The corpse of Halloween is barely cold, but studios are keen to announce holiday-themed projects nonetheless. Thankfully, this one sounds like one hell of a ride! Maria Bakalova (The Apprentice, Guardians of the Galaxy Vol. 3) is catching a ride alongside Peter Mullan (The Magdalene Sisters, Children of Men) for No Way Off, a Christmas Eve thriller from Downton Abbey director Brian Kelly. Kelly directs from a script by Gaby Hull (Two Weeks to Live, We Hunt Together), with James Wilkinson producing.

Akin to movies like The Shallows, Buried, and Crawl, No Way Off finds Bakalova in the role of Laura, “a young mother who waits at a bus stop with her infant son. When the bus pulls up, its driver is wearing a latex Santa mask. Laura climbs aboard, collapsing into her seat. Exhausted and stressed, she soon falls asleep. When Laura wakes, night has fallen. The bus is now hurtling along a motorway, miles off its usual route. Apart from the sleeping baby, she is the only passenger left on board. She can’t outrun the driver – she’ll have to outsmart him.”

Finally! I holiday-themed Speed with a psychotic Santa Claus! I guess Santa got my letter.

Bakalova, who made a splash when she duped Rudy Giuliani into a faux interview in Sasha Baron Cohen’s Borat Subsequent Moviefilm, recently played Ivana Trump in The Apprentice. The Ali Abbasi-directed docudrama tells how a young Donald Trump (Sebastian Stan) started his real-estate business in the 1970s and ’80s in New York with the help of infamous lawyer Roy M. Cohen (Jeremy Strong).

Meanwhile, Peter Mullan, a seasoned actor across multiple genres, plays King Durin III in Amazon’s The Lord of the Rings: The Rings of Power. His upcoming film, I Swear, stars him in a drama focusing on John Davidson’s life story. Diagnosed with Tourette’s at 15, targeted as insane by his peers, he struggled with a condition few had witnessed. Campaigning for Tourette’s as an adult, he accepted his MBE from the Queen in 2019.

What do you think about the premise for No Way Off, starring Maria Bakalova and Peter Mullan? Would you board a bus piloted by a driver wearing a latex Santa mask? How will Laura escape her crisis? We can’t wait to find out.

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As another Halloween season dies, department stores rush to display Christmas decorations while Ariana Grande’s cover of “Santa Baby” plays on an overhead speaker. “It’s the most wonderful time of the year,” they say. Meanwhile, Jack Black is getting into the holiday spirit with the first images from his upcoming film, Dear Santa, directed by Bobby Farrelly (Champions, There’s Something About Mary).

The holly jolly comedy centers on Liam Turner (Robert Timothy Smith), a young boy who still believes in Santa Claus. Liam isn’t the best speller, and while writing his yearly note to Santa, he misspells the rotund elf’s name, addressing his wishes to Satan instead. Touched by the boy’s outreach, Satan (Jack Black) visits Liam, bringing the gift of devilish tricks, demonic shenanigans, and laughs to the spirited season.

Speaking with Entertainment Weekly, Farrelly says Jack Black was the first choice to play Satan/Santa. “Jack is just that guy that with his arching eyebrows and his faces and all that, there’s a little bit of mischievous to him at all times, but he’s eminently likable, and that’s just Jack,” Bobby explained. “We never wanted to make it a horror movie or something like that. We wanted it to be comical. So it was a delicate ball of playing this iconic character but doing it in a way that the audience can have some fun with it. And Jack was the perfect guy.”

Jack Black won’t be the only one bringing Christmas cheer to theaters with Dear Santa. Brianne Howey and Hayes MacArthur play Liam’s parents, and Keegan-Michael Key stars in a primary role. PJ Byrne, Jaden Carson Baker, and Kai Cech also appear in the holiday-centric feature. Post Malone cameos in the film, playing himself, which makes us wonder what he’s doing hanging out with Satan/Santa.

“It is a family story because it is Christmas. But you know what? Pete and I, we’re the Farrelly brothers, so we wanted to put our skewed version on a Christmas story like this, but at the same time, we don’t want to just blow it up. We wanted it to have a sweetness to it underneath all the edge and all that,” Bobby says, adding, “so that’s the Farrelly Brothers Christmas movie.”

While Dear Santa is a family film, Farrelly warns that kids who still believe in Santa should skip it. The film shatters the illusion of Santa as a toy-toting B&E expert who thrives on cookies and milk, and some might not be ready to see the wizard behind the curtain.

What do you think about Jack Black’s look as Satan/Santa in the first images for Dear Santa? Can Bobby Farrelly make a family-friendly Christmas comedy without stepping over the line? We’ll know when Dear Santa parks its sleigh on Paramount+ on November 25.

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Stephen Belber wrote his story Tape as a play back in 1999, so it was always intended to get multiple interpretations over the years, with productions that would take place in different locations, with different casts and directors. Productions of Tape have been performed in Louisville, Kentucky; New York City; Dublin, Ireland; London, England; Milwaukee, Wisconsin; Williamstown, Massachusetts; Buxton, England; Orlando, Florida; Alexandria, Minnesota; and Tehran, Iran, among other places. In 2001, Richard Linklater directed a film adaptation of the story that starred Ethan Hawke, Robert Sean Leonard, and Uma Thurman. And now, Variety reports that Tape has gotten a Hong Kong reimagining. A trailer can be seen in the embed above.

Directed by banker turned film producer and director Bizhan Tong (Forensic Psychologist), the new cinematic take on Tape stars Kenny Kwan (The Legend of Luzhen), Selena Lee (Queen of News), and Adam Pak (A Guilty Conscience). The story explores the fallout from a traumatic event at a high school graduation party, forcing the three former friends to confront their past in a story that delves into themes of power, manipulation, and the subjective nature of truth. The remake transposes the story from the U.S. to Hong Kong, a region that has yet to fully reckon with the #MeToo movement, while adapting to today’s technology-dependent age. Traditionally, Tape centers entirely on three people talking in a hotel room, but the trailer for Bizhan Tong’s film reveals that this one goes outside of the hotel room. Tong, Lee, and Bonnie Lo wrote the Hong Kong adaptation of Belber’s story.

Tong and Lee produced the film, with Belber serving as an executive producer alongside John Sloss, Jaeson Ma, Kris Eiamsakulrat, Tenten Wei, and Andy Wang. Tong provided the following statement: “Bringing Tape to a Hong Kong setting has allowed us to explore a cultural dimension rarely touched upon in Asian cinema. The themes of the original resonate even more deeply in today’s context, and I’m excited to share this reimagined version with audiences around the world, in a further attempt to bridge East and West and support Hong Kong film.“

Variety notes that Beijing Sita Digital Technology has acquired the distribution rights for the film in China, and international sales are being handled by EST N8. Pre-release theatrical screenings will begin in Hong Kong on November 16th.

Richard Linklater’s Tape will always have a special place in my heart, because it was one of a group of films that I was watching on repeat during the weeks building up to my high school graduation, an event that happened long ago (the other movies in the rotation being Mission: Impossible, Mission: Impossible II, Vanilla Sky, and Linklater’s Waking Life). That movie is the only production of Belber’s story I have ever seen, but I’m interested in watching the Hong Kong reimagining.

Are you interested in seeing a Hong Kong reimagining of Tape? Let us know by leaving a comment below.

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PLOT: When Anne and Patrick hail a black cab after a night out their driver is chatty, jovial even, but they are in no mood to talk. In fact, the couple is barely on speaking terms. That is, until they realize the driver has no intention of taking them home. Locked in the cab with no means of escape, the driver transports the couple to a stretch of deserted and supposedly haunted road. But what is his purpose? Is he mad or just plain evil? And why has he selected Anne and Patrick as his victims?

REVIEW: Most of us have had a less-than-enjoyable ride in a cab or an Uber. At least with rideshares, you can tell if the driver has been a creep or not, while a taxi is a complete crapshoot. Jumping into a cab, we generally trust that we are safe, but everyone knows someone who has a horror story about a nightmare ride. The new film Black Cab takes that idea and twists it for an unconventional ghost story involving a nameless driver and a young couple stuck in the backseat for a terrifying journey. With a rare dramatic performance from Nick Frost, Black Cab may not be nearly as scary as it could have been, but the lead role of the Shaun of the Dead actor makes up for the film’s shortcomings. With a brisk running time and some tricks up its sleeve, Black Cab is worth checking out.

Black Cab opens with Anne (Synnove Karlsen) and Patrick (Luke Norris) leaving a get-together with friends, and they reveal that they have recently gotten back together. The group’s mixed feelings at hearing the news throw a wrench in the shared ride home that they take in a typical British black cab. Driven by an unnamed but jovial driver (Nick Frost), the cab begins its commute with Anne and Patrick bickering about their reunion as a couple. The driver tries to lighten the mood by chatting up the young passengers, with Anne being quietly nice and Patrick acting like the worst fare. Rather quickly, the ride escalates as the couple’s argument shifts toward the driver, who makes repeated insults towards Patrick and several detours along the way. When they make one particular stop, things turn for the worse.

At first, Black Cab has the hallmarks of countless horror films about kidnappings and maniacs who take advantage of unsuspecting civilians. Echoing elements of The Hitcher and even The Vanishing, Black Cab starts out as an unsettlingly realistic thriller about what could happen if you set foot in an average taxi cab. Nick Frost’s performance begins with his sense of humor, making the driver seem like an average guy behind the wheel, making either groanworthy comments in their dad-jokiness or slightly off from what you would expect in a normal conversation. Frost does a great job of shifting his demeanor from awkward to friendly and suddenly to sinister and menacing without missing a beat, giving the driver an air of psychopathy that makes it difficult to know if he is crazy or just incredibly calculating. That is until the film shifts into the final act.

Without giving away the reveal/twist as to why the driver has taken Anne and Patrick hostage, I will say that it did not completely work for me. It does help shift your perspective as to why the driver does what he does, but it also changes the dynamic of what kind of a movie Black Cab is. The sequences outside of the cab offer a nice change of pace, but I was hopeful that Black Cab would mimic the single-location conceit of Steven Knight’s Locke rather than follow a more conventional genre route. Even so, the beats that Black Cab hits as it presses through the third act towards the ending did not entirely work for me outside of Nick Frost’s performance. By playing the driver as an everyman, Frost imbues elements of his physicality that could have you underestimate that this cabbie is capable of what he does over the course of the film, but without Frost’s charisma and presence, I don’t think this movie would have worked at all.

Written by Virgina Gilbert, Black Cab does boast some script work from Nick Frost himself. The nature of Frost’s character required his input, as I cannot imagine the role would have worked as well without his involvement in the dialogue. Gilbert has scripted and directed several films heavy in character drama rather than the supernatural. Still, director Bruce Goodison invests his visual style and approach to Black Cab in the tried and true of the genre. From jumpscares to the dimly lit sets, Goodison mines tropes from countless horror movies that came before it, which detracts a bit from the originality of what Nick Frost’s character brings to the tale. It is not a terrible horror film, but it certainly does not innovate much in the genre.

Black Cab would have been a forgettable horror movie without Nick Frost’s lead performance. As an unhinged driver with a supernatural mission, Black Cab is the actor’s third horror film of the year and one of the better performances of his career. When a film entirely hinges on a single performance, you know that there is something special about it. Nick Frost may be most associated with the lighter and more humorous genre outings in his filmography, but Black Cab proves that he is more than up to the task of playing dead serious dramatic roles. This is not a terrible movie or a great one, but Nick Frost makes it destination viewing with a charismatic and creepy lead performance.

Black Cab begins streaming on November 8th on Shudder.

Black Cab

AVERAGE

6

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Resident Evil star Milla Jovovich may have moved on from that franchise, but she stays busy. We’ll soon be seeing her face off with Dave Bautista in her husband Paul W.S. Anderson’s fantasy film In the Lost Lands (a George R. R. Martin adaptation), we recently heard she’ll be working with Rosario Dawson and Alexandra Shipp on the action thriller Midnight, she’s gearing up to work with director Brad Anderson on both the sci-fi film World Breaker and the zombie movie Twilight of the Dead (based on an idea by the late, great George A. Romero), and now The Hollywood Reporter has broken the news that she’s set to star in the Taken-esque action thriller Protector.

Adrian Grunberg, whose credits include Rambo: Last Blood, Get the Gringo, and The Black Demon, will be directing Protector from a screenplay by Bong-Seeb Mun. Filming is expected to take place in New Mexico this winter.

Jovovich will be taking on the role of Nikki, a former war hero who believed she had left her violent past behind to raise her daughter, Chloe, in peace. When she wakes up in an abandoned factory and learns that Chloe has been kidnapped, Nikki has navigate the city’s criminal underworld, pursued by both the cops and the military, to get her daughter back. The names of the other cast members have not yet been announced.

Bong-Seeb Mun is producing Protector alongside Kenneth Kim and Bang-Ok Joo for Aanaxion Studio. Arianne Fraser and Delphine Perrier of Highland Film Group are also producers on the film, and so is martial artist and stunt coordinator Ho-Sung Pak. Highland Film Group is co-financing the project and will handle worldwide rights. According to The Hollywood Reporter, Protector is one of a slew of action projects heading to the American Film Market this week, “as producers double down on a return to shoot-’em-up thrillers.” And a return to shoot-’em-up thrillers sounds like a great thing to me.

Are you a Milla Jovovich fan, and are you glad to hear that she’ll be working with director Adrian Grunberg on the action thriller Protector? Share your thoughts on this project by leaving a comment below.

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With the absurd amount of content we’re inundated with in this era of streaming, I often find myself avoiding trailers when I can. This allows for films to come along and surprise me given my complete lack of expectations. I’d recommend taking this option when it comes to Cellar Door, the Jordana Brewster and Scott Speedman film that feels like it will be one thing and goes in an entirely different direction. What seems like supernatural hokeyness, turns into a more Fatal Attraction-style story of broken trust and murder. And as someone who has to watch a lot of indie horror for the job, I love those who do something a bit different.

I had an absolute blast talking with Jordana Brewster about Cellar Door. She had to be sure to give our other critic Alex Maidy some flack for his poor review of the film (thanks Alex) and under other circumstances, my soul would have probably escaped my body during that moment. But thankfully Jordana kept things light and we were able to get past it with a laugh. It helped that I actually got a kick out of the film. She gets into why her chemistry with Scott Speedman is so great, the most important element to get her to accept a role, and how she feels about the ending of the Fast and Furious franchise being right around the corner. This is a great talk that you won’t want to miss.

CELLAR DOOR PLOT: Looking for a fresh start after a miscarriage, a couple (Brewster and Speedman) find themselves being gifted the house of their dreams from a wealthy homeowner (Laurence Fishburne) with one caveat – they can never open the cellar door. Whether they can live without knowing triggers shocking consequences.

CELLAR DOOR IS PLAYING IN SELECT THEATERS AND ON DIGITAL NOVEMBER 1ST, 2024.

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Recently, director Quentin Tarantino praised the much-maligned direct-to-video Bruce Willis films on his Video Archives Podcast. “I was really impressed by Bruce Willis in these movies,” he said. “I thought he was really charming in them. He’s really fun.” The director admitted that it was obvious that Willis was operating with an earpiece. “You can never have a scene where he says a line, somebody else says a line, and he says a line back,” he explained. “You’re getting one line out of him at a time, so there’s always a cut. But he’s making it work. He’s not phoning in his performances.“

When speaking of former stars who transitioned to DTV movies, Tarantino would also address Nicolas Cage’s uniquely zig-zagging career. However, he would spotlight one of Cage’s more recently acclaimed movies, Pig. Tarantino said, “In watching some of the Nic Cage stuff, the one that BLEW ME AWAY was that movie he did, Pig. That’s one of the best of the last five years. That’s one of the best movies I’ve seen in the last five years.” He continues, “He deserves to be proud of it… that guy who directed it did a killer job. He did a really, really terrific job. One of the things that’s great about it, especially after watching all the ‘revenge-o-matics’ we’ve seen, the movie sets it up like all the revenge-o-matics Nic Cage seems to have done in the last five years…this sets itself up to be that only to decidedly not go down that road in the most creative way possible.”

The outspoken auteur has been giving his impressions on many subjects recently, including why he refuses to watch the Denis Villeneuve Dune films and the FX series Shōgun. His other recent takes involve praising the not-so-well-received Joker: Folie à Deux. He explained, “I’m just nihilistic enough to kind of enjoy a movie that doesn’t quite work as a movie.” Then, he continued. “That’s like a big, giant mess to some degree. And I didn’t find it an intellectual exercise. I really got caught up into it. I really liked the musical sequences. I got really caught up. I thought the more banal the songs were, the better they were.”

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Made on a budget of $30 million, the action thriller Atomic Blonde earned $100 million at the box office and was meant to launch a franchise, with screenwriter Kurt Johnstad saying he envisioned the story as a trilogy. But, seven years after Focus Features (a division of Universal Pictures) released the film, a sequel has still not made it into production – and during an interview with The Direct, director David Leitch revealed what the hold-up is: Atomic Blonde 2 has gotten caught up in rights issues.

Atomic Blonde was a passion project for star Charlize Theron, who produced the film through her company Denver and Delilah Productions. Denver and Delilah started developing Atomic Blonde 2 in 2018, and in 2020 Theron revealed that the sequel was set up at the Netflix streaming service. That was the last we heard of it… until this new update from Leitch.

Leitch told The Direct, “Everyone’s still trying to unravel rights issues, and it had traveled from Universal to Netflix for a bit, and then now it’s become a little bit of a bottleneck of too many forces working against each other to try and get it made, because it’s such a great piece of IP and would be amazing to go back and revisit that world and that character. So, hopefully we can get it done…“

Based on the graphic novel The Coldest City by Antony Johnston and Sam Hart, Atomic Blonde had the following synopsis: Sensual and savage, Lorraine Broughton is the most elite spy in MI6, an agent who’s willing to use all of her lethal skills to stay alive during an impossible mission. With the Berlin Wall about to fall, she travels into the heart of the city to retrieve a priceless dossier and take down a ruthless espionage ring. Once there, she teams up with an embedded station chief to navigate her way through the deadliest game of spies.

Theron played Lorraine Broughton and was joined in the cast by James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella, Roland Møller, Jóhannes Jóhannesson, James Faulkner, Barbara Sukowa, Toby Jones, Sam Hargrave, Bill Skarsgård, and Daniel Bernhardt.

Are you a fan of Atomic Blonde, and are you hoping the rights issues will be resolved so Atomic Blonde 2 can go into production? Let us know by leaving a comment below.

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The Walking Dead spin-off The Walking Dead: Daryl Dixon (you can read our review of the first season HERE) just wrapped up its second season on AMC this past weekend, but the third season has already been filming for a while – and during an interview with Collider, showrunner David Zabel confirmed that he already has some plans in mind for season 4, if the show gets that far.

The first season of The Walking Dead: Daryl Dixon had the following synopsis: Daryl (Norman Reedus) washes ashore in France and struggles to piece together how he got there and why. The series tracks his journey across a broken but resilient France as he hopes to find a way back home. As he makes the journey, though, the connections he forms along the way complicate his ultimate plan.

The six episodes of season 2 pick up where the first season left off, following fan-favorite characters Daryl Dixon (Reedus) and Carol Peletier (Melissa McBride). They both confront old demons while she fights to find her friend and he struggles with his decision to stay in France, causing tension at the Nest. Additionally, Genet (Anne Charrier)’s movement builds momentum, setting Pouvoir on a violent collision course with the Union of Hope in the fight for France’s future.

While the first two seasons were set in France, the setting is moving to Spain for season 3 – and it sounds like it would remain in Spain if season 4 happens. Zabel told Collider, “If we get a Season 4, it will be an outgrowth and a continuation of the story we’re telling in Season 3. That’s the pattern I’ve fallen into now. I think in 12-episode segments in my mind, which is two seasons of the show. There are six episodes in a season, so far. The first 12 were all of a piece, and if there’s a next 12, they will similarly be of a piece. If you ask me about Season 5, all bets are off. I have no idea about that.“

Zabel also told The Hollywood Reporter, “The characters should not settle down. It should be a road show. They have to keep moving [to return home]. At the end of season 2, they’re going somewhere. We don’t know exactly where, and it’s not a direct line to the next place they go. But the idea is to keep the characters struggling and striving to get home and moving. [Exploring a new culture is] going to be so exciting for reinventing the show. It felt like all signs pointed toward us continuing to move and get to the next place. In seasons 5 and 6, it could be a different place. They’ll keep moving until they get home!“

Are you glad to hear that the showrunner already has some ideas for The Walking Dead: Daryl Dixon season 4? What do you think of the show continuing to move through different countries as it goes on? Let us know by leaving a comment below.

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The video game adaptation Five Nights at Freddy’s (read our review HERE) quickly became Blumhouse Productions’ highest-grossing movie when it reached theatres and the Peacock streaming service back in October, surpassing the likes of Split, The Invisible Man, The Black Phone, M3GAN, the recent Halloween sequel trilogy, and the Paranormal Activity, Insidious, and The Purge franchises with its haul of $295 million. So, of course, there’s a sequel coming our way, aiming for a December 5, 2025 theatrical release. Returning star Josh Hutcherson (The Hunger Games) recently said that Five Nights at Freddy’s 2 is going to be bigger and scarier than its predecessor, and now co-star Matthew Lillard (Scream) has added that the movie is going to be fan-centric and action-packed.

Five Nights at Freddy’s stars Hutcherson and Lillard alongside Mary Stuart Masterson (Benny & Joon), Elizabeth Lail (You), Piper Rubio (Holly & Ivy), and Kat Conner Sterling (A Week Away). The film follows a troubled security guard as he begins working at Freddy Fazbear’s Pizza. While spending his first night on the job, he realizes the night shift at Freddy’s won’t be so easy to make it through.

Stunt performers Kevin Foster (WandaVision), Jade Kindar-Martin (Interview with the Vampire), and Jess Weiss (Mayfair Witches) play the animatronics Freddy Fazbear, Bonnie, and Chica. Fans are speculating that characters called Toy Chica and Mangle might be in the sequel, but their involvement has not been confirmed.

The video game takes place in Freddy Fazbear’s Pizza, a darker version of Chuck-E-Cheese, where an animatronic animal band performs kiddy songs by day, and goes on murderous rampages by night. The goal of the game is survive a night locked inside, knowing that a furry death machine might jump out of the dark at any moment.

Speaking with Entertainment Tonight, Lillard said, “To have a franchise like (Five Nights at Freddy’s) is very exciting. ‘I always come back’ is my last line of the movie, so I’m coming back, that’s good. Here’s the great news – I think the fans fell in love with what we did, I think [creator Scott Cawthon] is the shepherd of this incredible project and I think collectively the filmmakers listened to some of the criticism that they got, and they’re growing. I think this film is going to be tonally a little different. I think we’re going to have a lot more. I think it’s going to be an action-packed film. Again, I think it’s fan-centric, and I think they’re going to love it.“

We’ve previously heard that Five Nights at Freddy’s 2 is expected to film in Louisiana from October 28, 2024 through January 31, 2025.

The first adaptation was originally set up at Warner Bros., where Gil Kenan (Monster House) was going to direct the film from a screenplay he was writing with Tyler Burton Smith (the Child’s Play remake). Then the project moved over to Blumhouse, where Chris Columbus (Home Alone) was attached to direct it for several years. It finally went into production with Emma Tammi – director of The Wind, Into the Dark: Delivered, and Into the Dark: Blood Moon – at the helm, working from a screenplay she wrote with Seth Cuddeback (Mateo) and video game creator Scott Cawthon. Tragedy Girls writers Tyler MacIntyre and Chris Lee Hill share story credit with Cawthon.

Five Nights at Freddy’s was produced by Blumhouse, in association with Striker Entertainment. Cawthon is a producer alongside Blumhouse founder Jason Blum. Russell Binder is executive producing. Jim Henson’s Creature Shop handled the special effects that bring the homicidal animatronic animals to life on the screen.

Are you looking forward to the fan-centric, action-packed Five Nights at Freddy’s 2? Share your thoughts on this one by leaving a comment below.

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