Adam Wingard – We Are Movie Geeks

GODZILLA VS. KONG New Posters And Trailers Hit Before Adam Wingard’s Battle Of The Titans Debuts On HBO Max March 31

The battle of the Titans is coming to HBO Max in March.

From director Adam Wingard, GODZILLA VS. KONG will be released nationwide in 2D and 3D in select theaters and IMAX on March 31, 2021 and will be available in the U.S. on HBO Max for 31 days from theatrical release.

Check out the latest previews and brand-new posters.

From Warner Bros. Pictures and Legendary Pictures comes the long-awaited showdown between two icons in the epic adventure “Godzilla vs. Kong,” directed by Adam Wingard.

Legends collide in “Godzilla vs. Kong” as these mythic adversaries meet in a spectacular battle for the ages, with the fate of the world hanging in the balance. Kong and his protectors undertake a perilous journey to find his true home, and with them is Jia, a young orphaned girl with whom he has formed a unique and powerful bond. But they unexpectedly find themselves in the path of an enraged Godzilla, cutting a swath of destruction across the globe. The initial confrontation between the two Titans—instigated by unseen forces—is only the beginning of the mystery that lies deep within the core of the Earth.

The film stars Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Julian Dennison, with Kyle Chandler and Demián Bichir.

https://www.godzillavskong.com/

Wingard directed from a screenplay by Eric Pearson and Max Borenstein, story by Terry Rossio and Michael Dougherty & Zach Shields, based on the character “Godzilla” owned and created by TOHO CO., LTD. The film was produced by Mary Parent, Alex Garcia, Eric McLeod, Jon Jashni, Thomas Tull and Brian Rogers, with Jay Ashenfelter, Herbert W. Gains, Dan Lin, Roy Lee, Yoshimitsu Banno and Kenji Okuhira executive producing.

The director’s behind-the-scenes creative team included director of photography Ben Seresin, production designers Owen Paterson and Thomas S. Hammock, editor Josh Schaeffer, costume designer Ann Foley and visual effects supervisor John “DJ” DesJardin. The music is by Tom Holkenborg.

Warner Bros. Pictures and Legendary Pictures Present a Legendary Pictures Production.

It is rated PG-13 for intense sequences of creature violence/destruction and brief language.

DEATH NOTE – Review

Review by Stephen Tronicek

There’s one disclaimer that needs to be laid out before this review of Adam Wingard’s zestless, boring and very bad Death Note: There is no reason for Death Note to be adapted with a whitewashed cast. There will be writings on the one strength of the movie coming from said cast and the involvement of this cast in the film. That does not mean in anyway that it’s a smart decision to have done this or that it is right, just that the fact that this happened does offer one interesting thing.

The simple premise of Death Note is as follows. Light, a young student, comes into possession of a notebook that can cause the death of anybody whose name is written in it. Light gains a friend in Ryuk, a demon who carries out the rules of the Death Note (the notebook). As authorities start to pinpoint the multiple killings Light has performed as a serial act, an investigator named L starts to slowly uncover the identity of Light.

The difference between the Japanese anime that this film is based on and the film itself is that out of necessity, the film has kneecapped it’s ability to tell a compelling story. That necessity is formed by two conditions: 1. The length of the film being under one-hundred minutes and 2. The transferring of the story into an American setting. The first condition’s effect is obvious. At one-hundred minutes the film has to tell a more contained, but still compelling, story while still covering the basic beats forming the premise of Death Note, leaving the film without the breathing room that an episodic show provides. The second condition is less defined, in fact the one thing that the filmmakers succeed at is created by that condition, but as an element of tone and artistic influence, Death Note is decidedly Japanese and transferring the story into an American setting doesn’t allow the influences of pop culture and the stylistic flourishes, that inform quite a bit of the greatness of the original anime, to be present.

That being said, the one thing that the filmmakers did succeed at is making the film feel quite different within its setting. Most remakes or adaptations as of recent don’t bother adapting the story to the prospective culture, something that ultimately making the remake, the same movie without the soul that the original might have had. There’s inconsistency because what may be common in one culture is not in another. Death Note doesn’t make that mistake. It feels decidedly American, with much of the new plot hinging on Light engaging in a John Hughes inspired romance that feels pretty alien from the original’s tone. Not that this makes the movie any better. In fact, this change just about ruins the identity of the main character by turning him into a boring white guy that lack almost any of the agency that the original character did. That agency instead falls to the demon Ryuk, which is a problem because Ryuk is in this movie for like two minutes. Ryuk is voiced by Willem Dafoe and any noticeable lack of Willem Dafoe is just awful, but the character basically drives Light’s original choice to use the Death Note in this version, and then the other characters just do it for him too. Seriously, there’s only a few choices that Light gets to make that define his character and most of them don’t land very well or are invalidated by the film itself. This just isn’t a good character piece or horror action film.

The direction of the film is especially flat, and that’s quite disappointing for director Adam Wingard. Wingard has always had a little too much concern for style, but his efforts like You’re Next and The Guest tend to work (Seriously, go watch The Guest). Death Note, however, makes one think some of the choices that were motivated in those films were just stylistic flourish, reflexively ruining what may be some of the best moments of Wingard’s career. It’s like the motivated style is just put up on screen for no reason. A plastering up of a lifeless mimic of genre filmmaking.

Netflix’s Death Note is a disappointment both filmically and to fans of the series. It is at once not creative enough and too creative for its own good. The original show was great as it was and this is not the original show. Unfortunately, it’s not any better.

1 of 5 Stars

DEATH NOTE is currently streaming on Netflix

BLAIR WITCH – Review

It’s scary walking in the foot prints of a legend. It’s not an easy task to try to tackle a sequel to one of the most iconic horror films ever made. Scratch that – one of the most iconic films ever made, period. You will never be able to catch the magic of the original. It was a once in a lifetime thing. It was an event. It was one of the first films to fully utilize the strength and broad reach of the internet (still in its infancy) to create a buzz that we now associate as viral marketing. I remember seeing the poster in the lobby of the theater one night and immediately going on the computer the next day to search what happened to these kids. Reading about these kids that disappeared and how their footage was found a year later sparked a level of intrigue in me that I had never experienced from a film before. It was a feeling of uneasiness and danger – as if this was something that was not meant to be seen.

There’s an authenticity to THE BLAIR WITCH PROJECT (1999) that even now, knowing that it’s all made up, still feels like I’m watching three innocent people spiral into hell. Even seeing Joshua Leonard (one of the three actors in the film) pop up as character roles in films alongside Mark Duplass and others, I still wonder if the woods in Burkittsville, Maryland hold some sort of mysterious force; some malevolent cracking sounds heard in the distance; or an abandoned house that sits deep in the woods. As silly as some of these statements sound, this fascination with the myth led me to wander back into the woods to seek out the new BLAIR WITCH with excitement and trepidation.

It seems like the path through the trees left behind by directors Eduardo Sánchez and Daniel Myrick is still easy to follow, despite the 17 years of over growth that you would expect. So much so that director Adam Wingard and writer Simon Barrett lead this new group down the exact same path. The same structure of kids with cameras spend the night, weird stuff begins to happen, they can’t find their way out, and then they find a house in the woods is implemented. Try as they may to inject some new ideas into the franchise – typing that word just seems bizarre to me – the duo seem to be held back by some unseeable evil power. You can almost picture the meeting between studio executives and two gifted up and coming voices in the horror genre. “It needs to feel like a remake but be a sequel. It has to be found footage but you need to update it with the new bells and whistles. It needs to stay true to the original film but definitely needs to have more action. Got it? Good.”

This time around though we are given more than just three unlucky travelers. The brother of Heather Donahue, the girl who went missing in 1994, sets out to find his missing sister after he sees a video online of a woman running through a house that he believes is her. James (James Allen McCune) is being documented every step of the way by Lisa (Callie Hernandez) who is filming a doc on her friend’s search for a class project. We’re also given James’ childhood friend Peter (Brandon Scott) and his girlfriend Ashley (Corbin Reid). Their search for who uploaded the video leads them to a couple outside the Black Hills (Wes Robinson and Valorie Curry). Under the guidance of these two strangers, the group heads into the woods to look for Heather.

Subtlety is thrown out the window almost immediately after they enter the woods. BLAIR WITCH becomes a fun house ride of sorts, for better or for worse. Footage from different cameras are constantly being cut back and forth, glitches from the recordings mix with loud sounds from the woods to become just deadening noise, and the sense of space is completely lost as the background is often an inky blackness (about half the film takes place at night). It’s effectively disorienting, which is entirely the point, but a bit overwhelming. Atmosphere is lost in order to cram in more scares. Thankfully, at least a few will make you jump.

As you would expect since the film takes place in 2014, there is some cool updates to the technology with the inclusion of different types of cameras including a drone. In addition, the sequel also expands the mythology of the woods themselves and the witch (which some will either like or dislike). There is a whole supernatural meaning behind things which takes the real world dread into another type of world entirely, however, they don’t do enough with it. The opportunity is there to do some unique things with the visuals and storytelling given this supernatural element, but instead they fall back on nods to the first film as a safety net, recycling the same beats and same imagery fans are expecting. What’s frustrating is that the potential is there for more, and I can’t help but wonder if Wingard and Barrett wanted to play around more in the woods as well.

Given the fact that they have previously made two amazing genre films (YOU’RE NEXT and THE GUEST) that creatively subverted the types of films they were riffing on, it’s puzzling that they went the route of directing a sequel/remake that feels like any number of gun-for-hire horror directors could have made. For the casual horror fan, there’s nothing really wrong with BLAIR WITCH: a few good scares, some funny lines, and characters you didn’t hate. But fans of the duo know that the film doesn’t bare their signature mark. Even more worrisome, if this does end up doing well, are fans of the original BLAIR WITCH PROJECT going to get treated to yet another trip through the woods to grandmother’s house? I typically recommend the sound advice of “safe travels,” but this venture seems to play it a little too safe.

Overall rating: 3 out of 5

BLAIR WITCH opens in theaters September 16, 2016

Win Passes To The Advance Screening Of BLAIR WITCH In St. Louis

A group of college students venture into the forest in Maryland to uncover the mysteries surrounding the disappearance of James’ sister who many believe is connected to the legend of the Blair Witch. At first the group is hopeful, especially when a pair of locals offer to act as guides through the dark and winding woods, but as the endless night wears on, the group is visited by a menacing presence. Slowly, they begin to realize the legend is all too real and more sinister than they could have imagined.

The film is directed by Adam Wingard and written by Simon Barrett.

BLAIR WITCH opens on September 16.

WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of BLAIR WITCH on TUESDAY, SEPTEMBER 13TH at 7PM in the St. Louis area.

Answer the following:

What is the name of the forest from the original 1999 film?

TO ENTER, ADD YOUR NAME, ANSWER AND EMAIL IN OUR COMMENTS SECTION BELOW.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house. The theater is not responsible for overbooking.

Visit the the official site: www.blairwitch.com

Watch The New BLAIR WITCH Trailer; Plus Latest Poster

In theaters September 16 is the upcoming BLAIR WITCH. Lionsgate originally promoted it as THE WOODS when in reality it is a sequel to BLAIR WITCH.

The film is helmed by director Adam Wingard (YOU’RE NEXT, THE GUEST, V/H/S, V/H/S/2), who has assembled an accomplished behind-the-scenes team that includes screenwriter and longtime collaborator Simon Barrett (YOU’RE NEXT, THE GUEST, V/H/S, V/H/S/2); producers Roy Lee (THE RING, THE STRANGERS, THE GRUDGE), Steven Schneider (PARANORMAL ACTIVITY, INSIDIOUS), Keith Calder, p.g.a. (YOU’RE NEXT, THE GUEST, ANOMALISA), and Jess Calder, p.g.a. (YOU’RE NEXT, THE GUEST, THE DEVIL’S CANDY), ; and executive producers Jenny Hinkey, Daniel Myrick (director/writer, THE BLAIR WITCH PROJECT), Eduardo Sanchez (director/writer, THE BLAIR WITCH PROJECT) and Gregg Hale (producer, THE BLAIR WITCH PROJECT).

For several years, Lionsgate had been searching for the right concept to reboot Blair Witch, as well as filmmakers who could satisfy the fans of the first film and reach a new generation of moviegoers. Following the success of V/H/S and the company’s acquisition of Wingard and Barrett’s independent horror movie YOU’RE NEXT, Lionsgate set up a secret meeting with the duo to pitch the sequel.

“It was kind of like giving your daughter away in marriage — pretty touchy subject but we couldn’t have asked for better sons-in-law,” says Eduardo Sanchez (director/writer, THE BLAIR WITCH PROJECT). “The movie takes our original film and turns it up to 11. Seriously, it’s a nightmare funhouse of a film that pulls you in and never lets you go.”

Watch the new trailer now.

It’s been 20 years since James’s sister and her two friends vanished into the Black Hills Forest in Maryland while researching the legend of the Blair Witch, leaving a trail of theories and suspicions in their wake.

James (James Allen McCune of TV’s SHAMELESS) and his friends Peter (WRECK-IT RALPH’S Brandon Scott), Ashley (Corbin Reid of TV’s DISNEY STAR DARLINGS) and film student Lisa (Callie Hernandez of upcoming LA LA LAND and Ridley Scott’s upcoming ALIEN: COVENANT) venture into the same woods each with a camera to uncover the mysteries surrounding their disappearance.

At first the group is hopeful, especially when a pair of locals Lane (Wes Robinson of TV’s STATE OF AFFAIRS) and Talia (Valorie Curry of TV’s THE FOLLOWING) offer to act as guides through the dark and winding woods. But as the endless night wears on, the group is visited by a menacing presence.

Slowly, they begin to realize the legend is all too real and more sinister than they could have imagined.

Valorie Curry stars as ‘Tamara’ in BLAIR WITCH. Photo Credit: Chris Helcermanas-Benge

Since surprise was part of The Blair Witch Project’s legacy, the filmmakers wanted to keep the sequel under wraps.

“A huge part of the first movie was the surprise of those initial screenings when people weren’t sure if it was real or not,” says Keith Calder. “We hope to capture that same excitement by making the film in secret and not telling audiences it exists until the film’s about to come out.” “Keeping this a secret in the era of oversharing and excessive marketing on social media, especially of horror films, felt new and original for the time,” says Barrett.

Keeping such a secret proved an enormous logistical challenge.

“I created versions of the script that were widely different,” says Barrett. “The cast auditioned with fake pages, and the actors didn’t know what movie they agreed to be in until their deals were finalized.”

Different versions of the script also circulated on set. “The art department would be making a sign, and it would be wrong because they were going off the wrong script,” says Barrett.

Now the filmmakers must get accustomed to saying “Blair Witch” out loud. “I’ve been so conditioned never to say those words — even on set we called it ‘B-dubs,’” says Barrett. “We’re so happy we can finally talk about it.”

Visit the official site: www.blairwitch.movie

twitter.com/BlairWitchMovie

facebook.com/blairwitchmovie

Check Out The Poster For THE GUEST Starring Dan Stevens

Check out the official poster for THE GUEST starring Dan Stevens.

From the director of YOU’RE NEXT and featuring a standout, badass performance from Dan Stevens (“Downton Abbey”), comes THE GUEST: a tense, action-packed and unpredictable film like everything and nothing you’ve ever seen before. Empire Magazine called it “a demented action-horror hybrid of sci-fi conspiracy thriller and gore-fest”, and Vanity Fair said, “THE GUEST is big, it’s bold, it’s badass, full of flavor Hollywood wishes it could pour over its vanilla blockbusters.”

A soldier (Dan Stevens) introduces himself to the Peterson family, claiming to be a friend of their son who died in action. After the young man is welcomed into their home, a series of accidental deaths seem to be connected to his presence.

Also starring Maika Monroe, Leland Orser, Sheila Kelley, Brendan Meyer and Lance Reddick and produced by Keith Calder & Jessica Calder, the film will show at the Toronto International Film Festival as part of the Midnight Madness program.

Picturehouse will release THE GUEST in theaters September 17.

theguestmovie.com

Facebook.com/TheGuestUSA

Twitter.com/TheGuestUSA

Shirtless Dan Stevens Stars In First Trailer For Adam Wingard’s THE GUEST

From the director of YOU’RE NEXT and starring Dan Stevens (“Downton Abbey”), comes the first trailer for the thriller THE GUEST.

Director Adam Wingard and writer Simon Barrett screened the film on Sunday evening at Sundance NextFest 14.

Followed by a q&a, the filmmakers and cast, as well as Nicolas Winding Refn (DRIVE, ONLY GOD FORGIVES), showed the movie to a packed house at the Ace Hotel Theater in Los Angeles. For a recap of the night, follow the movie’s twitter page: @TheGuestUSA

Empire Magazine called it “a demented action-horror hybrid of sci-fi conspiracy thriller and gore-fest”, and Vanity Fair said, “THE GUEST is big, it’s bold, it’s badass, full of flavor Hollywood wishes it could pour over its vanilla blockbusters” and “is its own beast, proving Downton Abbey’s Dan Stevens—surprisingly ripped—to be total action star material.”

Stevens can be seen this Christmas in NIGHT AT THE MUSEUM: SECRET OF THE TOMB as Lancelot.

PictureHouse will release THE GUEST in theaters September 17, in UK cinemas Sept. 5

theguestmovie.com

Facebook.com/TheGuestUSA

(uk/Yahoo)

(L-R) Director ADAM WINGARD and Screenwriter SIMON BARRETT on the set.

S-VHS – The Sundance Review

One of the biggest horror hits of last year was V/H/S, a movie that capitalized on the found footage craze by introducing the found footage anthology. The idea was that a bunch of directors coming together could exploit the best thrills that found footage had to offer, without any of the dull parts that come from having to pad out such movies to feature-length. Unfortunately, only two or so of the six shorts that made up V/H/S were any good, the rest running the gamut from bland to bad to downright ugly. But it did well enough to warrant a sequel, which premiered at this year’s Sundance Film Festival. S-VHS is basically the same formula redux – five found footage horror shorts.

Here’s the thing, though: this film is a remarkable improvement on its predecessor, in pretty much every department. The production value on each short has skyrocketed. The directing, acting, and writing across the board has gotten a serious shot in the arm. The result is that S-VHS is, for the most part, a lot of fun in the theater. It’s all the more surprising given the incredibly short turnaround on the movie’s production – it started filming late last year. It turned out to be one of the best surprises at Sundance 2013.

While the overall anthology is well worth a look, here’s each individual segment broken down:

Tape 49

Directed by Simon Barrett, and undoubtedly the worst segment in the lot. This one acts as a framing sequence for all the other films, which is its undoing. How can a movie possibly be scary when it continually breaks for other movies? There’s no way to build any kind of atmosphere. But even if it were to be reedited into one piece, it wouldn’t flow well at all. The premise has a private investigator and his partner/girlfriend break into a house while looking for a missing college student. The found footage POV comes from the video cameras that they use to film their investigation, because… um… reasons. The girl begins watching some VHS tapes she discovers, and each tape is one of the other segments in the film. It’s building some kind of mythology for this franchise, as it follows from a similar framing sequence in the first film. What’s the point, though? Why does there have to be a justification for any of this? Why can’t these movies just consist one short film after another? It’s so silly.

Phase I Clinical Trials

Directed by Adam Wingard. The found footage POV comes from the recordings of a mechanical eye that has been transplanted into the main character (also played by Wingard). Despite the absurd premise, the movie settles into an interesting groove, as it turns out that this robot eye can see ghosts. There are some thrilling jump scares, although it’s disappointing that that’s the most the film really aims for. It doesn’t go very far with its cool premise. Just as the movie seems to be about to dive into the wider implications of the setup, it ends. Fun but airless.

A Ride in the Park

Directed by Eduardo Sanchez (director of The Blair Witch Project and thus one of the fathers of this style) and Gregg Hale, with found footage POV from a helmet cam. A guy, as you might expect from the title, goes for a ride in the park, only to encounter zombies. He’s promptly bitten and becomes one himself, making this the first zombie movie from the perspective of the undead. That’s enough to refresh the tired genre, and this segment, while not very scary, has its exciting bits, as well as some delightfully gruesome gore effects. It also ends on a surprisingly moving note of pathos.

Safe Haven

Directed by Gareth Evans and Timo Tjahjanto, with found footage POV from documentary film cameras, security camera footage, hidden button cams, one handheld device, and… well, there’s a lot of “eyes” in this segment. A team of journalists arrange an interview with a secretive cult leader, and go to meet him at his remote underground sanctuary. It quickly becomes apparent that something big is about to go down, and once it does, events spiral into escalating chaos that eventually reaches apocalyptic proportions. Far and away the best of the shorts, and on its own, probably one of the best horror films I’ve seen in a while. The way it builds and then releases (and releases, and releases… and releases) tension is unbelievable, and creates a fantastic atmosphere of dread that breaks into sheer terror. The only issue is that there are so many cameras in play (at least a dozen) that it might as well not be found footage. After a certain point, the question of why this wasn’t just a regularly-shot movie comes up. But whatever – it’s a horrifying blast of a film.

Slumber Party Alien Abduction

Directed by Jason Eisener, POV from a home video camera, which spends most of the short strapped to a dog. Yes, a dog-cam. The title is pretty much self-explanatory. There is a slumber party, and then aliens invade. The odd thing about this segment is that the first half, before the aliens come, is actually way more enjoyable and interesting than the second half. It’s all about a group of kids messing around with one another in a series of pranks, and it’s funny and feels completely authentic. Once the aliens show up, it feels more like the parents have come home early and spoiled our fun, rather than the beginning of a roller coaster of terror. While the aliens have a great, nightmare-inducing look, they aren’t very scary, thanks to barely-coherent camera work (again: dog-cam). There’s also the fact that most of the abduction is lit with a strobe light, a confounding decision that creates headaches instead of suspense. Eisener should absolutely make a feature-length movie about kids doing kid stuff (found footage I can take or leave), but this is half great, half a snore.

YOU’RE NEXT – Fantastic Fest Review

UPDATE: Aside from the film being picked up by Lionsgate just before it’s first (and only) screening at Fantastic Fest, YOU’RE NEXT garnered the following awards… Audience Award (Runner Up), Horror Feature – Best Picture; Best Director for Adam Wingard; Best Screenplay for Simon Barrett; and Best Actress for Sharni Vinson.

YOU’RE NEXT comes from writer Simon Barrett and director Adam Wingard. This partnership created 2010’s A HORRIBLE WAY TO DIE, which introduced genre fans to a new force in genre filmmaking. Proving to be one of the most anticipated films of Fantastic Fest 2011, YOU’RE NEXT has already been acquired by Lionsgate, which is good news in that it will get a wide theatrical release, but bad news in that anyone reading this review who has not already seen the film will likely have to wait until 2012.

A young, foreign exchange student named Erin (Sharni Vinson) accompanies her college professor boyfriend Crispin (AJ Bowen) for his family reunion at their large house in the woods. Right away its apparent that this family doesn’t get along. When the family sits down for their first dinner together in years, the ensuing dialogue is as darkly comical as it is thick with tension, brimming with anger and rage brewing in a very shallow cup. The dinner scene sets up the family dynamic perfectly, where “dysfunctional” is an understatement.

Wingard and Barrett waste no time moving into the beef of the film, developing just enough back story to put the audience into place, allowing the viewer to fill in the blanks and piece together the mystery that unfolds during the ensuing carnage. YOU’RE NEXT features three unknown killers who crash the family dinner, all of whom wear animal Halloween masks: a fox, a sheep, and a tiger. The mask designs are simplistic but more real than cartoon, allowing the actors body language an increased level of creepiness, such as when a head is cocked, or even a long stare become far more frightening.

YOU’RE NEXT is primarily a home invasion horror flick, but also a black comedy. As the body count rises, the mystery slowly begins to unfold. Forced to take action where the family hesitates, Erin assumed the lead in the family’s struggle to survive, revealing at one point a simple unexpected explanation that perfectly sets her up as the strong female heroin we rarely see in cinema these days. Sharni Vinson proves herself as a starlet in the making for action and genre films, a goal she herself admits aspiring to in the Q&A that followed the screening. Vinson has all of the feminine bravado of ALIENS-era Sigourney Weaver combined with the capable damsel in distress quality of the HALLOWEEN-era Jamie Lee Curtis.

AJ Bowen’s and Joe Swanson‘s portrayal as rival brothers Crispin and Drake is sharp and biting, constantly at each others throats. Every line of dialogue Swanson utters is a gem, typically sarcastic, always judgmental and confrontational. Their mother Aubrey also stands out with a tremendous, emotionally charged supporting performance from Barbara Crampton. Rounding out the recognizable cast is a short, but noteworthy cameo role from filmmaker Ti West as Tariq, a role that serves as a genre wink, leading the dinner scene into the abrupt change of pace that holds for the remainder of the film.

YOU’RE NEXT is a great homage to slasher flicks and slapstick comedy (in the writer’s words, but I found the slapstick less apparent) but I also found connection to ’70s and ’80s era action cinema, from the strong heroin to the music for the film. In a similar sort of nostalgia, the creativity of the kills and style of violent choreography stood out as a major character in its own right, defining the fun-filled return of R-rated, in your face action/horror/comedy.

Lionsgate Finds Its ‘NEXT’ Great Horror Film

Company Acquires Adam Wingard’s YOU’RE NEXT

SANTA MONICA, CA (September 21, 2011) – LIONSGATE today announced that it has acquired U.S. and Canadian distribution rights to YOU’RE NEXT, following its screenings at the Toronto International Film Festival. The announcement was made jointly by Joe Drake, Lionsgate’s co-COO and Motion Picture Group President, and Jason Constantine, President of Acquisitions and Co-Productions.

Directed by Adam Wingard from a script penned by Simon Barrett, YOU’RE NEXT is a petrifying horror story starring Sharni Vinson, Joe Swanberg, A.J. Bowen, Nicholas Tucci and Barbara Crampton. Snoot Entertainment’s Keith Calder and Jessica Wu produced the project with Simon Barrett and Kim Sherman. The film reunites the principal cast from Wingard and Barrett’s shocking serial-killer thriller A HORRIBLE WAY TO DIE, which screened at the 2010 Toronto International Film Festival.

In YOU’RE NEXT, during a family reunion getaway, the Davison family comes under a sadistic attack. When Crispian Davison (Bowen) brings his new girlfriend (Vinson) along to celebrate the wedding anniversary of his parents (Moran and Crampton), the family’s evening together is shattered when a gang of mysterious killers begin to hunt the family down with brutal precision. Unfortunately for the killers however, one of the victims harbors a secret talent for fighting back.

Jason Constantine negotiated the deal on behalf of Lionsgate with Eda Kowan, SVP of Acquisitions and Co-Productions, and Wendy Jaffe, the Acquisitions and Co-Production team’s EVP of Business & Legal Affairs. Snoot Entertainment is represented by CAA, who negotiated the sale on their behalf with Erik Hyman of Loeb & Loeb.

“This project represents everything that we look for in a horror film,” explains Constantine of the company’s decision to acquire the film. “It is a celebration of its genre, featuring top notch performances from a sophisticated script, brilliantly directed, that will leave audiences on the edge of their seats – when they’re not jumping out of them.” Added Drake, “Lionsgate has had much success in the horror space, particularly with truly creative, daring genre films such as this one that we are uniquely suited to market equally boldly. This film is a perfect example of Lionsgate sticking to our roots and continuing to speak to an audience of horror fans that we know and love.”

“We are blown away by the passion the Lionsgate team has for our film, and are honored to be working with the finest horror franchise marketers and distributors in the world,” added producer Keith Calder.

ABOUT SNOOT ENTERTAINMENT

Snoot Entertainment is a motion picture production company founded by Keith Calder in February 2004 to develop, finance and produce entertaining independent films across all genres. The production company most recently produced the Morgan Spurlock documentary, THE GREATEST MOVIE EVER SOLD, which was acquired by Sony Pictures Classics during the 2011 Sundance Film Festival. Over the past year the company has also premiered the award-winning audience favorite documentary THUNDER SOUL, the martial-arts action film BUNRAKU at the 2010 Toronto Film Festival and the intense political horror film UNDOCUMENTED at the 2010 Fantastic Fest in Austin. Snoot’s first release was the animated science-fiction film BATTLE FOR TERRA. In addition, Calder has produced ALL THE BOYS LOVE MANDY LANE, THE WACKNESS and PEEP WORLD through Occupant Films which he co-founded in 2005.

About Lionsgate

Lionsgate is a leading global entertainment company with a strong and diversified presence in motion picture production and distribution, television programming and syndication, home entertainment, family entertainment, digital distribution and new channel platforms. The Company has built a strong television presence in production of prime time cable and broadcast network series, distribution and syndication of programming through Debmar-Mercury and an array of channel assets. Lionsgate currently has 15 shows on more than 10 networks spanning its prime time production, distribution and syndication businesses, including such critically-acclaimed hits as “Mad Men”, “Weeds” and “Nurse Jackie” along with the comedy “Blue Mountain State, ” the upcoming drama “Boss” and the syndication successes “Tyler Perry’s House Of Payne”, its spinoff “Meet The Browns”, the upcoming “For Better or Worse,” “The Wendy Williams Show” and “Are We There Yet?”.

Its feature film business has generated more than half a billion dollars at the North American box office in the past year, fueled by such successes as THE LINCOLN LAWYER, TYLER PERRY’S MADEA’S BIG HAPPY FAMILY, THE EXPENDABLES, which was #1 at the North American box office for two weeks, THE LAST EXORCISM, TYLER PERRY’S WHY DID I GET MARRIED TOO?, KICK ASS and the critically-acclaimed PRECIOUS, which won two Academy AwardsÂ®. The Company’s home entertainment business has grown to more than 8% market share and is an industry leader in box office-to-DVD and box office-to-VOD revenue conversion rate. Lionsgate handles a prestigious and prolific library of approximately 13,000 motion picture and television titles that is an important source of recurring revenue and serves as the foundation for the growth of the Company’s core businesses. The Lionsgate brand remains synonymous with original, daring, quality entertainment in markets around the world.

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: