#Maryann Nagel

[cinemaquiles]

A casa da praia (The beach house, 2019) e a falta que uma direção faz em um filme de terror

[brokehorrorfan]

The Beach House will be released on Blu-ray and DVD on December 15 via RLJE Films. It’s currently streaming exclusively on Shudder, and it's one of my favorite discoveries of the year.

The 2019 cosmic horror film stars Liana Liberato, Noah Le Gros, Maryann Nagel, and Jake Weber. Jeffrey A. Brown makes his feature writing and directorial debut.

No special features are listed. Read on for the trailer and synopsis.

Hoping to reignite their relationship, college students Emily and Randall arrive at their weekend getaway only to discover a peculiar older couple already staying there. They all agree to share the home but, after an indulgent night of partying, they’re awoken to a living nightmare of apocalyptic proportions. A mysterious airborne microbe has infected the water and it’s making its way to the house...

[moviethaihd]

The Beach House (2019)

https://is.gd/xLZzcO

หนังซับไทย, หนังดราม่า, หนังลึกลับ ซ่อนเงื่อน, หนังสยองขวัญ

2019, Jake Weber, Jeffrey A. Brown, Liana Liberato, Maryann Nagel, Michael Brumfield, Noah Le Gros, The Beach House (2019), กันยายน 2019

[davidosu87]

[moviesinfocus]

Trailer For Shudder’s Cosmic Horror THE BEACH HOUSE Here's the trailer for The Beach House, Shudder's forthcoming horror film, which drops on 9 July 2020. 

[gbhbl]

Horror Movie Review: The Beach House (2019)

Horror Movie Review: The Beach House (2019)

Randell (Noah Le Gros) and Emily (Liana Liberato) are a young couple who have travelled to a remote beach house owned by the former’s father. They’re there to spend some time together and see if they can mend their damaged relationship but their peace & quiet is spoiled by the arrival of another couple.

The elderly couple of Mitch (Jake Weber) and Jane (Maryann Nagel) who are friends of Randell’s…

[flickfeast]

The Beach House (2019) - Film Review

The Beach House (2019) - Film Review - this horror will leave you high and dry. Thanks to @Shudder and @ExileFilmPR for the screening opportunity

Like Emily (Liana Liberato) and Randall (Noah Le Gros), the young couple at the centre of director / writer Jeffrey A. Brown’s new mystery horror The Beach House, I was looking forward to spending some down time enjoying the peace and solitude of visiting this idyllic abode by the sea. Unfortunately both them and I found the resulting experience anything but pleasant. Admittedly I had the…

[twittercomfrnklin2001-blog]

THE BEACH HOUSE

THE BEACH HOUSE (2019) opens with some impressive underwater footage of something murky billowing up from the ocean’s floor. Then we join a young couple (Noah Le Gros and Liana Liberato) driving up to a beach house. When they get to the door, he turns to her and says, “I’ve missed you.” Since they’ve presumably been in the car for a while, why did he wait so long to say this? Or did he miss her in the few seconds it took for her to catch up to him? They're not a particularly interesting couple anyway; he’s lumpen and she’s trying to be elfin and not doing a good job of it. Fortunately, there’s an older couple (Jake Weber and Maryann Nagel) staying there at Le Gros’ father’s invitation (they’re not speaking). Is the film going to create horror out of intergenerational conflict? No, they’re all really nice, even if the older pair are much more interesting (and better at acting) than the youngsters. That night a mysterious, glowing fog rises from the ocean and starts infecting everybody. Sadly, it gets rid of the oldsters way too soon, so we’re left with two uninteresting younger people stumbling through dimly lit scenes with a little gut smut thrown in just to get the juices flowing. Ultimately, the whole film is as murky as those underwater clouds and, dare I say, writer-director Jeffrey A. Brown’s mind. This is his first feature in those capacities. The film’s New England seaside setting is its best asset. As a writer-director, it would seem, he makes a good location manager.

[kawaiipainterstarlight]

Film Teror Yang Pernah Hits

The Beach House

Bio-teror datang dalam bentuk yang merusak di The Beach House, yang ketakutannya berdasarkan penularan berbicara, secara halus jika parah, hingga saat ini. Dalam liburan di Cape Cod, calon astrobiolog Emily (liana Liberato) dan pacarnya yang pergi ke mana-mana, Randall (Noah Le Gros) akhirnya berbagi akomodasi dengan pasangan berusia 50-an Jane (Maryann Nagel) dan Mitch (Jake Weber), teman-teman ayah Randall. Minuman dan makanan halusinogen membantu meringankan kecanggungan awal dari pertemuan ini, tetapi saat-saat indah berlalu dengan cepat, berkat kabut aneh yang keluar dari kedalaman laut yang gelap dan ganas, yang mencemari daerah tersebut dengan dedaunan Lovecraftian yang bercahaya dan raksasa, berlendir organisme. 

Tatanan normal dengan cepat diputar pada porosnya — secara harfiah, dalam satu tembakan yang tak terlupakan — saat kekuatan alien menduduki, menginfeksi, dan memusnahkan. Dibantu oleh kinerja yang dicapai Liberato, penulis / sutradara pertama kali Jeffrey A. Brown mementaskan kekacauannya dengan efisiensi yang terjamin, menciptakan suasana misteri yang tak tertembus melalui keheningan yang tidak nyaman, komposisi yang berubah menjadi gelembung yang mengalir dan urutan operasi kaki licin yang akan membuat tubuh -horror maestro David Cronenberg bangga.

[llpodcast]

(Literary License Podcast)

Color Out of Space (2019)

 Richard Stanley's directorial comeback and based on a short story of HP Lovecraft, The Color Out of Space is a truly original film starring Nicholas Cage.  This is the first instalment of a hopefully trilogy of Lovecraft films directed by Stanley to come.  The film was a critical success using visual stylings and great performances from Tommy Chong, Nicholas Cage, Joely Richardson and the young cast to make a film that haunts long past the final credits.

 The Beachhouse (2019)

 Directed by Jeffrey A. Brown in his directorial debut. It stars Liana Liberato and Noah Le Gros as a college-aged couple who take a vacation to a beach house, where they meet an older couple (Maryann Nagel and Jake Weber) and are threatened by a mysterious infection that spreads across the coast.  

​

Given a chilling example of how the world will try to survive at any cost, this film plays havoc on your brain through the final hours which is probably more effective than Jaws because you never know what lurks beneath the ocean surface.

 We are joined by Joe Randazzo.

 Opening Credits/Introduction (.52); Man Messes With Nature (13.33); The Color Out of Space (2019) (14.58); Why God? (17.12); Nature Messes With Man (1:05.40); The Beach House (2019) Trailer (1:07.13); Mother Nature’s Revenge (1:09.17); Nature Lives To Fight Another Day (1:41.49);  End Credits (1:54.27); Closing Theme (1:55.36) 

 Opening Credits– Planet Synth by Dan Hughes

 Closing Credits – The Air That I Breath by The Hollies  taken from the album Hollies Sing Hollies.  Copyright 1974 EMI Music Ltd. 

 Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. 

 All rights reserved.

[chicagoindiecritics]

New from Robert Daniels on 812 Film Reviews: ‘The Beach House:’ A Terrifying Debut By Jeffrey A. Brown

Rating: 3/4

The best horror films always feel familiar yet new. In Jeffrey A. Brown’s debut feature The Beach House, a genre flick about a young couple on a romantic getaway, the director mixes proverbial Lovecraftian notions of fate in a terrifying yet simply constructed creature feature that’s begging to be picked apart and analyzed.

His film opens with Emily (Liana Liberato, in a breakout role) and Randall (Noah Le Gros) arriving at a summer home belonging to Randall’s father. There, they discover an older couple, Mitch (Jake Weber) and Jane (Maryann Nagel), friends of Randall’s father, already using the seaside escape. Even though all is not well, rather than leave, the pair decide to stay for the weekend. Soon they discover that Jane seems to have some disease, which often causes her to lapse out of consciousness, drifting off into a quiet hypnotic state. Just as worryingly, she also suffers from coughing fits. And though she doesn’t appear near-death, Mitch is already mourning her and their time together, viewing the beach house as one last chance to spend time with her. Meanwhile, though the season is off-peak, the seaside village is relatively deserted, and the water feels odd. Mitch describes it as “soft water,” and the characters can’t come in contact with it without trying to discern the liquid’s viscous touch.

The Beach House is Lovecraftian with regards to fate and mythos. For instance, though Emily is dead set on her educational goals, Randall contests the purpose behind school, taxes, children, sports, etc. He views them as the drudges of life, the suburban track meant to lock us within a near-inescapable paradigm. With regards to mythos, when Emily explains to Mitch and Jane that she studies organic chemistry and wants to learn astrobiology in grad school, they’re both just as enraptured as she is by the organic origins of the earth, and the idea that certain creatures continue to live in oppressive underwater environments today.

In Jeffrey’s film, the monster(s), so to speak, are rarely on screen. Instead, they’re obscured. They live in the water and come ashore whenever a deep chokable smog rolls over the land, a conceit many will recognize from Frank Darabont’s The Mist. When these monsters do come ashore, the film takes on a few other genre features. It’s part body horror — mutilated feet have been a thing and it still freaks me out — and a creature feature. But intriguingly, The Beach House also takes on apocalyptic tendencies. There’s one scene in particular where Emily and Randall travel through the coercive fog for help, only for their vision to be nearly obscured. Their only light source is an ever-present orange siren that melds into the haze. The compositional effect, and Owen Levelle’s cinematography, is simple yet metaphorically provocative.

However, not every component of The Beach House works completely. For instance, Brown spends significant screen time carving out Emily’s background as an organic chemistry major. While her dialogue sets the scientific parameters for how these mysterious creatures are possible, her knowledge actually means little for her character when she needs to implement her expertise. Smart characters needn’t be intelligent throughout a film, but they should demonstrate some basic ability to implement their respective backstory within the main narrative arc. Just as frustrating, in one section, edibles are used to advance the plot. Apart from the psychedelic use of blue, and a narrative tool allaying any suspicions Emily and Randall might have felt concerning their surroundings, the scene stretches on for far too long and serves nary a purpose.

Still, even with some unrealized components, The Beach House’s final act is thrilling. Brown builds tension in Spielbergian fashion by enlivening our uneasy senses yet rarely showing us what’s actually to fear. And with the film’s final mystical shot, he not only imbues it with the supernatural, but makes The Beach House into a mysterious debut worthy of multiple re-watches.

The Beach House premieres on VOD on July 9th.

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[jordyvix]

No Vacation Vibes at THE BEACH HOUSE

No Vacation Vibes at THE BEACH HOUSE

When their beach getaway is interrupted by some unexpected guests, a young couple will find a more unnerving arrival awaits. Starring Liana Liberato, Noah Le Gros, Jake Weber and Maryanne Nagel, The Beach House is the latest release from SHUDDER and serves as the debut film for director Jeffrey A. Brown. While a mild call to the genre-bending sci-fi films of past, this film delivers some…

[cultfaction]

The Beach House trailer released Directed by Jeffrey A. Brown, The Beach House follows Emily and Randall who are escaping to Randall's family's beach house to reconnect.

[jillmckenzie1]

No Beach For You

The Beach House is streaming on Shudder.

We’re in a period of change. Six months ago, most of us didn’t think we’d be where we are now. Six months from now, the smart money says that life will be just as unpredictable. Is it because of the pandemic? Partially, yet there’s more to it than that. After decades of neglect, people are rising up against systemic racism. Our economy is in flux. Our President is a driver of change, though not in the way he thinks or wants.

The way we view movies is changing, as well. I don’t just mean the continued closure of theaters and the improbable resurrection of drive-ins. In the old days, you expected bickering and unfunny jokes throughout the majority of a rom-com before the couple abruptly declared their love for each other. You expected a cop on the edge to lose his wife/best friend/second cousin twice removed and swear bloody vengeance against legions of goons.

Horror movies had the worst expectations of all. You expected a nubile young woman to be stalked by either a silent maniac or a cackling loon. There would be plentiful blood, no brains, and bargain-basement production values. To put it bluntly, it sucked to be a horror fan. Things change, though.

21st-century horror taps into our anxieties toward the unknown, and it does so with intelligence and sophistication. You’ll still see the occasional dopey slasher film, and you’ll also see gems such as The Babadook, which showed the ambivalence of parenthood, and The Witch, which brought a hoary folk tale to alarming life. The debut feature of writer/director Jeffrey A. Brown is The Beach House. It’s clever, unsettling, and the introduction of a major new voice in American horror.

Some things can’t be fixed, though it’s not for lack of trying. Emily (Liana Liberato) and Randall (Noah Le Gros) don’t know their relationship is over, not consciously, anyway. She’s on her way up as a bright college student with an eye toward an astrobiology major. He’s on his way down as a college dropout with vague statements about finding himself and learning what life is all about.*

Their relationship is on life support, strained by a lack of communication and some world-class selfishness on the part of Randall. In the grand tradition of clueless men, Randall thinks he can repair the damage with a grandiose gesture. His father has money and owns a beach house. Considering it’s the off-season, they’ll have the place all to themselves.

Only not really! Emily discovers pill bottles in the bathroom cabinet and groceries in the fridge. Either a) they’re being stalked by an extremely homey homicidal maniac or b) there’s been a miscommunication. It’s B, and we’re introduced to Jane (Maryann Nagel) and Mitch (Jake Weber). They’re friends of Randall’s father, and they were under the impression that they would have the place all to themselves.

For Emily, this is not ideal, as we can surmise she wanted the solitude to either repair her relationship or end it. We can also surmise that Randall has a way of bullshitting people to avoid conflict. That’s a real big bummer since a strange fog rolls in from offshore and the water supply seems to be contaminated. The two couples are alone, frightened, and have no idea what’s coming for them.

Director Jeffrey A. Brown was originally a location scout, and he’s more aware than most that the right place can make all the difference when making a film. His budget was…well, let’s go with modest. He didn’t let that stop him, and by utilizing the locations available along with tight cinematography and gnarly practical effects, he’s made a film that never feels cheap. Running at a hair under 90 minutes, Brown utilizes his time efficiently. We get to know our protagonists, get a whiff of the threat, and then we’re off to the races. Some people will say that Brown’s next film deserves a real budget. Maybe, but I wonder how much he really needs it.

Brown is the screenwriter, and he’s said, “I wanted to take what I felt was missing from horror movies and inject that into the script and production plan. My concerns about the onset of an environmental apocalypse provided a vehicle for the horror, while an interest in evolutionary science became the microbial fuel of the story.” He’s 90 percent of the way there, and the script does fine work showing us who the characters are, the details of the couples’ relationships, and how despite the generational differences, they’re more alike than they might think. The horror aspects are a slow burn. Once things get going, the good news is that the escalation feels organic. The story begins with a feeling of foreboding, that something is off somewhere. The (slightly) bad news is that once things get going, the question of Emily and Randall’s relationship is sidelined for a pure focus on survival. And while I understand that reality would likely play out like this, there are too many moments where characters scream each other’s names.

The cast does professional work, but the film rests firmly on the shoulders of Liana Liberato as Emily. I thoroughly enjoy films with characters like this. Emily isn’t a hardened badass or a barely-hanging-on trauma survivor. She’s a normal person; one who’s intelligent and resourceful. Liberato’s performance always feels honest and natural, even when she’s running in fear or dealing with a serious problem involving her foot.

The Beach House is not your average horror movie…or maybe it is. The film was made in 2019, and while Jeffrey A. Brown couldn’t have known what 2020 would bring, his debut would presciently tackle themes of isolation, paranoia, and environmental upheaval. Horror has moved beyond creature features and slashers. It’s a genre with something to say, and we ignore its messages at our peril.

    *Spoiler alert – most likely a job involving fries and a nametag.

from Blog https://ondenver.com/no-beach-for-you/

[moviesinfocus]

Review: Cosmic Body Horror THE BEACH HOUSE Dares To Be Different

Review: Cosmic Body Horror THE BEACH HOUSE Dares To Be Different

[usr 3 text=”false”]

Jeffrey A. Brown’s The Beach Houseis a low key horror which offers up some interesting ideas and a fair amount squirmy body horror. It’s light on scares, but the film is more of an atmospheric mood piece with a focus on cosmic mystery than a traditional fright fest . It’s a little on the slow side, but the performances are solid and Brown has an eye for delivering some…

[halloweendailynews]

Shudder Opens 'The Beach House' This July

The new contagion-themed horror film The Beach House is set to premiere on Shudder this July.

The indie “sci-fi/horror” film is directed by Jeffrey A. Brown, starring Liana Liberato (Banana Split, Hulu’s Light as a Feather), Noah Le Gros (A Score to Settle), Jake Weber (Dawn of the Dead, Meet Joe Black), and Maryanne Nagel.

The feature directorial debut for Brown, The Beach Houseis an apocalyptic…