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ablogwithoutacoolusername · 4 years

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I'm Carving Pumpkins (It's Almost Halloween)

From July-ish until now, I have been watching one horror movie a day to make a list that nobody will see. Did an "out of 10" rating system that was meant to be for how much they scared me and nothing else, but things got a bit skewed if the movie gave me good characters, plot, acting, visual techniques, etc. Anyways... here are the movies and happy Halloween!

(PLEASE be safe if you're planning on watching any of these and look for trigger warnings. Doesthedogdie.com is a really good site to use for a multitude of warnings)

1/10 - Why did you make this?

Delirium (2018, dir. Johnny Martin)

Escape Room (2019, dir. Adam Robitel)

Brahms: The Boy II (2020, dir. William Brent Bell) - dog dies

2/10 - Better than nothing

Christmas Evil (1980, dir. Lewis Jackson)

Dead Alive (1992, dir. Peter Jackson) - dog dies

Ghost Ship (2002, dir. Steve Beck)

Freddy vs. Jason (2003, dir. Ronny Yu)

Hide and Seek (2005, dir. John Polson)

The Cabin in the Woods (2011, dir. Drew Goddard)

It Follows (2014, dir. David Robert Mitchell)

3/10 - At least you tried

A Blade in the Dark (1983, dir. Lamberto Bava)

Re-Animator (1985, dir. Stuart Gordon)

Chopping Mall (1986, dir. Jim Wynorski)

Identity (2003, dir. James Mangold)

The Grudge (2004, dir. Takashi Shimizu)

The Skeleton Key (2005, dir. Iain Softley)

Hatchet (2006, dir. Adam Green)

The Inheritance (2011, dir. Robert O'Hara)

No Solicitors (2015, dir. John Callas)

Don't Breathe (2016, dir. Fede Álvarez)

Wounds (2019, dir. Babak Anvari)

Velvet Buzzsaw (2019, dir. Dan Gilroy)

4/10 - Some things right

Stage Fright (1950, dir. Alfred Hitchcock) - dog death implied

The Fog (1980, dir. John Carpenter)

Maniac (1980, dir. William Lustig)

Beetlejuice (1988, dir. Tim Burton)

What Lies Beneath (2000, dir. Robert Zemeckis)

Wrong Turn (2003, dir. Rob Schmidt)

Secret Window (2004, dir. David Koepp) - dog dies

[Rec] (2007, dir. Jaume Balagueró and Paco Plaza) - implied dog death

The Stepfather (2009, dir. Nelson McCormick)

The Thing (2011, dir. Matthijs van Heijningen Jr.) - dog dies

Bite (2015, dir. Chad Archibald)

The Gift (2015, dir. Joel Edgerton)

Crimson Peak (2015, dir. Guillermo del Toro) - dog dies

The Bye Bye Man (2017, dir. Stacy Title)

Clinical (2017, dir. Alistair Legrand)

The Raking (2017, dir. Bryan Brewer)

The Possession of Hannah Grace (2018, dir. Diederik van Rooijen)

5/10 - Average

Psycho (1960, dir. Alfred Hitchcock)

The Innocents (1961, dir. Jack Clayton)

Butcher, Baker, Nightmare Maker (1981, dir. William Asher)

Happy Birthday to Me (1981, dir. J. Lee Thompson)

Videodrome (1983, dir. David Cronenberg)

Henry: Portrait of a Serial Killer (1986, dir. John McNaughton)

Casper (1995, dir. Brad Silberling)

The Mist (2007, dir. Frank Darabont)

Insidious (2010, dir. James Wan)

Bird Box (2018, dir. Susanne Bier)

Doctor Sleep (2019, dir. Mike Flanagan)

Sputnik (2020, dir. Egor Abramenko)

6/10 - Getting interesting

The Wicker Man (1973, dir. Robin Hardy)

Halloween (1978, dir. John Carpenter) - 2 dogs die

Sleepaway Camp (1983, dir. Robert Hiltzik)

Intruder (1989, dir. Scott Spiegel)

The Sixth Sense (1999, dir. M. Night Shyamalan)

Shutter (2008, dir. Masayuki Ochiai)

Mama (2013, dir. Andrés Muschietti)

The Conjuring (2013, dir. James Wan) - dog dies

The Witch (2015, dir. Robert Eggers) - dog dies

The Boy (2016, dir. William Brent Bell)

Gerald's Game (2017, dir. Mike Flanagan)

1922 (2017, dir. Zak Hilditch)

Winchester (2018, dir. Michael and Peter Spierig)

Relic (2020, dir. Natalie Erika James)

7/10 - Pretty good

The Birds (1963, dir. Alfred Hitchcock)

Friday the 13th (1980, dir. Sean S. Cunningham)

My Bloody Valentine (1981, dir. George Mihalka)

An American Werewolf in London (1981, dir. John Landis)

A Nightmare on Elm Street (1984, dir. Wes Craven)

Misery (1990, dir. Rob Reiner)

Scream (1996, dir. Wes Craven)

The Others (2001, dir. Alejandro Amenábar)

28 Days Later (2002, dir. Danny Boyle)

Cabin Fever (2003, dir. Eli Roth) - dog dies

The Descent (2005, dir. Neil Marshall)

Saw IV (2007, dir. Darren Lynn Bousman)

The Woman in Black (2012, dir. James Watkins)

Poltergeist (2015, dir. Gil Kenan)

Lights Out (2016, dir. David F. Sandberg)

8/10 - Very interesting

A Clockwork Orange (1971, dir. Stanley Kubrick)

The Last House on the Left (1972, dir. Wes Craven) - dog death implied

The Texas Chain Saw Massacre (1974, dir. Tobe Hooper)

Alien (1979, dir. Ridley Scott)

The Silence of the Lambs (1991, dir. Jonathan Demme)

Candyman (1992, dir. Bernard Rose)

Evil Dead (2013, dir. Fede Álvarez) - dog dies

Hush (2016, dir. Mike Flanagan)

The Ritual (2017, dir. David Bruckner)

Slender Man (2018, dir. Sylvain White)

9/10 - Scared enough my heart stopped

The Wizard of Gore (1970, dir. Herschell Gordon Lewis)

Hostel (2005, dir. Eli Roth)

10/10 - Holy fucking shit that was terrifying never again (presses replay)

1408 (2007, dir. Mikael Håfström)

Martyrs (2008, dir. Pascal Laugier)

Antebellum (2020, dir. Gerard Bush and Christopher Renz)

#horror #movies #halloween #my list #please message/ask about this if you wanna #halloween tw #horror tw #october #october 31 #i know i have some strange opinions i'm not an expert #i just like watching movies #dog death tw #movie rec

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prettylittleliarsxxxx · 6 years

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It was just earlier today that we let you guys know that producer James Gunn’s new horror movie is called BrightBurn and will now be released on May 24, 2019, instead of November 30th.

And now we have word that yet another Sony horror flick is getting the release date (and title) change-up via Deadline. The movie is called The Possession of Hannah Grace and it stars Shay Mitchell (above) and Stana Katic (to the right), and it was originally called Cadaver.

Anyhow, this new film will be snatching up the release date that Gunn’s BrightBurn just left open. Does this new flick interest you? Make sure to let us know what you think in the comments section or on Facebook, Twitter, and/orInstagram!

The film is directed by Diederik Van Rooijen from a screenplay written by Brian Sieve (MTV Scream) and stars Stana Katic, Shay Mitchell, Grey Damon, Louis Herthum, and James A. Watson Jr.

The Possession of Hannah Grace will be possessing theaters on November 30th.

Synopsis:

When a cop who is just out of rehab takes the graveyard shift in a city hospital morgue, she faces a series of bizarre, violent events caused by an evil entity in one of the corpses.

#the possession of hannah grace #cadaver film #cadaver movie #cadaver #shay mitchell #stana katic #other projects

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saturdaynightmatinee · 4 years

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CALIFICACIÓN PERSONAL: 4.5 / 10

Título Original: The Possession of Hannah Grace

Año: 2018

Duración: 85 min

País: Estados Unidos

Director: Diederik Van Rooijen

Guion: Brian Sieve

Música: John Frizzell

Fotografía: Lennert Hillege

Reparto: Shay Mitchell, Stana Katic, Grey Damon, Louis Herthum, James A. Watson Jr., Larry Eudene, J.P. Valenti, Arthur Hiou, Lexie Roth, Shawn Fitzgibbon, Lisa Wynn, Jacob Ming-Trent, Mickey Gilmore, Kirby Johnson, Kenneth Israel, Matt Mings

Productora: Screen Gems, Broken Road Productions

Género: Horror, Mystery, Thriller

https://www.imdb.com/title/tt5734576/

TRAILER:

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sciencespies · 4 years

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Astronomers find stream of early Universe stars, torn apart by our own galaxy

https://sciencespies.com/space/astronomers-find-stream-of-early-universe-stars-torn-apart-by-our-own-galaxy/

Astronomers find stream of early Universe stars, torn apart by our own galaxy

Astronomers have discovered a mysterious stream of ancient stars at the distant edges of the galaxy: a strange stellar breed so unlike any we’ve seen before, they may very well be the last of their kind.

This unusual collection of stars – called the ‘Phoenix stream’, after the Phoenix constellation in which they are visible – is what’s known as a stellar stream: an elongated chain of stars that used to exist in a spherical form, known as a globular cluster.

Such clusters can be torn asunder by a galaxy’s gravitational forces, in which case their globular form becomes warped, stretching out into a ghostly caravan of stars, fated to distantly orbit a faraway galactic core.

(James Josephides/Swinburne Astronomy Productions/S5 Collaboration)

Above: Artist’s impression of the stellar stream wrapping around the Milky Way.

Neither stellar streams nor globular clusters are new to science, but there’s something about the Phoenix stream that is. Its chemistry is different to any globular cluster we’ve ever seen, almost like it doesn’t belong here.

“We can trace the lineage of stars by measuring the different types of chemical elements we detect in them, much like we can trace a person’s connection to their ancestors through their DNA,” explains astronomer Kyler Kuehn from the Lowell Observatory in Arizona.

“It’s almost like finding someone with DNA that doesn’t match any other person, living or dead.”

There are around 150 known globular clusters in the Milky Way, all of which exist in what’s called the galactic halo – a tenuous spherical structure that envelops the relatively flat galactic disk, where most of a galaxy’s stars otherwise congregate.

Out in the fringes of the halo, though, there are still plenty of stars assembled inside the globular clusters. Each cluster can contain hundreds of thousands of stars, and observations of the clusters in the Milky Way have shown that all clusters demonstrate a certain consistency in their stellar chemistry: the stars in the clusters are enriched with ‘heavier’ chemical elements that are more massive than hydrogen and helium.

After the Big Bang, theory holds that all the gas in the Universe was made up of either hydrogen or helium, which in turn formed the Universe’s first stars. Other elements, such as oxygen, carbon, and magnesium, only became possible much later via the fusion mechanisms of subsequent generations of stars.

The chemical legacy of those later fusion mechanisms is all around us, as a certain proportion of heavier elements has been observed in all our galaxy’s globular customers. That is, until now.

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This chemical threshold – called the metallicity floor – is not obeyed by the Phoenix stream, which demonstrates less heavy elements in its stars than we thought was theoretically possible for such a celestial structure.

“This stream comes from a cluster that, by our understanding, shouldn’t have existed,” explains astronomer Daniel Zucker from Macquarie University in Australia.

Or at least, it shouldn’t exist now, could be another way of putting it.

Observations of the Phoenix stream conducted by an international team of researchers as part of the Southern Stellar Stream Spectroscopic Survey Collaboration have revealed that its “metal abundance is substantially below the empirical metallicity floor”, the authors explain in their new study.

Up until now, the metallicity floor was a useful way of classifying a scientific constant seen across all present-day globular clusters. It still is, as it happens – but the Phoenix stream is no present-day globular cluster.

The team thinks it may be a sole survivor: a celestial relic of a bygone age in the early Universe, when stars made their light in different ways.

“One possible explanation is that the Phoenix stream represents the last of its kind, the remnant of a population of globular clusters that was born in radically different environments to those we see today,” says astronomer Ting Li from Carnegie Observatories in Pasadena.

Lots of questions remain, of course. If the Phoenix stream is a remnant of a relic from the early Universe, is it the only one? Do others also exist, hidden in the vastness of the galactic halo?

“In astronomy, when we find a new kind of object, it suggests that there are more of them out there,” says astronomer Jeffrey Simpson from the University of New South Wales (UNSW) in Australia.

If other old travellers are still on the trail, we don’t have forever to find them. Like globular clusters, stellar streams are not immortal things. Once they’re stretched out into a string of stars, it’s only a matter of time before they disband, and disperse throughout the galaxy.

“Who knows how many relics like the Phoenix stream might be hiding in the Milky Way’s halo?” wonders German astronomer J. M. Diederik Kruijssen from Heidelberg University, who wasn’t involved in the study but has authored a commentary on it.

“Now that the first one has been found, the hunt is on.”

The findings are reported in Nature.

#Space

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retegenova · 5 years

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L'esorcismo di Hannah Grace

L’esorcismo di Hannah Grace

Cinema: L’esorcismo di Hannah Grace

Un film esorcistico-demoniaco un po’ diverso dal solito e carico di una sinistra atmosfera opprimente

(mymonetro: 2,50) Consigliato: Sì Regia di Diederik Van Rooijen.

Con Shay Mitchell, Grey Damon, Kirby Johnson, Nick Thune, Stana Katic, Louis Herthum, James A. Watson Jr., J.P., Valenti, Lexie Roth, Larry Eudene, Arthur Hiou. Genere Horror

– USA,

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#Cinema

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voiceoverradio · 4 years

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An astronomically dated record of Earth's climate and its predictability over the last 66 million years

An astronomically dated record of Earth’s climate and its predictability over the last 66 million years

By Thomas Westerhold, Norbert Marwan, Anna Joy Drury, Diederik Liebrand, Claudia Agnini, Eleni Anagnostou, James S. K. Barnet, Steven M. Bohaty, David De Vleeschouwer, Fabio Florindo, Thomas Frederichs, David A. Hodell, Ann E. Holbourn, Dick Kroon, Vittoria Lauretano, Kate Littler, Lucas…

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#astronomically #dated

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jazzworldquest-blog · 4 years

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BELGIUM:David Linx-Skin in The Game(Cristal Records 2020)

David Linx

Nouvel album Skin in The Game

Sortie le 18/09/2020 chez Cristal Records

En concert le 12/10 au New Morning

David Linx qui a débuté la scène à 14 ans met « sa peau en jeu » pour ses 40 ans de carrière ! Le chanteur est de retour le 18 septembre avec son nouvel album Skin In The Game qui sort chez Cristal Records.

On peut affirmer que David Linx est l’inventeur du « chanteur de jazz européen », et c’est, bien au-delà de l’espace européen, l’un des plus formidables chanteurs de jazz que l’on puisse entendre.

Après plus d’une trentaine d’albums en leader ou en duo avec le pianiste Diederik Wissels, le chanteur David Linx, pour ce nouvel opus de compositions originales chantées en anglais, a réuni un combo de leaders avec Gregory Privat au piano, Chris Jennings à la contrebasse, Arnaud Dolmen à la batterie et en invité de luxe Manu Codjia à la guitare.

Entre ballades et titres plus rythmés, deux morceaux agrémentés de poèmes dits par Marlon Moore rajoutent une couleur de plus à l’album et rappellent le premier sublime album réalisé par David Linx avec l’écrivain James Baldwin en 1987. En premier extrait de Skin In The Game, voici Azadi à découvrir en clip.

Pour regarder et diffuser le clip d'Azadi :

https://youtu.be/FyUcPek2Lr4

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Bruxellois de culture mais parisien d'adoption, formé au contact de grands musiciens américains, David Linx est, sinon le plus grand (dixit Jazz Magazine), en tout cas l'un des plus formidables chanteurs de jazz que l'on puisse entendre, doublé d'un homme de scène au grand coeur ! Ses premiers succès discographiques sur le fameux Label bleu à la fin des années 90, en tandem avec le pianiste Diederik Wissels, ont définitivement renouvelé le jazz vocal et inspiré toute une génération de musiciens. Il est de retour le 18 novembre avec l'album Skin In The Game, né d'une rencontre sensationnelle, un véritable coup de foudre sur la scène de l'Auditorium de Radio France (le 14 février 2018, jour de St Valentin, ça ne s'invente pas!) avec la formation composée Grégory Privat au piano, Chris Jennings à la basse et Arnaud Dolmen à la batterie. David Linx est immédiatement séduit par l'entente musicale qui s'instaure entre lui et ces musiciens qu'ils n'hésite pas à décrire comme les plus accomplis qu'il ait rencontrés ces dernières années. De là naît « Skin in the Game » où, fidèle à ses convictions et à sa démarche, David Linx décide de mettre en lumière mais surtout en paroles et en musiques la beauté et l'amour qu'il s'efforce de percevoir en ce monde. C'est le rôle qu'il s'assigne en véritable artiste : montrer comment nous sommes tous, comme à fleur de peau, partie prenante de notre époque.

Concerts :

12 Oct. 2020 / New Morning, Paris (75)

17 Oct. 2020 / La Rochelle Jazz Festival, La Rochelle (17)

18 Nov. 2020 / Théâtre Le Jardin de Verre, Cholet (49)

11 Déc. 2020 / Le Silex, Auxerre (89)

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cine-xtreme · 5 years

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Reseña | Cadáver

El filme logra una que otra escena de susto,sin embargo, la mala edición y gran cantidad de clichés, así como actuaciones planas, restan puntos a una película más del género

Por: Víctor I. Castro| @chikoelektriko

Director: Diederik Van Rooijen

País: Estados Unidos

Reparto: Shay Mitchell, Stana Katic, Grey Damon, Louis Herthum, James A. Watson Jr., Larry Eudene, J.P.…

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#Cine de Terror #Películas de Exorcismo #Reseñas #Reviews #The Possession of Hannah Grace

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olivierdemangeon · 5 years

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En ce premier jour du mois de décembre 2018, il est temps de jeter un petit coup d’œil dans le rétroviseur et d’analyser les statistiques du blog concernant le mois de novembre 2018 et ainsi de rappeler les choses que nous avons produites.

Nous avons obtenu 5.357 visites en novembre 2018. Un résultat plutôt moyen, qui positionne ce mois à la treizième place des mois ayant obtenu le plus de visites. Nous atteignons ainsi un total de 142.574 visites au 30 novembre 2018 à 23h59. La moyenne journalière de ce mois de novembre 2018 s’élève ainsi à 179 visites.

Le 1er novembre 2018 fut la journée la plus prolifique du mois, puisque nous avons reçu 300 visites sur ce blog, le record en terme de visites dans la même journée datant toujours du 24 février 2018, avec 779 visites.

Laurence et moi, avons produit 18 critiques de film durant ce mois de novembre 2018. Dans cette série de films aucun métrage nous aura séduit au point de lui attribuer la note maximum. Nous avons cependant beaucoup apprécié “Searching” (2018) d’Aneesh Chaganty, “Anon” (2018) de Andrew Niccol, “Halloween” (2018) de David Gordon Green, et “Widows” (2018) de Steve McQueen et nous fûmes relativement déçu par “First Reformed” (2017) de Paul Schrader, ainsi que par “Patient Zero” (2018) de Stefan Ruzowitzky.

Halloween (1978) ★★☆☆☆

Halloween II (1981) ★★★☆☆

BlackKklansman (2018) ★★★☆☆

Halloween (2018) ★★★★☆

Halloween H: 20 Years Later (1988) ★★★☆☆

Halloween: Resurrection (2002) ★★☆☆☆

Bad Times At The El Royale (2018) ★★★☆☆

Final Score (2018) ★★★☆☆

Anon (2018) ★★★★☆

Kin (2018) ★★★☆☆

Traffik (2018) ★★★☆☆

Rockin’ On Hheaven’s Door (2013) ★★★★☆

First Reformed (2017) ★★☆☆☆

Searching (2018) ★★★★☆

Deadfall (2012) ★★★☆☆

Patient Zero (2018) ★★☆☆☆>

Hotel Artemis (2018) ★★★☆☆

Widows (2018) ★★★★☆

Nous avons actuellement 1.642 articles sur le blog répartis dans 46 catégories, dont 1.365 critiques de films, 97 abonnés sur ce même blog, 19 abonnés sur Tumblr, 2.616 abonnés sur Twitter et 122 abonnés sur notre page Facebook.

En octobre 2018, les trois articles les plus consultés furent “The Reef” (2010) avec 130 visites, “Hjemsøkt” (2017) avec 110 visites et “Le Fugitif” (1993) avec 82 visites.

The Reef (2010)

Hjemsøkt (2018)

Le Fugitif (1993)

Du côté de prévision pour le mois de décembre 2018, on cible :

► “L’Exorcisme de Hannah Grace” de Diederik Van Rooijen avec Shay Mitchell, Stana Katic, Grey Damon. Sortie prévue le 5 décembre 2018. ► “Hunter Killer” de Donovan Marsh avec Gerard Butler, Gary Oldman, Common. Sortie prévue le 12 décembre 2018. ► “Aquaman” de James Wan avec Jason Momoa, Amber Heard, Willem Dafoe. Sortie prévue le 19 décembre 2018. ► “Bumblebee” de Travis Knight avec Hailee Steinfeld, John Cena, Jorge Lendeborg Jr.. Sortie prévue le 28 novembre 2018. ► “Unfriended: Dark Web” de Stephen Susco avec Colin Woodell, Betty Gabriel, Rebecca Rittenhouse. Sortie prévue le 26 décembre 2018.

Aquaman (2018)

Bumblebee (2018)

Hunter Killer (2018)

L’exorcisme de Hannah Grace (2018)

Unfriended – Dark Web (2018)

N’hésitez pas à nous faire part de vos commentaires, observations, suggestions !

😉

BILAN NOVEMBRE 2018 En ce premier jour du mois de décembre 2018, il est temps de jeter un petit coup d’œil dans le rétroviseur et d'analyser les statistiques du blog concernant le mois de novembre 2018 et ainsi de rappeler les choses que nous avons produites.

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35milimetross · 5 years

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Crítica – ‘Cadáver’

Título original: The Possession of Hannah Grace

Año: 2018

Duración: 85 min.

País: Estados Unidos

Dirección: Diederik Van Rooijen

Guion: Brian Sieve

Música: John Frizzell

Fotografía: Lennert Hillege

Reparto: Shay Mitchell, Stana Katic, Grey Damon, Louis Herthum, James A. Watson Jr., Larry Eudene, J.P. Valenti, Arthur Hiou, Lexie Roth, Shawn Fitzgibbon, Jacob Ming-Trent, Mickey Gilmore, Lisa Wynn, Kirby Johnson, Kenneth Israel, Matt Mings

Productora: Screen Gems / Broken Road Productions

Género: Terror.

Entre rezos y oraciones, el espectador interrumpe en medio de un exorcismo de una chica llamada Hannah Grace. El demonio está luchando con todas sus fuerzas para no dejar el cuerpo, llegando a matar a todo el que se ponga delante suya. El padre de la chica observa cómo el alma de su hija abandona el cuerpo, el demonio no va a dejarla escapar tan fácilmente, por lo que decide tragarse sus sentimientos y poner fin a la vida de ella. Tres meses más tarde, se presenta el personaje de Megan, una expolicía y adicta al alcohol y los ansiolíticos en tratamiento, que comienza su trabajo nocturno en la morgue de un hospital. El director Diederik Van Rooijen crea una mezcla de terrores humanos junto a la presencia del exorcismo, con toques irremediablemente comparables a La autopsia de Jane Doe (André Øvredal, 2016).

Durante la noche la mente humana se vuelve más vulnerable, sobre todo si la protagonista tiene problemas mentales, trabaja sola de noche y se dedica a recoger datos de personas muertas. A pesar que desde el primer momento de Cadáver, Megan deja claro que ella no cree en la vida después de la muerte, tras recibir el cuerpo de una mujer brutalmente asesinada sus ideas comienzan a cambiar de parecer. El guion de la película no puede lucirse demasiado, ya que a pesar de todo no es más que otra historia de cuerpos en posturas estrafalarias e imposibles para el ser humano y varios sustos premeditados, pero aun así, Cadáver tiene mucho que ofrecer.

La comparación de problemas de ansiedad y depresión con la creación de imágenes mentales sobrenaturales o incluso con la posible posesión del demonio puede parecer una idea tan absurda como real. El mal y la lucha que mantiene cada persona en su interior es algo grave, que hoy en día sigue sin tomarse demasiado en serio. Por lo que la representación de la agonía y angustia de Megan y su lucha contra su adicción a los ansiolíticos y el alcohol como tema crucial en algunos momentos de la película es más que destacable. La paranoia creada por la situación personal de la protagonista, además de la vivencia de ella en su trabajo, consigue transferirse hacia el espectador sin que este se de cuenta.

Por medio de planos y uso del color poco comunes en este tipo de cine, que da la impresión de estar hecho para presentarse en festivales, Van Rooijen parece tomar claras referencias del terror de El príncipe de las Tinieblas (John Carpenter, 1987) o Babadook (Jennifer Kent, 2014) para construir una película no al uso, muy interesante para seguir la trayectoria que va creando su director.

Lo mejor: El escenario y la claustrofobia que este presenta

Lo peor: Sus escenas de acción que caen en tópicos

Nota: 6/10

La entrada Crítica – ‘Cadáver’ aparece primero en 35 Milímetros.

from WordPress http://35milimetros.es/critica-cadaver/

#Críticas #cadáver #Cine de terror #Diederik Van Rooijen #exorcismo #miedo #posesiones

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weekendwarriorblog · 5 years

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WHAT TO WATCH THIS WEEKEND November 30, 2018 - The Possession of Hannah Grace

Finally! A long-needed reprieve from the slew of fall releases with a weekend where there’s only one new wide release … and it’s the textbook definition of a “dumper,” too. At least all the Thanksgiving releases did better than I predicted, particularly Creed II, and they should continue to dominate over the next couple weeks until a bunch of new wide releases open on December 14.

THE POSSESSION OF HANNAH GRACE (Sony/Screen Gems)

I’m not even sure what to say about this horror movie, originally called “Cadaver,” except that it was directed by Dutch filmmaker Diederik Van Rooijen (no, I don’t know that name either) and that it’s been on the shelf for quite some time. Presumably, it’s a leftover from the Clint Culpepper Screen Gems that was famous for making low-budget horror films that would be bounced around the release calendar, sometimes for years. This one is about the found corpse of a young girl who may have been killed via exorcism.

This was originally supposed to open in the summer of 2017, but like so many other Screen Gems films, it was continually pushed back, so now it follows the studio’s summer horror release Slender Man, which probably should have done better than its $30.6 million domestic gross. The it wound up on the less-than-desirable weekend after Thanksgiving, a known dumping ground.

Regardless, various horror hits have proven that having bankable stars isn’t completely necessary, and one thing that Possession has going for it is exactly that, having the word “possession” in its title, because it’s something that still holds a lot of interest for horror fans. Having the word “exorcism” in the title helped Scott Derickson’s debut The Exorcism of Emily Rose and The Last Exorcism, though not the latter’s unfortunate sequel. Chances are that few over the age of 20 will have any interest in the movie even with stronger horror films like Halloween and Overlord mostly vacating theaters.

Like Slender Man, this movie doesn’t really have any bankable stars, with Shay Mitchell from Pretty Little Liars being the film’s biggest name, followed by Grey Damon, Mirror Master from The Flash.

On top of that, Screen Gems is only opening Possession in less than 2,000 theaters, another pointer that it shows little faith in the movie, as does the fact it won’t be screened in advance for critics (another Screen Gems practice of olde). I’m sure that the critics forced to pay to see the movie on Thursday night to review will just be THRILLED to write raves about a movie that few will know or care about. Frankly, I’ll be shocked if The Possession of Hannah Grace gets anywhere near the top 5 this weekend, and a 7th place opening with between $5 and 6 million would be about as good as it should get.

This week’s Top 10 should look something like this…

1. Ralph Breaks the Internet (Disney) - $24.5 million -56% 2. Creed II (MGM) - $18.5 million -48% 3. The Grinch (Universal) - $14 million -54% 4. Fantastic Beasts: The Crimes of Grindelwald (Warner Bros.) - $12.7 million -57% 5. Bohemian Rhapsody (20thCentury Fox) - $7 million -50% 6. Instant Family (Paramount) - $6.5 million -48% 7. The Possession of Hannah Grace (Sony/Screen Gems) - $5.3 million N/A 8. Widows (20thCentury Fox) – $4.4 million -47% 9. Robin Hood (Lionsgate) - $3.9 million -58% 10. Green Book (Universal) - $3.3 million* -40%

*UPDATE: Universal didn’t expand this into more theaters as I expected, so I’ve lowered my number accordingly. Maybe the studio will expand it further next week.

LIMITED RELEASES

While there’s only one new wide release, there’s plenty of limiteds, and two of the most high-profile ones are from Netflix, one that’s also streaming Friday, the other streaming in December. For those who want to go out this weekend, there’s also a musical-comedy to put horror fans into the holiday spirit that’s been running the genre fest circuit…

Those who have been waiting for this year’s big holiday musical zombie comedy are in luck, because John McPhail’s ANNA AND THE APOCALYPSE (Orion Pictures) comes out Friday after playing almost every genre festival going back to Fantastic Fest 2017. Taking place in the town of Little Haven, it stars Ella Hunt as Anna, a young woman planning for her high school holiday musical whose world is turned upside-down by the zombie apocalypse, but that’s not going to stop her and her friends from breaking out into song. I saw this film a few months back, and I was mixed on it, partially because it’s such an obvious homage to Shaun of the Dead but also has very modern poppy songs that really weren’t my cup-of-tea. I know a lot of people who love the movie, though, and if you want a fun time, I think the film is quickly becoming a cult classic among those who have seen and dug it.

MOWGLI: LEGEND OF THE JUNGLE is Andy Serkis’ second feature as a director, and as you may have guessed, it’s based on the same Rudyard Kipling novel “The Jungle Book” that inspired the Disney movies, using the performance capture CG technology Serkis perfected in the “Planet of the Apes” movies. Featuring performances and voices by Cate Blanchett (voicing the python Kaa), Christian Bale (as Bagheera), Benedict Cumberbatch (Shere Khan) and Serkis himself as Balloo, this is a much darker take on the material, probably not for very small kids, but I liked it more than the Jon Favreau Disney movie, maybe because it handles things more seriously. I also thought newcomer Rohand Chand was a much more palatable Mowgli. The film does decently when it’s just Mowgli and talking animals, but gets even better when humans are introduced into the story. Netflix will give Mowgli a limited theatrical release before streaming on the network starting Dec. 7.

The latest GKIDS animated contender to the Disney animated Oscar domination is MIRAI (GKIDS), the new film from filmmaker Mamoru Hosoda (Summer Wars, Wolf Children) along with Japan’s Studio Chizu. It’s about a four-year-old boy named Kun, whose parents give him a baby sister named Mirai (or “future”), who he immediately is jealous of due to the attention she gets. I watched the dubbed version of the movie (not my favorite thing since dubbed Japanese films always seem somewhat dumbed down for Western audiences), featuring the voices of John Cho, Rebecca Hall and Daniel Dae Kim, and it’s a fairly sweet movie with some great life lessons for younger children. It doesn’t have as many fantasy aspects as other Japanese Anime films but it does have Kun interacting with different versions of those around him, including his dog.

Receiving a one-week qualifying release on Friday is Germany’s Oscar entry is NEVER LOOK AWAY (Sony Classics), the new film from Oscar-winning filmmaker Florian Henckel von Donnersmarck (The Lives of Others). This is another historical drama, loosely based on the life of visual artist Gerhard Richter with Tom Schilling (Woman in Gold) playing a young artist who has watched East Berlin go from Nazi occupation, watching his older sister be sentenced to death due to her mental illness by a ruthless Nazi doctor (Sebastian Koch), to falling in love with a young woman (Paula Beer) who happens to be that doctor’s daughter and escaping to West Berlin during the country’s contemporary art movement. I found the movie to be overly long and a little confusing, because I wasn’t sure what the movie was supposed to be about until about 30 minutes into it. Either way, it will open for its full theatrical release in February.

Another Oscar entry out Friday is the one from Italy, which is Alice Rohrwacher’s HAPPY AS LAZARRO, exec. produced by Martin Scorsese and getting a limited theatrical release in New York and L.A. (mainly for Oscar qualification) at the same time as streaming on Netflix. It’s a fable set within the countryside estate of Inviolata, a community of hard-working tobacco farmers who are being used by the area’s greedy Marquise. Much of the film is seen through the eyes of a teenaged simpleton named Lazzaro (Adriano Tardiolo), who observes more than he speaks, creating an introspective film that jumps forward in time… and that’s about all I can say about what’s a pretty major plot twist.

Another acclaimed doc getting a limited theatrical release is Dava Whisenant’s BATHTUBS OVER BROADWAY (Focus Features), which follows comedy writer Steve Young who discovered a number of vintage record albums that ended up being “internal use only” cast recordings for Broadway musicals made for some of America’s biggest companies like General Electric, Ford and more. The winner of this year’s Albert Maysles Award for Best New Documentary Director, the film features interviews with David Letterman (White wrote for Letterman’s show and Letterman is also the film’s exec. producer), Chita Rivera, Martin Short and more, and it will get a limited release Friday.

In THE MERCY (Screen Media), directed by James Marsh (The Theory of Everything, Man on Wire), Colin Firth plays Donald Crowhurst, an amateur sailor who participates in a 1968 round-the-world sailing race. Although he isn’t as experienced as other racers, Crowhurst’s design sense convinces him that he can be the fastest in the round-the-world race, much to the concern of his wife (played by Rachel Weisz). Crowhurst’s journey in his boat the Teignmouth Electron was the stuff of legend as he relayed stories back to the press in England, but as they say on the internet, you would not BELIEVE how his story ended…. And I won’t give it away. As a sailing aficionado myself (having received my sailing license a few short years ago), I was pretty excited for this movie when I heard about it a few years ago -- I even asked Firth about this when I interviewed him for the last Bridget Jones movie -- but it ended up being a dull and ultimately dour affair that didn’t even keep this sailing fan invested.

Opening on Wednesday at the Metrograph is Gary Hustwit’s doc Rams (Film First) about design innovator Dieter Rams, best known for his work at Braun and Vitsoe. No surprise that the theater owned by a designer and doc filmmaker in Alex Olch would show this, and Hustwit will be there in person after the 6pm screening Friday and 4:30pm screening Sunday to discuss. Also, it features an original score by Brian Eno!

A rare limited release from Warner Bros’ is Til Schweiger’s Head Full of Honey, an English remake of his own 2014 German hit of the same name. It stars Nick Nolte as Amadeus, a man who is slowly succumbing to dementia, much to the consternation of his son (Matt Dillon) and his wife (Emily Mortimer). In order to help her grandfather get back some of his memories, Amadeus’ 10-year-old granddaughter Tilda (Nolte’s actual daughter, Sophia Lane Nolte) takes her grandfather to Venice before he can be thrown into a home.

Opening in select theaters and On Demand is the John Pogue-directed crime-thriller Blood Brother (Lionsgate) starring R’n’B star Trey Songz (aka Tremaine Neverson) as a cop forced to risk his life to stop an ex-con from getting revenge on the childhood friends who let him take the fall for a crime they committed. It also has a cameo by WWE superstar R-Truth!

For one “night” only, people can see the director’s cut of Lars von Trier’s controversial serial killer thriller The House That Jack Built (IFC Films), starring Matt Dillon, which played (and disgusted many) at Cannes over the summer. I haven’t seen it yet but already got my ticket, hoping that I won’t be as nauseated as I was in the clit-snipping scene in Anti-Christ. Von Trier’s latest also stars and the “American cut” (or whatever it’s called) will be released theatrically on Dec. 14. If you’re in New York, it’s showing almost all day at the IFC Center but with many screenings already sold out.

Henry Barrial’s drama DriverX (Sundance Selects) stars Patrick Fabian (The Last Exorcism) as a middle-class L.A. father whose record store closes, so to keep his family afloat, he takes a job driving for a ride-share service called “DriverX,” forcing him to learn to deal with his young passengers. It opens at the IFC Center in New York and presumably in L.A. and On Demand.

Just in time for the holidays, the family-friendly animated Elliot: The Littlest Reinder (Screen Media) will open in select cities Friday and then be available for one-night only in other areas on Saturday night. It’s the story of a miniature horse named Elliot who travels to the North Pole to compete for a spot on Santa’s sleigh team. It features the voices of Josh Hutcherson, John Cleese, Martin Short, Samantha Bee and more.

Opening Friday at the Cinema Village isNo Shade (Artmattan Films), Clare Anyiam-Osigwe’s British romantic drama starring Adele Oni as freelance photographer Jade, who has been in love with her best friend Danny for 10 years, but what’s keeping them from going further is the shade of her skin.

Other films out this weekend include the Bollywood offering 2.0, Shankar’s follow-up to 2010’s Robot; Fabio Grassadonia and Antonio Piazza’s Sicilian Ghost Story (Strand) opening at the Quad; the Korean crime-thriller Unstoppable (Well GO USA) from Kim Min-Ho; and filmmaker Robert Townsend returns with his new doc Making the Five Heartbeats (about his 1991 passion project), which gets an Oscar-qualifying run at L.A.’s Laemmle Noho 7 this Friday and in New York on Dec. 7

STREAMING

Netflix will also be streaming Italy’s Oscar entry HAPPY AS LAZARRO on the streaming network starting Friday in case you can’t get to one of the cities/theaters playing it. (See above for more.) Also, the holiday movies start coming at you hot and heavy with the sequel A Christmas Prince: The Royal Wedding, starring Rose McIver and Ben Lamb, which follows last year’s holiday rom-com. Angela’s Christmas is an animated family movie set in 1910 Ireland featuring the voices of Ruth Negga (Preacher) and Lucy O’Connell, based on Frank McCourt’s book. (I’m not sure if this is the same short that premiered in 2017 or an extension, sorry!) From France comes Romain Gavra’s crime-comedy THE WORLD IS YOURS about a small-time mobster who accepts a job in Spain that involves drugs, the Illuminati and his overbearing mother. The description describes the movie as “Cynical” which means that it was made for me! Lastly, there’s Sebastian Hoffman’s Spanish film Tiempo Compartido (translated as “Time Share”), described as “Cerebral” (maybe not so much for me?). It involves two family men trying to save their families from a tropical paradise convinced that an American time share company wants to take their loved ones away.

REPERTORY

METROGRAPH (NYC):

A couple more days of the Midnight Cowboy restoration, plus the Darius Khondji retrospective continues for a few more days – I highly recommend seeing David Fincher’s Se7en on the big screen if you haven’t already. This weekend’s Playtime Family Matinee is one of my personal faves, Terry Gilliam’s The Adventures of Baron Munchausen, screening on Saturday and Sunday at 11AM – bring the kids! A bit last-minute, but Metrograph has added a Spike Lee X6 mini-retrospective, since he was already slated to intro a screening of BlacKkKlansman. They’ve added 1990′s Mo’ Better Blues, his 2006 reunion with Denzel for Inside Man, 2000′s Bamboozled, and one of my personal faves, Summer of Sam from 1999. (Not really repertory, but the Metrograph is also launching a series this weekend called Double Exposure: Portraits and Parallels Across the Diaspora, as in African and African-American filmmakers. I’m afraid I don’t know too much more than what you can read on the site.)

NEW BEVERLY (L.A.):

Exciting news for L.A. repertory buffs… The New Bev is back!! The festivities will kick-off Saturday with screenings of Tim Burton’s Batman Returns, a double feature of Butch and Sundance: The Early Days and Butch Cassidy and the Sundance Kid, and a 25th Anniversary screening of Richard Linklater’s Dazed and Confused! Unfortunately, these are all sold out online but there may be tickets available at the door. I look forward to the programming ahead for this beloved theater.

FILM FORUM (NYC):

Rita Hayworth 100 continues through Thursday with screenings of Blood and Sand, Cover Girland The Lady from Shanghai on Wednesday, andPal Joey, Separate Tables and Gilda on Thursday. This weekend’s Film Forum Jr. selection is Elliot Silverstein’s 1965 film Cat Ballou, starring Jane Fonda, Lee Marvin and Nat King Cole. Beginning on Friday, they have a 4k restoration of Edgar G. Ulmer’s 1945 film Detour (Janus Films), starring Tom Neal and Anne Savage. On Friday, Film Forum is also launching a new 4k restoration of Alex Cox’s 1991 Mexican feature Highway Patrolman (Kino Lorber), and I’m always interested in seeing more from the director of Repo Man and Sid and Nancy.

EGYPTIAN THEATRE (LA):

This weekend, the American Cinematerque’s theater has an Argentina: New Cinema 2018 series, so no repertory for now.

AERO (LA):

On the other hand, the Cinemateque’s other theater is showing a bunch of Buster Keaton movies as part of The Great Buster series (named after the recent Peter Bogdonavich doc), which will include Sherlock Jr. (1924) and Steamboat Willie Jr. (1928) on Friday as a double feature, The General (1926) on Saturday with the 1921 short The High Sign, Seven Chances (1925) on Sunday with a digital restoration of the short Cops!, followed by a screening of that aforementioned doc Sunday evening. Should be a fun weekend for Buster Keaton fans.

QUAD CINEMA (NYC):

Ack! Totally spaced on the fact that the Quad was doing a giallo series, which began over the weekend with Perversion Stories: A Fistful of Giallo Restorationspremiering DCPs of many rarey-seen if even screened in the States films like The Case of the Scorpion’s Tale (1971), Torso (1993), The Suspicious Death of a Minor (1975) and more. I’m really bummed that I forgot to mention this in last week’s column (that’s what happens when you begin a series on a Sunday, Quad) and that I wasn’t able to get to any of these, but it runs through Thursday so if you’re reading this on Weds. morning (hopefully), you still have time to catch a few of them.

IFC CENTER (NYC)

Late Night Favorites shows James Cameron’s Aliens (1986), Weekend Classics continues its Coen Brothers retrospective with O Brother, Where Art Thou? (2000) in 35mm on Friday through Sunday, while the Shaw Brothers Spectaculars series offers The Super Inframan

(1975), which looks pretty cool.

LANDMARK THEATRES NUART (LA):

This weekend, the theater gets the restoration of Luchino Viscoti’s Senso (1968) which had been playing at New York’s Film Forum. Matt Donato*’s favorite film of all time, Dude Bro Party Massacre III, will play at midnight on Friday. (*Look him up on social media!)

FILM SOCIETY OF LINCOLN CENTER (NYC):

German filmmaker Christian Petzold will be in town for a sneak preview of his new film Transiton Friday night, but it will kick off Christian Pentzold: The State We Are In, a two-week retrospective of the underrated German filmmaker who has delivered such modern-day classics as Barbara and Phoenix (one of my favorite movies of 2014), 2008’s Jerichow and many more, some of which have barely been seen in the United States, including his 1998 television film The Sex Thief, and 2000’s The State I Am In. Click on the title above for the full line-up, but Pentzold will do QnAs after Transit and a couple others this coming weekend.

BAM CINEMATEK (NYC):

On Monday, BAM kicked off its Making Waves: New Romanian Cinema series, so no repertory for now.

MOMA (NYC):

The Museum of Modern Art is in the midst of it’s The Contenders 2018 series, but it also continues its Silent Comedy International series with screenings of Transatlantic Teamwork on Thursday and Sunday, Clowning Around (the World) on Thursday, another screening of Daffy in Deutschland on Friday and other repeats over the weekend. Modern Matinees: Douglas Fairbanks Jr.continues with State Secret (1950) on Thursday, Stella Dallas (1925) on Friday then A Woman of Affairs (1928) next Wednesday. Since I haven’t seen any of this, I have nothing further to add.

MUSEUM OF THE MOVING IMAGE (NYC):

The 50thAnniversary restoration of Gordon Quinn and Gerald Temaner’s Inquiring Nuns continues as well as Glenn Close: Ten Great Performances by Glenn Close with Dangerous Liaisonson Friday evening, a “Sensory Friendly Screening” of Disney’s 101 Dalmations on Saturday (as well as another matinee of this on Sunday, Reversal of Fortune and Cookie’s Fortune on Saturday afternoon/evening, as well as Albert Nobbs and Close’s latest The Wife on Sunday.

That’s it for this week. Next week, no new movies in wide release... but I’ll still have a column for those interested in other stuff.

#WhatToWatchThisWeekend TheWeekendWarrior Movies Reviews BoxOffice ThePossessionOfHannahGrace

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mrmichaelchadler · 6 years

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#340 October 30, 2018

Matt writes: Just because you're stuck at home answering the door for trick-or-treaters on Halloween doesn't mean you can't have a delightfully spooky evening yourself. Two ten-hour programs ripe for seasonal binging recently premiered on Netflix and received enthusiastic reviews at RogerEbert.com. Mike Flanagan's limited series "The Haunting of Hill House," reviewed here by Brian Tallerico, is a genuinely unnerving, often brilliant reimagining of Shirley Jackson's classic novel about ominous ghosts, mental illness and frayed familial bonds. The other must-see show is "Riverdale" creator Roberto Aguirre-Sacasa's "Chilling Adventures of Sabrina," a marvelously acted, richly provocative new vehicle for the supernaturally inclined Archie Comics heroine, played by a perfectly cast Kiernan Shipka. In my review of the first season, I explore how Osgood Perkins' masterful debut feature, "The Blackcoat's Daughter" (starring Shipka), served as a major influence on Aguirre-Sacasa, and could serve as ideal Halloween programming itself (check out the trailer embedded below...)

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Trailers

The Prodigy (2019). Directed by Nicholas McCarthy. Written by Jeff Buhler. Starring Taylor Schilling, Brittany Allen, Colm Feore. Synopsis: A mother concerned about her young son's disturbing behavior thinks something supernatural may be affecting him. Opens in US theaters on February 8th, 2019.

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The Curse of La Llorona (2019). Directed by Michael Chaves. Written by Mikki Daughtry and Tobias Iaconis. Starring Linda Cardellini, Patricia Velasquez, Raymond Cruz. Synopsis: Ignoring the eerie warning of a troubled mother suspected of child endangerment, a social worker and her own small kids are soon drawn into a frightening supernatural realm. Opens in US theaters on April 19th, 2019.

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The Possession of Hannah Grace (2018). Directed by Diederik Van Rooijen. Written by Brian Sieve. Starring Stana Katic, Shay Mitchell, Grey Damon. Synopsis: When a cop who is just out of rehab takes the graveyard shift in a city hospital morgue, she faces a series of bizarre, violent events caused by an evil entity in one of the corpses. Opens in US theaters on November 30th, 2018.

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The Clovehitch Killer (2018). Directed by Duncan Skiles. Written by Christopher Ford. Starring Charlie Plummer, Dylan McDermott, Samantha Mathis. Synopsis: A picture-perfect family is shattered when the work of a serial killer hits too close to home. Dylan McDermott stars in this chilling portrait of all-American evil. Opens in US theaters on November 16th, 2018.

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Vice (2018). Written and directed by Adam McKay. Starring Christian Bale, Amy Adams, Steve Carell. Synopsis: A bureaucratic Washington insider quietly becomes the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways still felt today. Opens in US theaters on December 25th, 2019.

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Destroyer (2018). Directed by Karyn Kusama. Written by Phil Hay and Matt Manfredi. Starring Nicole Kidman, Toby Kebbell, Tatiana Maslany. Synopsis: A police detective reconnects with people from an undercover assignment in her distant past in order to make peace. Opens in US theaters on December 25th, 2018.

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Vox Lux (2018). Written and directed by Brady Corbet. Starring Natalie Portman, Jude Law, Christopher Abbott. Synopsis: An unusual set of circumstances brings unexpected success to a pop star. Opens in US theaters on December 7th, 2018.

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Bird Box (2018). Directed by Susanne Bier. Written by Eric Heisserer (based on the novel by Josh Malerman). Starring Sandra Bullock, Sarah Paulson, Rosa Salazar. Synopsis: A woman and a pair of children are blindfolded and make their way through a dystopian setting along a river. Debuts on Netflix on December 21st, 2018.

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All Creatures Here Below (2018). Directed by Collin Schiffli. Written by David Dastmalchian. Starring David Dastmalchian, Karen Gillan, Jennifer Morrison. Synopsis: A desperate young couple on the run seek refuge in Kansas City. US release date is TBA.

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The Aftermath (2019). Directed by James Kent. Written by Joe Shrapnel and Anna Waterhouse (based on the novel by Rhidian Brook). Starring Alexander Skarsgård, Keira Knightley, Jason Clarke. Synopsis: Post World War II, a British colonel and his wife are assigned to live in Hamburg during the post-war reconstruction, but tensions arise with the German who previously owned the house. Opens in US theaters on April 29th, 2019.

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Unlovable (2018). Directed by Suzi Yoonessi. Written by Charlene deGuzman, Sarah Adina Smith and Mark Duplass. Starring Charlene deGuzman, John Hawkes, Melissa Leo. Synopsis: A sex and love addicted woman learns what real intimacy is when she starts making music with a reclusive man. Opens in US theaters on November 2nd, 2018.

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Speed Kills (2018). Directed by John Luessenhop and Jodi Scurfield. Written by David Aaron Cohen and John Luessenhop (based on the book by Arthur Jay Harris). Starring John Travolta, Katheryn Winnick, Jennifer Esposito. Synopsis: Speedboat racing champion and multimillionaire, Ben Aronoff, leads a double life that lands him in trouble with the law and drug lords. US release date is TBA.

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The World Before Your Feet (2018). Directed by Jeremy Workman. Synopsis: For over six years, and for reasons he can't explain, Matt Green, 37, has been walking every block of every street in New York City, a journey of more than 8,000 miles. This documentary follows the story of one man's unusual personal quest and the unexpected journey of discovery, humanity, and wonder that ensues. Opens in US theaters on November 21st, 2018.

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Cold Pursuit (2019). Directed by Hans Petter Moland. Written by Frank Baldwin (based on the movie written by Kim Fupz Aakeson). Starring Liam Neeson, Tom Bateman, Emmy Rossum. Synopsis: A snowplow driver seeks revenge against the drug dealers he thinks killed his son. Opens in US theaters on February 8th, 2019.

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The Front Runner (2018). Directed by Jason Reitman. Written by Matt Bai, Jay Carson and Jason Reitman (based on the book by Matt Bai). Starring Hugh Jackman, Vera Farmiga, J.K. Simmons. Synopsis: American Senator Gary Hart's presidential campaign in 1988 is derailed when he's caught in a scandalous love affair. Opens in US theaters on November 21st, 2018.

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How to Train Your Dragon: The Hidden World (2019). Written and directed by Dean DeBlois (based on the book series by Cressida Cowell). Written by Billy Ray and Mark L. Smith. Starring Jonah Hill, Cate Blanchett, Kristen Wiig. Synopsis: As Hiccup fulfills his dream of creating a peaceful dragon utopia, Toothless' discovery of an untamed, elusive mate draws the Night Fury away. When danger mounts at home and Hiccup's reign as village chief is tested, both dragon and rider must make impossible decisions to save their kind. Opens in US theaters on February 22nd, 2019.

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Escape Room (2019). Directed by Adam Robitel. Written by Bragi F. Schut and Maria Melnik. Starring Deborah Ann Woll, Tyler Labine, Taylor Russell. Synopsis: Six strangers find themselves in circumstances beyond their control, and must use their wits to survive. Opens in US theaters on January 4th, 2019.

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Rosemary's Baby (1968), 50th anniversary edition. Written and directed by Roman Polanski (based on the novel by Ira Levin). Starring Mia Farrow, John Cassavetes, Ruth Gordon. Synopsis: A young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life. US release date is TBA.

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Disability Employment Awareness Month

Matt writes: Chaz Ebert's latest special edition of Thumbnails celebrates National Disability Employment Awareness Month, which ran through the entirety of October. Out writer Scott Jordan Harris assembled a superb list of articles detailing the lack of inclusivity in media and why it must be changed. Click here for the full round-up, which includes Jordan's review of Jenni Gold's documentary, "CinemAbility: The Art of Inclusion."

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Peter Bogdanovich on Buster Keaton

Matt writes: The great filmmaker and cinema historian Peter Bogdanovich recently spoke with our Editor-at-Large Matt Zoller Seitz about his new documentary, "The Great Buster: A Celebration." Click here to read their full conversation.

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Free Movies

The Return of Dracula (1958). Directed by Paul Landres. Written by Pat Fielder. Starring Francis Lederer, Norma Eberhardt, Ray Stricklyn. Synopsis: After a vampire leaves his native Balkans, he murders a Czech artist, assumes his identity, and moves in with the dead man's American cousins.

Watch "The Return of Dracula"

Blood for Dracula (1974). Written and directed by Paul Morrissey. Starring Udo Kier, Vittorio De Sica, Joe Dallesandro. Synopsis: An ailing vampire count travels to Italy with his servant to find a bride.

Watch "Blood for Dracula"

Count Dracula (1977). Directed by Philip Saville. Written by Gerald Savory (based on the novel by Bram Stoker). Starring Louis Jourdan, Frank Finlay, Susan Penhaligon. Synopsis: The vampire count leaves his Transylvanian home to wreak havoc across the world.

Watch "Count Dracula"

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