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Bottleneck Gallery reveals Jaws lenticular movie poster & art print

Iconic art distributor Bottleneck Gallery and Vice-Press have unveiled another exciting new print in the form of lenticular poster styles of the movie poster and art of Roger Kastel’s iconic work on Steven Spielberg’s Jaws. The posters can be viewed in the gallery below!

RELATED: Bottleneck Gallery Unveils Phantom of the Opera & Frankenstein Art!

Originally created by Roger Kastel, the Jaws movie poster is one of the most praised and recognizable movie posters of the 20th century. Roger’s initial painting was used for the book cover of Jaws, and then later adapted into the legendary movie poster, and in collaboration with Bottleneck Gallery, Vice-Press giving both versions the lenticular treatment!

Vice’s lenticulars help bring Roger’s terrific terror from the sea directly to your home, working closely with the original source images to ensure that both Bruce and the unfortunate swimmer are brought to life with the lenticular process.

Much like previous lenticular releases, Vice is currently offering two different versions of the art, including a 1-mm thin flexible PET lenticular print mounted on dense paper backing and a 4-mm thick print on polystyrene, akin to plexi-glass, the company calls Lenticular Plex.

The 1mm version of the JAWS lenticular with movie credits will be available as a timed sale through Sunday, October 11 at 11:59 p.m. EST on Vice-Press and Bottleneck’s official websites, while the 4mm plex of the JAWS lenticular with movie credits, the 1mm version of the JAWS art print lenticular, and the 4mm plex version of the JAWS art now available as limited edition releases on both.

RELATED: Back to the Future III Poster Prints Available From Bottleneck Gallery

JAWS – 3D Lenticular
1mm PET mounted on high density paper backing
24 x 36 inches
Timed edition
Edition size will be determined by the number of prints sold
through Sunday, October 11th @ 11:59 p.m. EST
Includes hand-numbered COA with BNG hologram of authenticity
£75/ $100

JAWS – 3D Lenticular Plex 
4mm Polystyrene
~ 24 x 36 inches
Limited edition of 450
Includes hand-numbered COA with BNG hologram of authenticity
£150/ $200

Ships in Q1 2021
Co-released with Bottleneck Gallery

JAWS: Art Print – 3D Lenticular
1mm PET mounted on high density paper backing
24 x 36 inches
Limited edition of 500
Includes hand-numbered COA with BNG hologram of authenticity
£75/ $100

JAWS: Art Print – 3D Lenticular Plex
4mm Polystyrene
~ 24 x 36 inches
Limited edition of 350
Includes hand-numbered COA with BNG hologram of authenticity
£150/ $200

Ships in Q1 2021
Co-released with Bottleneck Gallery

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New York Sideshow Con Day 2 Reveals, Booth Tour & Sales!

After an already exciting first day of releases and sales from the iconic collectibles company, the second day of New York Sideshow Con is underway and has seen a number of new figures including Alien, Rocky, Harry Potter and more! Today’s figures and booth tour, as well as the new figures unveiled yesterday, can be viewed in the gallery and player below!

RELATED: New York Sideshow Con Day 1 Reveals, Booth Tour & Sales!

While most physical conventions have moved entirely into the digital realm, Sideshow New York Con will recreate their bold custom-made installation that debuted during the summer show season, with updates to the format to keep fans engaged throughout the week. This secure and private environment captures the spirit of the incredible “pop culture art gallery” style presence that Sideshow traditionally exhibits at shows like New York Comic Con in order to augment the comprehensive virtual streaming experience for audiences at home.

“Once again, we’re building a bespoke physical space at Sideshow Studios – but this time in the form of an intimate museum/art gallery-style venue – with podium displays with fine art on the walls, and beautiful pop culture dioramas showcasing statues and figures by Sideshow, Hot Toys, PCS Collectibles, Iron Studios, Tweeterhead, Unruly Industries, Atomic Misfit, and more,” Sideshow PR Manager Andy Smith said in a statement. “Sideshow will be sharing a wealth of social media content throughout the event, including live-streamed booth tours, photos, interviews, and contests – and we’ll be showcasing different displays every single day!”

Sideshow Con’s summer 2020 swag bundle was an instant sell-out, with the fall swag bundle- complete with a collectible pin, an event T-shirt, and a promotional code- expected to be equally as popular. Fans who purchase this limited edition swag bundle will also receive a free bonus Stan Lee collectible pin celebrating the comic book legend and the city that never sleeps. Fans can also score reward points for their Sideshow account during the event, meaning there are plenty of chances to collect throughout the convention.

RELATED: Sideshow Unveils Chris Sanders Statue From Lilo & Stitch Creator

Sideshow New York Con offers fans a chance to engage closely with their favorite products, artists, and fandoms without lines, crowds, or taxis- the only traffic here is web traffic! Access to Sideshow’s full convention experience has never been easier with comprehensive product livestreams, as well as creator interviews, up-to-the-minute reveals and announcements, and other content features that bring all of the news right to you from October 6-11.

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Netflix sets December premiere for David Fincher’s Mank

After giving fans a first look at the long-awaited biopic last month, Netflix has reportedly set a December premiere date for David Fincher’s Mank centered on the eponymous Citizen Kane screenwriter, Fincher’s first film project since 2014’s Gone Girl, according to Collider.

RELATED: Mank Photos: First Look at David Fincher’s Netflix Film

Mank will be led by Oscar-winner Gary Oldman as Herman Mankiewicz. He will be joined by Amanda Seyfried, Lily Collins, Charles Dance, Tuppence Middleton, Arliss Howard, Ferdinand Kingsley, Jamie McShane, Joseph Cross, Sam Troughton, Toby Leonard Moore, Tom Burke, and Tom Pelphrey.

Mankiewicz is most famous for co-writing Citizen Kane alongside director Orson Welles. Widely considered to be one of the greatest films of all time, it gave Mankiewicz quite the influence in the golden age of Hollywood. In keeping with the vibe, Mank will be filmed entirely in black and white and will start shooting in November.

Having written or co-written nearly 100 other films, including classics like The Pride of the Yankees, Gentlemen Prefer Blondes, and The Wizard of Oz, he remains best-known for Citizen Kane. Although the film caused a rift between him and Welles, as Mankiewicz accused the director of pushing him out of the limelight, even offering to pay him off so Welles could get the sole writing credit on the film.

RELATED: Producer Eric Roth Says David Fincher’s Mank Primed for October Release

Fincher spent more than 20 years trying to bring Mankiewicz’s story to the big screen. Now, with a script written by his father, for newspaper writer Jack Fincher, the project has found a home on Netflix. It marks his first time in the director’s chair since 2014’s Gone Girl. He was set to helm the World War Z sequel, but the project was shelved back in February. Fincher will produce alongside Cean Chaffin and Douglas Urbanski.

Mank is set for a December 4 premiere on Netflix as well as eyeing a currently unset November select theatrical release.

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Kiki Layne & Gemma Chan Join Olivia Wilde’s Don’t Worry, Darling

Deadline is reporting that Kiki Layne (If Beale Street Could Talk) and Gemma Chan (Eternals) have joined director Olivia Wilde’s period thriller film Don’t Worry, Darling. Layne is replacing Dakota Johnson in the movie, who reportedly had a scheduling conflict due to the new Maggie Gyllenhaal project currently in production.

RELATED: Andy Samberg, Craig Robinson & Common to Lead New Superhero Film

Originally written by Carey and Shane Van Dyke, Don’t Worry, Darling is a psychological thriller about a 1950’s housewife who uncovers a disturbing truth to her perfect life. It’s also described as a pertinent story for the Time’s Up era and Wilde’s producing and writing collaborator Katie Silberman rewrote the script and produces the film alongside Wilde and Vertigo Entertainment’s Roy Lee.

The film will also star Oscar nominee Florence Pugh (Midsommar), Chris Pine (Star Trek, Wonder Woman), and Wilde in a key supporting role. Harry Styles has reportedly replaced Shia LaBeouf in the movie.

New Line Cinema was eager to work with Wilde following her directorial debut Booksmart. Wilde will also star in and produce the film, alongside Silbermann and Roy Lee of Vertigo Entertainment. The film will also be executive produced by Catherine Hardwicke, Shane Van Dyke and Carey Van Dyke with Daria Cercek and Celia Khong set to oversee the project on behalf of New Line.

RELATED: Dwayne Johnson Confirms Hawkgirl Won’t Be Part of Black Adam’s Justice Society

Part of the deal includes an asking budget around $20 million, fees for acting, directing, for Silberman’s rewrite, and the “rare” backend. The outlet reports that the filmmakers and producers of Don’t Worry, Darling stand to receive 50 percent in profit participation once the movie breaks even. The last time a deal was made like this was between Warner Bros. and Todd Phillips’ The Hangover.

(Photo by Todd Williamson/NBCU Photo Bank/NBCUniversal via Getty Images & Frazer Harrison/Getty Images)

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Colin Trevorrow announces production halt for Jurassic World: Dominion

A day after the studio announced a full-year delay for the release of the highly-anticipated threequel, Colin Trevorrow has taken to Twitter to announce production on Jurassic World: Dominion has come to a halt after a few crew members tested positive for COVID-19. His announcement post and star Bryce Dallas Howard’s post can be viewed below!

RELATED: Universal Delays Release of Jurassic World: Dominion by One Year

Woke up to the news we had a few positive Coronavirus tests on Jurassic World: Dominion. All tested negative shortly after, but due to our safety protocols we’re going to pause for two weeks. Back soon. pic.twitter.com/DxuqX9UdgX

— Colin Trevorrow (@colintrevorrow) October 7, 2020

So grateful to @colintrevorrow and the entire Jurassic family for prioritizing health and safety above all else. Looking forward to finishing this up strong — I’ve never been more excited for a movie in my life https://t.co/RzOaMjgeUO

— Bryce Dallas Howard (@BryceDHoward) October 7, 2020

Steven Spielberg and Colin Trevorrow return to executive produce Universal Pictures and Amblin Entertainment’s Dominion, with Trevorrow once again directing the next chapter in one of the biggest franchises in the history of cinema. Producers Frank Marshall and Pat Crowley once again partner with Spielberg and Trevorrow in leading the filmmakers for this installment.

Recommended Reading: Jurassic Park: The Original Novel

The upcoming threequel will be starring returning cast members from the first two Jurassic World films include Chris Pratt, Bryce Dallas Howard, Jake Johnson, Omar Sy Daniella Pineda, Justice Smith as well as original Jurassic Park stars Laura Dern, Sam Neill, Jeff Goldblum and Campbell Scott. It will also feature Mamoudou Athie (Sorry for You Loss), DeWanda Wise (She’s Gotta Have It), Dichen Lachman (Animal Kingdom, Altered Carbon), Scott Haze (Venom, Antlers).

Joining the Jurassic team for the first time is Emily Carmichael (Pacific Rim Uprising, The Black Hole), who has crafted the screenplay with Trevorrow. They will work off a story by Derek Connolly and Trevorrow, who together co-wrote Jurassic World and Fallen Kingdom.

RELATED: Jurassic World: Camp Cretaceous Trailer: The Mighty T-Rex Is Back

Jurassic World: Dominion is currently set to debut in theaters on June 10, 2022.

ComingSoon.net recommends all readers comply with CDC guidelines and remain as isolated as possible during this urgent time.

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Rating: 

7/10

Cast:

Hannah Emily Anderson as Bridget Dwyer

Catherine Walker as Agatha Earnshaw

Jared Abrahamson as Colm Dwyer

Jessica Reynolds as Audrey Earnshaw

Sean McGinley as Seamus Dwyer

Geraldine O’Rawe as Deirdre Buckley

Don McKellar as Bernard Buckley

Anna Cummer as Mary Bell

Tom Carey as Lochlan Bell

Written and Directed by Thomas Robert Lee

Click here to rent The Curse of Audrey Earnshaw!

The Curse of Audrey Earnshaw Review:

Ever since Robert Eggers’ 2015 hit The Witch — or The VVitch for you picky readers — the folk horror genre has seen a gradual comeback in film in mostly successful fashion with haunting efforts such as Netflix’s Apostle and Ari Aster’s Midsommar and though it may not quite reach the heights of its predecessors, Thomas Robert Lee’s The Curse of Audrey Earnshaw marks another fairly successful outing for the returning subgenre.

Set against the autumnal palette of harvest season in 1973, The Curse of Audrey Earnshaw explores the disturbed bond between Audrey, an enigmatic young woman, and Agatha, her domineering ‘mother’, who live secretly as occultists on the outskirts of a remote Protestant village. As the community is besieged by a pestilence of unknown origin: children, fields, and livestock begin to die — yet the Earnshaw farm remains strangely unaffected. As mass hysteria sets in the village, the townsfolk commence accusations against Audrey and Agatha of witchcraft.

From the opening title crawl of the film, the story offers a unique take on the folk horror subgenre as rather than having it be set in the past or leave it for some lackluster final twist, the film chooses to acknowledge its setting of a “modern day” Protestant village living outside of contemporary society and it works. Societies such as that in the film do exist and work without the assistance of “the cities,” be it out of community pride or devotion to their religion and Lee depicts them in a realistic fashion, from the excellent production design and costume department to the dialogue occasionally referencing the outside world.

Much like Eggers’ chiller, the film takes a more psychological approach to its depiction of localized witchcraft rather than The Craft-level of hocus pocus, and this proves to be both a strong point of the film and part of its downfall. Without taking the proper time to introduce the viewer to its witch community or their goals, aside from survival, it becomes hard to determine what exactly the point is of some of Audrey’s actions against the town. Neither Audrey, her mother or the townsfolk really prove to be that sympathetic of characters, despite their varying tribulations, which make it hard to side with anyone and further question why the titular character does the things she does.

It may certainly be out of a place of evil, as Brightburn showed a redemptive arc isn’t always necessary for a coming-of-age tale, but given the few times the film tries to depict Audrey as a victim, it makes it a bit confusing as to the motivations behind her actions. Additionally, as the plot progresses and things begin to take a turn for the worse for all those involved, it becomes harder to determine what the endgame is for all its characters, especially in its chilling but far-too-ambiguous ending.

Obscure storytelling aside, Lee shows a magnificent grip on mood and atmosphere in his second feature effort behind the camera, keeping the look of the film dark and devoid of color in a way that makes every new shade of color, especially blood, all the more vivid. With a runtime of just 94 minutes, he certainly keeps the pace of the film moving steadily building towards its confrontation-heavy conclusion, even if it’s unclear why the confrontations are happening in the first place.

The Curse of Audrey Earnshaw may not hit all of the high notes of similar recent folk horror genre fare, but with a fairly interesting script and setting, a haunting atmosphere delivering plenty of shocks and some beautiful direction from Lee, it certainly keeps the unexplored territory alive in strong fashion.

The post The Curse of Audrey Earnshaw Review: Beautifully Chilling But Too Ambiguous appeared first on ComingSoon.net.

The New Mutants Blu-ray & DVD Details Released!

20th Century Studios’ The New Mutants will be arriving on Digital, 4K Ultra HD, Blu-ray, and DVD on November 17, featuring bonus featured including deleted scenes, behind-the-scenes featurettes, and more. You can check out the 4K Ultra HD combo pack cover art in the gallery below along with a new trailer teasing the home media release!

RELATED: CS Interview: Blu Hunt & Henry Zaga Talk The New Mutants

The New Mutants Digital, Blu-ray, and DVD Bonus Features Include: 

• Origins & Influences – Legendary comics artist Bill Sienkiewicz and the filmmakers explore the origins and influences behind “The New Mutants.”
• Meet the New Mutants – Cast members share their experiences while filming and reveal how they bonded as a family, much like the characters in the film.
• Deleted Scenes
  -Roberto Suns & Dani Climbs
  -“She’s a Demon”
  -“Everybody’s Type” & Chores
  -Dani’s Nightmare – Alt
  -“I Need to Cool Off”
  -“We’re on Lockdown”
  -Take out the Source
• Director Josh Boone Chats with Marvel Comics artist Bill Sienkiewicz

20th Century Studios in association with Marvel Entertainment presents The New Mutants, an original horror thriller set in an isolated hospital where a group of young mutants is being held for psychiatric monitoring. When strange occurrences begin to take place, both their new mutant abilities and their friendships will be tested as they battle to try and make it out alive.

The film stars Anya Taylor-Joy (Split, The Witch) as Magik and Maisie Williams (Game of Thrones, gen:LOCK) as Wolfsbane, with Henry Zaga (13 Reasons Why) as Sunspot, Blu Hunt as Dani Moonstar, and Stranger Things’ Charlie Heaton as Cannonball.

RELATED: CS Visits the Set of The New Mutants

The New Mutants adapts the monthly comic book series of the same name that launched in 1982. Created by Chris Claremont and Bob McLeod, The New Mutants follows on a group of teenage mutants as heroes in training in the Marvel Universe. The feature is expected to be a departure from the sci-fi-action spectacle of other X-Men films and is instead being described as a “Stephen King meets John Hughes”-style horror movie.

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POLL: Who is the Greatest Slasher Icon?

Halloween season has finally arrived, and as we dive back into the wonderful world of horror ComingSoon.net is reflecting on the slasher genre! We’re asking our readers to vote on who they believe is the best of the bunch, with everyone from the wisecracking Freddy Krueger to the silent Michael Myers to the dancing Patrick Bateman and many more! Be sure to place your vote in our poll below, and let us know of any other favorites omitted from the poll in the comments below!

RELATED: POLL RESULTS: Who is the Greatest Classic Universal Monster?

RELATED: POLL RESULTS: What is the Best Stephen King Movie?

With the slasher genre generally being cited as having started in the 1960s with films such as Alfred Hitchcock’s Psycho and Michael Powell’s Peeping Tom, we’d be remiss not to reflect on the terrors that were Norman Bates and Mark Lewis, even if they didn’t deliver as many bloody thrills as their competitors. As time progressed and the exploitation genre started making a rise, audiences were introduced to the likes of Kim Henkel and Tobe Hooper’s chainsaw-wielding Leatherface from The Texas Chainsaw Massacre, the Phantom Killer from The Town That Dreaded Sundown and based on the real killer of the same name, Black Christmas‘ Billy and John Carpenter’s Michael Myers of Halloween.

The slasher genre would then enter what became known as the Golden Age and see the world introduced to the eventually hockey mask-wearing Jason Voorhees of Friday the 13th, Harry Warden aka The Miner from My Bloody Valentine and Wes Craven’s Freddy Krueger of the Nightmare on Elm Street franchise. While the late ’80s and early ’90s would start to see fatigue hit the genre and struggle to rekindle the early streak of hits, it would still deliver some fan-favorite villains in Terry O’Quinn’s eponymous The Stepfather, Robert Z’Dar’s eponymous Maniac Cop, Don Mancini’s Chucky from Child’s Play and Clive Barker’s eponymous Candyman and Pinhead of Hellraiser.

Going into the late ’90s to the present, better known as the post-modern era, the genre would see a rollercoaster of varying quality entries and debuting new slashers including Kevin Williamson’s Ghostface of Scream and Ben Willis aka The Fisherman of I Know What You Did Last Summer, Rob Zombie’s Firefly Family from House of 1000 Corpses and its sequels, cult favorite Leslie Vernon from mockumentary Behind the Mask: The Rise of Leslie Vernon, Adam Green’s Victor Crowley of Hatchet, James Wan and Leigh Whannell’s Jigsaw of the Saw series and Damien Leone and Shawn Moreau’s Art the Clown of Terrifier.

The post POLL: Who is the Greatest Slasher Icon? appeared first on ComingSoon.net.

Mel Gibson is a Deadly Santa Claus in Fatman Trailer

Saban Films has released official trailer for Eshom and Ian Nelms’ upcoming action-comedy film titled Fatman, featuring Mel Gibson as he plays a whole different kind of Santa Claus you’ve never seen before. The film will hit the theaters on November 13 and will be having its VOD and digital releases on November 17. Check out the video in the player below!

RELATED: Jingle Jangle: A Christmas Journey Trailer Plus New Art & Usher Single Released

To save his declining business, Chris Cringle, 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, 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-comedy that keeps on giving.

The Rated-R film will be led by Academy Award winner Mel Gibson (Mad Max, Braveheart) as Santa Claus, Emmy nominee Walton Goggins  (Ant-Man and the Wasp, Justified), and Golden Globe nominee Marianne Jean-Baptiste (Secrets & Lies).

RELATED: The Christmas Chronicles 2 Teaser Sets November Release 

Fatman is written and directed by the Nelms Brothers (Small Town Crime), Eshom and Ian Nelms. Rough House Pictures is producing along with Todd Courtney of Mammoth Entertainment with Mammoth now set to finance. Rough House’s Brandon James, Fortitude’s Nadine de Barros, Skywolf’s Lisa Wolofsky, Michelle Lang, and Robert Menzies are also producing.

Rough House partners Danny McBride, David Gordon Green, and Jody serve as executive producers.

The post Mel Gibson is a Deadly Santa Claus in Fatman Trailer appeared first on ComingSoon.net.

Rating: 

8/10

Cast:

Katherine Langford as Mara Carlyle

Charlie Plummer as Dylan Hovemeyer

Hayley Law as Tess McNulty

Piper Perabo as Angela Carlyle

Rob Huebel as Charlie Carlyle

Yvonne Orji as Agent Carla Rosetti

Laine MacNeil as Jenna Dalton

Written and Directed by Brian Duffield

Click here to rent or purchase Spontaneous!

Spontaneous Review:

Whether it’s Hollywood trying to off the genre themselves or tap into some weird new group always present in the audience, the “dying teens romance” subgenre is one that’s nearly tapped dry as countless films use the setup to varying degrees of success — and failures. But now Brian Duffield’s adaptation of Aaron Starmer’s Spontaneous has come along and offered a unique and darkly hilarious new twist to the formula that even when it feels familiar or predictable, the experience as a whole proves to be a joyous and energetic ride to offset its negative qualities.

It’s senior year for Mara and Dylan, two teens familiar with each other but having spent little time together, and their lives are thrown upside down as random members of the senior student body being spontaneously exploding and the government has no explanation for it. With their world now being one in which any moment can be their last, they find a connection in one another and grow closer and older as they wonder if there’s even a future for them.

High school romance is never something that necessarily died out, but rather a formula that’s been slowly coming back in quality fashion with such hits as Netflix’s To All The Boys I’ve Loved Before movies and Spontaneous finds arguably the most unique and compelling new route for the genre. While there’s still some of the teen angst of wondering what to do with their future and their social standing at school, it doesn’t make up the majority of the story or the dialogue and instead allows viewers to figure out who to care about through its explosive central premise.

How does a filmmaker go about handling the random explosion of teenagers in a school of seemingly good-hearted students? Does one establish some true villains and give them a righteous demise, does one approach it with a level of humor or treat it like the horrifying situation that it is? In the hands of Brian Duffield, who’s delivered audiences everything from the Lovecraftian aquatic survival thriller Underwater to the action western Jane Got a Gun, the story is given a John Hughes-like approach full of dark humor and tongue-in-cheek offscreen narration from its protagonist that works wonders for the film. While a more horror take on this concept might prove equally fun and exciting to watch, a strictly serious tone and approach would’ve been such a bummer and drag that would’ve made the film too dour a watch, but Duffield finds the right balance between expressing a sense of humor throughout the film while allowing some of its more serious moments to resonate with audiences’ heartstrings.

The film’s only real problems lie in its fairly repetitive nature of its gimmick and the predictable nature of its overall story, especially the growing romance between Mara and Dylan. It’s nice for once to see a high school couple in the film not hit a rocky path due to their social standings and dumb teen tropes, but instead act like mostly mature people whose only real threat to their relationship is the literal ticking time bomb inside many of them. It offers a strictly optimistic and sweet-hearted romance that’s great to watch, even if it becomes clear how each step will play out. Though it handles it mostly humorously, as well as one pulse-pounding rapid fire montage of deaths, the spontaneous explosions of students does start to lose its luster as it becomes clear who’s going to die and when that doesn’t feel quite as unpredictable as the first third of the film.

One of the only other major problems in the film comes from some of its questionable and odd dialogue for its teenage characters, namely its more sexually-driven jokes and conversations. One would have to have either never gone to a public high school or have lived under a rock while there to avoid sex talk and profanity from the student body, and films are certainly allowed to depict this to keep a level of authenticity to its world, but the way some of the students talk feels far more forced or borderline creepy rather than funny or real. Everything from a girl saying she’d “top” both one of her male and female classmates to a couple talking about their sexual pasts with cringeworthy language, some of these moments feel far less like Mean Girls and far more like a gross Heathers.

Some dialogue problems and familiarity aside, Brian Duffield continues to show a great grip on genre-blending fashion with Spontaneous as he delivers a funny, unique and thrilling take on the teen romance genre that also shows potential for his directorial talents as well as his writing.

The post Spontaneous Review: Unique, Funny & Sweet Enough to Offset Familiarity appeared first on ComingSoon.net.