As movie theaters fight for relevancy in an age of streaming, both Kevin Smith’s The 4:30 Movie and Concessions aim to make light and pay tribute to the theater-going experience. Consessions is a new comedy about cinema employees from writer/director Mas Bouzidi, which he initially made as a short film at NYU. The producers on the feature version are Ram Segura Khagram, Malcolm Brainerd, and Sophia Winkler, and co-producer is production company Kebrado.
Deadline has now revealed that the ensemble cast set to star in the film will include Michael Madsen (Reservoir Dogs), Steven Ogg (Walking Dead), Josh Hamilton (Eighth Grade), Ivory Aquino (When They See Us), Lana Rockwell (Sweet Thing), Rob Riordan and Jonathan Lorenzo Price.
The synopsis reads, “Set during the last day at the closing Royal Alamo Cinema, pic follows two slackers working the final shift, who cross paths with outcasts and oddballs in interwoven stories of rejection, redemption, and fate. Hunter (Riordan), a jaded employee who spent the last decade behind the concessions stand, must finally face his uncertain future.
Movie theater employees and patrons include the former stuntman trying to charm his way into a free ticket (Madsen), the ornery theater owner keeping the slackers in line for one more day (Ogg), the hungry news reporter (Aquino), and the Australian cowboy and boomerang-slinging movie star (Hamilton). As day turns to night, the small-town community must reckon with its local theater finally closing its doors.”
The director remarked, “I worked in various movie theaters since I was sixteen, serving popcorn, snapping tickets, and arguing about movies with my co-workers. There is something magical about experiencing movies on a big screen in a movie theater. Concessions is about the universal experience of going to the movies. It’s about the people working the concession stands, running the projection booth, taking your tickets, cleaning the bathrooms, and changing the marquees. It’s also about the everyday people who walk through those doors to go to the movies, partaking in one of our greatest communal traditions.”
Producer Ram Segura Khagram also spoke of the movie, “This film represents the indie spirit like few others in the modern landscape. We’re hopeful that Concessions will embolden and inspire the next generation of young filmmakers to make features that are true to their voice, and that we can model new ways to tell great stories while still embracing the traditions that make indies so special.”
PLOT: The life of international pop star Robbie Williams, from his early days as a member of Take That to his breakthrough as a solo artist and his struggles with addiction.
REVIEW: There’s one way that Better Man is completely different from any music-based biopic you’ve ever seen. The director, Michael Gracey, depicts Robbie Williams as a CGI chimpanzee, with cutting-edge VFX from WETA, with actor Jonno Davies playing him in a mo-cap performance (although they use Williams’s distinctive eyes). The singer himself provides the narration. It’s risky and a big swing, but here’s the thing. The craziest thing about Better Man isn’t the fact that Robbie Williams is presented as a CGI chimpanzee but rather that this risky conceit works quite well.
Here’s the thing – when an iconic person is impersonated in a biopic, we get caught up over various surface-level things, with the biggest being whether or not the actor looks like the person they’re playing. By having Williams represented as a monkey, you get over that aspect much quicker than you would otherwise. Strangely, it helps you invest more in the character.
It’s an inspired choice for Gracey, who has a comprehensive background in VFX and directed one of the more popular recent musicals, The Greatest Showman. It also may help the movie attract a larger North American audience than it would otherwise. Despite being a European household name, Robbie Williams is still largely unknown in the United States.
This all adds up to a highly unique musical biopic that tells a story many readers of this site may not be familiar with. The movie charts Williams’s rise to fame, with him initially the bad boy in a band called Take That, which was gigantic in the nineties all throughout Europe. He was a household name, but as the movie shows, he was kicked out due to his growing substance abuse issues and tensions with the rest of the group. He re-emerged as a solo artist, with his fame eventually dwarfing that of the group he left, but his demons did not let up on him as he continued to struggle mightily with addiction.
The film depicts Williams’s life in a pretty unsparring way, with him often coming off as a brat burning bridges relentlessly. Yet, the film also has empathy for the fact that his greatest enemy was himself, visualizing his demons as other versions of himself mock him from the audience.
Gracey depicts this all in a bold, energetic way. The movie climaxes with a major action sequence where Williams literally battles different versions of himself in a moment I didn’t see coming. Through it all, Gracey often dazzles the audience with set pieces, such as an amazing musical number where Williams and the rest of Take Take dance down Regent Street performing “Rock DJ.”
Gracey throws in everything but the kitchen sink to entertain his audience. While Williams may not be so well known in North America, the movie does feel like it has the potential to be a solid hit, even if the hard-R rating may keep it from the audience that made The Greatest Showman such a hit. Then again, given Williams’s struggles, could you do a watered-down PG-13 version? Who’d want to see that?
While the visual spectacle aspect of the movie will probably be what sells this as a potential blockbuster, it also has a lot of heart, with a lot of it revolving around his fractured relationship with his father, played here by Steve Pemberton, who’s a frustrated, wannabe performer who imparts his love of showbiz on Robbie.
While I went into Better Man with a raised eyebrow, wary of the chimpanzee aspect, to my delight, it worked wonderfully. As far as big-screen biopics go, this is a pretty deliriously entertaining one, and I had a blast watching it. It’s definitely one to keep an eye out for.
We were following news of the cat and mouse thriller Unit 234, which is now going by the extended title Unit 234: The Lockup, closely when the film went into production back in 2022… but then it dropped off the radar for a couple of years. Now it’s ready to make its way out into the world, and while we don’t have information on a North American release at this time, we do know that the film is going to receive a digital release in the UK on September 30th, courtesy of Signature Entertainment. In anticipation of that release, a trailer for Unit 234: The Lockup has arrived online and can be seen in the embed above.
Directed by Andy Tennant (Sweet Home Alabama) from a screenplay by first-time feature writer Derek Steiner, Unit234 sees Orphan, Orphan: First Kill, and The Last Thing Mary Saw star Fuhrman taking on the role of Laurie Saltair, who discovers the comatose man, Clayton, in Unit 234 of her family’s storage facility, while working the night shift alone. What transpires is a thrill ride of a cat-and-mouse game for Laurie and Clayton to survive the night. Here’s another synopsis, which gives a bit more detail about what’s going on in this movie: A lone employee at a remote storage facility (Fuhrman) discovers an unconscious man locked inside Unit 234, chained to a gurney and missing a kidney. She must then fight to survive a ruthless gang, dead set on retrieving their precious cargo… at any cost.
Jack Huston (House of Gucci) is also in the cast.
Unit 234 was fully financed by Productivity Media. The film was produced by Blythe Frank, Hadeel Reda, and Lee Dreyfus, along with Productivity Media’s William G. Santor and Doug Murray. Johnson serves as executive producer alongside Colleen Camp.
What did you think of the trailer for Unit 234: The Lockup? Will you be watching this movie when it’s released? Let us know by leaving a comment below. I was sold on this one as soon as I saw the names Isabelle Fuhrman and Don Johnson alongside the “cat and mouse thriller” description, so I will be watching Unit 234 for sure.
Directors Justin Benson and Aaron Moorhead have been busy in the Marvel Cinematic Universe lately, directing episodes of Moon Knight, Loki season 2, and the upcoming series Daredevil: Born Again, but before they entered the Marvel universe, they were known for making genre films like Resolution, Spring, The Endless, Synchronic, and Something in the Dirt. They’re staying in touch with their roots by serving as executive producers on the upcoming sci-fi thriller Things Will Be Different, which stars Riley Dandy of Christmas Bloody Christmas and Adam David Thompson of A Walk Among the Tombstones – and since that film is set to receive a theatrical and digital release on October 4th, a trailer has now made its way online. You can watch it in the embed above.
The feature directorial debut of Michael Felker, the film sees Dandy and Thompson taking on the roles of siblings Joseph and Sidney, who are on the run from the law. The mysterious farmhouse they are staying in inexplicably transports them through time. While attempting to return to their present, a cryptic force emerges and traps them on a strange plot of land, giving them a deathly ultimatum in order to escape. Here’s another synopsis: In order to escape police after a robbery, two estranged siblings lay low in a metaphysical farmhouse that hides them away in a different time. There they reckon with a mysterious force that pushes their familial bonds to unnatural breaking points.
Benson also happens to be in the cast, along with Chloe Skoczen (Get Me Back Up There), Sarah Bolger (Emelie), and newcomer Jori Lynn Felker.
Things Will Be Different was produced by Michael Felker (under his Last Life banner), Shane Spiegel, Jacob Rosenthal, and David Lawson Jr. of Rustic Films. The writer/director/producer provided the following statement: “I made Things Will Be Different for people who love thrillers, noir, and science fiction they can think about. It’s a giant mystery box of a movie with a strong familial core that’s inspired by my own family. Adam David Thompson and Riley Dandy are just incredible as Joe and Sid, and I can’t believe they aren’t actually brother and sister. I hope people either ponder their own theories and talk about them after watching, or just sit back and enjoy an emotionally wild and unpredictable ride. Either way you can’t go wrong.“
What did you think of the trailer for Things Will Be Different? Will you be watching this movie in October? Share your thoughts on this one by leaving a comment below.
It can be hard to tell sometimes what is a Best Horror Movie You Never Saw. You look at the credentials on a particular film without looking at the title and surely it has to be a mega popular hit. You have Italian mega director Dario Argento, Oscar nominated Piper Laurie, James Russo, Brad Douriff, and special effects by another master of his craft in none other than Tom Savini. I set you up with all those names and accomplishments and maybe you wrack your brain on the possibility that you have seen or even heard of the movie. But I say have you seen the 1993 horror movie Trauma (watch it HERE) and I’m guessing for most people, the answer will be no. That is a sure fire way for a movie to end up on this show and that’s why today you will learn why Trauma is one of the Best Horror Movies You Never Saw.
I’ll be honest. The reason I’m showcasing this movie is two fold. On the one hand, we recently learned that horror legend Brad Dourif is retiring apart from his work in the Child’s Play universe and if you look at his career, there is so much more to discover. The other reason is that I’m a huge Italian horror fan in general and specifically consider Dario Argento to be one of the best directors of horror that we ever had. For those of you that don’t get into Italian horror, looking at you Lance Vlcek, Trauma is a good way to dip your toe into it. It follows all the principles of your typical Giallo thriller, has some wonderful gore effects so long as you are watching the right version, and is one of the man’s few American efforts that is in English without being dubbed. It’s a Giallo gateway if you will.
Trauma starts with a lot of the hallmarks the genre offers. We have a rainy night, a character discussing a mysterious visitor, in this case a chiropractic office getting a new patient, and we see who the killer is clearly. Well, we see what Argento wants us to see as the person is dressed in all black with black gloves and carries with them a bag that contains another wonderful hallmark of Italian horror, the murder weapon. We don’t see the face or hear the voice of the killer or even find out if it’s a man or a woman, but we do see our first of many brutal killings. This is just to set up that there is a killer for the movie and show off their weapon of choice. That weapon? A motorized wire decapitator that effects designer Tom Savini called the Noose-o-Matic. According to the book Dario Argento: The Man, the Myth, the Legend by Alan Jones, Savini wasn’t even sure what the murder weapon would be at first but was tasked with creating one anyway and put it all together when he went to the hardware store. There was also a conceived but never shot scene where Savini himself was decapitated, setting off the killers, well, trauma, and setting the movie in motion.
Savini has been a legend for nearly 50 years and had worked with Argento before in another Best Horror that now you have hopefully seen after we talked about it, Two Evil Eyes. I won’t go over Savini as, I mean, he’s Tom freaking Savini. Argento is a different story, especially for those that haven’t gone all in on Italian horror. You can take your pick from supernatural horror like Suspiria or Inferno or any of his stellar Giallo entries like Deep Red or Opera. There is something for everyone, you just have to give it a try. Argento directed and co-wrote Trauma with his frequent collaborator Franco Ferrini. Ferrini also helped out with things like Phenomena and the previously mentioned Opera.
After the movies first kill, we are introduced to our two main characters of David and Aura who are played by Christopher Rydell and Argento’s daughter Asia. Asia Argento has made a great career for herself both in her father’s movies and others in horror and out. Rydell wasn’t the first choice for the role, but it was turned down by the likes of Tim Roth, James Spader, and John Cusack. While all of those choices would have turned in fine, different, and nuanced performances, Rydell holds his own here. He got in as a huge fan of Argento’s work and in a fun moment, this Argento movie is probably what he is best known for. The cast is rounded out by Oscar nominees Piper Laurie and Frederic Forrest as well as James Russo and Brad Douriff. David stops Aura from killing herself by jumping off a bridge. She has an eating disorder and had escaped a hospital but is found by police and returned to her parents. David is a former drug addict and writes segments for the news on TV. The evening of Aura’s return, her parents are helping find the identity of the serial killer we saw earlier via a séance. It goes wrong and both Aura’s parents are killed by the person known as the Headhunter who shows poor Aura the heads of both her parents.
The movie has more than just Ferrini and Argento as screenwriters with a handful of other people working on the story, script, and even additional dialogue. It does show as there are quite a few story lines. We follow a little boy named Gabriel who lives next door to the killer, all of the victims that the Headhunter is looking for, and the police. We also have Aura’s eating disorder that, while obviously a serious thing, doesn’t really go anywhere within the bounds of the movie. Even with the story being bloated and sure, the movie being maybe a tad too long, there is a lot to like here. The main characters continue to investigate and find out that the killer only strikes during storms. One of the most interesting set pieces in the movie is during another kill in a hotel room where it isn’t storming outside, but the killer sets off the fire alarm and sprinklers to make it rain in the room and follow their own rule. In true Giallo fashion, this is because the inciting incident that happened to the killer happened during a storm.
While Rydell and even a very young Asia Argento may feel a little weak in the acting department, the great character actors more than make up for it. Piper Laurie, in a small role for the actress, is great as Aura’s mom and psychic. Frederic Forrest is a pervy psychologist and part time red herring, James Russo as a police captain investigating the killings and attempting to find out how our leads are related, and finally Brad Douriff. Douriff has a small but impactful role. Our main characters finally link the killings together to the fact that nurses who worked at a specific time in a specific hospital are getting targeted specifically. Douriff plays Dr. Lloyd who was the group of nurse’s superiors but has since lost his license and fallen into drugs.
He doesn’t want to talk to David about what may or may not have happened during that time but since he was involved, you better believe the killer has eyes, and a handheld guillotine, for our Dr. Lloyd. Dourif may have a small part but gets the movie’s best death which is very fitting for such an icon. A necklace he is wearing jams the murderer’s weapon so the killer drags his body, still weak from the signature blow to the head that incapacitates his victims, over to the elevator shaft and has the elevator do the job for him. We even get a neat effect where Durifs decapitated but somehow still functional head screams all the way down the shaft. Just gory goodness for us to enjoy. While it is a short and bloody role for Dourif, its just another example of how much we will miss this incredible talent on the big screen and that he proved he was oh so much more than just cinema’s scariest murder doll.
Dr. Judd, Aura’s former psychologist who we have already seen go a little crazy around her, attacks Aura in her sleep and escapes after David tries to fight him off and the police arrive. After a short chase and deadly crash, the police find some heads of the victims in his trunk and conclude that Judd was the headhunter. David returns and is heartbroken to find a suicide note from Aura but no body. He falls into a depression and drugs again but see’s a shady figure wearing a bracelet he knew to belong to Aura. He follows them to a house, and we find out that Dr. Judd wasn’t the killer but who was? I know I discuss a lot of these movies at length but ruining the surprise of a Giallo movie just isn’t something I’m willing to live with. I will say, it follows the rules well that it’s not supernatural and that there are clues left to you to solve the mystery yourself.
Trauma was released in 1993 first in Dario’s home of Italy on March 12th, followed by the festival circuits and a very limited US release at the end of October. It was so limited, in fact, that I can’t find how much it made at the box office against its estimated 7-million-dollar budget. 1993 wasn’t exactly a sleeper of a year for movies and it had to go against quite a few heavy hitters both holding over from previous months as well as films released at the tail end of October and into November. The reviews were kind of down on it, seeing it as a lesser de Palma imitator which is kind of funny since Argento was making similar suspense and horror films in Italy while De Palma was doing the same here. If anything, they were contemporaries and I even see De Palma as making really great American Giallo’s such as his masterpiece Dressed to Kill.
While its hard to tell when Argento stopped being a master of his craft as nearly all of the greats, particularly in the horror realm, seem to hang around just a bit too long, this is certainly not it. While it doesn’t quite hold up to his earlier works, it has all of his hallmarks and could have been even more as it was cut down in a lot of areas. Even Piper Laurie’s death was originally supposed to have the wire come through her mouth and take the top part off rather than the whole head. Thankfully we have a wonderful Blu-ray packed with extras curtesy of our friends at Vinegar Syndrome. Even with what could have been, what we did get was a fun horror movie from Argento, a great appearance from Brad Dourif, and undoubtedly one of the Best Horror Movies You Never Saw.
A couple previous episodes of the Best Horror Movie You Never Saw 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!
During the Halloween season of 2022, it was announced that Damian Lewis, whose credits include Billions, Once Upon a Time in Hollywood, Homeland, and Dreamcatcher, would be playing two roles in the supernatural black comedy The Radleys. The film went into production in 2023, with Lewis being joined in the cast by Kelly Macdonald (No Country for Old Men), Harry Baxendale (Holmes & Watson), Bo Bragason (The Ballad of Renegade Nell), Jay Lycurgo (Titans), Siân Phillips (I, Claudius), and Shaun Parkes (Small Axe). Now, The Radleys is ready to make its way out into the world this Halloween season, with a theatrical, digital, and VOD release scheduled for October 4th, and with that date swiftly approaching, a trailer for the film has dropped online. You can watch it in the embed above.
Euros Lyn (Heartstopper) directed The Radleys from a script written by Talitha Stevenson, based on a novel by Matt Haig (pick up a copy HERE). Set in a quiet, suburban English town, the film charts the story of the Radleys, who to their neighbours are as ordinary as they come. But beneath the surface, parents Peter (Lewis) and Helen (Macdonald) are concealing a dark secret from their teenage children, Rowan (Baxendale) and Clara (Bragason). They are abstaining vampires, who choose not to drink blood despite their natural cravings, making them more and more bloodthirsty by the day. When Peter’s twin brother Will arrives on the scene (also played by Lewis), a proud, practicing vampire who openly embraces his hedonistic, bloodthirsty lifestyle, the family has to confront some home truths.
The adaptation aimed to be “wickedly funny and scarily relatable.” Here’s another synopsis: Award-winning actors Kelly Macdonald and Damian Lewis star in a dark comedy thriller about a seemingly average suburban family with a juicy secret: they are vampires. In the light of day, the Radleys might seem normal, but they can only abstain from their natural cravings for so long until the bloody truth bubbles to the surface and turns their quiet country life upside down.
The Radleys comes to us from Genesius Pictures and was developed with British Comedy Award winner Jo Brand. It’s produced by Debbie Gray. Lewis executive produced through his production company Ginger Biscuit Entertainment. Other executive producers include Julia Stuart and Laura Grange of Sky, Mark Gooder and Alison Thompson of Cornerstone, Peter Touche, Andrea Scarso and Christelle Conan of Ingenious Media, and Julian Gleek of Genesius. The film was financed by Sky and Ingenious Media.
What did you think of the trailer for The Radleys? Will you be watching this movie in October? Let us know by leaving a comment below.
Last year, it was announced that Blumhouse Television had acquired the adaptation rights to The Quiet Tenant, the debut novel from author Clémence Michallon (you can pick up a copy HERE), with the intention of turning it into either a limited series or a streaming feature. Now Deadline has an update on the project, which is moving forward as a limited series: CSI creator Anthony E. Zuiker has come on board to serve as writer and showrunner, and Secret Menu will be producing the show alongside Blumhouse. Secret Menu is a media company that was launched last December by Charlize Theron, producer Dawn Olmstead, and Theron’s Denver & Delilah partners Beth Kono and AJ Dix.
Theron, Olmstead, Kono, and Dix are executive producers on The Quiet Tenant with Blumhouse Television’s Jason Blum and Chris Dickie, plus Zuiker and Michallon.
Published by Knopf in the U.S. and Abacus in the U.K., The Quiet Tenant has been described as an “expertly paced psychological thriller”. It’s the story of a serial killer, narrated by those closest to him: his 13-year old daughter, his girlfriend and the captive victim he has earmarked for death. In the book. Aidan Thomas is a hard-working family man and a somewhat beloved figure in the small upstate town where he lives. He’s the kind of man who always lends a hand and has a good word for everyone. But Aidan has a dark secret he’s been keeping from everyone in town and those closest to him. He’s a kidnapper and serial killer. Aidan has murdered eight women and there’s a ninth he has earmarked for death: Rachel, imprisoned in a backyard shed, fearing for her life. When Aidan’s wife dies, he and his thirteen-year-old daughter Cecilia are forced to move. Aidan has no choice but to bring Rachel along, introducing her to Cecilia as a “family friend” who needs a place to stay. Aidan is betting on Rachel, after five years of captivity, being too brainwashed and fearful to attempt to escape. But Rachel is a fighter and survivor, and recognizes Cecilia might just be the lifeline she has waited for all these years. As Rachel tests the boundaries of her new living situation, she begins to form a tenuous connection with Cecilia. And when Emily, a local restaurant owner, develops a crush on the handsome widower, she finds herself drawn into Rachel and Cecilia’s orbit, coming dangerously close to discovering Aidan’s secret.
Blum had this to say about Zuiker joining the project: “I’ve been a big fan of Anthony’s cinematic style and approach to storytelling on TV since the early days of CSI. I knew the minute he pitched The Quiet Tenant that he was the right voice to bring Clémence Michallon’s heart-pounding novel to television, and we are thrilled to produce this project alongside the talented team at Secret Menu who has produced some of the best female character-driven film and TV projects to date.“
Zuiker added: “When I read Clémence Michallon’s The Quiet Tenant, I could not put it down. The descriptive nature of the story and its thrilling sensibilities in the narrative spoke to me for the small screen. This is a story about a woman taking her power back against the most pulse hammering of circumstances.“
Olmstead provided the following statement: “When Jason sent us this intense, taut thriller that took such an original approach to an abduction story, we immediately said yes because it is exactly what Secret Menu was built for. We are so lucky to be working with Blumhouse again and to have scored Anthony Zuiker to adapt.“
Does this Blumhouse / Charlize Theron / Anthony E. Zuiker collaboration sound interesting to you? Share your thoughts on The Quiet Tenant by leaving a comment below.
Prepare your inner child. Parents of children, parents of pets, prepare to feel your heartstrings pulled with the newest family film, The Wild Robot. The final trailer for the animated movie has been released by DreamWorks. Stay tuned for our review, which will drop later today.
The Wild Robot follows the journey of a robot—ROZZUM unit 7134, “Roz” for short — that is shipwrecked on an uninhabited island and must learn to adapt to the harsh surroundings, gradually building relationships with the animals on the island and becoming the adoptive parent of an orphaned gosling.
Courtesy of the official press release for The Wild Robot: The Wild Robot stars Academy Award winner Lupita Nyong’o (Us, The Black Panther franchise) as robot Roz; Emmy and Golden Globe nominee Pedro Pascal (The Last of Us, The Mandalorian) as fox Fink; Emmy winner Catherine O’Hara (Schitt’s Creek, Best in Show) as opossum Pinktail; Oscar nominee Bill Nighy (Living, Love Actually) as goose Longneck; Kit Connor (Heartstopper, Rocketman) as gosling Brightbill and Oscar nominee Stephanie Hsu (Everything Everywhere All at Once, The Fall Guy) as Vontra, a robot that will intersect with Roz’s life on the island.
The film also features the voice talents of Emmy-winning pop-culture icon Mark Hamill (Star Wars franchise, The Boy and the Heron), Matt Berry (What We Do in the Shadows, The SpongeBob Movie franchise), and Golden Globe winner and Emmy nominee Ving Rhames (Mission: Impossible films, Pulp Fiction). The Wild Robot is a powerful story about the discovery of self, a thrilling examination of the bridge between technology and nature, and a moving exploration of what it means to be alive and connected to all living things.
Chris Sanders (The Croods, The Call of the Wild, Lilo & Stitch) directs The Wild Robot from a script based on Peter Brown’s novel. Speaking of which, awards for The Wild Robot series extend beyond its position on the New York Times chart, including prizes for a Horn Book Award, two E.B. White Awards, two E.B. White Honors, a Children’s Choice Award for Illustrator of the Year, two Irma Black Honors, a Golden Kite Award and a New York Times Best Illustrated Book Award.
The Wild Robot stomps into cinemas on September 27.
Remember that moment during Rogue One: A Star Wars Story when you felt pure, unadulterated horror, brutal shivers down your spine as a flock of geese trampled your grave? Brrrrr, that first time you see the ghoulish CG soup that is supposed to be a reanimated Grand Moff Tarkin. It turns out that, some eight years…
Remember that moment during Rogue One: A Star Wars Story when you felt pure, unadulterated horror, brutal shivers down your spine as a flock of geese trampled your grave? Brrrrr, that first time you see the ghoulish CG soup that is supposed to be a reanimated Grand Moff Tarkin. It turns out that, some eight years…
