With everything going on sometimes you forget some of the films that were supposed to be released this year and now we have word that with all optimism Escape Room 2 has been pushed back all the way to December.
Returning to the directors chair is Adam Robitel. Isabelle Fuhrman, Holland Roden, Indya Moore, Thomas Cocquerel, and Carlito Olivero will be staring in the sequel to the surprise box office hit and even more surprising decent movie.
Fantasia International Film Festival will join what SXSW has done and go virtual. In a statement Fantasia International Film Festival has said the following:
Given the continuing uncertainty related to physical cinema spaces and large gatherings which will likely continue through the remainder of the calendar year due to the ongoing COVID-19 pandemic, Montreal’s Fantasia International Film Festival has announced their decision to mount its highly-anticipated 2020 edition as a cutting edge virtual fest in August.
To deliver this, the acclaimed genre film event will be working with Festival Scope and Shift72 via their newly-launched online festival platform, most recently utilized for CPH:DOX and Visions du réel’s celebrated virtual editions. This platform offers studio-grade DRM and will be MPAA compliant, operating according to Motion Picture Association of America security standards.
However, some of us outside of Canada won’t be able to attend even with a VPN.
All film screenings will be geo-blocked to Canadian audiences and only accessible from within the country, vastly expanding the number of viewers Fantasia can engage with outside of Quebec.
Fantasia’s virtual edition will take place August 20 through September 2, 2020 while the Frontières Co-Production Market, which typically runs in conjunction with the festival, will take place from July 23rd through 26th. The first wave of Fantasia titles will be revealed in late May.
What do you think of it going online? If you in Canada and usually don’t go to it will this spark your interest in the festival?
Kevin James in a thriller? According to some news, we got today that will be the case for the new film called ”Becky”. Joel McHale(Community and The Soup) and Lulu Wilson will join Kevin James.
Written by Nick Morris (The Evil Eye), Ruckus Skye and Lane Skye (The Devil to Pray, Rattle the Cage) and directed by Cary Murnion and Jonathan Milott (Cooties, Bushwick), BECKY stars Lulu Wilson (Annabelle: Creation), Kevin James (Paul Blart: Mall Cop, Hitch, “The Kings of Queens”), Amanda Brugel (Hulu’s “The Handmaid’s Tale”), Robert Maillet (Sherlock Holmes) and Joel McHale (“Community”). The film is produced by Jordan Beckerman, Jordan Yale Levine, and Russ Posternak from Yale Productions and J.D. Lifshitz and Raphael Margules from Boulderlight Pictures.
The cast aside from Lulu Wilson is mostly known for their comedic work, even though Joel McHale delivered a terrific performance in Deliver Us From Evil with Eric Bana.
In the film, spunky and rebellious Becky (Wilson) is brought to a weekend getaway at a lake house by her father Jeff (McHale) in an effort to try to reconnect. The trip immediately takes a turn for the worse when a group of convicts on the run, led by the merciless Dominick (James), suddenly invade the lake house.
The writer of Halloween Kills promises a bigger, badder and bolder sequel… In all honesty, what is he supposed to say in this situation? It’s not like they’re going to tell us if they messed up on the story. I personally enjoyed Halloween more on a second watch lowering my expectations.
Luckily for us, production was completed last year before the covid-19 pandemic took over Hollywood and the World. The co-writer Scott Teems talked with Movieweb about the sequel.
”I really can’t say anything about it, but I am really excited about it. I saw a rough cut of it a few weeks ago, and I’m a little biased, but my gut says that people that like the last one will be very excited about this one. It’s like the first one on steroids, I guess. It really is the bigger, worse, meaner version of the first one.”
Jamie Lee Curtis has also previously teased Halloween Kills will be about the trauma left from the original John Carpenter film.
”What I love that David and Danny and company did is they connected the dots for forty years, now they’re going back to really unpack the first movie, bringing back all those characters whose lives were affected by what happened in 1978… And then the last movie is the sort of cultural phenomenon of violence, that’s what the third movie ultimately is, a very powerful examination of violence.”
The highly anticipated sequel to Venom released a title announcement video announcing the official title. Venom 2: Let There Be Carnage. Will be the official title to the highly successful Venom. Tom Hardy and Woody Harrelson are both reprising their roles of Venom and Carnage respectively.
Though Venom met audiences with mixed reactions, I personally enjoyed though I didn’t love it. The sequel definitely has room to improve it will be something to see Woody going against Tom Hardy in this sequel, and will Tom Holland be making a cameo as Spider-Man? We will find out when Venom 2: Let There Be Carnage comes out.
Sometimes, a small movie will blow you away with the amount of effort put into the production and sweep you off your feet. This year that movie is Sea Fever. Some will see it as a poor mans Underwater and sure while they share similar plots and influences. Though the director of Sea Fever told me she has never read H.P. Lovecraft the elements are there in Sea Fever and it makes it one hell of a treat for horror fans and science fiction fans alike.
The scenery is so well captured here the film is a marvel to look at. The performances by the actors are all knockouts. In a year where a pandemic, unfortunately, has things shut down this would be a movie to see with a big screen and a huge crowd. The tension is so thick you can cut with a knife.
The direction is also a stunner to admire how tight everything moves from the opening frame to the final climax. It’s a perfect creature for the year that stands toe to toe with Underwater.
French actor Philippe Nahon, best known for High Tension past away. Nahon was born on Christmas Eve back in 1938. He was best known for his roles in French horror and thriller films, including I Stand Alone, Humains, Calvaire, and The Pack.
He got his start in the 1962 French film Le Doulos and was often featured in theater plays as well as being in films.
The past week we got to speak to Marc Meyers the director of the indie smash My Friend Dahmer and the new horror comedy We Summon The Darkness
AJ: Hey, Marc. You have Aaron from Infamous Horrors?
Marc: Hi. Good. Nice to meet you, Aaron.
AJ: Nice to meet you, too, Marc. So you did such a fantastic job with My Friend Dahmer. How was it like going from an indie film like that to working with an A-list ensemble cast?
Marc: It’s the same. I had a great time working with this cast in the same way that I had a great time working with the cast of My Friend Dahmer. I mean, as long as actors are genuine, want to come to work every day, are ready to have a good time, come with a head full of their own ideas, then you know we’re ready to play. And that was totally the case here as well. [inaudible 00:00:57] just such a professional, a great leader for the actors on set. I think together we set a really nice tone, and we all just were fully committed to making this movie. It never occurred to me that this cast, in any way, was any different than any other cast prior. It’s just that these actors felt like the right actors for these roles.
AJ: Right. And especially having Johnny Knoxville in that cameo. How was it like having him on set doing that part?
Marc: Johnny Knoxville was the best, and that’s no surprise. I mean, he’s originally an actor, he cares about his work. He came, and we had a lot of scenes to film with him in the limited amount of time that he was with us, and we just rocked it. He was prepared, he was the guy. You know, we were just ready to roll. He’s also just a sweet gentlemen and very courteous and concerned for all the other actors and was probably more concerned than any other actor about the safety of things we might be doing, even though we weren’t doing too many things with him, he definitely was always making sure that the actors around him were also feeling comfortable with some of the action that they were involved in around him.
AJ: So did you give anything feedback on the script after you first read it, or were you all in as soon as you were done reading the script?
Marc: I was all in on the script when I first read it as a concept, but then as time goes on, you have time to start to refine it and make it more something that’s a reflection of how I wanted to tell the story. And then it takes a little bit of time to sort of get into that in detail. And there were various rounds that the writer and I spent together, working it out to sort of make it more in the way that I wanted to sort of handle these characters and just sort of distilling down some of the scenes to make them happen a little bit faster, to sort of play around with building up some of the tension, taking out some of the sort of myths that I didn’t think the script needed, at least through my approach, and maybe whittling out one or two extraneous fight sequences that I felt like, at a certain point, we didn’t need any more than the movie already had.
I think there was always … I was constantly working on it. And then once you have actors involved, you start to look at it through their eyes, too.
Marc: But that’s just the natural process though.
AJ: I like how you brought that up because I just finished Too Old To Die Young, the Amazon TV show, and there was a lot of stuff that easily could have been taken out of it because each episode was about 90 minutes to 85 minutes long, and it really felt like a 10 episode-long movie. So was there anything extra you wanted to add to the story but couldn’t, due to the budget?
Marc: I don’t really remember. I felt like that it was more that there were things I wanted to sort of just take out, than things I couldn’t get to. The story is very linear, right?
Marc: It’s very much like once it starts, and it kicks into gear, and then certain things just occur, it’s just shifting to another gear, and you just got to sort of just keep moving quickly through all the different quick events. And I just didn’t want to over … As a filmmaker,, you don’t want the movie to overstay its welcome, and I think it’s the right length, and I was able to accentuate things I knew would be fun.
I mean, there’s a couple shots that I didn’t anticipate, but I realized, while I was filming, that would be fun additions to that film, like that shot near the end of the driveway that shows the path. I don’t want to really give away what it is, but that’s something that once you’re deeper in filming, that was an idea that came to me that I made sure that the next day we filmed just to give it more visual color.
AJ: Do you remember much from the Satanic Panic that was actually happening around the 70s and the 80s? Because after the whole summer of 69 with the Manson family, it seemed to sky rocket, and it was on pretty much everybody’s mind around the 70s and 80s, and there was even like … I don’t know if you remember, there would be some PTA, like info commercial, which was parents trying to tell other parents what signs of satanic behavior with your children would be like.
Marc: I remember it very vividly. I was in high school at the time that heavy metal was at it’s Satanic Panic heyday, per se, in the early 90s, and I remember the sort of created fear that that was the devil’s music, and that was part of the charm I found in the original screenplay; was to be able to look at that moment in time in such a specific way that it was a backdrop to this really fun story was one of the original reasons of why I wanted to do this film. Because it was a way to return to this crazy moment in, I guess you could say, pop culture.
AJ: Right. So was it difficult to execute the mix of comedy and horror? Because if you don’t do it properly, it kind of turns off a lot of the audience because if you do too much of one thing, it kind of … Audience members are like, “Well, I wish it had a little bit more horror to it than all of that comedy leading up to it.”
Marc: Yes. I mean that’s the fun of making this film, is finding that balancing act between the sort of eeriness, the suspense, the sort of genre horror elements, and creating some real, genuine, authentic characters who allow for you to also laugh with them because you believe in what they’re doing. So for me, to find the humor that felt real to the moment. I’m not asking for a laugh, but really it’s funny because we all are a mix of emotions. We all can laugh adjacent to crying. I mean, you go to a funeral, and people are both hugging and sad and trying to cheer each other up, and that’s the balancing act. To me, that was the true challenge and the fun of making this movie.
AJ: Right. And one final question for you. What were some of your favorite horror movies growing up?
Marc: The horror movies I remember that I grew up with, I mean, I think I’ll always reference the one that stays with me the most, that I discovered when I was young, was clearly The Shining.
Marc: I think it’s because, personally, there are people that really, really love horror in the same way that people really love metal music, right? It’s like they’re loyal, and they want to take all of that in. For me, I love to sample all kinds of films and all kinds of music, but there’s certain genre films that I think transcend to people that aren’t even just loyalists to only that genre. And for me, a movie like The Shining is something that anybody and everybody should see. And there’s a huge long list of movies like that, but that clearly is the most memorable
AJ: And such a perfect movie to bring up during the quarantine, too, is The Shining.
Marc: Yeah, because we’re all about to lose our shit.
AJ: All right, Marc. Thank you so much for joining me today.
Marc: Thank you.
AJ: Have a good day, Marc.
Marc: Have a good one. You, too. Have a great day.