#family star theatrical trailer

[3nn-express]

Family Star Movie: Vijay Deverakonda & Mrunal Thakur’s film.

Family Star Movie review: The biggest drawback of the Vijay Deverakonda-Mrunal Thakur film perhaps is Parashuram’s writing. The story itself is utterly dated and the treatment has no spark.

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[brokehorrorfan]

Elvira: Mistress of the Dark will be released on 4K Ultra HD on November 12 via Arrow Video. Sara Deck designed the cover art for the 1988 horror-comedy; the original poster is on the reverse side.

Cassandra Peterson stars as her horror hostess alter ego and co-wrote the script with Sam Egan (The Outer Limits) and John Paragon (Pee-wee’s Playhouse). James Signorelli (Saturday Night Live) directs. W. Morgan Sheppard, Daniel Greene, Jeff Conaway, Susan Kellermann, and Edie McClurg round out the cast.

Elvira: Mistress of the Dark has been newly restored in 4K with Dolby Vision and uncompressed stereo 2.0 audio. Special features are listed below, where you can also see more of the packaging.

Special features:

Introduction by director James Signorelli

Audio commentary with actors Cassandra Peterson and Edie McClurg and writer John Paragon

Audio commentary with director James Signorelli, moderated by horror journalist Tony Timpone

Audio commentary with Elvira webmaster Patterson Lundquist

Too Macabre: The Making of Elvira: Mistress of the Dark – Feature-length making-of documentary with cast and crew

Recipe for Terror: The Creation of the Pot Monster

Original storyboards

Image galleries 

Theatrical trailer

Teaser trailer

Booklet with writing on the film by Sam Irving, Kat Ellinger, and Patterson Lundquist

Having just quit her job as a Los Angeles TV horror hostess, Elvira receives the unexpected news that she’s set to inherit part of her great aunt Morgana’s estate. Arriving in the small town of Fallwell, Massachusetts to claim her inheritance, Elvira receives a less than enthusiastic reception from the conservative locals – amongst them, her sinister uncle Vincent, who, unbeknownst to Elvira, is in fact an evil warlock secretly scheming to steal the old family spellbook for his own nefarious ends…

Pre-order Elvira: Mistress of the Dark.

[consanguinitatum]

David Tennant's Obscure TV Appearances: 1989's Biting The Hands

I'm back from my visit with my family and ready to dive straight into my latest find - I'm excited to share I've finally obtained access to David's 3rd earliest TV performance! His first two performances were in 1988: his anti-smoking ad, and in Dramarama: The Secret Of Croftmore. And in 1989 he did a Play On One called Biting The Hands. And I've FINALLY got it! Biting The Hands has been one of the most elusive pieces of work David did in his early years. First, it wasn't a sitcom or an ad but a one-off play, and it was broadcast in the late 1980s, limiting its exposure to those who might be recording on beta or VHS. It was part of the second series of the prime-time contemporary single TV play series, The Play On One (which was itself a re-tooling of an older series called The Play For Today.) Biting The Hands was directed by Carol Wilks and produced by Norman McCandlish. It was 75 mins in length, and was broadcast at 9:30 pm on 11 Apr 1989. Here's the play's synopsis: "Linda and Gail are Hell's Belles - an alternative comedy double act. When success begins to beckon, they must decide whether to change their act or keep doing what they believe in. Are their principles justified, or are they just 'biting the hand that feeds them'?"

The writer of Biting The Hands, Rona Munro, was born in Aberdeen in 1959 and is an award-winning Scottish playwright. She started writing professionally in 1981 and has written for film, television, stage and radio. Biting The Hands was Munro's first play for BBC-TV. Given today's excitement about the Doctor Who 60th Anniversary trailer, it might interest Whovians to know Munro wrote the classic DW story Survival as well as the New Who story The Eaters of Light, making her the first (and only!) writer to do both Classic and New Who!

But Munro has yet ANOTHER connection with our dear DT! For their production of Scotland Matters in 1992, the 7:84 Scottish People's Theatre asked established Scottish writers to consider aspects of life in Scotland and write playlets about them. Munro was one of these writers! She wrote a playlet called 'The Fence' for Scotland Matters which concerned the interrogation of a Gulf War peace protester. In a turn around of questioning technique, we are told the story through the security police and not via the protester. David played the protester Keith!

But back to Biting The Hands - which was produced three years before Scotland Matters and filmed when David was still in drama school. Let's take a look at what the play was about, and go more in depth about its stars: Judith Sweeney (Linda) and Louise Beattie (Gail).

Judith Sweeney (Linda McKay) attended David's alma mater - the RSAMD, now the Royal Conservatoire - and graduated in 1977. She played the role of Sally Shaw on the Scottish soap opera Take The High Road. Louise Beattie (Gail Graham) later went on to star in Emmerdale.

Here are a few more articles on "Biting The Hands" from the time of its broadcast:

Beattie's older sister Maureen has ALSO starred with DT many times! Among these are For One Night Only (an evening of theatrical prose, poetry, and gossip at the Swan Theatre for the 1998 RSC Fringe Festival) and a 2001 staged reading of Medea at the Cottesloe Theatre. More recently, Maureen has played David’s mother in Deadwater Fell, and Kelly MacDonald's mother in The Decoy Bride!

Now we've been introduced to the stars of the play, and we know what it's about, let's get to David's part! His part begins about 47 minutes into the play, and it's a role which makes up a total of about 20 whole seconds. He plays one of three squaddies (low-ranking military) and is in a group of soldiers who travel on the train the main characters Linda and Gail board in Edinburgh to go to London - but he's not seen in this particular scene. After the ladies board the return train back home to Edinburgh, by coincidence these same squaddies happen to be traveling on their train. David's character is the only one of the squaddies to speak, and his words entail wolf-whistles at the two women and calling them "Pet"! Here are some screenshots:

In a later scene, Linda and Gail happen to bump into another friend on the train, and the three open a bottle of liquor and sing and drink. David's character sings and drinks with them. Here are a few screenshots of that short scene:

You may notice in the first set of screenshots David is clean shaven & in the second, he sports a mustache. These scenes all supposedly occur on the same train from London to Edinburgh so it seems there's a continuity error here. Perhaps these scenes were shot at different times?

These short scenes are the only times David appears in the play. He's given credit in the end titles. Of significance, though, is he is NOT credited as the "Third Squaddie" (a designation I've seen all over the Internet for close to a decade). He's just the third squaddie listed.

The BFI (British Film Institute) holds a VHS video recording of Biting The Hands. The copy is in "pending" status, which means it's unlikely the copy can be viewed.

Before I close this post on Biting The Hands, two more little benefits: here are its opening sequence, and its title frame!

[tina-aumont]

Last Summer in the Hamptons (1995)

Film directed by Henry Jaglom and starring Victoria Foyt and Viveca Lindfors.

Filmed entirely on location in East Hampton, Long Island, "Last Summer in the Hamptons" concerns a large theatrical family spending the last weekend of their summer together at the decades-old family retreat which economic circumstances have forced them to put on the market. Victoria Foyt plays a young Hollywood actress whose visit wreaks havoc on the stellar group of family and friends - led by matriarch Viveca Lindfors and made up of an extraordinary mix of prominent New York actors, directors, and playwrights. In the course of a very unusual weekend, comic as well as serious situations arise, and the family's secrets - of which there are many - begin to unravel. (written by Rainbow)

Raïna Paris plays one of the theatre audience.

You can watch the full film here.

Very special thanks to @74paris for sending me the link to the trailer of this film.

[c6jpg]

okay okay arlecchino story quest thoughts

overall i liked it but mainly the whole duel sequence which was fucking awesome but some points that bugged me:

the release of arlecchino's animated short basically spoiling the entire story quest

mentioned in the tags of my previous post but yeah i think the story quest would have been a lot more... idk interesting? revealing? if the animated short had been released after this patch/story quest. you basically spend the entire first half of the story quest already knowing the "twist" and have to watch literally everyone else figure it out which is never really engaging nor fun story telling.

like you KNOWWW arlecchino is not "that evil" and you KNOWWWWW all these atrocities were from the previous knave so seeing literally everybody go through these theatrics is a little. sigh. idk. like i was just waiting to get to the boss fight bc i knew the corresponding cutscenes would be awesome (and they were) and getting random fatui insider knowledge was fun i enjoyed having what was effectively seeing arlecchino and childe in the office break room but we didn't really learn anything we didn't already know

also. arlecchino is hardly the first but it really is just kinda. sigh when you basically get a whole scene of the character explaining their OWN tragic backstory. once again genshin fails to show not tell

freminet

i know a lot of people are upset about the freminet timeline. honestly idc at this point i'll suspend my belief whatever yadda yadda but i do think it was a cop out for freminet to have like. not at least been SUSPICIOUS that clervie was possibly talking about the previous knave just because crucabena "didn't talk about it and all the experiments ended" by the time he joined the house

like he spent a significant time with clervie (half a month right?) trying to help her out and even if clervie was "a child stuck in the past" she wasn't exactly trying to hide anything and they ALL knew she was some sort of ghost or maybe something tied to memories/leylines. and he KNEW crucabena so i'm just like. a little aghast he didn't have any damn idea like at least make him suspicious right so he and the traveler can join heads and be like "hmmmmmmm something is not right here HMMMMMMMMM" like if you are SO sure arlecchino isn't "that kind of person" (ig this was more lyney saying this but still) wouldn't you consider maaaaaaaaaaaybe the previous knaves were?

there was a single moment when they were at the table sharing intel that freminet was "lost in thought" and i think that would have been a fantastic moment for freminet to be the star and voice his suspicious but we got literally nothing from that.

honestly just disappointed freminet didn't do more in the story tbh. the trailer was really hyping him up to literally change the game lol

the results of the duel

i mean we saw it coming we knew she was gonna spare those children somehow. idrk how to describe it like on one hand yes would be nice to have more morally fucked up characters and its a little disappointing that arlecchino isn't "that bad" she's actually super normal all things considering (childe fucking LIED) on the other hand i don't necessarily hate this is the way they made her character? but the result of the duel still felt like a huge cop out lmao like it was basically an indirect "your resolve towards family impressed me so i'll let them live" which was exactly how i didn't want this to be resolved but also don't know how they would have done it otherwise

arlecchino's curse/flames/????????

GIRL CAN YOU ELABORATE PLEASEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE i know it has to do with her being part of some khaenrian (?) bloodline or something but lajdksfldjflads can you elaborate what do you mean your flames can be extracted and burn memories we're just all gonna take that and run with it huh

anyways.

regardless i loved the main battle cutscene in her boss form. loved that bit where she blocked freminet and lynette's dual attack and was like "sorry for what? this pitiful excuse for an attack?" i was banging my fist on the table i loved that bit sooooooooooo fucking much dear god

ending cutscene was expected and bittersweet but i liked it a lot as well. really the graphics and me just really liking arlecchino saved this quest for me LOL i think it has a lot of plot holes compared to other story quests but also a much more interesting story (bar is in hell) although you're guaranteed to get some sort of lore with a weekly boss but anyways it averages out to being a pretty okay but not spectacular story quest 👍 maybe like a 6/10, would have rated it higher if the animated short didn't spoil everything

[justforbooks]

Juror #2: the curious case of the missing Clint Eastwood film

The 40th film directed by the 94-year-old is only being shown in 50 cinemas in the US. Why is Warners burying a movie by one of its most decorated stars?

There is a mystery at the heart of Juror #2, the 40th film directed by Clint Eastwood and – given that he is now 94 – quite possibly the final one.

The riddle lies not in the plot, a courtroom thriller which sees family man Nicholas Hoult serving on the jury for a hit-and-run case in which he is uniquely placed to acquit the defendant, because, as the trailer indicates, he actually did it.

Rather, it is the fate of the film itself. Eastwood fans in the UK will have no problem seeing Juror#2, where it’s enjoying a wide release in more than 300 cinemas nationwide. Across the whole of the US, however, it’s screening in fewer than 50 cinemas.

Starting small then rolling out nationwide is a common strategy for movies being positioned as awards contenders. Yet this is not the case for Juror#2, which will not expand its screen number – and does not even feature on Warner Bros’s For Your Consideration website, its portal for Oscar hopefuls.

Stranger still, Warners has said it will not report box office takings for the film – an almost unprecedented move for a theatrical release – and that the film is likely to move to streaming before the month is out.

At the film’s premiere at the AFI festival last week, Eastwood was nowhere to be seen, leaving it to Hoult and co-star Toni Collette to trot up the red carpet and spearhead an audience shout-out to the director: “We love you, Clint!”

His absence led many to the conclusion the nonagenarian was ailing, his health worsened by the sudden death in July of his partner, 61-year-old Christina Sandera, and the arrest in October of his daughter, Francesca, on a domestic assault charge.

Yet a post on his official X account from 15 October shows the film-maker grinning in a leather jacket and, according to the caption, “returning to work, reviewing scripts in his Malpaso [o]ffices”.

As well as being consistently prolific, Eastwood’s career has, by-and-large, been profitable both commercially and critically for Warner Bros, with whom he’s worked for six decades. Less than 20 years ago, Million Dollar Baby won best picture, director, actress and supporting actor at the Oscars, as well as taking $216m worldwide.

In 2014, Warners released Eastwood’s highest-grossing film to date: American Sniper, starring Bradley Cooper, which made $547m from its $59m budget, and scored six Oscar nominations.

His films since have performed more modestly, but some have been genuine hits – air crash drama Sully made $240m – and none were catastrophic flops. Insiders including film writer Sarah Marrs and Variety’s J Kim Murphy suggest that incoming Warners CEO David Zaslav was dismayed by tepid numbers of Cry Macho, Eastwood’s 2021 neo-western, which made back just half of its $33m budget.

Yet the film was released at a time when many cinemas in the US remained closed and audiences – especially among an older demographic – were hesitant about venturing out to them. A simultaneous streaming release on HBO Max made the decision for wavering punters yet easier.

A Wall Street Journal interview with Zaslav published the following spring, a month into his tenure, reports that the CEO was scathing to Warners executives over their rationale for greenlighting Cry Macho: they felt “indebted” to Eastwood because of his long relationship with the studio.

Zaslav allegedly responded by saying they didn’t “owe anyone favours” before quoting Jerry Maguire: “It’s not show friends, it’s show business.”

Certainly the circumstances of the release of Juror #2 indicate a frostiness between Warners’ head and one of their prize ponies, who may be being put out to pasture prematurely.

Zaslav is also under pressure from the unexpected flop last month of Joker: Folie á Deux, which cost $200m (plus substantial marketing spend), opened splashily at the Venice film festival, but failed to connect with either critics or audiences – unlike its multi-Oscar-winning billion-dollar predecessor.

The contrasting success of Oppenheimer will also still be stinging: Christopher Nolan called time on his long relationship with the studio in 2021 over their new day-in-date simultaneous streaming strategy, meaning his new film was released instead by Universal Pictures – for whom it made $975m.

Meanwhile, Eastwood is back at work considering his next project as director while also working as producer on a new version of his 1977 film The Gauntlet, starring Tom Cruise and Scarlett Johansson.

The 94-year-old has been denied the opportunity for further Oscars glory with Juror #2. Yet few would bet against him one day making a return to the podium.

Daily inspiration. Discover more photos at Just for Books…?

[krispyweiss]

“Bob Marley: One Love” Opens Feb. 14, 2024

- “Now is the time for the story of our father, Bob Marley, to be represented in a biopic,” Ziggy Marley says

The words “based on a true story” feature prominently in the trailer for “Bob Marley: One Love.” And while this often signals artistic license and/or dramatization are afoot, Ziggy Marley vouches for the film.

“Nothing happens before its time and now is the time for the story of our father, Bob Marley, to be represented in a biopic theatrical release coming in 2024,” Ziggy Marley said in a statement.

“You’ve heard the music and you think you know the man. But do you really understand what he went through and what moments shaped him into the person he became?”

Starring Kingsley Ben-Adir in the titular role and Lashana Lynch as Rita Marley; directed by Reinaldo Marcus Green; and produced in partnership with Marley family, “One Love” opens Feb. 14, 2024.

The trailer tracks Marley’s musical and political rise, leading to the 1976 attempt on his life and a man wallowing in self-doubt even while receiving worldwide adulation.

“With this release, we look forward to inspiring not only the long-time fans but also the younger generation, giving them a vehicle that opens the door to explore Bob’s life and music and in so doing expand his universal message of unification, justice and peace throughout the earth,” Ziggy Marley said.

12/7/23

[fearsmagazine]

HAYRIDE TO HELL | Trailer, Poster & Images

Set on the Coxe Family Farm in rural Willis County, Farmer Sam exacts his bloody revenge on unscrupulous local town-folk, including Sheriff Jubel, who menace him and attempt to steal the farm that has been in his family for 200 years.

Inspired by the real haunted hayride executive producer and farmer Bob Lange used to have on his family's multi-generation pumpkin farm back in the 80s and 90s, the film is a cult-horror classic in the making that dually highlights the charm and necessity of preserving Pennsylvania's family farms. The film is directed by Dan Lantz from a screenplay Kristina Chadwick and Robert Lange.

Horror legends Kane Hodder (best known for his portrayal of Jason Voorhees in the FRIDAY THE 13th Franchise) and Bill Moseley (THE TEXAS CHAINSAW MASSACRE 2) meet their match in HAYRIDE TO HELL. Joining the cast is veteran genre actor Bill Moseley’s daughter Marion Moseley. 

(L-R) Actor Bill Moseley & actress Marion Moseley on location for HAYRIDE TO HELL.

In addition to acting Marion is a writer and visual artist. Before graduating from UCLA in 2020 she starred in a number of theatrical productions and had three short films screened at the Cannes Film Festival; the first two as an actress and the third as the writer, director, and producer. She studied comedy at the Groundlings and dramatic acting at NorthWestern University. Since graduating she has appeared in three horror films: Kansas Bowling's “Cuddly Toys,” Michael Lazovsky's “Another Christmas,” and Dan Lantz's “Hayride To Hell.”

HAYRIDE TO HELL opens in the following theaters across the country on October 20th, 2023, before expanding to more venues in the coming weeks:

Charlotte, NC - Carolina Pavilion 22 & Concord Mills 24 Dallas-Ft. Worth, TX - Mesquite 30 Houston, TX - Gulf Pointe 30

[namikiheights]

Aria of a Starless Night and Gay Coding

I just rewatched the first Progressive movie with some friends and I realized some things so I am going to share those thoughts here.

I truly, genuinely believe that Aria is 100% a yuri story and that certain scenes are metaphors for romantic milestones in Mito and Asuna’s romantic relationship. Prepare for some farfetched BS, lol. I really had fun writing this, though, so I just had to post!

TW: Mentions of suicide attempts, suicide as a literary and religious trope.

PART ONE

Their meeting.

Theway Asuna and Mito meet is very reminiscent of yuri manga, the trope here is how Asuna finds a secret side of Mito outside of school and they bond over that. In accordance to the yuri trope, they also keep their relationship secret (because, obviously, they are both girls).

There is also a kabedon, Mito’s pinning of Asuna against the (bus stop) wall, which is almost always seen as romantic.

PART TWO

The hug (when Mito does so after Asuna yells at her to leave her alone).

A little before the movie released in Japan, they ran a joint trailer of Progressive with… Marvel’s Eternals. By joint trailer I mean that clips of each movie were played side by side. Now, Eternals got some heat because it showed a sex scene between the two main characters. And what scene did they choose to put next to the Mito and Asuna hug? The scene that leads to the controversial one.

I joked about this a lot when I found out, but now I think it really was supposed to represent something more intimate than a hug (…maybe just a kiss). This is especially because what comes after is…

PART THREE

The handshake where Mito and Asuna say yoroshiku. Yoroshiku can mean a bazillion things BUT it is also used when people get married—as in, “I am in your care from now on [because we are family].” They have affirmed their love even in their darkest moments and now they are married, which brings us to…

PART FOUR

The honeymoon daze.

There is a lot of happiness, gift giving, and touching (not just physical, but their blades cross the same way Kirito and Asuna’s do to show their romance in the very first anime opening!) going on here. The fun and domestic montage makes it seem like they've already forgotten about death, that’s just how lost in love they are. Obviously, the movie reminds them because this is still an SAO movie, but it’s very obvious that Mito training Asuna is like her being the breadwinner. This culminates in her caveman husband gets sword for her wife moment

which leads to…

PART FIVE

Mito choosing the way out that she did when she saw Asuna dying. Her running away showed that she wasn't ready for the commitment of being family after all; when the going got tough, she went and ran…

NOT (really)!

In Memorable Song, the side story written by Reki for this movie, it is revealed that Mito wasn’t running away to save herself but rather running away to kill herself. She assumes the monsters will catch up to and kill her, and that once she is dead she will reunite with Asuna in the afterlife. Mito already assumes the worst, but her first attempt fails so she tries two more times and still fails to die. (Remember this faltering.)

Now let me refresh everyone on shinjuu. (Oh brother, Red, not this again!) Shinjuu is a Buddhist practice but more often Buddhist theatrical trope that is often translated to as lover’s suicide. When two star crossed lovers just cannot be, they choose to die together and/or kill each other (which guarantees them a spot in Heaven) and have their love story in the after life instead.

Shinjuu is portrayed in many different ways depending on the context of the play and the giri (perceived responsibilities) and ninjou (emotionally-charged desires) of the characters. In Shinjuu Tenno Amijima, shinjuu is, in fact, viewed as wrong and cowardly and a HORRIBLE IDEA (what most people think of Mito’s decision)… when family is in the mix. (A reminder that Mito and Asuna are now family because of their marriage.) This is because of the responsibility one has toward their family (Mito getting the sword for her wife) coming at odds with the insanity the throes of love may cause (Mito not wanting to see her wife die). I’m thinking that this is the shinjuumono (love suicide story) execution they went with for this movie, the subsequent bonus novel, and this yuri relationship overall. Mito isn't quite ready for the harder parts of the relationship, so she hastily chooses shinjuu without really taking Asuna’s feelings (that she might feel abandoned or not want Mito to do this) into account (like the protagonist of Shinjuu Tenno Amijima except Mito isn’t a misogynist, she’s just a bit tunnel visioned as shown in her backstory and her marriage proposal). She thinks she can absolve herself if she just reunites with Asuna in Heaven (again, shinjuu is a free ticket there). But the way she tries and fails three times is just like how the lovers in Shinjuu Tenno Amijima waver whether or not to actually commit shinjuu a bazillion times. Anyway, even though both of them are hurt, obviously Asuna is just a smidgen more hurt because she's confused about what just happened. And then Mito’s response is to mope about it over and over, just like the protagonist.

Obviously, in the end, shinjuu never happens and Aria isn’t a perfect one to one with Amijima. But the idea is still there and, because it is, it cements Aria as an actual yuri story since shinjuu is mostly a romantic trope. Rather than bait, Aria is coding since it’s still sort of difficult to show queer stories on a big platform. But Mito and Asuna really were in a romantic relationship. I am sure of this.

EXTRA: One of many things that annoy me about Aria (although I still enjoy the movie as a whole) is that Alice’s motif is present in HALF the songs of the movie! I don’t really fault the composer for this because it’s most definitely just because she has composed so much music (a part of a song from one of the Kara no Kyoukai movies became Yuuna’s motif, hilariously) but it does ruin the immersion for me because Alice is not in Aincrad. However, she does have one similarity with Mito—not consulting the other party when considering shinjuu (Hisui has opened that can of worms before, so I won’t say much more than that it wouldn’t work between Alice and Kirito)! I like to think her motif is present in Aria because of this, lol.

Anyway, thank you for reading my crazy thoughts! Hope you all enjoyed(?) or at least learned something! Peace!

[signalwatch]

New Movie Watch: Ghosted (2023)

Watched:  06/17/2023

Format:  Apple+

Viewing:  First

Director:  Dexter Fletcher

What's funny about Ghosted (2023) is that if it came out 25 years ago, this movie would have been a fairly big theatrical hit.  Now it's dumped on Apple+, who immediately cease advertising any movie they own two days after the movie is released.  So, you probably already forgot to watch this one - if you ever considered it - and it's more than likely you forgot it exists.

It's also the sort of thing people used to go see, but now just shrug at, because we've seen a lot of stuff like this since True Lies (in my experience).  If you did see the trailer and thought "I know exactly what this is, so I'm good", you aren't wrong.  It's a movie that feels generated by AI at the script level, and relies entirely on the charm of stars Chris Evans and Ana de Armas - who are both charming as hell.  

If you wonder what happened to Rom-Coms, this is what happened to Rom-Coms.  Minus some high-end action sequences, this is people having a meet-cute, wacky families and friends (while being fairly vanilla themselves), misunderstandings, fighting and falling in love.  Also, the potential end of life in major population centers.

The action sequences borrow from everything you've seen before, but you can't say it's not well executed.  The villains are properly cartoonishly horrible and comfortingly incompetent people.  It's reasonably funny, and has just a sliver of an edge so you don't need to worry that you signed up for something for tweens.  

There *does* seem to be some weirdness to how old Evans is (he turned 42 in June 2023) and how old he's supposed to be in the movie, which seems like early 30's based on the conversation.  I mean, he looks better at 42 than I ever have, so, whatever.  

Of the spy-type-things I've seen of late, there's definitely been an action-comedy element, with varying degrees of each.  I probably preferred The Gray Man for spectacle and same cast, or Falcon and the Winter Soldier for the complexity of the story.  

All in all, it's... ok.  It's what the trailers say it is.  It's not a huge stretch to see Evans playing the milquetoast.  de Armas has already shown her action bona fides.  I've seen worse, but, man, are we in a weird era of very expensive looking movies landing on Apple+ and then never getting discussed out there in the world.  

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from The Signal Watch https://ift.tt/tz72kaS

[kylesvariouslistsandstuff]

SecretWorks

DISCLAIMER: This post, in case the date doesn't show, predates the release of the RUBY GILLMAN, TEENAGE KRAKEN trailer...

DreamWorks Animation' next movie is in theaters June 30th... Of this year...

The studio, nor distributor Universal Pictures, has officially announced its existence.

Only the resumes of various animators at the studio, European press documents/interviews, and scooper sites have revealed this movie. A picture called RUBY GILLMAN, TEENAGE KRAKEN.

A teaser trailer for the film was given a rating classification recently, indicating that it's going to be released online or rolling in theaters very soon. Maybe tomorrow, even. It's a movie about sea monsters, like the title implies, so maybe it'll be a Sea Monster Sunday tomorrow and we'll get our official first look at the movie.

Originally known as MEET THE GILLMANS, it's about a family of sea monsters living off the coast of Florida, and their efforts to blend in with human society. Many have already noted that the premise is similar to that of LUCA, the summer 2021 Pixar feature directed by Enrico Casarosa... But, similarities shimilarities, they were both in development around the same time, one just happened to get the worm first. It's a weird "tradition" in big-time Western feature animation, and with DreamWorks and Disney/Pixar as well.

The whole ANTZ vs. A BUG'S LIFE fiasco of 1998 was a bone of contention that many online animation fans brought with them into the coming millennium, as they perceived DreamWorks features like SHARK TALE or even something like MEGAMIND to be DreamWorks' cash-ins on the Mouse House's features. SHARK TALE drew unfavorable comparisons to FINDING NEMO - which opened a good year and a few months prior, but their only similarities were them being CGI fish movies with vegetarian sharks. MEGAMIND, some felt, was DreamWorks belatedly knocking off THE INCREDIBLES, even though that whole "DreamWorks are the rip-off artists" thing was kind of dead by then (2010), it too is quite different from Brad Bird's superhero grand slam. There's also the unique case of MADAGASCAR, which debuted nearly a full-year before an enigmatic CGI Disney feature called THE WILD, both of which began at the same setting - Central Park Zoo in New York City - and transported its animal characters to... The wild! In MADAGASCAR's case, the titular peninsula east of the African continent, in THE WILD? Somewhere on the African continent... Where 95% of MADAGASCAR: ESCAPE 2 AFRICA takes place. Some people felt that MADAGASCAR was raced to theaters to beat THE WILD, and make Disney look like the rip-off artists. Others firmly believed THE WILD was a rip-off of MADAGASCAR, but neither ripped off each other.

Hard to believe, but coincidence is more common than you'd expect, and that there is no big conspiracy - or rivalry, where they're keeping on top of each other, with spies and moles to steal and vice-versa. The one time it wasn't, again - ANTZ vs. BUG'S LIFE (which is arguable, if you believe DreamWorks founder and former CEO Jeffrey Katzenberg stating that ANTZ evolved out of an unmade Disney animated feature from 1988 called ARMY ANTS), does not cover the rest of DreamWorks' history. But that one wrong move sometimes gives one a reputation, and the Disney jabs in SHREK certainly didn't help, though Disney themselves had a few films that dished it back. (For example, in HOME ON THE RANGE, one of the cows calls the horse the "Stallion of the Ci-Moron", a reference to DreamWorks' horse adventure SPIRIT: STALLION OF THE CIMARRON). But... All of this is long over.

Remember how, from 2018 to 2019, we saw *three* theatrical animated features about yetis/sasquatches? There was Warner Animation Group's SMALLFOOT, Laika's MISSING LINK, and DreamWorks/Pearl Studios' ABOMINABLE. SMALLFOOT and ABOMINABLE starred yetis, MISSING LINK's main creature was a Sasquatch. SMALLFOOT and ABOMINABLE did respectable business at the box office and got good reviews, MISSING LINK sadly tanked, but did get an Oscar nomination and won Golden Globe for best animated feature of its release year.

SMALLFOOT was announced by Warner Bros. in January 2013 in the lead-up to the early 2014 release of THE LEGO MOVIE, back then it was eyeing a 2016 release. In 2014, it was announced that DreamWorks and Pearl Studios (then known as Oriental DreamWorks) were working on a mystery movie set in the East that was looking to be a 2018 release, and the Laika movie was largely unknown until around 2016/2017-ish, sometime after KUBO AND THE TWO STRINGS was released. They all just happened to come out next to one another... But all three are distinct from one another: SMALLFOOT was a slapstick comedy (with some musical numbers) where the lead human couldn't speak to the yeti, and ended with a "don't be afraid of someone who's different" message. MISSING LINK was an old-school style adventure movie that felt like it was right out of 1959, the main human could speak to the Sasquatch, that was about trying to live up to an elite society and then making due with not being accepted, whether it was human Lionel trying to get in with a league of great explorers, or Susan - the sasquatch - trying to live with the yetis in the Himalayas. ABOMINABLE is very different altogether, it's about a motherless teen girl trying to get a magical yeti home, with various humans who are after it making the journey complicated.

I quite liked SMALLFOOT, I really liked MISSING LINK and identified with Susan, very very autistic-coded character right there. ABOMINABLE I enjoyed enough. Was happy to see all three and decide for myself. I also find it cool that ABOMINABLE is getting a streaming series, so it must've been a success in DreamWorks' eyes. It's weird to think, but it was their first original movie since switching over from 20th Century Fox to Universal Studios following the Comcast buyout in 2016. Fox released two DreamWorks films, THE BOSS BABY and CAPTAIN UNDERPANTS, in 2017... Then the studio took 2018 off, partially due to the cancellation of LARRIKINS, and then returned in 2019 with HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD and ABOMINABLE as their first two Universal-distributed DreamWorks movies... Since then, it has been very few not-sequel movies. Only THE BAD GUYS, really!

2020 gave us a TROLLS sequel and a CROODS sequel, 2021 gave us a SPIRIT: STALLION OF THE CIMARRON spin-off (a movie continuation of the Netflix series SPIRIT: RIDING FREE, a "many years later" spin-off of STALLION OF THE CIMARRON) and a BOSS BABY sequel, and this year a PUSS IN BOOTS continuation. This year gives us TROLLS BAND TOGETHER (a title still yet to be officially revealed), next year KUNG FU PANDA 4... In 2025, maybe SHREK 5? THE BOSS BABY 3? THE CROODS 3? Those are all in the works. Maybe THE BAD GUYS 2 is quietly being fired up.

I hear from the trenches that the studio's game plan is to have one original movie (as in NOT-sequel movie, it could be based on a book or comic or whatever, like THE BAD GUYS was), and one sequel *every calendar year*.

So far, it seems that *is* the case. Last year, THE BAD GUYS and PUSS IN BOOTS: THE LAST WISH. This year, this RUBY GILLMAN and TROLLS BAND TOGETHER. Next year, KUNG FU PANDA 4 and...

Well, I don't know. We don't know. Only people at DreamWorks or Universal know! And a fly on the wall, maybe.

Typically, we know of a big-time animated feature's existence through an official press release at least two years before the picture debuts...

THE BAD GUYS, for example, was announced in spring 2018. That was around the time it was pitched. ABOMINABLE, as mentioned above, was first talked about as a secret made-at-their-Chinese-wing DreamWorks movie in early 2015 or so. This applies to pretty much all the other not-sequel DreamWorks movies made over the last decade. And just about all the films made at the big studios...

But unusually, radio silence on RUBY GILLMAN... A movie that's out in three and a half months! Should the plans hold... I mean, they likely will. Summer's very crowded, and a trailer has been rated, so... Yeah, I think RUBY GILLMAN will retain its June 30, 2023 release date. Universal and DreamWorks is literally going to marathon run its marketing campaign, then!

Some are suggesting that the perceived similarities to LUCA are why DreamWorks is being quiet about it, but... Here's the thing...

RUBY GILLMAN seems to be the first DreamWorks movie to have been greenlit under Margie Cohn, who is currently running the studio as President. She has been in charge of the feature division since early 2019... She had been head of DreamWorks' TV animation division until then, now she runs both. RUBY GILLMAN seems to be a Cohn greenlight, whereas THE BAD GUYS was greenlit when Chris DeFaria was the head. Outside of the sequels, none of DeFaria's greenlights seem to have made it. SPOOKY JACK, a collaboration with Blumhouse, was put on ice. Other projects announced during his tenure, such as an adaptation of THE WIZARDS OF ONCE (a book series by HOW TO TRAIN YOUR DRAGON author Cressida Cowell) and two projects from director Leo Matsuda - an adaptation of SPUTNIK'S GUIDE TO LIFE ON EARTH, and original story YOKAI SAMBA - also didn't make it. If I remember correctly, Matsuda took the latter - his own idea - to Nickelodeon? Not sure what's going on with that...

The only feasible movies I can see coming out after RUBY GILLMAN are two adaptations, both of which are Cohn greenlights. One of which is of Thomas Lennon's Irish fantasy tale RONAN BOYLE AND THE BRIDGE OF RIDDLES, the other is an adaptation of CAPTAIN UNDERPANTS creator Dav Pilkey's DOG MAN. The DOG MAN movie doesn't have a director, not that we know of, but RONAN BOYLE? We know that has Fergall Reilly (THE ANGRY BIRDS MOVIE) attached as director. Or was, if he isn't on it anymore.

But we at least know that both of those movies exist, that they were greenlit... GILLMAN was literally first seen on resumes, and on some site I had never heard of before. Other than that? It's like it doesn't even exist!

I was thinking when THE LAST WISH came out, what with that all-new legacy logo with several DreamWorks characters, that we'd get an official announcement regarding the sea monster movie. And maybe one more movie that's in the works. But DreamWorks has only said a third TROLLS was coming and gave a release date, and they did the same with KUNG FU PANDA 4. Nothing else... No director, no synopsis, nonesuch!

But hey, I appreciate if the intention is to be super-cryptic. DreamWorks doesn't overspend on animated movies anymore. THE LAST WISH totaled up to $90 million, and managed to have record-breaking legs to get to where it is at the box office. THE BAD GUYS, similarly, cost somewhere between $65-80m, THE CROODS sequel was astoundingly a $65m movie that looked as good and well-made as its $135m-costing predecessor! RUBY GILLMAN, I reckon, cost around that much to make, and they're not sweatin'. I'm a bit concerned because it opens in a summer battlefield that includes... THE LITTLE MERMAID, SPIDER-MAN: ACROSS THE SPIDER-VERSE, THE FLASH, Pixar's ELEMENTAL, the fifth INDIANA JONES movie, and BARBIE. All titles vying for blockbuster and four-quadrant attention, and families don't have all the money in the world to go see these movies. Stats and working at a movie theater are my back-up for this claim, not gonna brag-

Anyway, I also feel the radio silence could be due to Universal focusing heavily on THE LAST WISH, as we're coming up on Oscar Sunday... and also... Well, a little indie movie called... THE SUPER MARIO BROS. MOVIE! That's out in less than a month. Maybe they just don't want any overlap in marketing campaigns? One movie at a time?

Not that a movie can't have a marketing campaign so close to release that quickly gets the job done. I'm immediately reminded of the film 10 CLOVERFIELD LANE, which no one knew existed until distributor Paramount unexpectedly said so... Not even two months before the release of the movie!

10 CLOVERFIELD LANE, however, was a semi-sequel to CLOVERFIELD, which had done pretty well at the box office and had a dedicated fan following. Still, I think it's a good example. DreamWorks and Universal could probably easily get families and others excited about a teenage sea monster movie in less than four months. THE BAD GUYS' first trailer debuted four months before release, and that movie did just fine at the tail end of Omicron's rise. RUBY GILLMAN should be fine in that regard, granted, if it didn't cost an exorbitant amount of money to make.

Maybe it's an even lower budget movie than what they usually make. Maybe it was outsourced, even, like CAPTAIN UNDERPANTS was. Maybe it's a microbudget picture with a really fun art style. The concept art suggests something pretty cartoony-looking. DreamWorks has lately been eschewing ornate detail. THE BAD GUYS looked like a fun three-dimensional mesh of European comics and anime drenched in L.A. smog, PUSS IN BOOTS: THE LAST WISH is literally a living storybook illustration much in the same way SPIDER-MAN: INTO THE SPIDER-VERSE was a living comic panel. I hear-tell that TROLLS BAND TOGETHER will go even more stylized than its already groovy-looking predecessors. KUNG FU PANDA 4 could even be a visual reinvention of the series, KUNG FU PANDA 3 had multiple scenes where they really pushed the colors and lighting to give the movie more of a 2D, kind of painterly feel. It's quite cool how less millions of dollars allows for the filmmakers to be more creative with their visual presentations... Even a behemoth Pixar, long known for making hyper-realistic tech-flexing CG films, is sliding towards that, what with SOUL's ethereal planes and shifting visual styles, LUCA's character design was very European comic-like, TURNING RED pushed that kind of cartoony stylization even further on the characters, sets, and art direction. Only LIGHTYEAR looked back to Pixar's hyper-detailed pictures of yore - looking like it could've been released in 2015. That's fine, though, it just illustrates the visual variety in the studio's recent output: One 2010s-styled movie with a bunch of looser and cartoonier ones around it... and look at the few things we've seen of ELEMENTAL. There's like a 2D energy to Ember's movements, it's all so cool! ELIO seems to look like a visually fun movie, too. Disney Animation is finally getting in on it too, after suggesting such potential with the 2012 short film PAPERMAN and its 2014 follow-up FEAST. Their WISH looks to be a 2.5D picture as well. Ahhhh this is such a cool time to be following the big American animated movies coming out. You got all of this, in addition to Sony continuing to push boundaries, Paramount going all-stylized with MUTANT MAYHEM, *wow*! SPIDER-VERSE's success reverberated through the industry, didn't it?

Anyways, it'd be cool to hear what such a cool studio is up to right now. I don't know, it's just kind of weird that we don't have any word on what they have cooking, a movie that's actually out in a few months... And we know the existence of the few movies coming out after it.

But maybe the secretiveness is the point... Keep us guessing.

[brokehorrorfan]

Krampus: The Naughty Cut will be released on Steelbook 4K Ultra HD + Blu-ray on November 5 via Scream Factory. CRP Group designed the cover art for the 2015 holiday horror film.

Shout Factory offers an exclusive deluxe edition that comes with a snow globe, 6" gingerbread man plush, card game, 28.5x16.5 poster, and prism sticker. Pictured below, it costs $139.99.

Michael Dougherty (Trick 'r Treat, Godzilla: King of the Monsters) directs from a script he co-wrote with Todd Casey and Zach Shields. Adam Scott, Toni Collette, Emjay Anthony, David Koechner, Allison Tolman, Conchata Ferrell, Stefania LaVie Owen, and Krista Stadler star.

Krampus' 102-minute extended Naughty Cut is presented in 4K with Dolby Vision HDR and Dolby Atmos audio. Special features are listed below.

Disc 1 - 4K Ultra HD:

Audio commentary by director/co-writer Michael Dougherty and co-writers Todd Casey and Zach Shields

Disc 2 - Blu-ray:

Audio commentary by director/co-writer Michael Dougherty and co-writers Todd Casey and Zach Shields

Interview with director/co-writer Michael Dougherty

Interview with producer Todd Casey

Interview with actor David Koechner

Interview with actress Allison Tolman

Interview with actor Emjay Anthony

Interview with Krampus performer Luke Hawker

Interview with WETA’s Richard Taylor

Interview with composer Douglas Pipes

Interview with storyboard artist Simeon Wilkins

Krampus Comes Alive! – 5-part making-of featurette

Behind-the-Scenes at Weta Workshop

Deleted/extended scenes

Gag geel

Alternate ending

Theatrical trailers

Photo galleries – creature art, storyboards, and more

When his dysfunctional family clashes over the holidays, young Max is disillusioned and turns his back on Christmas. Little does he know, this lack of festive spirit has unleashed the wrath of Krampus: a demonic force of ancient evil intent on punishing non-believers. All hell breaks loose as beloved holiday icons take on a monstrous life of their own, laying siege to the fractured family’s home and forcing them to fight for each other if they hope to survive.

Pre-order Krampus: The Naughty Cut.

[salmankhanholics]

★ BREAKING: The second song of Salman Khan-starrer Kisi Ka Bhai Kisi Ki Jaan titled ‘Billi Billi’ to be out on March 2!

February 25, 2023

The release of the Salman Khan-starrer Kisi Ka Bhai Kisi Ki Jaan is nearly two months away but the promotions have already begun. Just before Valentine's Day, the first song of the film 'Naiyo Lagda' was released. Although it was ridiculed by some sections, the song grew with each passing day. In less than 2 weeks, it has amassed 60 million views and the viewership is steadily increasing.

And now, it has come to light that the second song of this much-awaited film will be out very soon. Bollywood Hungama has learnt that the second track is titled ‘Billi Billi’. The song is expected to be a fun, catchy number and it will be released to the public on Thursday, March 2.

Interestingly, the makers have embarked upon an interesting promotional strategy before the release of ‘Billi Billi’. They sent cat masks to several journalists today and informed them through a letter that a similar mask has been used in the song as well. The media persons have been encouraged to don the mask and create interesting and creative reels. They have been requested to participate in this unique activity which will commence on Monday, February 27.

‘Billi Billi’ will be launched nearly 50 days before the release of Kisi Ka Bhai Kisi Ki Jaan. It now remains to be seen whether the makers unveil the trailer next or do they launch a song or a few more songs before unveiling the theatrical trailer.

Besides Salman Khan, Kisi Ka Bhai Kisi Ki Jaan also stars Pooja Hegde, Venkatesh, Jassie Gill, Siddharth Nigam, Shehnaaz Gill and Palak Tiwari. Internet global sensation Abdu Rozik, who was recently also seen in 'Bigg Boss', has a cameo in this family entertainer. Directed by Farhad Samji, Kisi Ka Bhai Kisi Ki Jaan will release in cinemas on Eid 2023, that is, April 21.

[nwemovie]

Fast X: Release date, trailer, cast, plot & more

he Fast & Furious franchise has become one of the biggest and most financially successful franchises of the 2000s.

Vin Diesel’s Dominic Toretto and his band of friends, family, and allies has proved to be a hit. With great cars and action sequences galore, Fast & Furious continues to raise the bar when it comes to its death defying action. The upcoming entry in the franchise, Fast X, will serve as the tenth film in the main series and eleventh when including the spin off film Hobbs & Shaw. Without further ado, here’s everything you need to know about Fast X ahead of its release.

 read another article : Guardians of the Galaxy Vol. 3

Star Cast of Fast X

The film stars Vin Diesel essaying the role of Dominic Toretto aka Dom, it also has names such as Charlize Theron, Helen Mirren, Jason Statham, John Cena, Rita Moreno, Brie Larson, and Jason Momoa in key roles.

Apart from this Michelle Rodriguez, Chris Bridges popularly known as Ludacris, Jordana Brewster, Nathalie Emmanuel, Sung Kang, Scott Eastwood, Michael Rooker, Helen Mirren, and Cardi B are among the supporting cast members.

Fast X's Release Date?

The first part of Fast X is currently scheduled to be released on May 19, 2023. The previous movie, F9, had one of the most successful theatrical runs of the pandemic period, so it stands to reason that we'll be seeing the upcoming film in theaters unless something really drastic happens. Fast X was originally scheduled to arrive in April 2021 but was postponed after F9 ran into a series of delays. It was then set for release on April 7, 2023, but has since been delayed again. There hasn't been any word on when Part 2 of the movie will be out, but we'll probably find out soon enough.

Does Fast X Have a Trailer? 

Set to a remixed version of The Notorious B.I.G's "Notorious Thugs," the official trailer for Fast X was released on February 10, 2023, ahead of Super Bowl LVII, and it's appropriately as big, bombastic, and bloated as the franchise itself. The nearly 4-minute long trailer introduces fans to several new characters, including Jason Momoa's villainous Dante, who happens to be the son of Hernan Reyes, the drug kingpin that Dom and his family faced off against in Fast Five. The trailer also introduces fans to Academy Award Winner and Hollywood legend Rita Moreno as Dom and Mia’s Abuelita Toretto and Academy Award Winner Brie Larson as Tess, who is presumably a new member of Dom's family. The trailer also revealed that John Cena's Jakob Toretto, who was the main villain in the previous entry, will now be working alongside his formerly estranged brother Dom. A shortened version of the trailer was also released during Super Bowl LVII, which you can see below.

[tina-aumont]

Last Summer in the Hamptons (1995)

Film directed by Henry Jaglom and starring Victoria Foyt and Viveca Lindfors.

Filmed entirely on location in East Hampton, Long Island, "Last Summer in the Hamptons" concerns a large theatrical family spending the last weekend of their summer together at the decades-old family retreat which economic circumstances have forced them to put on the market. Victoria Foyt plays a young Hollywood actress whose visit wreaks havoc on the stellar group of family and friends - led by matriarch Viveca Lindfors and made up of an extraordinary mix of prominent New York actors, directors, and playwrights. In the course of a very unusual weekend, comic as well as serious situations arise, and the family's secrets - of which there are many - begin to unravel. (written by Rainbow)

Raïna Paris plays one of the theatre audience.

You can watch the full film here.

Very special thanks to @74paris for sending me the link to the trailer of this film.