In the previous episode of Amazon’s Undone, Alma woke from a coma, and her deceased father asked Alma to use her newfound time traveling abilities to help him. In Undone Season 1 Episode, Alma returned to her life but needed an anchor to keep her present in the physical world.
Jacob showed Alma a memory from his time as a theoretical physics professor. He lectured about why time travel was impossible. His student, Farnaz, offered quantum entanglements as something faster than the speed of light. In Jacob’s office, however, he told Farnaz his lecture was a lie. He had spoken with shamans, and an MRI of one of their brains proved interesting. Farnaz excitedly hugged Jacob when he said he’d gotten an independent grant for his research. Alma questioned if they had an affair. She discovered that Farnaz had also been in the car when Jacob died.
Alma became paranoid that Sam had rearranged items in the apartment. The photos hanging in the hall were in a different order, and the sofa had been moved forward. Sam swore that he hadn’t changed anything.
While Becca was shopping for her wedding dress, she blew up at Alma about Sam coming to the wedding. Alma couldn’t think of why Becca thought he wouldn’t be coming, and when she questioned Sam, he acted ignorant.
While Alma was at work in the daycare, Jacob visited her to help her with her abilities. He used blocks and a lesbian construction worker figure to illustrate his point. Alma had one foot in the middle of everything, but the other was able to see life all at once. She needed an anchor to keep her grounded and present. Jacob brought her to Camila’s attic, where he found a simple electronic blackjack game. The simple motions and repetitiveness helped her stay present.
Unfortunately, at work, Tunde was concerned that Alma came back to work after only two weeks. She was having trouble concentrating, and Alma played blackjack constantly. He called Sam to express his concerns, which bothered Alma. At the end of the day, Alma stopped Oliver’s mom and told her to keep him away from water and get him swimming lessons. She kept having visions of him struggling underwater.
What did you think of this episode of Undone? Let us know in the comment section below!
Comingsoon.net is preparing a menu full of the most memorable meals in film. Check out our selections in the gallery below!
Throughout film history, audiences have been treated to dazzling landscapes, intricate set designs, fantastic visual effects, and stellar performances from some of the medium’s greatest actors. One thing that simply can’t be beat, though, is a film’s ability to show some of the most mouthwatering smorgasbords imaginable. Not dissimilar from a commercial for a fast food place, movies have no problem exaggerating the look of a meal spread to make things seem better than any real-life restaurant’s offerings.
Across fiction and nonfiction, animation and live-action, film has never failed to satiate the hungry through food-focused movies. (But hey, if you’re truly hungry, maybe get some popcorn or something instead of relying on a film for your meals.) While there are certainly plenty of examples, these are the very best movie meals out there.
In the previous episode of Netflix’s Unbelievable, Marie reported her rape to the police, and the detectives pressured her into saying it wasn’t true. In Unbelievable Episode 2, another woman reported a rape in 2011 that was similar but received different treatment from the detective.
Done It Before
Det. Karen Duvall responded to a report of a rape in Golden. It was 2011, three years after the incident with Marie. Duvall spoke with the woman, Amber, alone in her car. Amber was able to recall many details about the rape and her attacker. He held her at gun point and forced her to dress up like a prostitute and a child. The intruder took pictures of her during the rape and threatened her with exposing them, like with Marie. He had her shower and wash her face when he was done and took everything that he had touched with him.
Duvall took Amber to the hospital for her examination. She described what was about to happen and knew the nurses who would be taking care of her. Amber made sure to tell Duvall that, although the rapist told her it was his first time, she could tell that he had done it before.
One of Duvall’s daughters was sick. Her husband, Max, was taking care of her. She had a respiratory condition and a cold, and Karen worried about her oxygen levels. When Karen came home at the end of the day, she told Austin about the case. He was a police officer in a different precinct. He recommended that Karen call the detective on the case, Grace Rasmussen. She was staking out the apartment where another rape had occurred a month prior. She stopped a man walking in the woods behind the building.
After Marie climbed back over the railing of the bridge, she called another young woman from her program to pick her up. Though she did, it was clear that Marie was being ostracized. Parker had closed the case, but the incident was still affecting Marie. She showed up at work late and had trouble concentrating. Her counselors set her curfew an hour earlier and required her to check in daily. They admitted that it was to show others in the program that Marie was facing consequences for lying.
Marie wanted to get away from where she lived, so she went to Colleen’s. She wasn’t there, so Al wasn’t comfortable having her stay in the house with just him. He was concerned that she would falsely accuse him of hurting her. It could affect their status as foster parents.
What did you think of this episode of Unbelievable? Let us know in the comment section below!
Comingsoon.net is training hard to go toe-to-toe with the best Rocky training montages. Check out our picks in the gallery below!
It cannot be understated just how great the Rocky movies are. Yes, including Rocky V. If you’re still hating on Rocky V in 2019 you need to re-evaluate and come back. Anyway: all six Rocky movies are truly great. They tackle social and political issues with grace, and Sly never ceases to amaze (especially when he leans into the 80s cheese to maximum effect).
One aspect of that 80s cheese that permeates throughout the franchise is the art of the montage. Heck, one of these Rocky movies is essentially one long montage. (You know the one.) In honor of the excellence of these films (and their arrival on Netflix this month), let’s rank the five best Rocky montages.
CS Interview: Bob Shaye Talks New Horror Thriller Ambition
Shout! Studios provided ComingSoon.net with the chance to have an exclusive chat with Bob Shaye, former head of New Line Cinema, on his new horror thriller Ambition, which opens in theaters in NYC, Los Angeles and select U.S. cities tomorrow, as well as Digital and On Demand. Check out the interview below!
In the gripping, suspenseful thriller, Jude is an intense, driven musician preparing for the biggest performance of her life – but her ambition could end up killing her. As her competitors begin to die bizarre deaths, she recognizes a pattern that seems to connect her. Is she next? Her suspicions are confirmed in a shocking climax that puts into question her chances for survival, and her sanity.
From the producer of Nightmare on Elm Street, Ambition stars Katherine Hughes (Kingdom, My Dead Ex), Giles Matthey (Submerged, Once Upon a Time), Sonoya Mizuno (Devs, Crazy Rich Asians, Maniac), and Bryan Batt (Mad Men, Billionaire Boys Club) with a special appearance by Lin Shaye (Insidious series, The Final Wish, Room for Rent).
Directed by Bob Shaye, the film was produced by Bob Shaye, Michael Lynne, Sarah Victor and Unique Features.
ComingSoon.net: It’s been over 10 years since you were behind the camera. What drew you to the script for “Ambition”?
Bob Shaye: Actually, what drew me to it was not so much the story per se, but the fact that it had—and I’m not sure the writers even completely understood this, it had for me reminiscence of the scene from the very first short film I made, “Image”, a long time ago. It’s a little bit about how do you know what’s real? And one of the things that came to my mind when I started reflecting on the script, and I went back and forth on it for six months. Really the story needed a lot of work and there was a whole bunch of issues, but the one thing that really, really compelled me was this idea that—and it’s now come so much to the fore, it’s like a version of fake news. How do you know what you’re seeing is real? And it reminded me of a commercial I saw for Dyson vacuum cleaners a long time ago on television.
CS: With Fred Astaire?
Shaye: Yeah, exactly. It’s funny, it’s great that you know that. I even spoke about that at a conference once. I said, I don’t know what’s true anymore. I saw Fred Astaire dancing with a vacuum cleaner. And people looked at me like I was crazy, but now you see what’s going on and there’s this whole thing about even with Epstein and whether the guy’s hands were his hands or some other fat guy’s hands or somebody around a girl. I mean, you don’t know what to trust. You’re seeing, believing is really the issue.
CS: I remember years ago hearing some effects guy talk about how he could’ve taken the Rodney King tape and make it look like Rodney King attacked the cops. And it just terrified me.
Shaye: No, it’s true. It’s part of what a horror film is. Who’s in your bedroom at night? You see a shadow, is there somebody there or is that just my imagination? So this first film I made, “Image”, was just about that. I mean, it’s actually a whole line of philosophy. I don’t want to get into that, but how do we know what’s real and how do we know, period? And now, it’s quantum mechanics and all that other stuff, where the same thing can be in two different places at the same time. I mean, what’s that all about? People can’t trust their own logic and their own sensibilities. So in this case, I sort of liked this idea, even though it’s a kind of a poor imitation. But I think this film made, in a kind of Douglas Sirkian style, which is meant to be very formal and not too flashy. And actually, that’s why the DP, who really developed the format, was really drawn to the story, too, because he liked it. So there was a kind of a hint that there’s something awfully formal going on here and it’s not really the eye of the director, it’s something else. On this case, obviously, it’s the eye of the character. The film plays out and I thought that I could end up with a film that appealed to millennial females, particularly, who I think are a great niche audience. New Line had its whole successful part of its career built on dealing with niche films that major companies didn’t care about, up to and including horror films and John Waters and people like that and “Reefer Madness”. We always looked for the stuff that was for niches. And I thought that millennial women were very liberated these days, and really might appreciate a film that is a bit of a thriller that also is entertaining and is all about them as opposed to somebody else made it a perfect niche opportunity. And so, that’s what got me involved.
CS: One of the things that actually struck me the most about the film was that when I watch so many horror films these days, the palette is generally very desaturated, very drab, and this movie was the opposite of that. You had these big, bold colors. It kind of reminded me, you mentioned Sirk. I thought of Powell and Pressburger, “Red Shoes”, something like that.
Shaye: Well, that’s all good. The point is that it’s all being seen through this girl’s eyes, and that’s how she saw life, strange boys playing guitars and doing all that stuff and then turning out to be bad people. That was what she saw and that’s what we saw.
CS: And but did you discuss with the cinematographer about using that specific palette and saturating the colors?
Shaye: Yes, it was supposed to be cheery until it got not cheery anymore, but it doesn’t happen until the rainstorm comes. It’s supposed to be kind of a halcyon world for this girl, except that she has this incredible ambition and she’s not going to let anybody tell her that she can’t achieve it. And even her friends are telling her to lighten up and she says, “Remember, the opposite of tension is slack,” and the girls look at her crazy, but she has an ambition. She’s a young woman who’s going to be a concert violinist and is going to win, and nothing was going to stop her.
CS: Sonoya Mizuno was so good in “Ex Machina” and I just saw Giles Matthey in this great little horror movie called “1BR”. And then you have Katherine Hughes. Can you just talk a little bit about your cast?
Shaye: Well, the cast, I was very pleased with them. They showed up from a casting director and we did interview a number of actors who were all quite good. It was a bit of a challenge for some of the people to get them to be interested in the film because a suit was directing, so to speak. We had our regular epiphanies and disappointments, but I thought we put together a terrific cast. I thought everybody did an excellent job and they really got into the movie and there was a lot of ad libbing that worked out. And they sort of got it. So I was quite happy with them.
CS: There was some trepidation of having someone in your place of power behind the camera. Do you do anything to diffuse that tension on the set?
Shaye: Well, I mean, I try to be a good guy and I try not to get into arguments with the actors. And the way I try to approach it is to really co-opt them, at least when they’re not doing what I want them to, just tell them, do it your way and then give me a couple of takes to do it my way and we’ll get it together and have the editor look at it to decide which one works, just to get it out to film. But I don’t think I’ve had any confrontations. I was just telling somebody about—when we made “Alone in the Dark” and we had Jack Palance and Martin Landau as two of the actors. And Jack Palance gets his first night call and he won’t come out of the trailer. And so, I said to the executive producer, “What’s the trouble?” He said, “Well, Jack wants to talk to you.” So I go and say, “Hey, Jack. We’re going to do a rehearsal now.” He said, “I didn’t tell you, I don’t want to work at night.” So I said, “Jack, the name of the movie is ‘Alone in the Dark’. What did you have in mind? A closet?” I said, “It is in the dark.” So he went back into his trailer and I sent the executive director in to talk to him again. He came back and he said, “It’s true. He did read the script and he did realize it was in the dark and that he had to deal with it. But the other thing he did is he doesn’t want to kill anybody.” I said, “It’s about three homicidal maniacs who break out of a mental institution and terrorize the family. Somebody’s going to be killed. Who’s going to do it?” He said, “Well, I’m not doing it. I don’t believe in violence.” Jack Palance. I said, “Okay.” So we had to take a couple of murders away of what was happening and give them to other characters like Martin Landau and this other guy Erland van Lidth and because Jack would not have anything to do with any murder. So it’s a challenge, and that’s kind of one of the fun things about being a director, is really kind of co-opting actors into a point of view or not getting into an argument with them. And also, knowing when enough’s enough, you know, when you do 23 takes of a car pulling away. It gets everybody on edge and it doesn’t help the production. So it was done, and particularly because it was on a lower budget, too, with a modicum of preciousness. And I thought we got the performances that I wanted and it came out fine, in my opinion.
CS: I am so happy that you brought up “Alone in the Dark” because it’s one of the most unsung horror films out there. You worked with Jack Sholder several times, and obviously, you wrote the story for it. Does it hold a special place in your heart, even though it’s not one of the better-known New Line films?
Shaye: Sure, it does. It was not my first film, but it was the first one that I actually physically was really the producer on. And it was all-night shooting, and it was really exhausting. And Jack and I still have kind of a complicated relationship. But hey, he ended up cutting some of the trailers for the first films we distributed, the two Czech films that we distributed to colleges. Of course, I’d known him for a very long time. And yes, of course, it has a special place for me. In fact, the guy who was the executive producer, Benni Korzen, who’s a dear old friend of mine, too, has just brought us the possibilities of doing a remake for “Babette’s Feast” because he’s a Danish producer. I’m still close with a lot of those people there for sure.
CS: In particular, I’m obsessed with the ending of that film for some reason, where Jack is in the punk club and he sees that woman.
Shaye: It’s funny you remember that, yeah. And he sings that song, “Chop Up Your Mother”. That’s Jack Sholder’s taking things a little bit too far, but that was funny. And that was an interesting thing because with that film, where he holds up the gun and then the film ends, I said, can’t we have a gunshot or something? There’s got to be some kind of finality to it, a finish, something that the audience—and I know, and filmmakers continue to do that, they have those open-ended endings, which aren’t really endings at all. It’s like having a book that doesn’t have an ending. You wonder, did I really spend my time wisely sitting here for an hour and a half or two hours and seeing a film that doesn’t have a satisfactory resolution, which really takes in fact “Elm Street”, too, and the discussions that Wes and I had about the ending of that film. But it’s possible if you’re an auteur and that’s how you want to do it, but it’s a little bit disdainful of the audience, because they’re looking for the appetizer, the main course, and the dessert. And if you cheat them out of the dessert, they might not come back to the restaurant, if you’re using the cooking analogy.
CS: Yeah, I guess I’m a weirdo, but I liked the ambiguity of it and I liked the weirdness of it. I just love her last line where she’s like, “Hey, Face, you’re really there.” But you brought up Wes Craven, obviously you had a long relationship with Wes and “New Nightmare” was kind of a precursor to what he ended up doing with “Scream”. He was just such an interesting filmmaker because if you were lucky in your career, you do one movie that sort of defines the zeitgeist or defines the genre. In the 70’s, he did “The Last House on the Left”, 80’s he did “Nightmare” and 90’s he did “Scream”. And all three of those movies sort of define the genre for those decades.
Shaye: Yeah, but you notice because he was a little bitter about “Nightmare on Elm Street”, they were so successful, that he didn’t want to do the sequels. He didn’t want to have anything to do with any of them. And we definitely offered, I begged him to do it, and he just said, “I’m done. I’m moving on.” But “Scream”, of course, was making fun of “Nightmare on Elm Street” the whole time. In fact, there’s even lines, I think, where somebody, I think it’s Drew Barrymore says something like, “It’s not that ‘Nightmare on Elm Street’ movie. It’s somebody really scary.” I forget what she ways, but it’s a really intentional barb that caught me right in the throat, frankly, but it was okay. We ended up being very good friends, and I regret his passing tremendously. He was a really talented guy. He made that violin movie with Meryl Streep. It was really interesting. He tried to get away from all this stuff.
CS: People forget he was this very soft-spoken college professor. He wasn’t a maniac or anything.
Shaye: Exactly. But “New Nightmare” was a big surprise. He called me five or six years afterwards and said, “How would you like to really do this?” And of course I thought it was fun because the truth of the matter is, deep in my heart I wanted to be an actor, but when I got started in the progression, I realized that I was a terrible actor and I also realized that the first good lesson in life is to know what you could do well and what you can’t do well. And don’t pursue the stuff to make a living that you can’t do well. And so, I stopped being an actor. But I think it shows in my performance, so it’s a little cringeful, what the hell.
CS: You played yourself very well. Something that’s avant garde, 20 years later it becomes wallpaper. The idea of doing a meta horror movie at that time was kind of far out. But nowadays, it’s a total normal aspect of any kind of pop culture. As a studio head, your tastes tended to lean more towards… in not the avant garde, then definitely towards the more left-of-center type of concepts. You’re very business savvy too, so how do you reconcile the artistic leanings versus what’s going to make a buck?
Shaye: The truth is, my artistic feelings, I keep pretty much to myself and I try to infuse them into the entertainment. I try to sneak them in where I can. And I also try to stay true to the theme of the movie, the genre, respect the writing and the actors. And it’s such a collaborative process for me. I’m not much a believer in the auteur theory of moviemaking altogether that there’s not a lot of stuff that I absolutely insist on. There are some things as the backbone of the movie that you just can’t change because somebody doesn’t like the lines or something. So there is a place where I just say, “Please do it my way and let’s move on.” But we’ll do it your way once and we’ll see if that works just to kind of placate them. But just because it’s written on the page doesn’t mean that that’s how the film’s going to come out. And there’s lots of surprises in the production process, lots of great ideas and sometimes things that just don’t work at all that are confounding to the max, where you just don’t know what you’re going to do, and everybody’s just down. One that happened with “Town and Country” with Warren Beatty.
CS: That was a crazy production because that kept getting re-shot.
Shaye: No, he closed the movie down because he didn’t like the script. And so I said, “Well, why did you take the movie, if you didn’t like it?” He said, “Well, I thought I could fix it.” I said, “Well, listen, you’re the actor. Give it a break.” That was one thing. Another thing was with Marlon Brando. I don’t know if you happened to see the Netflix documentary about “Dr. Moreau”.
CS: Oh yes. It’s amazing.
Shaye: John Frankenheimer called me out of the clear blue sky. I knew he was directing the movie eventually, after we fired that guy. And then he calls me up and he says, “You don’t know me, Bob, but I’m in the middle of nowhere in Australia and I just had the most incredible thing happen. I had to call you to tell you about it.” And I said, “What’s that?” He said, “I’m driving Marlon to the set to do rehearsals. And he asked me to stop the car. I stopped the car and I said, ‘What’s wrong?’ And he said, ‘I got an idea. Let’s tell Bob Shaye.’ And he said, “I’ve never had an actor say that about a producer, but he said tell Bob Shaye.” He said, “I don’t like the script. I think what we should do is just close down the production. Let’s you and I work on the script and let’s do it the way I like it and you like it. And let’s just throw the regular script away.” I said, “I don’t think we can do that. It’s what I was hired to do, is direct this movie.” He said, “No, it’s all wrong.” He says, “And I have the perfect ending for it and I think this is what we should do.” So John’s telling me this story, he said, “Well, what’s the perfect ending?” He said, “I’m going to be wearing a hat during the whole movie as Dr. Moreau and at the end I’m going to take the hat off and I’m a dolphin.” And Frankenheimer says, “Did you know this, Bob?” And I said, “No, he’s a dolphin?” I couldn’t believe it. He said, “Yes, he said he wanted to be a dolphin, so I thought I had to call you and tell you this. Things did not go over well for this movie. Rob Morrow called me up, another call. I’ve never had this happen. Two phone calls from two different actors. He called me up also a few days before this, and he said, “Bob, you don’t know me. I’m playing so and so here and it’s a madhouse. It’s complete insanity. You’ve got to do me a favor.” I said, “What’s that?” He said, “Let me go home, please, let me go home. I’ll do anything. I’ll pay my own way. I’ll do whatever you ask me to, but please, I cannot work on this movie another second. It’s the most horrible experience I’ve ever had my entire life.” So here I am, confronted with all of this stuff, and I have a responsibility. It’s a $25 million movie and I’ve got to get it done and I’ve got corporate sponsors and the whole thing. And it’s another one of those things that a director has to do, a producer in this case, has to find compromises to just keep the baby alive.
Shaye: Yeah. Anyhow, so it’s been a wild ride and as I’ve said to somebody recently, I’ve walked away from the table for a while, but I haven’t left the casino yet. And if somebody else that catches my eye and is fun and people don’t spit when they hear it, I would arguably do it again for the right kind of material. And in the meantime, I’m having a great time at Unique Features with a younger crew, who I can be a bit of a counselor for and a little bit of a possibly wise uncle, in a way, or experienced uncle, who can kind of give a point of view on filmmaking for the next generations.
CS: I have a final question and it is a really strange question, so bear with me. Years and years ago you did this movie “Book of Love”, which I did see. I’ve seen the movie. I saw it when I was a kid, I liked it.
Shaye: Oh good.
CS: But I’ve always been interested in this weird coincidence that that it was a movie about young people in the late 1950s, and I guess it was sort of autobiographical, a little autobiographical?
Shaye: Well, the reason I did it was because it was exactly the way I grew up in Detroit in the 50’s, and it turns out the guy who wrote the book, Bill Kotzwinkle, it was exactly the way, who’s exactly my age, and it’s the way he grew up in Scranton. So he was on the set most of the time and we were having more fun than anybody else. These guys were so good, that it was definitely autobiographical for sure.
CS: There is this interesting coincidence that in the same year, Joe Roth did this other movie called “Coupe De Ville”, which is a similar coming-oif-age film set around the same time period. And I was just like, how did two studio heads direct the same kind of movie in the same year?
Shaye: I don’t know. And I remember seeing that movie and being a bit scared that I was making a movie like it. I like mine better, but that wasn’t the point. And neither of us have gone on to have stellar directorial careers subsequent to that, either. But I guess there was something about growing up in the 50s that was hysterical and it was really halcyon times. And I guess it just dawned on both of us.
In the previous episode of Amazon’s Undone, Alma was in a car crash after an argument with her sister. In Undone Season 1 Episode 2, Alma woke up from a coma and saw her father in her hospital room.
When Alma woke up after the accident, her mother, Camila, and Becca were in her hospital room. Next to her, she saw her dead father reading a newspaper. Events bled into each other. Becca was excited that Alma could start physical therapy right away. Sam visited her, and she acted like they hadn’t broken up. As Tunde arrived to visit, Sam left, but Alma thought he was a nurse. Alma found herself at a table with her father, Jacob. He asked her to agree to help him. He indicated that the car accident gave her the ability to see things in a non-linear fashion. When she didn’t quite understand, he brought her back to the hospital bed when she woke up.
Stuck in a Loop
Alma went through the same motions again, but things were a little different. Becca was in a cactus garden and not by her bed. She and Alma had a fight. Alma believed Becca was only thinking of herself, but Becca claimed that Alma always got the attention.
Back again in the hospital bed, Alma realized she could project herself into the future. She saw herself with Sam two weeks later in her apartment.
When Jacob died, it was the night of Halloween. Camila took Alma and Becca trick-or-treating. Becca wanted Alma’s socks, so when they came home, Jacob made Becca socks out of his newspaper. Later, Alma asked Jacob to go out again for more candy. Jacob took her out, but he received a call. He told her that he would be back for her. Jacob never came back, and Alma had a police officer take her home. Camila and Becca told her that Jacob was in an accident.
In the present, Jacob told Alma it wasn’t accident; someone killed him. He had caused the car crash to awaken her abilities that her grandmother, Geraldine, had. Jacob wanted Alma to agree to help him stop his death. Alma saw the mundane life she would’ve lived if she said no. Jacob asked her to take a different path.
What did you think of this episode of Undone? Let us know in the comment section below!
10 movies that would never get the green light today
Comingsoon.net is looking back at some of the riskiest, most absurd films to come out of the studio system. Check out our picks in the gallery below!
As we head into the 2020s, it’s really interesting to look back on how drastically the box office has changed in the past several decades or so. The types of movies audiences flock to see—right now, that means an endless stream of live-action remakes of classic animated films and interconnected superhero movies—determine the types of movies studios give the green light to. It hasn’t always been this way, though. American moviemaking used to be a whole lot different, and the types of movies produced are pretty unrecognizable compared to the ones put out today.
Honestly, it’s not hyperbole to say that there are movies released before the 2010s that simply wouldn’t have been made today. Whether it’s because they’re too absurd, too risky, or too niche, there’s just no doubt that—if pitched today—studios would present the filmmakers with a big fat no.
Comingsoon.net is training hard to gain enough expertise to rank the very best martial arts movies ever made. Check out our selections in the gallery below!
Dramas are great and comedies are plenty entertaining. Animation can be truly one-of-a-kind and horror proves to be a fun genre time after time. However, it’s action that often ends up biggest bang for the moviegoer’s buck at 21st century multiplexes. At least that’s what streaming services and superhero movies like to think.
One little subgenre within the action genre that often ends up packing the biggest punch is the martial arts movie. From expertly choreographed hand-to-hand combat to breathtaking scenery to genuinely compelling storylines about glory and honor and vengeance and revenge, the martial arts movie is really something to relish in. That’s why it’s worth taking a look at some of the best martial arts movies in film history.
Netflix’s Unbelievable tells the true story of Marie, a teenager accused of lying about being raped. In Unbelievable Season 1 Episode 1, Marie relived the trauma of her assault as investigators questioned the validity of her story.
The morning after her rape, Marie called a former foster mother, Judith, who came over as police arrived. She told the details to the police offer. Marie was up late on the phone with her former boyfriend, Connor. She’d fallen asleep, but an intruder – a white man with light eyes and his face covered – came in the room. He tied her hands with her shoelace and got a knife from her kitchen. The intruder blindfolded her, took her picture, and penetrated her. He left with the blindfold and used condom, and Marie freed herself with scissors.
As Marie finished telling the story, two older detectives, Parker and Pruitt, arrived. They had her tell the story again. Parker told her to go to the hospital for an examination to gather evidence. There, Marie had to tell her story again for the medical records. The nurses and doctors treated the situation clinically. Marie went to the police station again to tell her story. Parker explained that new details may emerge. Then, the detectives asked her to write her statement.
Colleen, another former foster mother, visited Marie, who was moving to another apartment in the housing establishment where she lived with other former foster youths. Colleen took Marie to buy sheets, but she was upset when they didn’t have the same ones she had before. However, Colleen thought she was acting fine.
Judith reached out to Parker to tell him that Marie had been acting out. She felt that moving out on her own was tough on Marie. Parker also spoke with Connor. After the medical examination turned out to lack physical evidence of rape and DCFS gave them access to her file, the detectives confronted Marie about the inconsistencies of her story. Marie admitted the rape didn’t happen, so the detectives had her write her statement. When the statement was different from what she had said, they confronted her again.
Marie told her counselors that her statement wasn’t true. She had only done it because she wanted to leave. The counselors had her go back again to the police station. Parker wasn’t there, but Pruitt saw her. He thought that Marie was back because she was ashamed and embarrassed of lying. Marie said that she could take a polygraph test. Pruitt reminded her that since she wasn’t clear about what happened, she risked failing it. If she did, they would have to charge her with making a false statement.
The other foster youths felt betrayed and angry at Marie. On her way home from work, Marie climbed over the railing of a bridge.
What did you think of this episode of Unbelievable? Let us know in the comment section below!
Comingsoon.net is fast-forwarding to the end to figure out which movies have the best endings. Check out our picks in the gallery below!
A movie’s ending can make or break the entire ordeal. If the filmmaker lays the ending on a bit too thick, then the rest of the film goes down with it. If the movie ends too ambiguously, then audiences might not be satisfied (even if that’s what the director intended). It’s a very delicate balance, and one that comes down to an exact science. That’s why it’s worth praising the directors who absolutely nailed the landing.
Notice that all of these films walk the line between drama and thriller—typically, these films have endings that pack a real punch. After a whole film’s worth of setup, it’s always so satisfying to encounter an ending that delivers on every little bit of foreshadowing in a way that perfectly sums up the entire viewing experience. It sounds like a daunting task, but these five films from directors like Stanley Kubrick, David Fincher, and John Carpenter all managed to do it.
Undone, Amazon’s new original animated series, follows Alma Winograd-Diaz as a near fatal car crash changes her perception of time. In Undone Episode 1, Alma’s ennui reached a tipping point and affected her newly-engaged sister.
One of Those Couples
Alma met her sister, Becca, at a bar. As Alma described how fed up she was with her dull routine, Becca showed off her engagement ring. Alma didn’t like Reed, since he was privileged and rich. After a night of drunken celebration, Alma crawled into bed with her boyfriend, Sam. She made him promise that they won’t settle down, as she never wanted that. Sam brushed it off as something unknown for them in the future. After Becca and Reed’s engagement party, where Alma sported a drawn-on mustache for a reaction that never came, Alma broke up with Sam.
Becca and Alma went out to the bar again. They ordered shots again, and this time, the bartender, Tomas, joined them. They partied all night together. At Alma’s apartment, she dared Tomas to kiss Becca. After Becca reluctantly agreed to a peck, Alma characterized it as similar to a kiss from their uncle. She coaxed them into a more passionate kiss and left to vomit in the bathroom.
Outside of church the next day, Becca confronted Alma for ruining what she had with Reed. Alma defended her actions. To her, they were both broken people, but Becca didn’t accept that.
When Alma left Becca, she drove through San Antonio recklessly as she cried. A pickup truck crashed into her just as a vision of her father smoking a cigarette materialized in front of her. He had died when Alma and Becca were young. During the episode, Alma had found a photograph of her father smoking a cigarette and questioned her mother about why she hadn’t known that he smoked. The idea of the existence of a side to him that she didn’t know truly bothered Alma.
What did you think of this episode of Undone? Let us know in the comment section below!
Comingsoon.net is hitting the hay to dream up the absolute greatest dream sequences in film. Check out our selections in the gallery below!
A dream sequence, when done right, is one of the most stunning things a film can accomplish. Like showing everyday people gaining super powers or adventurers exploring make-believe lands, dream sequences help to show completely engrossing visuals not able to be experienced in the real world. Sure, everyone dreams, but can anyone show someone else what their dream was like? It’s not likely.
In film, dream sequences can be used to foreshadow, to entertain, to allude, or to signify. No matter what, though, a truly great one leaves a lasting impression long after the credits roll. Ranging from as far back as 1939 to as recently as 2010, these are the ten best dream sequences in film.
Welcome to ComingSoon.net’s September 17 Blu-ray, Digital HD and DVD column! We’ve highlighted this week’s releases in detailed write-ups of different titles below! Click each highlighted title to purchase through Amazon!
New Movies on Blu-ray/DVD
Dark Phoenix When Jean Grey is struck by a mysterious cosmic force that transforms her into the iconic DARK PHOENIX, the X-Men must unite to face their most devastating enemy yet — one of their own.
Kung Fu League When his manager prevents Fei Ying Xiong from getting the girl he loves, he summons the help from four legendary Kung Fu masters to learn the highest level of martial arts from the best in history and to defeat his enemies who stand in the way of the things he wants most.
Dead Water A former Marine must risk his life to save his wife and best friend from a modern day pirate.
Candy Corn(exclusive clip) It’s Halloween weekend and a group of bullies are planning their annual hazing on local outcast, Jacob Atkins. When they take things too far, he’s resurrected to seek revenge against those that wronged him.
Teddy Pendergrass: If You Don’t Know Me The untold and ultimately inspiring story of legendary singer, Teddy Pendergrass, the man poised to be the biggest R&B artist of all time until the tragic accident that changed his life forever.
Bottom of the 9th (DVD) Starring Joe Manganiello and Sofia Vergara. From a producer of Creed comes an inspirational sports story about determination and redemption.
The Kids Table (DVD) Four novice, millennial Bridge players train and compete for a year on the National Bridge Circuit – where the average age of their competition is 76 – to study and understand how the most popular game in America only 50 years ago now sits on the brink of extinction.
My Favorite Year In 1954, the era of live TV, a hapless production assistant is given the task of keeping his alcoholic film idol out of trouble long enough to appear on the King Kaiser Hour.
Who Saw Her Die? The life of a Venice sculptor is torn apart when his visiting young daughter is found murdered. But when the police are unable to find the killer, the grieving father’s own investigation uncovers a high-level conspiracy of sexual perversion and violence. What depraved compulsions led to the murder of this child?
Noir Archive Volume 3: 1957-1960 From out of the shadows comes this final 9-film/3 disc collection of hard to find noir classics in high definition with original aspect ratios
The Homecoming In North London, an all-male beehive of inactivity is ruled with a foul mouth and an iron hand by the abusive Max and his brother, the priggish palace eunuch Sam.
Chicago Cab (DVD) It’s 6 a.m. and 20 degrees below zero on a December morning in Chicago and a cab driver picks up his day’s first passengers. This represents 14 hours in the life of a cab driver as he picks up fares from the good and bad parts of the city while emotionally connecting to many of his passengers including a depressed rape victim, stoners, randy lawyers, a drug runner and a race to get a pregnant woman to the hospital.
New on Digital HD
Spider-Man: Far From Home Following the events of Avengers: Endgame, Spider-Man must step up to take on new threats in a world that has changed forever.
Annabelle Comes Home After being locked behind sacred glass in the Warren’s artifacts room, Annabelle awakens the evil spirits in the room, who set their sights on the Warrens’ daughter and her friends.
TV on Blu-ray and DVD
Midsomer Murders: John Barnaby’s Top 10 Specially selected by Neil Dudgeon, who stars as DCI John Barnaby, these 10 standout episodes from the fabulously macabre detective drama are here presented in a collectible limited edition with witty and revealing anecdotes about the show’s production.
The Good Fight: Season Three Diane tries to figure out whether you can resist a crazy administration without going crazy yourself, while Adrian and Liz Reddick-Lawrence struggle with a new post-factual world where the lawyer who tells the best story triumphs over the lawyer with the best facts.
Comingsoon.net is thinking back on our biggest heartbreaks to choose the absolute best movies about lost loves. Check out our selections in the gallery below!
Watching a movie span countless years is a feeling that never gets old. Watching the lives of the characters move in fast-forward is something the audience will never get to experience themselves, so learning the fates and the futures of the characters they’re invested in is almost like the second best thing to actually seeing their own futures. This plot device can be utilized in any genre, but we see it quite frequently in dramas and romances.
More specifically, many filmmakers use time jumps in stories about lost loves. Whether the film follows two childhood friends who reunite decades later or two former lovers who run into each other by coincidence (or by fate), these flash-forwards are the easiest way to showcase the entire history of a relationship. They aren’t the only way to do things, though—some movies pick up at the “years later” part and rely on the dialogue between characters to establish their pasts, while others focus on the meet cute and then split the couple at the end, leaving things ambiguous. Either way, we’ll never get tired to these movies about long-lost loves.
In the previous episode of Netflix’s Mindhunter, the authorities caught Wayne Williams while staking out the river. In the season finale of Mindhunter, Holden, Bill, and Barney investigated Williams in connection with the Atlanta child murders.
While they questioned Wayne in the back of the police car, an officer was taking note of his station wagon. There was dog hair on the seats and knotted rope on the floor. However, he didn’t retrieve the rope, so when Holden and Barney came around to his family’s house to question him again, the backseat was clean.
Wayne claimed that he had been meeting a singer at 3AM. His job was to find the next Jackson 5 and develop the talent. The phone number he provided was a dead end for his story. Though he seemed suspicious, they had nothing to tie him to the murders. This appeared to embolden him. While Bill and Holden were tailing him, he stopped to buy food for them.
Access, Means, and Motive
A body turned up just downstream of where they had stopped Wayne. Through interviewing people in Wayne’s life, Holden, Bill, and Barney believed they had the right guy. He spent his days hanging around young boys wanting to make money as part of his job. Though he had family who supported him, he still wasn’t successful. They hypothesized that Wayne took out his insecurities on young boys who he felt made him look bad. A man he worked with supported the theory, since the thought of donating to the fund to support the Atlanta murder victims angered Wayne.
Wayne now had the authorities and the press following him. He led them to the mayor’s house to make a scene. Barney had someone tailing his father, who had gone to inquire about chartering a plane to South America. Now that Wayne was a flight risk, it made it easier to get a warrant.
However, it was all moot as the Justice Department believed they had enough to tie him to two of the murders. Fibers that they collected matched those found on two of the adult victims. However, they couldn’t tie him to the rest of the cases. Barney had flagged a sixty-year-old black male who had pedophilia charges as a possible suspect. Unfortunately, they were closing all of the cases and relegating them back to local authorities. They were taking their victory lap early since it was a win for the FBI. According to Ted, it was up to the district attorney to prosecute the cases.
When Bill arrived home, his house was empty. Nancy had taken Brian and moved away.
What did you think of the season finale of Mindhunter? Let us know in the comment section below!
Exclusive: Bill Moseley Talks 3 From Hell Return, Rob Zombie’s Evolution
Director Rob Zombie returns to the world he started with House of 1,000 Corpses tonight as 3 From Hell begins its limited three night run. A sequel to The Devil’s Rejects, the film picks up where that film very explosively ended and Coming Soon had the opportunity to speak with star Bill Moseley about the sequel and his return as Otis Driftwood. Read our full chat below!
Potential spoiler warning for the opening of 3 From Hell below
ComingSoon.net: Given how definitive The Devil’s Rejects ending was and how long it has been since then, when did Rob first call you and say something like, “Hey, we’re thinking of going back?”
Bill Moseley: You know, that was about almost two years ago, and I was very happy to hear it. It’s funny because it did certainly seem pretty definitive at the end of Devil’s Rejects that we were basically going out in a blaze of glory. But where there’s a will there’s a way.
CS: What were his initial conversations with you about doing another one?
Moseley: Rob and Sherry invited Sid Haig and me to lunch, and we had a happy vegan lunch here in Los Angeles. And Rob said, “Are you guys down with doing another one?” And both of us were quite enthusiastic in the “Yes: department.
CS: There was no hesitation from any of the four of you about…. not to change the ending of “Rejects,” but I guess to put an asterisk on it, if anything?
Moseley: Yes, and also to kind of figure out, because over the years, it has been 14 years since. I think Rejects was 2005. And it’s been interesting to see there’s so much fan wishing of another one. And yet, they were trying to figure it out, and it’s been a real head scratcher for a lot of fans, trying to figure out how can there be a third one? And it’s been fun to listen to some of the theories and the story ideas. One of course is that one of us wakes up and it was all a dream. That really is like the worst of all possible story ideas because that is just like, come on, man. That’s like the cheapest trick in the book. And then, another one that I actually liked was that we died and went to hell and we were so bad that the devil rejected us, hence our moniker, “The Devil’s Rejects”. There were lots and lots of different theories. And I go to a lot of conventions, meet a lot of fans, and I’ve heard a lot of different ideas. And my response is, “Just wait until September 16th and all answers will be answered.”
CS: That’s kind of the beauty, right, is that it just starts? The movie just begins. There’s not a twist to how they’re back.
Moseley: You know, yeah, there’s a beginning, middle and an end. The nice thing about the movie, too, is that just like Devil’s Rejects was to House of 1,000 Corpses, 3 From Hell is absolutely a standalone movie, so you don’t really had to have done your homework. I know that the third of the three nights of this Fathom Events release of 3 From Hell puts it on the tail end of a double bill with Devil’s Rejects. So that’s going to be a nice opportunity for the fans to compare, but yeah, it was certainly a lot of fun to make it, and I’m really glad that after all this time it’s finally coming out.
CS: Now one of the things that I really liked about the new one is there’s a couple of scenes that to me felt really meta, where it was you and Baby were sitting in a hotel room and you’re asking each other, “Is it even worth it to keep doing this? Why are we still doing this?” And did that come from a real place for Rob or for you guys in the meta sense of, well, Why are we making another one? What’s the reason for being here?
Moseley: You know, in the moment, that was a very sensitive scene. It was very fun and it was a nice emotional break. But you know, that’s all Rob. So that probably is more of a Rob question. I was just so happy to be back with the gang, whatever the gang might be, however the configuration. So yeah, I was certainly not wistful.
CS: Building off of that, I was watching some older interviews with you when you were talking about the other movies and you had kind of talked about how you didn’t really get Otis until a couple of years after you’d actually shot “House” and you were sort of doing pickup shots for it. Was it like riding a bike, getting into them this time? Or did you have to like, find him again?
Moseley: You know, it was actually a couple of months, not a couple of years, when we did those pickup shots after House of 1,000 Corpses. But for Otis, this time, a lot of it is just growing that beard, so you want to talk about doing your homework, that was about 16 months of beard growth. And so, there was always kind of, Otis was coming in small obviously microscopic increments as my beard grew each day. So that was certainly part of it. What happened was, I remember on maybe that second day of work on this, I had kind of a mini monologue to deliver and I was tripping up on the lines the first couple of takes. And Rob was kind of like, “Dude.” And I said, “Give me a second here.” So I just sat down by myself and I heard this voice say, “Bill, get out of the way. I got this.” And it was basically, instead of the Hollywood actor trying to deliver the scene in some kind of Hollywood actor way, I was basically Otis saying, get out of the way with all your self consciousness and you’re tripping over lines and everything. Get out of here. Which side is my better side kind of considerations and just let me take over. And once we established that that was okay, yes, exactly, I got out of the way and Otis just had a great time.
CS: Now one of the things I love about Otis is he’s pretty theatrical. Any time he enters a room or is terrorizing a new person, he always has a new kind of performance he’s giving, not to mention he has his little taxidermy projects. Do you think he misses doing that sort of stuff? Because he doesn’t really get to indulge in that, both in the new movie and in the “Rejects” because he’s on the run.
Moseley: Yes, you know what? It’s funny because that really is more about the evolution of Rob as a writer, as a filmmaker, and also, Otis is his creation. And maybe that is more of a Rob question. To me, it was amazing, the transition from Otis in House of 1,000 Corpses” to Rejects just because they were really hugely different, they looked different. In Rejects, Otis is no longer an albino. And so, 3 from Hell Otis obviously has spent a long time in jail, which isn’t really that big a deal to me, to Otis, I should say. And getting back out on the road, that’s what we do. We like to avenge stuff. We like to do f***ed up sh*t. And that just seems to be the purpose of life. There doesn’t really seem to be any big plan or ambition. And I think that’s kind of the beauty of Otis but also the tragedy, is that there is not some day I’m going to be president and not some day I’m going to retire to a little bungalow in Florida. Otis just wants to keep killing and f***ing things up until I guess he finally does get shot and killed.
Comingsoon.net is dead-set on petting each and every one of these movie cats. Check out our favorites in the gallery below!
Cats. You either love them or hate them, undoubtedly. There’s really no in-between. Hopefully, though, everyone has love in their hearts for movie cats. If you’re allergic, a movie cat is far enough removed to keep their dander away from your sinuses. If you’re scared of them, there’s no way these felines could hurt you. If you’re a dog, then… you’ll probably still hate these cats, probably. That’s the only exception. No object permeance.
Anyway, cats have been utilized in film since before the Golden Age and will continue to be used on-screen until their ultimate extinction (no matter how dark that is). Lovable sidekicks, evil entities, pets of leads, whatever. They’re all great, and the five best ones are here for you to enjoy.
In the previous episode of Netflix’s Mindhunter, Holden devised a plan to draw out the killer but didn’t work. In Mindhunter Season 2 Episode 8, after another one of his plans didn’t pan out, Holden convinced the police department to surveil the river.
Bill and Garland were monitoring Charles Sanders, a member of the KKK. Though it seemed like a waste of time for Bill, Garland believed that the Klan might be taking advantage of the situation in Atlanta. He revealed that the mayor had already been looking hard at the Klan, but it was to be kept secret until there was some hard evidence.
On a tapped phone call, Charles mentioned finding another kid, and his older brother, Donnie, spoke of the police finding Lubie Geter. Garland got them a warrant to take Charles in. Unfortunately, they hit another dead end with Charles passing a lie detector test three times.
Frank and Sammy
To offset the costs of the investigation in Atlanta, Frank Sinatra and Sammy Davis Jr. were holding a benefit concert. Holden wanted to put a call out for volunteer security, convinced that the unsub would want to be part of it. After running into some red tape, they came up with nothing.
While setting up the security interviews, Bill and Holden saw Tanya give young boys money to stay in the arcade. Holden saw one of those boys later and did the same. However, the kid thought Holden wanted him to pose for a picture. He gave Holden another house to investigate. This brought up the possibility that there could be more than one predator involved in pedophilia.
The murderer was dumping bodies in the river now to eliminate fiber evidence. For five weeks, the police were staking out the river access points. Chief Redding had to pull the plug as the stakeouts were draining money and resources. On the last night, they stopped a man dumping something in the river. He fit Holden’s profile of a black man in his 20s or 30s.
Wendy told Kay that she wanted a relationship with her. However, Kay’s ex-husband, Tom, arrived to drop off her son. Though Kay had preached being honest about herself to Wendy, Wendy overheard a very different Kay, who lied about her lifestyle to appease Tom. Wendy snuck out. When Kay finally caught Wendy at home, Wendy confronted Kay and broke up with her.
At Brian’s latest psychiatrist appointment, Nancy discussed possibly selling their house and moving to another neighborhood. Bill resisted the idea. When Nancy needed some time for herself, Bill took Brian out for ice cream. Bill asked Brian to talk to him because he’s scared and needed to know how he was feeling.
When Bill arrived back in Atlanta, Holden was upset about Bill’s lack of commitment to the investigation. Bill finally revealed what he’d been dealing with at home.
What did you think of this episode of Mindhunter? Let us know in the comment section below!
CS Interview: Haunt Directors Scott Beck & Bryan Woods
Momentum Pictures has provided ComingSoon.net with with the chance to interview A Quiet Place writers Scott Beck and Bryan Woods about their latest horror effort Haunt, produced by Eli Roth. Check out the interview below!
On Halloween, a group of friends encounter an “extreme” haunted house that promises to feed on their darkest fears. The night turns deadly as they come to the horrifying realization that some monsters are real.
Written and directed by Scott Beck and Bryan Woods, co-writers and executive producers of the critically acclaimed A Quiet Place, Haunt stars Katie Stevens (Faking It, The Bold Type), Will Brittain (Kong: Skull Island, Everybody Wants Some!!) and Lauryn Alisa McClain (Descendants: Wicked World, Daddy’s Little Girls).
Haunt can now be seen in theaters, On Demand and on Digital HD.
ComingSoon.net: Obviously, this sort of subgenre of teens coming across some kind of an amusement park or a haunted something or other, you can go all the way back to Tobe Hooper’s “Funhouse”. So for you, what was the spin that you were trying to put on the sub genre?
Bryan Woods: Almost no spin. It’s funny, we wrote “A Quiet Place” and “Haunt” at the same time, and we were kind of making a conscious effort, like while we were writing “A Quiet Place”, we were talking about it as like, a Spielbergian elevated horror genre piece. And at the same time, we’re writing “Haunt”, we’re kind of like, “Fuck that. Horror does not need to be elevated.” Let’s relish and marinate in all of our favorite things about Halloween, the holiday season and horror films in general, and particularly that kind of period of 70s, 80s slashes that you cited, like Tobe Hooper’s “Funhouse”, it’s almost Tobe Hooper’s “The Funhouse”, but the premise that we always wanted that movie to be or thought that movie was until we saw it. Kind of like marinating in just the fun of going into a haunted house with a group of characters and finding out that the people running it are more than they seem. And that was it. We had a lot of fun kind of thematic conversations. But more than anything, we just wanted it to be a rollercoaster ride and we wanted to capture that experience of going into a haunted house and the fun of what that feels like, because Scott and I, as kids growing up in the Midwest, it’s funny. Everyone out here, it’s funny. Everyone out here in California who grew up here, they don’t really know what that is because they have Halloween Horror Nights, which is fun, but that’s kind of like the commercial safe version of it. But in the Midwest, you drive out into the middle of nowhere and you go to a forest and there’s like this abandoned church and these Halloween hobbyists have like, created this haunted house in their dreams. And you go through it and you’re walking through it and you’re just like, wow, this is kind of dangerous. Who are these people that are running this? And where have we found ourselves? And what if something bad happened? Those were kind of all the instincts that we were drawing on from our childhood.
CS: Was there something specific that inspired it?
Scott Beck: To a certain degree, I remember back in the Midwest, it was maybe a half an hour from where we lived, there was a haunted house that was up year round. And it was an incredibly fun attraction to just get everybody in a van and go out there, even if it was the middle of July. And I think everybody, that aspiration of just trying to scare themselves within the confines of something not seemingly safe. And it’s not just exclusive to Halloween. I think it’s exclusive to anybody that wants to get on the fringes of what their fear threshold could potentially be. And so, yeah, I don’t know that I would necessarily classify it as a subculture versus it’s just a fascination with the macabre and the dark side of life. And sometimes, you want that in the middle of April or something when it’s like, Easter. You just want to be scared and find like, these low rent haunted houses in the Midwest that you can still go to outside of the month of October.
CS: There’s a haunted house in Pittsburgh that actually hires a woman who’s like a psychologist as a fear consultant to amp up psychologically all the scares. Did you do any research into the psychology of a haunted house and the things that trigger people and that sort of thing?
Beck: I think like, to a certain degree, what we kind of leaned into was just that audience members, of fans of the genre that go to these movies on Friday and Saturday nights in a packed house. We usually like watching horror films twice, first, just to experience it, and then the second time, to really gauge how the audience is reacting to it from a filmmaking perspective. And so, while it wasn’t necessarily with the psychologist, it very much was studying the psychology of horror movies themselves, and very much in crafting some of the sequences, we would have some sort of gauge of like, where the conventional scare would happen. And then the directors were like, let’s take it one step further beyond the expectation and let’s take one step even beyond that so that hopefully the audience is getting into the suspense of the film, versus just the typical jump scares that you might encounter otherwise in films like this.
Woods: There’s a point in the movie where the suspense starts to crescendo with the ghost character and one of our leads, Nathan, in a hallway. And nine out of 10 movies like, that’s where the killer comes out and makes the kill. And we wanted to kind of do the opposite. We wanted to have the killer turn the lights on and say, “Everything’s fine. How can I help you?” He looks distressed, like what can we do? And just, it’s fun for us to kind of zig-zag and go left, when we should be going right. And but that’s kind of more the conversations we’re having as we’re writing.
CS: Right, zig when you should zag, that kind of thing. I talked to your producer last year, Eli Roth, and he made a really interesting point: He said no horror film is ever going to be as scary as the first time you see it. And as the guys who have seen this movie probably more than anybody else, even though you conceived it, even though you’ve watched it a million times in the editing room, are there scenes that still kind of dig into you?
Woods: (Laughs) Yes, but not the way you mean, like more as from a creative standpoint, we’re always like, oh, that could’ve been better, why didn’t get that. Why is the light not hitting the thing? Like the stupid filmmaker things. I mean, we’re not unnerved by our work ever, but we are while we’re writing it. Like it’s fun to like, be like immersed in your imagination and like, when we were writing “A Quiet Place”, we wrote that movie to this 40-minute loop of wind and wind sounds that we created, writing the movie and imagining being in this world. Like, you can definitely scare yourself at that stage for sure. Once you get to the movie part of the process and you’re seeing it all come together, where it’s “A Quiet Place” or “Haunt”, you only see it with jaded eyes. You’re just literally watching how can we—your job, even as the screenwriters watching rough cuts, your job is like, how can we make this better? How can we make this better? What can we do? Because it’s just all hands on deck and you’re just trying to get to the best product possible before it drops.
CS: There’s a weird theory I have. It’s not based on any research whatsoever, just kind of a gut instinct, but when I saw “A Quiet Place” for the first time, and it got to the whole thing about how they’re going to have this baby within this horrifying environment. I feel like part of the success of the film comes from appealing to the religious right in, like, middle America, who would watch it and be like, “Yes. Even in the worst circumstances, do not get rid of the baby!” I’m wondering if you think there’s any validity to that being the appeal to a lot of the audience that came to it?
Beck: (laughs) I mean, yeah. To a certain degree. I mean, the long story short version of the baby is the original intent of it was that they actually had the baby before the invasion happened, or rather, they got pregnant and now they’re stuck with this option of having the baby or not. The subsequent drafts kind of changed so that it presented it as the baby was conceived after the invasion. But I think the game of it is really going back to the idea of trying to restart your life in the wake of a loss. And in their instance, they lost one of their children. And are they going to be the type of post apocalyptic survivors that start dwelling on the madness and they come to their own destruction? Or are they the ones to have the wherewithal to find a new hope and a new way to move forward? And that’s really what we were trying to champion at the summation of the film.
Woods: I have to say, though, this theory is compelling. You’ve got me thinking about it because we always thought that “A Quiet Place” would be much bigger overseas than in America because we were essentially doing a modern day silent film. Part of the concept was it could travel the world and it’s written in a universal language of cinema, and so, there’s no language barrier. So we thought for sure it would be bigger overseas. But perhaps America is kind of like diehard, like, “We’ll have the baby no matter what.” Maybe in a way that made it pop here slightly bigger than overseas. That’s hilarious.
CS: I really enjoyed your guys’ interview with Mick Garris on his podcast. And during the interview, you talked about how “A Quiet Place” was partly influenced by the films of Jacques Tati, and the way he did a lot of stuff without dialogue. I’m wondering, do you have any interesting non-horror inspirations for “Haunt”?
Woods: Yeah, a couple. One filmmaker that we talked a lot about was Richard Linklater and how his casting of actors is so normal. They feel like real people. In fact, Will Brittain, who plays Nathan, we found him because of our love for “Everybody Wants Some”. The whole cast of “Everybody Wants Some” is like through the roof brilliant. So we were basically like, we’ll take anyone. How many people can we get from that movie? But Will was so brilliant in that film. And so, he’s just a regular guy and the unique kind of improv adlibs that he does that we really embraced. So we talked about that both in terms of casting and also in terms of writing the scripts. The initial cut of the film had way more characters. We truly went all in on like, we’re just going to marinate with the characters and you’re going to think you’re in a Richard Linklater film. And eventually, we kind of scaled that back and made it a little tighter and a little bit more of the rollercoaster ride that it was always meant to be. But Linklater was someone we talked about. We talked a lot about David Fincher’s “The Game” and how that film kind of plays with perception of is it real, is it not real. Beck: And “Green Room” as well, that came out a couple of years ago.
CS: I love “Green Room”.
Beck: It’s a movie that, you know, especially it feels like a b movie in the best way possible and it’s just like a survival tale about being trapped in a place with these crazy, crazy villains. So all of those combined have inspired us throughout the whole process.
TTPM 2019 Holiday Showcase Gallery with Avengers, LEGO & More!
ComingSoon.net was invited to the TTPM 2019 Holiday Showcase event in New York City to see hot new toys from franchises like Avengers, Harry Potter, LEGO, IT, Batman, Marvel, Disney and so much more! Check out over 100 photos from the TTPM Holiday Showcase in the gallery below!
TTPM (which stands for Toys, Tots, Pets & More) is a leading toy industry publication, and this year they unveiled their Fall’s Most Wanted List, highlighting expert predictions for the hottest toys for the spring and summer season. You can see these items from yesterday morning’s press conference at the end of our gallery!
What toys are you most looking forward to this holiday season, either for yourself or your kids/nephew/goddaughter, etc? Let us know in the comments below!