1-20 of 105 items from 2015 « Prev | Next »
Every month, the major streaming content providers engage in a natural cycle of renewal. For every title that.s removed from their extensive library of offerings, another few take its place. With September quickly approaching, Amazon has announced their slate of films that will be popping up in the Amazon Prime streaming queue throughout various points in the next few weeks . and we have 10 of the best viewing options you.ll have to choose from. So keep your eyes peeled, as the following films are going to drop at some point in the month ahead. The Blair Witch Project Before viral marketing became one of the leading tactics to market a film, The Blair Witch Project scared the hell out of audiences by convincing most of them that the film was about a real missing person.s case. Even after the mystery was revealed to be nothing but a really »
Last night, Adult Swim's longest-running series aired its final episode, just a few hours after the debut of a show inspired by cable's most popular drama. That's how it's been with television this year: Each "welcome" alternates with yet another "we'll be seeing ya" ride off into the sunset. We barely have time to process our feelings about the departure of an old friend before we have to meet the new neighbors.
So in this installment of Rolling Stone's weekly appreciation of TV's best and most-talked-about, we'll be saying some more hellos, »
In The Dark, 2015.
Written and Directed by David Spaltro.
A skeptical grad student and a renowned paranormal specialist investigate a potentially haunted home and the troubled woman inside whose affliction may be beyond the capacity of either of them.
While the best of horror is held in high esteem, the genre is often disregarded as the black sheep of Hollywood. For every Halloween or The Shining, there are countless Vampire Hookers and Killer Klowns from Outer Space… these are real movies by the way and no, that wasn’t a typo.
Aside from cult classics such as The Blair Witch Project, indie horror doesn’t hold the best track record, which is why it’s surprising that director David Spaltro chose to tackle the genre for his third feature, following the indie dramas Things I Don’t Understand and …Around. »
- David Opie
Supernatural horror The Witch debuted back in January at Sundance and made quite an impression. The result was rapturous, with a slew of Babadook-esque critical praises, and even a Best Director gong for debuting film-maker Robert Eggers. Check out the trailer below.
Witches are incredibly disturbing, more so than most things that go bump in the night. I can’t even put my finger on why that is, but every well-executed iteration, from Roald Dahl’s The Witches to 1999’s The Blair Witch Project, leaves me a shivering wreck. That’s probably why this trailer grabbed my attention.
Eggers’ film looks like a blend of the aforementioned fellow Sundance success, and Arthur Miller’s famed stage-play The Crucible, as a small community of 16th century settlers are plagued by a monster in the woods. Like The Village, but actually frightening.
The trailer’s sound design jars, the visuals are »
- Daniel Kelly
The best film I saw at the 2015 Sundance Film Festival was Robert Eggers' "The Witch," a super-stylish, super-scary, witchy brew of madness that bears the mark of a seasoned auteur. Now that the film has been shuffled to early 2016 release (boo) from A24, "The Witch" also has a new trailer (below). Painterly images, ye-olde English, oozing ominous portent and pitch-perfect period detail drive chilling "The Witch," tale of a family of 17th-century New England settlers pushed to hysteria and violence by the malevolent, titular force nesting in the woods. Anya-Taylor Joy gives a breakout performance as the teenaged daughter of puritan parents, played by the brutally committed Kate Dickie and Ralph Ineson. This is the most exciting and important (and not to mention genuinely horrifying) American horror film since "The Blair Witch Project" blew up Sundance in 1999. Read More: 5 Films That Influence 'The Witch,' Sundance's Scariest Horror. »
- Ryan Lattanzio
September is coming -- and that means back to school, back to autumn leaves, and back to TV season. Huzzah! Amazon just released its list of September titles available for streaming on Prime and for rental or purchase on Amazon Instant Video. (If you missed the August titles, here they are.) They're offering tons of new episodes from the Fall 2015 TV season, and several recent blockbuster movies like "Avengers: Age of Ultron" (plus bonus features), "Pitch Perfect 2," and "Cinderella."
Check out all the September additions below.
New in September - Available for Streaming on Prime
Blair Witch 2: Book of Shadows
The Crucible (1996)
The Swan Princess (1994)
Hannibal Rising (2007)
- Gina Carbone
Spanish horror film Para Elisa (For Elisa) will arrive on DVD and VOD on September 1st. But, the DVD-palooza doesn't stop there. Also in this round-up: Honeyspider and Cop Car DVD release details and Howl-o-Scream 2015 details.
Para Elisa: Press Release: "A job at a magnificent house owned by a famous musician seems too good to be true – and it is – in the tension-filled horror film Para Elisa. The acclaimed new Spanish film comes to DVD and VOD on September 1, 2015, from Dark Sky Films.
Desperate for some post-graduation cash, party girl Ana (Ona Casamiquela, Eva) answers a babysitting ad. She arrives for an interview at the elegant home of Diamantina (Luisa Gavasa, Flesh Memories), a former child prodigy pianist who is now an eccentric old woman who collects antique toys and dolls. Ana is disturbed by Diamantina’s odd behavior and horrified to discover that her child, Elisa (Ana Turpin, »
- Tamika Jones
Mad Sin Cinema and LostWitch Releasing are now accepting submissions for Snuff: The Anthology. From Shane Ryan, creator of the Amateur Porn Star Killer Trilogy, Snuff will bring to you the finest faux rape and murder scenes from around the globe. "The best part for the filmmakers," says Ryan, "is that we've worked out a deal so that even films not accepted into the anthology will get released on VHS and/or DVD through LostWitch Releasing (in talks with more VHS/DVD companies as well). It's win-win for everybody."
I sat down and asked Shane Ryan a few brief questions about the project.
Jw: Hey Shane, I thought up a few questions that I would want answered if I were submitting to Snuff: The Anthology. Are you ready?
Jw: To be honest, I'm a little confused by what you are looking for. What »
“Edwin Drood” comes to Atlanta; a horror homage plays at the Plaza Theatre; and a film about an autistic teen on his first date wins Best Film at the Disability Film Challenge. It’s this week’s Atlanta News Roundup. “The Mystery of Edwin Drood” Now at Stage Door PlayersCharles Dickens’ famously unfinished novel, “The Mystery of Edwin Drood,” is running at the Stage Door Players through August 2. Books and music were written by Rupert “The Piña Colada Song” Holmes, who won five Tonys for his production in 1985, including Best Musical (when it was known simply as “Drood”). Tickets are available here though they’re selling out quickly. “Solitude” Has Many MastersThough it’s not yet Halloween, two filmmakers—one who is from Atlanta—have paid homage to the suspense masters and slash-meisters of the past with “Solitude,” a horror film that includes shooting styles that reflect the different filmmaking eras, »
Have you ever stopped to consider the level of impact horror movies have on our society?
I’m not talking about theories where horror movies turn people into killers or whatever. I’m talking about how horror movies have impacted what we wear, the shows we watch on TV, the music we listen to and even the games we play.
If you’ve not, let me tell you this — the impact is pretty vast.
It has quite literally made its presence known in every other aspect of consumerist life. If you’re a horror movie buff, like me, then you’re bound to find it interesting to see an overview of how and where it’s done this. So let me quench that interest. Here’s an overview of how horror movies have impacted, well, everything.
Think back to your favourite thriller. It had an iconic sound to it, »
- Gary Collinson
The woods are already pretty creepy. Nearly 20 years later, I'm still not over the residual terror left after The Blair Witch Project and all these other movies about strange creatures in the woods aren't helping matters much. The thing with Dark Was the Night is that Jack Heller's second feature is far more concerned about the drama of the people who live in town than with the monster lurking in the shadows. Thank god too. The last thing we need is another generic monster in the woods horror.
It opens as you might expect: a couple of guys don't return from their shift at the logging company and when supervisors go looking, what they find is gruesome. Unfortunately, the newly opened logging operation has pushed all of the creatures in the forest from their natural habita [Continued ...] »
Unpleasant characters do things that make no sense in “found footage” clearly edited together from multiple sources. Negligent storytelling at its worst. I’m “biast” (pro): nothing
I’m “biast” (con): really hating found footage lately
(what is this about? see my critic’s minifesto)
Just when I think the “genre” of found-footage can’t get any worse — which is typically while I’m suffering through the previous found-footage movie — I am proven wrong by the next one. But The Gallows isn’t merely a new low in a filmmaking gimmick that has long since been played out: it might be the best-worst example yet of how lazy filmmakers seem to think shaky handheld cinematography and a faux accidental-documentary facade is a substitute for a well-written script that tells a coherent story populated by characters we enjoy spending time with, even if it’s only in a love-to-hate-them way. »
- MaryAnn Johanson
The Gallows is a terrible film. That is all you need to know. To revisit it for the purposes of writing a review is the only horrifying effect it yields, being a lazy, uninspired, painfully contrived concoction of everything bad about the found footage subgenre.
Not for one single frame of its mercifully short 81-minute running time does it present any impact or originality, with the movie following a bunch of stupid, borderline sociopathic students as they run around darkened school corridors waiting for the next clearly signposted jolt to arrive. They've been hurled together through a poorly conceived and staggeringly underdeveloped premise involving the staging of a play that was the setting for an accidental death that happened during a performance 20 years earlier at the school.
The story, »
It’s been a good sixteen years since the found footage masterpiece, The Blair Witch Project, came out and helped spark a sub-genre that has yet to fade away. For actor Joshua Leonard, the 1999 film helped kickstart an acting career that is still going strong, with roles in everything from Adam Green’s Hatchet, the horror comedy Bitter Feast and the teenager-aimed hit If I Stay, to roles in TV shows like Hung and Bates Motel. More recently, Leonard appeared in the “requel” (a remake and sequel at the same time) of the 1976 terrifying film, The Town That Dreaded Sundown, with the new version having its feet firmly planted within the meta-approach.
Joshua was nice enough to chat with us a bit about the film, and how The Blair Witch Project is just as effective today as it was in 1999. Read on!
The Town That Dreaded Sundown is an interesting one, »
- Jerry Smith
You know the old saying less is more? Yeah, well, sometimes less is just…less. Such is the way with The Gallows, the new film from lo-fi horror producers Blumhouse (Paranormal Activity, The Purge), which managed the astounding feat of both dragging throughout most of its length and yet having barely anything to show for itself by the time the credits mercifully rolled.
The film takes the tried-and-tired trope of found footage and plays it old school, meaning that it makes no attempts to improve or subvert the formula that’s worked (dubiously) for almost two decades now. High schooler and douchebag jock Ryan is our cameraman for most of the proceedings, as he decides that the only way to make his mandatory drama lessons more interesting is to film everything »
- Mark Allen
Chicago – We all know dramatic films win most of the awards, comedies are hit or miss and horrors often don’t deliver the scares they promise. The problem with the horror genre lately is Hollywood is afraid to go against a “proven” formula (for financial reasons) and really think outside the box.
After 2009’s “Paranormal Activity” took the world by storm (grossing $193 million worldwide on a tiny $15,000 production budget), producing it paved the way for Jason Blum and his Blumhouse Productions to produce and put his stamp on “Insidious,” “Sinister,” “The Purge,” “Ouija,” “The Lazarus Effect,” “The Boy Next Door,” “Jessabelle,” “Unfriended,” “Oculus” and all of their follow-ups. There pretty much isn’t a horror film released by Hollywood these days without Jason Blum attached to it. That’s a double-edged, monopolistic sword that has been producing new films without continuing to innovate.
So when I first heard about »
- email@example.com (Adam Fendelman)
My inner teenager had high hopes for New Line’s “The Gallows,” the latest found-footage horror flick apt to make a hefty payday for superfrugal producer Jason Blum (“Paranormal Activity”). You can’t not cheer for the writer-directors, Chris Lofing and Travis Cluff, who got discovered after putting a scary trailer for the movie on YouTube. They have some panache, and who doesn’t want to watch four gorgeous friends break into their high school one dark night with a video camera while being hunted by a killer? Sounds like “Carrie” meets “Buffy the Vampire Slayer” meets “The Blair Witch Project. »
- Tim Appelo
Chicago – Horror films have many players, but few contenders. Writer/directors Chris Lofing and Travis Cluff debut with “The Gallows,” a “found footage” movie about a force that haunts a typical American high school, complete with familiar student types, and touches on the mysteries of unresolved events and their backlash.
In 1993, a student named Charlie Grimmille is killed performing a hangman’s act in the school play called “The Gallows.” Twenty years after this event, the school resurrects the failed production in an attempt to honor the memory of Charlie. When a group of four students break into the school and onto the play’s set after hours, a series of unexpected situations start to occur, for which there is no escape. Lofing and Cluff go “old school” in this overt and psychological horror movie, and the result is a chilling fright fest, containing the “presence” of unseen forces.
- firstname.lastname@example.org (Adam Fendelman)
Every article on found footage horror must open with a comment on the ubiquitous nature of the genre. They’re everywhere. They’re cheap. They’re profitable. Typically there’s a hint of derision, the thought that the filmmakers were too cheap to shoot an actual film and thus cobbled together a couple people off the street and cameras at the local Best Buy to shoot a movie and turn a profit. The thought that the genre is less an art form but more a commodity. At their very best though, found footage transcends such complaining, blurring fact and fiction, convincing viewers the illusions projected onto a screen are in fact reality. Cannibal Holocaust, Man Bites Dog, The Blair Witch Project and Paranormal Activity all deftly walked this tight rope between fiction & non. That there have been so many pale imitations in their wake shouldn’t reflect poorly on the genre or these films itself. »
- Tommy Cook
On the surface, Creep looks like yet another found footage movie and the kind that Blumhouse Productions keeps churning out month after month. But once you watch it, you’ll discover something different and far more unnerving about it.
The film follows Aaron (Patrick Brice, who also co-wrote and directed), a videographer who accepts an offer from a man named Josef (Mark Duplass) on Craigslist. After they meet, Josef explains that he has terminal cancer and that he wants to record a diary for his unborn son to let him know the kind of person he is a la Michael Keaton in My Life. But as Aaron’s keeps filming Josef, he comes to find that Josef is not at all who he appears to be. In fact, he proves to be far more unhinged than Aaron could ever imagine.
During a recent press day held for Creep in Los Angeles, »
- Ben Kenber
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