With Final Fantasy 14: Dawntrail now out of Early Access and fully released for all, Warriors of Light are well into their new journey in the land of Tural. The main attraction for most will be the new main story quests that include a fascinating battle for succession in the tropical locale, starring everyone’s…
Final Destination 6 is aiming for a 2025 theatrical release (IMAX screens included) – and next year we might also get a new movie from original Final Destination screenwriter Jeffrey Reddick, as Deadline reports that Reddick is teaming up with Convoke Media, Vast Entertainment, DreamPunk Entertainment, and Emmy-winning director Lane Shefter Bishop (The Venice Murders) to get a film called Bloody Mary: Origins into production.
Based on the novel Mary: The Summoning by Hillary Monahan, Bloody Mary: Origins was scripted by Reddick and John Stancari – who, sadly, passed away in 2018 after a long battle with cancer. This is Stancari’s first produced film and will be dedicated to his memory. The story follows a group of teenage girls who discover an ancient spell that conjures the real Bloody Mary. When the terrifying entity pulls one of the girls through the mirror, she becomes trapped in the past, living out the real Mary Worth’s last days. With time running out, the others must discover a way to save their friend in the past while vanquishing a terrorizing Bloody Mary in the present.
Bishop is producing the film through her Vast Entertainment banner, along with Todd Slater of Convoke Media and DreamPunk Entertainment’s Ryan Martin and Angela Ziegler.
Slater provided the following statement: “The script brings Reddick’s signature blend of suspense, humor and horror to a completely new take on the urban legend my friends and I used to play as kids. Much like Final Destination created a theatrical franchise that generations have enjoyed, our goal is for Bloody Mary to generate ongoing films with the same impressive longevity.” So we could have a Bloody Mary franchise in our future. Monahan did write a sequel to her novel that was called Mary: Unleashed. You can pick up a copy of the combined Mary novels HERE.
In addition to the first Final Destination, Jeffrey Reddick’s writing credits include Return to Cabin by the Lake, Final Destination 2, Tamara, Day of the Dead (2008), Dead Awake, The Final Wish, and Don’t Look Back (which he also directed).
Does Bloody Mary: Origins sound interesting to you? Have you read the Hillary Monahan novel? Let us know by leaving a comment below.
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More than four years have gone by since it was announced that director André Øvredal and producer Guillermo del Toro were re-teaming for a sequel to their cinematic adaptation of Alvin Schwartz’s Scary Stories to Tell in the Dark series of books. Last year, Øvredal confirmed that Scary Stories to Tell in the Dark 2 was still in the works and a script has been written, the project had just been slowed down by the pandemic, the making of his Dracula movie The Last Voyage of the Demeter, and the Hollywood strikes. We heard in December that writers/producers Dan Hageman and Kevin Hageman were fighting to get the sequel made… but now they have given a disappointing update to the folks at Collider: the sequel has stalled.
The screenplay for Scary Stories to Tell in the Dark 2 has been written by the first film’s writers Dan Hageman and Kevin Hageman, working from a story crafted by del Toro. Details on the plot, and what elements the sequel will be lifting from Schwartz’s books, have never been revealed. The Hagemans also produce these movies alongside del Toro.
In the new interview with Collider, Kevin Hageman said, “It’s stalled right now. We actually don’t know. We wrote a draft, Guillermo [del Toro] had a story direction of where to take it… We can’t get into it, but we wrote something, and that’s the last we know. We know a lot of people liked it, but we also know that nothing’s happening right now. We’re in the dark with you guys.“
While the first film was financed by eOne and CBS Films, with Lionsgate distributing, on this one eOne is partnering with Paramount Pictures. The first Scary Stories to Tell in the Dark was a box office hit, earning just under $106 million worldwide on a budget of $25 million. The film had the following synopsis: It’s 1968 in America. Change is blowing in the wind…but seemingly far removed from the unrest in the cities is the small town of Mill Valley where for generations, the shadow of the Bellows family has loomed large. It is in their mansion on the edge of town that Sarah, a young girl with horrible secrets, turned her tortured life into a series of scary stories, written in a book that has transcended time—stories that have a way of becoming all too real for a group of teenagers who discover Sarah’s terrifying home.
It starred Zoe Colletti, Michael Garza, Gabriel Rush, Austin Abrams, Dean Norris, Gil Bellows, Lorraine Toussaint, Austin Zajur, and Natalie Ganzhorn.
Do you want to see a Scary Stories to Tell in the Dark sequel? What do you think of the writers saying that the project has stalled? Let us know by leaving a comment below.
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With films such as The House of the Devil and The Innkeepers, Ti West showcases his talent for blending atmospheric dread, slow-burning tension, and meticulous attention to detail with retro aesthetics. West’s work often pays homage to the horror classics of the 1970s and 1980s, reflecting his deep appreciation for the genre’s history. His ability to craft compelling narratives and memorable characters has earned him a dedicated following among horror aficionados. This reputation set the stage for his ambitious project, the “X” trilogy, beginning with the critically acclaimed film X to the fantastical technicolor nightmare of Pearl and ending with this summer’s Maxxxine. The first entry is a vibrant and thrilling entry into West’s filmography, combining his signature tension-building with a more playful and exuberant tone. X is a fun and gripping homage to grindhouse cinema, delivering both scares and a nostalgic celebration of horror’s past.
I’m Mike Conway for JoBlo Horror, and today we are heading back to the 1970s to see if this 2022 film has that X-factor today on Horror Party Movies.
X follows burlesque owner Wayne, a man bursting with ambition and dreams of stardom who rounds up a group of young, energetic filmmakers to create a groundbreaking adult film called The Farmer’s Daughters. With his girlfriend, the aspiring actress Maxine, set to star, Wayne is certain they’ll all be famous in no time. They head to rent a guesthouse at a farm in rural Texas, which Wayne rented from the creepy old couple, Howard and Pearl. As soon as the cameras start rolling under the direction of the visionary and too-good-for-this-shit RJ, things take a bloody turn. As the night unfolds, the team realizes they’re in for more than just a money shot. Will they make it through the night’s spine-chilling surprises?
I think I already know what the ol’ party meter has to say about this one, but for shits and gigs, let’s slip it in. According to my scale, X is guaranteed a good time. Who doesn’t like a good dirty picture with friends?
As always, I’ll be making a drink to accompany the movie. So, let’s hop behind the bar and get right to it.
TITLE CARD: LEMONADE WITH X-FACTOR
2 OZ VODKA
3 OZ LEMONADE
.75 OZ ORANGE LIQUEUR
MINT LEAVES
FLOAT: GRENADINE
THE RULES
As with any game, there are some basic rules you can follow or modify.
For today’s game, take a drink when:
People get it on
The Alligator is shown
When Pearl dances
A classic song is heard
With any kill
If alcohol isn’t your bag, there are plenty of other things to choose from. Cannabis, if legal in your state, delta 8, 9, 10, or whatever the hell number they’re at now, caffeine, hot sauce, anything. Just know your tolerance. This is supposed to be fun; we don’t want to send you to the hospital. Basically, don’t be a dumbass.
So, who survives, and what will be left of them? Let’s step behind the adult-only curtain and find out.
THE MOVIE
The movie opens looking out onto a farm. The barn doors cleverly mask the frame to resemble a 4:3 aspect ratio that makes assholes like me annoyingly point this shit out to people I watch it with. There’s a little bit of murder on this farm and something wild in the basement. What’s in that basement? We’ll find out after this feature-length flashback. We then cut to 24 hours earlier. Our story kicks off with Wayne, a charismatic burlesque owner and part-time Matthew McConaughey impersonator, with plans to shake up the adult film industry. He’s not just dreaming—he’s doing it, dammit! Wayne assembles a vibrant crew of young filmmakers and aspiring stars to create an ambitious adult film, The Farmer’s Daughters. Leading the pack is his girlfriend, Maxine, an aspiring actress with her sights set on stardom and her nose in the booger sugar. Maxine is determined to make a name for herself, believing this film will be her golden ticket. Joining them are the confident and sassy Bobby-Lynne, her easygoing boyfriend Jackson, the idealistic and typical “I went to film school” RJ, and his cautious church mouse girlfriend Lorraine.
Wayne’s enthusiasm is contagious, and the crew sets off on their journey with high hopes. They’re excited about the project, believing it will catapult them to fame and fortune into the mainstream world of adult films. Wayne’s confidence in Maxine’s star power keeps everyone’s spirits high despite the underlying tensions among the group. RJ is particularly determined to bring a touch of artistry to the adult film genre, aiming to elevate it beyond mere exploitation.
The gang heads to a remote farmhouse in rural Texas, rented from the creepy yet seemingly harmless elderly couple, Howard and Pearl. Right off the bat, this place gives off major eerie vibes, especially with Howard’s welcoming Texas greeting. Howard and Pearl don’t know about the adult film being shot on their property, adding a layer of tension that builds as the crew begins their work.
The farmhouse is isolated, surrounded by vast fields, and the atmosphere is thick with foreboding. The interior is cluttered with old furniture and antiques, adding to the sense of unease. Howard and Pearl are strange, their interactions awkward and unsettling. Pearl, in particular, seems to have a strange fixation on the young crew, especially Maxine. Despite the creepy vibe, the crew presses on, determined to make their film.
Pearl, feeling old and envious of the youthful crew, especially Maxine, starts watching them from the shadows. Her longing for the days of her own youth and beauty turns her into a ticking time bomb. Pearl’s suppressed desires and frustrations bubble to the surface, manifesting in disturbing ways. She secretly watches the crew, her yearning gaze lingering on Maxine. This voyeuristic behavior escalates when Pearl makes an unsettling advance toward Maxine, who recoils in shock and rejection. This moment of rejection becomes the catalyst for the violent events that follow.
Pearl’s longing is deep; she sees in Maxine everything she used to be—young, beautiful, and full of potential. The rejection stings deeply, and it’s clear that Pearl’s emotions are spiraling out of control. Her fixation on Maxine becomes dangerous as envy and bitterness take hold. Howard, who initially appears as a frail and passive figure, is shown to be complicit in Pearl’s violent tendencies. Their twisted relationship and shared dark past come to light, adding depth to their characters and amplifying the horror. As night falls, Pearl’s behavior shifts from sleazily unsettling to outright dangerous and horny. And soon, the filmmakers’ dream of stardom quickly turns into a fight for survival.
Based on the opening, we all know that not too many people make it out alive. But before I get to the awesome kills in this flick, I want to talk for a minute about the show’s star, Mia Goth. As Maxine, she brings depth and intensity that really elevates the entire movie. The journey from an ambitious actress to a fierce survivor is a challenging arc, but Goth handles it with such finesse. It’s everything you could ask for and more in a final girl. But it’s not just her portrayal as Maxine to which I sing her praises. It’s also that of Pearl. Normally, I allow myself just enough information going into a movie. Just like when I first saw Tom Cruise in Tropic Thunder under all those prosthetics, I had absolutely no idea Goth was also Pearl until the credits rolled. She adopts a hunched posture, shuffling walk, and tremulous gestures that make Pearl appear vulnerable yet unsettling. This physical transformation is complemented by her vocal performance, where she uses a raspy, quavering voice that adds to Pearl’s believable, eerie presence. It’s really a masterclass in character acting and one that is truly heightened in the next chapter of the series.
Praises for Goth aside, let’s talk about the money shots of the film: The Kills.
I probably should mention this is SPOILER heavy, even though the opening of the film let you know it’s a bloodbath. First, let’s talk about RJ. After Bobby-Lynne serenades not only her peers, but also the audience, with a touching cover of Landslide, Jenna Ortega’s Lorraine speaks up and says she wants to be in the movie. Now, this is a no-go for RJ, but after some convincing from Wayne, he ends up filming his girlfriend have sex with a well-blessed Jackson. This devastates RJ, propelling him to leave the group and the picture. At this point on my first viewing, I had no idea where the story was heading. I was beginning to think RJ was going to completely loose his shit and start targeting the entire film crew, that is, until he comes across Pearl standing in his path. His attempt to abandon the shoot is cut short in the most brutal way possible. Pearl, feeling rejected and enraged, stops him in his tracks. Pearl’s sudden and savage attack is both shocking and gruesome the way she repeatedly stabs RJ in the neck until his head is completely off. It actually reminds me of a certain video that circulated the net in the early 2000s. If you know, you know. And what makes this scene elevated even more is the song “Don’t Fear the Reaper” coming from the stereo. Hands down, this is the best kill in the movie.
That’s not to downplay the rest of the kills. You have Wayne heading to the barn to get literally nailed and fulfilling his promise foreshadowed earlier that the film will make eyes pop out of their heads. You have Bobby-Lynne getting fed to the gator which was also cleverly foreshadowed earlier on the sign of the burlesque building. Jackson Hole gets an actual hole in his chest via shotgun blast. And Lorraine eventually meets her end by screaming her head off even though she has been mostly quiet the entire film. Every single kill in this movie rocks so fucking hard, and that’s due to not only the performances, but also because of the script.
At one point in the movie, RJ mentions that it’s possible to make a good dirty movie. And that’s exactly what director Ti West did here. He took the formula of a good old-fashioned dirty as hell slasher and elevated it by delivering well thought out characters, meticulous attention to detail, and perfect – pardon the pun – execution. Like I mentioned earlier, I had no idea where this was going to go other than the fact almost everyone dies. There was also another moment in the film, brought to us again by RJ, where he says you can’t change the story halfway through the movie. X proves the contrary. Yes, the killers are the old folks, but their reasoning behind the mayhem is something I have never seen before in all my horror watching years. Just brilliant.
X came out at the beginning of 2022 to rave reviews. It also had the surprise prequel Pearl released later that year, which was my favorite film of 2022. Even though I feel the latter is a better movie, X is something I feel is best enjoyed with a crowd who can laugh, cheer, and maybe even cringe together. If you haven’t seen them, definitely check them out, and then support horror even more by going to see Maxxxine. Until next time, have a good one.
A couple previous episodes of the Best Horror Party Movies series can be seen below. To see more, and to check out some of our other shows, head over to the JoBlo Horror Originals YouTube channel – and subscribe while you’re there!
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The Alien franchise is set to continue on the small screen with an “FX on Hulu” TV series from Fargo creator Noah Hawley, a show that began filming last year, then had to halt production after a month due to the actors strike. Filming resumed earlier this year, and continues to this day. A few months ago, we heard that Sandra Yi Sencindiver of Foundation had joined the cast to play “a senior member of the Weyland-Yutani Corporation” in multiple episodes… and in a new interview with Variety, Sencindiver said she believes that fans of Alien and Aliens will be pleased with what Hawley is doing with this show.
One of the first things we heard about the Alien TV series – and one of the most surprising things about it – is that it will actually be set on Earth, a couple decades before the events of the first movie. FX chairman John Landgraf has said the show will take place “right near the end of this century.” According to Deadline, the setting puts it “a few years before Prometheus,” which Hawley has previously said he has chosen not to acknowledge. Hawley decided to set the show on Earth because “The alien stories are always trapped… Trapped in a prison, trapped in a space ship. I thought it would be interesting to open it up a little bit so that the stakes of ‘What happens if you can’t contain it?’ are more immediate.“
Sencindiver told Variety, “I think that especially the fans who love films No. 1 [Ridley Scott’s Alien] and 2 [James Cameron’s Aliens] will be very pleased with the universe and the world-building in this reimagining. A lot of brilliant people, a lot of very interesting character actors [who are] very dedicated and, of course, Noah Hawley is just a brilliant storyteller.“
Variety notes that the Alien TV series will “explore the formation of the Weyland-Yutani Corporation and the race to create android life.” They add that Sencindiver is playing a crucial character named Yatani… and I wonder if that’s a typo and the character’s name is Yutani. Whatever the case, Sencindiver says that she watched Aliens on repeat when she was growing up and “It’s been very exciting and interesting to play this character. I also think it’s a pleasure that nobody has played that character before. That’s also great for me, that I get to set the bar for what this character is. We’ll be pleased — the old fans of the original movies.” If the character is Yutani, she has been played before; by Françoise Yip at the end of Aliens vs. Predator: Requiem… but it’s understandable if that fact were overlooked.
Sencindiver’s Alien TV series co-stars include Sydney Chandler (Pistol) as the meta-human Wendy, who has the body of an adult, but the brain and consciousness of a child; Essie Davis (The Babadook) as Dame Silvia, Alex Lawther (The End of the F*cking World) as a soldier named CJ, Samuel Blenkin (Black Mirror) as a CEO named Boy Kavalier, Adarsh Gourav (The White Tiger) as a character named Slightly, Kit Young (Shadow and Bone) as a character called Tootles, and Timothy Olyphant (Justified), who is said to be playing Kirsh, a synth who acts as a mentor and trainer for Wendy. Also in the cast are Babou Ceesay (Guerrilla), Jonathan Ajayi (Wonder Woman 1984), Erana James (The Wilds), Lily Newmark (Sex Education), Diêm Camille (Washington Black), Adrian Edmondson (The Young Ones), Moe Bar-El (The Peripheral), and David Rysdahl, who worked with Hawley on Fargo season 5.
The Alien TV series is believed to have an eight episode first season. Filming is expected to wrap this month, but there will be a lot of visual effects work to do in post-production, so the show is aiming for a 2025 premiere.
What do you think of what Sandra Yi Sencindiver had to say about the Alien TV series? Let us know by leaving a comment below.
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Jan de Bont graduated from being the director of photography on one of the most influential movies of the action genre, Die Hard, to coming out the gate with a one-two punch in his directing career with his own game changers, Speed and Twister. The Hollywood Reporter recently sat down with de Bont as Speed celebrates its 30th anniversary and Twister gets a new 4K UHD release in light of the upcoming sequel, Twisters. Interestingly, as the new movie touches down in just a few days, the Dutch director reveals that not only did no one reach out to him, but he wasn’t even aware of the sequel until he watched the trailer.
When asked if anyone from the Twisters production sought any advice from him, de Bont revealed, “No, I didn’t know that there was [another] movie until I actually saw the first trailer, which was not that long ago. (Laughs.) If you want to make a sequel, it should really be a sequel. It should be about the same people. It should be the same continuing story and saga of the same group of people, preferably in different circumstances that are even more interesting and more exciting. But to make a whole different story [like Twisters], then you shouldn’t really call it a sequel in my opinion.”
After Speed became a smash hit and solidified Keanu Reeves as an action star while making a new star out of Sandra Bullock, de Bont also became the new hot director. He knew he could follow his debut with Twister after reading the script and visualizing the movie. He recalls, “When I read the script, I immediately saw the possibilities. I felt like I could make Twister into a really high-energy movie with real people in it, and preferably not movie stars, but actors who looked like they could have been storm chasers. I already had so many ideas for how the twisters could work and how to attack the whole plan, and I just felt extremely excited about it. So, in my head, I had already made the movie, almost. I was so sure of it.”
The director also reflects on how fan-favorite character, Dusty, was brought to life by Philip Seymour Hoffman, “He was so completely ready to make a character for himself in the movie. In the script, he was in a lot of pages, but there were very few scenes with him on his own or with somebody else. So he created a character almost from day one, and everybody was surprised by that. What was also amazing was how witty he was. He could create such a light tone and humor that it would relax all the other team members.”
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Picture 1984’s Beverly Hills Cop and you’ve got any number of images or sounds that made it one of the funniest movies of the decade – if not ever. But it wasn’t always supposed to be that way. Now try to picture Sylvester Stallone doing anything that Eddie Murphy did – we love Sly, but his comedy outings aren’t exactly classics. Early on, Stallone was actually attached to be the lead in Beverly Hills Cop. Fortunately, it wasn’t yet a comedy, only morphing into one once Murphy came on board. Prior to that, it was a straight-up action flick that had Stallone written all over it – well, an early draft did, at least.
While Daniel Petrie Jr. had his original version of the Beverly Hills Cop script just how he wanted it, Sylvester Stallone came in and rewrote it to make it fit his brand, turning the movie into a more action-oriented flick than ever intended. This 115-page draft – which you can read here – was submitted on March 30th, 1984 – just two months before filming with Eddie Murphy took place.
For Stallone, making Beverly Hills Cop his own was imperative. Even the name “Foley” was too corny for Stallone, who changed it to Cobretti, which you probably noticed was the same surname used in 1986’s Cobra, which Stallone also wrote and borrows heavily from his draft. And while some other obvious changes were made, there’s not a whole lot in Stallone’s Beverly Hills Cop script that is structurally or narratively different. Look, Stallone may have gotten an Oscar nomination for Rocky but writing has never been his strongest asset.
In a review of Sylver Stallone’s Beverly Hills Cop script, the folks at ScriptShadow summed it up: “I have to say that while this script doesn’t work as well as the comedy version, it’s still solid. The structure is there. And while we don’t laugh as much, we’re more emotionally invested because of the slaughtering of his brother.” For reference, Michael isn’t Axel’s childhood friend as we saw in the actual Beverly Hills Cop but rather his brother, adding more weight to Axel’s drive.
The clearest change, really, is the dramatic and emotional heft that Stallone wanted to bring to Beverly Hills Cop, something that he always did like incorporating into his movies – even the dumb ones. But could Beverly Hills Cop have worked as a drama? Probably. Would we have remembered it as a classic of the cop-action genre? Not likely.
How do you think Sylvester Stallone’s Beverly Hills Cop would have turned out? Check out the script and let us know!
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Xbox users have spent the last several hours cut off from the platform’s online features following a major outage. Microsoft confirmed the issues were widespread across Xbox Series X/S accounts but said its investigation into the source of the downtime was taking longer than expected.
Xbox users have spent the last several hours cut off from the platform’s online features following a major outage. Microsoft confirmed the issues were widespread across Xbox Series X/S accounts but said its investigation into the source of the downtime was taking longer than expected.
Robert Towne, the screenwriter who wrote the Academy Award-winning original script for Roman Polanski’s Chinatown, has died at the age of 89. His publicist, Carri Mclure, announced that Towne died at his home in Los Angeles on Monday.
He originally set out to work as an actor and writer and quickly found employment with Roger Corman. He scripted Corman’s Last Woman on Earth and also co-starred in the film under the pseudonym Edward Wain. He also wrote The Tomb of Ligeia for Corman. Towne then earned a reputation as a top script doctor after Warren Beatty asked him to help out on Bonnie and Clyde. He went on to make uncredited contributions to movies such as The Godfather, The Parallax View, Marathon Man, The Missouri Breaks, Heaven Can Wait, Crimson Tide, and more.
Towne first met Chinatown star Jack Nicholson in the late 1950s at an acting class taught by blacklisted actor Jeff Corey. They became friends and even lived together at one point, and Towne knew Nicholson was destined for fame. “From the moment I laid eyes on him, I knew Jack was gonna be a star. … I wouldn’t have been able to envision anyone else in the part,” Towne told Variety last month. “It wasn’t just his capacity for indignation, an innate sense that the world may not be fair but that it damn well should be. It was also his passion for clothing, a certain eye for the finer things, a disregard for — even aversion to — the ordinary.”
He wrote Chinatown with Nicholson in mind for the role of Jake Gittes but battled with Polanski over the ending, which he had imagined as more upbeat. “I felt it was too melodramatic to end it his way,” Towne said, but years later, he admitted, “I was wrong, and he was right.“
Decades later, Towne would return to the world of Jake Gittes with The Two Jakes, but the Jack Nicholson-directed sequel was met with mixed reviews and a lacklustre box office, forcing Towne to abandon plans for a third installment. Prior to his death, he had been working on a Chinatown prequel series with David Fincher and recently said that all the scripts had been completed.
Towne penned the scripts for The Last Detail, The Yakuza, Shampoo, Days of Thunder, The Firm, Love Affair, Mission: Impossible, and Mission: Impossible 2. He also directed several of his screenplays with Personal Best, Tequila Sunrise, Without Limits, and Ask the Dust.
He also wrote the script for Greystoke: The Legend of Tarzan, Lord of the Apes, with the intention of directing it, but he was forced to sell his rights to the project, which he later said was “the biggest creative regret of my life.” He removed his name from the script, choosing to be credited as P.H. Vazak, which happened to be the name of his dog.
Our thoughts go out to Towne’s family and friends, a true talent who left an indelible mark on cinema. He will be missed.
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