#Hawn Tran

[spookytuesdaypod]

spooky tuesday is a (now not so new!) podcast where we’re breaking down all of our favorite slashers, thrillers, monster movies and black comedies on the new scariest day of the week.

chelsea may be our resident sharky tuesweek enthusiast, but when it comes to getting in the holiday spirit, sydney was the one bringing santa jaws (2018) to the table. on our latest episode of spooky tuesday, we picked a christmas flick that takes a more, uh, creative approach to celebrating the season. combining the monster movie genre with a magical object moment, this female-directed film dares to ask the question, “what happens when you give a great white a love of both christmas ornaments and feasting on human flesh?”

give spooky tuesday a listen on apple podcasts, spotify, iheart radio, or stitcher

[gameofthunder66]

'Santa Jaws' (2018) film

watched 12/21/2023- 2 stars- on Amazon Prime

[ulkaralakbarova]

A young coach turns a losing high school football program around to go undefeated for 12 consecutive seasons. Credits: TheMovieDb. Film Cast: Bob Ladouceur: Jim Caviezel Terry Eidson: Michael Chiklis Bev Ladouceur: Laura Dern Mickey Ryan: Clancy Brown Cam Colvin: Ser’Darius Blain T.K. Kelly: Stephan James Tayshon Lanear: Jessie T. Usher Danny Ladouceur: Matthew Daddario Chris Ryan: Alexander Ludwig Beaser: Joe Massingill Arturo: Matthew Frias Jamal: LaJessie Smith Rick Salinas: Richard Kohnke Manny Gonzales: Chase Boltin Michael Ladouceur: Gavin Casalegno Oklahoma Scout #1: Les Miles Oklahoma Scout #2: Jesse Moore T-Gram: Adella Gautier Landrin Kelly: Terence Rosemore Cam’s Mom: Deneen Tyler Laurie: Anna Margaret Stanford Recruiter: James DuMont Mike Blasquez: David DeSantos Announcer #1: John Neisler Analyst: Damon Lipari Cam’s Cousin: Mike Bleed Coach #1: J.D. Evermore Older Veteran: Michael Fletcher Hallway Doctor: Kristofer Gordon Long Beach Poly Coach: Armando Leduc Buster Matthews: Marlon Favorite Frail Veteran: Sam Malone Himself: Maurice Jones Drew Doctor: Liann Pattison Jenny Ladouceur: Teri Wyble Mailman: Tom Bubrig Local Sportscaster: Al Vicente Nina: Payton Bourgeois Young Assistant Coach: Anthony Michael Frederick Paraplegic: Christopher Berry Nurse Ballard: Sharon Landry Lamarco: Renell Gibbs Security Guard (Larry): Mike Kimmel Coach #2: Jim Klock Coach #3: Terry Dale Parks Nurse Adams: Sandra Taylor Luis: Nathaniel Brown Senior #1: Zac Waggener Senior #2: Deric Augustine Player #1: Skyler Green Player #2: Henry Frost Guy: Dane Rhodes Minister: Robert Diago DoQui Announcer #2: Judd Lormand Sophomore: Hawn Tran Hip Sports Reporter: Billy Slaughter Reporter: Ricky Wayne Basketball Kid #1: Craig Tate Basketball Kid #2: Jaren Mitchell Nurse: Donna DuPlantier Soloist #1: Ashtin Fortner Soloist #2: Lanika R. Revader Emotional Player: Jonah Calderini Announcer #3: Evan Cleaver Referee: Douglas Griffin Small Boy (uncredited): Cannon Bosarge Miss New York – Football Beauty Contest Contestant (uncredited): Amanda Balen Film Crew: Director: Thomas Carter Writer: Scott Marshall Smith Novel: Neil Hayes Producer: David Zelon Makeup Artist: Melanie Deforrest Stunt Double: Joshua Moody Digital Intermediate Colorist: Doug Delaney Movie Reviews: Reno: > Taste the defeat, and once again inspire to rise back to the glory. Inspired by the real story of a high school American-football coach and his team’s participation in the 2004 season. The fall and rise of one of the most consistent team, especially after holding a record for the longest winning streak, what happens when it was broken unexpectedly? Do the players lose the confidence, coach be clueless, parents go crazy and media annoys them, is what neatly this film narrated. It looked nice to me and I had a good time, but it was too long and not inspiring as the other sports film based on the true events. From the director of ‘Coach Carter’, another decent sports film. I am not disappointed because I was not expecting to be a masterpiece, though not bad for once viewing. All the actors were good, especially it is Jim Caviezel’s one of the major roles and he was amazing. American-football was always been an Americas sport, so I never interested in it except watching films based on them for inspiration. Especially after ‘Conccusion’, my interest on them dropped further. Whatever I said is not a reason to skip the film. As a film, it did the right thing to portray the real life achievers on the screen to boost the young sports persons. Only to me it was just an above average, but for many others, it is one of the best sports film of the year. Forget the American-football, what I liked was, achievements are good for our progress and make a career, but sometimes there’s much more than making records in the games. So it’s a good moral lesson film than a fine entertaining film. I won’t recommend it, but definitely not a waste of time. 6.5/10

[thecraggus]

Santa Jaws (2018) brings a bit of festive fin for a #SharkWeak4🦈 Christmas Special!

Santa Jaws (1995) brings a bit of festive fin for a #SharkWeak4🦈 Christmas Special! #Review

SANTA JAWS is a pun so delicious and filled with festive promise that it’s a wonder it took until 2018 for the chum-grinding sharksploitation mill to get around to it. While it shares all the usual hallmarks of its peers: cheap production values, so-so CGI and widely variable performances but for all its shortcomings, it’s got just enough spirit and self-awareness to land just on the right side…

[jokeronthesofa]

Santa Jaws: It’s Ho-Ho-Honestly Pretty Jawesome - Amazon Prime Review

Santa Jaws: It’s Ho-Ho-Honestly Pretty Jawesome - Amazon Prime Review The movie was better than my subtitle pun. #SantaJaws

The movie was better than the subtitle pun. Hopefully Street Sharks won’t sue me. SUMMARY (Spoiler-Free) Cody (Reid Miller) is a young illustrator who has made a comic with his friend Steve (Hawn Tran) called “Santa Jaws” about a magical shark that ate an evil Santa Claus (Creek Wilson). On Christmas Eve, Cody has a fight with his family and his Grandfather, Papa Joe (Ritchie Montgomery), gives…

[movielovtrailers-blog]

Trailer for Camera Obscura (2017)

Trailer for Camera Obscura (2017)

Trailer for Camera Obscura, starring Christopher Denham, Nadja Bobyleva and Noah Sega. A veteran war photographer with PTSD sees imminent deaths in his developed photos, questioning his already fragile sanity and putting the lives of those he loves in danger. Studio: Chiller Films Release: June...

[brokehorrorfan]

Scare Package will be released on Blu-ray and DVD on October 20 via RLJE Films. The 2019 horror-comedy anthology is currently streaming exclusively on Shudder.

It features seven segments from directors Emily Hagins (Coin Heist), Chris McInroy, Hillary & Courtney Andujar, Noah Segan (of Knives Out fame), Baron Vaughn (of Grace and Frankie fame), Anthony Cousins, and Aaron B. Koontz (The Pale Door).

Noah Segan, Baron Vaughn, Chase Williamson, Jocelyn DeBoer, Jeremy King, Dustin Rhodes, Zoe Graham, Hawn Tran, Kirk Johnson, Chelsey Grant, Jon Michael Simpson, and Joe Bob Briggs are among the cast.

The Blu-ray version includes the film’s full episode of The Last Drive-in with Joe Bob Briggs. A full list of special features is below, where you can also watch the trailer.

Special features:

The Last Drive-In with Joe Bob Briggs: Scare Package (Blu-ray only)

Audio commentary - Creators commentary on the film, commenting on other films that have better commentary tracks

Locker Room Z - Bonus segment

Rad Chad's Rad Ad

Original not-as-good ending

Blooper reel

Chad Buckley is a lonely Horror aficionado, spending his days overseeing a struggling video store and arguing with his only customer, Sam. When an unsuspecting job applicant arrives, Chad sets out to teach him the rules of Horror; weaving in and out of hilarious segments geared toward the ropes and tropes of terror.

[page58-blog1]

Take a Picture. Take a Life in Vintage Camera Horror-Thriller 'Camera Obscura' (Trailer)

Take a Picture. Take a Life in Vintage Camera Horror-Thriller ‘Camera Obscura’ (Trailer)

    “If you knew someone was going to die would you try to save them?” In ‘Camera Obscura’ the camera is demonic. Jack, a psychologically damaged veteran war photographer is back from Afghanistan diagnosed with PTSD. His fiancé buys him a vintage (WW II era) camera. “Did you have another nightmare?” “I think I’m still sleeping. What the h*ll.”

There was something in the photos that I can’t…

[spookytuesdaypod]

happy thinkin’ ‘bout it thursday this thursday i am thinkin’ ‘bout steve’s pole dancing reindeer graphic tee

[hdfilmcehennemi2-blog]

Spor filmi severler bizce bu filmi izlemelisiniz. Öyle yabana atılacak bir film değil haberinizi olsun. Kickboxer 2 İntikam izle FiLMGeZ ile Muhteşem Filmleri Beklemeden Seyret Kickboxer 2 İntikam izle Full Ekran Donmadan Seyret.

https://www.filmgez.com/kickboxer-2-intikam-izle/

Daha sonra ben görmedim izlemedim falan demeyin bakın size baştan söyleyeyim haberiniz oolsun

IMDB Puanı: 4.9

Yapım Yılı: 2016

Yönetmen: John Stockwell

Oyuncular: Alain Moussi, Georges St-Pierre, T.J. Storm, Matthew Ziff, Sam Medina, Dave Bautista, Sue-Lynn Ansari, Darren Shahlavi, Gina Carano, Hawn Tran, Sara Malakul Lane, Tanapol Chuksrida, Daneya Mayid, Joshua Tran, Jean-Claude Van Damme

Film güzek kardeşlerim izleyin gitsin hd ya da 4k ne farkeder Türkçe Dublaj filmleri kaçırmayın.

[machetelanding]

For more than a decade, despite the increase in domestic population, the number of movie admissions sold has stalled. For some time that fact was papered over. Premium pricing through gimmicks such as 3D and IMAX were at least able to increase annual box office revenues (a bit). Nevertheless, the movie business is no longer a growth business, and 2017 is beginning to look like the year when the industry will have to finally come to terms with that.

Globalism was supposed to save Hollywood. The exact opposite ended up being the case. The worldwide audience became the tiger held by the tail; for the global village is one that demands shockingly expensive spectacle, which means huge investments, all-in gambles, that cannot begin to see a profit until $600 to $700 million in tickets are sold.

Worse still, leftwing filmmakers were counting on these oh-so sophisticated internationales to make political diatribes profitable, to appreciate their cinematic calls for multiculturalism, moral equivalence, anti-Americanism, and statism. Whoops! Turns out the rest of the world is even more addicted to mindless escapism than us rubes.

And so, over the last ten years Hollywood slowly painted itself into a corner, where at the expense of everything else, only $250 million franchises, low-budget horror, animated films, and raunchy R-rated comedies can make any money. But today about half those franchises are flaming out and R-rated comedies are in a coma.

Oh, there will always be movies. But let's face it, other than the pretentious, wankfest indies America's foo foo critics pretend to like and the thrilling exceptions that used to be the rule — Dunkirk, Baby Driver — going to the movies anymore is like going to Six Flags; an expensive ride on the latest CGI rollercoaster, something that is no longer about affirming the soul or a relaxing good time. Instead of coming together to explore our shared human condition, we buckle in to overload the senses.

Anyway, let's look at all the suicidal mistakes made by the film industry…

1. The Death of the Movie Star

The men who made Hollywood — the Selznicks, Warners, Mayers, Cohns, Goldwyns, Thalbergs, Zanucks, Schencks, Zukors, Laskys and Laemmles — quickly figured out that the movie star was the key to the world. Not just to box office success, but the key to shaping our culture, fashion, politics, Americanism, and even our humanity.

And so it was until the 1990s. Believe it or not, we used to go and see Eddie Murphy movies, Sylvester Stallone movies, and Goldie Hawn movies. We liked Harrison Ford and trusted his choices. We loved Chevy Chase and trusted his choices. This reality was good for everyone because you didn’t need $250 million in computer effects to put butts in seats. All you needed was Bruce Willis or Steven Seagal or Sigourney Weaver. All you needed was John Candy trying to get it right or Kathleen Turner merely showing up.

Fearing their $20 million salaries and growing power, Hollywood killed the movie star. But without the face on the poster selling tickets, all that's left to sell is the narcotic of CONCEPT, which must get bigger and bigger and more expensive in order to feed the fix.

2. Partisan Politics

Movies have always been political, have always had something to say. But it used to be that for every leftwing High Noon you had a response in the form of Rio Bravo. And look at what this healthy competition created — two masterpieces, both of which are political as opposed to partisan or divisive.

Today, movies and actors go out of their way to create ill-will through insulting and divisive commentary that attacks more than half the country. Sure, in their time, John Garfield, Humphrey Bogart, Charlie Chaplin, Katherine Hepburn and many others were leftwingers who advocated for their respective causes. But they had class. They never insulted or demeaned those who disagreed with them. Creative giants, leftists such as John Huston, Orson Welles and Elia Kazan, managed to have their say without throwing poop.

And that is all the difference in the world.

Insulting your own customers is not only bad business, it cannot begin to make up for a deficit of talent.

3. The Death of Censorship

Just because I believe that certain things should be legal — porn, getting drunk, loveless sex, homosexuality — that does not mean I believe those things are healthy for our society. Quite the contrary. I side with freedom because the messy and oftentimes tragic results of freedom are almost always preferable to the result of government control (see: Obamacare).

The same goes for censorship. I'm not for any form of movie censorship, but that doesn't mean I'm unaware of how lifting censorship, removing all barriers, has greatly diminished the art form of the motion picture.

There are exceptions (DePalma, Scorsese) where excess can be in and of itself art, but for the most part the depth, creative energy and artistic breakthroughs required to find another way through subtext are almost always preferable to text.

Had Alfred Hitchcock been allowed to get his full freak on, does anyone believe Psycho, Rear Window, North by Northwest, Vertigo, Strangers On a Train, Notorious, Rebecca, or Rope — all violent films stewing in sexual, and sometimes homosexual subtext, would be anywhere near the classics they are today?

Almost always, limits benefit art. There are no limits today and creative laziness is the result. For this reason, movies are not even sexy anymore.

4. The Leftwing Sycophants Who Cover the Movie Business

Whether it is Deadline, The Hollywood Reporter or Variety, whether it is pretty much every critic you read at Rotten Tomatoes, the people whose job it is to cover the movie business are almost all leftwing Social Justice Warriors, all sycophants who refuse to challenge the status quo or speak truth to power.

Yes, there are people on the political right like myself who sometimes cover these things, but we are all on the outside looking in. The publications within the bubble, however, are all bubbled themselves, and all about protecting the bubble. The only time they raise a fuss is when Hollywood is not leftwing enough — We need more homosexual movies! We need more trans movies! We need more women and minorities! We need more Stephen Colberts! Trump is icky!

A perfect example was published over the weekend when two new movies released on more than 3,000 screens tanked. The franchise wannabe Dark Tower failed to clear $20 million; the oh-so topical and critically-lauded Detroit lit itself on fire with $7 million.

But how did Deadline spin these dual duds…

For the second weekend in a row, Sony figured out a way to work around the Rotten Tomatoes system to get a lackluster title to open. Last weekend, it was the Emoji Movie, which posted an OK $24.5M in second. This weekend, it’s their Media Rights Capital co-production The Dark Tower, which is taking No. 1 with a modest take estimated at $19.5M. …

Call it what you will, but it’s distribution’s job to open a movie. In the case of Sony, they held back reviews as late as they could for Dark Tower and Emoji Movie and got them started so they could last the rest of the month. Again, not a wondrous result with Dark Tower, but here it sits in first place.

It gets worse…

Kathryn Bigelow’s Detroit from Annapurna, despite having the best reviews and audiences scores out of this weekend’s wide entries – respectively with an 88% certified fresh and A- CinemaScore – didn’t find that love spill over into its opening weekend, which looks to settle at $7.25M. Not a fantastic start for a movie which cost between $35M-$40M. …

Once moviegoers leave Detroit, they’re amazed. The trick for Annapurna is to keep word-of-mouth alive[.] … We hear the original 20 runs of Detroit held quite well.

For the sake of context, let's look at this very same Deadline writer's analysis of a movie that opened in January of 2016. Both Detroit and 13 Hours are topical, controversial, and political. Both are modestly-budgeted ($40 million for Detroit; $50 million for 13 Hours), but that is where the similarities end.

13 Hours, Michael Bay's Benghazi story, is aimed at conservative Middle America. Detroit is aimed at the Black Lives Matter crowd.

13 Hours opened cold in only 2,389 theaters. After a limited run to boost publicity and word of mouth, Detroit opened in a whopping 3,007 theaters.

Over at Rotten Tomatoes, critics buried 13 Hours with a miserable 50% rating. Critics lauded Detroit with a 88% fresh rating. Nevertheless…

13 Hours opened to much, much better $16.5 million 3-day when compared to Detroit's miserable $7.3 million 3-day opening.

And yet…

This weekend Paramount launched Michael Bay’s 13 Hours: The Secret Soldiers of Benghazi, drawing more noise from the CIA, Republicans and Democrats than moviegoers with a middling 4-day opening of $19M.

But despite audiences embracing the Michael Bay film with an A CinemaScore, bureaucrats have had a heyday kicking 13 Hours around like a political football. And it’s never good when partisan factions get their hands around a movie. Such squabbling is one of the chief factors seen in 13 Hours coming in under its $20M-$23M four-day projection.

This sort of partisan spin and wishcasting from those who should be telling cold truths is part of what's destroying a cowardly and out of touch film business desperate for any kind of affirmation that encourages them to never change.

5. The Death of the Women's Movie

After the studio system gasped its last in the mid-60s, the leftists of New Hollywood took over, and while they had an incredibly creative 10-year run, these oh-so progressive leftists also killed the women's picture.

In the hands of leftist Hollywood, in the hands of a Hollywood where more women and feminists are in charge than ever before, how freakin' pathetic is it that a Wonder Woman is a revelation, a cultural epoch, a record scratch in Hollywood history.

Sorry, but no it's not.

When patriotic right-wingers ran Hollywood, when those stodgy, old and backwards "sexist" conservatives were in charge, up on that big screen, women enjoyed real equality. They were goddesses — tough and beautiful, independent and accessible, whip-smart and classy, in charge and selfless, sexy and decent.

The list is endless… Garbo, Davis, Crawford, Grable, Stanwyck, Simmons, Kerr, Hayworth, Lamar, Hepburn, Rogers, Colbert, Bergman, Bacall, de Havilland, Fontaine, Hayward, Taylor, Dietrich, Loren, Lombard, Garland, Loy, O'Hara, Pickford, Harlow, Day, Monroe, Kelly, Gardner, Leigh, Swanson, Holliday, Grahame, Reynolds, Neal, Saint, Caron, Wyman, Wood, Tierney, Darnell, Goddard, Grier and Arthur.

What do we have today? An aging and increasingly unappealing Meryl Streep and a whole host of cookie cutter babes (many of whom look like 14-year-old boys) all-too eager to degrade themselves, to act like sexist men. Hollywood uses these girls for nothing less than chum, and every year wonders why they can't find even five decent choices to fill the Best Actress category.

Oh, yeah, you've really come a long way, baby.

6. A Bubble That Has Lost Touch With the Audience and Now Makes Crap

The movie industry has lost complete touch with its audience. Gone are the talent scouts looking to build a farm club by spreading out across the country in search of The Next Big Thing. Instead it is an incestuous bubble that only reproduces within the family, within the rarified zip codes of Manhattan and Los Angeles.

7. The Death of Comedy

What in the world happened to the family comedy? The romantic comedy? The high school comedy? The ethnic comedy? The guy comedy? The snobs vs. slobs comedy? The stick-it-to-the-man comedy?

I'm no prude. I love The Hangover and American Pie. But every comedy today is man-boys and their body fluids, gross-out and heartless.

I don’t want to walk out of a theater feeling like I need a shower. And judging by the endless string of R-rated flops, we are all tired of this soul-killing garbage.

8. The New Production Code Is Much More Stifling Than The Old One

The old Production Code that guided the movie business throughout much of the golden era was more about how content like sex, violence and human sexuality was presented. In other words, these topics were not placed off limits. Hitchcock was allowed to make clear that Cary Grant and Eva Marie Saint did it, he just couldn’t show them doing it; Hitchcock could make clear Martin Landau and James Mason were homosexual lovers, he just couldn’t show it.

Today's Production Code is an unspoken one. Nevertheless, it is much more fascist and creatively stifling than its predecessor because you cannot work around political correctness, you cannot turn text into subtext when certain subjects are placed completely off limits. For instance, unless you are black, you are no longer allowed to tell certain stories. A movie that told the truth about transsexuals being mentally ill could not be made today. Certain special interest groups cannot be satirized today. Conservatism cannot be portrayed as having any good ideas today. Every Western must apologize to the Indians. The list is endless and grows by the day. Just look at this stupid controversy surrounding HBO's Confederacy.

You can argue that anyone can make any movie they want. Sure. And that was true back in the studio era. But within the system, within the mainstream, you risk the same thing you did in 1955 — being blacklisted, shunned, and personally destroyed.

9. An Expensive Bad Time

With insanely high ticket and concession prices, movies are no longer accessible to millions of Americans. Like major league baseball, the theater experience is not only expensive but becoming more and more elitist, with high-priced luxury theaters becoming their own form of skyboxes.

For those of us who do gamble a hard-earned $80 for family night, we are forced to deal with the stress of theaters that do not police the talkers and texters; we are forced to gamble all that cash on an industry with a 15% success rate when it comes to producing a satisfying product.

Pathetic.

[brokehorrorfan]

Blu-ray Review: Scare Package

One should never judge a book by its cover, but first impressions can make or break a film, particularly an indie horror effort. Scare Package came out swinging with clever artwork by Marc Schoenbach that all at once plays on '80s nostalgia, is indicative of the plot, incorporates all of the anthology's segments, and pays homage to the House poster. It's the first of many cleverly meta and well-executed aspects of the film, making it the most satisfying horror anthology since V/H/S.

Writer-director Emily Hagins (Coin Heist) is tasked with setting the absurd and self-aware tone with the first segment, and does she ever with the appropriately titled "Cold Open." It centers on Mike (Jon Michael Simpson), an unsung character that sets horror movie plots in motion with menial tasks - from selling a haunted house to cursing a doll - who aspires to be a fully fleshed-out role.

It elegantly dovetails right into the wraparound, "Rad Chad's Horror Emporium," directed by Aaron B. Koontz (The Pale Door) and written by Koontz and frequent collaborator Cameron Burns, who together produced Scare Package. Set at a niche video store, horror aficionado proprietor Chad (Jeremy King), new employee Hawn (Hawn Tran), and overzealous employee Sam (Byron Brown) watch tapes and trade stories.

"One Time in The Woods," written and directed by Chris McInroy, plays like an uproarious, splatstick descendant of Street Trash that also throws in a ridiculous head explosion in the vein of Deadly Friend. Actor Noah Segan (Knives Out) makes his directorial debut with "M.I.S.T.E.R.," in which he also stars. The script, penned by Segan and Frank Garcia-Hejl, pokes fun at the folly of men's rights activists before transforming into a creature feature.

"Girls' Night Out Of Body" is categorized as "post-modern feminist slasher body horror" on the video store shelf, which sets it up to be something more than the end result. But writer-director sisters Courtney and Hillary Andujar put their background in production design to good use; their design coupled with the colorful, Italian giallo-inspired lighting make it a visual highlight.

"The Night He Came Back Again! Part IV: The Final Kill," directed by Anthony Cousins and written by Cousins and John Karsko, finds would-be victims trying increasingly extreme methods to kill a perennial slasher for good. Actor Baron Vaughn (Grace and Frankie) makes his directorial debut with the Edgar Wright-inspired "So Much to Do," which he also wrote. In it, the victim of an occult possession (Toni Trucks, SEAL Team) quite literally fights back against her possessor, all in the name of avoiding spoilers.

Most anthology wraparounds do little more than serve their purpose to connect segments, but Koontz and Burns crafted a rare one that is just as enjoyable as, if not better than, the shorts. It culminates in a Cabin in the Woods-esque deconstruction of genre conventions featuring horror host Joe Bob Briggs in a hilarious role as himself, former WWE wrestler Dustin "Goldust" Rhodes as a merciless slasher, and genre darling Chase Williamson (John Dies at the End) as the prototypical stoner.

Beyond all the fun Easter eggs - from A Nightmare on Elm Street and Aliens to the most brazenly absurd Friday the 13th reference ever committed to film - each segment cleverly twists genre conventions, so even the less entertaining offerings subvert expectations. The filmmakers each bring a unique style, but they're unified by a synthesizer score by Alex Cuervo (who releases electronic music under the name Espectrostatic). Tate Steinsiek (Puppet Master: The Littlest Reich, Dragged Across Concrete) serves as special effects makeup supervisor for most segments.

Scare Package premiered on Shudder in June and is now available on Blu-ray via RLJE Films. For the first time, the physical release includes the entire episode of The Last Drive-In with Joe Bob Briggs. As comforting as it is to see Briggs host classic genre films, there's a particular electricity when he debuts something new, and the Scare Package episode finds him in top form.

If Briggs' analysis isn't enough, Koontz and Burns provide an audio commentary. Although flippantly advertised as "Creators commentary on the film, commenting on other films that have better commentary tracks," it's a fairly straightforward chat in which they share anecdotes, fun facts, and praise for each segment.

The disc also includes a deleted segment, "Locker Room Z," directed by executive producer Mali Elfman, which takes down diet culture, creepy dudes, and zombies; a faux ad for Rad Chad's video store, which carries over the film's meta humor; an alternate ending, dubbed "original not-as-good ending," which indeed isn’t as strong as the final version but would not have been disappointing; and a blooper reel.

Scare Package is available now on Blu-ray and DVD via RLJE FIlms.

[fashiontrendin-blog]

See All The Looks From The 2018 SAG Awards Red Carpet

http://fashion-trendin.com/see-all-the-looks-from-the-2018-sag-awards-red-carpet/

See All The Looks From The 2018 SAG Awards Red Carpet

The stars brought their fashion A-game to the 2018 Screen Actors Guild Awards on Sunday night.

The ceremony, hosted at the Shrine Auditorium in Los Angeles, California, honors the favorite performances in film and television over the past year. It is often the best prediction for who will take home an Academy Award in March.  

This year, the SAG Awards boasts a roster of all female presenters, including Emma Stone, Halle Berry and Olivia Munn, and it will also for the first time ever have a host, “The Good Place” actress Kristen Bell.

Some stars dressed all in black and sported pins in support of the TimesUp initiative, an action plan and legal defense fund that’s raised millions to support to victims of sexual harassment and assault. Earlier his month at the Golden Globes, actors and actresses almost universally blacked out the awards show.

This time around, most opted for brighter shades, bringing some color to the red carpet before the ceremony officially kicked off. 

Check out the all of the looks below. 

Allison Janney

Tracee Ellis Ross

Kristen Bell

Margot Robbie

Alexander Skarsgård

Samira Wiley

Goldie Hawn and Kate Hudson

Nicole Kidman

Reese Witherspoon 

Emily Gordon and Kumail Nanjiani

Saoirse Ronan

Greta Gerwig

Elisabeth Moss

Lupita Nyong’o

Laura Dern

Uzo Aduba 

Halle Berry

Millie Bobby Brown

Maya Rudolph

Brie Larson

Sam Rockwell and Leslie Bibb

Kelly Marie Tran 

Olivia Munn

Mandy Moore

Susan Sarandon

Dakota Fanning

Holly Hunter

Allison Williams

Ryan Michelle Bathe and Sterling K. Brown

Yara Shahidi

Connie Britton

Milo Ventimiglia 

Chrissy Metz

Natalia Dyer 

Gina Rodriguez

Niecy Nash

Allison Brie

Dave Franco

Giuliana Rancic

Danielle Brooks

Yvonne Strahovski 

Gaten Matarazzo

[ramascreen]

INTERVIEWS: Jeremy King, Hawn Tran, and Zoe Graham on ‘SCARE PACKAGE’ In celebration of RLJE Films' release of Shudder's SCARE PACKAGE arriving on VOD, Digital HD, DVD and Blu-ray October 20th, I recently had the opportunity to interview three stars of this horror comedy anthology film, Jeremy King (The Pale Door, Camera Obscura), Hawn Tran (Heist, The Perfect Date) and Zoe Graham (Boyhood, Secret in Their Eyes).

[oldguardaudio]

LGBTQ Q=QUEER ->  Tennessee Passes Controversial Law Backed by Conservative Groups

Tranny LGBTQ – Q = QUEER @ HoaxAndChange.com

queers that’s all I can say at HoaxAndChange.com

Shiloh Heavenly Quine in June 2015. Her case led California to set standards for allowing transgender inmates to apply for sex-reassignment surgery.

The Green Carnation Prize 2016 shortlist: Best new gay fiction

Individually, each one has the power to move the reader while collectively they display the extraordinary diversity at play within the literary work of …

The Irish Times5m

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WASHINGTON, May 4– The Human Rights Campaign issued the following news release: Today, the Human Rights Campaign (HRC), the nation’s largest lesbian, gay, bisexual, transgender, and queer (LGBTQ) civil …

Insurance News Net6m

Healthcare Coverage

President Trump’s Nominee For Secretary Of The Army Withdraws

They cited his past comments about and legislative record on women and members of the LGBTQ and Muslim communities. His confirmation, they said, would send “a message that undermines the important progress …

newsy.com8m

Mark Green

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[helloworlddemo1122-yahoopar-blog]

John Boyega Says 'Star Wars' Ruined a Potential Relationship: 'I Blocked Her on My Phone'

Who knew the Force could put such a damper on your love life...

John Boyega hilariously detailed how his role in Star Wars Episode VII: The Force Awakens derailed a potential love connection on a recent episode of the U.K.'s Graham Norton Show.

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It all started when Orlando Bloom -- who was also a guest on the show -- gave the 25-year-old actor some advice.

"I know Orlando, and he gave me some advice before Star Wars 7 came out," Boyega shared. "His advice was ... 'Try and secure the love of your life before this happens.'"

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"And I did," he continued, going on​ to describe a date he went on in New York City. "She didn't know what I did, until we were driving through Times Square, and she goes, 'What do you do for a living?'"

"I looked up and I go, 'Tha​t,'" Boyega answered, motioning to a giant billboard of himself wielding a light saber.

"I blocked her on my phone," ​he deadpanned, not getting into specifics about what ​happened afterward that derail​ed the date. "That picture ... just kind of affected her."

At that point, Bloom then went on to describe the freaky situation that caused him to consider whether his newfound fame would make dating more difficult.

"I was in a supermarket," the 40-year-old actor ​recalled. "The first [Lord of the Rings] ... had only just released, and this woman came up behind me and whispered into my ear, 'Are you my elf?'"

WOW.

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Luckily, Bloom had a pretty perfect response: "No, I'm your garden gnome."

The other two guests on the show, Amy Schumer and Goldie Hawn, then pointed out that the situation is a little different for women.

"Honestly, comedy does not lead to d**k. Trust me," Schumer hilariously said. The Trainwreck star added, "For women, I don't think it really helps."

But the dating horror story ​that took the cake ​had to go to Hawn.

The ​Snatched star shared, "I threw up. [The guy] tried to kiss me, and it made me sick."

"I literally rolled down the window and I threw up," she added, laughing, "And I said, 'I'm sorry, but you make me sick.'"

So the moral of the story is, superstardom doesn't necessarily make your love life any easier!

Meanwhile, Boyega's love life isn't the only thing that changed when he landed his Star Wars role, as the actor went on to describe his funny first purchases he made with his ​paycheck.

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"Some lions. Sculptures of lions," he said, explaining, "The reason why I bought that, is because I feel like my spirit animal is a lion."

But the other purchase -- a saxophone lamp -- Boyega doesn't really have a reason for.

"There's no reason for that man. I was in Australia and this dude just told me, 'There's a saxophone with a light in it,'" he recalled. "Something in my brain just went, 'Buy.'"

That's as good of a reason as any, John!

Watch the video below to hear what Boyega told ET recently about his "messed up" Star Wars character.