#david matalon

[milliondollarbaby87]

Totally Killer (2023) Review

The return of the infamous “Sweet Sixteen Killer” after 35 years since the frist murder spree to claim another victim, sends 17 year old Jamie back in time to 1987 in an attempt to work out the killer and stop it all before he can even start. ⭐️⭐️⭐️⭐️ Continue reading Untitled

[sinceileftyoublog]

Riot Fest 2024 Preview: 5 Cant'-miss Non-headliners

St. Vincent; Photo by Alex Da Corte

BY JORDAN MAINZER

Emo Friday, indie rock Saturday, metal Sunday seems to be the theme of this year's Riot Fest--at least for the bands in the big fonts on the poster. Of the bands previewed here, you've got your pop-punk farewell, your art rock heavyweight, and your post-punk up-and-comers, but also the finest of the alt-country and hip hop worlds today. Yes, I'm fully aware that two of them overlap, but who's to say you can't go half and half? Here are 5 can't-miss non-headliners.

FRIDAY

Sum 41, 6:05 PM, Cabaret Metro Stage

"I don't wanna believe that maybe this is the end," Deryck Whibley sings on "Landmines", a standout from Sum 41's eighth and final album Heaven :x: Hell (Rise). On the contrary, Whibley's been pretty publicly okay with hanging it up, and I have to imagine it's in no small reason due to the strength of the record, two discs that, respectively, dive into the pop punk of the band's early years and the more metal-adjacent sounds of their more recent releases. It's as if Sum 41's released a greatest hits album of their various aesthetics. The first disc, Heaven, opens with "Waiting on a Twist of Fate", an impassioned blast that Sum 41 can still do as well as anybody, and doesn't slow down for the majority of its runtime. Even the songs where Whibley expresses ennui are ripe for rousing singalongs, from the barnburner "Future Primitive" to the stadium-sized "Dopamine". The band sounds as exciting as ever; the interplay between Dave Baksh and Tom Thacker's guitars, and Frank Zummo's rolling drums propel songs like "Bad Mistake".

Impressively, the songs on Hell are no less catchy and perhaps even more dynamic, such as "Over the Edge", whose hardcore verses subside for the hooky chorus and an unexpected piano outro. "I Don't Need Anyone", a song written after the band decided on calling it quits, sports a big, swinging bassline from Jason McCaslin, as if to say, "We might miss playing music, but you're gonna miss the feeling you get when listening to us, more." They even find room to document their penchant for live covers, delivering a fairly straightforward though no less burly version of The Rolling Stones' "Paint it Black".

On closer "How the End Begins", Whibley's perhaps a little more honest than he was at the beginning of the album, singing, "Sometimes I wonder if I have enough to say / Or am I just an echo, a reflection of yesterday." Even if Heaven :x: Hell acts as a proper career retrospective, it's a hell of a time, something the band can be proud of for years to come. Catch them for the last time on Friday night and rap along to the immortal "Fat Lip".

Waxahatchee; Photo by Molly Matalon

Saturday

Waxahatchee, 6:15 PM, Radical Stage

Katie Crutchfield's brand of alt-country might be a stylistic outlier at Riot Fest, but that makes it all the more punk, if you ask me. Leaning into the high and lonesome has resulted in the two best Waxahatchee albums so far, 2020's Saint Cloud and this year's impressive Tigers Blood (Anti-). Hearing her and her venerable band play these songs, at golden hour? That's unbeatable.

St. Vincent, 6:35 PM, Cabaret Metro Stage

On St. Vincent's first self-produced album All Born Screaming (Total Pleasure), the oft-acting singer adopts her boldest persona yet: herself. Throughout the record, she sings about loss, grief, and the art of keeping on, with a sense of brutal honesty we haven't yet seen from Annie Clark. "Give it all away cause the whole world's watching you," she sings on groovy opener "Hell Is Near", ditching the idea of role atop swirls of syncopated synth layers, dramatic piano, and hypnotic twelve-string guitar. What she cares about most is being subsumed by the music--well, that, and you being subsumed by her music, Clark embedding herself in your ears, like on the slinky, whip-cracking "Flea", rife with her trademark guitar squalls.

Part of Clark's comparatively straightforward communication, though, is letting us know when she's struggling. On "Reckless", she's shaken by the idea that those she loves will one day be gone: "Hey, ma, I'm cracking up," she sings, her usual assured baritone morphing into a creaky falsetto. She uses industrial beats and repetition of phrases to mirror emotional states of panic or release, screaming over and over "What are you looking at?" during the outro of "Broken Man", ending the title track by consistently chanting "all born screaming" beside skittering drums and a propulsive synth line. At the same time, All Born Screaming still finds time for uplift. "Violent Times", laden with David Ralicke's cinematic horns, is a tribute to finding love and practicing art amidst societal chaos. And the gorgeous "Sweetest Fruit", a salad of synaptic synths, galivanting drums, and twangy electric guitars, is dedicated to queer creators like SOPHIE and political cartoonist Daniel Sotomayor who passed away far too young. Clark has spoken about how the act of screaming is a sign that you're alive. As such, All Born Screaming shows a newfound appreciation for her earthbound world.

Live, expect to hear much of All Born Screaming, plus standouts from St. Vincent's previous five or so records.

SPRINTS

Sunday

SPRINTS, 1:20 PM, Cabaret Metro Stage

They don't even have to begin their set with "Ticking", and SPRINTS are still guaranteed to keep you on the edge of your seat from start to finish. Yes, that song's build up of guitar, snare, and chanted vocals exemplifies the apex of the Dublin quartet's live intensity, but any of the hard-charging tunes on Letter to Self (City Slang), their terrific debut album, could introduce you to their urgent world. With SPRINTS, lead vocalist Karla Chubb sings about self-acceptance and love in the face of a world that stigmatizes depression and discriminates against queer folks, and she's got the might of Colm O'Reilly’s lead guitar, Sam McCann's groovy bass, and Jack Callan’s meaty drums to back her up. SPRINTS play early, and they might not play to a packed crowd, but everyone will leave a fan.

Tierra Whack, 5:00 PM, Rise Stage

Tierra Whack has been one of the most exciting figures in hip hop for the past half-decade. Her first major statement, her debut mixtape Whack World, consisted of 15 minute-long, world-building vignettes, each accompanied by a video. Her first three EPs introduced her as someone unafraid to blur genre lines, questioning the usefulness of such divisive tags to begin with. (They were appropriately titled Rap?, Pop?, and R&B?) Earlier this year, Whack finally released her debut studio album World Wide Whack (Interscope), and it's a proper emotionally complex follow-up to the identity struggles of Whack World. Sure, she flexes her rapping prowess and overall aura. "I make a dollar every time that my heart beats," Whack declares on "MS BEHAVE"; on "CHANEL PIT", she claims that--yes--at her concerts, the "mosh pit smell like Chanel." Much of World Wide Whack, though, is melancholy, delving into her anxiety and struggles with friendships and relationships. The nervous R&B of "BURNING BRAINS" is the sound of sensory overload, complete with pitch-shifted, molasses sweet, indecipherable backing vocals. On "IMAGINARY FRIENDS", built around a surf rock guitar line and minimal drums, she sings, heartbreakingly, " My last best friend, said he wish he didn't know me / His name was Oscar and he really hurt my feelings / When I grow up I want to hang from a ceilin'."

Whack often spits around understated, minimal production, and she references suicidal thoughts numerous times throughout World Wide Whack. But the album is not defeatist; instead, it's a statement of triumph despite her troubles. On "27 CLUB", talking through her ideations, Whack almost acts like her own guardian angel, showing herself what life would be like if she were gone. And the most joyous song on the record is "SHOWER SONG", a slice of Southern-fried synth funk about the joys of--you guessed it--singing in the shower. She adopts a nasal vocal style as if to emphasize her carefree attitude towards how she sounds, a moment where the ultimate curator is instead finding strength in her vulnerability.

It does take a good curator to put together an unforgettable live hip hop set, and Whack's likely to cull from her instant classic mixtape and new record at Riot Fest. Whether her mosh pit will smell like Chanel? To be determined.

[brokehorrorfan]

Murder is so 1987. From producer Jason Blum, Totally Killer will be released on October 6 exclusively on Prime Video, but I’m giving readers in the Massachusetts area the opportunity to see the horror-comedy early - and for free!

Broke Horror Fan is sponsoring an advance screening of Totally Killer at Cinema Salem in Salem, MA on Thursday, October 5, at 9pm. Click here to register for complimentary passes while supplies last. Seating is first-come, first-served and not guaranteed, so be sure to arrive early!

Nahnatchka Khan (Always Be My Maybe) directs from a script by Jen D'Angelo (Hocus Pocus 2), David Matalon, and Sasha Perl-Raver. Kiernan Shipka, Olivia Holt, Charlie Gillespie, Lochlyn Munro, Troy L. Johnson, Liana Liberato, Kelcey Mawema, Stephi Chin-Salvo, Anna Diaz, Randall Park, and Julie Bowen star.

35 years after the shocking murder of three teens, the infamous “Sweet Sixteen Killer“ returns on Halloween night to claim a fourth victim. Seventeen-year-old Jamie (Kiernan Shipka) ignores her overprotective mom’s (Julie Bowen) warning and comes face-to-face with the masked maniac and, on the run for her life, accidentally time-travels to 1987, the year of the original killings. Forced to navigate the unfamiliar and outrageous culture of the 1980s, Jamie teams up with her teen mom (Olivia Holt) to take down the killer once and for all, before she’s stuck in the past forever.

[nishikiyamayuko]

The Yuko/Yumi dynamic

Jean-Paul Sartre, The Flies / Like A Dragon: Prologue, Takeshi Miyasaka / egyptian colossal of ramesses II and the goddess sekhmet, @brunetteg1rl / September, Molly Matalon / Like A Dragon: Prologue, Takeshi Miyasaka / David Axelbank, Night Flower 025 / John Steinbeck, The Winter of Our Discontent / Like A Dragon: Prologue, Takeshi Miyasaka / L'homme sous les palmes, Dolores Marat / Nathaniel Hawthorne, The American Notebooks / Like A Dragon: Prologue, Takeshi Miyasaka

[darkmovies]

Totally Killer (2023) Date de sortie : 06/10/2023 Réalisateur : Nahnatchka Khan Scénario : David Matalon, Sasha Perl-Raver, Jen D’Angelo Avec : Kiernan Shipka, Olivia Holt, Charlie Gillespie

[kevinsreviewcatalogue]

Review: Totally Killer (2023)

Totally Killer (2023)

Rated R for bloody violence, language, sexual material, and teen drug/alcohol use

<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2023/10/review-totally-killer-2023.html>

Score: 3 out of 5

Totally Killer is a film where you can see the marks of Happy Death Day written all over it. That movie, which has grown in my estimation over the years, set a template for a kind of horror-comedy that Blumhouse has since come to specialize in, one that combines a slasher movie storyline with a big, high-concept hook straight out of a classic retro comedy (in Happy Death Day's case, it was Groundhog Day). In this case, director Nahnatchka Khan and writers David Matalon, Sasha Perl-Raver, and Jen D'Angelo not only put a slasher twist on the basic plot of Back to the Future and the Bill & Ted films, they went the extra mile and set large parts of the film in the '80s as well, having its modern-day protagonist confounded by the values of the decade as much as Marty McFly was by the '50s. The result is a film I enjoyed, but wanted to like more than I actually did given the wild ride that the trailers promised. On one hand, it nailed the comedy side of the equation and had a cool-looking killer, a great co-lead performance by Olivia Holt as an '80s mean girl, and a story that seemed to be going in some interesting directions, but on the other, the horror side was fairly rote, it held back on some of the ideas it leaned towards, and its leading lady Kiernan Shipka didn't do much to elevate the material. Ultimately, I'd sooner rewatch The Final Girls as a film that did a superficially similar story more effectively, but I can't deny that there's still a lot to like about this one, and I don't regret having watched it.

The film starts on Halloween in 2023, thirty-six years after Pam Hughes survived a killing spree where three of her friends were murdered by the "Sweet Sixteen Killer", a masked murderer who stabbed each of his victims sixteen times on their sixteenth birthdays in late October. Now, Pam is a soccer mom with a teenage daughter named (what else?) Jamie -- and tonight, she herself gets murdered by the Sweet Sixteen Killer, who was never caught and seems to have come back to finish the job. Jamie, distraught over her mother's death, suddenly receives two leads, first from a local true crime podcaster named Chris who tells her that Pam had received a note from the killer reading "you're next, one day" that she had kept secret, and second from her best friend Amelia, a science whiz who's trying to enter the science fair with a time machine that her mother Lauren designed but which she can't get to work. Thanks to some accidental intervention by the killer, Jamie somehow manages to figure out how to make the machine work, and gets sent back in time to 1987 on the day of the first murder. With a heads-up from the killer, she sets out to not only solve her mother's murder in the present, but also save her mother's friends in the past.

The comedy side of the film was clearly where Khan and the writers were most invested in the material. A lot of humor is mined from Jamie's reactions to not only how different the adults in her life were when they were her age, but also how the '80s were a very different time when it came to everything from politics to permissiveness, and not necessarily for the better, a rather appropriate perspective to take given how much of the film's plot concerns Jamie realizing just how much of a bitch her mother was back when she was her age. And on that note, Olivia Holt as young Pam was this film's heart and soul, not only looking like a perfect dead ringer for a young Julie Bowen (who plays her grown-up self) but understanding the assignment and feeling like nothing less than a more mean-spirited (if still heroic) version of the characters that her idol Molly Ringwald plays. Whenever Holt was on screen, which was fortunately often, this movie sparkled to life. The supporting cast, too, served as capable accomplices for Holt, whether it's their job to act frightened or make you laugh, and occasionally do both at the same time. (One kill in particular late in the film stands as one of the funniest "comedy" deaths I've ever seen.) The horror side of the film was a fairly boilerplate whodunit slasher that would be familiar to anyone who's seen Scream (a film that this one namedrops) or any of the films that followed in its wake. However, it was elevated by a killer whose look alone was creepy, wearing a Max Headroom-inspired mask that feels right at home in this movie's darkly comic sendup of the '80s and giving a twisted sort of edge to him. It may have just been aesthetics rather than substance, but those aesthetics were really damn cool, and given how much this movie is powered by a love of the visual and sonic landscape of '80s pop culture, it was exactly what the movie needed.

It was fortunate that this movie had Holt and its totally killer (sorry) style propelling it, because there were otherwise a lot of weak links here -- and unfortunately, they were some big ones. For starters, while I liked Kiernan Shipka on Chilling Adventures of Sabrina, I found myself very disappointed with her performance here, a problem given that she was supposed to be the main character. She acquitted herself well enough with the scares and as the "straight man" to the humor, but this film was built around Jamie's relationship with her mother, and while Holt carried her side of that story well enough, Shipka fell flat and couldn't get me interested in the character. What's more, the writing missed some very interesting and incisive directions that it could've gone in, tying Jamie's shock at her mother's awful behavior as a teenager to the jokes poking fun at the political incorrectness of the '80s and using both to craft a broader theme about how our memories of the past are all too often colored by selective nostalgia that glosses over the uncomfortable sides of the things we love. It's a dramatic throughline that was practically right there, waiting to be tapped, and yet the film barely even seems to think about how two of its primary elements might connect to one another. Finally, the reveal of the killer's identity was telegraphed almost from the moment we're introduced to one particular character, and the film did nothing to play around with it, resulting in a flat, uninteresting villain with a motive that's been done many times before and often better.

The Bottom Line

Totally Killer is goofy to a fault, seeming to actively avoid finding any deeper meaning in what it's saying in favor of delivering a sugar rush of '80s nostalgia. On that front, it delivered exactly what it set out to, a mix of retro aesthetics, lots of funny jokes, and a performance by Olivia Holt that ought to be a stepping stone to bigger and better things. If you wanna have some fun, check it out, though I do wish it got a bit meatier than it wound up being.

[moviesandmania]

TOTALLY KILLER (2023) Comedy horror slasher soon on Prime - red band trailer!

Totally Killer is a 2023 comedy horror slasher film about a teenage girl who goes back in time thirty-five years to stop a serial killer. Directed by Nahnatchka Khan from a screenplay co-written by Jen D’Angelo, David Matalon and Sasha Perl-Raver from a story by David Matalon and Sasha Perl-Raver. Produced by Jason Blum, Greg Gilreath, Adam Hendricks and Adan Orozco. The Divide/Conquer-Blumhouse…

[easilybruisedfeminist]

OCTOBER 1 - TOTALLY KILLER (2023)

Screenplay by David Matalon, Sasha Perl-Raver, and Jen D'Angelo / Story by David Matalon and Sasha Perl-Raver

Directed by Nahnatchka Khan

Very short summary:

Young woman (Kiernan Shipka) from now travels through time to 1987 to kill the "Sweet Sixteen Killer" before he strikes again - both in the now and then!

Thoughts:

First off, I will admit to being a total Blumhouse Production fangirl. PARANORMAL ACTIVITY. SINISTER. GET OUT. All of those are BP joints, and I could name half a dozen more movies/franchises off the top of my head that you've definitely heard of and/or seen. Point is, Blum loves horror and innovation, and he's giving voice to so many incredible storytellers.

As for TOTALLY KILLER, I stumbled across it last year on the day of its release on Prime. Based on the short synopsis, this hit a lot of my sweet spots - horror, comedy, female lead, time travel, Blumhouse - so, without even watching the trailer, I dove in.

This movie is SO. MUCH. FUN! Shipka turns in a great performance as the lead and her supporting cast shines, too. Part of that is due to the funny, whip-smart writing. The characters are (for the most part) well fleshed out and are genuinely likeable. A banging soundtrack is a perfect accompaniment to Khan's energetic and seasoned direction. She's a busy woman and for good reason. I've given this a lot of thought, and I think the best phrase to describe her style is "joie de vivre" (for those of you who didn't take a year and a half of hs French, that translates to "joy of life").

As someone who grew up on splatterpunk, and who unabashedly enjoys the SAW movies, I'd put the gore level at low to medium, but YMMV.

Bottom line: 🎃🎃🎃🎃/5

Sharp, well-paced, and hella enjoyable! Even if you're tired of the glut of movies and TV shows set in the '80s or '90s, TOTALLY KILLER is a serious cut above the rest. 😁

Where can I watch this? Amazon Prime

Hopefully I'll get caught up soon! Stay tuned!

-x🎃

[ulkaralakbarova]

A blind Vietnam vet, trained as a swordfighter, comes to America and helps to rescue the son of a fellow soldier. Credits: TheMovieDb. Film Cast: Nick Parker: Rutger Hauer Frank Devereaux: Terry O’Quinn Billy Devereaux: Brandon Call Cobb: Charles Cooper MacCready: Noble Willingham Annie Winchester: Lisa Blount Lynn Devereaux: Meg Foster The Assassin: Sho Kosugi Slag: Randall “Tex” Cobb Lyle Pike: Nick Cassavetes Tector Pike: Rick Overton Latin Girl: Julia González Gang Leader: Paul James Vasquez Crooked Miami Cop #1: Woody Watson Crooked Miami Cop #2: Alex Morris Bus Station Cop: Mark Fickert Popcorn: Weasel Forshaw Six Pack: Roy Morgan Snow: Tim Mateer Female Biker: C.K. McFarland Cornfield Killer #1: T.J. McFarland Cornfiled Killer #2: Blue Deckert Cornfield Killer #3: Glenn Lampert Cornfield Killer #4: Red Mitchell Rockwell Mom: Bonnie Suggs Rockwell Dad: Harold Suggs Freeway Lady #1: Barbara Gulling-Goff Freeway Lady #3: Holly Cross Vagley Freeway Lady #2: Dorothy Young Colleen: Sharon Shackelford Casino Bodyguard #1: Jay Pennison Casino Bodyguard #2: Masanori Toguchi Crooked Croupier: R. Nelson Brown Croupier #2: Lincoln Casey Jr. Croupier #3: Gene Skillen Big Mama: Debora Williams Casino Cowboy: Kyle Thatcher Casino Patron: Patricia Mathews Waiter in Elevator: Mitch Hrushowy Penthouse Guard #1: Ernest Mack Penthouse Guard #2: Linwood Walker Drug Dealer: Robert Prentiss Ski Lodge Killer #1: Jeffrey J. Dashnaw Ski Lodge Killer #2: Glenn R. Wilder Ski Lodge Killer #3: David R. Ellis Ski Lodge Killer #4: Michael Adams Ski Lodge Killer #5: Dave Bartholomew Ski Lodge Killer #6: Fred Lerner Ski Lodge Killer #7: Mike Shanks Ski Lodge Killer #8: Ray Colbert Film Crew: Director of Photography: Don Burgess Executive Producer: Robert W. Cort Producer: Daniel Grodnik Director: Phillip Noyce Producer: Tim Matheson Executive Producer: David Madden Associate Producer: Charles Robert Carner Production Design: Peter Murton Editor: David A. Simmons Original Music Composer: J. Peter Robinson Location Manager: Carole Fontana Unit Production Manager: Dennis Stuart Murphy Location Scout: Mike Harrowing Set Designer: Lauren E. Polizzi Title Designer: Michael Lodge Costume Design: Katherine Dover Production Coordinator: Jeffrey J. Kiehlbauch Casting Assistant: Louise Marrufo Production Coordinator: Gina Scheerer Casting: Junie Lowry-Johnson Casting Associate: William A. Johnson Art Direction: John Myhre Casting Assistant: Elisa Goodman Location Manager: Susan Elkins Script Supervisor: Helen Caldwell Set Decoration: Tom Talbert Second Unit Director: Dick Ziker Key Makeup Artist: Karoly Balazs Special Effects Makeup Artist: J.C. Matalon Assistant Hairstylist: Jan Sebastian Key Makeup Artist: Jeanne Van Phue Hairstylist: Cinzia Zanetti Production Manager: Leonard Bram Executive In Charge Of Production: Ted Zachary Additional Second Assistant Director: Sandy Collister Second Assistant Director: K.C. Colwell First Assistant Director: Tom Davies Second Assistant Director: Douglas Dean III Second Assistant Director: Thomas A. Irvine First Assistant Director: Donald P.H. Eaton Second Unit Director: Max Kleven Set Dresser: Joel Bestrop Art Direction: Michael Marcus Set Decoration: Nicholas T. Preovolos Sound Editor: Gregg Baxter Production Sound Mixer: Jacob Goldstein Assistant Sound Editor: David Hagberg Sound Re-Recording Mixer: Grover B. Helsley Sound Editor: Michael Hilkene Sound Mixer: Walter Hoylman Sound Editor: David M. Ice Sound Editor: Doug Jackson Special Sound Effects: Eric Lindemann Sound Re-Recording Mixer: William L. McCaughey Boom Operator: Prometheus Patient ADR Editor: Tally Paulos Foley Mixer: Troy Porter Sound Re-Recording Mixer: Richard D. Rogers Foley Artist: Joan Rowe Sound Editor: Christopher Sheldon Assistant Sound Editor: Thomas W. Small Foley Artist: Jerry Trent Special Effects Coordinator: Martin Bresin Special Effects Assistant: Steven C. Foster Special Effects Assistant: Marvin Gardner Special Effects Coordinator: Allen Hall Special Effects Supervisor: Mike Manzel Special Effects Assistant: Joe Montenegr...

[encychrono25]

Joyeux anniversaire à Salvatore ADAMO, 80 ans,

né le 1er novembre 1943 à Comiso en Sicile.

Chanteur auteur-compositeur italo - belge, (il acquiert la double nationalité italo-belge au début de l'année 2019).

Sa filmographie....

1967 : Les Arnaud de Léo Joannon : André Arnaud

1969 : L'Ardoise de Claude Bernard-Aubert : Philippe

1970 : L'Île au coquelicot (1970) de Salvatore Adamo et Eddy Matalon : Emmanuel

2003 : Laisse tes mains sur mes hanches (2003) de Chantal Lauby : lui-même

2006-2008 : Melting-pot café de Jean-Pierre Goossens : lui-même

2012 : Lili David de Christophe Barraud : lui-même

2017 : Les Chamois : lui-même

🎞🎞 Sa biographie, sa filmographie.....

https://fr.wikipedia.org/wiki/Salvatore_Adamo

-

[themovieblogonline]

Totally Killer Review: A Time-Travel Slasher Extravaganza

Totally Killer, directed by Nahnatchka Khan and crafted from the imaginative minds of screenwriters David Matalon, Sasha Perl-Raver, and Jen D'Angelo, is an enthralling, suspenseful, and shockingly wholesome film that seamlessly melds elements of thriller, horror, and time-travel genres. Set against the backdrop of 1987, this film takes audiences on a roller-coaster ride through time, weaving a tale of suspense, nostalgia, and the unbreakable bond between a mother and daughter. https://www.youtube.com/watch?v=vNm3VPPKEQI The Good: At its core, Totally Killer revolves around a haunting premise: after witnessing her mother’s friends fall victim to the Sweet Sixteen Killer on Halloween night, Jamie, portrayed with exceptional depth by Kiernan Shipka, embarks on a journey back in time to 1987. This daring venture thrusts her into a race against time, forcing her to confront the killer before he can unleash his reign of terror, all while attempting to find her way back to her own timeline. One of the film's strongest points is its impeccable casting. Kiernan Shipka delivers a stellar performance as Jamie, capturing the character’s determination, vulnerability, and resilience with remarkable finesse. Julie Bowen, as Pam, the adult version of Jamie's mother, exudes a mix of strength and vulnerability, anchoring the film emotionally. The seamless transition between Olivia Holt and Bowen as the teenage and adult Pam, respectively, adds a layer of authenticity to their shared role, highlighting the subtle nuances of their performances. The screenplay, crafted by Matalon, Perl-Raver, and D'Angelo, masterfully navigates the complexities of time travel. The narrative is meticulously woven, incorporating intricate details and clever plot twists that keep the audience on the edge of their seats. The dialogues are sharp, poignant, and laden with underlying tension, adding depth to the characters and their relationships. To be honest, it's hard to find another film that traverses the subject of time travel as beautifully as this movie does. It's extremely similar in tone to Christopher Landon's Freaky - a movie that's most definitely a slasher at heart, but is also filled to the brim with wholesome vibes. It's quite random, sure, but can we please see a crossover with this and Happy Death Day and Freaky? Director Nahnatchka Khan deserves accolades for her exceptional vision and execution. She skillfully captures the essence of the 1980s, immersing the audience in a vibrant world of neon lights, retro fashion, and iconic music. The meticulous attention to period-specific details lends authenticity to the film, invoking a sense of nostalgia for viewers who lived through that era while providing younger audiences with a captivating glimpse into the past. The film's cinematography, helmed by Judd Overton, is visually striking. The juxtaposition of eerie, dimly lit scenes with the neon-drenched landscapes of 1987 creates a visually dynamic experience. The use of suspenseful camera angles and innovative visual effects intensifies the film's overall impact, heightening the sense of dread and anticipation. Additionally, the film's score, composed by Michael Andrews, perfectly complements the on-screen action. The haunting melodies and pulse-pounding beats enhance the atmosphere, eliciting a range of emotions from the audience. From heart-pounding chase sequences to poignant moments of introspection, the music serves as a powerful narrative tool, elevating the film to greater heights. Totally Killer is not merely a thrilling time-travel escapade; it delves deep into the themes of family, love, and the resilience of the human spirit. Through Jamie and Pam’s poignant relationship, the film explores the lengths a mother and daughter would go to protect each other, even across the barriers of time. This emotional core adds a layer of depth to the narrative, resonating with audiences on a profound level. The Bad: However, the film is not without its minor flaws. At certain points, the pacing feels slightly uneven, with moments of intense action giving way to slower, contemplative scenes. While these moments contribute to character development, a tighter grip on pacing could have elevated the film's overall intensity. Overall: Totally Killer stands as a testament to the power of compelling storytelling and exceptional filmmaking. Its gripping plot, stellar performances, meticulous attention to detail, wholesome undertones, and emotional resonance make it a standout entry in the time-travel subgenre. The film's ability to transport audiences to a different era while unraveling a riveting mystery is a testament to the talent and creativity of its creators. It's also a great film to watch if you want to be put in a great mood, even with all the killings on-screen. This is sure to be a sleeper hit, so make sure to go check it out right away. Read the full article

[greensparty]

The Eric and Mike Show segment with Squid

Between 1992 and 1995, I co-wrote, co-produced, and co-hosted a cable access TV show, The Eric and Mike Show, which aired on Bedford Cable Access in Bedford, MA. It was my friend Mike and I doing comedy skits, having local guests and local bands on. Now a clip from that show has actually surfaced on the internet for the first time (to my knowledge).

To back up: I was raised on SNL, MTV, David Letterman, The Ben Stiller Show, and Rolling Stone magazine. All of those influenced me immensely. As a teen, I thought it would be cool to produce a TV show. Mike and I approached the cable access station and discussed what it would take to get a TV show. Mike and I came up with some skits. Along with our director Andrew, we shot the show (on VHS) and edited it (on cuts-only VCRs). We had local guests on and local musicians as well. I was super ambitious and watching the show now, it’s better than I sometimes thought it was.

In Summer of 1994, while taking a Summer course as Boston University, I frequented Guitar Center on Comm Ave. I soon befriended employee Scott Palmer, who told me about his funk-rock band Squid he was the bassist for. He gave me their CD and I invited them to be on the show. In Sept. 1994, Andrew and I sent to The Rat. We filmed an interview with them and their performance. The segment aired on our Oct. 24, 1994 episode. In this clip, there is an intro from Mike and I, my interview with the band and then the bands performances (with closing credits over the second song). It was a time before every band having a website or a social media handle, so when I ask where fans can hear about their upcoming shows, they actually gave a mailing address and phone number to be added to their mailing list!?!

I didn’t keep up with Squid after that year. Sometime in the early 00s when I was living in NYC, my Mom gave me a letter that was sent to her house. It was from the Palmer family informing me that Scott Palmer had passed away and a memorial scholarship they were setting up. Bummer! Sometime in the early 2010s when I moved back to Boston, I was in touch with Scott Matalon about his production company Metropolitan Pictures. But it wasn’t until last year when I saw Scott in the Chet’s Last Call documentary that I realized he was the singer for Squid, who I interviewed on my cable access TV show in 1994. We had a good laugh about it when we reconnected. I converted from VHS to digital, the Squid segment from The Eric and Mike Show and he has shared it on YouTube. Enjoy!

[fearsmagazine]

Prime Video and Blumhouse Announce TOTALLY KILLER

The slasher-comedy horror film stars Kiernan Shipka, Olivia Holt, Julie Bowen, and Randall Park.

Julian Ungano/Jake Cloobeck/Theo & Juliet/Storm Santos

Prime Video and Blumhouse Television announced the upcoming slasher-comedy horror film Totally Killer, from Amazon Studios and Blumhouse. The film will star Kiernan Shipka (Chilling Adventures of Sabrina, Mad Men), Olivia Holt (Cruel Summer), Julie Bowen (Modern Family, Life of the Party), and Randall Park (Always Be My Maybe, Fresh off the Boat). Nahnatchka Khan (Always Be My Maybe, Young Rock, Don Wong) is directing, and Jen D’Angelo penned the screenplay based on an original script by David Matalon and Sasha Perl-Raver. Principal photography begins today in Vancouver.

The film follows Jamie (Shipka) whose mom, Pam (Bowen) is terrorized by the resurgence of the Sweet Sixteen Killer—a masked maniac that slaughtered a group of teenage girls in the ‘80s. With the help of her friend Amelia (Kelcey Mawema), she travels back in time to 1987 and teams up with the teen version of her mom (Holt) to try and stop the killer.

The cast of newcomers and established actors portraying characters in the film include Lochlyn Munro (“Adult Blake”), Charlie Gillespie (“Teen Blake”), Stephi Chin-Salvo (“Marisa Song”), Anna Diaz (“Heather Hernandez”), Jeremy Monn-Djasgnar (“Teen Randy Finkle”), Troy Leigh-Anne Johnson (“Teen Lauren”), Ella Choi (“Teen Kara Molnar”), Kelcey Mawema (“Amelia”), Liana Liberato (“Tiffany Clark”), Nathaniel Appiah (“Teen Doug Summers”), and Jonathan Potts (“Adult Chris Dubusage”).

The news comes on the heels of the announcement that Prime Video and Blumhouse acquired worldwide rights for the horror-drama and Sundance Grand Jury Prize winner Nanny from first-time feature writer/director Nikyatu Jusu. Additionally, the two companies have released eight films in the past two years as a part of their “Welcome to the Blumhouse” series, including: Bingo Hell, Black as Night, Madres, The Manor, Black Box, Evil Eye, Nocturne, and The Lie.

“The idea of a horror-comedy time travel movie is, I’m gonna be honest, something I never thought of in my life. So when I was approached by the amazing creatives at Blumhouse and Amazon about Totally Killer, it was just so unique and exciting I had to be involved. And then add this incredible cast on top of that? Everybody get readyyyyyyy,” said director Nahnatchka Khan.

“We thought this genre mash-up of slasher/comedy with a twist of time travel was just so fun, and Nahnatchka Khan is perfect to direct,” said Chris McCumber, president of Blumhouse Television.    

“With Nahnatchka’s vision and the exciting cast led by Kiernan Shipka and Olivia Holt, we are confident Totally Killer will resonate with our audience around the world,” said Julie Rapaport, head of movies at Amazon Studios. “We could not be more thrilled to watch this story come to life and to continue our longstanding collaboration with the incredible team at Blumhouse.”

[filmhabits]

The Clearing - Poster

In theaters June 4, 2020 (USA)