The film follows Mina, a young woman who was murdered and stalks the forest that saw her demise. Anytime some unfortunate soul enters her area, they are quickly dispatched and become her feast. But when she stumbles across a young boy named Alex in the back of a car who shows signs of clear and horrifying abuse, she can’t bring herself to do away with him. Rather, she becomes his protector while trying to protect her own little world. As police and locals search for Alex to help bring him home, their own growing relationship seems to be changing Mina in ways she never thought possible.
Other releases for May 1st include Desolation, Stephanie, Caught, Followers, The Ballerina, Trailer Park Shark, The Unwilling, and Kaleidoscope.
7 years ago, Peter's grandfather went missing under mysterious circumstances. Now, Peter and his friends have returned to the placid Wisconsin town to check out his inherited lake house and
Whether it’s really well suited to a drama about child abuse is something viewers of “The Dark” will have to decide for themselves, though perhaps the better questions are: Did we even need to find out? Aren’t there (many) better ways of approaching such a difficult theme than via a shotgun marriage with horror conventions? On its own terms, writer-director Justin P. Lange’s debut feature (with Dp Klemens Hufnagl credited as co-director) is well-crafted and well-acted. But in trying to succeed as something both metaphorical and very literal-minded, the movie ends up being
The Dark stars Nadia Alexander (Blame) - who won best actress in U.S. Narrative Feature at Tribeca 2017, Toby Nichols and Kari Markovics (The Counterfeiters).
A flesh-eating young girl haunts the woods where she was murdered, as a murderer herself. When she discovers an abused kid inside the trunk of a car, her decision to let the boy live throws her existence into upheaval.
Saturday, April 21 at 7:45pm at Cinepolis Chelsea (World Premiere)
Nadia Alexander stars as Mina, the aforementioned undead, flesh-eating teen — and she’s not too fond of her new lifestyle. She has been cursed to haunt her childhood home in the woods so that nobody gets in and nobody gets out alive. Then she meets Alex (Toby Nichols), a blind teen boy who is dealing with his own problems. Instead of devouring him, Mina lets him live and the two begin to bond and some of her old human feelings begin to resurface. From this, they develop an interesting friendship.
The Dark will make its World Premiere on April 21 at the Tribeca Film Festival.
From Scream Factory: "We are pleased to announce that we have two new IFC Midnight films planned for release on Blu-ray & DVD this May!
Kaleidoscope – This intense, twisty thriller unfolds in the darkest corners of a man's mind. Recently released from prison, mild-mannered Carl (Toby Jones, Captain America: The Winter Soldier) quietly attempts to move on with his life. Just as he embarks on his first date in 15 years, Carl's fresh start
The post IFC Midnight’s Desolation – Stills and Trailer! first appeared on Hnn | Horrornews.net 2018 - Official Horror News Site
The post Exclusive Desolation Clip Let Out of Isolation appeared first on Dread Central.
New Stills from Desolation: IFC Midnight will release Desolation in select theaters and on VOD and digital platforms on December 15th, including special Q&A screenings:
"New York City
Special Advance Screening on Thursday, December 14, at 9pm at the IFC Center with Q&A with editor Alexander Frasse, producer Kim Patton, associate producer Ned Donovan, and composer Marcus Bagala. Tickets available here: http://www.ifccenter.com/films/desolation/
Opening Night Q&A on Friday, December 15 (9:05pm show), with director Sam Patton,
The post New Stills Pulled From Desolation appeared first on Dread Central.
December’s releases kick off on the 1st with Somebody’s Darling, and December 5th is one of the busiest days of the month with six different titles making their digital bow: The Gatehouse, The Doll Master, Apocalypse Road, Flashburn, K-shop, and The White King. Then, just a few days later, IFC Midnight is releasing the psychological thriller Kaleidoscope, and on December 12th, both The Cutlass and Flatliners (2017) come home.
After the death of her husband, Abby (Jaimi Page), her son, Sam (Toby Nichols) and best friend, Jen (Alyshia Ochse), venture into the forests of upstate NY on a camping trip, only to find themselves in danger from a mysterious hiker (Claude Duhamel) with malicious intentions. As the trio attempts to navigate the vast wilderness in search of safety, they find themselves the hunted prey in a deranged killer’s terrifying game and the only way to survive is to kill – or be killed.
Desolation is set for release on December 15th.
The post Desolation Trailer Goes Off Trail appeared first on Dread Central.
Replace: As far genre feature film debuts go, co-writer/director Norbert Keil has a lot to be proud of with Replace, a stunning and beautifully executed cinematic mystery that’s part body horror/part psychological thriller. Something of a hallucinatory fever dream at times, Keil has crafted an intriguing and chilling portrait of just how far some folks are willing to go in the name of vanity, and the whole affair is anchored by a trio of powerhouse performances by Rebecca Forsythe, Barbara Crampton, and Lucie Aron.
In Replace, we’re introduced to
The post ‘Desolation’ Review: There’s a New Killer in the Woods [Laff] appeared first on /Film.
Daily Dead recently had the chance to speak with Patton about his first time at the helm of a feature film, and he discussed how his time working at Blumhouse helped prepare him to take the directorial reins on Desolation, working with his cast, and more.
Great to speak with you, Sam. I noticed on your résumé on IMDb that you've been working in different facets of the film industry for a while, and I noticed specifically that a lot of those happen to be with Blumhouse Productions. Because I know Jason Blum and their mantra in terms of making films on a smaller scale, do you feel like being in that environment and being involved with projects on that level helped prepare you for when it was time for you to go out and make your first feature?
Sam Patton: Oh, one hundred percent. A thousand percent, even. I got my start in Hollywood as an intern at Blumhouse, and within a few months was getting paid to work on their movies and I love all the folks over there. I've got a couple of mentors in that organization and it was just a great crash course. I started working with them when they were still in little offices on the Paramount lot, right after Insidious, which was really their first home-grown movie, because Paranormal Activity was an acquisition.
So, I watched them go from being a little company to a really big company making tons and tons of films, and I got to be part of a lot of them. So, it was a crash course in learning how to make a movie for a small amount of money in a contained environment with a small cast, and still tell great stories that deserve an audience. I could talk for an hour just about all the lessons I learned there.
And it was actually after a few years there when the opportunity came to make this movie, and I wanted to go for it. I don't think I would have been nearly as confident that it could be done for so little, for a modest budget, if I hadn't been coming straight from doing so many movies there.
Was there something in particular about this script, because I know this was co-written by Matt Anderson and Michael Larson-Kangas, that made you go, "Yes, this is absolutely the project I want to be out there making for my debut,"?
Sam Patton: Well, it was two things. It was the characters, which I fell in love with. The son is named Sam, which was the case when I read the first draft of the script, but it's made for plenty of jokes about what a traumatic childhood I must have had, and how this movie is autobiographical.
I was going to ask [laughs].
Sam Patton: No, no, that was in the first draft I read [laughs]. But it was the characters that jumped off the page immediately to me. I felt for them. I felt for their situations. The closest comparison to their situation in my life that I have experience with was when my grandmother passed away when I was nine. She was only 60, which is young, right? And all of her children and my grandfather all had really strong relationships with her and not that they had bad relationships with each other, but they all related through her. And so when she was gone, they had to sort of figure it out. She was the one that brought them all together for family things.
And so now, Abby and Sam, it's not that they don't love each other, they just don't get each other at all. But now they're all they have, and so they need to come together. And that character struggle was what drew me in. When I went looking for a contained environment horror film to make, the producer in me was looking for something small and doable on a small budget, but this was one of the first scripts I read. I fell in love with it, but I thought, "No, you can't make the first script you read." And I read more scripts, but came back to this one because it was so great.
And then the second part of it that made this script so important to me, it has this mirror element where it’s not quite an allegory—it's not like Metamorphosis with Kafka, where it's straight allegory—but there are parallels in the external story to the internal story, and I just thought that was really good storytelling and I wanted to bring it to the screen. And I thought we could do it.
For me, though, I have to find a point when it has to be made. It has to be now that we make a movie, and then we do it. So, that personal urgency is something I always try to find in every project, or else, how are you going to put two, three years into a movie, if you're not passionate every day about it?
Because you were working with basically four actors in this movie, was it conscientious on your part that you were trying to really keep this intimate and contained in terms of both the story and these characters?
Sam Patton: Definitely. There was at least one draft that had flashbacks to Michael in the hospital and we definitely discussed other scenes where there were park rangers finding a dead body, too, and an action opener. There were a lot of things discussed and I kept coming back to this idea that the movie should start and end in the woods, and it should be about these four people, and we should believe in the world they talk about, but you don't have to see it. Because to me, that's almost more real.
One example I give to people when I try and explain the right way to do it is, in the first Star Wars film, they blow up Alderaan. They blow an entire planet out of the sky. And we don't see anybody on Alderaan, but we see an old Jedi clutch his heart and sit down, and then we know something really terrible happened. You don't need to see the Marvel-level movie destruction of Alderaan to get it. You need to see a quiet moment, you know what I mean? So, yes, to answer your question, definitely for me it was important to keep it small and intimate.
And also—this is something I definitely discussed a lot with my cinematographer—we tried to challenge ourselves to do everything with less. If we thought a scene needed four setups, could we do it with two? Could we do it with one? Could we do a scene with one setup? If so, we're doing it with one setup, so how do we keep it interesting? And so that was sort of a challenge all the way through. It's like, "We don't need that. What's the fewest number of characters we need? What's the fewest number of locations?"
So, I like to think of working in a box as a really creatively liberating thing. Limitations, I like them a lot, because it gives you somewhere to start, it gives you a frame of reference. Some people don't always embrace that as a creative tool, and I think people should when they're making movies, small movies especially, that don't have the benefit of big budgets or stars to carry them.
The post Laff 2017 Interview: Desolation Director Sam Patton on Crafting an Intimate Survival Thriller appeared first on Daily Dead.
Press Release: Los Angeles-based Xyz Films has announced that they will handle domestic sales rights to The Dark, the debut arthouse horror film from writer/director Justin P. Lange. The film was lensed and co-directed by cinematographer Klemens Hufnagl, and was inspired by Lange’s Columbia University thesis short film of the same name. The Xyz Films announcement comes right after this year’s ‘Frontières Goes to Cannes’ buyers’ showcase, a part of the Marché du Film where the producers screened 15 minutes of the work-in-progress.
The Dark is produced by Danny Krausz and Kurt Stocker at Vienna-based Dor Film, joined by Laura Perlmutter and Andrew Nicholas McCann Smith at Toronto-based First Love Films. Florian Krügel takes an executive producer credit.
The film stars
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.