Movie Reviews

‘Christmas Bloody Christmas’ Review – The Blood-Soaked Robot Santa Movie You Didn’t Know You Needed

Published

2 years ago

October 18, 2022

‘Christmas Bloody Christmas’ Review – The Blood-Soaked Robot Santa Movie You Didn’t Know You Needed

We’re now greater than midway by means of October, however haven’t any concern. The brand new horror releases for the Halloween season positively aren’t slowing down these closing two weeks of the month.

This week brings the Bloody Disgusting-produced discovered footage franchise V/H/S again with a model new installment, for starters, together with Jordan Peele’s newest horror mission.

Right here’s all the brand new horror arriving October 18 – October 23, 2022!

We kick off the week with Properly Go USA Leisure’s coming-of-age horror-comedy The Loneliest Boy within the World, which was launched on VOD platforms starting at the moment.

Starring Max Harwood (All people’s Speaking About Jamie), The Loneliest Boy within the World is billed as a contemporary fairytale — besides with zombies.

“When the sheltered and unsocialized Oliver (Harwood) is tasked with making new associates after the sudden and devastating loss of life of his mom, he decides that digging a number of up (actually) could be his greatest wager. Nevertheless, when he awakens the morning after his excavating escapades, he discovers that his newly acquired associates have mysteriously come to life in a single day, launching all of them right into a sequence of misadventures as they attempt to maintain their secret protected from neighbors, classmates and social employees alike.”

The movie from director Martin Owen additionally stars Hero Fiennes Tiffin (The Girl King), Susan Wokoma (Enola Holmes movies), Evan Ross (The USA vs. Billie Vacation), Tallulah Haddon (The Final Duel), Hammed Animashaun (The Wheel of Time), Jacob Sartorius, Ben Miller (Bridgerton), Alex Murphy (Conversations with Mates), Nicola Roberts and Ashley Benson (Fairly Little Liars).

“I’m past excited for audiences to affix within the enjoyable of this heartfelt, wacky, zombie-infused 80s fairytale,” Owen stated in a press release.

The College for Good and Evil is about to open its doorways on Wednesday, October 19, the newest Netflix Unique film primarily based on Soman Chainani’s debut novel.

Paul Feig (Ghostbusters, Final Christmas) directed The College for Good and Evil for Netflix, bringing probably the most iconic fairytales into the true world.

Within the Netflix film…

“Greatest associates Sophie and Agatha discover themselves on opposing sides of an epic battle after they’re swept away into an enchanted faculty the place aspiring heroes and villains are skilled to guard the steadiness between Good and Evil.”

“Within the village of Gavaldon, two misfits and greatest associates, Sophie (Sophia Anne Caruso) and Agatha (Sofia Wylie), share the unlikeliest of bonds. Sophie, a golden-haired seamstress, desires of escaping her dreary life to turn out to be a princess, whereas Agatha, together with her grim aesthetic and offbeat mom, has the makings of an actual witch. One evening underneath a blood pink moon, a strong power sweeps them away to the College for Good and Evil — the place the true tales behind each nice fairy story start.

“But one thing is amiss from the beginning: Sophie is dropped into the College for Evil, run by the glamourous and acid-tongued Woman Lesso (Charlize Theron), and Agatha within the College for Good, overseen by the sunny and type Professor Dovey (Kerry Washington). As if navigating lessons with the offspring of the Depraved Witch (Freya Parks), Captain Hook (Earl Cave), and King Arthur (Jamie Flatters) wasn’t onerous sufficient, in keeping with the Schoolmaster (Laurence Fishburne), solely real love’s kiss can change the principles and ship the ladies to their rightful colleges and future.

“However when a darkish and harmful determine (Package Younger) with mysterious ties to Sophie reemerges and threatens to destroy the college and the world past totally — the one strategy to a cheerful ending is to outlive their actual life fairytale first.”

Charlize Theron will play Woman Lesso and Kerry Washington will play Professor Dovey within the movie, with the forged additionally together with Laurence Fishburne, Michelle Yeoh and Sophia Anne Caruso.

Shudder is about to hit play on the fifth installment in our V/H/S franchise, with the Bloody Disgusting-produced V/H/S/99 coming completely to Shudder on October 20, 2022.

In V/H/S/99, the follow-up to final 12 months’s vastly profitable V/H/S/94 – #HailRaatma – a thirsty teenager’s house video results in a sequence of horrifying revelations.

V/H/S/99 harkens again to the ultimate punk rock analog days of VHS whereas taking one big leap ahead into the hellish new millennium.

For the primary time ever there are not any acquainted faces returning to the franchise…

Bloody Disgusting are collectively big followers of Johannes Roberts. Whereas he burst onto the scene with Storage 24, he introduced himself with the smash summer season hit 47 Meters Down earlier than bringing the masked killers again to life in The Strangers: Prey at Night time. He most just lately directed the characteristic recreation adaptation Resident Evil: Welcome to Raccoon Metropolis. You’ll pledge your self to Roberts after you see his section.

Most horror followers don’t know their names but however they will when Shudder releases their outrageous horror-comedy Deadstream this fall. Vanessa & Joseph Winter come straight from their SXSW hit to the V/H/S household and ship some of the insane segments ever recorded.

Maggie Levin is a filmmaker with rock n’ roll roots. We grew to become followers after catching her directorial debut My Valentine for Hulu and Blumhouse’s “Into the Darkish” horror anthology sequence. She additionally served as second unit director for Scott Derrickson’s smash-hit The Black Cellphone. Maggie’s section delivers all of the punk rock chaos you’d anticipate from V/H/S.

Tragedy Women is a large fan favourite right here on Bloody Disgusting and we’ve been dying to get director Tyler MacIntyre to affix the V/H/S household. What he caught on tape may have you questioning the saying, “simply let children be children.”

Final however not least is musician-turned-director Flying Lotus, who helmed the trippy pageant nightmare Kuso and is in prep on the sci-fi horror movie Ash. He brings all of the bizarre you wished for in V/H/S/99. Watch out what you want for.

Henry Selick, the director of The Nightmare Earlier than Christmas and Coraline, joins forces with Jordan Peele (Get Out, Us, Nope) for the model new cease movement film Wendell & Wild, and Netflix has debuted the complete trailer this morning. Wendell & Wild first involves choose theaters on October 21, 2022, adopted by the Netflix streaming premiere on October 28.

Keegan-Michael Key and Jordan Peele star in a story of “the hellishly humorous demons of a teen named Kat.” Directed by Henry Selick, the movie was co-written by Selick & Peele.

“Wendell & Wild is an animated story about scheming demon brothers Wendell (Keegan-Michael Key) and Wild (Jordan Peele) – who enlist the help of 13-year-old Kat Elliot – a troublesome teen with a load of guilt – to summon them to the Land of the Dwelling. However what Kat calls for in return results in a brilliantly weird and comedic journey like no different, an animated fantasy that defies the regulation of life and loss of life, all informed by means of the handmade artistry of cease movement.”

The traditional 1980 slasher film Terror Practice starring Jamie Lee Curtis is getting a remake this Halloween season, with Tubi bringing their very own Terror Practice to the desk this Friday.

Tubi’s first collaboration with Incendo, Terror Practice was shot in Montreal and can premiere on October 21 as a part of the platform’s profitable annual month-long Halloween-inspired style celebration, “Terror on Tubi.” The brand new adaptation, produced by Incendo, “is about to thrill horror followers who’ve been clamoring for a remake of the 1980 cult traditional for years.”

On this up to date reimagining, eerie pleasure is within the air as Alana (Robyn Alomar) and a bunch of faculty seniors board a celebration prepare for a Halloween-themed bash, however their enjoyable spirals into concern as attendees are killed off one after the other by an unknown killer. Hid by costumes and plagued with chaos, everyone seems to be a suspect. Because the celebration prepare continues full steam forward, Alana should race towards the rails to search out the killer earlier than she turns into the subsequent sufferer.

The brand new forged is led by Canadian actress Robyn Alomar (“Utopia Falls”), in addition to Tim Rozon (“Schitt’s Creek”). The remake is written by Ian Carpenter and Aaron Martin (“Slasher”), and is directed by long-time Incendo collaborator Philippe Gagnon (“Amber Alert”).

Aliens are headed to the arctic within the upcoming sci-fi invasion movie Slash/Again, in restricted theaters, Digital HD, and VOD platforms on October 21, 2022 through RLJE Movies and Shudder.

In Slash/Again, “Set in Pangnirtung, Nunavut, a sleepy hamlet nestled within the majestic mountains of Baffin Island within the Arctic Ocean, Slash/Again opens because the village wakes as much as a typical summer season day. No College, no cool boys (nicely… besides one), and 24-hour daylight. However for Maika and her ragtag associates, the standard summer season is abruptly not within the playing cards after they uncover an alien invasion threatening their hometown.

“These youngsters have been underestimated their complete lives however, utilizing makeshift weapons and their horror film data, they present the aliens you don’t f*** with the ladies from Pang.”

Directed by Nyla Innuksuk, Slash/Again stars Tasiana Shirley, Alexis Vincent-Wolfe, Nalajoss Ellsworth and Chelsea Prusky.

Innuksuk’s characteristic debut premiered at this 12 months’s SXSW, the place our personal Hint Thurman reviewed the movie. Thurman known as it “a pleasant throwback to ’80s gateway horror.”

Thomas Jane (Deep Blue Sea, The Mist, The Predator) turns into a badass vampire hunter within the upcoming Slayers, a comedy/motion/horror movie that The Avenue might be releasing in theaters, on demand and digital this Friday, October 21. Okay. Asher Levin (Cougars Inc.) directed.

Slayers stars an ensemble forged of Golden Globe® nominee Thomas Jane (The Punisher), Kara Hayward (Moonrise Kingdom), Jack Donnelly (“Atlantis”), Lydia Hearst (Z Nation), Malin Akerman (Watchmen) and Academy Award® nominee Abigail Breslin (Little Miss Sunshine).

Within the movie, “Kick-ass vampire slayer, Elliot Jones (Thomas Jane), made it his life’s mission to take revenge on the bloodsuckers who murdered his teenage daughter. After years of monitoring them, he has lastly reached their secret and hidden base. However to get to them he might want to use a motley crew of social media superstars.

“Enter ‘The Stream Workforce’: party-girl Jules (Abigail Breslin), gen-z pro-gamer Flynn (Kara Hayward) and their crew of trend-makers and breakers! With 100 million-plus mixed followers, they’ve attracted the eye of reclusive billionaire Beverly Rektor (Malin Akerman), who invitations them to celebration at her multimillion-dollar trip compound.

“They quickly uncover these wealthy individuals are none aside from the traditional vampires that Elliot Jones is chasing. When the crew is being held captive in a home of horrors to serve the vampires plan to take over the world, Elliott is their solely hope of survival. As he hyperlinks up with Flynn, a slayer in her personal proper, will he take down the vampire hoard and save The Stream Workforce?”

Up subsequent from Hulu is the simmering people horror film Matriarch, which comes within the wake of Hulu’s Hellraiser and can start completely streaming on Hulu this Friday, October 21.

Within the movie…

“After an overdose practically takes her life, Laura Birch (Jemima Rooper) escapes from the high-stakes strain of the promoting world to return to her roots. Accepting an invite house from her estranged mom (Kate Dickie), Laura hopes the time away within the secluded English village will assist calm the demons raging inside her. She quickly discovers that the locals of the city are all defending an unspeakably darkish secret—a secret that includes not solely her mom however her personal terrifying future as nicely.”

Written and directed by Ben Steiner, the movie additionally stars Sarah Paul, Franc Ashman, and Keith David Bartlett.

On Friday, October 21, Darkish Sky Movies will convey the extremely anticipated launch of SINPHONY: A Clubhouse Horror Anthology to theaters and digital/VOD platforms.

What makes this explicit anthology distinctive? These 9 visions of horror have been conceived of and curated totally on Clubhouse, the audio-based social media platform for informal, drop-in audio chats with associates and new folks world wide to inform tales, ask questions, debate, be taught, and have impromptu conversations on hundreds of various matters.

SINPHONY: A Clubhouse Horror Anthology contains a group of worldwide filmmakers every exploring a personality coping with tragedy brought on by a supernatural entity.

The administrators contributing segments to the movie embrace a brand new who’s who of horror: Haley Bishop, Jason Ragosta, Sebastien Bazile & Michael Galvan, Mark Pritchard, Kimberley Elizabeth, Jason Wilkinson, Nichole Carlson, Steven Keller and Wes Driver.

SINPHONY’s stunning tales embrace: an innkeeper’s rising concern about his secretive new company; a contractor who inhales mildew spores that result in homicide; a pair confronting the truth that considered one of them is a ghost; a witch defending her youngster from a killer; a dance craze that has dire penalties, and far more.

The massive forged consists of Haley Bishop, Stella Stocker, Kristine Gerolaga and Alysse Fozmark.

- TERRIFIER 2 | Screambox and Bloody Disgusting

Additionally this week, Bloody Disgusting brings Damien Leone’s hit Terrifier 2 again to theaters for the weekend, and Halloween traditional Trick ‘r Deal with might be taking part in in AMC theaters nationwide!

On the small display, “Unsolved Mysteries” is again with new episodes on Netflix at the moment, “American Horror Story: New York Metropolis” premieres on October 19, and “The Simpsons” Halloween particular “Treehouse of Horror Presents: Not It” is premiering Sunday, October 23.

In “Treehouse of Horror Presents: Not It,” when a supernatural clown begins slaying the youngsters of Kingfield, younger Homer Simpson groups up with different center faculty misfits to face their fears and defeat the mysterious monster. However years later, the evil clown returns, and Homer’s associates should confront the tragedy of their grownup lives to destroy Krusto as soon as and for all.

Movie Reviews

Diane Warren: Relentless movie review (2025) | Roger Ebert

Published

3 hours ago

January 10, 2025

Press Room

Diane Warren: Relentless movie review (2025) | Roger Ebert

When talking about the preparation for his role of Pete Seeger in “A Complete Unknown,” Edward Norton expressed recalcitrance at getting into specifics, sharing, “I think we’re getting so hung up on the process and the behind-the-scenes thing that we’re blowing the magic trick of it all.” Watching “Diane Warren: Relentless,” a documentary about the titular, animal-loving, fifteen-time Academy Award nominee songwriter, it’s evident that Warren herself thinks similarly. Those hoping to walk away with a greater understanding of her prolific output (she’s written for more than four hundred and fifty recording artists) commensurate with her success (she’s penned nine number-one songs and had thirty-three songs on the Billboard Hot 100) will do so empty-handed, though not without having been entertained.

“As soon as someone starts talking about [process] I want to kill myself,” she groans. “Do you want to be filmed having sex?” To that end, without offering this insight, the documentary at times feels almost too standard and bare, especially for an iconoclastic creative like Warren. Director Bess Kargman plays through the expected beats initially, ruminating on her success and career with cleverly placed adulation assists from talking head interviews from industry icons like Cher, Jennifer Hudson, and Quincy Jones, before narrowing focus and focusing on how her upbringing and family circumstances led to where she is today.

There’s a deceptive simplicity to these proceedings, though. Yes, it may follow the typical documentary structure, but by refusing to disclose the exact “magic trick” of Diane’s success, the film is much more effective at ruminating along with her. It’s the kind of documentary that won’t immediately spark new revelations about its subject through flashy announcements. But, when played back down the line, one can see that the secrets to success were embedded in ordinary rhythms. It’s akin to revisiting old journal entries after you’ve spent years removed from the headspace of the initial writing. You walk away with a greater understanding not just of the past but of the present, too.

Refreshingly, the film knows that the best way to honor its subject is not to make her more “agreeable” or sugarcoat her sardonic tone but instead revel in it; the doc desires to capture her in all of her complexities and honesty. When we first meet Warren, she’s getting ready to drive over to her office with her cat. It’s no different from many set-ups you’ve probably seen before in other documentaries. A handheld camera shakily follows its subject through quotidian rhythms as if it were a vlog of sorts. Yet, while in the car, Warren directly breaks the fourth wall and cheekily tells the camera that it can be placed at a better angle before grabbing it and trying to reposition it herself. It’s a small moment, but one that underscores her personality.

Another facet that’s interesting about this approach is that we see, at times, how this is uncomfortable for Warren herself. She doesn’t try to mythologize her life and work, not out of a false sense of humility but because she genuinely seems content with letting her creative process be tinged with mystery even unto herself. She’s aware that the camera’s probing nature can often disrupt the sacredness of that mystery, and it’s funny to see the ways she navigates its presence, especially when she begins to share more personal details of her life, such as the fact that while her father supported her music, her mother did not. She flirts between wanting to be anonymous and knowing that visibility (especially in the entertainment industry) is the key to longevity. It’s an interesting metanarrative to witness on-screen, even when the subject matter may vary at a given moment.

Given Warren’s confidence, the documentary could have further explored her relationship with the Academy Awards; it’s evident it’s important for her to win and Kargman isn’t afraid to linger on the devastation and anger she feels when she’s snubbed for the umpteenth time. It raises a question, though, that for all of Warren’s self-confidence, why does she feel the need to be validated by what this voting body thinks? It’s clear that not winning hasn’t deterred her or reduced the quality of her music, as she uses each loss as further fuel to keep creating.

When the film does get into more personal territory, such as detailing the creation of songs like Lady Gaga’s “Til It Happens to You,” which was inspired in part by Warren’s own experience of being sexually assaulted, we get a little bit of more insight into her creative process. The songs she writes that are directly inspired by her life (“Because You Loved Me,” a tribute to her father is another) are significant because, as some of her frequent collaborators note, she’s penned some of the most renowned songs about love despite deriding romance in her own life. Kiss singer Paul Stanley, who wrote “Turn on the Night” with Warren, observed that it’s “easier to write about heartache when you don’t have to live it … but you do fear it.” For Warren, she shares how writing love songs feels more like acting and doing role play; it’s touching to see the contrast between songs rooted in her personal history and ones that aren’t.

At times, “Diane Warren: Relentless” falters in embodying the transgressive nature of the artist at its center. But upon further reflection, this is the type of lean, no-nonsense documentary that could be made about an artist like her; it’s disarmingly straightforward and bursting with a candor befitting of someone toiling away in a merciless industry purely for the love of the game. It may be hard to get on the film’s wavelength at first. But then again, Warren wouldn’t have it any other way.

Movie Reviews

Game Changer Movie Review: Ram Charan and Shankar deliver a grand political drama

Published

12 hours ago

January 10, 2025

Press Room

Game Changer Movie Review: Ram Charan and Shankar deliver a grand political drama

Game Changer Story: Ram Nandan (Ram Charan), an upright IAS officer, is committed to eradicating corruption and ensuring fair elections. The film juxtaposes his modern-day battles with the historical struggles of his father, Appanna, highlighting a generational fight against systemic injustice.

Game Changer Review: The highly anticipated film Game Changer, directed by Shankar and featuring Ram Charan, Kiara Advani, and Anjali alongside SJ Suryah and Srikanth in pivotal roles, is a political action drama that delves into the murky waters of corruption within the Indian political system. Shankar, renowned for his grand storytelling, makes his Telugu directorial debut with Game Changer. His signature style is evident in the film’s lavish production and narrative structure. The story, penned by Karthik Subbaraj, weaves together action, drama, and social commentary, though it occasionally leans heavily on familiar tropes.

Ram Charan delivers a compelling performance in dual roles, seamlessly transitioning between the principled Ram Nandan and the rustic Appanna. As the central figure of the story, he carries the narrative with remarkable ease. While his portrayal of Ram Nandan is high on style and swag, it is his heartfelt performance as Appanna that truly resonates with the audience.

Kiara Advani, as Deepika, plays Ram Nandan’s love interest. Her character moderates Ram’s anger and inspires him to take up the IAS. While Ram and Kiara light up the screen, their love track feels somewhat clichéd. Anjali, as Parvathy, gets a meaty role as Appanna’s wife, championing his principles and cause. The emotional depth she brings to the story bolsters the film’s core.

Srikanth, as Bobbili Satyamurthy, surprises with his antagonist role. His dynamic interactions with Appanna add layers to the narrative. SJ Suryah, known for his distinct style and mannerisms, delivers yet another solid performance as Bobbili Mopidevi.

The film opens with Ram transitioning from an IPS officer to an IAS officer, featuring a stylish action sequence where he settles old scores. The first half chronicles his journey from a fiery college student to a committed civil servant. Although it employs some usual tropes and forced humour, the first half ends with an interval twist, setting the stage for an engaging second half. The latter part of the film takes a different trajectory, transitioning into a politically driven narrative rooted in the soil. The screenplay, treatment, and even the colour palette shift to complement this transformation.

Thaman’s musical score elevates the film, with a soundtrack that complements its themes. Tirru’s cinematography captures both the grandeur and grit of the story, employing dynamic visuals that enhance the viewing experience. Editing by Shameer Muhammed and Ruben ensures a cohesive narrative flow. The production values reflect Shankar’s commitment to high-quality filmmaking, with grandiose visuals in the song sequences. “Jaragandi” stands out as the highlight track, while the popular “Naanaa Hyraanaa” is yet to make its way into the final cut. The team has announced its inclusion starting January 14.

While Game Changer impresses with its grand visuals and socially relevant themes, it falters in areas that detract from its overall impact. The narrative occasionally veers into predictability, relying on familiar tropes of love, political corruption, and systemic injustice. The screenplay’s didactic tone, though impactful at times, can feel heavy-handed, leaving little room for subtlety.

Overall, Game Changer is a well-executed commercial film. Shankar’s grand scale and Ram Charan’s brilliant performance, combined with strong supporting roles and technical excellence, make it a compelling watch for enthusiasts of the genre.

Movie Reviews

‘Better Man’ movie review: Robbie Williams is a chimp. (Just go with it.)

Published

20 hours ago

January 9, 2025

Press Room

‘Better Man’ movie review: Robbie Williams is a chimp. (Just go with it.)

Music biopics are too often predictable, formulaic and, let’s face it, dull. One way to liven them up, however, is to venture way outside the box and make the central subject an anthropomorphic animal. And while an alligator Freddie Mercury in “Bohemian Rhapsody” or a sloth Bob Dylan in “A Complete Unknown” might have been bridges too far, a chimpanzee Robbie Williams defies logic and somehow works in “Better Man.”

Director Michael Gracey’s admirably eccentric biopic/jukebox musical (★★★ out of four; rated R; in select theaters now, nationwide Friday) still boasts the signature tropes of its ilk and the career-tanking vices of many a “Behind the Music” episode. Yet the fact that the ultra-cheeky Williams is inexplicably presented as a bawdy CG ape man (given cool moves and voice via performance capture by Jonno Davies) matches the fantastical nature of the British pop star’s bananas rise-and-fall-and-rise-again tale.

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The movie also has a lot in common with Gracey’s most famous effort, “The Greatest Showman,” featuring well-crafted, effervescent musical numbers doing what they can to make up for oversentimentality and an unfocused narrative.

Narrated by Williams himself, “Better Man” chronicles his life starting as a little simian dude playing soccer in the streets with his mates – and failing to impress his peers. Like his father Peter (Steve Pemberton), Robbie wants to be somebody and slowly he begins to embrace a charismatic, wild-child personality that wins him a spot in the boy band Take That. His brazen and outrageous personality wins over some like pop-star girlfriend Nicole Appleton (Raechelle Banno) – and his many fans – but irks many others, from his bandmates and manager (Damon Herriman) to members of Oasis.

The middle of the movie is where “Better Man” finds its groove. Robbie sings “Rock DJ” and his group pogo-sticks through London’s busy Regent Street in the film’s most spectacular sequence. And as the insecure Robbie goes down a bad path, he’s forced to literally fight the conflicting parts of his pop-star persona. Drugs and being a selfish jerk threaten everything, of course, and seeing a chimp go through the out-of-control partying instead of a normal dude is a bit different. The family drama peppered through the film leans too earnest, leading to an ending that pours on the schmaltz way too hard. Brash simian Robbie is a lot more fun to watch than soppy simian Robbie.

No one’s ever going to play a primate like the brilliant Andy Serkis in his “Planet of the Apes” films. Davies does a good job at moving in such a way that’s human but also a little bit wild, which adds to the hyperrealism of a proudly oddball movie. It doesn’t completely explain why exactly Williams is a chimp in the biopic – he’s said he feels “less evolved” than others, and Nicole calls Robbie an “animal” during a fight – but it makes that bizarre choice a little less head-scratching.

Interestingly, the best part of “Better Man” is Williams. He sings the songs throughout the movie – including nifty new tune “Forbidden Road” – and his fabulous narration hilariously slings jabs and adds an emotional gravitas to his screen counterpart’s struggles. When the film goes most over the top, Williams’ commentary keeps it grounded.

“Better Man” isn’t perfect – as a straightforward effort, it doesn’t hold a candle to, say, “A Complete Unknown.” But it’s never boring, either. And the film is easily the most idiosyncratic of its kind, at least until that inevitable Barry Manilow biopic featuring a yeti.