#joe-begos

#joe-begos

Glander and producer Payson made Boys Go to Jupiter with a tiny team and a $30,000 budget, showcasing the potential of indie filmmaking in animation.

Giambrone describes the initial pitch as akin to Superbad, but quickly realized the film had a much stranger engine under the hood, blending buddy comedy with altered reality.

Cut & Paste Pictures is developing a feature-length documentary chronicling the lifelong friendship between Rise Against guitarist Zach Blair and wrestler Hassan 'MVP' Assad, who will also front an unscripted series about life after prison.

The zombie was actually a Haitian Vodou metaphor for slavery. For enslaved Africans in Caribbean colonies like Haiti, the theft of one's autonomy was akin to a walking death.

Forbidden Fruits is part of a burgeoning subgenre of horror movies that engage specifically with femininity and feminine aesthetics, dubbed 'girl horror' in a recent article in Rue Morgue magazine.

Gunn's first screenplay, Tromeo & Juliet, was co-written with Troma co-founder Lloyd Kaufman, promising 'all the body-piercing, kinky sex, and car crashes that Shakespeare wanted but never had.'

'Forbidden Fruits' has been widely hailed as a 'cult classic' by critics and fans, but labeling it as such too soon risks undermining the process that establishes a film's cultural significance over time.

As audiences increasingly gravitate towards content tailored for mobile devices, the adaptation of traditional storytelling methods to fit vertical formats feels like a natural progression. Vurt sees its platform as a solution that aligns with this future. The success of "micro-drama" platforms like ReelShort and DramaBox has proven that there is a sizable market eager for engaging, bite-sized content.

It's so pure. People talk a lot about the cinematic experience, going into a big theater and sharing it with a lot of people. That's important. But when you distill that into its tiniest form, when you make the screen as small as it can be and fit as many seats as possible, it still works. At least for Davey. That feeling doesn't go away.

The first thing you notice about undertone is how quiet it is; not just in its audio mix, but in how it's shot - primarily steady wide shots that slowly pan across empty rooms, allowing your eyes to frantically scan for something amiss. It's an understated form of filmmaking that allows for the movie's scares to hit all that much harder.

I never sang as a child, but in my guts, and a whole lot of chaos, music wasn't something I planned. It was something that saved me. It gave me a voice when I felt I didn't have one. It let me scream when I needed to scream and whisper when the world needed to listen. Every scar, every tattoo, every song has a story.

Who needs all those notes? I got tired of that. Really, really tired of that. And I'm like, man, if you're in the arts, you should do everything you can to protect your art. So Campbell knew he wanted to make a movie, and he knew he didn't want to go through the big Hollywood machine.

Until recently, "liminal spaces" were only known to architects. But on the Internet, storytellers and amateur filmmakers have morphed these ubiquitous places you pass by on errand runs into caverns of cosmic terror. Now, a new A24 film from 20-year-old filmmaker Kane Parsons is set to kick off the summer and christen it the season of liminal horror.

We're a very open family.

The subsequent standoff moved to Kiritsis' apartment and eventually concluded in a live televised news conference. The whole ordeal received some renewed attention in a 2022 podcast dramatization starring Jon Hamm. That's owed significantly to Skarsgård, who gives one of his finest and least adorned performances. While best known for films like It, The Crow and Nosferatu, here Skarsgård has little more than some green polyester and a very '70s mustache to alter his looks. The straightforward, jittery intensity of his performance propels Dead Man's Wire.

I still can't watch Quint get eaten alive by the shark in "Jaws" (1975), but I will happily replay the climactic kill scene from "Day of the Dead" (1985), in which a highly hissable villain, Captain Rhodes, gets dismembered by a horde of the hungry undead. Is it the gristly, lip-smacking hilarity of the carnage-the taffy-like ease with which they pull Rhodes's flesh apart,