1-20 of 247 items from 2014 « Prev | Next »
V/H/S brought us stories from Ti West, Adam Wingard, Glen McQuaid, and Joe Swanberg, among others. V/H/S 2 gave us far superior films from Gareth Evans and Timo Tjahjanto, Gregg Hale and Eduardo Sanchez, Jason Eisener, Simon Barrett, and Adam Wingard (again). For the third entry of the franchise, V/H/S Viral delivers another mixed bag, with entries from Justin Benson and Aaron Moorehead, Marcel Sarmiento, Nacho Vigalondo, Gregg Bishop, and Todd Lincoln, whose segment "Gorgeous Vortex" was cut from the film for mysterious reasons. The series' most challenging aspect remains its wrap-around segments, which serve to loosely link the stories together. For an anthology, one would assume that these would be among the strongest in the film; sadly, that's not the case. "Vicious Circles" features...
[Read the whole post on twitchfilm.com...]
'V/H/S: Viral' arrives in theatres tomorrow for those who've not yet caught it on VOD and hot on its heels is this latest alternative look poster for the anthology threequel. It's been kicking around On Demand for a little while now and this new poster arrives based around the Marcel Sarmiento helmed wrap-around segment entitled 'Vicious Circles'. It comes courtesy of Magnet Releasing who'll be unleashing the third installment in the franchise into Us theatres this Friday. Filmmakers Todd Lincoln ('The Apparition'), Nacho Vigalondo ('Open Windows'), Gregg Bishop ('The Other Side'), Justin Benson and Aaron Moorhead ('Resolution') are also on board with their efforts. »
Headcleaner: VHS Series Gets Third Installment Blues
Perhaps after this third installment this franchise can enter the same void for the format which it’s named, as this is by far the least thematically inventive anthology of the trio. A quintet of five up and coming horror directors spackle this latest omnibus, once loosely geared to tickle our nostalgic fancy for the retired home video format from an era where gritty and scary films used to be more prolific.
Interweaving between its three sordid tales is the wraparound segment, “Vicious Circles,” from director Marcel Sarmiento, better known as the helmer of “D is for Dog” from the first The ABCs of Death film and his feature, Deadgirl. Beginning with a tense teenage couple, whereby the young male filmmaker stumbles upon a high speed Los Angeles chase and uses the opportunity to snag some YouTube footage that will make him famous, »
- Nicholas Bell
When people watch V/H/S: Viral, there will undoubtably be some who question the short runtime, while there will be others scoffing at the Go-Pro cameras, iPhone videos, and other technologically advanced recorders that have nothing to do with VHS tapes, which is understandable. To provide a little backstory, Todd Lincoln (The Apparition) was supposed to have a segment in this third installment, but either the short was subsequently cut after a few test screenings or he submitted an unfinished product – whoever you choose to listen to – which doesn’t surprise me in the lest after sitting through The Apparition. And to the haters who will never silence their gripes about authenticity and VHS quality, throwing their hands in the air at the first signs of crisp quality and crystal-clear focusing? Eh, we’ll never stop the haters from hating, and it’s their loss because V/H/S: »
- Matt Donato
Winning Best Director and Best Film at the 2014 ScreamFest Film Festival, Alejandro Hidalgo’s directorial debut The House at the End of Time will continue to enjoy the distinction of being one of the only Venezuelan horror films currently in existence. Mixing haunted house spooks with sci-fi concepts, Hidalgo’s feature is reminiscent of Nacho Vigalondo’s Timecrimes, but rather than attempting to logically engage with its time warping tactics, the film largely ignores these for supernatural discourse. A bit too rough around the edges in too many regards to attract attention beyond being something of a novelty, Hidalgo shows promise with the level of ambience and laudable look of the film.
Awakening in a daze, a deep gash in her face, Dulce (Roddy Rodriguez) finds her husband murdered and her elder son disappear before her very eyes into the bowels of her home. Accused of the crime, Dulce is sentenced to the maximum penalty. »
- Nicholas Bell
Some things don’t change. Graced by Viggo Mortensen and Paul Schrader, the International Competition jury prexy, Argentina’s 29th Mar del Plata Festival will bow Nov. 22 with Abel Ferrara’s “Pasolini.”
Its choice as Mar del Plata’s opening night movie is pretty well a declaration of principles that Latin America’s only “A” grade festival will go on through thick and thin – and, with only 29 editions in 60 years, there’s been much of both – to forefront latest titles from and here even about heavyweight auteurs.
That is not necessary If Variety’s reviewers are to go by, 2014 in general has caught some of the great auteurs in world cinema at the top of their game. If Cannes Festival sales had any narrative this year, it was how fast its big art film winners sold – think “Leviathan,” “Winter Sleep” – compared to bigger budget U.S. indie projects.
Adding cache »
- John Hopewell
Hitting like a juggernaut of supernatural horror, the Venezuelan Alejandro Hidalgo’s beautiful and haunting film, The House At The End Of Time (or La Casa Del Fin Los Tiempos) falls to the ground and begins to take off from the very first frame, putting viewers right in the middle of one hell of an opening.Opening right in the middle of a man having been stabbed to death, and Dulce, a young mother wondering who stabbed her husband and where he son is, the film is absolutely perfect when it comes to putting a whole lotta questions on the table and answering them all in 101 amazing minutes. When Dulce finds her son after discovering her husband dead, an unseen force pulls him into the darkness and Dulce is soon arrested for double murder and imprisoned for 30 years. Opening a film with as much as it does might serve as »
- Jerry Smith
A disgusting tale that imagines its tiny side dish of commentary on toxic fandom and male entitlement makes up for it being a perfect example of such. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
It’s like Rear Window, except instead of taking place out the window of an apartment overlooking a busy residential courtyard, it’s all unfolding in the multiple windows open on a laptop. And instead of a journalist and war correspondent laid up with a broken leg, Elijah Wood (Grand Piano) is a nerdy fanboy obsessed with actress Jill Goddard (Sasha Grey); he runs a fan site called JillGoddardCaught.com (he probably doesn’t see anything creepy in that). But it’s not like Wood’s Nick Chambers is stuck in one little room — that could have been potentially interesting; he could »
- MaryAnn Johanson
Peeping Tom: Vigalondo’s Virtual Voyeurism Thriller Too Wrapped Up in Tech
In the barest possible sense, Nacho Vigalondo’s latest film, Open Windows, can perhaps be described as Hitchcockian due to the fact that it concerns a voyeuristic male utilizing an opportunity to secretly observe a beautiful female a la a modernized Rear Window sort of set-up. Whether homage or coincidence, parallels with Hitchcock die out past Vigalondo’s log line and instead the film becomes yet another vehicle for an Elijah Wood protagonist to be manipulated in highly unlikely and increasingly silly fashion. Though Vigalondo has a rather inspired visual template for the unfolding of the narrative, much like the earlier release of technologically inspired Dutch film App, it’s a design that will only serve to hopelessly date the film which relays its tale via webcams in rudimentary form, making it also reminiscent of that multiple simultaneous perspective Mike Figgis film, »
- Nicholas Bell
Early on in Open Windows, Spanish filmmaker Nacho Vigalondo invites easy comparisons to Alfred Hitchcock's Rear Window, but then, pardon the expression, he throws them out the window. What begins as an homage quickly morphs into a thriller with its own unique, wildly enjoyable, and altogether satisfying identity. The creatures who inhabit this cheeky cyber-sphere are the usual suspects found in techno-thrillers. Nick Chambers (Elijah Wood) is the perfect patsy, an innocent citizen caught up in events that spiral out of control in a heartbeat. Jill Goddard (Sasha Grey) is the 21st-century version of Grace Kelley, a glamorous actress with an exploitable personal life. She is also easily-positioned as Nick's imaginary girlfriend, though he would never dare to say that out loud. He worships her...
[Read the whole post on twitchfilm.com...]
This is a reprint of our review from the 2014 Fantasia Film Festival. When he burst onto the scene in 2007 with his Spanish debut feature “Timecrimes,” film fans saw a potential new high profile name from a nation with a knack for churning out directors who really know how to pack in the thrills. But Nacho Vigalondo’s followup “Extraterrestrial” in 2011 arrived with more of a whimper than a bang. This year, the hope is that his English language debut puts him back in gear. After a six-year absence from the festival, Vigalondo is back at the Fantasia Film Festival, and if he has his way, you'll never look at your computer screen the same way again, especially if there’s one too many windows open at the same time. To help him get an even bigger international boost, he’s got the support of an ex-porn star and an ex-hobbit. »
- Nikola Grozdanovic
The new thriller from Spanish writer-director Nacho Vigalondo (Timecrimes) is visually dazzling, but the story starts off silly and ends up a confusing, maddening mess. Open Windows is seen entirely through the lens of online cameras, beginning with the one on the laptop of Nick Chambers (Elijah Wood), a blogger in an Austin hotel room preparing to meet his idol, the sexy sci-fi queen Jill Goddard (Sasha Grey). Suddenly, a man calling himself Chord (Neil Maskell) begins speaking to Nick through that computer — and opening pop-up screens that give Nick access to Jill’s private life, including her bedroom. Believing that he’s helping Jill, Nick is manipulated into committing a crime, and ends up running from the police, and from Chord, who »
"Open Windows" is among the very first feature-length films to unfold entirely on a computer screen. Directed by Spanish "Timecrimes" helmer Nacho Vigalondo, the result, a tech-savvy thriller full of genre movie pleasures, yields one nerve ratcheting set piece after another without a single obvious cut. Elijah Wood plays a genre movie buff who, rejected by the leading actress (appropriately played by Sasha Grey) who promised him a private post-film festival meet-and-greet, is inveigled by an anonymous stranger into performing a series of insane, life-threatening tasks -- all under the dubious agreement of meeting his dream girl. This tightly wrought high-concept scarer popped up at South by Southwest in the Spring, made its way to Canada's Fantasia Fest and eventually landed at Fantastic Fest, where I caught "Open Windows" and sat down with director Vigalondo and star Wood, whose own company SpectreVision is busily unleashing a slate of »
- Ryan Lattanzio
There comes a point in every series, in which some (or all) of the magic that made a franchise’s first entry so fun to latch onto. When 2012’s V/H/S hit, it showcased a cool concept of various horrible stories playing out on videotapes that hoodlums watched. The following year, V/H/S/2 took the same approach, added a wrap around story of private investigators watching the tapes to figure out where a missing man was and each segment was all killer, no filler to say the least. V/H/S/2 trimmed any fat that the first film had, and provided a solid and very entertaining entry into the anthology series. This year’s V/H/S: Viral continues the tradition set by the first two films, but unfortunately lacks most of the magic that the first two films had, giving viewers an uneven and very questionable experiences. »
- Jerry Smith
The deranged minds behind the cult sensations V/H/S and V/H/S/2 are back with the latest installment, V/H/S Viral, which brings this brutal horror anthology franchise to a whole new level. V/H/S Viral is currently available on iTunes and VOD formats, ahead of its theatrical release on November 21, and we have a contest to get you fully prepared for this gruesome thriller, where fans can win V/H/S and V/H/S/2 on Blu-ray.
Both V/H/S and V/H/S/2 are comprised of several different short films by some of the most talented directors, such as Joe Swanberg (Drinking Buddies), Ti West (The Sacrament), Adam Wingard (The Guest), Gareth Evans (The Raid 2) and Jason Eisener (Hobo with a Shotgun). V/H/S Viral brings in a new crop of filmmakers including Nacho Vigalondo (Open Windows), Marcel Sarmiento (The ABCs of Death »
The third entry in the found footage franchise is available just in time for Halloween and features segments from Nacho Vigalondo, Marcel Sarmiento, Gregg Bishop, Justin Benson, Todd Lincoln, and Aaron Moorhead. Here’s a look at two clips from V/H/S: Viral:
“A police chase after a deranged ice cream truck has captivated the attention of the greater Los Angeles area. Dozens of fame-obsessed teens flock to the streets with their video cameras and camera phones, hell-bent on capturing the next viral video. But there is something far more sinister occurring in the streets of L.A. than a simple police chase. A resounding effect is created onto all those obsessed with capturing salacious footage for no other purpose than to amuse or titillate. Soon the discovery becomes that they themselves are the stars of the next video, one where they face their own death.
- Jonathan James
Stars: Emmy Argo, Amanda Baker, Rim Basma, Nick Blanco, Dan Caudill, Stephen Caudill, Greyson Chadwick, Lindsay Clift, Jawed El Berni, Laura Eschmann, Natalia Ferreiro, Michael Flores, Angela Garcia | Written and Directed by Justin Benson, Gregg Bishop, Aaron Moorhead, Marcel Sarmiento, Nacho Vigalondo
The V/H/S franchise’s overarching idea is the concept that like David Cronenberg’s Videodrome posits, the video image can corrupt on a biological level, the grainy images and muffled sound can somehow change a person. This isn’t just something which happens in the world of these films though, as in the majority of cases, it also affects the filmmakers involved, allowing them to wallow in the more tired tropes of cinematic horror, along with its fixation on objectifying women, and as a result, make some of the worst stuff of their careers. Ti West and Adam Wingard are just two of the new breed »
- Ian Loring
When the first film in this series was released 2 years ago, it came as a much-needed breath of fresh air for the found-footage subgenre, a subgenre that had tired itself out by the time even Paranormal Activity 2 came out. What stood out the most about it was that none of the filmmakers involved were trying to fool you into thinking that any of it was real, while studio made found footage films still marketed themselves as “this is real footage”. Rather than try to pull a trick you wouldn’t fall for, they just had fun with the format and sought to break down the limitations of it. V/H/S 2 doubled down on »
- Dylan Griffin
Popular in the 1960s and early 1970s with more rare appearances in the 1980s, 1990s and the 2000s, the anthology-style horror film has made a solid resurgence in recent years with such portmanteau releases as The ABCs of Death films and the V/H/S series.
With Mexico Barbaro, Fear Paris and other projects in various stages of completion, the anthology horror film looks to continue to be an important part of the horror cinema landscape.
Some anthology films employ a framing or wraparound sequence in an attempt to connect the segments that make up the film while others dispense with this classic Amicus-style approach entirely and simply present a collection of short films connected by genre.
Either way, a horror anthology film is ultimately about the quality of its individual segments and this article will take you on a tour of the greatest horror anthology segments of all time. »
- Terek Puckett
Earlier this week we saw the debut of a chart calculating the carnage of the Wrong Turn franchise, and now an infographic analyzing the kills of the found footage V/H/S horror film series has been unveiled, coinciding with the release of V/H/S: Viral to VOD platforms. In addition to the bloodbath breakdown, we also have a look at a new red band clip from the franchise’s third installment.
“A police chase after a deranged ice cream truck has captivated the attention of the greater Los Angeles area. Dozens of fame-obsessed teens flock to the streets with their video cameras and camera phones, hell-bent on capturing the next viral video. But there is something far more sinister occurring in the streets of L.A. than a simple police chase. A resounding effect is created onto all those obsessed with capturing salacious footage for no other purpose than to amuse or titillate. »
- Derek Anderson
1-20 of 247 items from 2014 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners