Tag: Chloe Grace Moretz

THE ADDAMS FAMILY (2019) – Review

Move over ABOMINABLE, it’s time for another big animated feature film to hit the ole’ multiplex. Unlike the past Summer’s hit TOY STORY 4 and the upcoming FROZEN 2, it’s not a sequel, but it’s not exactly an original concept or idea. Even though the characters have been kicking around the pop culture ozone since 1937, they’re now in “uncharted territory”. Yes, it was over eighty years ago when Charles Addams debuted this frightfully funny family in the New Yorker magazine. They were part of a series of “one panel” cartoons so popular that they continued to pop up in issues, eventually being collected in book form. Eventually their creator gave them first names (Gomez, Morticia) along with the same surname as the artist. It wasn’t until the 1960s that they gained their greatest fame as part of the fantasy TV sitcom fad (begun by MY FAVORITE MARTIAN and encompassing BEWITCHED, I DREAM OF JEANNIE, and some equally odd neighbors living at 1313 Mockingbird Lane). Now, there’s a bit of controversy around who arrived first. The Addams project was first announced in the “trades” and eventually “beat” THE MUNSTERS to the airwaves by six days. After its brief (only two seasons) run on ABC-TV, the family returned as a Hanna-Barbera Saturday morning cartoon in 1973 (with son Pugsley voiced by Jodie Foster), and was revived by the same studio in 1992. The previous year saw the release of an enormously popular live-action feature film, with a sequel coming out in 1994 (25 years, wow). Now, after a recent Broadway musical, they’re back on the big screen, not in live-action or in 2-D “cell” animation, but in 3D-like CGI renderings. So, as that peppy ole’ theme music from Vic Mizzy says, “…it’s time to pay a call on… THE ADDAMS FAMILY”.

The cartoonist creator and his kooky creepy clan

Let’s label this romp an “origin story”, to borrow a term from the superheroes. Thirteen (of course) years ago, the entire Addams clan is gathered in the “old country” for the midnight wedding of Gomez Addams (voice of Oscar Isaac) and Morticia Frump (Charlize Theron). Unfortunately, before their first dance, the locals arrive with the pitchforks and torches (they may have wondered over from the Universal backlot). There’s only one place the lovebirds can go. With the helping hand of Thing, they make it to America. After “acquiring” their hulking servant Lurch (Conrad Vernon), the Addams newlyweds settle into their new home. Not a museum (as the song states), but an abandoned, haunted asylum. As we forge into the present day we view pics of the family’s expansion, first with gloomy daughter Wednesday (Chloe Grace Moretz), then son Pugsley (Finn Wolfhard). They adore their secluded haven until a red balloon drifts into the yard. The fog lifts to reveal, far below them, a brightly painted planned community. Said “planner” is none other but cable TV’s design and decorating diva Margaux Needler (Alison Janney), who now has “designs” on the creepy mansion overlooking her “picture perfect’ village of Assimilation. Gomez decides to take a break from preparing Pugsley for his Mazurka sword ceremony, assisted by the newly arrived Uncle Fester (Nick Kroll). and greet their new “neighbors”. Wednesday bonds with Margaux’s teenage daughter Parker (Elsie Fisher) and decides to join her at the “middle school”. Can she possibly “fit in”? And what nefarious scheme is Margaux plotting as the Addams distant relatives begin to arrive for Pugsley’s “big day”? Will the celebration become a catastrophe? And, just what is Cousin It (Snoop Dog) babbling about?

An interesting mix of actors (a couple of Oscar winners) and comedians have been assembled to give voice to the famous family and fiends…er, friends. Isaac is a smooth as silk classic Latin lover type as patriarch Gomez. Theron’s Morticia is the epitome of the oh so cool vamp as the matriarch. There’s a terrific energetic raspy cackle to Kroll’s Fester. Margaux has a patronizing “sing-song” delivery, all saccharine with a hint of strychnine thanks to Janney. Unfortunately, the kids feel a tad bland, with Moretz trying to come across as an aloof sounding menace, but seems more bored than demented, while Wolfhard only gives Pugsley an anxious, breathy quality. Luckily comic vets Bette Middler as Grandmama along Catherine O’Hara and Martin Short as the Frump ghosts (SCTV reunion…yes) provide lots of chuckles in their limited screen time. And Vernon gives Lurch a most impressive guttural growl.

In addition, he’s co-director with Greg Tiernan on this, their first big project since 2016’s racy and raunchy SAUSAGE PARTY (quite a turnabout from those R-rated hi-jinks to this family-friendly PG project). For the most part, they recreate the look of those classic characters from the pen and ink panels of Mr. A, though many of the supporting players get into a bit of a design rut, resembling potatoes with “pipe cleaner” thin arms and legs. And the faces are small features surrounded by a fleshy circular ‘noggin. Luckily the fam’ is more interesting. Gomez’s rotund, “striped beach ball” torso works well with his round Peter Lorre caricatured head (great dark sunken eyes). I missed the ever-present cigar that John Astin twirled ala’ Groucho, but I guess that was nixed to get the PG rating. Those same eyes and torso (they’re brothers after all) work well with Fester, paired with his droopy banana nose. Morticia, on the other hand, is comprised of “hard angles” with cheekbones and a chin so sharp they could “thin slice” deli meats. And rather than shoes we see the spider-like hem of her skirt as she glides across the floor (not teeny tiny steps, but hovering). Not sure if the high forward of Wednesday works, but the twin egg-like eyes of Pugsley that look as though they may fall out of his head are quite expressive. The brow and heavy-lidded eyes are a nice nod to the classic Frankenstein monster for Lurch, whose bulk appears to be a black mountain looming and blending into the house’s shadowy corners. And his mouth “quiver” as he delivers the classic “Yoooou rang?” is superb. Ditto to the massive blond bouffant of Margaux, balanced by her plump hips that almost burst out of her blue jumpsuits. Her daughter Parker has a much different look with a button nose and huge expressive eyes making me think of the talented young actress Joey (WISH UPON) King.

If only the same amount of thought and planning of the look of the cast had gone into the uneven script. Yes, there’s much of the same subversive spirit that Paul Rudnick gave to those 90’s features, but the screenplay (credited to three writers) seems to run out of “juice” after the one hour mark, falling prey to the usual funny flick third act “lull”. It abounds with so many great visual gags (Thing’s internet interests) and one-liners (Kroll’s timing kills), but the story has the feel of three sitcom episodes “stitched” together, bouncing haphazardly from plot “A” to “B” to “C” and back again. And these stories mainly focus on the Addams kids, making Morticia and Gomez into secondary support players. And with that PG rating, much of their smoldering sexy banter has been neutered (in the tame 60s sitcom-world, these two generated real “heat”). Only one bit of Gomez driven wild over Morticia tossing out a phrase in French…C’mon?! Still, a few sequences are full of inspired satire, particularly the “Up with People”-style anthem sung by the cheerful Assimilation quintet and Wednesday’s take on biology class (a 70’s sci-fi movie classic reference). But these are shuffled aside to make way for the convoluted plottings of Margaux, who often seems to be at cross purposes. It’s a muddled mess, but the wee ones should be amused by the creepy but not too scary elements (the pet lion Kitty Kat looks like a massive stuffed doll). Even though they’ve seemingly been with us forever, this kooky clan’s non-conformist ways still feel fresh and needed today. Thankfully, despite the script bumps, these folks (cue the big guy on the harpsichord) are still “altogether ‘ooky’, THE ADDAMS FAMILY”. “Snap, snap!”

3 Out of 4 Stars

GRETA – Review


Though headlined by a pair of actresses one would hope could elevate familiar material, GRETA is at its core a lurid B-movie dressed in art-house clothing, poorly-written trash that ultimately bears more than a passing resemblance to the many disposable psychological thrillers it pilfers from. GRETA tells of 20-ish waitress Frances (Chloe Grace Moretz) who’s recently moved into a lavish Manhattan loft with roomie Erica (Maika Monroe) after the death of her mother. Frances finds an abandoned purse on the subway and kindly walks to the owner’s home to return it. There lives Greta (Isabelle Huppert), a sad and fragile 60-ish French woman so thankful to Frances that she invites her inside for coffee and conversation. The women at first make a connection and Greta, who claims to have a mysterious daughter about that age, provides Frances a motherly presence. The friendship doesn’t last long. After a trip to the dog pound to get Greta a new pet, the pair head back to the older woman’s home for dinner. There Frances finds a cabinet full of purses identical to the one she had discovered on the subway! Frances tries to break things off but Greta’s psychotic streak has been exposed, the ominous horror chords on the soundtrack have been cued, and the balance of GRETA becomes standard cat-and-mouse shenanigans.

It’s a fairly irresistible premise that’s employed to laughable effect by trotting out every cliché in the book for this type of slasher/stalker ‘bunny-boiler’. GRETA was supposed to be a comeback of sorts for once-hot director Neil Jordan, who won a writing Oscar for THE CRYING GAME but hasn’t had a mainstream hit since INTERVIEW WITH A VAMPIRE in 1994. With GRETA, Jordan pays a lot of attention to style. He and cinematographer Seamus McGarvey employ atmospheric lighting, striking camera angles, and carefully-designed art direction for Greta’s apartment, all to ensure an unnerving vibe. But Jordan’s direction merely plays up the melodramatic aspects of the lousy script where dumb people keep doing dumb things for the sake of the plot. Sure, the audience is well-aware that Greta is bat-poop nuts. We can tell by the way she phones her young friend all day long, stares at her from the street for hours while she’s trying to serve customers, pursues the roommate through the subway while surreptitiously photographing her, flips over restaurant tables while smashing wine glasses, and spits gum in Frances’ hair! The problem with GRETA is that all of this happens in the film’s first 25 minutes, so there’s still over an hour left for the audience to endure Greta’s tiresome, increasingly over-the-top lunacy.  Perhaps suspense could have been built had the script spent more time on psychological character study and saved the slasher-film stylistics for the final act, but GRETA goes off the rails quickly. For a movie meant for believability, it gets too stupid too fast and just stays there. The script never addresses exactly how Greta got so nutty.  How does she afford this Manhattan townhouse that doesn’t seem to have neighbors close enough to hear Frances’ screaming? Would Frances’ boss really make her wait on a woman he knew was stalking her? Would the police really refuse to investigate this stalking? Why, when Erica is stalked in the subway and turns her head to look behind her, is Greta magically nowhere in sight even though she has nothing to hide behind? The contrivances, coincidences, and plot holes here are far too high a hurdle.

Huppert is usually such a terrific and daring actress (her startlingly casual rape victim/avenger in ELLE was sublime), I had hoped she would elevate this character beyond the stereotypes often associated with films of this ilk. The 66-year old actress has such compelling presence, and is still as stunning as she was when she co-starred in HEAVEN’S GATE 40 years ago, but she does nothing here Joan Crawford, Tallulah Bankhead, and Shelly Winters weren’t doing during their COH (Crazy Old Hag) periods in the 1960s. Moretz drips with doe-eyed innocence but one dumb decision after another made by Frances (at one point she’s stalking Greta back out of concern for that pooch) will mostly cause audiences to react with an exasperated “Oh, come on!”, though she does wield a mean cookie cutter in the film’s one truly shocking moment!

GRETA is cheesy, but at a breezy 96 minutes, not totally unwatchable. It’s a somewhat entertaining absurdity if you are willing to check all logic at the door. I almost wish GRETA had been even worse and played up the camp to the point of parody (some may argue it’s already there). Then we could have had a gloriously bad guilty pleasure instead of just a bad movie

1 1/2 of 5 Stars

Here’s the Official Trailer & Teaser Poster for GRETA Starring Isabelle Huppert and Chloë Grace Moretz


Focus Features will release GRETA in theaters on March 1, 2019. Check out the trailer:

GRETA is the story of a sweet, naïve young woman trying to make it on her own in New York City, Frances (Chloë Grace Moretz) doesn’t think twice about returning the handbag she finds on the subway to its rightful owner. That owner is Greta (Isabelle Huppert), an eccentric French piano teacher with a love for classical music and an aching loneliness.  Having recently lost her mother, Frances quickly grows closer to widowed Greta. The two become fast friends — but Greta’s maternal charms begin to dissolve and grow increasingly disturbing as Frances discovers that nothing in Greta’s life is what it seems in this suspense thriller from Academy Award®-winning director Neil Jordan.

  GRETA stars Isabelle Huppert, Chloë Grace Moretz, Maika Monroe, Colm Feore, and Stephen Rea and is directed by Neil Jordan (“The Crying Game”)

SUSPIRIA (2018) – Review

Sure Halloween was a couple of days ago, but I’d wager there are still lots of film fans eager for a new scare. After all, audiences have kept the sequel/reboot of HALLOWEEN at the top of the box office for the last several weeks (probably this coming week also). This week’s new fright flick also has its roots from the same late 1970’s time frame, but it’s no follow-up. We’re talking a flat-out remake, or as the marketers like say, a “re-imagining” (fancy, schmancy I say). The original actually beat the John Carpenter classic to theatres by nearly a year. Oh, and it was made by one of Italy’s most acclaimed thriller directors, Dario Argento. Now, this new take is also by an Italian director, Luca Guadagnino, who last year at this time released the Oscar-winning, coming-of-age romance CALL ME BY YOUR NAME. Oh, that original had one English actress, while the 2018 edition features three (still a few subtitles, though). Having never seen the earlier flick, this is all new gore to me, so let’s enter the nightmare world of SUSPIRIA.

The story’s setting is Berlin, specifically East Berlin, a few years prior to the fall of that wall. A young woman makes her way past protestors to the walk-up office of an elderly psychotherapist, Dr. Josef Klemperer (Lutz Ebersdorf). Patricia (Chloe Grace Moretz) is in a panic and babbles about escaping from her tormentors. Meanwhile, way across the pond in Ohio USA, a young woman leaves her strict religious family farm home as her mother succumbs to disease. Cut to an elite dance academy back in Berlin, where that same young woman climbs the stairs to the rehearsal space. Susie Bannion (Dakota Johnson) has come there specifically to study with the famous Madame Blanc. Ah, but first she must audition for some of the other teachers. Blanc (Tilda Swinton) arrives near the end of her performance and is wowed. Susie is assigned a room and becomes fast friends with another student, Sara (Mia Goth). Early the next day, Susie joins the rehearsals of Blanc’s lauded ballet “Polk”. The lead actress is upset that she is replacing her friend, the missing Patricia, and leaves the hall. As she departs, she takes the wrong exit and is trapped in another dance space. As Susie performs the lead in “Polk” (she watched the videotape many times back home), the music and vibrations cause the trapped dancer on the floor below to contort, her bones twist and shatter as she literally folds in on herself. As she breathes her last, several of the teachers rush in and brutally move the body out of sight. Soon Sara’s curiosity is aroused when she sees two police detectives (investigating Patricia’s disappearance) are put in a trance by some of the dance teachers. This prompts Sara to visit Josef and eventually venture into the dank basement of the school building. Just what deadly secrets are the faculty keeping from the students? And could Susie be their next target?

As the queen choreographer Blanc, Swinton projects a cold aloofness, deftly alternating between cruel taskmaster and encouraging, sympathetic mentor. With a costume of flowing red robes, hair tightly pulled back, and always clenching a half-sized cigarette, Blanc is like a smoldering crimson manta ray, sweeping in to teach and berate her young charges. Of course, her main focus is Susie, played by Johnson as a fragile, wide-eyed innocent, though at times she seems a tad too mature for this ingenue role. But Johnson has the determined, confident body language of a gifted ballerina. Moretz in her scant screen time (much like PYSCHO’s Marion Crane she sets the events in motion, as her presence is felt long after her exit) helps establish a mood of mystery and paranoia. Goth makes a most diligent Nancy Drew-like seeker of truth, hoping to protect her new “sister” from the school’s secrets. The best work is from screen newcomer Ebersdorf who is almost a Van Helsing in a battle against forces beyond his comprehension. Though age has slowed him…I’ll stop now, since the cat has long been out of the bag. Swinton does double duty as the frail, kindly doctor with his own hidden past. Thanks to some excellent make-up, and Swinton’s skill this becomes more than a mere “stunt”.

Guadagnino envelopes the story, smothering it in gloom and shadows, The colors are muted, the lighting (save for the dance rehearsals) dimmed, often with figures emerging from deep, long shadows. “Old school” horror fans will be pleased that most of the more squeamish sequences rely more on prosthetic make-up effects and puppetry rather than CGI. This is particularly true of the film’s first big death sequence in which a young woman’s face contorts and her bones crackle while pushed against a mirror by unseen forces. For much of the second act, the threat of violence hovers, especially in the big group scenes with the unhinged unpredictable staff and faculty. Their meals and meetings tend to get ugly very quickly. The “Polk” performance is a compelling bit of dark dance with the ladies attired in red strings and strips of clothing and tassels that recall blood streaks. This is just a peaceful prelude to the “go for broke’, bonkers finale, a fever dream orgy filled with hellish deformed creatures and rivers of plasma and bile. There are attempts to explain the connections between events and characters, but we’re left with more questions than answers. Often sadistic and brutal, with haunting oddly lovely imagery, this over-stuffed (152 minutes) nightmare is for “gorehounds” who wants something beyond those lumbering masked madmen. But for the squeamish, SUSPIRIA serves up some pretty sick stuff.

2.5 Out of 5

THE MISEDUCATION OF CAMERON POST – Review

Audiences and critics are quick to label a film. Well, that’s a superhero film. Oh, that’s a cheesy comedy. Yeah, that’s that gay film that’s coming out. Sure, you could say that THE MISEDUCATION OF CAMERON POST deals with gay and queer topics at a gay conversion therapy camp for teenagers. What’s interesting though about the film is the lack of labels the kids put on themselves or on their friends. They don’t say, “I’m gay or I’m a lesbian or I’m bi.” There is a childlike quality to this that speaks volumes of how they view themselves. Sure, you can call it “the delicate unique snowflake” generation, but I think there is more to it than that. They don’t see themselves as unique and without labels as much as they are still discovering who they are. These are high school students after all. They haven’t declared a college major, yet alone declared who they love and why they feel the way they do. The title character, Cameron (Chloe-Grace Moretz), at one point explains, “I don’t think of myself as a homosexual.” She doesn’t say this outta pure shame – though I think a part of it might be from that – but more out of the fact that she hasn’t quite found her path in life just yet.

Paths and finding your footing is a recurring theme in the dialogue and imagery throughout the film. One of the boys in camp who has the most dramatic arc, Mark (Owen Campbell in a heart-wrenching performance), describes to Cameron that finding your faith is simply a matter of “putting one foot in front of the other.” Another more symbolic example of this theme is that the trio of main characters often go on hikes through the woods as a means of escape. While the film stays firm in not answering what the clear path or answer may be (nothing proves this more than the last lingering shot), it’s clear that writer and director Desiree Akhavan is willing to say that there are multiple paths for young people to take in life.

Chloe Grace Moretz plays the part of Cameron perfectly. Even though the camera stays glued to her face in closeup for far too long at times, she remains strong even though you can see the many questions swirling about her head. That’s not an easy feat to pull off – to convey deep-seated questions spinning around inside without looking about or down in a tiresome manner. While the film offers very little comedic energy or breaks, actor Forrest Goodluck as Adam provides just a touch with his deadpan delivery of a few lines. Unfortunately Cameron’s friendship with Adam and Jane (AMERICAN HONEY breakout star Sasha Lane) isn’t explored as much as the trials and activities that go on in the camp. The positive light the three exude when they are together would add a little more warmth to the film if the focus was shifted just a little.

Director and writer Desiree Akhavan (adapting the book by Emily M. Danforth) seems to purposefully not paint the leaders of the religious camp as the villains. Of course, their methods at times are cruel (at one point the leader has her foot on a boy’s back) and as Cameron points out are examples of “emotional abuse,” but the film doesn’t paint them as fanatical tyrants ruling with a God-like iron fist. There are scenes where their humanity comes out in odd and unsettling ways, especially in the second half of the film. The fact that the filmmakers didn’t paint them in a more ugly fashion is slightly off-putting. The audiences who will flock to this knows that camps like this aren’t ethically right, and because of this, the unorthodox approach to depicting the camp leaders will divide some audiences.

THE MISEDUCATION OF CAMERON POST isn’t necessarily a learning exercise but rather an exploration of teen struggles. We often forget how tumultuous these formative years can be. As adults, we brush it off since they aren’t paying bills or working a 9-5. Between Bo Burnham’s film EIGHTH GRADE from earlier this year and now this, the struggles of growing up as a teenager have never felt more real and heartbreaking. There’s nothing illuminating or groundbreaking in the story of THE MISEDUCATION OF CAMERON POST or in the way the story is told, but it’s a nice reminder that we all lived through a time when we didn’t have all the answers and it was up to us to forge our own path.

 

Overall score: 4 out of 5

THE MISEDUCATION OF CAMERON POST is now playing in select cities 

 

Dakota Johnson And Chloe Grace Moretz Star In New SUSPIRIA Trailer And Character Posters

Tremble, Tremble! The Witches are Back.

Watch the brand new trailer, with music by legendary singer/songwriter Thom Yorke (Radiohead) and check out the character posters for SUSPIRIA.

From director Luca Guadagnino, the film stars Dakota Johnson, Tilda Swinton, Mia Goth, Lutz Ebersdorf and Chloe Grace Moretz.

A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director, an ambitious young dancer, and a grieving psychotherapist. Some will succumb to the nightmare. Others will finally wake up.

Suspiria is in New York and Los Angeles theaters October 26, expanding nationwide November 2.

 

Visit the official site: https://www.suspiria.movie/

Tilda Swinton as Madam Blanc stars in Suspiria

Mia Goth as Sara and Dakota Johnson as Susie star in Suspiria

Dakota Johnson stars in SUSPIRIA Photo: Sandro Kopp/Amazon Studios

WAMG Giveaway – Win THE EQUALIZER on 4k Signed by Denzel Washington and Antoine Fuqua!


“I don’t have a lot of time. Which means you don’t have any!”


Sony Pictures Home Entertainment has  released on 4k Antoine Fuqua’s action thriller The Equalizer (2014), starring Denzel Washington, Marton Csokas, Chloë Grace Moretz, David Harbour, and Haley Bennett.

Now you can own the THE EQUALIZER 4k. We Are Movie Geeks has 2 copies to give away, and one of them is signed by Denzel Washington and Antoine Fuqua! . All you have to do is leave a comment answering this question: What is your favorite movie directed by Antoine Fuqua? (mine is TRAINING DAY!). It’s so easy!

OFFICIAL RULES:

1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES.  NO P.O. BOXES.  NO DUPLICATE ADDRESSES.

2. WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.

McCall (Denzel Washington) has put his mysterious past behind him and is dedicated to living a new, quiet life. But when he meets Teri (Chloë Grace Moretz), a young girl under the control of ultra-violent Russian gangsters, he can’t stand idly by. Armed with hidden skills that allow him to serve vengeance against anyone who would brutalize the helpless, McCall comes out of his self-imposed retirement and finds his desire for justice reawakened. If someone has a problem, if the odds are stacked against them, if they have nowhere else to turn, McCall will help. He is The Equalizer.
The Equalizer on 4K Blu-ray includes the feature with High Dynamic Range and exclusive Dolby Atmos audio for maximum impact.


Synopsis: McCall (Denzel Washington) has put his mysterious past behind him and is dedicated to living a new, quiet life. But when he meets Teri (Chloë Grace Moretz), a young girl under the control of ultra-violent Russian gangsters, he can’t stand idly by. Armed with hidden skills that allow him to serve vengeance against anyone who would brutalize the helpless, McCall comes out of his self-imposed retirement and finds his desire for justice reawakened. If someone has a problem, if the odds are stacked against them, if they have nowhere else to turn, McCall will help. He is The Equalizer.

The Equalizer is directed by Antoine Fuqua from a screenplay by Richard Wenk based on a television series by Michael Sloan and Richard Lindheim. Executive producers include David J. Bloomfield, Ezra Swerdlow and Ben Waisbren. Producers include Todd Black, Jason Blumenthal, Tony Eldridge, Mace Neufeld, Alex Siskin, Michael Sloan, Steve Tisch, Denzel Washington, Richard Wenk, Lance Johnson, Molly Allen and Kat Samick.

4K BLU-RAY SPECIAL FEATURES:

  • ALL-NEW: Five Never-Before-Seen Deleted Scenes, featuring McCall’s Epilogue teasing The Equalizer 2
  • Six Featurettes:
    • “A Villain’s Psychosis”
    • “Boston: On Location”
    • “A Modern Hero”
    • “Joining Forces Again: Denzel Washington and Antoine Fuqua”
    • “Playing the Part: The Cast of The Equalizer”
    • “The Home Mart Advantage: The Action of The Equalizer”
  • Theatrical Trailers

BLU-RAY SPECIAL FEATURES:

  • Vengeance Mode with Denzel Washington & Antoine Fuqua
  • Six Featurettes:
    • “Denzel Washington: A Different Kind of Superhero”
    • “Equalizer Vision: Antoine Fuqua”
    • “Inside The Equalizer”
    • “One Man Army: Training and Fighting”
    • “Home Mart: Taking Care of Business One Bolt at a Time”
    • Children of the Night
  • Photo Gallery

Dakota Johnson, Tilda Swinton And Chloë Grace Moretz Star In Brand New SUSPIRIA Trailer

Watch the teaser trailer for SUSPIRIA, with a score composed by legendary singer/songwriter Thom Yorke (Radiohead).

Directed by Luca Guadagnino and written by David Kajganich, SUSPIRIA stars Dakota Johnson, Tilda Swinton, Mia Goth, Lutz Ebersdorf, Jessica Harper and Chloë Grace Moretz.

A darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe’s artistic director (Swinton), an ambitious young dancer (Johnson), and a grieving psychotherapist (Ebersdorf). Some will succumb to the nightmare. Others will finally wake up.

The 1977 version was nominated for two Saturn Awards: Best Supporting Actress for Bennett in 1978, and Best DVD Classic Film Release in 2002. It has become a cult classic, and is recognized as an influential film in the horror genre.  The Italian supernatural horror film was directed by Dario Argento, co-written by Argento and Daria Nicolodi, and was partially based on Thomas De Quincey’s 1845 essay Suspiria de Profundis (Sighs from the Depths)..

Amazon Studios will release SUSPIRIA in theaters November 2, 2018.

Dakota Johnson stars in SUSPIRIA  Photo: Sandro Kopp/Amazon Studios

The SUSPIRIA Remake Opens This Fall – Here’s Some Teaser Art from CinemaCon 2018!


Open your mind and stretch your imagination! SUSPIRIA is coming to theaters this fall.

SUSPIRIA stars Tilda Swinton, Dakota Johnson, Chloe Grace Moretz, Mia Goth and Jessica Harper and is directed by Luca Guadagnino.


“The distributor of SUSPIRIA came to CinemaCon in Las Vegas to draw a neat contrast with rival Netflix by reiterating its commitment to the theatrical experience. The noontime presentation of its upcoming film slate unfolded in a cavernous dining room where cinema owners and studio executives enjoyed a repast of quinoa salad and white chocolate tarts. Hopefully they ate light.


As attendees picked at their food, Italian director Luca Guadagnino debuted grisly footage from his upcoming remake of Dario Argento’s SUSPIRIA that had large chunks of the crowd looking away in horror. The scene finds Dakota Johnson practicing ballet at a creepy dance company.

Every pirouette she pulls off has gruesome consequences for a dancer in another studio — as Johnson practices, the other young woman is literally ripped apart, descending into a mess of broken bones, urine, spittle, and blood. It’s intense, to put it mildly.”

Read the rest at Variety HERE

Here’s the teaser poster:


Look for more SUSPIRIA coverage in the coming months at We Are Movie Geeks

 

Josh Gad To Play Truman Capote In PARTY OF THE CENTURY

(Photo by Alberto E. Rodriguez/Getty Images)

Bankside Films announced today Jack O’Connell, Chloe Grace Moretz and Josh Gad will star in Academy Award nominated writer /directors Robert Pulcini and Shari Springer Berman’s Party of the Century, a New York romance based around Truman Capote’s infamous Black and White Ball.

Gad will portray Capote.

Tim Perell will produce the film through his shingle Process Media. Bankside Films will exclusively handle foreign sales, with CAA and Bankside Films co-representing North American rights. Hilary Davis, Stephen Kelliher and Patrick Howson will executive produce for Bankside Films. Head Gear Films will provide production financing with Phil Hunt and Compton Ross acting as executive producers. Party of the Century will shoot later this year in New York City.

Robert Pulcini and Shari Springer Berman commented, “Our film is a delicate balance of worlds converging at a pivotal moment in time. Jack, Chloe and Josh are brilliant performers who can embody these worlds while bringing the electricity and pathos required to make the story fly.”

Stephen Kelliher of Bankside Films added “We could not be more excited to be working with Bob and Shari whose work we have long held in such high regard. They have attracted a truly outstanding cast and we have no doubt that Jack, Chloe and Josh will bring this captivating love story to the screen with a tenderness and joy which will satisfy audiences around the world.”

Inspired by an apocryphal tale, Party of the Century is an unexpected love story between Pete (O’Connell), a working-class elevator operator, and Fawn (Moretz), a beautiful Hollywood ingénue, both of whom score coveted invites to the most legendary party of all time, Truman Capote’s Black and White Ball.

Best known for his breakthrough performance in Angelina Jolie’s Unbroken, in 2016 Jack O’Connell co-starred in Jodie Foster’s financial thriller Money Monster alongside George Clooney and Julia Roberts. Other film credits include the critically acclaimed Starred Up and ’71. He will next be seen in Netflix TV series Godless from Steven Soderbergh and Scott Frank, TWC’s Tulip Fever and this summer returns to the stage in a production of Cat on a Hot Tin Roofwith Sienna Miller. O’Connell is represented by CAA, Conway van Gelder Grant and Sloane Offer Weber & Dern.

Chloe Grace Moretz gained a tremendous following for her role in the Kick-Ass series and went on to garner acclaim for performances in Hugo andClouds of Sils Maria among other films. She will next be seen in Suspiriawith Dakota Johnson and Tilda Swinton and The Miseducation of Cameron Post with Quinn Shephard and Jennifer Ehle. Moretz is represented by WME and T Squared Entertainment.

One of Hollywood’s most sought after actors, Josh Gad recently turned in unforgettable performances as “LeFou” in Beauty and the Beast and “Olaf” in Frozen. This Fall, Gad can be seen starring in Open Road’s Marshall as “Sam Friedman” and in the Fox film Murder on the Orient Express. Gad is represented by WME, Lighthouse Management & Media and P.J. Shapiro

Robert Pulcini and Shari Springer Berman are an Oscar-nominated and Emmy-winning filmmaking team. Their debut feature, American Splendor, garnered numerous awards including an Academy Award Nomination for Best Adapted Screenplay, a FIPRESCI Prize at Cannes, the Sundance Grand Jury Prize and Best Film of the Year – National Society of Film Critics. Their Emmy Award Winning/Golden Globe nominated HBO film Cinema Verite starred Diane Lane, James Gandolfini and Tim Robbins and was praised by THE NEW YORKER as “A feast of performance” and “thoroughly cinematic.” Other films include The Extra Man starring Kevin Kline and Paul Dano, The Nanny Diaries with Scarlett Johansson, Laura Linney and Chris Evans and Ten Thousand Saints with Ethan Hawke, Hailee Steinfeld and Asa Butterfield.