There are horror movies geared towards children, like Paperhouse or Something Wicked This Way Comes, and there are horror movies that only adults should see, such as The Human Centipede or Irreversible.  But tucked in the middle are the movies for “tweeners,” the (usually) PG-13 flicks that are too intense for little ones, but tame by adult standards, movies like Scream for Help or The Gate.  Lisa is one of these tweener movies.

In this sixth predator-featured film, Screenwriter Fred Dekker and Director Shane Black, who also has a writing credit, clearly realize that the Predator franchise needs a fresh take and an overhaul. It's great to watch Arnold Schwarzenegger crawl in the mud for survival in Predator, and even Alien vs. Predator (2004) is dreamy to fans of both series, but 2010's Predators is a total disaster. Something had to be done, and Black and Dekker have done something very different with The Predator: They've taken a page out of the Scream notebook and made it -- dare it be said --lighthearted and ridiculously funny, with a side of decent gore, body splicing, and plenty of explosions.

This week, the latest movie in the recent trend of sequels/reboots of classic flicks hits the screen with The Predator.  It seems like a good time for Cinema Fearité to take a look at the beloved creature feature that kicked off the franchise, 1987’s Predator.

November 9^th, 2016 is a day that will live in infamy for many Americans.  It is the day that reality television star/real estate mogul Donald Trump was elected President of the United States of America.  Documentary filmmaker and self-described “political junkie” James D. Stern (Every Little Step, Sport in America: Our Defining Stories) decided at the beginning of Trump’s campaign that he wanted to know why anyone would vote for the man.  He got his answers, and shares them in American Chaos.

Sequels are funny things in the horror world.  Of course, the most successful movies turn into franchises, like Halloween, A Nightmare on Elm Street, and Friday the 13^th.  Other popular movies, like American Psycho or The Lost Boys, spawn sequels that many fans don’t even know exist.  And then there are the sequels that people don’t know are sequels because they became so much bigger than their predecessor, like The Silence of the Lambs.  In today’s episode of “they made a sequel to THAT?”, we’ll take a look at the underrated sequel to the cult hit The Rocky Horror Picture Show, the 1981 musical comedy Shock Treatment.

In her long and storied career, Ruth Bader Ginsburg has gone from lawyer to judge to Supreme Court justice.  But perhaps her most interesting accomplishment has been becoming an internet meme, an inspirational figure for both modern women and liberal activists all over America.  Her fascinating story is the subject of a new documentary, appropriately entitled RBG.

In 1975, the movie world was changed by Steven Spielberg’s summer blockbuster Jaws.  And almost immediately, schlock filmmakers started imitating it, hoping some of the success would rub off.  And some did.  The Jaws clone trend has given us awesome movies like Orca, Tentacles, and even Grizzly.  Oh, and Piranha.

While the great Stanley Kubrick had a fairly modest output over his long career (13 movies in 46 years), there’s little doubt that he’s considered to be one of the most influential filmmakers of all time.  Filmworker takes a close look at the second half of his career through the eyes of someone who was involved intimately in it, his trusted colleague and friend Leon Vitali.

Not long ago, Cinema Fearité dug into the phenomenon of “Oscar Horror” when we took a look at The Silence of the Lambs.  Although that movie may be the best example of a modern horror movie going mainstream for the Academy Awards, it certainly isn’t the only one, and we’re not talking about The Shape of Water.  Four short years before The Silence of the Lambs brought home the Big Five, Fatal Attraction earned a slew of Oscar nominations of its own.

Those who grew up in the seventies may remember a children’s show nestled in between “Sesame Street” and “The Electric Company” on PBS called “Mr. Rogers’ Neighborhood.”  It wasn’t as flashy as its bookends, but it was every bit as charming, and probably even more historically important.  The show and its creator, Fred Rogers, are the subject of the documentary Won’t You Be My Neighbor?

Last year, Cinema Fearité dove into The Day After, the 1983 television movie that scared the hell out of an entire nation that was living on the brink of nuclear war.  A year after the broadcast of that groundbreaking film, Great Britain came out with their own horrifying vision of the aftermath of an atomic attack.  Since we are still, as a country, flirting with the reality of a nuclear incident, it seems like as good a time as any to take a good look at Threads.

In 2013, Cardinal Jorge Mario Bergoglio was elected to the Papacy and took the name Pope Francis, after Saint Francis of Assisi.  Almost immediately, he became a controversial figure because of his progressive views.  A few years later, documentary filmmaker Wim Wenders (Wings of Desire, The Salt of the Earth) was given unprecedented access to the Pope in order to make a movie.  That movie is simply called Pope Francis: A Man of His Word.

It’s always fun when one actor gets to play multiple roles in the same movie.  Sometimes, it’s twins (Sisters, Dead Ringer, The Black Room, Jack’s Back) or doppelgangers (Enemy, +1).  Other times, it’s a more creative use of the characters (Alien: Covenant, Nocturnal Animals).  Still other times, it’s a thematic motif (Cloud Atlas, Holy Motors, Anomalisa).  And sometimes, it’s just for show.  That’s the case with Liquid Sky.

At the beginning of To Hell and Back: The Kane Hodder Story, Kane Hodder claims that he has murdered more people on film than any other actor in history.  As a horror movie icon who has played both Friday the 13^th’s Jason Voorhees and Hatchet’s Victor Crowley four times each, he is probably correct.  But even if he isn’t, no one is going to argue with him.

Just as the title suggests, Eating Animals is a documentary about the American factory farming system.  Director Christopher Dillon Quinn (West of Memphis) based the film on the book of the same name by Jonathan Safran Foer (Extremely Loud & Incredibly Close), and it essentially, through interviews and investigative footage, follows the lives and times of a handful of the farmers that bring animals like turkeys, chickens, and pigs from the farm to the table.