#Upcoming theatrical release

[moviesandmania]

Notable movie releases leading up to Halloween!

All are US releases unless noted otherwise. Friday, September 22: Dark Asset – VOD Everybody Dies By the End – VOD Expend4bles – Theatrical It Lives Inside – Theatrical Nightsiren – Theatrical (limited) No One Will Save You – Hulu, Disney+ Monday, September 25: Scooby-Doo! and Krypto, Too! – Digital, VOD Tuesday, September 26: Gangnam Zombie – VOD, Blu-ray, DVD Megalomaniac – VOD Natty Knocks –…

[slavghoul]

"VOÏVOD: We Are Connected"

Tobias will be featured in an upcoming Voivod documentary scheduled for release this year, where he was interviewed alongside fellow musician and close friend Mikael Åkerfeldt (Opeth). Their interview was filmed in Stockholm recently.

TF is an avid Voivod fan and has cited them as a major inspiration on numerous occasions, particularly in relation to his pre-Ghost band, Subvision. As his MySpace bio stated: "With the intention of making something different than the death metal that I had become synonymous with, I wanted to create music with a slightly more melodic/pop edge. The wish was to make something along the lines of Voivod’s Angel Rat." A song off that album ("The Prow") was also included in a playlist he crafted for Apple Music in 2021 featuring some of his most formative influences.

The documentary is currently in post-production and you can help funding its completion by making a pledge on Kickstarter:

The goal is to fund the completion of a theatrical cut in time to screen at festivals and events this summer, and a physical release later on.

The project is a labor of love of numerous Voivod enthusiasts, Tobias included, so consider pledging even a small amount in your support and spread the news around, if you can.

For more information: IMDB, Facebook

Thank you to Felipe Belalcazar for the info.

[disneyprint]

1972 poster announcing upcoming theatrical releases (and re-releases) leading up to the company's 50th anniversary in 1973.

[insanityclause]

I agree with your opinon on TLOC not considering itself as an award contender but changed it's narrative after TIFF. I am glad it will have a good theatre run but I hoped it would use it's hype that it had created for upcoming award season but since it will be released next year I hope the buzz still remains as a lot of movies will be released next year some really good ones too. Saw a few tweets saying they are also glad because flim twt would have villanized and trashed it in context of award season. I hope the movie won't be forgotten before it has been even been released and still compete for award shows. Hope this will open more opportunities for Tom as this will be 7 years for him since he has been in the big screen not marvel.

8 years in live action.

We shall see what comes up next year. I will say that Sing Sing is still on a lot of people's lists for this year, even though it got dumped by A24 (still got more good reviews, though).

Meanwhile, Neon has an outstanding track record, particularly with unconventional stuff - Anatomy of a Fall, Triangle of Sadness, Parasite. Yes, many had fall releases, but they also did well with their distribution of Longlegs this summer.

And it makes sense for them to hold off a bit since they have Anora this year, which will probably do really well, and they can focus on it.

I'm very happy it will get a theatrical run - because it really works well on a big screen. Being dumped on a streamer would have been dire.

[shark-myths]

Feast your eyes on the gorgeous cover art put together by @carbonbased000 for my upcoming holiday fic... this is the real Swedish poster from the theatrical release of Pillow Talk in 1959! only made infinitely better. set your clocks, it's coming SOON

[aspiringtrashpanda]

✨A thought about the TSL musical✨

So, Simeon directs The Tale of the Seven Lords: The Musical in the Pop Quiz "Henry and the Seven Lords", right?

I was cleaning while listening to music and was struck by a vision. A vision, I tell you! Listen. Henry and the Lord of Shadow dueting this:

We don't know much about the plot of the series, but it is mentioned in the trivia competition against Leviathan that the Lord of Masks does something to the Lord of Shadow in the upcoming release. This surprises Leviathan as he predicted that the two lords were going to make up.

SO PICTURE THIS:

The Lord of Masks has launched a surprise attack on the Lord of Shadow, Henry arriving too late to assist their friend. They reach the land surrounding the third lord's castle to find it ravaged. Blood-soaked earth pools beneath dying soldiers as medics tend to those who still cling to life. In the middle of it all is the Lord of Shadow, paralyzed with shock and grief. Upon seeing Henry, he lifts his head and lets out a mournful, "Remember me."

He is angry. He is spiteful. When he needed Henry most, they weren't there. Henry had promised to stand by him, and yet, they were nowhere to be found when he needed them most. He gestures to the ruin around him, challenging Henry to explain their absence.

Henry tries to interject, tries to apologize. The Lord of Shadow realizes then that Henry would never betray him. He launches into the chorus, pleading with Henry to stand with him and find a way to rebuild.

The song builds with the third lord repeating his need for Henry's aid in the bridge. Then everything goes dark save for a spotlight on Henry as they sing the solo line, "If there's a place that I could be, then I'd be another memory."

Then this is followed by a super intense last chorus where they sing to each other and the wounded soldiers dance dramatically in the background and fill out the ensemble parts. During the outro, Henry would be singing the "Remember me" part as if to switch the roles and insist that the Lord of Shadow should have faith in Henry's character.

It's perfect, okay? MCR is so theatrical. Their songs are meant to be acted out. Like, damn.

Thank you for coming to my TEDTalk. Let me know if you want more TSL musical scenes that come to me like a fever dream.

[flanaganfilm]

Mike, can you tell us your experience premiering Oculus at tiff 2013? I recently saw Perri Nemiroff’s interview with you (looking like a baby btw- so young) and it made me think about what your mindset must have been as in getting yo experience the launch of your career, post Absentia, at one of the most prestigious festivals.

Oh, I remember that very well... a lot changed in a very short amount of time. And I think I know the interview you're talking about, I keep trying to link to it here but it doesn't take...

So there are few things to point out about Oculus and about what was happening in my life at the time. When Oculus got greenlit, I was working full time as a reality television editor. I used to sneak out of my job at lunch to go to "doctor's appointments" whenever I had to come for production meetings or casting sessions (they started to think there was something really, really wrong with my health).

Making the movie was an amazing learning experience - it was my first "real" movie, and full of lessons. It was the first collaboration with people who would become pillars of my career moving forward, like producer Trevor Macy (who is now my partner at Intrepid Pictures and who has produced everything I've ever made since) and my DP Michael Fimognari, who is one of the most important collaborators of my life. It was also the first time I worked with a young actress named Kate Siegel, who played the spooky ghost in the mirror.

We went into TIFF with distribution already in place. FilmDistrict had committed to the project during the Cannes market before we shot the movie, so we thought we were set. It was going to be my big theatrical debut.

Just before we premiered at TIFF, FilmDistrict abruptly and bafflingly dropped the film. I still don't really know why. They had committed to a worldwide theatrical release for the movie, but for reasons that were never made entirely clear to me, they dropped us just before the festival. Suddenly the whole enterprise was in jeopardy, and I didn't know if anyone would pick the movie back up.

I was absolutely terrified.

Being my first "real" movie, I didn't really know how this world worked and couldn't understand why our distributor didn't want to release it. We'd made the movie they had been excited about, they seemed to really like it, and we'd done everything they asked - it was a shock to the system. So when we rolled into tiff, we were homeless and trying not to let FilmDistrict's abrupt change of heart poison our chances of another sale.

I had never been to TIFF before but heard about Midnight Madness, which had seen huge sales from Cabin Fever and Insidious. Bidding wars had broken out while the films were still screening. But being part of the program was absolutely no guarantee of distribution - in fact, this might be the highest this movie would ever rise.

Trevor Macy and I went to the world premiere of The Green Inferno, which was playing the night before we played, and the audience was ROWDY. Like, shouting and hollering throughout the movie. We looked at each other with wide, nervous eyes - if this was the Midnight Madness audience, they were going to hate our movie the next day. We were considerably slower, ponderous, and atmospheric in a room that seemed to demand visceral, overt entertainment. I left the screening feeling dejected and a little doomed. Trevor was more upbeat, citing conversations he'd had with the programmer, Colin Geddes, who assured us he'd put our movie in the best possible spot for its success.

Our screening was September 9th, 2013 at midnight. I was petrified, and we were sold out. I remember walking into the theater feeling like this was the most important screening of my life. I wasn't alone, thank goodness. Trevor Macy, Michael Fimognari, Brenton Thwaites, Katee Sackhoff, Rory Cochrane, and James Lafferty were on hand. The film seemed to play well. It was the opposite of the screening the night before, which Colin had told us would happen - "watch," he had said. "The Saturday night slot is the big crazy one. You guys are Sunday, and it's going to be completely different. They'll plug right in."

He was right. You could hear a pin drop for most of the first half, and then there were moments of scattered applause that picked up as the film progressed. By the end, people were jumping in their seats and cheering for young Tim and Kaylee. There was an audible gasp when the anchor swung. And the applause at the credits seemed heartfelt and loud.

Most of that is a blur for me. I found this grainy pic from the Q&A after the film. I still had no idea how it had gone, or what was going to come out of it. I remember having hard time putting words together, and I vividly recall feeling like I sounded like an absolute moron whenever I talked, and trying to pass the microphone over to the actors as often as I could.

It's tough to see everyone in the pic, but from left to right it is Colin Geddes, Michael Fimognari, myself, Trevor Macy, Katee Sackhoff, Brenton Thwaites, Rory Cochrane, and James Lafferty.

When I stepped out of the theater, though, I became aware that everything had changed. I was immediately surrounded by people who had seen the film, suddenly shaking a ton of hands and realizing that it had been a hit. I walked into the theater by myself, utterly anonymous, and feeling every bit like an imposter. But everything was different when I walked out. I remember someone from the press talking about it years later, and saying "I was there that night - you walked into the theater with nothing, and walked out with a career."

People were asking me to sign stuff. That had never happened in my life. People wanted to get pictures. It was SO. FUCKING. WEIRD. Someone snapped a picture during that little whirlwind, and you can see it on my (young, skinny, hopelessly naive) face - an overall bewilderment, a gentle disbelief that this was happening:

I loved my experience at TIFF. And it absolutely started everything. Relativity, Blumhouse, and WWE Films joined forces to make an offer on the movie at the festival, and we left with a theatrical distribution deal. My career had officially begun. Now, I wouldn't feel like it had for several more years - I remained in fight/flight/survival mode well through Gerald's Game - but in retrospect, yes, that's when it happened.

Thank you for asking this question, it's been a while since I've looked back at this period of my life. It kinda makes me want to watch that movie again. It has been a LONG time, and I owe it a lot.

Maybe everything.

[thenightling]

This is interesting. Apparently Nickelodeon's live action TV movie musicals of Monster High were / are so successful that Universal Studios now wants to make a high budget (to be theatrically released) live-action Monster High movie.

(As far as I know, there will still be a third Nickelodeon Monster High movie this October, not connected to the Universal Studios version in development).

Universal Studios has made a new deal with Mattel, which suggests that their own planned Monster High movie will make specific reference to the Universal movie versions of the classic monsters and not just the public domain or zeitgeist idea of the characters.

So for anyone confused, this is NOT the third Nickelodeon Monster High TV movie. This is different. This will be a high budget Universal Studios project for an actual theatrical release and probably with direct references to the Universal monster movies.

(Joking) Boy, Universal's Dark Universe is certainly going in an unexpected direction! :-P

For those who don't know what Monster High is, Monster High is a line of collectable fashion dolls meant to be the children of classic monsters. They have tie-in books, animated series, music videos, and live action musical TV movies made by Nickelodeon.

Every six years Monster High gets a "soft reboot" where the collectable dolls get redesigned and the attached storylines are changed. For example in Generation 1 the school was like an American public High school and the principle was the Headless Mistress (A woman Headless Horseman, whose doll is now highly sought after by collectors).

Generation 2 changed the school to a boarding school created by Count Dracula to protect monster children from the threat of humans. This incarnation of Monster High heavily "borrowed" from Hotel Transylvania. The dolls also lost some quality and were more cheaply made. Their eyes were made bigger and the monstrous traits softened or greatly reduced. The zombie character, Ghoulia, was almost entirely dropped.

Generation 3 restored the dolls quality and gave them new body types such as Draculaura being shorter and more full-figured. She's also a vampire-witch (Love that combo).

Lagoona Blue is no longer Australian and (this change I don't like) is now pink instead of blue and they removed her webbed hands, making it hard to tell she is even the daughter of The Creature from the Black Lagoon.

Frankie Stein was given a prosthetic leg and is now nonbinary, using they / them pronouns.

The weird thing is Clawdeen (the werewolf) is now "half-human." ...How? Werewolfism is like diabetes. You either have it or you don't. There's no "half."

It is likely the new Universal movie will be intended for the next soft reboot but that's not scheduled until 2028.

It will be interesting to see what Universal studios does with merging their own classic monsters with the Monster High franchise.

[animenostalgia]

News - A new trailer for the English dub of the upcoming Dragon Ball Daima has been released, along with the news that Fathom Events will be doing a theatrical showing of the first 3 episodes in the US! Dates for the theatrical showings will be November 10-12, 2024 at participating theaters. Stephanie Nadolny was also confirmed to be returning to the franchise as the English dub voice for transformed "young" Goku. You can sign up for email updates on the theatrical showings on Fathom's official site here.

[pjo-gaysofgreeks]

I wrote this silly little thing for a graded final and I figured I’d share…

Allied Authordom: Rowling vs. Riordan

By Serena Martinez

Allyship does not demand perfection, but rather desire to grow. We are all unlearning internalized -phobias and -isms which have been normalized in society. The key to true allyship is recognizing you have the capacity to cause harm, do the work to be better, and consciously avoid hurting someone that way again.

Given the upcoming television adaptations of both J.K. Rowling and Rick Riordan’s popular series, I am going to use them as a case study example. The hoards of Millennials and Gen Zers that grew up with either or both series are now young adults with the ability to think critically and set their own moral principles. I am not sure I know someone in my age range who hasn’t at least watched a Harry Potter movie and most of my friends are eagerly following the new release of the Percy Jackson Series (December 20th!!!). As much as I wish people would turn towards new POC authors who are trailblazing their own paths of authordom, I know many are still tied to the nostalgia of the past.

When first published, neither series included diversity up to today’s standards. Both trios were completely composed of white cisgender people: a male protagonist, a male best friend and sidekick, and a female friend and potential love interest. Although Riordan intentionally made Percy neurodivergent to depict the experiences of his real life son and Rowling crafted the entire series to support species equality, the core representation remained the same. That doesn’t even include Rowling’s problematic stereotyping of the werewolves and goblins who were based on people with HIV/AIDS and Jewish communities respectively. Riordan and Rowling’s subsequent elaboration (or lack thereof) on their respective universes showcases the difference between them as authors and allies.

Rowling has essentially never budged from her original position on representation in her series. To her, making Hermione Black in the theatrical adaptation of the series and retroactively admitting Dumbledore is gay was enough to show she is a proper liberal ally. Many would deem this too little too late, especially given the stereotypes used to describe people of color in the series like Kingsley Shacklebolt and Cho Chang. Rowling showcases prime examples of tokenization without ever addressing such simplistic character depth over two decades after the series’ publication.

Then, of course, there is the significant harm caused by Rowling’s unapologetic transphobia. She has only doubled down since her first transphobic tweet in 2020 by publishing a book about a cisgender man dressing as a woman to murder people (emboldening the false and harmful narrative of the trans predator), donating to anti-trans companies and legislatures, and claiming that continued support of the Harry Potter Universe is proof that people are in support of her transphobia views.

I think Rowling could have come out of this unscathed had she admitted her books were a product of her time and apologized for her wrongdoing to the trans community. Instead, she has only chosen to dig her heels into hatred. Suffice it to say Rowling is the bad example of allyship amongst these two authors.

Riordan, on the other hand, heard readers’ criticism of his predominantly white and straight series and returned with a sequel including complex characters not defined by their racial, gendered, and sexual diversity. Riordan’s central characters in subsequent series were Latini, Creole, Chinese, Native American, Muslim, bisexual, and genderfluid. His newest book that follows a gay couple from the original Percy Jackson universe is co-authored with a queer writer because Riordan did not want to attempt to portray an experience so distinct from his own. When Leah Jeffries who plays Annabeth Chase in the new TV series experienced racism from fans online, Riordan published a statement calling out the behavior. Since interviews have started he has continued to ensure she is supported. Rick Riordan is certainly imperfect but has continued to use his privileged platform to uplift voices rather than misrepresent or silence them.

While Rowling uses Twitter to corral an army of transphobes that dox anyone who looks gender non conforming in their profile picture, Riordan uses his platforms to vocally confront hatred. The same year Rowling mocked gender inclusive language for people who menstruate, Riordan was staunchly calling out transphobes criticizing genderfluidity in his series.

It is not enough to just magically make characters different identities because doing so erases the complexity of each experience and makes representation a farce.

Onto the question everyone has been waiting for: what does this mean for the T.V. series?

This is not just about allyship. This is about how Rowling continues to harm trans communities during a time where they are already experiencing heightened levels of violence.

Do NOT watch the HBO Harry Potter series or anything where Rowling gets streams and thus money! Illegally stream it. Watch the old movies on DVDs you already own. But every view pads her wallet and her ego, emboldening her to fund and support transphobia globally.

Reread the Percy Jackson series in preparation for the much awaited television show. Delve into Harry Potter fanfiction which doesn’t line the pockets of the Author Who Shall Not Be Named. Try new series from queer authors of color who deserve to be platformed far more than Rowling ever did.

[ducktracy]

I've loved Looney Tunes and other theatrical short for decades. I watch them often, and seek out most new releases of our beloved old shorts. Still, your blog, tumblr, efforts, passion, writing, and art have helped me to enjoy, appreciate, and understand these cartoons and their production even more than I had before. Thank you for helping to expand my love for this medium. Enjoy your day and upcoming year. I INSIST!!!

REEEALLY SHOWING MY NEGLIGENCE IN ANSWERING ASKS WITH THIS ONE it was sent on my birthday........... back in MARCH :') BUT THANK YOU SO MUCH!!! OH MY GRACIOUS!!!! OHHHHHHHH this made me happy to read when it was sent and it makes me happy to read right now. beyond the realm of words! which is frustrating, because i would love to articulate a proper thank you!

BUT! THANK YOU! SO SO SO MUCH!! i am so glad to hear this, as it's everything i want to do!!! i strive to inform and entertain and educate, but most importantly i strive to love!!! there's no greater feeling than learning something new and inspiring a new perspective, or broadening a previous perspective, and having a whole new world of love and passion opened up to you. i am so so glad to hear this and so glad for YOUR (and everyone else's) engagement!! i'm gonna love and talk about these shorts and cartoons in general no matter what, but it's especially worthwhile to know that people are engaged and happy to learn and play along. THANK YOU! THANK YOU THANK YOU!!!! people like you are why i do what i do. and, thanks to people like you, i have had a good year and will continue to do my best to do so! i've had some dark spots, and some especially deep dark spots, but my love of cartoons and the support from people such as yourself have helped me navigate through them and i'm endlessly thankful.

i am so sorry for answering so late--i'm really trying to get better, because i know it can read as if i don't care or am taking all the kind messages i get for granted which is NEVER. THE CASE. and i never want to give off that impression. so it's just important for me to stress that i really appreciate messages such as this one beyond unbelievable belief (unbelievably!). just. THANK YOU!!!! THANK YOU THANK YOU THANK YOU!! <33333

[libraryledge]

Welcome (Back) to the 60's

“Hey mama, hey mama, look around

Everybody's grooving to a brand new sound”

These are the opening lines in the song “Welcome to the 60’s” from the 2002 musical, Hairspray in which Tracy Turnblad sings to her mother about the new possibilities that the world has to offer in the 1960’s. Tracy is right because about 60 years ago, everyone was grooving to a new sound both literally and metaphorically. The 1960’s were a significant period of time culturally, politically, and socially. New artists like The Beatles, Joan Baez, and Bob Dylan were emerging on the scene. Bumper bangs and miniskirts were all the rage. People were fighting for social justice and facing political unrest. Looking back on it from the lens of 2024, so much has changed, yet many elements of the 1960’s are still as relevant today as they were back then.

Without getting too political, it goes without saying that amidst a presidential election in America, people are anxious to see which direction the nation is headed. Student protests, assassination attempts, and ongoing wars are just some of the realities that are reminiscent of the climate of the 1960’s. Despite it all, it is the resilience of young people that triumphs amidst the uncertainty. Both in the 60’s and in the modern day, youth speak up for notable topics and underrepresented voices in their communities in order to spark change.

In terms of pop culture, many of the trends of the past are having a comeback. Sabrina Carpenter is a prime example of a Gen Z performer, whose musical style and fashion is making a retro statement in the twenty-first century. From her signature blowout bangs to her knee high boots to her short skirts, Carpenter’s style screams 60’s fashion. Her latest album, Short n’ Sweet pays homage to the vintage aesthetic as her music videos reference Bonnie and Clyde and songs allude to figures like Slim Pickens. Carpenter proves that the tendencies of decades prior are alive and thriving as ever.

Film is another area bringing the 1960’s back to the front lines. Case and point: the upcoming Bob Dylan film, A Complete Unknown starring Timothée Chalamet. It is safe to say that when the film is theatrically released, Bob Dylan and his story will not be a complete unknown as there will be a resurgence in the folk singer's music. This doesn’t imply that Dylan’s music ever disappeared from the scene, but rather that it will now be introduced to a younger audience after they view the film, proving that the iconic sound and lyricism of the 60’s is timeless.

When people reflect on the past, they may recall the good, or not so good old-times. While the moments themselves may have blown away in the wind, the impact of those times is still present. People in the 1960’s shared many of the anxieties and fears that we encounter today. This isn’t to say that the experiences in the 21st century aren’t unique, but rather, they serve as a reminder that history has been here before and we should use the examples of the past to guide us forward. As Tracy Turnblad sings:

“The future's got a million roads for you to choose

But you'll walk a little taller in some high-heeled shoes”

Embrace the old, but be willing to try something new. Create a future that is just right for you.

[demifiendrsa]

New official poster for Teenage Mutant Ninja Turtles: Mutant Mayhem

Paramount has moved the upcoming animated film's theatrical release date up by 2 days. The film will now hit theaters on August 2, 2023.

[kylejsugarman]

no one asked/cares but i saw this tweet in a toy collector group and its SO fascinating to me. ross bagdasarian jr (been the owner of the property since his father's death) has a quiet reputation of being very intense and demanding behind the scenes, so it's wild to have a tweet from an animator basically confirming that this was the case. most telling is the date here (1988): "the chipmunk adventure" came out in 1987 and was able to be animated BEAUTIFULLY because disney had let go of a huge chunk of its animators following the box office failure of "the black cauldron" and bagdasarian productions quickly hired them to animate their upcoming theatrical release. seeing the super high quality of that animation after years of saturday morning cartoon animation probably drove bagdasarian to demand that level of quality for the seasons of the show following the movie. there are also stories of the animators for "the chipmunk adventure" working under tremendous pressure and crunch, so it's not an isolated incident either.

[jocia92]

“The Ritual,” the upcoming exorcism horror in which Al Pacino and Dan Stevens play troubled priests, has sold out for most international territories by XYZ Films.

From director David Midell, the film was written by Midell and Enrico Natale, and produced by Andrew Stevens, Mitchell Welch and Natale. Ashley Greene and Abigail Cowen round out the cast.

XYZ, which has been quietly growing its own releasing arm on top of its sales operations, is planning a U.S. theatrical release in 2025.

Based on a true story, “The Ritual” follows two priests — one questioning his faith (Stevens) and one reckoning with a troubled past (Pacino) — who must put aside their differences to save a possessed young woman through a difficult and dangerous series of exorcisms. The film is an authentic portrayal of Emma Schmidt, an American woman whose demonic possession culminated in harrowing exorcisms. Her case remains the most thoroughly documented exorcism in American history.

International sales include Umbrella for Australia/New Zealand, PremiereTV for Benelux, KMBO for France, Leonine for Germany/Austria/Switzerland, TFG for Greece, Plaion for Italy, NOS for Portugal, Inopia for Spain, Altitude for U.K./Ireland, Pro Rom for Eastern Europe, Volga for CIS Baltics, Falcon for Middle East, Siyah Beyaz for Turkey, IDC for Latin America, PVR for India, PT Prima for Indonesia, Antenna for Malaysia, Filmbridge for Mongolia, Pioneer for Philippines, Shaw for Singapore and JNC for South Korea and Vietnam.