Sean S. Cunningham’s Friday the 13th is inarguably one of the most successful horror franchises, and for good reason. Not only did the series practically invent the campers-in-the-woods stereotype, but its villain, the hockey-mask wearing, machete-wielding Jason Voorhees, is so iconic that his image has become synonymous with the horror genre in the minds of fans and non-fans alike. However, Friday the 13th was not the first movie to use the name; the year before the first Camp Crystal Lake movie, in 1979, another film had the genius idea of exploiting the most superstitious day on the calendar, the completely unrelated Friday the 13th: The Orphan.
It’s said that imitation is the sincerest form of flattery. In 1984, Wes Craven’s A Nightmare on Elm Street revolutionized the slasher movie. Because of this, the film spawned not only several sequels, but a number of rip-offs as well. There was the rock and roll film Dreamaniac. There were not one, but two Bollywood A Nightmare on Elm Street clones: Mahakaal (The Monster) and Khooni Murdaa (Deadly Corpse). Craven himself has been accused of cinematic cannibalism with his own My Soul to Take. Even the sequels had imitators; Inception and The Matrix can both be viewed as derivative of A Nightmare on Elm Street 3: Dream Warriors. Although not all good, some of these imitations were not half bad, either. An example of one of the good clones is 1988’s Bad Dreams.
Frank Herbert’s Dune is generally thought of as essential reading in science fiction literature. In 1984, the epic novel was adapted by director David Lynch (Blue Velvet) into a lumbering, disastrous movie. Ten years earlier in 1975, however, another movie adaptation of Dune was in the works, one that had been meticulously planned and prepared by Chilean cult film director Alejandro Jodorowsky (Holy Mountain), only to have funding fall apart before a single shot could be filmed. This unrealized version of Dune is explored in great detail by documentarian Frank Pavich (N.Y.H.C.) in his new film, the appropriately titled Jodorowsky’s Dune.
The horror world lost another one of its stars this weekend when Kate O’Mara passed away at the age of 74. O’Mara was most well known to American audiences from her work on “Dynasty,” and British fans remember her best from her stint on “Doctor Who,” but horror nerds know her as a Hammer girl. Even though she only made two pictures for the legendary studio, she shined bright enough in them for fans to consider her an icon. She made both of her Hammer films in 1970, and while The Horror of Frankenstein may have the bigger name, O’Mara is at her beautiful best in The Vampire Lovers.
There’s a reason that spiders are essential to any Halloween party decor; they’re scary. That goes for movies, too. Whether in classic sci-fi films like Earth vs. the Spider or modern monster movies such as Big-Assed Spider, eight legged creepy crawlies have snuck their way into movies for as long as there have been movies. Hollywood heroes have done battle with single mutant spiders, as in Tarantula, and whole groups of them, like in Arachnophobia. Sometimes, spiders can play a small role in a film, only to end up having their scene be the most memorable in the picture, as is the case with The Fly. And, sometimes, spiders just have to show up as eerie set dressing and let the humans do the scary stuff, like they do in 1968’s Spider Baby.
In 1974, director Tobe Hooper made The Texas Chain Saw Massacre, a film that would change the landscape of horror forever. After following it up with the less-successful but still respected Eaten Alive, Hooper had a run of bad luck. He was fired from two movies, The Dark and Venom, in the middle of production. He was brought on to direct the Steven Spielberg-produced Poltergeist in 1982, only to have Spielberg direct most of that film himself (allegedly, depending on which story you believe, of course). Three years later, Hooper finally got himself a break; he made Lifeforce.
It seems to be of little concern to Jim Jarmusch, the common journalistic shorthand that labels him as some "high priest of hip." He seems actively to be courting the title in fact, with Only Lovers Left Alive, the most languorously cool movie of his career (amidst stiff competition). It is a love story, intrinsic to which is the fact that Adam and Eve (Tom Hiddleston and Tilda Swinton) are vampires (their third wedding was 1868) whose relationship has strengthened and deepened to a near-mystical level over the years; as has their knowledge and appreciation of science, nature, and cultural figures and artifacts, allowing for the fetishisation of all kinds of musical instruments and equipment, books and literary figures: an impossible level of hipness attainable only via several times a normal human lifespan. And of course they dress to kill, and wear sunglasses at night.
If an actor is lucky, he or she will take on a role that will define their entire career. Sean Connery was James Bond. Robert Englund was Freddy Krueger. And Anthony Perkins was Norman Bates. The trademark role can be both a blessing and a curse; the actor is usually remembered forever in pop culture history, but it is often difficult come out from the shadow of that one character. Anthony Perkins was specifically tied to Norman Bates in the years after Psycho, so much so that he portrayed the unstable man-boy in three sequels, even directing one of them. Although Perkins made dozens of other movies during his career, he will always be Norman Bates to audiences. Perkins didn’t do himself any favors with role selection, either; he played mentally unstable characters several more times in his career, but the most memorable came in 1989’s Edge of Sanity.
In 1982, director Godfrey Reggio and composer Philip Glass collaborated on the masterful documentary Koyaanisqatsi, an art film that combined Reggio’s beautiful visions with Glass’ haunting music. The pair would team up again in 1988’s Powaqqatsi and in2002’s Naqoyqatsi. Now, in 2014, Reggio and Glass have once again created a stunning marriage of sound and picture with the much more pronounceable Visitors.
The works of certain horror writers just beg to be turned into motion pictures. The classic works of Edgar Allan Poe and H.P. Lovecraft make great movies, as do the books of more modern scribes like Richard Matheson and Stephen King. And then there’s Henry James. Often thought of as the father of the psychological ghost story, James didn’t allow himself to be pigeonholed into writing strictly horror. Because of this, he is not generally thought of as being an icon of the genre, but his The Turn of the Screw is inarguably one of the most frightening tales ever committed to paper. The novella has been filmed numerous times since its 1898 publication, but the most memorable adaptation is the 1961 version directed by Jack Clayton (Something Wicked This Way Comes), simply called The Innocents.
Horror movies are built on the fear of the unknown, and a big part of that unknown is the “thing that lurks in the dark.” However, some horror films can be just as effective in the harsh light of day. The first half of John Carpenter’s Halloween takes place in broad daylight, just as much of Jaws does, and those two films are considered two of the scariest classics ever made. In 1971, before both Jaws and Halloween, sci-fi/fantasy director Richard Fleischer (Soylent Green, Fantastic Voyage) made a bright film with a dark side called See No Evil that featured a protagonist who was blind, living in darkness even in the daylight.
Nowadays, the big gimmick at the cinema is 3D. From silly monster movies like I, Frankenstein and Abraham Lincoln: Vampire Hunter to Oscar-bait films such as Gravity and Avatar, seemingly every modern big-budget movie gets a 3D release. Hollywood even trips over itself to re-release hits like Titanic and Jurassic Park in 3D in an effort to squeeze additional revenue out of existing titles. Classic 3D horror films may not have been as slick as modern ones, but they were just as much fun for audiences. As early as the 1950s, 3D could be found wowing theatergoers in films like House of Wax and Creature from the Black Lagoon. Released in 1961, a little Canadian film called The Mask added an interactive element to the technology, simultaneously amazing and horrifying viewers in the process.
The word phantom can mean several things. It can be another name for a ghost. It can represent anything that is imaginary. It can also denote something that is difficult to attain. Cinematically, the term has been used in movie titles about both superheroes and submarines, and that’s not even including variations on the name such as The Phantom of the Opera, Phantom of the Paradise, or Star Wars: Episode I – The Phantom Menace. In 1931, before all of these (okay, well not before the original silent The Phantom of the Opera), another film used the name The Phantom, and it’s easy to see why it has been lost in the shuffle.
An unprecedented event took place a couple of weekends ago in the Masonic Lodge of the Hollywood Forever Cemetery. It was a celebration not of specific timing, yet long-overdue, coming about for no particular reason, other than acquaintance and willingness on the part of all those involved. Nonetheless, it is hard to believe that no-one before now has invited or managed to persuade Warhol Superstar "Little Joe" Dallesandro to attend a retrospective tribute to the trilogy of roles he played for Paul Morrissey in Flesh (1968), Trash (1970) and Heat (1972).
The X rating is a double edged sword. For adult films, the X is a badge of honor; it’s the rating for which they strive. For a mainstream film, it can be the kiss of death. There have been several mainstream films that have gone on to great success, both critical and commercial, despite being initially given an X rating. Classics like Stanley Kubrick’s A Clockwork Orange and Sam Raimi’s The Evil Dead began their cinematic lives with X ratings. John Schlesinger’s Midnight Cowboy even won the best picture Oscar in 1969 with an X. But not all mainstream X films are so lucky; in 1971, writer/director Ken Russell (Tommy, Altered States) made The Devils, a film which many consider to be the best picture of the director’s career. Despite heavy editing, it was slapped with an X rating and, therefore, Russell’s original vision of The Devils has never been properly released.
Here they are, the top ten horror movies of 2013...and a few honorable mentions too.
Chistian Porumboiu ups the formal rigour of his last, Police, Adjective (2009), with a film composed of 17 shots, most capturing conversations for a full reel's 11 minutes, and filmed with an almost entirely static camera. His subjects are film director Paul and his actor and new bedmate Alina, rehearsing, eating, discussing the restraints (those 11-minute reels) of film versus digital, or how national cuisines developed according to the utensils used. They contrast in his shlubby demeanor and her careful, dancer-like movements; they misunderstand one another over dinner; and he wearily humors her working over the fine details of a scene, in order to achieve his aim of getting her naked onscreen.
Like Asghar Farhadi's previous film, A Separation (2011), Le passé (The Past) is a superb feat of narrative construction and mise en scène, keeping three to four characters at the centre of attention, and balancing their motives and desires with careful equanimity. The problem is that there's little more to recommend the film than this cleverness, since none of the characters are especially interesting or likable, and the third act develops into a twist-too-far detective story, before ending on a note that, albeit presumably not deliberate, is a thudding sequel set-up, and for a far more lively film to boot.
It’s understandable that Alain Guiraudie won the best director of Un certain regard at Cannes this year, since for the most part L’inconnu du lac (Stranger by the Lake) is a very tight piece of work, effectively exploring the time and place of a single location and milieu, charting the uncertainties that blossom as a new relationship deepens, unfussily depicting the mores of a gay lakeside cruising ground, and building with a skillful slow-burn to a long final shot of excellent tension.
Wunderkind Xavier Dolan never seems to make it to the AFI festival because he's always off shooting his next movie (four movies by the age of 24 and Cannes prizes galore). He was in production on this one when last year's Laurence Anyways screened, a continuation and expansion of the high-pitched emotional drama of his first two films. Whether these were conceived as a triptych or not, Dolan switches tack for his fourth, adapting a play by Michel Marc Bouchard, and serves up a high-pitched psychological thriller that frequently borders on Grand Guignol.
Vic + Flo Saw A Bear is something like an expansion on Denis Côté's last, the strictly observational non-documentary Bestiaire (2012), although that in turn was a distillation of his favoured practice of looking at slightly odd characters shut away from the world. In Curling (2010) and Carcasses (2009), for example, it was by their own volition, as distinct from the animals of Bestiaire, and in Vic + Flo Saw A Bear the same is true, although rather weighted since both women are not-long released from prison.
Agnès Varda has cited Documenteur as her favourite of her own films, presumably because even more than The Beaches of Agnes (2008), it is her most personal and most emotional. She was apart from her husband Demy on her second trip to Los Angeles, at the start of the ‘80s, to develop a script (turned down), deciding instead to make her documentary Mur Murs (1981) on the city's mural art. During this time she was inspired both by her sadness of separation and by the sense of disenchantment and exile she found in Venice, to make a film that fully justifies its subtitle of an “emotion picture.”
The title R100 is a joke on the ratings system because director Matsumoto (Big Man Japan, 1997) claims that no-one who has not lived a century will understand this film. Such a pronouncement is in keeping with the striving absurdity of the movie, which is frequently funny, but overall a slightly laboured litany of craziness.
Jafar Panahi continues to defy the 20-year ban on film-making imposed on him by the Iranian government with a new feature, co-directed and starring his colleague and frequent collaborator Kambozia Partovi, and it is an intriguing magnification of his last illicit achievement, This Is Not A Film (2011). That title was wittily, bitterly disingenuous, whereas Closed Curtain specifically evokes the shut-in existence both of the writer protagonist of the film’s first half, and that of the film-maker himself. There is an opposite sense as well, however, since more even than the previous experiment, this film both opens itself to what kind of cinema can be made under such straitened circumstances, and opens the consciousness of its writer-director; and, despite his palpable anguish, the curtain of possibility remains open at the end.
The sound of bones crunching against a tree, as a man's body tumbles down an unforgiving hill; not once, but twice. This is the sound that haunts you after watching Lone Survivor, superseding the gunfire, explosions, helicopter propellers, and painful screams of four men being ambushed in Afghanistan by Taliban forces. It could easily go unnoticed, this sound, if it were not blatantly on display, or if the scene was anything less than horrific. The success of displaying the carnage, the way in which each man's body was pummeled, bruised, battered, and riddled with gunfire, is to show the perseverance they displayed, the outward courage of these Navy SEALs, that takes on an entirely new level of empathy from the viewer.
While the first Thor – released in 2011 – was a suitable introduction to the Marvel Comics character Thor, it was also a fairly tepid approach to what is one of the more cosmic members of the Avengers team. Up until that point, moviegoers had been treated to a Marvel world that existed in a realm where most of the superheroes seemed plausible, if not completely believable. Iron Man was a guy rich enough to build himself a super suit, the Hulk a man who was caught on the wrong end of Gamma radiation, Captain America a super soldier, and so on. Thor, on the other hand, is the God of thunder, and literally occupies a completely different realm from those previously mentioned characters.
In the sporting world, there are a handful of elite athletes who were able to rise head and shoulders above their competition. In the NFL, Jerry Rice not only still holds just about every major receiving record worth holding, but holds them all by such a huge margin that many will most likely never be broken. In the NHL, Wayne Gretsky was so dominant that the entire league, not just the teams for which he played, retired his number 99 jersey. The NBA’s Michael Jordan was a player who, every time he touched the ball, seemingly held the defense at the mercy of whatever it was that he wanted to do with it. These athletes had something special, something for which they have each been memorialized forever within their respective sports. Lance Armstrong had it, too. At least, that’s what everyone thought.
Alfred Hitchcock may be the most recognizable name in suspense, but there is one man who certainly gave Hitchcock a run for his money. Henri-Georges Clouzot was a master of suspense in his own right, and as a contemporary of Hitchcock, became a great rival and influence. His most frequent themes dealt with the moral corruption of individuals and communities. Films such as Le corbeau and Quai des Orfèvres depict a very cynical assessment of humanity while showcasing Clouzot’s immense talent for suspenseful filmmaking. His best film – and the one he is best known for – is undoubtedly Les Diaboliques, a noir adaptation of a Pierre Boileau and Thomas Narcejac novel. Hailed by some as "the French film noir to end all French film noirs," Les Diaboliques turned noir convention on its head and provided one of the best examples of a noir thriller with horror overtones.
As the years go by it seems ever more likely that Dario Argento will never rescale the inspired heights of his '70s output, the hysterical horror and steely set-pieces that more than make up for wooden acting, distracting dubbing, and leaden exposition. Mother of Tears had its moments and gave one cautious hope in 2007; Giallo (2009) was familiar enough to be comforting; but while Dracula 3D feels reassuringly like an Argento film on plenty of occasions, it fails to play to his strengths, hamstrung by half-hearted literary faithfulness, strangely perfunctory in its murders, and unbalanced by far too much downtime.
In some regards, film noir was a genre that came full circle, from the darkly brooding French films that inspired American tales of ill-fated, morally corrupt characters and back again to the French who coined the very term “film noir” and celebrated its impact as a genre. Late 1930s French cinema saw an influx of films whose pessimistic themes earned them the name “poetic realism.” From directors such as Jean Vigo, Julien Duvivier, Marcel Carné, and Jean Renoir came films that sought to depict life in all its gritty realism and characters who lived on the margins of society – the working class and even criminals. One of the most celebrated films of the poetic realism movement is Marcel Carné’s Le jour se lève (1939). The third in a trilogy of fatalistic dramas, Le jour se lève is less a story about crime and more of the doomed love triangle that ruins a humble working man’s life. A deeply claustrophobic film, its emphasis on disillusionment and imprisonment within society are clear precursors to classic film noir.
The World's End is a film that cannot be summed up succinctly or without meandering off into a tangent or two. A face value it's a story about reuniting with old friends and squashing, or rehashing, decades-old squabbles, but just underneath the surface is an homage to the body-swapping flicks of the '50s. Buried even deeper, almost as a meta film, The World's End is the final piece of "The Three Flavors Cornetto Trilogy," a loosely connected series of films that started with Shaun of the Dead (2004) and continued with Hot Fuzz (2007).
Blackfish is documentary filmmaker Gabriela Cowperthwaite’s disturbing look into the capture and treatment of orcas, or killer whales, in aquariums and marine theme parks. Specifically, the film deals with those whales that snap, attacking their trainers. Even more specifically, the film centers mostly around one particular animal: Tilikum, a male orca who has been involved in the deaths of no fewer than three people (two of his trainers and one knucklehead who snuck into the park after hours and decided to go for a swim). Blackfish chronicles Tilikum’s entire life as an exhibition animal, from his capture, to his training at Sealand of the Pacific in Canada and his transfer to Sea World in Florida and, ultimately, the detailed accounts of the incidents that resulted in the deaths of his trainers.
They had The Wedding Singer, and Fifty First Dates. Now Adam Sandler and Drew Barrymore are all grown-up, managing life as single parents in Blended. The newest comedy to star the pair focuses on the blending of two families together, with hijinks galore of course before happily ever after finds it way to each of them. A trip to South Africa should do the trick, right? The second trailer for Blended is here, and this comedy duo is ready for their next big screen outing together.
It has been a long time since a tornado took over the BIG screen; Sharknado does not count. This summer, things are going to get turbulent when Into The Storm rattles movie theatre seats and sets our hearts a pumping with sound effects that judging from the trailer will deafen us all. The first trailer for Into The Storm is here, enjoy the tease, and hold on to your hat it is going to be windy.
Many of us grew up with the Teenage Mutant Ninja Turtles. We know the story, we owned the movies on VHS, watched the television show, and read the comic books. They are a sacred part of pop culture, and Michael Bay has taken control of them. This can mean one of two things: the movie is going to royally suck, or it is going to be an awesome action-filled adventure. The one thing we have going for the new Teenage Mutant Ninja Turtles movie is that Michael Bay did not direct the film; he is merely a producer. There is hope for our childhoods, after all. I now present the first teaser trailer for Teenage Mutant Ninja Turtles.
I never thought the day would come where I would behold 'The Rock,' aka Dwayne Johnson, with long flowing locks. I was wrong, very wrong. In the debut trailer for Paramount Pictures' Hercules he does, and it is a marvel. The rest of the details in the trailer look awesome too.
Hammer Films, the legendary studio that proved its modern relevancy a couple of years ago with The Woman in Black, is out to scare the pants off of audiences again with The Quiet Ones. Starring Jared Harris (Sherlock Holmes: A Game of Shadows), Sam Clafin (Snow White and the Huntsman), Olivia Cooke (“Bates Motel”), and Erin Richards (Open Grave), the film is about a college professor who assembles a team of students to help him manufacture a poltergeist. By the looks of things, they are successful. Directed by John Pogue (Quarantine 2: Terminal), The Quiet Ones opens on April 25th, but you can check out the new trailer right now.
Angelina Jolie has fantastic cheekbones, naturally. But when Maleficent's make-up artist got a hold of them she turned them into some of the scariest cheekbones you will ever come across. It is all part of the transformation in making Jolie Maleficent, and with each new poster, each new image from the film, or the like, it becomes more and clear: Angelina Jolie as Maleficent will scare young children.
Leave it to Hammer Films, renowned for their contributions to the horror genre, to bring forth some undeniably creepy motion posters for the upcoming The Quiet Ones. There are three motion posters, each featuring one of the main characters in the film; have a look, if you dare.
Darren Aronofsky still has time before he has to start promoting Noah around the world (opening in the U.S. March 28, 2014). That does not mean he is not focusing on Noah, as a character and story, in other artistic mediums. The "Fountains of the Deep: Visions of Noah and the Flood" art exhibit has officially opened in New York City at 462 West Broadway.
Think Like A Man was never reviewed on FilmFracture, and I whole heartedly regret overlooking the movie in 2012. The movie was funny, good natured, sentimental at times, featured a great cast full of chemistry, and most importantly, it was entertaining from start-to-finish. The sequel, Think Like A Man Too will release in theatres June 20, 2014. This time around, it will not go unnoticed. For now, enjoy the trailer for Think Like A Man Too, because the gang is headed to Vegas; and we all know what happens in Vegas.
What would you do if your double appeared in front of you, on the TV screen? For Enemy's Adam (Prisoners' Jake Gyllenhaal), you track him down, no matter the consequences. Go behind the scenes with Jake Gyllenhaal, Sarah Gadon (A Dangerous Method), and director Denis Villeneuve (director of Prisoners) to uncover "the web of his mind" in a brand-new featurette.
Call it a remake, a reboot, or whatever else you can come up with. Any way you put it, there is a new Annie movie, and the first trailer and poster have been released. Annie is part of a political game...she does not have red hair...and where is the dog? No matter how many changes have been made, or liberties, the sun will still come out tomorrow.
Just how did Darren Aronofsky build Noah's ark? Well, the brand-new featurette for Noah just may hold the answer you seek. Watch it now and discover Noah's ark.
A new extended trailer for Oculus, the new movie from director Mike Flanagan (Absentia), has just been released, and it looks creepy. Starring Karen Gillan (Guardians of the Galaxy), Brenton Thwaites (Blue Lagoon: The Awakening), Rory Cochrane (Argo), and Katee Sackhoff (“Battlestar Galactica”), Oculus tells the story of a mysterious mirror that seems to bring death upon everyone who owns it. Oculus opens in theaters on April 11th. Until then – check out the trailer and teaser.
The first trailer for Transformers: Age of Extinction, the fourth movie in the popular series, was unveiled this week. With the welcoming of new stars Mark Wahlberg (Ted), Nicola Peltz (“Bates Motel”), Stanley Tucci (The Hunger Games), and Kelsey Grammer (“Frasier”), the film feels more like a reboot than a sequel, but director Michael Bay blows up enough stuff to keep franchise purists happy. It looks like there are even a few robot dinosaurs to capitalize on the (hopeful) success of Godzilla. Transformers: Age of Extinction hits theaters on June 27.
Have a hankering for some Captain America: The Winter Soldier goodies? You are in luck, as a new TV spot has been released called "Defend." Here it is for your viewing pleasure.
"We don't need another Transformers movie," said everyone when the fourth installment of the franchise was announced. Did we need a third Jurassic Park? Or a fourth Indiana Jones? (Okay, we needed a fourth Indiana Jones, just not that one). A franchise can only survive for so long before it becomes tired, pushed to its story limits, and just plain loses interest from viewers. Michael Bay does not care that this is the case with the Transformers franchise. Instead, a mere few years since the shameful Transformers: Dark of the Moon, he is "rebooting" the franchise and starting anew. The one thing Transformers: Age of Extinction has going for it is Mark Wahlberg is now the lead character--and thank the heavens for that. No one wants to sit through another 2 1/2 hour movie starring the whining Shia LaBeouf. Without further commentary, here is the new poster for Transformers: Age of Extinction, featuring Mark Wahlberg.
Last week we had the opportunity to check out the villains of 300: Rise of an Empire. Now it is time for the heroes to have their time in the featurette spotlight. Behold, the heroes of 300: Rise of an Empire!
Fans of 300 are in for a treat on March 7, 2014 when 300: Rise of an Empire releases in theaters. Based on Frank Miller’s latest graphic novel "Xerxes", 300: Rise of an Empire features the same cinematic style of 300, but features a new story taking place on the see where Greek general Themistokles (Sullivan Stapleton) battles the Persian army led by mortal-turned-god Xerxes (Rodrigo Santoro), and Artemisia (the always stunning Eva Green), vengeful commander of the Persian navy. It is always fun to root for the good guy, but the villains can be much more entertaining. A look at the villains of 300: Rise of an Empire is here for your enjoyment.
The teaser trailer was not enough. The roar soundbite only a tease. Now, without any further impatient waiting the first full length trailer has arrived for 2014's Godzilla. Long live the lizard!
This ain't the Beastie Boys' song. Sabotage is a bloody and violent story as only writer/director David Ayer (Training Day, End of Watch) would be capable of telling. A new red band clip proves the point because Arnold Schwarzenegger is kill-crazy...and everybody dies.
Today just got better for fans of Disney, Pixar, and Marvel movies. The Walt Disney Studios has launched the 'Disney Movies Anywhere' digital movie service and app. Debuting with iTunes as its exclusive launch provider, the digital movie service and app, is a way to keep your entire digital collection of Disney, Pixar, and Marvel movies in one place via your iPhone, iPad, iPad touch and on the web.
The trailer is not enough to keep us satiated until Godzilla hits theatres on May 16, 2014. How about we hear him roar? Yes, please. Listen now to the roar that will infiltrate theatres this Summer.
The first trailer for Guardians Of The Galaxy was released earlier this week and now it is time to meet each of the character's individually. Images, video, it is all here so you can get yourself acquainted with the new action-comedy-superhero team of Summer 2014.
The Marvel universe is expanding past The Avengers by bringing audiences into the world of the Guardians Of The Galaxy. The first trailer has arrived for all to enjoy. Guardians Of The Galaxy will be released in theatres August 1, 2014.
Melissa McCarthy is quickly becoming the comedy "IT" girl to partner with in movies. Her next victim, so to speak, is the great Susan Sarandon in Tammy. Keeping with the not-so-lucky persona McCarthy does so well, in Tammy she plays a woman who has just lost her burger joint job, had her car clunk out on her, and found her husband sleeping around with the neighbor. Oh, the hits just keep on coming. A road trip with her grandmother, played by Sarandon, is just what she needs--or is it?
The sequel to last year’s The Purge has a teaser trailer now, and it looks promising. It's called The Purge: Anarchy and, this time, it’s Kiele Sanchez (A Perfect Getaway) and Zach Gilford (Devil’s Due) against the one-night mob of lawlessness, and it appears that there is no place for the couple to hide this time. The film is again written and directed by James DeMonaco (Assault on Precinct 13) and hits theaters on June 20th.
It did not take long for The Expendables 3 to go into production after the huge success of The Expendables 2. Audiences love the band of aging action heroes the movie's present to us on a shiny, silver platter of pastiche and brilliant comedic timing mixed with action galore. Watch the first trailer for The Expendable 3 now; laugh about the music they chose to use, and delight in seeing the entire cast of favorite's line-up at your attention.
Charlton Heston famously proclaimed, "Take Your Stinkin' Paws Off Me You Damn Dirty Ape," in Planet Of The Apes (1968). He probably would have thought twice about it had he encountered king-ape Caesar in Dawn Of The Planet Of The Apes, the much anticpated sequel to Rise Of The Planet Of The Apes. A new trailer has been released and all there is to say is...wow, humans have quite a battle ahead of them (and I think the apes are going to win).
Science Fiction narratives are popular once again, thanks to the slew of great films that have come out over the past couple of years, includeing Gravity, Prometheus, Ender's Game, and Europa Report. The summer of 2014 promises to usher in another fantastic science fiction narrative, from the creative minds of Lana and Andy Wachowski--you know, the team who brought The Matrix into your world. Jupiter Ascending looks to be full of action, romance, danger, and a mysterious power held by a woman. Oh my, how the mind races with excitement over seeing the movie in its entirety. Watch the first trailer for Jupiter Ascending, starring Channing Tatum and Mila Kunis, now...
The hilarious minions, that audiences around the world have grown to love for their hijinks in the Despicable Me movies took over Manhattan on November 25, 2013. Take a look at the images from their fun-filled day, and watch the sizzle reel to join in on the madness.
The new poster for How To Train Your Dragon 2 has been released, and the excitement has only built up for one super fan of the first film. Yes, that super fan is yours truly, and I am not ashamed to admit the fact. I may be an adult, I may not have children, and I am surely not the target demographic for the movie but none of the aforementioned changes the fact that How To Train Your Dragon 2 is my most anticipated film for 2014. I fell in love with the first one, and not just because it featured dragons (a mythical creature I cannot resist, even in a movie like Reign of Fire). I even felt it should have won the Academy Award for best animated feature over Toy Story 3--shocking, yes, but completely warranted. Come June of 2014 I will finally get to see How To Train Your Dragon 2 and the anticipation has now only built up to an extreme level. Until then, the poster will have to suffice, until the first trailer is released.
Horror fans that have been critical of the recent rash of classic remakes may have a dilemma on their hands. According to his Facebook page, Clive Barker is working directly with Dimension pictures on a Hellraiser remake. The original 1987 film marked Barker’s feature-length directorial debut, introducing the Hollywood horror world to the prolific genre writer. Details are sketchy at best right now, so there’s no telling if it will be a complete reimagining or a pointless rehash, but with Barker at the helm, the project should at least attract plenty of attention.