Month: May 2024

6 May

Riddick: Furya – the fourth film in the franchise starts shooting in August

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riddick: furya, vin diesel

Whenever Vin Diesel wants to get away from family and live more than a quarter mile at a time, he revisits his other franchises. Diesel, an unapologetic sci-fi nerd, has always had a soft spot for his space anti-hero character, Riddick. Diesel will be following up on the previous entries with the upcoming Riddick: Furya. Deadline has now reported that this entry has just set its production start date on August 26th. This comes just as director Louis Leterrer confirmed that the eleventh Fast & Furious movie will not begin production until next year, which leaves Diesel open.

The plot of Riddick: Furya reads,
“Riddick finally returns to his home world, a place he barely remembers and one he fears might be left in ruins. But there he finds other Furyans fighting for their existence against a new monster. And some of these Furyans are more like Riddick than he could have ever imagined.” Riddick: Furya will also reunite Diesel with the series’ writer and director, David Twohy.

Diesel will star and produce under his One Race Films banner alongside Samantha Vincent. Thorsten Schumacher for Rocket Science and Lars Sylvest for Thank You Studios will also produce alongside Joe Neurauter.

Rocket Science represented the international sales rights and has completed worldwide cornerstone pre-sales to the UK (yet to be announced), France (Metropolitan), Germany (Leonine), Spain and Latin America (Sun), Benelux (The Searchers), Poland (Kinoswiat), Canada (Elevation), Scandinavia (Scanbox), Portugal (Lusomundo), Switzerland (Ascot Elite), South Africa (Empire), Greece (Femeway), Middle East (Front Row), CIS and Baltic States (Volga), Hungary, Romania, Bulgaria, Czech/Slovak, Republic Former Yugoslavia (ProRom), and Thailand (Sahamongkhol). CAA Media Finance is representing the North American rights.

Diesel teased art on his Instagram to build hype for the fans of his franchise. Pitch Black was a 2000 film that featured the character as part of an ensemble as they battled alien creatures that live in the dark. That was followed by the epic The Chronicles of Riddick, which underperformed at the box office in 2004, so they reduced the scope for the third film, Riddick, which was released in 2013. The franchise also includes an animated short called The Chronicles of Riddick: Dark Fury and three video games, The Chronicles of Riddick: Escape from Butcher Bay, The Chronicles of Riddick: Assault on Dark Athena, and Riddick: The Merc Files.

Diesel and Twohy have also talked about wanting to make TV shows set in the world of Riddick. One would center on the character Kyra, who was featured in Pitch Black and The Chronicles of Riddick, and the other would be called Merc City, as it would center on the mercenaries and bounty hunters of the franchise. These projects have never seemed to gain much traction, but maybe that will change if Riddick: Furya turns out to be a hit.

The post Riddick: Furya – the fourth film in the franchise starts shooting in August appeared first on JoBlo.

6 May

I Saw the TV Glow Review

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PLOT: An awkward teen (Justice Smith) and his friend (Brigette Lundy-Paine) become obsessed with a teen drama called The Pink Opaque. But, years after it gets cancelled, the lines between reality and fiction start to blur as they begin to wonder if perhaps they are part of the show they love.

REVIEW: I Saw the TV Glow seems bound to be a conversation starter for horror fans once A24 puts it out later this year. By design, it’s a movie that’s meant to be dissected, with it defying genre expectations to the point that, for some folks, this will be a genuinely tedious experience. At the same time, others will love director Jane Schoenbrun’s stab at what the Sundance programmers have called “emo-horror.”

I’m sorry to say that I found this a difficult sit, as within ten minutes, I was looking at my watch and realizing that I was in for a bit of a long haul. I like elevated horror as much as the next person, but this is so experimental that it feels like a half-baked attempt at a genre version of Inland Empire-era David Lynch. 

Essentially an allegorical tale examining, among other things, trans identity, the film revolves around a misfit teen who is drawn to an older girl at his school who turns him on to a cheap and cheesy Nickelodeon-style Buffy rip-off called The Pink Opaque. Both become obsessed with the show, but as time and reality start to blur, with years going by like minutes, they begin to wonder whether or not they might actually be a part of the show. Schoenbrun never spells out whether this is real or just something in their heads, but it’s a surreal headtrip of a movie, anchored by two earnest performances.

While the nearly thirty-year-old leads, Justice Smith and Brigette Lundy-Paine (Bill & Ted Face the Music), initially seem ludicrously cast as ninth graders, Schoenbrun’s choice makes more sense as the film progresses. One cannot fault the acting, with both leads throwing themselves into complex parts, but Schoenbrun also seems hellbent on defying any expectations relating to the genre. As such, it’s a horror movie without any horror. Highly experimental and much more an art film than the early buzz suggests (it’s a little too obtuse to work in the Sundance Midnight section and would have been better served in the experimental NEXT section), I can see this splitting audiences significantly. It seems bound to be the type of movie that tops both “best of” and “worst of” lists at the end of the year, and one has to give Schoenbrun credit for being true to their own voice – even if – again, I’ll freely admit that I didn’t “get it.”

i saw the tv glow sundance

But, while I was shifting in my seat and looking at my watch more than I expected here, I’ll admit there are elements of the film that work. Visually, it’s pretty stunning, with it set in the nineties-2000s and embracing a retro aesthetic that bathes the film in rich neons. The score by lo-fi artist Alex G is also highly effective, with the film even stopping for a few rather well-shot musical numbers that give the movie a sometimes pleasant dreamlike aesthetic. One also can’t fault Smith or Lundy-Paine, although the great Danielle Deadwyler was wasted in a throwaway role as Smith’s mother. The recreations of nineties-era tween shows like Are You Afraid of the Dark are also amusingly done. 

If anything, I’ll admit that I Saw the TV Glow might be ripe for revisiting. As much as I disliked the experience of watching this, I couldn’t help but wonder what I might have thought if I had my trusty weed vape nearby and was maybe nibbling on a magic mushroom or two. As such, this (pretty negative) review comes with the caveat that if I end up watching the film again, with perhaps the help of some modest psychedelics, I might change my mind about it. 

i saw the tv glow sundance


Sundance

BELOW AVERAGE

5

The post I Saw the TV Glow Review appeared first on JoBlo.

6 May

John Carpenter says directing remotely is “fabulous”

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John Carpenter directing

John Carpenter has always been full of surprises, but it’s especially so as a septuagenarian. Through interviews, we know that the man loves video games and basketball, ideally enjoying both in the comfort of his own home. But this has extended into something we would expect most filmmakers to hate: directing remotely. But John Carpenter and remote directing got along just fine when he took on the season finale of Suburban Screams from the confines of his home.

Speaking on the Last Donut of the Night podcast, John Carpenter said that directing“Phone Stalker” was a breeze and one of the most convenient jobs he could imagine, calling the experience “fabulous. Just fabulous. I didn’t have to get up and leave the house. I could get coffee any time I wanted. I had a chair to sit in. It went great.” As far as having that necessary interaction with his cast and crew, he noted, “It was easy, because the computer was right next to me.”

John Carpenter hasn’t directed a movie in well over a decade and he hasn’t taken to television directing since the Masters of Horror anthology nearly 20 years ago. But he has remained a vital – if sometimes curt – voice in the industry. While he has discussed stepping behind the camera once more, that does leave us to wonder, will he be on set or has remote directing taken him over like The Thing?

No doubt this style of directing gave John Carpenter a fresh way to work on a project, something some filmmakers adapted to during the Covid era. As he previously told The Los Angeles Times, “I remote-directed it, which was fun. That’s the way I’m going to do it now. I’m too old to run around, stomping around…I [directed from] a chair in the front room where I play video games, where I watch basketball and watch the news. It was all set up so the big screen TV has the [live camera feed] through the lens. That’s all in Prague, coming to you right here in L.A.”

How do you feel about John Carpenter praising remote directing? Is this something you could see him finishing up his career with or should he be on set?

The post John Carpenter says directing remotely is “fabulous” appeared first on JoBlo.

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