Month: August 2024

PLOT: The Keenan family checks into a quaint inn called The Pines, “the pearl of Pennsylvania,” only to find that there is no Wi-Fi, cell phone signals are blocked, the exits are locked, and four masked killers are stalking the halls.

REVIEW: Directed by Terrifier cast member Michael Leavy, the slasher movie Stream has two major selling points going for it: Terrifier franchise director Damien Leone provided the bloody special effects, and the cast list reads like the Expendables or the Avengers of horror. The line-up includes Jeffrey Combs (Re-Animator), Danielle Harris (Halloween 4), Felissa Rose (Sleepaway Camp), Dee Wallace (The Howling), Mark Holton (Leprechaun), Daniel Roebuck (Final Destination), Dave Sheridan (The Devil’s Rejects), Terry Alexander (Day of the Dead), David Howard Thornton (Terrifier), Tim Reid (Stephen King’s It), Charles Edwin Powell (Exorcist III), Tony Todd (the original Candyman himself), Bill Moseley (The Texas Chainsaw Massacre 2), Terry Kiser (Friday the 13th Part VII: The New Blood), Bob Adrian (The Conjuring 2), Sydney Malakeh (Cheer Camp Killer), Wesley Holloway (Terrifier 2), Jadon Cal (Megaboa), Phuong Kubacki (Cabin Girl), Damian Maffei (The Strangers: Prey at Night), and Tim Curry (Stephen King’s It again – plus The Rocky Horror Picture Show).

So we’ll address these points up front. The body count in Stream is quite high, and while some of the kills take place off screen in typical slasher movie fashion, there are several kills that are brought to the screen with impressive gore effects, including one that is drawn out like Terrifier kills sometimes are. So viewers who come looking for some cool Leone bloodshed will probably be satisfied. As for the genre icons in the cast – of course, when you’re dealing with this many known names, most of them are not going to have substantial screen time. Many of the horror stars only show up for cameos… and for a few of them, the scenes they show up in didn’t even seem necessary. They just seemed like an excuse to stick a few more familiar faces into the movie. So some fans might be let down by that. Some of the icons do have substantial roles, though, and I will admit that I was surprised at just how much Jeffrey Combs is in the movie.

Stream review

Powell and Harris play Roy and Elaine Keenan, who have decided to take their kids Taylor (Malakeh) and Kevin (Holloway) on a family vacation – and while they’re on this vacation, they’ll be staying at a quaint Pennsylvania inn called The Pines, where Combs’ character Lockwood works the front desk. The family hasn’t been at The Pines for very long before it becomes apparent that there’s something very strange going on here. The guest Wi-Fi is down, no one can get a cell phone signal, and all the exits are locked. That’s because the cameras that are set up throughout the building are broadcasting a livestream on the dark web, where viewers can be entertained by the sight of the inn’s guests being knocked off by the four masked killers stalking the halls. These killers never remove their masks, but their unique personalities and styles come through anyway. There’s the more low-key Player 1 (Jason Leavy, who had roles in Terrifier and Terrifier 2), the flamboyant brother and sister duo of Players 2 and 3, played by Thornton (a.k.a. Art the Clown) and Liana Pirraglia, earning her first horror feature credit, and the hulking Player 4 (Mark Haynes, who was Dave Bautista’s double on the set of Knock at the Cabin).

The broadcast stalk and slash takes up most of the movie’s running time, and since there are plenty of halls and rooms to run around in, several guests to slash through, and some character moments interspersed throughout, this does take up a whole lot of time. Stream ends up being 123 minutes, which feels like a good 20 minutes longer than it should have been. The movie could have been whittled down a bit, some moments dropped here and there… and some of those cameo scenes are superfluous, but it’s cool to see the cameos anyway. Sure, the movie could have done without, for example, the monologue delivered by Todd – but who doesn’t want to see Todd deliver a monologue? He’s awesome. Aside from Combs and Harris, who have prominent roles, standouts among the familiar faces include Reid, playing a retired cop who has heard about situations like this; Sheridan, who just wants to get a high score on an arcade game; and Roebuck’s drunken character, who has a hilarious moment of bickering with his wife, played by Rose.

One of the complaints you often hear about slasher movies is that the characters make dumb decisions, and Stream does not avoid that pitfall. There are at least three or four moments where viewers will be shouting at the screen because characters in dangerous situations act like total morons and pay the price for being stupid. For fans, characters making dumb decisions can sometimes be part of the charm of these movies, but a couple of these characters are ridiculously dim.

Stream review

Despite moments of characters being stupid, a bit of questionable acting here and there, and the movie being too long for its own good, Stream is an entertaining movie with some cool stalk and slash sequences and a nice chase or two. The masked killers do a fine job of cutting their way through the cast, there’s some nice twists and turns along the way, and there’s some good emotional content in there, thanks to the characters in the Keenan family. The movie didn’t quite live up to the hopes I had for it after seeing the cast list, but I had a good time watching it nonetheless.

So if you’re a slasher fan, check out Stream and have some fun watching the masked killers make a mess out of the guests at The Pines. Just don’t make your viewing decision based on the presence of any one particular genre icon (unless it’s one mentioned as having a prominent role), because you may be disappointed by how quick their appearance is.

Review of the slasher movie Stream, which features FX by the director of Terrifier and has several genre icons in the cast


stream

AVERAGE

6

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The third feature film from Bretten Hannam, writer/director of the 2015 crime thriller North Mountain and the 2021 teen drama Wildhood, is currently filming in Halifax, Nova Scotia, and The Hollywood Reporter has revealed that the project is a supernatural thriller called Place of Ghosts. Forrest Goodluck, whose credits include The Revenant, How to Blow Up a Pipeline, Pet Sematary: Bloodlines, and Lawmen: Bass Reeves has a lead role alongside Blake Alec Miranda (To and From), his Pet Sematary: Bloodlines co-star Glen Gould, and Brandon Oakes (Diggstown).

Place of Ghosts centers on siblings Mise’l and Antle, close confidants as children who have drifted apart as adults. When a malevolent, rotting spirit of teeth and bones begins tormenting them, the siblings are forced to reunite and journey into Skite’kmujuekati’k, or the Place of Ghosts primordial forest that exists outside of time, to face their violent upbringing.

Hannam, who is a Two-Spirit L’nu filmmaker, had this to say about the project: “As Mise’l and Antle descend into the darkness of the forest, the emotions and the core of the story cut a visceral path through things left unsaid, leading to a different way of understanding each other, before doing battle with the dark spirit that threatens to consume them.

Hannam is producing along with Marc Tetreault, Jason Levangie, Martin Katz, Diana Elbaum, and David Ragonig, while John R. Sylliboy is an associate producer and Cotty Chubb serves as executive producer.

According to IMDb, the director already has another project lined up, with a biographical drama called Stardusk in pre-production. Written by Seth Michael Donsky, that one has Mason Alexander Park (The Sandman) attached to star as Candy Darling, a transgender actress who was one of Andy Warhol’s superstars. Darling worked on several films in the late ’60s and early ’70s, including Flesh, Klute, and Silent Night, Bloody Night, before passing away from lymphoma in 1974, at the age of just 29.

Does Place of Ghosts sound interesting to you? What do you think of the cast Bretten Hannam has assembled for this supernatural thriller? Let us know by leaving a comment below.

The post Place of Ghosts: Forrest Goodluck of The Revenant and Pet Sematary: Bloodlines stars in supernatural thriller appeared first on JoBlo.

A number of musical biopics are coming our way. There will be Jeremy Allen’s Bruce Springsteen movie. We also have Sam Mendes’ making four Beatles films. Ridley Scott will be telling the tale of the Bee Gees and it was recently announced that a Boy George biopic is being planned for a release. Not to mention, there’s a Michael Jackson movie set to come out and Madonna announced that she’s giving her autobiographical script another go-around. This Christmas, James Mangold will bring us Bob Dylan’s story with A Complete Unknown and the poster has just been released from Searchlight Pictures.

A Complete Unknown, which stars Timothée Chalamet, Edward Norton, Elle Fanning and Monica Barbaro. The film also co-stars Boyd Holbrook, Dan Fogler, Norbert Leo Butz and Scoot McNairy, with the studio also giving it a December 25th wide release. Given how well Chalamet’s Wonka did during the holiday season last year, the studio is likely hoping that lightning will strike twice. The date also gives is peak visibility during award season.

Here’s the official synopsis: “Set in the influential New York music scene of the early 60s, A Complete Unknown follows 19-year-old Minnesota musician Bob Dylan’s (Timothée Chalamet) meteoric rise as a folk singer to concert halls and the top of the charts – his songs and mystique becoming a worldwide sensation – culminating in his groundbreaking electric rock and roll performance at the Newport Folk Festival in 1965.”

James Mangold directs from a screenplay written by him and Jay Cocks, who is known for working with Martin Scorsese on projects such as Gangs of New York and Silence. Producers on the film include Range’s Fred Berger, The Picture Company’s Alex Heineman, Veritas Entertainment Group’s Peter Jaysen, Bob Bookman, Alan Gasmer, Bob Dylan’s longtime representative Jeff Rosen, Chalamet, and Mangold via his Turnpike Films. Michael Bederman, Brian Kavanaugh-Jones, and Andrew Rona are on board as executive producers.

Mangold recently talked about the setting of the film, saying,  “It’s such an amazing time in American culture, and the story of Bob’s — a young, 19-year-old Bob Dylan coming to New York with two dollars in his pocket and becoming a worldwide sensation within three years…First being embraced into a family of folk music in New York and of course kind of outrunning him at a certain point as his star rises so beyond belief.”

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Imagine a Batman movie unlike any other – a daring, standalone cinematic adventure that sought to redefine the iconic Dark Knight. This was the vision Ben Affleck had before reluctantly stepping away from the cape and cowl. This is the tale of the Ben Affleck-helmed Bat-project that tantalizingly never came to be.

Affleck’s planned film was an immersive, groundbreaking character study steeped in brooding Gothic ambiance. Rather than a conventional superhero spectacle, his story would intimately explore the gritty underbelly of Bruce Wayne, who was pushing fifty and facing the twilight years of his crimefighting career. The central antagonist was to be Deathstroke, with Affleck drawing inspiration from revered Batman comics to craft a plot he described as an enthralling “detective story” for the World’s Greatest Detective.

From the outset, Affleck’s vision for his Batman film was clear: it would be a darker, grittier creative approach that marked a tonal shift from the bombastic, VFX-laden team-up adventures that defined the DC Extended Universe (DCEU) films. Affleck aimed to strip away the conventional franchise bloat and razzle-dazzle, creating a masterful modern noir crime drama. His ambition was to craft a movie that would grip viewers with its realistic, psychologically probing examination of Bruce Wayne’s traumatized existence. What made Affleck’s creative vision so intriguing was not only his star power but also his determination to elevate the project to more than just a gig for a paycheck. With fierce ambition, he planned to lead the film as its brooding central star and guide it as both writer and director.

The few industry insiders who glimpsed Affleck’s script during its development were virtually unanimous in their praise. Jay Oliva, a respected veteran comic book storyteller and director for the DC Animation division, called it “the best Batman script I’ve ever read.” Having been involved in the Batman zeitgeist for decades, Oliva’s endorsement carried significant weight. Multiple trusted insiders who reviewed the script described it as “f*#king awesome” and even claimed that Affleck’s film “would’ve put Christopher Nolan’s revered Dark Knight trilogy to shame.” High praise indeed.

So why did this potentially revolutionary Batman film that had fans salivating ultimately never come to be? We’ll tell you all about it in this fresh episode of What Happened to this Unmade Movie!

The post What Happened to Ben Affleck’s Unmade Batman Movie? appeared first on JoBlo.

social media

In this article, we will discuss – oh, you’re already skimming, aren’t you? Well, if 450 words is too much then we have to wonder just how you’d fare with a movie that runs {gasp!} two hours! But is that really our fault if that’s just the way media is consumed nowadays? That’s not all media, of course, but in the social media world of reels and shorts, how can studios expect everyone to stay concentrated? Winona Ryder sees this as a disturbing trend as her upcoming Beetlejuice Beetlejuice is ready to hit theaters at a brisk 105 minutes.

Speaking with the Los Angeles Times, Ryder said that she finds younger generations are turned off by longer movies, with that perhaps being a byproduct of social media. As she put it, “I don’t mean to sound so hopeless. There are a few that are just not interested in movies. Like, the first thing they say is, ‘How long is it?’” It might be unfair to generalize these younger viewers as having their attention spans stripped by social media, but consider some of the most popular short form versions: Facebook and Instagram reels are limited to 90 seconds while YouTube Shorts can clock in at 60 seconds. With that, Ryder – who has never been in a movie that was longer than two and a half hours – could have a point, which also hit on a general disinterest in film as a whole. After all, one recent study found that the ideal movie length is just 92 minutes.

In a different interview with Esquire, Ryder pointed to social media leading to a decline in interest in art as a whole. “I just think that social media has changed everything, and I know I sound old. I’m very aware of that…But I just think there was such an abundance: the history of film, the history of photography, it’s so rich, and there’s so much there, and I don’t mean we should go backwards, but I wish and I hope that the younger generation will study that.”

At the time when TikTok videos were limited to three minutes, people were uploading features in chunks, meaning the average film was broken into around 40 pieces on the social media platform. While viewers were still getting the same content, that users were fine watching it in such a way does underline how younger generations are consuming media. So, are they really against a two hour movie or is it just habit to swipe every few minutes?

What impact, if any, do you think social media and short-form media have on younger generations’ attention spans? Do you think they are averse to movies as a whole? Chime in with your thoughts below.

The post Winona Ryder blames social media for youths’ short attention spans & not caring about film appeared first on JoBlo.

PLOT: Acclaimed journalist Catherine Ravenscroft built her reputation revealing the misdeeds and transgressions of others. When she receives a novel from an unknown author, she is horrified to realize she is now the main character in a story that exposes her darkest secrets. As Catherine races to uncover the writer’s true identity, she is forced to confront her past before it destroys both her own life and her relationships with her husband Robert and their son Nicholas.

REVIEW: Grief can make someone do terrible things, with revenge at the top of the list. While vengeance in the form of violent retribution has made for more entertaining cinematic experiences, there is something to be said for subtly destroying an adversary through slow, psychological torture. Alfonso Cuaron’s series Disclaimer is a brutal examination of the fallout of bad choices and how getting away with something can come back to haunt you decades later. Told over seven chapters, Disclaimer is Alfonso Cuaron’s first directorial outing since 2018’s acclaimed Roma and may be the best work of his career to date. With powerful performances from Cate Blanchett, Kevin Kline, Sacha Baron Cohen, and Kodi Smit-McPhee, Disclaimer is a slow burn that will frustrate you, enthrall you, and keep you watching to the shocking conclusion. Premiering at the Venice Film Festival this weekend, followed by the Toronto International Film Festival in September, audiences at home will not experience the series until October. When it does, this series will immediately become the most talked-about show of the year.

Disclaimer follows multiple characters, primarily Catherine Ravenscroft (Cate Blanchett), who becomes the focus of a book that purports to tell the story of her life during a trip to Italy two decades prior. What happened on that trip has never been revealed until now but risks shattering Catherine’s marriage to Robert (Sacha Baron Cohen) and her already tenuous relationship with her son Nicholas (Kodi Smit-McPhee). The series shifts between perspectives centered on Catherine and Robert’s lives, narrated by Indira Varma, and that of retired teacher Stephen Brigstocke (Kevin Kline), whose son Jonathan (Louis Partridge) was also in Italy at the same time as Catherine. As people read the book, the impact it has on the Ravenscroft family and Stephen and his wife Nancy (Lesley Manville) begins to unspool. Through each successive chapter, the relationships at the series’ core are shredded and ripped apart, forcing each character to examine who the people closest to them truly are and what revelations can change in how they see themselves and one another.

One of the pitfalls of reviewing television series is that we are not always given the full series before it premieres. Reviewing a story based on just a handful of episodes can often be detrimental, and Disclaimer is a perfect example of why. Having seen the full seven-episode series, I know that a review based on just the first episodes would have been vastly different than my reaction after completing the concluding chapter of this tale. Like a film, Disclaimer must be taken as a whole rather than judged episodically. The journey that Alfonso Cuaron takes audiences on relies on strapping in for the entire ride. Through each episode, I judged these characters for their actions and decisions, reviling some and feeling sympathy for others. Cate Blanchett is astounding as always, as the woman forced to bear the judgment of everyone, while Sacha Baron Cohen gives a weighty performance that changes how I view him as an actor. Kodi Smit-McPhee and Louis Partridge are both excellent, but the standouts in this series are Kevin Kline and Leila George. Kline is the best he has ever been, and I see numerous accolades coming his way as he plays Stephen as a haunted, vengeful, and truly human character. Leila George, the daughter of Vincent D’Onofrio and Greta Scacchi, plays the younger version of Catherine and absolutely equals Blanchett’s stature as the character.

In many ways, Disclaimer feels like a culmination of everything Alfonso Cuaron has directed to date: the sexual tension of Y Tu Mama Tambien, the storytelling of Great Expectations, the grandeur of taking everyday visuals of Roma, the technical expertise of Gravity, and the emotional weight of Children of Men. Cuaron combines all of these technical skills with a beautifully written script that anchors the stunning performances of the cast. This is a bleak story that will not be easy to watch for many because of the subject matter involved. Sometimes, the best things to watch are the hardest to get through. This holds true for Disclaimer in many ways, as the first episode may not necessarily leave you feeling invested, but by the second, I knew I had to see where this story was going. AppleTV+ is holding to its usual release schedule, with the first two episodes premiering followed by one each week. I was lucky enough to binge the entire series at once. Still, I can already feel the anticipation and agony as audiences try to parse out the story through the finale premiering in mid-November.

Using Renee Knight’s novel as inspiration, Alfonso Cuaron has faithfully kept the book’s tale intact but transformed it into something wholly unique. With each episode closing in at close to an hour, Disclaimer runs almost seven hours, making it Cuaron’s longest project to date. Despite being segmented, Disclaimer is every bit as cinematic as any of the director’s film work, with stunning cinematography from Emmanuel Lubezki and Bruno Delbonnel. Each cinematographer worked on different narrative threads, giving each a distinct look and feel while allowing Cuaron to play with visual techniques, tones, themes, and styles. The score from Finneas O’Connell, only his third outing as a composer for a film, is haunting and accentuates the different dimensions of the narrative, evoking the British and Italian settings. There is so much beauty hidden in the washed-out British scenes and ugliness in the bright Italian sequences, which Cuaron uses to build this story, weaving it into something wholly original and emotionally devastating.

Disclaimer is all about assumptions, accusations, and the power of perspective. Alfonso Cuaron has crafted an interconnected and structured narrative so that the viewer becomes directly involved in what happens to these characters. It is impossible not to take sides and draw conclusions. We are meant to do that when we consume entertainment regardless of medium. Disclaimer is the most emotionally jarring experience I have had with a film or television series since Alfonso Cuaron’s own Children of Men. If Disclaimer had been a feature film instead of a limited series, it would be a lock for Best Picture at the Academy Awards. As it stands, Disclaimer will rank as not only the best series of 2024 but one of the best television series of all time. Disclaimer is a masterpiece of storytelling from one of the best filmmakers working today.

Disclaimer premieres on October 11th on AppleTV+.


Disclaimer

PERFECTO-MUNDO

10

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