Given Romola Garai’s history of starring in period pieces such as Dirty Dancing: Havana Night, Vanity Fair, and Atonement, launching her directorial career with a gothic horror isn’t what anybody would expect. With Amulet, Garai makes an impressive case for herself as a filmmaker to watch. The film, which I had heard the buzz over since it premiered at Sundance, is part haunted house story, part revenge tale, part exploration of trauma and the horrors of war. That may sound like a lot, but Garai brings those elements together like a seasoned veteran.
Amulet stars Sundance favorite Carla Juri (Wetlands, Blade Runner 2049), Alec Secăreanu (God’s Own Country), and Imelda Staunton. The story, which Garai also wrote herself, follows Tomaz, a troubled ex-soldier who agrees to help an isolated woman care for her ailing mother. While the arrangement seems ideal for everyone, there are deadly secrets scratching to be set free, old traumas that simply refuse to die.
I was fortunate to spend some time talking with Romola Garai about the making of Amulet. We talked about her motivation in wanting to tell this story for her directing debut. We also discussed the sudden surge of female directors in the horror space, crafting the movie’s unique look, and more.
Amulet opens tomorrow, July 24th! You can check out my review here, and watch the interview with Garai below!
Whether it’s a self-driving vehicle or rideshare, we put our lives in our hands when we decide not to drive ourselves. That idea gets taken to a brutal new level in Spree, a film starring Stranger Things‘ Joe Keery and had a ton of buzz at Sundance earlier this year.
Spree stars Keery as a young rideshare driver who will do literally anything to go viral. Even if that means going on a murderous rampage using his passengers as the victims, capturing the violence on camera for his online audience.
The film, which looks like a combo of Nerve and Crank, is directed and co-written by Eugene Kotlyarenko. Keery is joined in the cast by Sasheer Zamata, Mischa Barton, John DeLuca, Josh Ovalle, Lala Kent, Frankie Grande, Kyle Mooney, and David Arquette.
Spree hits VOD and select theaters on August 14th.
SYNOPSIS: Meet Kurt (Joe Keery), a 23-year-old rideshare driver for Spree, who is so desperate for social media attention that he’ll stop at nothing to go viral. He comes up with a plan to livestream a rampage as a shortcut to infamy – coining his evil scheme “#thelesson”, he installs a set of cameras in his car and begins streaming his rides. Wildly miscalculating the popularity that would come from his lethal scheme, Kurt’s desperation grows as he tries to find a way to overcome the plan’s flaws. In the middle of all this madness, a stand-up comedian (Sasheer Zamata) with her own viral agenda crosses Kurt’s path and becomes the only hope to put a stop to his misguided carnage.
Amazon is always looking for new comic books to adapt into TV shows, and last year came word they were developing Paper Girls, based on the hit series by Brian K. Vaughan and artist Cliff Chiang. Well, now they have officially given it a go and named the duo who will be spearheading the effort.
Variety reports Amazon has given the green light to a Paper Girls series, in hopes of creating what could be a Stranger Things-sized hit. The sci-fi fantasy comic is also set in the ’80s, and follows a group of newspaper delivery girls who, on the day after Halloween, get wrapped up in an invasion by warring factions of time travelers.
Newly-announced are the show’s producers and showrunners, the duo of Christopher Cantwell and Christopher C. Rogers. They’re best known as creators of the acclaimed AMC series Halt & Catch Fire.
No word on when Paper Girls will launch, but chances are Amazon is going to want to move on this quickly.
When horror is at its best, nightmarish themes are expertly woven with often harsh social commentary, creating an experience that hits you two-fold. It’s one reason why the genre has been at a peak lately; unfortunately, this world has many problems with which to explore in tales of horrific woe. Romola Garai’s haunting film Amulet is another top example of horror used to tackle disturbing a disturbing topic. Exactly what that topic is…well, you’re not going to find out here.
For those who know Garai, she’s probably best-remembered as the unfortunate star of the sequel nobody wanted, Dirty Dancing: Havana Nights. While she’s acted in plenty of better films before and since, for a certain segment that’s what she’s always been recognized for. Well, that’s probably going to change soon. In her directorial debut, Garai crafts a multi-tiered tale of guilt, anguish, and downright terror, all wrapped under the guise of what appears to be a classic demonic possession story.
The film stars Alec Secarneau as Tomaz, an ex-soldier who has seen and done a lot that continues to trouble him. The film jumps around from the past to the present, from his time stationed at an outpost in the Yugoslav wars to a nomadic existence in England, taking whatever work and shelter will get him through the day. We see early on, an act of kindness towards a fleeing immigrant woman, clearly terrified out of her mind. Tomaz takes her in and cares for her in her time of need. Later, when Sister Claire (Imelda Staunton, always suspicious) offers him a similar kindness, we want him to accept this helping hand. This kindness is to live rent free in the crumbling home of Magda (Carla Juri), a sad, despondent Polish woman taking care of her ailing, abusive mother.
It’s masterfully insidious the way Garai works each of her lead characters into our sympathies. Tomaz and Magda both have so little, and have been battered by the world around them, both battered by poverty, war, and loneliness. We take delight in the simple pleasures both receive from her rather common cooking; him at having a home cooked meal and her for having someone to share it with. The chores he needs to do to maintain this shelter don’t seem to be much of an issue…but then, there’s the old woman who is rarely seen, often heard, and never in a good way.
Amulet relies on moody atmosphere, drab atmosphere crafted by DP Laura Bellingham, and an array of creaks and cracks that make your skin crawl. It’s a deliberately paced film, perhaps too deliberate, and can’t avoid dragging because this isn’t really a movie that traffics in big scares. While Garai presents it that way initially, the one thing to know about Amulet is that nothing is quite as it seems. There is a deeper mystery unfolding, and Garai, who also wrote the script, has a message she intends to deliver with the force of a hammer blow.
Actors-turned-directors also happen to be the best casting agents, and Garai hit a home run by casting Juri as Magda. Juri’s biggest film to date was Blade Runner 2049, but she made her big breakthrough with the gross-out romance, Wetlands, and another Sundance film I was quite fond of, Morris from America. She has endless amounts of range and a screen presence that is undeniable. Even when purposefully downplayed as she is in Amulet, Juri commands your attention.
Secarneau is an actor I’m unfamiliar with before now, but I was struck by how captivating he was while having very little actual dialgoue. This is a movie that works extremely well without an abundance of conversation. Staunton, as mentioned earlier, is terrific at playing characters who come across as suspicious, especially when they are being too helpful. She was Dolores Umbridge for a reason, folks.
Amulet sets Garai as a director worth keeping a close watch on for a long time. There’s nothing I respect more than a filmmaker who has a perspective and goes to great lengths to say what they feel needs to be said. To that end, Garai goes to tremendously gruesome, unsettling ends and the conclusion to Amulet is one that I will not soon forget. It may come across as heavy-handed to some, but you aren’t likely to forget it, either.
The fate of movie theaters continue to be linked directly to the future of Tenet, and exhibitors were dealt a mighty blow when Warner Bros. pulled the film from release indefinitely. While it appears a staggered release plan is what they’re going for, theater owners can rest assured that Christopher Nolan’s anticipated thriller won’t be going directly to HBO Max.
During a conference call (via Deadline), John Stankey, CEO of WarnerMedia parent AT&T, shot down any idea that Tenet would stream on HBO Max or anywhere before it’s seen in theaters. He also included Wonder Woman 1984, although he’s less concrete when it comes to the superhero sequel…
“Is it going to happen with a movie like Tenet or something like Wonder Woman?” Stankey said. “I’d be very surprised if that would be the case. In fact, I can assure you with Tenet, that’s not going to be the case.”
He continued in a CNBC interview…
“It needs to release nationwide. So if you have a major metropolitan area — say, Los Angeles — that’s totally out of check and you have other parts of the country that are totally in control, it doesn’t necessarily give you an option to open it in half the country. It just doesn’t work very well that way.”
So it sounds as if Stankey is shooting down the notion of a staggered release that would see Tenet release in some U.S. markets, and some foreign territories, before others. My contention with that is the epic amount of piracy that would take place, a factor I’m sure WB execs have considered.
Stankey continued…
“It’s a movie, an experience, that should be seen in theaters. It was engineered to be that way. As a result of that, it needs to show up that way. Certainly, Christopher would like it to be that way. That’s how he wants that piece of work that he’s done to be seen by moviegoers and that’s why it’s going to be something that shows up in a theater.”
As for other movies that maybe aren’t as big as Tenet or WW84, Stankey says those films will have to be evaluated based on market conditions…
“The longer this goes on, there’s going to be some content on the margins that we’re going to look at and say it may be better served to be distributed in another construct or a different construct. There’s some content that is going to be more enjoyable and better to see in theaters than in the living room. I don’t know when theaters are going to reopen.”
Meanwhile, AMC Theatres are moving ahead with a new reopening plan, and this time they aren’t connecting it directly to the release of Tenet. So say goodbye to the July 30th date most-recently established the last time WB and Disney moved their summer blockbusters. Instead, AMC will reopen its 450 multiplexes in mid-to-late August. Safety regulations to help protect customers from COVID-19 are being put in place, and were laid out in detail some weeks ago.
“The new timing reflects currently expected release dates for much-anticipated blockbusters like Warner Bros.’ Tenet and Disney’s Mulan as well as release dates for several other new movies coming to AMC’s big screens,”, a statement from AMC reads.
Leave it to Bill & Ted to refuse to stay put in one time and place. Just days ahead of its Comic-Con @ Home panel kicks off, Bill & Ted Face the Music has found itself a new release date, and will hit select theaters and VOD on September 1st. This seems like a perfect drive-in movie, doesn’t it?
A brand new trailer accompanies the change in release, giving us a new look at Keanu Reeves and Alex Winter, reunited as the totally rad dudes William “Bill” S. Preston Esq. and Theodore “Ted” Logan, as they try to fulfill the rock & roll destiny put forth to them in the two prior cult classic films.
SYNOPSIS: The stakes are higher than ever for the time-traveling exploits of William “Bill” S. Preston Esq. and Theodore “Ted” Logan. Yet to fulfill their rock and roll destiny, the now middle-aged best friends set out on a new adventure when a visitor from the future warns them that only their song can save life as we know it. Along the way, they will be helped by their daughters, a new batch of historical figures, and a few music legends – to seek the song that will set their world right and bring harmony in the universe.
The film is directed by Dean Parisot (Galaxy Quest) with a cast that includes Brigette Lundy-Paine, Samara Weaving, Kid Cudi, Jillian Bell, Anthony Carrigan, plus the return of William Sadler as the Grim Reaper.
Kevin Smith will host the Bill & Ted Face the Music panel this Saturday, July 25th at 3pm PST during Comic-Con @ Home. On hand will be Keanu Reeves, Alex Winter, Samara Weaving, Bridgette Lundy-Paine and William Sadler, as well as director Dean Parisot and screenwriters Chris Matheson and Ed Solomon.
Why is this a thing that is happening? A biopic on ’90s rapper Vanilla Ice, probably the worst representation of hip-hop from that era, is in the works with Dave Franco set to star.
The thing is, this might not actually be bad. The film, titled To the Extreme just like the title of Ice’s chart-topping album, has a Black List script by Chris Goodwin and Phillip Van. The story will follow the improbably rise and totally-expected collapse of Robert van Winkle aka Vanilla Ice, whose 1990 single “Ice Ice Baby” became the first hip-hop track to ever top the Billboard 100. The song, which featured heavy influence and a bassline from Queen’s “Under Pressure”, featured such wack lyrics as “Quick to the point to the point no faking, Cooking MCs like a pound of bacon”. The video featured Ice with hair high enough to scrape a jet, dancing around in pants that only MC Hammer could love.
Vanilla Ice’s meteoric rise was followed by a fall from grace, considered a joke by rap purists and disregarded by those too embarrassed to admit they actually liked his music. Ice’s album has gone platinum 7x over so somebody out there bought that shit. I’ll admit to digging the instrumental, that’s it. But the fact remains, Vanilla Ice is still out there making music, performing at shows and seems to have overcome the personal demons that helped waylay his career.
In regards to COVID-19 related delays in production, Franco revealed “we have been in development for a while but we are inching closer and closer to preproduction.” He also made a point to state that his aim for the film to be similar to The Disaster Artist, which explored the making of Tommy Wiseau’s hilariously awful The Room.
Franco said, “With that movie, people expected us to make a broad comedy where we make fun of Tommy Wiseau, but the more real we played it, the funnier and heartfelt it was — that’s the tone we want for this one as well.”
Fans of Vanilla Ice, and I know you’re still out there because the ’90s station still exists on Sirius, know the rapper already starred in one seriously crappy movie, 1991’s Cool as Ice. That film, which only came about because movie execs saw that Ice Cube was doing Boyz n the Hood, was a critical failure, a box office dud, and is generally considered one of the worst movies ever. Ice’s actual film debut would come a bit earlier, infamously performing the “Ninja Rap” in Teenage Mutant Ninja Turtles II: Secret of the Ooze. It is one of the handful of times when I’ve walked out of a movie. No joke.
So it sounds like the real goal here is to make a movie that will do for Vanilla Ice what 8 Mile did for Eminem, which is to force you to take him a little more seriously. The difference is that Em already had crazy cred, and Ice is considered a footnote in rap history. That might actually work in To the Extreme‘s favor, though. I’m thinking of the way Honey Boy and its depiction of Shia LaBeouf’s childhood made us look at him in a new light.
Dave Franco’s directorial debut, The Rental, opens this Friday and you should check it out.
Here’s what Franco had to say about working with Vanilla Ice on the movie: “Rob is such a sweet and intelligent guy and he’s been super helpful in the process of getting all the details correct and making us privy to information the public doesn’t know. Just talking to him I can’t help but think about the rabbit holes I’m going to go down to get ready for the role.” [Insider]
Comic Con may be vastly different this year, but thankfully some studio’s are keeping a sense of normalcy by releasing teasers prior to tomorrow’s events. The streaming revolution has seen a boom in the number of documentaries in general and episode based docu-series are among the most popular format, so of course Disney will take what’s popular and do it best, you need only watch an episode or two of Disney Gallery: The Mandalorian to be assured of that. It should come as no surprise then that the mouse house has a Marvel docu-series ready to go in the form of Marvel’s 616, an anthology style documentary series that will explore the history of Marvel and all of the ways it’s entwined in today’s culture.
The first of the two clips we have highlights the “Higher, Further, Faster” episode which dives into the history of strong female characters in Marvel history. A chapter that’s probably no where near as long as it should be but packs some serious power, especially for a look at what’s to come in the MCU. Gillian Jacobs (Community, Choke) directs the installment which will focus, in part, on a name we will all know very well soon Kamala “Ms. Marvel” Khan. Khan, who is the first Muslim-American superhero will be the star of her own series, Ms. Marvel, on Disney+ in 2021
The second, directed by Paul Scheer (The League) is sure to be one of my favorites. I’m a big fan of remembering things once forgotten, which is Scheer focus as he interviews folks about their favorite forgotten heroes. Honestly, I know it seems like we’re getting near terminal velocity with all things geek but personally I can’t get enough. Bring on all of the docs, films, shows, comics…whatever. I could even go for a “Captain America Sings Your Christmas Favorites” album.
Make sure to stay checking in with us tomorrow as we keep all of the coverage up to date for this years virtual SDCC!
From The Great British Bake Show to…paid assassins? Beloved comedy duo Mel and Sue (Sue Perkins and Mel Giedroyc) star in the upcoming Peacock original series, Hitmen, in which their targets are very different than contestants on the wildly popular baking show.
Giedroyc and Perkins play best friends Jamie and Fran, who try to juggle their messy lives while also doubling as hired assassins. In the trailer, we see the BFFs arguing over one’s birthday while holding one of their targets in the back of a truck. Bullets fly, as do the laughs and grievances, as they encounter all sorts of colorful and costumed characters. They’d much prefer a clean kill and don’t really take to all that torture stuff.
Behind the series are writers/exec-producers Joe Markham and Joe Parham. Also in the cast are Jason Watkins, Fleabag‘s Sian Clifford, and Asim Chaundry.
Hitmen debuts on Peacock on August 6th.
SYNOPSIS: Best friends Jamie (Mel Giedroyc) and Fran (Sue Perkins) are trying to make their way in the world with only each other to rely on. They also just happen to kill people for a living. Fueled by their antics and frivolous bickering, each job inevitably gets derailed, leading them into bizarre misadventures, full of oddball characters and unexpected dilemmas.
With a title like Futha Mucka, and stars Ryan Reynolds and Samuel L. Jackson, you might think the upcoming Quibi series a sequel to their notoriously curse-laden action flick, The Hitman’s Bodyguard. Well, it’s not, but it’s also clear their foul-mouthed experience on that movie served as an inspiration.
Reynolds and Jackson will reunite for Futha Mucka, an animated series coming to Quibi, the mobile streaming platform. The show was created by Blockers writers Jim and Brian Kehoe, giving them some serious R-rated cred. The duo will also exec-produce and act as showrunners.
Check out the seriously weird meta premise: Samuel L. Jackson and Ryan Reynolds love each other. More accurately, Ryan loves Sam. When asked for comment on his feelings for Ryan, Sam said “tell them I couldn’t be reached for comment.” When a minor mishap causes Sam to become Ryan’s primary caregiver, shit gets weird. Ryan is delighted to spend all of his time with Sam. Sam couldn’t be reached for comment.
Oh yeah, this is going to be fucking nuts. Reynolds and Jackson were joined at the hip for The Hitman’s Bodyguard, and will reteam on the sequel next year. As for Futha Mucka, not much is known but Quibi might have a hit on their hands, even if it means filling up the swear jar.
