An all-new trailer and poster for “Avengers: Doomsday,” Marvel Studios’ highly anticipated December 18 theatrical release, is here. Holy Moly – it’s a doozy!
Tickets to see the upcoming film in INFINITY VISION – a new certification for Premium Large Format (PLF) theaters, guaranteeing moviegoers an exceptional film presentation with big screens, bright images and outstanding sound – go on sale today.
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There is another epic surprise in store when users buy tickets to see Avengers: Doomsday in Infinity Vision on Fandango. Look out for the Avengers: Doomsday custom seat map when selecting seats!
Marvel Studios’ “Avengers: Doomsday” is directed by Anthony and Joe Russo; produced by Kevin Feige, Louis D’Esposito and Jonathan Schwartz; and stars Robert Downey Jr., Chris Evans, Chris Hemsworth, Pedro Pascal, Paul Rudd, Anthony Mackie, Florence Pugh, Vanessa Kirby, Ebon Moss-Bachrach, Wyatt Russell, Channing Tatum, Simu Liu, Ian McKellen, Tom Hiddleston, James Marsden, Patrick Stewart, Joseph Quinn, Sebastian Stan, David Harbour, Letitia Wright, Lewis Pullman, Kelsey Grammer, Kathryn Newton, Danny Ramirez, Winston Duke, Alan Cumming, Hannah John-Kamen, Rebecca Romijn, Mabel Cadena, with Tenoch Huerta Mejia.
In “Avengers: Doomsday,” beloved heroes from three distinct universes will be set on a deadly collision course and face an existential threat unlike anything they’ve ever encountered.
“Avengers: Doomsday” releases exclusively in theaters December 18, 2026.
Amanda Siegfried gives a powerful and fearless performance in this drama based on the true story of Ann Lee, the founder of Shaker religious community in 1774 Colonial America. Director/co-writer Mona Fastvold’s historical drama THE TESTAMENT OF ANN LEE depicts both the life and legend of Ann Lee, the leading light of this religious movement in Britain and then the New World, a faith community known now mostly it’s creation of beautiful practical objects and its lovely hymns, but which also preached gender and social class equality, worshiped through dance and song, and embraced a celibate communal life.
Director Mona Fastvold was inspired to make this historical drama after hearing Shaker songs, and the film is a musical of sorts, with music inspired by Shaker hymns and choreography that recalls the Shakers’ wild religiously ecstatic, whole-body movement way of worship. The musical scenes are striking and integrated logically into the film as moments of worship, using traditional Shaker hymns for choreography by Celia Rowlson-Hall (Vox Lux) that re-imagines the rapturous movements of Shakers rather than strictly recreating them.
Director/co-writer Mona Fastvold and her film-making partner Brady Corbet are the creative team who made THE TESTAMENT OF ANN LEE, but they were also the creative pair behind last year’s THE BRUTALIST. While the architect character in that film was fictional, Ann Lee was a real person, a historical figure that Fastvold felt deserved more attention, a rare woman religious leader in the late 1700s who rose to head a religious following in England, and then established the religious community in America, just as the country was being born. Like the pair’s previous film, THE TESTAMENT OF ANN LEE features outstanding cinematography, great acting, and a moving story.
Fastvold leans into the myth and legend of Ann Lee rather than focusing only on facts, although the film is basically historically accurate, apart from a little time shifting for dramatic purposes.
However, it must be said that it is very helpful to already know something about the Shakers beyond that they made beautiful, elegant furniture and wrote a lovely hymn, “Simple Gifts,” that composer Aaron Copeland used in “Appalachian Spring.” The film is light on exposition, despite having a narrator, and really does not give much information on the Shakers until some title cards at the film’s end. Yes, it can be considered a flaw that the film assumes you know more about the Shakers, but a little advance research does enhance the viewing of this ambitious and worthwhile biographical film.
This true story is dramatic, but Amanda Siegfried gives a strikingly raw, no-holds-barred performance as this female religious leader, something very rare then. All this takes place during an era of new utopian religious communities, many of which were drawn to rural Colonial America. People who didn’t fit in to European societies were often drawn to these new faiths.
Thomasin McKenzie narrates, a bit in the style of a myth, the sometimes raw, unblinking, emotional biographical drama. It tells Ann Lee’s story in three parts, beginning with her impoverished childhood in grimy, rough Manchester. The film takes us through Ann Lee’s introduction to and then ascendancy in the British Quaker offshoot then known as the Shaking Quakers, and then to her founding of the Shaker community in Colonial America.
Ann was the second oldest of eight children. With their mother dead, their blacksmith father struggles to make a living, even with a second job as a tailor. Ann and the older children are expected to help out and earn extra cash with little tasks where they can. There is no money for education. Even as a child, Ann is deeply religious, and very close to her younger brother William, and offended and appalled by the sinfulness she see all around her in gritty Manchester.
In the film’s second part, Ann (Amanda Seyfried), now grown, is looking for something more life-changing than the Quaker faith of her family. Hearing about a new branch of the Quakers, called the “Shaking Quakers,” who embrace worshiping through shaking dance and chanting and have more radical beliefs about equality, she and her brother William (Lewis Pullman) seek them out. There they find a spiritual home, and new ideas. Ann also meets the man who became her husband Abraham Standerin (Christopher Abbott). With her fervent belief and charismatic personality, Ann Lee, despite being illiterate, rises in the congregation to become its leader.
In the third part, Ann’s bold, and loud, public worship makes her a target of British authorities, which lands her in jail and an asylum. The persecution ultimately leads her to decide, 1774, to move to Colonial America, along with a group of followers, to establish a utopian Shaker community in rural New York. Meanwhile, after losing all four of her children in birth or shortly after, Ann at the same time concludes that God is telling her that sex is the Original Sin, which leads her proclaim that and tell her followers that renouncing it is the only path to salvation.
This third portion of the film focuses on Ann after this point and as she establishes their utopian Shaker community in pre-Revolutionary, and then Revolutionary, America.
One of the most striking aspects of this film is Amanda Seyfried’s wild, fierce, fearless performance. Be warned that some scenes are unblinkingly, harshly realistic or even, with the birth scenes, bordering on graphic. Another striking aspect are the highly-choreographed singing and dancing sequences. They represent the Shaker’s form of worship, but are certainly not an authentic depiction, although they are beautiful and moving. Yet another aspect to note is the filmmaker’s embrace of myth and tales of Ann Lee almost on an equal footing with the known facts about her, although it mostly follows those.
Still, this is a remarkable film, notable for its visual beauty, remarkable cinematography and powerful performances, making it a film worthy of your time as it throws a spotlight on this too-little known female leader of a religious movement.
THE TESTMENT OF ANN LEE opens in theaters on Friday, Jan. 23, 2026.
May has finally arrived which means it’s time for those flowers to start popping up, after those torrential April showers. Well, that’s what most folks think of this month, but for movie fans, it heralds the start of the Summer cinema season. And as with most Mays since 2008, the first big flick out at the multiplex is from Marvel Studios. Now they did have a film open just about three months ago, but it was really an appetizer for a big sprawling “multi-hero” epic. Hold up, they’re not getting the “band back together” as in an assembling of Avengers. And the really major team, the “first family,” is still a couple of months away. So, rather than the “A team,” this is more of the “B team”, or for you baseball fans, the minor league “farm” squad. We have seen them all before, and a couple of the characters are true “scene stealers”. So, can these “second-stringers” work together as the THUNDERBOLTS*? Hang on, true believers!
The story begins with one of those “supporting players”, Yelena Belova (Florence Pugh), who is finishing a mission in Malaysia, but just seems to be “going through the motions” (can a former Black Widow have an existential crisis). Afterward, back in the states, she pays a long-overdue visit to her papa Alexei (David Harbour), the former Red Guardian, who now drives a limo, but wants to be “back in the game” freelancing like Yelena. On her way out, she checks in with her employer and requests a more high-profile, “in front of the camera” gig. Her boss agrees to it after the completion of her next job. Turns out Yelena’s boss has a lot on her plate. We then go to Washington, DC, for the impeachment hearing of the CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus). Seems she’s also the “consultant” for a shadowy tech company OXE Group. A newly elected senator is also in the chamber, James “Bucky” Barnes (Sebastian Stan). After the hearing, Valentina instructs her assistant Mel (Geraldine Viswanthan) to make sure her forces converge on a defunct OXE lab site to destroy evidence of past shady experiments. And that’s where Yelena shows up, but she’s not the only one. Soon, the dusty research facility is a battle arena between her, US Agent AKA John Walker (Wyatt Russell), the first intended replacement for Captain America, the density-altering villainess Ghost (Hannah John-Kamen), who last fought the ANT MAN AND THE WASP. and another former Widow, the mimic assassin Taskmaster (Oleg Kurylenko). Oh, and there’s an unknown there, too. Scrambling in the shadows is the timid, confused young man who goes by “Bob” (Lewis Pullman). Finally, the quartet realizes that they’ve been “set up” by Valentina. So just how will Bucky AKA the Winter Soldier” come into play, along with the Red Guardian? And is there more to Bob than meets the eye? Perhaps these hopeless heroes will be destroyed before they can ever join forces against a common enemy. So who could that be?
So who’s the MVP of this ragtag bunch? I’d say that it’s the always compelling Ms. Pugh as the forlorn ball of energy, Yelina. She positively crackled when paired with her sister Natasha in the BLACK WIDOW solo flick (almost ditto with Kate Bishop in the Disney+ “Hawkeye” streaming show), but that fiery twinkle in her eyes has dulled. Pugh is fierce in the action scenes and funny and heartbreaking as she confronts her losses and her “sins of the past”. She also shows her nurturing side as the protector of Bob, played with a twitchy, mysterious edge by the terrific Pullman. He keeps us anxious as Bob keeps his secrets as we wait for his truth to be revealed. The big comedic scene stealer may again be Harbour as the loud, gregarious Red Guardian, a man trying to recapture all of his former glory, but falling very short as he almost explodes out of his worn-out, dingy uniform. Louis_Dreyfus is also funny as Valentina, which is no great shock, but she surprises us with her devious deceit and manipulations, giving us a very interesting villainess. Plus, she’s the “boss from Hell” with Viswanthan as the abused aide who finally sees Val’s true colors and tries to thwart her schemes. Many fans will be surprised that Stan’s Bucky isn’t really at the forefront of the story, as he uses his spy skills in DC and eventually gets back into super-warrior mode. More interesting is Russell as the bitter, arrogant, and abrasive US Agent, a man who thinks that leadership is a prize due to him alone. Luckily, John-Kamen is there to put him back on his heels with her scathing retorts and withering gaze.
Prestige TV director Jake Scheier (who also helmed the features PAPER TOWN and ROBOT & FRANK) keeps the multi-character adventure moving at a fairly brisk pace. He manages to balance the big action sequences with intimate emotional exchanges, bringing great depth to these “sideline supers”. Yes, we get the usual MCU carnage on the city streets, but the biggest battles are fought inside the minds of the core teammates. Childhood traumas are built up into a desperate showdown for NYC in the film’s surprisingly dramatic and sometimes touching tender finale. And just to set our heads spinning, screenwriters Eric Pearson and Joanna Caio stun us with some big “turnarounds” sprinkled with lots of keen media satires (love the end credit headline montage prior to the usual bonus scenes, which are pretty big). And it’s all enhanced by the music score from the band Son Lux. This wrap-up of MCU’s “Phase Five” is a tightly-woven dramedy that satisfies while getting us invested in the franchise’s future. It’s a super team tale that doesn’t match the scope of AVENGERS: ENDGAME, but provides an involving look at the psyche of these “upstarts”. And the superb cast led by Pugh and Pullman really brings an electric charge to these THUNDERBOLTS*. Nuff’ said (till July)!
3 out of 4
THUNDERBOLTS* is now playing in theatres everywhere
New Line’s film adaptation of Stephen King’s 1975 bestselling novel “Salem’s Lot” will debut on Max in 2024. SALEM’S LOT reunites the producing teams behind the record-breaking horror franchises “The Conjuring” universe and the “IT” films.
Gary Dauberman writes, directs, and executive produces with James Wan and Michael Clear for Atomic Monster and Roy Lee for Vertigo alongside Mark Wolper.
The official synopsis: Author Ben Mears returns to his childhood home of Jerusalem’s Lot in search of inspiration for his next book only to discover his hometown is being preyed upon by a bloodthirsty vampire.
SALEM’S LOT stars Lewis Pullman as Ben Mears, Alfre Woodard as Dr. Cody, Makenzie Leigh as Susan Norton, Bill Camp as Matthew Burke, Spencer Treat Clark as Mike Ryerson, Pilou Asbæk as Straker, and John Benjamin Hickey as Father Callahan.
Steven King praised the new film on X in February:
The two-part vampire miniseries, directed by Tobe Hooper, starred David Soul and James Mason and first aired on CBS in November 1979. It still sits at a Rotten Tomatoes score of 89%.
Enter to win 2 free passes to the St. Louis area advance screening of TOP GUN: MAVERICK, starring Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Lewis Pullman, Charles Parnell, Bashir Salahuddin, Monica Barbaro, Jay Ellis, Danny Ramirez, Greg Tarzan Davis with Ed Harris and Val Kilmer.
DATE AND TIME: May 23, 2022, Monday at 7:00pm
The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed.
After more than thirty years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell (Tom Cruise) is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. When he finds himself training a detachment of TOPGUN graduates for a specialized mission the likes of which no living pilot has ever seen, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign: “Rooster,” the son of Maverick’s late friend and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose.”
Facing an uncertain future and confronting the ghosts of his past, Maverick is drawn into a confrontation with his own deepest fears, culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it.
Directed by Joseph Kosinski and produced by Jerry Bruckheimer, Tom Cruise, Christopher McQuarrie, David Ellison.
Tom Cruise plays Capt. Pete “Maverick” Mitchell in Top Gun: Maverick from Paramount Pictures, Skydance and Jerry Bruckheimer Films.
The Romance PRESS PLAY opens in theaters, On Digital and Demand June 24th.
Here’s the trailer:
Lure-perfect romance built on the foundation of a shared love of music. After a deadly accident, Laura is given the chance to save the love of her life when she discovers that their mixtape can transport her back in time. Featuring a moving soundtrack with songs by Japanese Breakfast, Father John Misty, Dayglow and more, Press Play reminds you that love can always be replayed.
Press Play stars Clara Rugaard, Lewis Pullman, Lyrica Okano, Christina Chang with Matt Walsh and Danny Glover
Opening this weekend is a film about the members of a bizarre religious cult, who put themselves in dire danger, even risking death, at their services and meetings. What country is the home of such fanaticism, urging heavenly forces to protect them as they stare down doom. Most likely a faraway land, perhaps in an underdeveloped impoverished nation? Nope, this new film is set in the world of “serpent-handling” a religious rite that sprang up in this country, the U.S. of A in the last century, mainly in isolated rural communities. Most states have outlawed these rituals, but that doesn’t stop many congregations from gathering in secret locations to test their faith by scooping up rattlesnakes. So, is this film an investigative documentary, full of “hidden camera” footage? Actually, this is a family drama, focusing in on a forbidden love triangle. With hissing snakes. That weird world is the setting for THEM THAT FOLLOW.
Deep in an isolated village in the Appalachian mountains, we meet hard-working teenager Mara (Alice Englert), who runs the tiny house of her widowed papa Lemuel (Walton Goggins), the pastor of the local, secretive snake-handling church. One day Mara and her best pal Dilly (Kaitlyn Dever) hitch a ride into town, supposedly to get cleaning supplies at the general store run by one of the church elder, “Sister” Hope (Olivia Colman). But while Dilly distracts her, Mara swipes a “home pregnancy” kit. She’s promised to one of the young men that her father mentors, fervent “true believer’ Garret (Lewis Pullman). Unfortunately, she has stronger feelings for Hope’s agnostic son ‘Augie’ (Thomas Mann). And the test proves that the two have acted on those feelings. However, Mara continues with the engagement rituals with Garret, hoping that no one will learn of her secret. But what happens when she and her undercover lover are to have their faith “tested” by deadly venom-filled fangs?
A talented cast struggles to bring some urgency to this often muddled script. Lead actress (and relative film newcomer) Englert endeavors to bring out the conflicted nature of the passive Mara. We see her averting her eyes, trying to hide her “shame”, but Englert is able to express Mara’ inner torment (and passion) through her less repressed interactions with pal Dilly and lover (on the “way-down low”) Augie. Luckily Goggins brings some much-needed energy to the lethargic plot as a very believable charismatic (perhaps that’s the “sect”) Lemuel. But it’s in the quieter moments, at home staring at the wine bottle he wants to open when we see the character’s real turmoil. His spouse’s death has left a hole in his heart that no amount of study and sermonizing can fill. It’s a shame Goggins isn’t in a better flick. One of the big draws here is the first big-screen role for Colman since her surprising Oscar win a few months ago for THE FAVOURITE. But Hope is a dour character, admonishing the “young ‘uns” with the sourest expression. Ultimately that works when she exhibits a shocking compassion for the “unclean”, though later her devotion may prove very costly. In an offbeat bit of casting, comedian Jim Gaffigan is paired up with her as hubby Zeke (really, right outta’ “Snuffy Smith”), who has little to do till the gruesome final scenes (he’s the more affable “elder”). Dever, so enchanting this Summer as half of the BOOKSMART duo is regulated to supportive “sidekick” whose main function is to be a “sounding board” for Mara when she not providing alibis. As for Mara’s suitors, Pullman is so stiff and shy we secretly hope for the inevitable “breakout”, much like his BAD TIMES AT THE EL ROYALE “time bomb”. Mann, playing the only real voice of reason and logic, as Augie mainly dashes around in his pick up, until a “bombshell” makes his character do a most abrupt “180” to add an extra bit of much-needed suspense to the last act.
Written and directed by the team (really, it took two) of Britt Poulton and Dan Madison Savage, the film squanders what could be an engaging exploration of belief and faith. Everything looks authentic and lived in, especially Lemuel’s nearly falling apart cottage (maybe more of a shack), but very little of what happens in those settings is compelling. There’s scant passion in the love triangle, so we’re biding our time for the scaly co-stars to deliver on the promises of the marketing department (the trailer and posters have a 1980’s exotic Natassja Kinski vibe). Plus, little is made of the cult’s hiding from the law. Lem and Garret gasp when a state trooper vehicle pulls up from behind them, but the authorities seem to be turning a “blind eye” (though Garret “takes the rap” in one bit of exposition). The subject could have been thought provoking drama or slithery “grindhouse” thrills, but THEM THAT FOLLOW fails to really sink its teeth (fangs) into moviegoers. Hssss, indeed.
So what’s the ideal setting for a story filled with lowlifes and immoral and often illegal activities? You know, where dangerous dames and dudes can just appear, almost at random? Maybe a haunted house or creepy mansion just doesn’t ring true. Well, Hitch knew just the locale nearly fifty years ago. By 1960 the glamorous days of lavish, lush vacation spots were long in the past. And who could really afford a night or two at the GRAND HOTEL or HOLIDAY INN? But a dusty motel just off the road, why Alfred Hitchcock made it the perfect place murder and mayhem in 1960’s iconic PSYCHO. That dangerous destination has carried on through the decades, from the Overlook Hotel in THE SHINING, to FOUR ROOMS, and most recently HOTEL ARTEMIS (a haven/hospital for the criminal class). This week an all-stars cast checks in, but might not check out. And who is their host/concierge? Handing out the keys is the multi-talented Drew Goddard. TV fans have been enthralled by his writing/producing work on acclaimed series ranging from “Buffy the Vampire Slayer” and “Angel” to “Lost” and most recently “Daredevil” and “The Good Place”. As for the big screen, he was nominated for his screenplay adaptation of THE MARTIAN and co-wrote and directed the nifty, clever horror satire CABIN IN THE WOODS. Now, Mr. Goddard serves up deceit and dirty deeds, mixed in with the tiny soaps and fresh linens during some extremely BAD TIMES AT THE EL ROYALE.
In the story’s quiet, almost silent flashback sequence, one guest has a really bad time in a room at the El Royale, a hotel that is literally split down the middle by the border seperating California and Nevada. After the title, flash forward to the present day. Well, ten years later is actually the late 1960’s/early 70’s. . The once spectacular vacation mecca has seen much better days. Two guests enter the empty lobby. There’s singer Darlene Sweet (Cynthia Erivo), who wants to rest up in a cheaper place than those in Reno, the site of her next “gig”. The other person looking for lodging is Father Daniel Flynn (Jeff Bridges), who is, well, a priest looking for a place to crash. When he slaps a bell at the front desk, another man pops up from behind the bar. He’s not part of the staff, rather he’s vacum-cleaner sales rep Laramie Seymour Sullivan (Jon Hamm). He’s not been able to raise the clerk but warns the two that he’s got “dibs” on the honeymoon suite. Flynn spies a door marked “employees only” and pounds away, It opens to reveal a dazed, unnerved young man in his twenties, front desk clerk, and pretty much the staff, Miles (Lewis Pullman). As he divies up the keys, a car screeches to a halt near the entrance. It’s guest #4, the rough, coarse “hippy chick” Emily Summerspring (Dakota Johnson). As they gather their luggage, the black and white lobby TV flashes bits from President Nixon’s press conference interrupted by the latest on some bloody murders in the affluent hills of Malibu. Thus begins a long, long night filled with false identities, double crosses, and a raging thunderstorm that arrives moments before the enigmatic drifter Billy Lee (Chris Hemsworth) stides barefoot thorough the front door. No doubt the Royale’s AAA rating will never be the same.
The hotel staff and guests are played by some celebrated screen vets and a couple of relative (in one case) newcomers. As the story’s anchor, there’s the continually grizzled Bridges who tries to float above the sleaze as the calm and collected Father Flynn (perhaps a nod to his role in the cult TRON flicks). His friendly demeanor proves to be as phony as his paper collar, as we notice his eyes dart about the lobby, searching for…something. Now Bridges’s low-watt energy is a stark contrast to the motor-mouthed Hamm, who seems to be attired in own of Don Draper’s more garish West Coast casual sports jackets (hmm, Tron now “Mad Men”). His “go-go” hard-pitching salesman strains to be avuncular while cluelessly offending most everyone in his path. But Hamm’s at his best when he lifts the facade and shows us a man in conflict, torn between his mission and doing what’s right. More single-minded and direct, Johnson shows us that she can be much more interesting than her 50 SHADES damsel in distress (and duress) as the tough-as-nails, chain-smoking femme fatale Emily. She brings the sultry and sexy along with (literal) movie god Hemsworth whose blow-dried charisma, and silky smoothness obscure his true sinister nature. As for the new faces, Ervio is a compelling screen presence as the songbird (really, she’s got terrific “pipes”), who refuses to give in to despair, despite the “guidance” of showbiz gurus. Ms. Sweet has nearly soured, but she remains a smart survivor. Speaking of surviving, Pullman (yes, he’s Bill’s son) is the man in the back who appears to be barely hanging on. Sweaty, twitchy Miles seems to be a prisoner of the place, rather than the employee. Pullman plays the battle-scarred (in more ways than one) man barely past his teens, with lots of energy and grit. Oh, and there’s good supporting work from Cailee Spaeny as a young innocent (?) caught up in the chaos, and indie filmmaker Xavier Dolan as a maniacal music mentor.
Goddard’s dreamed up a terrific setting with that broad, dividing borderline, contrasting the rotting Vegas kitch of this former celeb “sin circus”. Kudos to his art directors, for that and the whole panorama of early 70’s cheese (especially the cars that have clocked many, many miles). And the mysterious quartet are most interesting, especially as they introduce themselves in that first act almost in a much harder, seedier version of CLUE. Then it all kind of “goes off the rails” into Tarantino-like homage (or is it just imitation or over-indulgence). We’re teased with a subplot right out of real-life LA legend, amid bursts of violence meant to shock, but with cartoon consequences (folks pop-up from injuries that should keep them in traction for weeks). And rather than using pop tunes from dusty 45’s, Goddard stops the action for long song medleys by Ervio (she bursts into song nearly as much as Lady Gaga in her current flick), perhaps to cut the tension with humor? In the tradition of Marion Crane one guest checks out far too early, packing up a lot of the story’s high-spirited fun. By the time of Billy Lee’s arrival, the influences shift from QT (the whole stranded in the lobby set-up of THE HATEFUL EIGHT) to the Coen Brothers, as one character lifts the whole “gambling for your life” casual sadism of NO COUNTRY FOR OLD MEN’s Chigurh. And like the old Corman/Price/Poe flicks there’s the cleansing fire unfortunately followed by an epilogue that thumbs its nose at a major plot point (what diagnosis?). What could have been a naughty nostalgic lark degenerates into a goulash of gore and cruelty, a PULP FICTION romp that’s lost its flavor. What began as light-hearted lobby levity truly becomes mean-spirited making for some really BAD TIMES AT THE EL ROYALE.
From Aviron Pictures, here’s a first look at THE STRANGERS: PREY AT NIGHT.
A family’s road trip takes a dangerous turn when they arrive at a secluded mobile home park to stay with some relatives and find it mysteriously deserted. Under the cover of darkness, three masked psychopaths pay them a visit to test the family’s every limit as they struggle to survive.
Johannes Roberts directs this horror film inspired by the 2008 smash hit THE STRANGERS, starring Christina Hendricks, Martin Henderson, Bailee Madison and Lewis Pullman.
Check out the highly anticipated trailer now.
THE STRANGERS: PREY AT NIGHT opens in theaters nationwide MARCH 9, 2018.
