“This is London. Someone has died in every room in every building and on every street corner in the city.”
EDGAR WRIGHT’S CRITICALLY ACCLAIMED, STYLISH, PSYCHOLOGICAL THRILLER IS YOURS TO OWN FOR THE VERY FIRST TIME. BRING HOME THE CINEMATIC MASTERPIECE WITH LOADS OF BONUS CONTENT, INCLUDING NEVER-BEFORE-SEEN DELETED SCENES. OWN IT ON DIGITAL JANUARY 4, 2022 4K UHD, BLU-RAYTM AND DVD JANUARY 18, 2022FROM UNIVERSAL PICTURES HOME ENTERTAINMENT
From the acclaimed director of fan-favorites such as Baby Driver, Shaun of the Dead and The World’s End comes the “mesmerizing and ultra-stylish” (US Weekly) tribute to 1960s London, LAST NIGHT IN SOHO, available to own for the first time on Digital January 4, 2022 and 4K Ultra HD, Blu-rayTM and DVD January 18, 2022 from Universal Pictures Home Entertainment. “A stunning achievement of filmmaking” (LA Times), LAST NIGHT IN SOHO is filled to the brim with thrills, suspense and a love of classic film and music in every frame. Own the cinematic masterpiece for the first time, alongside exclusive bonus content, including never-before-seen deleted scenes, behind-the-scenes content and feature commentaries exploring the intoxicating nostalgia, flair and suspense.
In Edgar Wright’s psychological thriller, Eloise (Thomasin McKenzie, Jojo Rabbit, Old), an aspiring fashion designer, is mysteriously able to enter the 1960s, where she encounters a dazzling wannabe singer, Sandie (Anya Taylor-Joy, Emma, “The Queen’s Gambit”). But the glamour is not all it appears to be, and the dreams of the past start to crack and splinter into something far darker.
The “seductive and sophisticated” (NY Times) masterpiece is directed by Edgar Wright, and stars Thomasin McKenzie, Anya Taylor-Joy, Matt Smith (The Crown, Doctor Who) and Michael Ajao (Attack the Block, Silent Witness). The film is co-written by Edgar Wright and Krysty Wilson-Cairns (1917).
BONUS FEATURES on 4K UHD, BLU-RAY , DVD AND DIGITAL:
MAKING OF FEATURETTES
MEET ELOISE – An in-depth look at the character of Eloise and the challenges that star Thomasin McKenzie faced while bringing her to life.
DREAMING OF SANDIE – A closer look at the characters of Sandie and Jack and why Anya Taylor-Joy and Matt Smith were the perfect actors to embody the essence of the time period.
SMOKE AND MIRRORS – The cast and crew break down how lighting, makeup, special effects, and creative camerawork came together to create a collision between the present day and 1960’s time periods.
ON THE STREETS OF SOHO – The cast and crew discuss the importance of shooting on location in Soho and the complexity of transforming the city streets back in time.
TIME TRAVELLING – A look into how the music, costume design, and production design of the film work together to immerse the audience into the world of 1960’s Soho.
DELETED SCENES
ANIMATICS
FIRST DREAM
SHADOW MEN
MURDER
FINAL CONFRONTATION
EXTRAS
HAIR & MAKEUP TESTS**
LIGHTING & VFX TESTS**
WIDE ANGLE WITNESS CAM
ACTON TOWN HALL STEADICAM REHEARSAL**
“DOWNTOWN” MUSIC VIDEO**
TRAILERS**
FEATURE COMMENTARY WITH DIRECTOR/CO-WRITER EDGAR WRIGHT, EDITOR PAUL MACHLISS AND COMPOSER STEVE PRICE
FEATURE COMMENTARY WITH DIRECTOR/CO-WRITER EDGAR WRIGHT AND CO-WRITER KRISTY WILSON-CAIRNS
Great set designs and cinematography. Moments of innovative direction by Edgar Wright. Superb performances from the two leading actresses – Thomasin McKenzie and Anya Taylor-Joy. All of that frittered away because Wright’s screenplay begins with an intriguing premise before wandering everywhere but into the realm of coherence.
McKenzie plays a country lass who realizes her dream of acceptance into London’s best fashion school, where she plans to develop her designs based on the swinging 1960s, which was when her late mother thrived for a while before losing her marbles. She’s immediately dissed by the school’s “Mean Girls”, causing her to leave the dorm and find a room in an old woman’s (Diana Rigg, lamentably in her last role) even older, run-down house. She begins having visions of the glamorous times in that neighborhood from the era she worships, including Taylor-Smith’s role as a gutsy aspiring singer. It all looks so glamorous until it turns dark, and the lines between past and present start blurring to McKenzie’s growing fear and desperation.
The rest of the plot simply descends into sub-standard horror fare that wears out its welcome long before the sweet relief of rolling credits. But before then, the two stars shine bright. McKenzie’s an Audrey Hepburn-like babe in the woods, bringing a joyful, wide-eyed optimism to the big city before it starts crushing her. Taylor-Joy’s character is a brash wannabe who thinks she’s on her way to the top in the nightclub scene until she starts to find the rot beneath the glitz.
Perhaps the best reason to consider watching is Wright’s brilliant deployment of mirrors to show McKenzie’s perspective as a mute witness to past events that may or may not have actually occurred. Truly some award-worthy visuals in those moments. Many will also be delighted with the score that plays such a major role beyond creating atmosphere. If only the script could have remained as interesting as those specific elements.
Two Out of Four
LAST NIGHT IN SOHO is now playing in select theatres
Here’s a first look at Focus Features’ upcoming movie LAST NIGHT IN SOHO.
Edgar Wright’s psychological thriller about a young girl, passionate in fashion design, who is mysteriously able to enter the 1960s where she encounters her idol, a dazzling wannabe singer. But 1960s London is not what it appears, and time seems to fall apart with shady consequences…
Focus Features will release LAST NIGHT IN SOHO in theaters on October 22, 2021.
LAST NIGHT IN SOHO stars Anya Taylor-Joy (Emma), Thomasin Harcourt McKenzie (Jo Jo Rabbit), Matt Smith (The Crown), Michael Ajao, Synnøve Karlsen, Diana Rigg, Terence Stamp, and Rita Tushingham.
The score is from Oscar-winner Steven Price (GRAVITY). He and Wright previously collaborated on BABY DRIVER, THE WORLD’S END (interview).
Edgar Wright and Penny Dreadful scribe Krysty Wilson-Cairns co-wrote the screenplay, produced by Nira Park, Working Title’s Tim Bevan and Eric Fellner, and Wright. Focus Features and Film4 co-financed the film.
Director Edgar Wright and actor Anya Taylor-Joy on the set of their film LAST NIGHT IN SOHO, a Focus Features release. Credit: Parisa Taghizadeh / Focus FeaturesDirector Edgar Wright on the set of his film LAST NIGHT IN SOHO, a Focus Features release. Credit: Parisa Taghizadeh / Focus Features4139_D036_00251_R
Director Edgar Wright and Cinematographer Chung-hoon Chung on the set of their film LAST NIGHT IN SOHO, a Focus Features release.
Credit: Parisa Taghizadeh / Focus Features
Excelsior Marvel “Movie-Verse” Maniacs! Going through some strong bouts of “cold turkey”, since it’s been over a year since your last “film fix” (seems like an eternity since Spidey was FAR FROM HOME)? By this time we’ve gotten at least two treks to that home of fast-paced fun adventures. They’re still insisting that we’ll see the BLACK WIDOW “prequel’ (or would “flashback fable’ be more on the nose) before the end of this year. Well, the first real studio film to play in theatres (and lots of drive-ins) since many of them re-opened on August 28 isn’t technically a Marvel Studios film, but (as shown in most ads and in its opening seconds) rather it’s “in association with Marvel”. That’s because it’s a “spin-off” of the X-Men franchise, which has been licensed to Twentieth Century Fox (‘member them) for just over twenty years. So, will this spawn another “side series’ as did both Wolverine and Deadpool? Much as with baseball, this flick’s characters are the “X-farm team”, but there’s plenty of comics fans who have “big league” hopes for THE NEW MUTANTS.
As with most “X-flicks”, this movie puts us right in the center of chaos and calamity during its opening sequence. On a cold winter night (or so it appears), something is wiping out a remote village. While shops and homes explode, a young father carries his teenage daughter into the woods, placing her inside the opening of an old tree. As he dashes back to town, she tightly shuts her eyes. All goes black as the sounds of doom begin to fade. When she opens her eyes again, the young woman is in a spartan room, one arm chained to the hospital-style bed. A voice on the intercom is soon given flesh and blood as she meets Dr. Reyes (Alice Braga), who confirms the teen’s identity as Danielle (“Danni”) Moonstar (Blu Hunt). Reyes tries to get Danni to recall what happened at her home and tells her that her new refuge is a hospital lab (or is it a holding cell) for young people with “enhanced abilities” (sounds nicer than mutants). Hours later she meets the other residents. Danni quickly bonds with the shy Irish “lass” Rahne (Maisie Williams), who feels most alive as she dashes through the forest as a wolf. On the opposite end, there’s immediate friction with the tough, taunting Illyana (Anya Taylor-Joy) whose right arm can be covered in armor complete with a flaming sword even as she transports to a weird “limbo dimension” where he prized puppet, the dragon Lockheed, becomes real. Oh, and it’s “co-ed”. There’s the timid Kentucky-born Sam (Charlie Heaton), his left arm always in a cast, due to his talent at “blasting off’ like a rocket and crashing back to Earth. And though he keeps his “gift” under wraps, there’s also South American “rich kid” Roberto (Henry Zaga), who the others find out has heat-based “talents”. But what of Danni? Reyes, who encases the building in an escape-proof “force field”, subjects her to a series of tests to find out just what makes her tick (and raise the readings on the psionic meter). All this while her new pals are being attacked by twisted versions of past events and tormentors. Will the group be destroyed by these fearsome brought-to-life nightmares. And just who are the “superiors’ who Reyes says are her employers?
Like the original X series, this film showcases some of cinema’s (and TV’s) most talented on-the-rise actors. The most prolific one is probably Taylor-Joy who has bounced between “indie” flicks (THE WITCH and this year’s EMMA.) and studio fare (SPLIT and GLASS). As Illyana (AKA Majik in the comics series), she commands the screen with her charismatic take on the school’s “cool bad girl” ( memories of Jolie in GIRL, INTERRUPTED) even as we’re trying to place that “wonky” accent (guessing Eastern Europe transplant in the Bronx). No wonder she’s so busy since Ms. Taylor-Joy appears to be having a blast, delivering “burns’ and dashing into battle like a golden-haired knight. On the other end, there’s the quiet work of Williams who’s in constant conflict over her “gift” and her sexuality as both go against her strict religious training. Her Rahne (AKA Wolfsbane) isn’t comfortable in her own skin (and sometimes fur) until she connects with Hunt’s Danni (AKA Mirage), who is dealing with extreme loss while searching for the truth about her troubled past. Hunt expertly conveys her confused unstable mindset. That’s part of what troubles Heaton as Sam (AKA Cannonball) whose dark brooding demeanor stem from the collateral damage of his abilities. While he’s all darkness, Zaga as Roberto (AKA Sunspot) puts up a facade as the fun-loving “playa” but tries to suppress the visions of his out-of-his-control power, which he believes is a true curse. Pulling the strings in her unseen office, Braga as Reyes exudes the air of the unemotional researcher, but often resorts to the passive/aggressive manipulations of Nurse Ratched, cooly trying to clamp the lid down on her own deadly “cuckoo’s nest”. Though Braga is consistently aloof, this heroes’ origin tale needs a more dynamic antagonist.
Director Josh Boone has taken a very different approach to that superhero origin tale, combing it with a 1980s haunted house tale, or closer to the Elm Street series, as rebellious teens are separated to face their fears. Since they’re mutants they are better prepared to stand their ground than the “fodder for Freddie K”. It’s not until the somewhat rushed final show-down when they truly bond, certainly more than in their “Reyes is out so let’s frolic” sequence. Although that’s the only time they really make mention of the “X-Team” we all know so well (Roberto twirls around in a wheelchair as he puts his hand on his temple in the Prof’s familiar pose). Everything seems to be hastily chopped and pasted (maybe to get the PG-13 rating rather than the R), from the romance of Rahne and Danni (it’s hinted at early as they enjoy some Willow and Tara action from the vastly superior TV series of “Buffy the Vampire Slayer”, which is always playing on their rec room DVD set-up) to the big “beastie” throw-down in limbo (complete with a twitchy CGI dragon-baby). Still, this is a better flick than the spectacular flame-out that was X-MEN: DARK PHOENIX last year, if just for its 94-minute run-time (the former went on and on and…). And so, the twenty-year reign of Lauren Shuler-Donner mutant movies staggers (it was originally pegged for April of 18) to a close. Now Kevin Feige and his crew will devise a new X-series and its spin-offs (the “rumor mill” seems to want Taron Egerton as the new Logan). Till then, these teens that form THE NEW MUTANTS will send those “gifted youngsters” into the “franchise horizon”.
Anya Taylor-Joy stars as “Emma Woodhouse” in director Autumn de Wilde’s EMMA., a Focus Features release. Credit : Focus Features
There have been both TV and movie
adaptions of Jane Austen’s novel “Emma,” about a meddling
rich young woman whose confidence exceeds her abilities, including
the popular 1996 Gwyneth Paltrow version, so one might wonder why
make another. But the surprisingly funny new EMMA. gives a refreshing
and enjoyable answer to that question. Starring Anya Taylor-Joy (THE
WITCH, SPLIT), who many first saw in her breakout performance in the
indie hit THE WITCH, director Autumn de Wilde gives us a new,take on
this famous character, giving her more depth and a more contemporary
feel while finding new humor in the tale, and all the while keeping
all the old charm of Austen’s classic tale.
The film’s slightly winking, slyly
funny approach makes it a thoroughly enjoyable experience. EMMA. (the
dot is part of the title) has all fine production values, lush
English countryside locations, gorgeous sets and period costumes one
could want in a costume drama but director de Wilde’s different
approach to the central character gives her more depth and
believability, and even makes the character feel more modern while
keeping the story firmly in its time period.
Pretty, rich and popular, young Emma
Woodhouse has hardly had a troubling day in her life, as the dryly
humorous titles tell us at the beginning of EMMA. She lives in a
beautiful country estate in the lovely English countryside with her
doting widowed father (Bill Nighy). Her father’s one request of her
is that she not leave him by getting married like her older sister
Isabella (Chloe Pirrie). Emma is happy to remain unmarried, seeing
herself as her father’s caretaker and embracing her dutiful daughter
role with relish and great confidence in her abilities. After
successfully arranging an introduction that led to her beloved
governess’ (Gemma Whelan) marriage to a wealthy local landowner Mr.
Weston (Rupert Graves), Emma thinks she has found her role in life –
as matchmaker.
For her next project, she turns her attention to Harriet Smith (Mia Goth), a pretty girl at a local boarding school, who is the “natural child,” polite society’s term meaning born out of wedlock, whose board and education are being paid for by her mysterious father, whose identity is being kept secret. Emma is certain the secrecy means the father is wealthy, maybe even noble, and she takes Harriet under her wing with plans to find her a better match than the local farmer (Connor Swindells) with whom she is infatuated.
Emma sets out to find a match within
her own elite social circle, a group that includes a wealthy handsome
young neighbor George Knightly (Johnny Flynn), who has practically
grown up with Emma, a preening young local vicar (Josh O’Connor), and
the often-absent son (Callum Turner) of Mr. Weston, who expected to
inherit a fortune from a maternal uncle. Local society also includes
a well-meaning, talkative older woman, Miss Bates (played with a
brilliant comic flair by Miranda Hart), who was well-born but has
fallen into poverty, and prevails on her previous social standing to
stay on the edges of Emma’s social circle, while talking endlessly
about her accomplished niece Jane Fairfax (Amber Anderson), much to
Emma’s irritation.
Of course, things do not go according
to plan. Emma’s good intentions and her overconfidence in her ability
to fix things blows up comically, embroiling her and her social
circle in a series of misunderstandings and boondoggles, often made
worse by Emma’s efforts to fix things further.
Sure, it is farce at base, but director
de Wilde and star Anya Taylor-Joy take steps to upend that and
refresh this familiar tale. Rather than playing to broad comedy, the
humor is a bit more tongue-in-cheek and sly, with the broader humor
shifted to supporting characters.
Usually, Emma is played as a kind of
idiot, a pretty, charming but egotistical rich girl whose meddling
makes a mess of other people’s lives. Anya Taylor-Joy’s Emma is not
dumb and not so much egotistical as naive, well-meaning and
overconfident. She is a would-be do-gooder who in contemporary times
might volunteer at a food bank or no-kill shelter with the certainty
that she has the answers to just turning this thing around. By taking
this approach to the character, director de Wilde and Taylor-Joy make
her both more modern and take some of the “dumb blonde”
sexist aspect out of the tale, without violating Austen’s classic
tale. With Taylor-Joy’s fine performance, the misguided, well-meaning
Emma retains her charm and innocent appeal as well as her meddling
ways.
Taylor-Joy’s Emma has a mix of
sweetness and naivete gives her an extra degree of charm as well as
making her a more contemporary figure. The refreshed approach to the
character helps reverse some of the sexist assumptions than underlie
this tale, giving Emma and the other characters a more modern feel
despite the costumes. It also allows the film to shift the comic
exaggeration to the supporting characters, particularly the men, who
in most versions escape comic skewering. In other versions, the male
characters are the reasonable ones but here they are comically
flawed, with human foibles and vain ambitions.
This refreshing, and funny, approach
allows for both more character development for Emma and more comic
space for the terrific supporting cast. Taylor-Joy does a great job
of taking advantage of that room for character development, adding
new depth and dimensions to Emma earlier versions lacked, while
staying true to Austen and keeping all Emma’s charm. The play of
complex emotion across Taylor-Joy’s face as she grapples with new
insights into herself or copes with plans going awry lets the actor
explore dramatic and comic aspects of the role without the usual
limits. It is another performance that showcases the talent that
Taylor-Joy showed in her breakout debut in indie hit THE WITCH.
The supporting cast also makes the most
of new comic possibilities. Bill Nighy takes full of advantage of
this, with his loopy Mr. Woodhouse, always on the alert for dangers
like drafts and potential weather events, surrounding himself with
screenings or refusing he leave the house. The mere mention of
possible snow in an offhand remark at a dinner party propels him from
the table mid-meal and sends him fleeing for his carriage, leaving
his dutiful daughter Emma in his wake.
As the vicar, Josh O’Connor dives into
with the most broadly comic figure, dressed in a series of
exaggerated costumes, and preening, prancing and plotting with
abandon. Miranda Hart who was so excellent as the tall, blushing,
upper-crust midwife in BBC’s “Call the Midwife,” is another
comic gem, with a hilarious motor-mouth character with equal charm.
Johnny Flynn’s George is more the voice of reason trying to bring
Emma down-to-earth when she goes too far, but Flynn still gets his
chance at comedy bits, with a romantic comedy spin.
EMMA. is an entertaining romp with all
the costume drama trimmings and a refreshing, funny new tack, which
should please both Austen fans and more general audiences. All that
makes it a good bet for a fun night at the movies,and a nice showcase
for this talented cast. EMMA. opens Friday, February 28, at
Landmark’s Plaza Frontenac Cinema.
Jane Austen’s beloved comedy about finding your equal and earning your happy ending, is reimagined in this delicious new film adaptation of EMMA. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along.
Directed by Autumn de Wilde. Written by Eleanor Catton. Starring Anya Taylor-Joy, Johnny Flynn, Bill Nighy, Mia Goth, Miranda Hart, Josh O’Connor, Callum Turner, Rupert Graves, Gemma Whelan, Amber Anderson, Tanya Reynolds, and Connor Swindells.
Enter for your chance to win two free passes to the St. Louis advance screening of EMMA. The theatrical sneak preview will be on February 24 at 7pm.
Leave your name and email address in our comments section below.
The critically acclaimed film, The Witch comes to 4K Ultra HD™ Combo Pack (Plus Blu-ray™ and Digital) on April 23 from Lionsgate. Relive the terrifying experience of witchcraft in this soon-to-be horror classic!
One of the most original horror films of the past decade has never looked so good as when The Witch arrives on 4K Ultra HD™ Combo Pack (plus Blu-ray™ and Digital) April 23 from Lionsgate. Directed by Robert Eggers, winner of Best Director at the 2015 Sundance Film Festival, this supernatural horror tale stars Ralph Ineson, Katie Dickie, and up-and-coming star Anya Taylor-Joy in a “breakout performance” (Jake Coyle, Associated Press), and has been hailed by Indiewire as “the most exciting and genuinely horrifying American horror film since The Blair Witch Project.” Experience four times the resolution of Full HD with the 4K Ultra HD Combo Pack, which includes Dolby Vision®HDR, bringing entertainment to life through ultra-vivid picture quality. When compared to a standard picture, Dolby Vision can deliver spectacular colors never before seen on-screen, highlights that are up to 40 times brighter, and blacks that are 10 times darker. Available for the very first time in this absolutely stunning format, The Witch 4K Ultra HD™ Combo Pack includes an audio commentary with director Robert Eggers, a featurette, a Q&A with cast and crew, and a design gallery, and will be available for the suggested retail price of $22.99.
New England, 1630: William and Katherine lead a devout Christian life with their five children, homesteading on the edge of an impassible wilderness. When their newborn son mysteriously vanishes and their crops fail, the family begins to turn on one another. The Witch is a chilling portrait of a family unraveling within their own fears and anxieties, leaving them prey to an inescapable evil.
4K ULTRA HD / BLU-RAY SPECIAL FEATURES
“The Witch: A Primal Folklore” Featurette
Salem Panel Q&A
Design Gallery
Audio Commentary with Director Robert Eggers
CAST
Anya Taylor-Joy Glass, Split, Morgan
Ralph Ineson Ready Player One, The Hurricane Heist, The Huntsman: Winter’s War
Katie Dickie Prometheus, TV’s “Game of Thrones”, TV’s “The Cry”
(L to R) SAMUEL L. JACKSON, JAMES MCAVOY, BRUCE WILLIS and SARAH PAULSON in “Glass.”
M. Night Shyamalan brings together the narratives of two of his standout originals—2000’s Unbreakable, from Touchstone, and 2016’s Split, from Universal—in one explosive, all-new comic-book thriller: Glass.
From Unbreakable, Bruce Willis returns as David Dunn as does Samuel L. Jackson as Elijah Price, known also by his pseudonym Mr. Glass. Joining from Split are James McAvoy, reprising his role as Kevin Wendell Crumb and the multiple identities who reside within, and Anya Taylor-Joy as Casey Cooke, the only captive to survive an encounter with The Beast.
Following the conclusion of Split, Glass finds Dunn pursuing Crumb’s superhuman figure of The Beast in a series of escalating encounters, while the shadowy presence of Price emerges as an orchestrator who holds secrets critical to both men.
Joining the all-star cast are Unbreakable’s Spencer Treat Clark and Charlayne Woodard, who reprise their roles as Dunn’s son and Price’s mother, as well as Golden Globe Award winner Sarah Paulson (American Horror Story series).
This riveting culmination of his worldwide blockbusters is produced by Shyamalan and Blumhouse Production’s Jason Blum, who also produced the writer/director’s previous two films for Universal. They produce again with Ashwin Rajan and Marc Bienstock, and Steven Schneider executive produces.
A Blinding Edge Pictures and Blumhouse production, Glass will be released by Universal Pictures in North America on January 18, 2019.
Enter for your chance to win two free passes to the St. Louis advance screening of GLASS. The theatrical sneak preview will be on JANUARY 15 at 7pm.
Answer the following: James McAvoy and Samuel L. Jackson have starred in other Superhero franchises – name those series of movies and their characters.
Add you name, answer and email address in our comments section below.
NO PURCHASE REQUIRED. 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.
RATING:GLASS has been rated PG-13 (Parents Strongly Cautioned – Some Material May Be Inappropriate for Children Under 13) for violence including some bloody images, thematic elements, and language.
“Real villains are among us…real heroes are within us.”
Here’s a first look at the brand new trailer for director M. Night Shyamalan’s upcoming, and long-awaited sequel to UNBREAKABLE… GLASS.
A Blinding Edge Pictures and Blumhouse production, GLASS will be released by Universal Pictures in North America on January 18, 2019, and by Buena Vista International abroad.
Night Shyamalan brings together the narratives of two of his standout originals—2000’s Unbreakable, from Touchstone, and 2016’s Split, from Universal—in one explosive, all-new comic-book thriller: Glass.
From Unbreakable, Bruce Willis returns as David Dunn as does Samuel L. Jackson as Elijah Price, known also by his pseudonym Mr. Glass. Joining from Split are James McAvoy, reprising his role as Kevin Wendell Crumb and the multiple identities who reside within, and Anya Taylor-Joy as Casey Cooke, the only captive to survive an encounter with The Beast.
Following the conclusion of Split, Glass finds Dunn pursuing Crumb’s superhuman figure of The Beast in a series of escalating encounters, while the shadowy presence of Price emerges as an orchestrator who holds secrets critical to both men.
Joining the all-star cast are Unbreakable’s Spencer Treat Clark and Charlayne Woodard, who reprise their roles as Dunn’s son and Price’s mother, as well as Golden Globe Award winner Sarah Paulson (American Horror Story series).
This riveting culmination of his worldwide blockbusters is produced by Shyamalan and Blumhouse Production’s Jason Blum, who also produced the writer/director’s previous two films for Universal. They produce again with Ashwin Rajan and Marc Bienstock, and Steven Schneider and Kevin Frakes, who executive produce. Gary Barber and Roger Birnbaum also serve as executive producers.
THE WITCH screens this Friday and Saturday nights (September 14th and 15th) at midnight at the Tivoli Theater as part of their ‘Reel Late at the Tivoli’ Midnight series.
When Michael Haffner reviewed THE WITCH here at We Are Movie Geeks in 2015, he wrote: “…..THE WITCH drips with dread. What it lacks in scares, it makes up for in genuine fear. It’s the fear of the unknown; the fear of losing your family’s trust; and the fear of living in a world where religious rule is just as terrifying as what’s lurking deep in the woods.” (read all of Michael’s review HERE)
THE WITCH, one of the most original horror films in a decade unleashes its unholy curse on the big screen this weekend at The Tivoli. A Puritan family banished to the edge of the known wilderness suspects an unseen, unspeakable evil is at work after the disappearance of one of their five children. Drawing from actual accounts of witchcraft and possession in New England, the critically acclaimed film features authentic settings and a creepy atmosphere. From debut writer-director Robert Eggers,THE WITCH stars Anya Taylor-Joy (Viking Quest), Ralph Ineson (Kingsman: The Secret Service) and Katie Dickie (TV’s “Game of Thrones”).
The Tivoli’s located at 6350 Delmar Blvd., University City, MO. Admission is a mere $8!
A facebook invite for this event can be found HERE
