Generic – Page 77 – Movie Retakes

Into the Spider-Verse Suit Revealed in New Miles Morales Gameplay!

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Into the Spider-Verse suit revealed in new Miles Morales gameplay!

As a special Halloween treat for fans, Insomniac Games has unveiled new gameplay footage from the highly-anticipated Spider-Man: Miles Morales revealing the inclusion of the titular hero’s suit from the Oscar and Golden Globe winning Spider-Man: Into the Spider-Verse, which sees a stylish drop in framerate solely on the character to tap into the comic book panel feel of the film. The footage can be viewed in the gallery below!

Since its announcement earlier this summer, there’s been a lot of debate and discussion as to whether the game would be an extended piece of downloadable content or an actual standalone title and after previously confirming it in June, Insomniac Games’ creative director Bryan Intihar recently expanded that it is indeed its own game but is a shorter spin-off akin to Uncharted: Lost Legacy or Wolfenstein: The Old Blood. However, he still assured fans that “it has a lot of heart” with the game’s creative director Brian Horton promising “this is a full arc for Miles Morales that started in Spider-Man.”

“We really are completing this hero’s coming of age in our game. It is a complete story,” Horton previously explained. “When we started crafting it we realized that, with a little bit more of a compact storytelling style, we could tell a very emotionally impactful story that would fit really well as an experience that would take Spider-Man 1 and [Miles Morales] and do justice to this character.”

Click here to pre-order the next webslinging title from Insomniac Games!

The Brian Michael Bendis and Sara Pichelli-created character originally appeared in Insomniac’s 2018 game as a playable character, though it wasn’t until the end of the primary story mode of the game in which Morales was bitten by a radioactive spider, therein setting up the long-rumored sequel.

Insomniac’s 2018 game was a surprise smash hit upon release, earning praise for its dynamic narrative and character development alongside its combat and web-swinging traversal mechanics, with only mild criticisms being directed at the open-world design of the game. It was compared favorably to Rocksteady Studios’ Batman: Arkham game series and has been frequently named one of the best superhero games ever made and became one of the fastest-selling games of the year and one of the best-selling PlayStation 4 games of all time.

Marvel’s Spider-Man: Miles Morales is set to hit shelves for PlayStation 4 and PlayStation 5 in select markets on November 12, followed by a November 19 international release for the latter console.

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Banks, Weaver, Mara & Friend Sign on To Lead Call Jane

Banks, Weaver, Mara & Friend sign on to lead Call Jane

After attempting to develop the film last year with Elisabeth Moss (The Invisible Man) and Susan Sarandon (Ray Donovan) leading the charge, women’s rights drama Call Jane is getting another shot at life as Elizabeth Banks (Charlie’s Angels), Sigourney Weaver (Avatar), Kate Mara (House of Cards) and Rupert Friend (Homeland) have signed on to star in the drama, according to Deadline.

Written by The Resident co-creators Hayley Schore and Roshan Sethi, the story centers on Joy (Banks), a traditional ’60s housewife who unexpectedly becomes pregnant and learns about an underground abortion movement know as the Janes led by Virginia (Weaver), who saves her life and gives her a sense of purpose in helping women take control of their destinies.

“Call Jane was made for these times – and I have never felt more passionately that our culture is ready to embrace its call for decency, for community, for good will and humor in all things – and above all, its call for necessary change,” director Phyllis Nagy (Carol) said in a statement.

The Blacklist script project was previously in development in early 2019 with Moss and Sarandon attached to lead the cast, but after scheduling issues continued to abound, both actresses bowed out but the story has been a big enough draw to find a new ensemble roster for its tale. The film is set to be produced by Robbie Brenner alongside Kevin McKeon and David Wulf, with Schore and Sethi attached as executive producers with Lee Broda, Erica Kahn and Judy Bart while Leal Naim and Thomas R. Burke are set to co-produce.

“As a woman and a mother of two girls, I feel like the time is now and the moment essential to bring a film like Call Jane into the world. With such cultural uncertainty and when so many of our rights as women are under siege, I know that telling this important story couldn’t be more timely or necessary, and I couldn’t be more thrilled to collaborate with such an extraordinary group of creative and strong women at the helm,” Brenner said in a statement.

Production on Call Jane is being eyed for next spring, with Protagonist Pictures handling international sales for the feature.

(Photo Credits: Getty Images)

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Scott Derrickson Tapped to Helm Blumhouse & Universal’s Black Phone

Scott Derrickson tapped to helm Blumhouse & Universal’s Black Phone

Since departing the highly-anticipated Doctor Strange sequel, Scott Derrickson has lined up a number of major projects for himself and now has expanded his roster as he has signed on to co-write and direct the horror-thriller Black Phone at Blumhouse and Universal Pictures, according to Deadline.

Based on the 2004 novella of the same name from Joe Hill, who will also executive produce the film, the logline for the source material reads as follows:

Imogene is young and beautiful. She kisses like a movie star and knows everything about every film ever made. She’s also dead and waiting in the Rosebud Theater for Alec Sheldon one afternoon in 1945. Arthur Roth is a lonely kid with big ideas and a gift for attracting abuse. It isn’t easy to make friends when you’re the only inflatable boy in town. Francis is unhappy. Francis was human once, but that was then. Now he’s an eight-foot-tall locust and everyone in Calliphora will tremble when they hear him sing. John Finney is locked in a basement that’s stained with the blood of half a dozen other murdered children. In the cellar with him is an antique telephone, long since disconnected, but which rings at night with calls from the dead.

Click here to purchase Hill’s novella!

In addition to directing the project, Derrickson is adapting the story with frequent collaborator C. Robert Cargill, both of whom will be reuniting with Blumhouse following their fan-favorite 2012 box office hit horror film Sinister starring Ethan Hawke, which the two wrote together and Derrickson helmed. The film’s box office success spawned a sequel the two wrote together but handed the directorial duties off to Ciaran Foy, though it would see lower box office returns and was panned by critics and audiences alike.

Derrickson and Cargill will produce the project via their Crooked Highway Productions banner alongside Jason Blum for his eponymous production banner, while Universal and Blumhouse will distribute. Black Phone has also already begun building its cast as Mason Thames (For All Mankind) and Madeleine McGraw (Toy Story 4) have both signed on to star in the film.

(Photo Credit: Frazer Harrison/Getty Images)

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Focus Features Sets Justin Chon’s Blue Bayou for Summer 2021 Release

Focus Features sets Justin Chon’s Blue Bayou for summer 2021 release

Just a few months after acquiring the rights to the drama at the virtual Cannes Film Festival, Focus Features has set a summer 2021 release date for the timely Justin Chon (Gook) written/directed/starring film Blue Bayou, according to The Hollywood Reporter.

Written and directed by Chon, who won multiple festival awards for his 2019 written/directed drama Ms. Purple and 2017 written/directed/starring/executive produced project Gook, Blue Bayou stars Chon alongside Academy Award winner Alicia Vikander (The Danish Girl), Mark O’Brien (Arrival), Linh Dan Pham and Emory Cohen (Brooklyn).

Blue Bayou tells the heartbreaking story of Antonio LeBlanc, a Korean adoptee raised in the United States who is forced to confront his distant past and what it means for his own future and his family’s when he unexpectedly faces deportation.

“Justin’s ability to open our eyes to new perspectives by celebrating our shared humanity is more vital now than ever before. We’re so proud to help bring his voice to the world and to reunite with Alicia along with the brilliant teams at eOne and MACRO,” Focus Features chairman Peter Kujawski previously said in a statement.

The film was financed by MACRO and eOne. Producers are Chon, Charles D. King (Mudbound), Kim Roth (Tigertail), and Poppy Hanks (Sorry To Bother You).

Clara Wu, eOne’s Nick Meyer, Zev Foreman, and Eddie Rubin are executive producers. Greta Fuentes of MACRO and Yira Vilaro are also co-producers. Focus Features will distribute the film in the U.S. and Universal Pictures International will distribute internationally.

(Photo Credit: Matt Winkelmeyer/Getty Images For Sundance)

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CS Soapbox: Freddy, Michael & Jason: Why We Can’t Seem To Let Them Die

A serial killer (wearing James T. Kirk’s face), Elm Street’s disfigured midnight mangler, and the boy (with an overbearing mother) who drowned at Camp Crystal Lake. According to our recent poll, Michael Myers, Freddy Krueger, and Jason Voorhees are the greatest slasher icons of all-time. This comes as no surprise. Despite horror’s Jackson Pollock subgenre, slasher, dating back to Psycho and Black Christmas (arguably), John Carpenter’s Halloween (1978) jump-started the slasher movement, paving the profitable way for A Nightmare on Elm Street and Friday the 13th.

Halloween is an independent film. That said, Carpenter did not own the rights to Michael Myers. As of Halloween 2020, there have been 11 Halloween films, 11 Friday the 13th outings, 8 Nightmares, and one Freddy vs. Jason crossover. As supernatural beings, Jason has been “killed” 3 times, Freddy twice, and Michael has never bit the dust. After being shot, stabbed, and burned (among other things), they keep coming back to slaughter another round of young-adults in sequels or remakes—we just can’t seem to let them die.

There are other notorious serial killers/stalkers like Chucky (recently rebooted), Leatherface, and Ghostface that keep coming around. Still, they’re not quite as iconic as the reigning champs (which we’re using as the paragon here). Wes Craven’s Scream certainly modernized the slasher genre in unexpected/borderline whodunnit ways, but Ghostface is just a mask, donned by many different people. There’s only one Jason, Freddy, Michael, and everyone wants to be like Mike.

Since Scream, has there been any notable (and by notable, I mean profitable) slashers? Thumbing through that mental IMDB, your mind undoubtedly wanders to either The Texas Chainsaw Massacre (2003) or Rob Zombie’s 2007 remake of Carpenter’s Halloween. The financial success of the latter resulting in, of course, remakes of Friday the 13th (2009) and A Nightmare on Elm Street (2010). It’s as if history is determined to repeat itself. To quote Bad Boys, “we ride together, we (never) die together, [slashers] for life.”

The bulk of the Halloween, Friday the 13th, and Nightmare franchises have been panned by critics. As the kill count goes up, and the mythology grows, a ridiculous (and inconsistent) storyline has linked one sequel to the next, trudging further and further away from the spirit of their respective debuts. Do we not respect slashers enough? Hollywood’s ugly stepchild? When a bad Star Wars or beloved comic book sequel/spinoff is made, audiences freak out. The backlash is often so intense that the studio’s fear and trepidation moving forward becomes palpable (for better or worse). Maybe this next-gen slasher revival will change everything.

Following the recent horror resurgence on the small screen, and with the help of Carpenter, David Gordon Green brought us the soft reboot/sequel to the original, 2018’s Halloween. As you know, it was a critical and commercial hit. The new teaser for its sequel, Halloween Kills, recently released, foreshadowing a future filled with Friday the 13th, Nightmare, Scream, and Texas Chainsaw revivals as well. It’s 1978 all over again. Hopefully, this time, quality supersedes quantity.

This round of slashers might break the periodic resurgence of Michael, Jason, and Freddy. The reason those guys kept popping up is that iconic slashers, that abide by their simplistic hack n’ slash rules, don’t really exist anymore. Horror is evolving into something more cerebral (or at least it should). It’s more about mystery/elaborate torture than jump scares, gore, and brute force. 2018’s Halloween was a perfect combination of old and new, capitalizing on nostalgia while implementing just enough story. Still, audiences want to be challenged intellectually. We don’t necessarily want to know who the killer is right away (the first Friday the 13th did this very well).

So why is it that we just can seem to let them die? Money, duh. You know this. Slashers aren’t superhero movies. Creating a new slasher antagonist is as risky/hard as, well, coming up with (and funding) any original idea outside of the superhero, sci-fi, fantasy, or action genres. While it’s disconcerting to see memories dragged through the mud for the sake of a paycheck, this time, it might be different.

The Halloween, Friday the 13th, and Nightmare revivals of this decade should be solid. However, if they’re not, Hollywood shouldn’t wait just long enough for us to kind of forget and then bring them back, they need to let them die. Let equally vicious yet modern icons manifest, inspired by elements of the slasher, Elm Street’s resident dream walker, and that zombie goalie. Those guys have been waiting to burn in Hell for years.

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Beck & Woods’ 5 Favorite Horror Screenplays

Beck & Woods' 5 Favorite Horror Screenplays

Beck & Woods’ 5 Favorite Horror Screenplays

While speaking with the Haunt filmmakers and A Quiet Place writers about Haunt’s new two-disc Blu-ray Collector’s Edition (available here), ComingSoon.net had the chance to ask Scott Beck and Bryan Woods what they think the five best horror screenplays are. The duo was gracious enough to dive into the horror scripts that landed at the top of their list, including Alien, The Sixth Sense, and more, which you can check out below!

Woods: Okay, so immediately at the top of the list we have to go with Alien as a screenplay. And it would be the Walter Hill/David Giler draft of the script originally written by Dan O’Bannon. It’s so terrifying, obviously we know how scary it is. It’s an absolutely frightening concept that is treated so seriously. But the prose on the page is what makes the script next level, it’s that kind of Walter Hill… almost written in haiku form. It’s these small tiny sentences and they just tick by one by one, very engaging, very quick read, very sparse. You can argue it adds to the claustrophobia of the movie itself. That is such a brilliant screenplay.

Beck: Number two would be The Sixth Sense. That’s a script that captivated us, just the use of language that Shyamalan commands in terms of painting active scenes. One of the first lines is like, “a naked light bulb sparks to light.” Just the description of that draws me in. Outside of the mastery of the story unfolding, it’s just the use of language to really evoke the character drama behind it that is not just scary, but it’s scary because you’re so invested in what these characters really feel.

Woods: This is a boring answer, but Se7en is one of our favorite screenplays. Forcefully written by Andrew Kevin Walker, so terrifying, brilliant high concept and then the idea of just revealing the killer halfway through and then dealing with the ramifications of that, super smart.

Beck: It’s weird because I consider this a horror movie. I’m not sure everybody would, but Nightcrawler by Dan Gilroy. On the one hand it’s the writing style, it’s so sparse and scary in a similar way to the Alien draft. But the way that it draws you in with that language in terms of the darkness, not just of the environment, but also the character. You’re feeling on one hand sympathetic, or at least you’re understanding where Jake Gyllenhaal’s character is coming from. But at the same time, it draws you in to the degree that you feel like you sided with a psychopath. I remember reading that script and wondering what the hell is wrong with me by the end of the read that I had been rooting for him.

Woods: Let’s go to Zodiac. So Zodiac by James Vanderbilt is one of the greatest scripts of all time. It’s amazing both because it’s almost like a newspaper movie like All the President’s Men where you hear people talking over the phone, in person… okay, which is amazing, but when the horror scenes hit, they are terrifying. You have the basement scene in the middle of the film, where Gyllenhaal is investigating a lead and he winds up in a basement. It’s just so meticulously set up for you to know that everything that’s happening is wrong and off-putting. I want to say we’ve read three different drafts of that script and they’re all good and it’s a great supplement — scripts are a great supplement to the movie.

The movie is basically a sprawling investigation of the Zodiac killer and the detail and the madness and the obsession that the movie is dealing with dramatically translates to us as readers and fans of the script, where we had to obsessively pour over every draft we could get our hands on. That is a master class in screenwriting. Scott and I became obsessed with the Zodiac in high school and college. It’s like one of those cases that is easy to get obsessed with it. Jamie captured that in the script. His passion was in the DNA of the script and in the DNA of the movie, and that’s pretty cool.

What are your favorite horror movie screenplays? Sound off in the comments below!

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Exclusive Dating Amber Clip From Samuel Goldwyn Films’ New Comedy

Exclusive Dating Amber Clip From Samuel Goldwyn Films' New Comedy

Exclusive Dating Amber Clip From Samuel Goldwyn Films’ New Comedy

ComingSoon.net has an exclusive clip from Samuel Goldwyn Films’ upcoming comedy romance drama Dating Amber, written and directed by David Freyne (The Cured). You can check out the clip now in the player below and pre-order the movie here!

In Dating Amber, a closeted gay teen and his lesbian counterpart pretend to be a couple to avoid suspicion.

The movie stars the ensemble cast of Fionn O’Shea (Handsome Devil, Normal People), Lola Petticrew (Wolf, A Bump Along the Way), Sharon Horgan (Military Wives, Game Night), and Barry Ward (White Lines, Extra Ordinary).

Samuel Goldwyn Films will release the film On Demand and on Digital on November 10, 2020.

The post Exclusive Dating Amber Clip From Samuel Goldwyn Films’ New Comedy appeared first on ComingSoon.net.

CS Interview: Tobin Bell on Retro Horror Pic The Call

CS Interview: Tobin Bell on retro horror pic The Call

Just in time for the film’s digital debut, ComingSoon.net got the opportunity to chat with horror genre legend Tobin Bell (Saw franchise, Belzebuth) to discuss his role in the retro-vibe genre pic The Call in which he stars alongside fellow genre legend Lin Shaye (Insidious franchise)!

ComingSoon.net: So this film is just about as fun as Belzebuth, it’s got a nice retro vibe to it, but what about The Call really drew you to the project?

Tobin Bell: It was the long scene with the kids. You do things for different reasons, sometimes it’s the location, sometimes it’s the actors you’re working with, sometimes it’s the money, sometimes it’s the director, and sometimes it’s the script. In this case, there was this wonderful challenge to make the scene in the house with the kids, which is a very long scene, be organic and seem real and how to make how to play off of each individual kid. You know, these are, these are wonderful challenges and hurdles to overcome. So sometimes I do things because I’m like, “I think I can make this work if I can get the physical logic down and the timing,” right? I can make this seem like it’s his house and his moment. If I’ve done my preparation properly and created the elements properly, this can be fun, snd so that’s why I did The Call, plus I thought the script was good, and I love one of those group of young actors in something, and you’re going to get to deal with them all the time and pick up their vibe. You know, it’s always a great thing. So that’s the answer to your question is I’m gonna overcome this hurdle, plus, I had a car payment [laughs].

CS: So since you mentioned picking up on each kid’s vibe and playing off of them, did you find that you got to do that a lot in rehearsal or did a lot of that come from doing the scenes in front of the cameras?

TB: You know, casting has a great deal to do with that. If people are cast, like you pick up their vibe almost right away, because the casting director picked up that same vibe. In this case, there’s Tonya, and she’s kind of a loose cannon in a certain way, and then there’s Zack, the sort of good looking guy, and then there’s a nerdy guy, and then there’s the role Chester Rushing plays and so mostly, you get it from just their persona, you know, you walk up and shake their hands, and if they’re cast properly, you get exactly why they were cast as that character from the moment you meet. You can minimize risk by perfect casting, and in this case the film was cast really, really well. You know how it is, you meet someone in a restaurant or something in real life and pick up a vibe from from them right away. Well, not only do these kids have that vibe, personally, but they needed to have it to play who they were playing in the film, so that’s a testament to the casting. They were very energetic, very attentive, very dedicated to what they were doing and when you have young actors, they’re always so enthusiastic to be there. You know, they’re starting their career and they’re working with people that they’ve seen in films. So that’s exciting on both sides of the equation, you know, it’s exciting for me, and, and for them.

CS: Speaking of fantastic casting, we finally get to see you paired with Lin, who told me a little joke about how James Wan was like both of godfathers for the horror genre, what was it like finally getting to work with her?

TB: It was great, I mean, I had never met her before and I wasn’t that familiar with her work. But I knew that she had worked with Leigh Whannell and also with James and I also knew how dedicated to the craft she is. So that was encouraging and it’s great to work with, I really liked what she brought to the moments.

Click here to rent or purchase The Call!

CS: There’s a really warm rapport between you two when things aren’t going in the scary direction, what was it like building that rapport between you two?

TB: Well we barely knew each other, and really in the end, the camera sees everything. So if we were at all reticent or nervous, or whatever, on more uncomfortable, awkward, whatever the camera will see that. So fortunately, Lin likes to connect and I felt an immediate willingness and hunger on her part to connect with me and to that the camera sees that too. So that was both welcome and and refreshing and very encouraging, because, you know, I had only met her like 15 minutes before we started acting together. So the human element becomes hugely important and the fact that she’s willing to let her defenses down, and me too, and her guard down, and me too, makes it easier to make that instantaneous connect that was required for the relationship between each of them. The kind of training that Lin has and the way she honors the acting profession, those are the kind of people you want to work with. People who respect to the profession that we’re in and are so dedicated to it and have such have the kind of skills that Dublin has had for so many years, it’s always a treat. Whenever you’re cast in something, the actors that you’re with makes a difference, andso it it was a joy to play her, her husband in The Call and and to be part of that whole project, and I’m really glad it’s, it’s gonna be streaming at the end of the month, I’ve talked to a lot of people that saw it and drive-in theaters and they loved it. They loved being out of the house and sitting in sitting with the big screen in front of them. It’s a lot of fun to see it that way.

CS: After making the rounds at drive-ins earlier this month, the film’s now coming to digital platforms, how do you feel about the release model for it?

TB: You know, I think it’s great. I mean, obviously we’ve been trapped in this bubble since February and where are we now, almost November. Any way that we can, you know, stay safe and not endanger people, but go on with life and with the living of life, particularly when it comes to performing arts. Because performing arts, except for streaming and that sort of thing, I mean, I’m particularly gratified that on October 30, that The Call will be available on multiple platforms that people can enjoy at home, but I’m very concerned about what’s going to happen to Broadway, Off Broadway, what’s going to happen to, you know, the Old Vic in London, and theaters that are a huge cultural resource on the performing artists. If you depend on streaming, I mean, I’m not going to mention companies, musicians are having a horrible time making money on their music, the only way you can make money is is in touring, and now they can’t tour, you can’t be in any performance space. I think we’ve got to figure out a way to overcome that, and obviously I don’t have the answer, because I’m not a scientist. But we’ve got to pay attention to what the scientists tell us about this whole COVID thing, but I’m very concerned, there is nothing more important than the performing arts from a cultural point of view. What we’re doing to children, you know, not being able to go to school, not being able to participate in sports and do the things that make growing up so vital to the development of human beings. We can’t do that anymore. I’m really concerned about all of that. I suppose a lot of people are so I’m not speaking out of turn here, I’m not saying that we shouldn’t be being careful. We should, so I don’t have the answer, I’m just really worried about the performing arts, because of the necessity of keep distance. What we’re told is the necessity, which I believe in.

CS: So, to look away from the film for a moment, next year we hopefully will see the return of the Saw franchise with Spiral, can you tell me your thoughts on the next installment in the series?

TB: It’s kind of hard for me to talk about it, but I can tell you this. If it came out of Chris Rock’s mind, it’s probably gonna be worth seeing. So that’s as much as I’m gonna say [chuckles] I’m gonna say he’s a pretty creative guy and a valued artist.

Four Friends. One Phone Call. 60 Seconds to Stay Alive. In the fall of 1987, a group of small-town friends must survive the night in the home of a sinister couple after a tragic accident occurs in The Call. Needing only to make a single phone call, the request seems horribly ordinary until they realize that this call could change their life…or end it. This simple task quickly spirals into terror as their worst nightmares become reality as they enter the realm of The Call.

This spine-tingling tale stars horror icons Shaye and Bell alongside Chester Rushing (Stranger Things), Erin Sanders (Big Time Rush) and Judd Lormand (SEAL Team).

“Pairing Tobin and Lin, or Saw’s Jigsaw and Insidious’ Elise Rainier as they’re known to horror fans around the world, brings so much terror to the screen,” Emmy-nominated director Timothy Woodward Jr, said in a statement. “Their chemistry is undeniable, and the power of their scenes splinters off, creating this dark, macabre world these characters are forced to survive in.”

Directed by Woodward Jr., The Call was written by Patrick Stibbs and produced by Final Destination creator Jeffrey Reddick, Stibbs, Zebulun Huling, Gina Rugolo and Randy J. Goodwin. Executive Producers include Nicolas Chartier, Jonathan Deckter, Matthew Helderman, Joe Listhaus, Drew Ryce, James Shavick, Kirk Shaw and Luke Taylor. Co Producers include James Cullen Bressack and Chaysen Beacham.

The Call is now available on digital platforms and premium VOD!

The post CS Interview: Tobin Bell on Retro Horror Pic The Call appeared first on ComingSoon.net.

Elisha Cuthbert & Eoin Macken to Lead Horror Pic The Cellar

Epic Pictures has announced its upcoming Irish horror-thriller The Cellar has begun building its cast with the additions of Elisha Cuthbert (The Ranch, Happy Endings, 24) and Eoin Macken (Stumptown, The Forest, The Night Shift).

Written and directed by Brendan Muldowney (Pilgrimage), the film tells the story of Keira Woods (Cuthbert), whose daughter mysteriously vanishes in the cellar of their new house in the country. Keira soon discovers there is an ancient and powerful entity controlling their home that she will have to face or risk losing her family’s souls forever.

“I’m very excited to be working with such a talented cast and crew to bring the world of The Cellar into people’s nightmares,” Muldowney said in a statement.

Principal photography of the horror film set to begin in Roscommon, Ireland in November, with support from Screen Ireland, Epic Pictures, BCP Asset Management, The Wrap Fund and Wallimage, BNP Paribas Fortis Film Finance, VOO & BETV. Epic Pictures will spearhead sales for the film at this year’s American Film Market (AFM).

“Some nightmares are meant to be shared with the world,” Executive Producer Patrick Ewald of Epic Pictures said in a statement. “The Cellar is perhaps the darkest one. The incredible combination of director Brendan Muldowney, producers Conor Barry and Richard Bolger, along with Elisha Cuthbert and Eoin Macken make this unique and riveting horror story something special to capture the attention of buyers at AFM and audiences around the world.”

The Cellar is an Irish/Belgian co-production with Conor Barry of Savage Productions (A24’s The Hole in the Ground) and Richard Bolger of Hail Mary Pictures serving as producers. It is co-produced with Benoit Roland from Wrong Men Films in Belgium. Patrick Ewald of Epic Pictures, Lesley McKimm, Screen Ireland and Patrick O’Neill, Wildcard Distribution are Executive Producers on the project. Production investment was provided by Screen Ireland, Epic Pictures, BCP Asset Management, The Western Region Audiovisual Producers Fund / WRAP Fund and Wallimage, BNP Paribas Fortis Film Finance, VOO & BETV.

(Photo Credits: Getty Images)

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New Plot & Visual Effects Details Revealed for The Suicide Squad

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New Plot & Visual Effects Details Revealed for The Suicide Squad

While its ensemble roster of new and returning characters has been known for a while, the story for the highly-anticipated The Suicide Squad has gone mostly unknown for months now and finally in a new interview with Empire Magazine, new details have been revealed for the latest DC Extended Universe installment. (Via SlashFilm)

Producer Peter Safran revealed that the film will see the titular team head to a fake Latin American island named Corto Maltese, an island frequently used in the small-screen Arrowverse, and will establish the film’s overall goal for the squad as they “have to destroy a Nazi-era prison and laboratory named Jotunheim, where political prisoners were held and experimentations took place.” Gunn and Safran also revealed that the film is far bigger than the writer/director’s Guardians of the Galaxy films and implements far more practical effects than seen so far.

“It was becoming more and more bluescreen on my other movies, and it sort of bums me out a little bit to be spending three weeks on a set that is just a few painted purple rocks,” Gunn said. “But The Suicide Squad is a big film with so many practical effects. We were really building giant sets. Dan Sudick thinks he did more special effects on this movie than all the Marvel movies combined. And that really is true, because we’re crushing cars, we’re blowing up tons of stuff, we’re doing tons of squibs…we could do whatever we wanted. There are no rules in terms of sex and violence and things like that.”

Click here to purchase the 2016 first outing of the antihero team!

As we already know, Davis, Robbie, Courtney, and Kinnaman will all play the same roles they had in the 2016 film, reprising as Amanda Waller, Harley Quinn, Captain Boomerang, and Rick Flag, respectively. Michael Rooker will play Savant, Flula Borg will play Javelin, David Dastmalchian will play Polka Dot Man, Daniela Melchior will play Ratcatcher 2, Idris Elba will play Bloodsport, Mayling NG will play Mongal, Peter Capaldi will play Thinker, Alice Braga will play Solsoria, Pete Davidson will play Blackguard, Natha Fillion will play TDK, Sean Gunn will play Weasel, John Cena will play Peace Maker and Steve Agee will play King Shark.

The movie is written and directed by Gunn. Charles Roven and Peter Safran will serve as producers. Nik Korda is executive producing the movie.

The Suicide Squad will hit theaters on August 6, 2021!