtie and holding his red and white guitar as if to play it. All four are looking at the crew member in front of them. The studio has black walls and grey concrete floors, there is a black curtain that goes to the ceiling that sections a part of the room off. Behind the animatronics and Vanessa is a tall green screen with a large, rectangular spot light above it. Closer to us, to Foxy's right, is another large, round spot light on top of a tripod. It's aimed at a reflector stand to help illuminate the characters. The tweet contains the following tags #fnaf movie #Blum house #Scott cawthon #fnaf #Five nights at freddys #fnaf news #universal studios. //End ID]

(I hope this ID is good! If anyone has any tips, or I made anything unclear, or I made any mistakes/typos please let me know!)

Young Vanessa next to the fixed animatronics! I we see more of them in the deleted scenes

[ulkaralakbarova]

A sweet-natured Temp Agency operator and amateur Presidential look-alike is recruited by the Secret Service to become a temporary stand-in for the President of the United States. Credits: TheMovieDb. Film Cast: Dave Kovic / Bill Mitchell: Kevin Kline Ellen Mitchell: Sigourney Weaver Bob Alexander: Frank Langella Alan Reed: Kevin Dunn Duane Stevenson: Ving Rhames Vice-President Nance: Ben Kingsley Murray Blum: Charles Grodin Alice: Faith Prince Randi: Laura Linney White House Tour Guide: Bonnie Hunt Senate Majority Leader: Parley Baer House Majority Leader: Stefan Gierasch Mrs. Travis: Anna Deavere Smith Policeman: Charles Hallahan Jerry: Tom Dugan Lola: Alba Oms Secret Service #1: Steve Witting David: Kellen Sampson White House Guard: Lexie Bigham Frederic W. Barnes: Frederic W. Barnes Ronald Brownstein: Ronald Brownstein Eleanor Clift: Eleanor Clift Tom Harkin: Tom Harkin Bernard Kalb: Bernard Kalb Larry King: Larry King Michael Kinsley: Michael Kinsley Morton Kondracke: Morton Kondracke Jay Leno: Jay Leno Frank Mankiewicz: Frank Mankiewicz Chris Matthews: Chris Matthews John McLaughlin: John McLaughlin Howard Metzenbaum: Howard Metzenbaum Abner J. Mikva: Abner J. Mikva Robert D. Novak: Robert D. Novak Tip O’Neill: Thomas P. ‘Tip’ O’Neill Richard Reeves: Richard Reeves Paul Simon: Paul Simon Ben Stein: Ben Stein Oliver Stone: Oliver Stone Kathleen Sullivan: Kathleen Sullivan Jeff Tackett: Jeff Tackett Helen Thomas: Helen Thomas Nina Totenberg: Nina Totenberg Sander Vanocur: Sander Vanocur John Yang: John Yang Don Durenberger: Stephen Root Girl at Durenberger’s: Catherine Reitman Mom at Durenberger’s: Dawn Arnemann Clara: Marianna Harris Diane: Sarah Marshall White House Barber: Ralph Manza President’s Physician: George Martin White House Nurse: Laurie Franks Trauma Doctor: Tom Kurlander Trauma Nurse: Dendrie Taylor Japanese Prime Minister: Joe Kuroda Vice-President’s Wife: Geneviève Robert Vice-President’s Son: Jason Reitman Secretary of Education: Ruth Goldway Director of OMB: Frank Birney Secretary of Treasury: Paul Collins Secretary of Commerce: Peter White Postmaster General: Robin Gammell Judy: Heather Hewitt Policeman #2: Gary Ross Ellen’s Aide: Jeffrey Joseph Female Senator: Bonnie Bartlett Speaker of the House: Robert Walsh Congressional Doorkeeper: William Pitts Reporter: Dan Butler Announcer: Wendy Gordon Announcer: Ben Patrick Johnson Announcer: Steve Kmetko Chris Dodd: Chris Dodd Alan K. Simpson: Alan K. Simpson Arnold Schwarzenegger: Arnold Schwarzenegger Film Crew: Set Designer: Joseph G. Pacelli Jr. Screenplay: Gary Ross Editor: Sheldon Kahn Production Design: J. Michael Riva Casting: Michael Chinich Director of Photography: Adam Greenberg Casting: Bonnie Timmermann Executive Producer: Joe Medjuck Set Designer: Darrell L. Wight Director: Ivan Reitman Set Designer: Steve Arnold Executive Producer: Michael C. Gross Costume Design: Richard Hornung Art Direction: David F. Klassen Set Decoration: Michael Taylor Producer: Lauren Shuler Donner Hairstylist: Christopher Shihar Casting Associate: Alan Berger Costume Supervisor: James W. Tyson Script Supervisor: Karen Hale Wookey Hairstylist: Marlene D. Williams Makeup Artist: Linda DeVetta Construction Coordinator: Terry Scott Makeup Artist: Robert Norin Original Music Composer: James Newton Howard Movie Reviews: Rob: A lovely romantic comedy in that true eighties style. A little charmer of a movie starring the ever-watchable Kevin Kline. I’ll admit I’m pretty old-fashioned and, even in today’s evil world, I cling to the hope there are still good-hearted people out there somewhere. This is one of those movies keeping that hope alive. Let the soft side of you out and enjoy this film.

[khuantru]

01/07/2024: early morning drawing of Taarna from the old 80s animated feature 'Heavy Metal', it still holds up and it's definitely worth viewing to compare todays current animation and from the animated features from the 80s. Also found some old google image of cell images of Taarna, will look at doing another pic of her soon.

enjoy everyone, regards from north London.

tool(s): wacom pen

software: adobe photoshop & illustrator cs3.

From Wikipedia, the free encyclopedia: Heavy Metal is a 1981 Canadian adult animated sci-fi-fantasy film directed by Gerald Potterton, produced by Ivan Reitman and Leonard Mogel, who also was the publisher of Heavy Metal magazine, which was the basis for the film, and starring the voices of Rodger Bumpass, Jackie Burroughs, John Candy, Joe Flaherty, Don Francks, Martin Lavut, Marilyn Lightstone, Eugene Levy, Alice Playten, Harold Ramis, Percy Rodriguez, Susan Roman, Richard Romanus, August Schellenberg, John Vernon, and Zal Yanovsky. The screenplay was written by Daniel Goldberg and Len Blum.

The film is an anthology of various science fiction and fantasy stories adapted from Heavy Metal magazine and original stories in the same spirit. Like the magazine, the film features a great deal of graphic violence, sexuality, and nudity. Its production was expedited by having several animation houses working simultaneously on different segments.

A sequel titled Heavy Metal 2000 was released in 2000. A reimagining titled Love, Death & Robots was released in 2019.

[chelebelleslair]

Heavy Metal is a 1981 Canadian adult animated science fantasy anthology film directed by Gerald Potterton, produced by Ivan Reitman and Leonard Mogel, who also was the publisher of Heavy Metal magazine, which was the basis for the film. It starred the voices of Rodger Bumpass, Jackie Burroughs, John Candy, Joe Flaherty, Don Francks, Martin Lavut, Marilyn Lightstone, Eugene Levy, Alice Playten, Harold Ramis, Percy Rodriguez, Susan Roman, Richard Romanus, August Schellenberg, John Vernon, and Zal Yanovsky. The screenplay was written by Daniel Goldberg and Len Blum. The film is an anthology of various science fiction and fantasy stories tied together by a single theme of an evil force that is "the sum of all evils". It was adapted from Heavy Metal magazine and original stories in the same spirit. Like the magazine, the film features a great deal of graphic violence, sexuality, and nudity. Its production was expedited by having several animation houses working simultaneously on different segments. Despite receiving mixed reviews by film critics on its initial release, the film was a modest success at the box office and has since achieved cult status. The film's influential soundtrack was packaged by music manager Irving Azoff and included several popular rock bands and artists, including Black Sabbath, Blue Öyster Cult, Sammy Hagar, Don Felder, Cheap Trick, DEVO, Journey, and Nazareth, among others.

Hajime Sorayama

[kevinsreviewcatalogue]

Review: Night Swim (2024)

 Night Swim (2024)

Rated PG-13 for terror, some violent content and language

<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2024/01/review-night-swim-2024.html>

Score: 2 out of 5

Night Swim is the quintessential "fuck you, it's January" movie. Hollywood loves to ring in the new year by dumping into theaters the garbage they had no faith in at any other time of the year, because January is when kids are in school, theaters in half the country can get shut down by blizzards, there aren't many holidays offering extended three-week weekends (save for Martin Luther King Jr. Day, which isn't universally celebrated as a day off), and prestige films given limited release in the fall are expanding their theatrical runs in anticipation of the Oscars. And lately, a tradition has been to give the first weekend of the new year over to a low-budget horror movie. While Blumhouse struck rare gold last year with M3GAN, a sci-fi horror film that actually turned out to be far better than its release date suggested it would be, this year January returned to form with Night Swim, a ho-hum ghost story adapted from a 2014 short film where the worst thing about it is that it's not completely wretched. There were seeds of a good movie buried in here, with all-around solid acting and production values, some effective sequences, some cool cinematography, and a nifty central conceit behind its evil pool, and there was a brief moment when it finally started to get good. Unfortunately, as with many movies that were adapted from short films, there's not enough to carry it, resting on the most generic haunted house story possible (but with a haunted pool this time!) to stretch a four-minute short to feature length. It's not the worst January horror film ever made, or even in the Bottom Three (I assure you, the competition is stiff), but it's otherwise completely generic, disposable, and at times unintentionally funny #content that would've been thrown into the wasteland of the direct-to-VOD/streaming market if not for January.

Stop me if you've heard this one: a family called the Wallers, comprised of the father Ray, the mother Eve, the teenage daughter Izzy, and the adolescent son Elliot, has moved into a big, luxurious house whose price is too good to be true, only for them to soon learn why it was so cheap. Namely, it's haunted. Or rather, the swimming pool is. And much like every poor sucker who's ever lived in the Amityville house, the mother Eve and the kids Izzy and Elliot start experiencing supernatural forces when they come in contact with the pool, while the father Ray, a former Milwaukee Brewers player whose baseball career was tragically cut short by multiple sclerosis, sees his illness miraculously cured and starts behaving in increasingly erratic fashion.

If you've ever seen a movie about a family stuck in a haunted house, you've seen this movie. Virtually every plot beat was visible from a mile away, from each family member having their own encounter with the supernatural to the mother doing research on the pool's dark history to somebody getting possessed by the spirit causing all of this. There are random plot threads about the Wallers' neighbors perhaps knowing more about what's happening than they let on, and Izzy's hunky swimmer love interest Ronin being a devout Christian, but the film does nothing with them. Every single plot point here is standard haunted house movie boilerplate, like writer/director Bryce McGuire had a cool idea for a cool scene that he turned into a cool short but never thought about how to turn it into a 90-minute movie until Jason Blum and James Wan decided to give him a lot of money to do just that. The worst part is, once we find out what's actually going on with the haunted pool, a glimpse at a far more interesting movie is had, one focused on Ray as he grapples with how his illness destroyed his life and how whatever's in the pool seems to have given him a second chance -- but one that comes at a terrible cost. As it stood, however, while Wyatt Russell played his stock Horror Dad character well, he never had much of a chance to do anything more beyond play a stock Horror Dad, nor did anybody else in the cast have the opportunity to play the stock Horror Mom, Horror Teen, and Horror Kid. The film wanted me to care about the Wallers as a family, but they were such a thinly-written family that, even when they were in peril, the Eight Deadly Words were ringing in my head: I don't care what happens to these people.

(I will, however, give the film points for having a sense of humor enough to have Izzy's high school be named after Harold Holt, an Australian Prime Minister who infamously disappeared when he went out for a swim on the beach.)

The scares, too, don't really do much to excel. Using a swimming pool as a setting gave some fun opportunities for cool aquatic cinematography that the film readily took advantage of, meaning that, at the very least, this was a pretty nice-looking film. Any sense of originality stopped there, however, as what followed were all the scares you've seen in a dozen other haunted house movies: jump scares ahoy, characters seeing things that aren't there, you name it, all of it done in ways that have been done better before. Characters make stupid decisions constantly, especially the young son Elliot, and while I could at first justify it by saying that at least it was a dumb kid acting stupid around the pool, by the end he really should've known better than to even think about doing what he did. The teenage daughter Izzy had no real purpose beyond recreating the scene from the short film, because that featured a young woman who looked good in a bikini, which meant the movie had to have someone who fit that description. The design of the ghost is a bloated, half-rotted corpse that probably sounded good on paper, but its execution in the movie is almost laughable, leaving a lot to be desired and not coming across as scary in the slightest.

The Bottom Line

Night Swim isn't a movie I'd personally push into the pool, but if somebody did, I'd probably have a good laugh at its expense. It's competent, but beyond the idea of a haunted pool, everything about it is the sort of thing that's been done better before, and worst of all, I can easily see how a better movie could've been made out of the same material. I wouldn't even bother waiting for Netflix.

[mediamixs]

Speak No Evil: the American remake for an awesome horror story

Speak No Evil is an upcoming American psychological horror-thriller film, which is a remake of the 2022 Danish film of the same name. The movie is directed and written by James Watkins and produced by Jason Blum through his Blumhouse Productions banner. The film stars James McAvoy, Mackenzie Davis, and Scoot McNairy. The story follows a family invited to spend a weekend in an idyllic country house, which turns into a psychological nightmare. The movie is rated R for some strong violence, language, some sexual content, and brief drug use. The film is scheduled to be released in the United States on August 9, 2024, by Universal Pictures.

Speak No Evil is a 2022 Danish psychological horror-thriller film directed by Christian Tafdrup. The story follows a Danish family, Bjørn, Louise, and their daughter Agnes, who are invited to visit the remote home of a Dutch couple, Patrick and Karin, after briefly befriending them while on vacation. The family accepts the invitation and travels to the Dutch couple's rural house. However, things take a dark turn, and the idyllic weekend turns into a psychological nightmare. The film is known for its unsettling and terrifying portrayal of horror, which almost does its job too well. The movie premiered at the 38th Sundance Film Festival and was theatrically released in Denmark and the Netherlands. The film stars Morten Burian, Sidsel Siem Koch, Fedja van Huêt, and Karina Smulders.

[theconsciouscrow]

Ok, so things we can use to visualize what the first drafts of Alan Wake 2 were supposed to look like, based on these artworks:

Casey and Tim were supposed to be colleagues, and maybe Alex wasn't gonna be FBI judging by his clothes - a lawyer maybe?

Ilmo and Jaakko were going to take Thornton and Mulligan characters (based on Jaakko getting the moose head, which was Mulligan task on the final product) and would probably turn into the Huotari brothers;

The "Alan A, B and C" were going to take place just after AW1 DLC/Base Game (?) Did they thought about doing a 'direct' sequel, like - moments after AW1 ending? It would make sense to the concept of time distortion in the Dark Place. Also wood everywhere: Bird Leg Cabin?

A direct spiral; still wood everywhere: i would punch my doppelganger if i booted AW2 and had to like- reach the higher floors of an eternal Bird Leg Cabin, roguelike style;

Someone dying with a deer mask, the story taking place; Vladimir Blum clearly as an officer, but the floor looks different than Bright Falls Police Station, too polished- Big City floor. The FBI Department? The Oldest House? Also bloody footprints that i cannot resist thinking are Scratch's. Saga/Estevez bringing Alan in cause he's dangerous: him turning into the Devil there. A psycho rummaging through THE™ Government Agency - a rogue entity rummaging through The Oldest House. The Final Boss. Both of this possibilities look terrifying.

These are all me going haywire, it could literally be anything.

Alan Wake II by Oliver Ödmark #7

[insidious-the-red-door-online-cz]

Insidious The Red Door Online (2023) Film CZ Dabing a Zdarma

Koukat na film Insidious The Red Door (2023), online ke zhlédnutí česky v hd, CZ dabing. Sledovat celý online film zdarma a bez omezení.

Filmy Insidious The Red Door online zdarma sledujte kdykoliv a kdekoliv, Bez reklam a na 7 dní zdarma FULL HD.

Kde Sledovat Filmy Insidious The Red Door Online Zdarma :

► Filmu Insidious The Red Door Online CZ Dabing Zdarma

Nyní můžete sledovat Insidious The Red Door své oblíbené české i zahraniční filmy bez přerušení!

Sledovat celý film Insidious The Red Door (2023) je aktuálně nejoblíbenějším filmem na vyhledávacím webu Google.

Sledujte Insidious The Red Door nerušeně a legálně české i zahraniční filmy a Všechny mají český dabing nebo titulky ·

Kde sledovat Insidious The Red Doora?

několik způsobů, jak sledovat film Insidious The Red Door online v USA Můžete použít streamovací službu, jako je Netflix, Hulu nebo Amazon Prime Video. Film si také můžete vypůjčit nebo zakoupit na iTunes nebo Google Play. sledujte jej na vyžádání nebo ve streamovací aplikaci dostupné na vašem televizoru nebo streamovacím zařízení, pokud máte kabel.

Co je to film Insidious The Red Door?

Insidious The Red Door Obsah

Insidious: The Red Door je americký nadpřirozený horor z roku 2023 režírovaný Patrickem Wilsonem (ve svém režijním debutu ) podle scénáře Scotta Teemse podle příběhu Leigha Whannella a Teemse. Jedná se o přímé pokračování Insidious: Chapter 2 (2013) a pátý díl franšízy Insidious . Původní režisér James Wan slouží jako producent, stejně jako Jason Blum prostřednictvím svého banneru Blumhouse Productions . Ty Simpkins , Patrick Wilson , Rose Byrne, Andrew Astor, Steve Coulter, Whannell, Angus Sampson a Lin Shaye si zopakují své role z předchozích filmů; K obsazení se připojují také Sinclair Daniel a Hiam Abbass .

Po vydání Insidious: The Last Key v roce 2018 se Blumhouse rozhodl pro možnosti produkce budoucích filmů v sérii, včetně crossoveru se sérií Sinister . V říjnu 2020 studio oznámilo, že Wilson bude režírovat a hrát v novém filmu, přičemž Teems napsal scénář na základě příběhu napsaného s Whannellem. S produkčním rozpočtem 16 milionů $ se natáčení uskutečnilo v srpnu 2022 v lokacích Morris County a Madison v okolí New Jersey City .

Insidious: The Red Door byl uveden v kinech ve Spojených státech společností Sony Pictures Release 7. července 2023. Film celosvětově vydělal 124 milionů dolarů a od kritiků získal protichůdné recenze.

Kdy vyjde film Insidious The Red Door?

Film měl premiéru 30. června roku 2023.

Kompletní údaje o filmu Insidious The Red Door ČSFD.cz

Horor / Thriller / Mysteriózní USA, 2023, 107 min Režie: Patrick Wilson Scénář: Scott Teems Kamera: Autumn Eakin Hudba: Joseph Bishara Hrají: Ty Simpkins, Patrick Wilson, Rose Byrne, Sinclair Daniel, Hiam Abbass, Andrew Astor, Juliana Davies, Steve Coulter, Joseph Bishara, David Call, Leigh Whannell, Angus Sampson, Lin Shaye

Insidious The Red Door na Disney Plus?

Na Disney+ nejsou žádné stopy po Insidious The Red Door Trail, důkaz, že House of Mouse nemá žádnou kontrolu nad celou franšízou! Disney+, domov pro tituly jako ‘Star Wars’, 'Marvel’, 'Pixar’, National GInsidious The Red Door graphic’, ESPN, STAR a další, je k dispozici za roční předplatné 79,99 $ nebo měsíční poplatek 0,99 $. Pokud jste jen fanouškem některé z těchto značek, stojí za to se přihlásit do Disney+ a nemá ani reklamy.

Insidious The Red Door na HBO Max?

Je nám líto, ale Insidious The Red Door Way není na HBO Max k dispozici. Je tu spousta obsahu HBO Max za 14,99 $ měsíčně, toto předplatné je bez reklam a umožňuje vám přístup ke každému titulu v knihovně HBO Max. Streamovací platforma oznámila verzi podporovanou reklamou, která stojí mnohem méně za 9,99 $ měsíčně.

Insidious The Red Door na Amazon VidInsidious The Red Door?

Bohužel, Insidious The Red Door Path by Water není k dispozici ke streamování zdarma na Amazon Prime VidInsidious The Red Door. Můžete si však vybrat i jiné pořady a filmy, které budete odtud sledovat, protože má širokou škálu pořadů a filmů, ze kterých si můžete vybrat za 14,99 $ měsíčně.

Insidious The Red Door na Peacockovi?

Insidious The Red Door Way nelze na Peacock v době psaní tohoto článku sledovat. Peacock nabízí předplatné, které stojí 4,99 $ měsíčně nebo 49,99 $ ročně u prémiového účtu. Stejně jako její jmenovec si streamovací platforma může hrát s venkovním obsahem zdarma, i když omezeně.

Insidious The Red Door na Paramount Plus?

Insidious The Red Door The Road to Water není na Paramount Plus. Paramount Plus nabízí správnou možnost předplatného: základní verze služby Paramount + Essential podporuje reklamu za 4,99 $ měsíčně a prémiový plán bez reklam za 9,99 $ měsíčně.

Kde mohu sledovat film Insidious The Red Door zdarma?

Cinego.lat je webová stránka, která nabízí zdarma více než 20 000 streamovaných filmů všech žánrů zdarma. Když se přihlásíte, najdete neomezené množství HD filmů, obrovský katalog k procházení a vyhledávací panel, který vám umožní vyhledat všechny filmy, které chcete vidět.

Zajímá vás, jak legálně sledovat bezplatný streaming filmu Insidious The Red Door? Pokud ano, budete rádi, že je to skutečně možné, protože v současnosti existuje v Itálii několik webových stránek, kde můžete zdarma sledovat filmy všech žánrů a dob. V některých případech se možná budete muset zaregistrovat prostřednictvím e-mailu nebo použít svůj online účet k přihlášení.

Řeknu vám podrobně, jak můžete pomocí nejpopulárnějších internetových stránek, online služeb a aplikací pro chytré telefony/tablety streamovat filmy zdarma. Cinego.lat je jedna z nejlepších stránek. Nabídka filmů sahá od nejnovějších filmů po klasiky z historie kinematografie, od amerických filmů po italské filmy, od hororů po komedie… zkrátka svoboda výběru, počet filmů je působivý. Samozřejmě to nenajdete, když půjdete do kina.