Happily: Saban Films Acquires BenDavid Grabinski’s Comedy Thriller Starring Joel McHale & Kerry Bishé

Saban Films has acquired US, Canada, UK, and Ireland rights to BenDavid Grabinski’s Happily, which was set to make its World Premiere at this year’s Tribeca Film Festival before the pandemic shutdown.

RELATED: Wrong Turn Reboot Receives R-Rating as Possible Release Date Nears

Happily follows Tom (McHale) and Janet (Bishé) who have been happily married for years. But a visit from a mysterious stranger (Root) leads to a dead body, a lot of questions, and a tense couples’ trip with friends who may not actually be friends at all.

Saban Films’ Bill Bromiley said, “Happily is a twisted dark comedy told through fresh voices with a fantastic ensemble cast. BenDavid truly keeps you guessing throughout the film and we can’t wait to bring it to our audiences.”

The film stars Emmy Award Nominee Joel McHale (Community, Deliver Us from Evil), Kerry Bishé (Red State, Halt and Catch Fire, Argo), and Emmy Award Nominee Stephen Root (Barry, King of the Hill).

The ensemble’s supporting cast includes Natalie Morales (Parks and Recreation), Paul Scheer (The League), Natalie Zea (Justified), Charlyne Yi (Knocked Up), Breckin Meyer (Designated Survivor), Shannon Woodward (Westworld), Jon Daly (Curb Your Enthusiasm), Kirby Howell-Baptiste (Barry), and Al Madrigal (I’m Dying Up Here).

RELATED: The Stand-In Trailer Starring Drew Barrymore in Jamie Babbit’s New Comedy

This riveting dark comedy was financed by Chuckie Duff’s Common Wall Media and produced by Electric Dynamite’s Jack Black and Spencer Berman, Indy Entertainment’s Nancy Leopardi and Ross Kohn and executive produced by Chuckie Duff, as well as filmmakers Dave Green and Kyle Newman.

The post Happily: Saban Films Acquires BenDavid Grabinski’s Comedy Thriller Starring Joel McHale & Kerry Bishé appeared first on ComingSoon.net.

Rating: 

9/10

Cast:

Mel Gibson as Chris Cringle/Santa Claus

Walton Goggins as Skinny Man

Marianne Jean-Baptiste as Ruth Cringle/Mrs. Claus

Chance Hurstfield as Billy Wenan

Written and Directed by Ian and Eshom Nelms

Fatman Review:

After years of joyful depictions of the Christmas-present-delivering icon, Hollywood began offering darker and occasionally twisted takes on Santa Claus in the later years of the 20th century, ranging from the psychotic killer of the Silent Night, Deadly Night series to Billy Bob Thornton’s depressingly hilarious turn in Bad Santa and now the Nelms Brothers of Small Town Crime acclaim are here to deliver their darkly humorous update with Fatman. While it may occasionally suffer from some jarring tonal shifts and a few unanswered questions, the film largely succeeds thanks to its unique approach to the character as well as the performances and offbeat atmosphere throughout.

To save his declining business, Chris Cringle (Mel Gibson), also known as Santa Claus, is forced into a partnership with the U.S. military. Making matters worse, Chris gets locked into a deadly battle of wits against a highly skilled assassin (Walton Goggins), hired by a precocious 12-year-old after receiving a lump of coal in his stocking. ‘Tis the season for Fatman to get even, in the action-dark comedy that keeps on giving.

Right from the start of the film, it becomes apparent that the tone of the film is certainly aiming for a darker, quirkier angle, namely in its central antagonists, spoiled brat Billy and the cold, mysterious hitman Skinny Man. The sheer fact that Skinny Man never once questions whether he should be taking money from a 12-year-old child or his jobs, including intimidating a classmate into admitting cheating for a science fair so Billy can keep his Top Prize streak alive, is such an odd but hilarious dynamic that breeds some quietly humorous dialogue from Skinny Man as he occasionally expresses a distaste for his employer.

When the film isn’t following Skinny Man and Billy’s efforts to track down its titular character, we get to watch as Mel Gibson steps into arguably the most exciting and interesting character in nearly a decade for the two-time Oscar winner. Though he offered fun turns in 2012’s Get the Gringo and 2016’s Blood Father, many of his recent performances have lacked an air of warmth from the star akin to 2011’s The Beaver, but as Chris Cringle the 64-year-old performer truly shines. From his clear regrets of watching children led astray and having to partner with the US Military to the love he has for bringing joy to the world and for his wife, Gibson skillfully taps into every emotion that makes him compelling to watch from start to finish.

In addition to the solid performances from Gibson, Goggins and Marianne Jean-Baptiste, the film’s evolution of the lore of Santa Claus proves to be a thoroughly original and interesting take on the jolly character. The lack of addressing that Mrs. Claus is Black instead of the typical white woman seen in various past depictions feels very natural and like a nice change of pace, the fact that people do see Santa Claus whilst flying his sled and occasionally take shots at him is a fairly realistic concern to raise and the revelation that he has some form of regeneration when injured turns him into a Wolverine-like hero that we never knew we wanted from the jolly red fatman.

The film’s only real issues lie in some of its tonal imbalances and disappointing or unanswered plot points. For nearly half the film, Chris expresses concern over the possible partnership with the military to keep his gift-giving business alive, but never once addresses what he or the elves would have to do for the government, the answer only coming when he finally relinquishes and partners with them. Early in the film, we’re offered teases that Goggins’ Skinny Man has some beef or obsession with Santa Claus and while an attempt at leaving it a mystery to the audience is a fine thought, it’s pretty obvious the reasoning why and when the moment arrives for a bit of exposition, it falls fairly flat and I was left not really caring or siding with either character.

Minor flaws aside, the Nelms Brothers’ Fatman is a truly exciting, unique and intriguing new entry into the Santa Claus subgenre that may not connect with all but is sure to garner a cult following with those who like their eggnog with a little extra punch.

The post Fatman Review: A Deliciously Dark & Brilliant New Take on Saint Nick appeared first on ComingSoon.net.

CS Interview: Director Max Winkler Discusses Drama Film Jungleland

Max Winkler’s Jungleland is set to make its debut on streaming platforms on November 10. To celebrate, we reached out to the director who was gracious enough to shed a little more insight into the emotionally charged film. You can check out the interview below and pre-order your copy of the movie here!

RELATED: CS Interviews: Jack O’Connell Talks Jungleland

Stan (Charlie Hunnam) and Lion (Jack O’Connell) are two brothers struggling to stay relevant in the underground world of bare-knuckle boxing. When Stan fails to pay back a dangerous crime boss (Jonathon Majors), they’re forced to deliver an unexpected traveler as they journey across the country for a high-stakes fighting tournament. While Stan trains Lion for the fight of his life, a series of events threaten to tear the brothers apart but their love for one another and belief in a better life keep them going in this gripping drama that proves family pulls no punches.

The movie also stars Jonathan Majors (Lovecraft Country, Da 5 Bloods), Jessica Barden (Hanna), and Emmy nominee John Cullum (Northern Exposure). Jungleland is directed by Max Winkler (Flower) who co-wrote the script along with Theodore Bressman (Future Man) and David Branson Smith (Ingrid Goes West).

Jungleland is produced by Jules Daly, Kevin J. Walsh, Ryan Stowell, Brad Feinstein. Ridley Scott executive produces.

RELATED: Jungleland Trailer Starring Charlie Hunnam & Jack O’Connell

ComingSoon.net: What drew you to this project?

Max Winkler: I think I always wanted [to tell a] male melodrama movie about two guys trying to figure out how to tell the other one that they loved them. And it just felt like the right story for us to tell. I love Of Mice and Men so much. I love Michael Mann movies, the way men express their love for each other in Michael Mann movies. It just felt like this would be a good opportunity for us to do it.

CS: I didn’t even think about the Of Mice and Men comparison. Did the novel help shape Jungleland?

Winkler: Very much, yeah. It was a companion piece for me, for the writing of it, and something I thought about with everything.

CS: How difficult is it to go from working on a TV series to a motion picture?

Winkler: I actually started in — I made Ceremony first and then I did some TV and then I made Flower and then I moved to Jungleland. So it’s, I think, always kind of worked hand-in-hand. So there’s never a jump for me. It was a jump making my first movie, which was really difficult; and you know, the only thing harder than making your first movie is making your second movie. And once I made Flower I knew I wanted to get right back to work and I’d been writing Jungleland for years and years and years, figuring out where it was going to end up. And I was just so lucky we met Jules Daly and then Scott Free and Ridley Scott, and they got behind the script to Jungleland and it came together really quickly.

CS: Okay. So I had spoken with Jack O’Connell just this last week. And he felt the movie shouldn’t be mentioned in the same breath as Rocky. Would you agree with that take?

Winkler: Yeah, I don’t think of it as a boxing movie. I think boxing is a device in this movie and I think the poetry of watching people box and how they end up there, you know, especially in the way Joyce Carol Oates writes about it was extremely fundamental in the writing and making of the movie, but none of us ever saw it as a boxing movie. I see it as a drama, the melodrama between two brothers learning how to say they love you to each other. But we never thought about Rocky or sports movies when we were making it. I think in talking about this, something that Bruce Springsteen talks about writing music is that it should be blues in the verse and gospel in the chorus. Blues is the personal part that, you know, “Dancing in the Dark” is talking about depression and anxiety and hating the way you look in a mirror, and the gospel is the part that everyone can relate to — the big, universal truth. And that’s the way it goes in our movie, I think the character stuff is the blues between the brothers and the boxing is the gospel.

CS: When you look at the brotherly dynamic between the two characters, do you think, Stanley is ultimately bad for Lion? Because they function well as a team, even if they’re the worst thing for each other.

Winkler: Exactly. It’s kind of like all relationships, where they both need each other and they also know the best thing for each other is to walk the other way. And we always saw Charlie’s character as more of a single mother than an older brother, you know? All he does in his life is try to give his younger brother the best chance possible to succeed. Charlie’s one of those guys, Stanley — the guy’s on borrowed time, you know what I mean? He’s not long for this world, I don’t think. And he’s always narrowly getting by, but I think by the end of the movie, you know, without giving anything away, he knows that the only thing he can do is sort of allow Jack to finally become what he’s supposed to become, but without pushing him, he’ll never have done it.

CS: I would say this movie is about broken people striving to survive in a world that is almost too powerful to fight against in a lot of ways, because they have just so many elements working against them. How relevant do you think a story like this is to our modern society, where a lot of people are kind of stuck in the same rut?

Winkler: I think the way you phrased it is better than what I’ve heard anyone else do. I mean, when you say it like that, it’s really apropos, you know, when you film in a city like Fall River, Massachusetts, the themes become even more clear. And you know, it’s like this idea of like, does the American dream exist? You know what I mean? Is everybody entitled to it? You have to look at it a certain way to get that piece of the pie. And Charlie’s character is an optimist, and you know, it’s his hope and it’s the brother’s love for each other that I think really gives the movie the glimmer of hope. But you know, I think those questions are really important to have.

CS: You talked about filming in Massachusetts — how difficult was that for you guys during the production? And, as you mentioned, did that help inform some of the scenes that you had to do? 

Winkler: I mean, the locations were the secret weapon of the movie, the cities which you know, Raynham, Fall River, New Bedford, Taunton, and Alex Berard, our locations scout and I drove all over the northeast. We were in the car together for almost longer than anything else in the prep process. And we knew he could find the right location, but so much of our storytelling would be done for us if the right work drove it and the right actors. And to shoot in that part of America was just stunning for us. I loved it. I loved being around the people. I loved being around the location, the history. There was a period where Fall River, Massachusetts was the wealthiest city in all of the world. And if you were there now, you wouldn’t believe it. The people are incredible and the people worked hard and they still have hope. And just the way they rallied around our movie, I’ll never forget.

CS: Yeah, the backdrop definitely plays a separate character in the film. And I liked the way you framed a lot of your scenes, specifically that scene where Lion has to fight the car mechanics just to get their car back. But you shoot it from a distance, so it’s not shot like a hero moment. It’s shot from a distance and seen in a depressing light. 

Winkler: Exactly. Exactly. He doesn’t want to fight and he’s being pressured into it and it’s not a heroic moment. It’s devastating. And we’re watching it from someone else’s perspective because these two people leave their own world, their own life, kind of like their own version of “Swiss Family Robinson” or “The Boxcar Children”. And once we see it from Sky’s perspective, we realize that it’s not necessarily fair, what Lion has to put himself through, but also at the same time, it’s the only way he’s getting out. And when Stanley can finally get that through his head that like, you’re the only one of us that has the skills, none of us are good at anything else. You’re the one with the talent. It’s a crime to me and/or history if you don’t use it, you know, at the end of the movie, it kind of makes sense, hopefully.

CS: How did you land on Charlie, Jack, and Jessica? What did they bring to those characters that made you want to cast them in these roles?

Winkler: They’re just incredible actors. I mean, I’ve just been fans of all three of them for as long as I’ve been watching this film. And they’re just incredibly authentic actors who really have to say very little to get the emotionality across because of how internalized all of their performances are. And you can see their faces and know what we’re supposed to be feeling. They’re three actors from working-class parts of England that really related to the characters. You know, Charlie kept saying, you know, these are people from my town. These are people from New Castle. And you know, with the exception of changing their accents around, I don’t think it was a long stretch for them to have to act like these types of people.

CS: Was there any specific type of direction that you were giving them or did you just let them run free, because the chemistry feels genuine and real?

Winkler: I really wanted it to feel tactile. So just when in doubt, hug each other, kiss each other, tell each other you love each other. We filmed the opening credits first, and so, a lot of the stretching in the morning routine and the jogging through the town was filmed on our test date with just me and a couple of crew members and a cinematographer and the two actors. And so, they really got to fall into the kind of love affair between the two of them in those early days. And the two of them working the focus meant hanging at the boxing gym all day, Jack did all of own stunts and Charlie getting to watch that he’s the one who’s not doing the stunts for a time and just gets to watch; family dinner, with just the two of them cooking, their houses were right next to each other, so they live next to each other. All of that just came, because they’re just good actors. There wasn’t a boot camp. There wasn’t a five-week rehearsal period. It was them spending their days, you know, Jack in the gym and Charlie working with a dialect coach, the late, great Wendy Overly. And things just kind of fell in line effortlessly.

CS: What do you want audiences to ultimately take away from your film?

Winkler: I never know how to answer that question. The thing I’m most proud of is the actors and their performance in the movie we made. And I want as many people as possible to see it. And if it brings people some sense of hope and distraction from the incredible stressful time that’s going on in people’s lives right now, then I would feel really happy and grateful.

CS: Do you have any projects coming up next that we can all look forward to seeing?

Winkler: Yeah, I’m going to make another movie with Charlie that’s based on a memoir of this guy named Ben Moon about a guy who lives in a van in the Pacific Northwest with his dog for five years. And we’re going to make that together in the spring.

CS: That’s awesome. Well, I look forward to that. I thought Jungleland was a fantastic movie, so congratulations.

Winkler: Thank you. I’m really grateful of your understanding of it. It may be even better than my own.

The post CS Interview: Director Max Winkler Discusses Drama Film Jungleland appeared first on ComingSoon.net.

Joyride: Olivia Colman to Star in New Feel-Good Drama Film

Oscar-winning actress Olivia Colman (The Favourite, The Crown) has officially signed on to star in Emer Reynolds’ forthcoming feel-good Irish drama film titled Joyride which is expected to begin its production next year in Wild Atlantic Way in West Ireland. This marks Colman’s first comedy-drama movie in a while after only starring in recent drama-heavy projects such as 2019’s Them That Follow and The Crown Season 3 as well as the upcoming drama film The Father opposite Anthony Hopkins and Netflix’s The Crown Season 4.

RELATED: Olivia Colman to Lead Maggie Gyllenhaal’s Directorial Debut The Lost Daughter

Joyride will follow the story of train-wreck Joy (Colman) on an adventure, but ready to give away her newborn baby to her best friend. What she can’t anticipate is that a cheeky street urchin is also along for the ride. Both are on the run; two diamonds in the rough, forming a riotous pair.

“We’re thrilled to have the wonderful Olivia Colman, an artist of such incredible talent, intelligence and depth — not to mention comedic brilliance,” Reynolds said in a statement (via The Hollywood Reporter). “It’s going to be a pleasure harnessing her rawness and her comedy and, vitally, the profound bravery that is visible in all her work.”

“We’re thrilled to be bringing this highly original, emotional and hilarious story into production with Emer Reynolds at the helm,” Producer Aoife O’Sullivan said. “Writer Ailbhe Keoghan is a true talent and having Olivia Colman as our lead character Joy is a dream come true.”

RELATED: Landscapers: Olivia Colman to Star in HBO’s New Crime Drama Miniseries

Joyride will be the directorial narrative feature debut of Emmy winner Emer Reynolds, who is known for his work on documentary films. It is written by Ailbhe Keoghan with Aoife O’Sullivan and Tristan Orpen Lynch set as producers through their Subotica banner. It is also a production by Embankment, who will be handling worldwide sales and are set as executive producers.

(Photo by Frazer Harrison/Getty Images)

The post Joyride: Olivia Colman to Star in New Feel-Good Drama Film  appeared first on ComingSoon.net.

Rating: 

8.5/10

Cast:

Jack O’Connell as Lion Kaminski

Charlie Hunnam as Stanley Kaminski

Jessica Barden as Sky

Jonathan Majors as Pepper

Owen Burke as Meadows

Fran Kranz as Buck Noble

John Cullum as Colonel Yates

Co-Written & Directed by Max Winkler; Co-Written by Theodore B. Bressman and David Brannon Smith

Click here to pre-order Jungleland!

Jungleland Review:

The sports drama genre is one of the most frequently revisited and long-lasting in film that, when executed properly can retell the same stories without much ire from critics or audiences, as a heartwarming tale is sometimes all that’s desired from the genre. While Jungleland can certainly be chastised for borrowing story elements from a number of past genre outings, it should more be embraced for its heartwarming welcome of some of the genre’s major tropes and the powerful performances that carry it from start to finish.

Stan (Charlie Hunnam) and Lion (Jack O’Connell) are two brothers struggling to stay relevant in the underground world of bare-knuckle boxing. When Stan fails to pay back a dangerous crime boss (Jonathon Majors), they’re forced to deliver an unexpected traveler as they journey across the country for a high-stakes fighting tournament. While Stan trains Lion for the fight of his life, a series of events threaten to tear the brothers apart but their love for one another and belief in a better life keep them going in this gripping drama that proves family pulls no punches.

The story feels like an odd mish mash of sports movies of the past like The Fighter and Hardball, from its central sibling relationship in the ring to the gambling-addicted nature of Keanu Reeves’ coach looking to get out from under his debts. Utilizing the formulas of these films, the plot of the film doesn’t take very many unexpected twists or turns, from risky run-ins with locals driven by rifts of frustration between the brothers to the only female character turning into a love interest instead of a person with agency and a desire to change their life. But, you know what, it’s honestly the film’s only major flaw.

How many times have we sat down in front of our screens for an underdog sports biopic expecting anything other than a heartwarming tale and been upset when it happens? The answer is never. In fact, it’s the rare instances in which a film delivers a tragic ending that we find ourselves wondering whether to love or hate the tale unfurled beforehand, and even in those that deliver a “loser” finale, they still find a way to leave audiences with something to soothe the heartbreak, be it Rocky and Adrian’s professions of love for one another or Doug “The Thug” Glatt expressing his feeling that he thinks he nailed Ross “The Boss” Rhea in their fight while also suffering some major, potentially career-ending injuries (until the so-so sequel).

What the film truly gets right is the fact that for us to tolerate the familiarity of its story, we as an audience have to have an emotional connection to its central characters and Stan and Lion are truly easy to root for. Clearly struggling with how to get out from under his debts without burying himself further or making it all about himself, Stan is a flawed human that many people can relate to, and thanks to the powerful performance from Charlie Hunnam, it’s a character you want to see grow and improve. Hunnam graces the screen alongside fantastic turns from The End of the F***ing World breakout Jessica Barden, who brings a quiet warmth and subtle snark to her indebted escort wanting to break free, while O’Connell nicely taps into the angst of younger brother Lion looking to bet out from his brother’s shadow, but not in the sport he’s already dedicated much of his life to.

In the end, the familiarity of its story may prove to be too distracting for some viewers, but for those looking for a funny, emotional and heartwarming tale led by Oscar-worthy performances from its three leads, then step into the ring and enjoy Jungleland.

The post Jungleland Review: A Heartwarming & Powerful Embrace of Genre Tropes appeared first on ComingSoon.net.

CS Recommends: Doom Eternal: The Ancient Gods – Part One & More!

Stuck inside? Don’t know what to watch/read/play/listen to? ComingSoon.net has got you covered. In this week’s CS Recommends our staff kicks off gives you solid tips on the best media to consume during your downtime, including Doom Eternal: The Ancient Gods – Part One and more! Check out our picks below!

RELATED: November 3 Blu-ray, Digital and DVD Releases

MAX EVRY’S RECOMMEND: Buck Rogers in the 25th Century

Click here to purchase the complete Buck Rogers box set!

Click here to purchase just the pilot film!

Not long after the runaway success of 1977’s Star Wars, TV producer Glen A. Larson helped ABC rip it off to good effect with Battlestar Galactica. When that show hit, he thought, “Why not just rip off Star Wars again?” So came Buck Rogers starring the rascally Gil Gerard in a reimagining of the pulp character that had gained fame in syndicated comics and movie serials. Gerard’s version of the character is a swinging dick NASA astronaut who is frozen on a space mission and awakens 500 years later in the middle of an intergalactic conflict. The spaceship designs have the same kitbashed look pioneered in George Lucas’ epic, and there’s even a cute robot sidekick named Twiki voiced by Mel Blanc.

While the series lasted for two seasons it hasn’t had the same cultural revival that Galactica has had. Still, it’s a lot of fun, and if you don’t want to revisit the entire series you can simply pop in Kino Lorber’s new Blu-ray of the original pilot movie, which was actually released in theaters and did $21 million worth of business in 1979. The movie is funny, very sexy (hello Pamela Hensley!) and features a lot of recycled or discarded effects and ship designs from Galactica. It was also co-written by Leslie Stevens of The Outer Limits fame.

KYLIE HEMMERT’S RECOMMEND: The Texas Chain Saw Massacre (1974)

Click here to purchase the 40th Anniversary Edition on Blu-ray!

Click here to purchase the 40th Anniversary Edition on Digital!

Tobe Hooper’s 1974 horror film The Texas Chain Saw Massacre will forever be a classic, even if it’s not for everyone. The movie’s brutality is meant to shock and horrify, with the main villain sporting skin masks and savagely killing the group of friends — two of them siblings — who happen to cross paths with Leatherface and his bizarre family that end up being cannibalistic psychopaths. The movie, which kicked off quite the franchise, is available on digital, but if you want to listen to some wild commentary featuring Hooper, director of photography Daniel Pearl, and Leatherface actor Gunnar Hansen, I highly recommend grabbing a copy of the Blu-ray. Not only do they share some fascinating behind-the-scenes info about the making of the movie, but they reveal a few jaw-dropping (and disturbing) truths that reveal just how intense it was filming the project.

GRANT HERMANN’S RECOMMEND: What’s New, Scooby-Doo?

Click here to purchase the first three seasons pack!

Click here to purchase the digital version!

Since his debut in 1969, there have been countless iterations of Scooby-Doo and the Mystery Inc. as they head around the globe solving mysteries, but arguably the best since the original — if not possibly better — is the 2002 revival What’s New, Scooby-Doo? More tonally consistent than other past iterations, paying plenty of homage to the original series’ format while also updating it with wonderful meta-humor, a rocking soundtrack including the still killer theme song performed by Simple Plan and featuring the incredible voice work of Frank Welker, Grey DeLisle, Mindy Cohn, and Casey Kasem, it remains an absolute blast for longtime fans of the franchise and a great intro for those looking to get started.

MAGGIE DELA PAZ’S RECOMMEND: Tremors

Click here to purchase!

Starring Kevin Bacon and Fred Ward, Tremors is set in a small desert town in Nevada where two handymen are getting tired of their current dull setting. However, little did they know, their boring town is about to get much more interesting when they discover the existence of giant worm-like creatures hiding beneath the ground. Now, the duo must band together with a seismologist and the other residents in their town to find a way to escape and survive before the monsters completely devour them all.

This 1990 horror comedy film is definitely an underrated classic which delivers thrilling and entertaining sequences that will leave you on the edge of your seats. It’s a unique storyline and contained setting were two of the highlights of this monster film. I’ve always been a fan of underdog stories where normal people are pitted against seemingly unbeatable foes which I think Tremors does so well. That’s why it’s a shame that the follow-up sequels had failed to live up to the original which might be due to Universal losing the chance to keep its original stars in building up the franchise.

So, if you’re looking for a great creature feature, I highly recommend you check out or revisit Tremors!

JEFF AMES’ RECOMMEND: Doom Eternal: The Ancient Gods – Part One

Click here to purchase on PS4!

Click here to purchase on Xbox One!

In case you needed more Doom: Eternal madness, Bethesda has slapped together a brand new DLC titled Doom Eternal: The Ancient Gods – Part One, which continues the story of the Doom Slayer as he traverses three new blood-soaked levels of demon-packed carnage. Right out of the gate, I’ll say this: if you loved Doom: Eternal, then Ancient Gods will serve as a solid encore. If you hated Doom: Eternal and found the non-stop, in-your-face action more grating than fun, then it’s probably best to stay away. Ancient Gods pulls no punches.

You want Marauders — perhaps the most maddening villain ever concocted for a video game? You got Marauders. Like, a lot of Marauders. Need more Cyber Demons-juiced-up-on-buff-totems? Ancient Gods will give you two, sometimes three, at a time. Have you ever wanted to run around a foggy swamp besieged with acid-spewing plants and invisible Pinky Demons while fighting a Spider Demon possessed by a Spirit that can only be killed with a plasma rifle that runs out of ammo faster than a one-legged man in a butt-kicking competition? Ancient Gods has got you covered! It’s maddening. It’s insane. It’s Doom. And it’s awesome.

The post CS Recommends: Doom Eternal: The Ancient Gods – Part One & More! appeared first on ComingSoon.net.

CS Interviews: Jack O’Connell Talks Jungleland

Max Winkler’s Jungleland is set to make its debut on streaming platforms on November 10. To celebrate, we reached out to one of the film’s stars, Jack O’Connell, to discuss the emotionally charged film. The actor weighed in on everything from his on-screen chemistry with Charlie Hunnam to the difficulties inherent in his role.

RELATED: Jungleland Trailer Starring Charlie Hunnam & Jack O’Connell

Stan (Charlie Hunnam) and Lion (Jack O’Connell) are two brothers struggling to stay relevant in the underground world of bare-knuckle boxing. When Stan fails to pay back a dangerous crime boss (Jonathon Majors), they’re forced to deliver an unexpected traveler as they journey across the country for a high-stakes fighting tournament. While Stan trains Lion for the fight of his life, a series of events threaten to tear the brothers apart but their love for one another and belief in a better life keep them going in this gripping drama that proves family pulls no punches.

The movie also stars Jonathan Majors (Lovecraft Country, Da 5 Bloods), Jessica Barden (Hanna), and Emmy nominee John Cullum (Northern Exposure). Jungleland is directed by Max Winkler (Flower) who co-wrote the script along with Theodore Bressman (Future Man) and David Branson Smith (Ingrid Goes West).

Jungleland is produced by Jules Daly, Kevin J. Walsh, Ryan Stowell, Brad Feinstein. Ridley Scott executive produces.

ComingSoon.net: What drew you to the role of Lion in Jungleland?

Jack O’Connell: I think it was an opportunity to just kind of give a little bit of depth to the fight that he’s in. Some of the best, most full, wholesome personalities I’ve ever come across through being involved in some way in boxing. And there’s real depth to these people. There’s a real magnitude and earth-like quality in the balance. I think it’s probably a result of throwing everything down on the line every time he stepped into a ring. You’re literally risking your life. And the thing that gets trivialized a lot and it’s the thing that gets packaged and presented as entertainment — it’s fucking life or death, man. And I think it was through something about that which really appealed to me.

CS: The crux of the movie is this story between two brothers. Stanley is the best and worst thing for Lion. In a way, before Sky even comes along, Lion knows this and continues to obey. What do you think this says about his character?

O’Connell: I think it’s his lack of voice. He has no voice. He’s got no backup plan. He has like, a job, but it’s not a career. And he’s a gifted fighter. And I think from pretty much before the film begins, I think the dynamic here is a lot — a younger brother that is actually trying to help his older brother by making him feel like he’s helping. You see what I mean? He’s gotten along with his maternal dynamic that his brother has created in order to actually help Stanley feel like he’s got a place in the world. But it means more to Stanley than it means to Lion. And I think one of the interesting parts of the film is as we get to see that. You know, we’re presented with this dynamic, where the older brother is a training figure. There’s a sort of drive and influence of Lion’s career. But the more we learn, Stanley’s actually a hindrance. He’s the reason why Lion is a professional boxer. And I think we see a competent willingness on Lion’s part to go along with that façade for Stanley’s sake. That’s what I’m interested in.

CS: Then you throw Sky into the mix, who helps open his eyes to his situation.

O’Connell: Well, yeah, she cuts through the crap. She cuts through the crap, for I think the first time. And she gives Lion this, for the first time, she gives him a capability of feeling like himself and feeling like his human form, not the animal that gets thrown into the pit in order to make money. She makes him feel this human form. And it’s a confirmation for Lion. And I think that is the beauty of Sky to Lion, is this mysterious, mysterious character, seeing him for him.

CS: Talk about the on-screen chemistry between the three of you. Was that difficult to achieve?

O’Connell: No, it wasn’t difficult. You’ve just got to spend the time. You’ve just got to spend time and if you’re going to go on camera as brothers — and it can be another way too — it has to have been nurtured, in a way. You need to spend time; we had the common interests of the gym — we would train a lot — and that was benefitting what we were going to do on camera. We’d eat together. We’d hang out and we’d suss out a dynamic between us, which in this case, fortunately, it worked for the movie as well.

CS: What sort of training did you have to undergo to get into this character?

O’Connell: I just boxed, boxed and boxed. I went to the gym every day and trained. The only difference was I wasn’t sparring anymore because it’s not really wise to risk getting your nose broke in a sparring match a couple of weeks prior to shooting. So that was the only real difference.

CS: So would you say it’s apt to call Jungleland the anti-Rocky?

O’Connell: I’m not sure. I’m going to say this. I don’t think Jungleland and Rocky should be mentioned in the same breath. And here’s why. Partly because of the budget. And secondly, like this is a bareknuckle boxing movie. I think it gives you a license to be separate from any of the kind of boxing movies that we used to see. It’s just set in a bare knuckle world, which is still pretty far removed from boxing. You know, the boxing version of this film, to my mind, is probably a little less interesting. You have these guys here who are working within the illegitimate darkness of the fighting.

CS: You’ve worked with directors such as Angelina Jolie and Jodie Foster, among others. How was Max Winkler’s style different from theirs?

O’Connell: Yeah, I mean, listen, Max just had a total willingness to sit with us on set and — personally, he made me feel like I was in the driving seat when I was portraying Lion. And he instilled this feeling with me or within me that I couldn’t do any wrong, which is great, but it’s not necessarily true, because we’re all going to make mistakes. I love Max’s style. I love his style. He’s very personal. And yeah, I love his style. And I think he’s got a beautiful, beautiful movie out of it.

CS: How difficult are these types of roles to play? Do they drain you as an actor?

O’Connell: Yeah, of course, man. Look, if I ever wrap a film and I don’t feel drained, then something’s wrong. So that’s a given. With this, for me, look, we’re delving into a world which is — by the time we see it — take boxing, right? By the time we see it, all the emotions been removed. You see two fighters talking shit to each other, you see them in the ring. Emotion only comes in after the final bell, and we got to explore that. Where is the emotion? Where are the injustices? Where are the chinks in the relationships? Where does it flourish? Where was the glory? Where is the reward? And then, what’s the cost? You see what I mean? So in a world that has usually been void of real emotion until the final bell, we were able to explore it sort of a little bit of a behind the scenes on the reality.

CS: What do you think this film ultimately says about our capacity for perseverance, even in the most dire of circumstances?

O’Connell: Difficult question, man. Yeah, I think in Lion’s case, he’s able to discover it through. He’s able to discover it through — and he’s at an interesting stage in his life, where he’s a man. He’s a man. And whatever discoveries he’s made by this point, he’s going to take on for the rest of his life. That’s the man that he’s becoming. And that’s the time we catch him at. He’s going to be his family or is he going to be his own self? So I think in answer to that, man, I think through wherever you can find truths. And it’s not always obvious. But wherever you can find the truth, that’s the direction you want to be in.

CS: What do you want audiences to take away from Jungleland, specifically?

O’Connell: Yeah, I want audiences to look at Jungleland and be blown away. I want them to feel only ecstasy from the journey that is taken throughout this sort of industry that they’re in. But I also want them to understand the emotional cost. There’s a great speech from Lion. It was great when I read it, about the cost of what he’s having to do. He’s being used. He’s being used. And so, we have Sky, who’s being human trafficked. There’s such a usage of these people that I think, I mean, unless you’re involved in these very sordid, seedy worlds, I think just that awareness — an awareness that, you know, it’s very rarely a choice. It’s very rarely a choice.

The post CS Interviews: Jack O’Connell Talks Jungleland appeared first on ComingSoon.net.

ComingSoon.net’s Favorite Sean Connery Lines

Last weekend we learned of the passing of movie great Sean Connery, who died peacefully in his sleep at the age of 90. The man was a legend, and just to remind you of his greatness, we pulled together our favorite Connery movie lines. Feel free to share yours in the comments below!

“You cannot die, MacLeod. Accept it.”

Highlander (1988)

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“You’re the man now dawg!”

Finding Forrester (2000)

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“Now, are you sure you want to have a fight? Because I’m only going to use my thumb.”

The Presidio (1988)

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“I am the last one!”

Dragonheart (1996)

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“Hey, Ryan, be careful what you shoot at. Most things in here don’t react too well to bullets.”

The Hunt for Red October (1990)

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“Indiana … Indiana … Let it go.”

Indiana Jones and the Last Crusade (1989)

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“Losers always whine about their best. Winners go home and f**k the prom queen.”

The Rock (1996)

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“You wanna get Capone? Here’s how you get him. He pulls a knife, you pull a gun. He sends one of yours to the hospital, you send one of his to the morgue. That’s the Chicago way. And that’s how you get Capone!”

The Untouchables (1987)

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“Bond. James Bond.”

Dr. No (1962)

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The post ComingSoon.net’s Favorite Sean Connery Lines appeared first on ComingSoon.net.

Rating: 

8/10

Cast:

Marin Ireland as Louise

Michael Abbott Jr. as Michael

Xander Berkeley as Priest

Lynn Andrews as Nurse

Julie Oliver-Touchstone as Mother

Michael Zagst as Father

Tom Nowicki as Charlie

Written and Directed by Bryan Bertino

Click here to rent or purchase The Dark and the Wicked!

The Dark and the Wicked Review:

Ever since his popular debut The Strangers, writer/director Bryan Bertino has frequently explored the idea that pastoral life may not be as idyllic as it seems to be, that being away from the city can help one avoid the evils of the world, putting it in familiar horror genre formulas and stories and his latest effort, The Dark and the Wicked, certainly continues this filmmaking approach with mostly shocking results.

On a secluded farm, a man is slowly dying. Bedridden and fighting through his final breaths, his wife is slowly succumbing to overwhelming grief. To help their mother and say goodbye to their father, siblings Louise (Marin Ireland) and Michael (Michael Abbott Jr.) return to their family farm. It doesn’t take long for them to see that something’s wrong with mom, though—something more than her heavy sorrow. Gradually, as their own grief mounts, Louise and Michael begin suffering from a darkness similar to their mother’s, marked by waking nightmares and a growing sense that something evil is taking over their family.

Between Natalie Erika James’ Relic, Jayro Bustamente’s La Llorona and The Pierce Brothers’ The Wretched, audiences have been treated to a real swathe of emotionally-driven horror films of families broken down by the slow, creeping invasion of an evil force, be it mental illness, past sins coming back or something far sinister, and The Dark and the Wicked really doesn’t feel that different from the bunch with its narrative. Centered on siblings returning to their family farm in the wake of a slowly-dying father and increasingly-maddening mother, the setup for the film feels rather generic and uninvolved, giving viewers no real time to connect with the characters before plunging them even further into terror.

What helps set the story apart from other similar genre outings of late, however, is simply how quick it’s willing to dive into events that align with its chilling title. Even with a runtime of just 93 minutes, Bertino doesn’t elect to go for an ominous and slowly-paced piece but rather runs right into delivering some truly shocking moments. From food prepping turned bloody to a horrifying loss and consistent visits by an unknown evil entity, Bertino keeps viewers invested in the tale by putting his foot down on the gas pedal and rarely letting up on the dreary nature of the story, including the horrendous sight of a field of slaughtered animals, even if the shot is from a distance that leaves some of its grislier elements to the viewers’ imaginations.

That being said, however, the story still proves to be the biggest flaw of the film as Bertino can’t quite seem to find the right balance of tapping into his themes of grief and fears of death with the horrific events throughout. He certainly presents these themes in a promising manner and makes an effort to explore them, but in what appears to be a desire to shock his audience more than to try and have them reflect, it loses its way and can never seem to find the right path for both.

Even when the story is faltering, however, the film remains compelling solely for the lead performance of star Marin Ireland as the torn human Louise, as well as a strong supporting turn from Michael Abbott Jr. as brother Michael, ready to run and put the whole farm in his rear view despite his desire to be a proper family man for his birth and married families. Both bring a really deep and authentic humanity to their roles that make every revelation and shock all the more devastating to watch and should propel them both to more leading roles.

Overall, The Dark and the Wicked may not be the most original genre effort out there, leaving many of its themes high and dry in favor of some truly dreadful shocks, but thanks to doing the latter effectively and the compelling performances from its leads, it proves to be another successful outing from writer/director Bertino.

The post The Dark and the Wicked Review: A Familiar Yet Dreadful & Shocking Tale appeared first on ComingSoon.net.

CS Video: Kindred Interview With Stars Lawrance, Lowden & Shaw

ComingSoon.net got the opportunity to chat with Tamara Lawrance (The Long Song), Jack Lowden (Small Axe) and three-time Emmy nominee Fiona Shaw (Killing Eve) to discuss their work on the psychological thriller Kindred. Our interview can be viewed in the player below, while the film can be rented or purchased here!

RELATED: IFC Midnight Unveils First Trailer for Psychological Thriller Kindred

Written by Joe Marcantonio and Jason McColgan and directed by Marcantonio in his feature directorial debut, the film follows vulnerable mother-to-be Charlotte (Lawrance) as she is taken in by her recently deceased boyfriend’s mother (Fiona Shaw) and her stepson (Jack Lowden), who seem increasingly obsessed with her every move. Plagued by mysterious hallucinations, Charlotte’s suspicions grow about Margaret and Thomas’ intentions for her unborn child.

Kindred is led by exquisite performances from break-out star Lawrance, BAFTA Award nominee Jack Lowden (Dunkirk, Fighting With My Family), BAFTA Award winner and Emmy nominee Fiona Shaw (Killing Eve, Harry Potter franchise) and Edward Holcraft (Kingsman franchise, The Sense of an Ending) who further elevate the expertly crafted atmosphere of this emotional thriller rippling with suspense.

The film is produced by Dominic Norris and Lowden, with cinematography by Carlos Catalan, production design by Derek Wallace, editing by Fiona DeSouza, composition by Natalie Holt, Jack Halama, costume design by Natale Humphries and makeup and hair Design by Bean Ellis.

RELATED: CS Interview: Loretta Devine on Return to Horror in Spell

Kindred is now in select theaters and is available to rent or purchase on digital platforms and VOD!

The post CS Video: Kindred Interview With Stars Lawrance, Lowden & Shaw appeared first on ComingSoon.net.