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Previous Next October 31, 2023 WRITTEN BY: PAIGE While horror movie sequels are often guaranteed in this day and age, especially when a film is a box office success, what about those underrated and under-appreciated gems that fail to move past the initial offering? The fan favorites that never get the sequels (or prequels) they deserve to continue their stories and overall world building? More so than any other genre, horror sequels come in all different shapes and sizes, be it through shared universes, legacy sequels, or requels. But even with so many horror movies getting sequels across a variety of approaches, plenty of titles have been overlooked. So, I’ve come up with a list of personal favorites that I feel deserve a second go ‘round, along with ideas of what I’d love to see happen with these particular titles. NIGHTBREED (1990) Clive Barker’s Nightbreed , which is based on a novella he wrote titled Cabal , was initially planned as a trilogy, but unfortunately, the planned sequels never got to see the light of day. Yes, this film is a wee bit cheesy and is definitely a mess, but it’s got such killer creature designs that I’d love to see more of it. This horror fantasy may not have been critically loved, but you’ve got to admire the scope of what Barker tried to accomplish here. If nothing else, the story warrants more attention just from what it accomplished with its world building. Plus, it frustratingly ends on a cliffhanger. With a film that is 33 years old, the obvious answer of what we need is a legacy sequel! Bring us back to the world of the Nightbreed, continuing what was started. With a proper fix to the overall story and a better script, it could be really fun to revisit these creatures and build on the lore. I actually think that by bringing this story back to the modern day, audiences would sympathize with the monsters a lot more this time around, which is what Barker wanted. If recent things like The Walking Dead and District 9 have taught us anything, it’s that audiences likely would better understand what Barker was getting at, mainly that mankind is the true monster. Plus, if you make it a story about “monster” outsiders simply trying to build a new home for themselves, there are some very obvious and timely parallels that could be made to immigration. Otherwise, just bring Danny Elfman back for the score and keep the title simple… Nightbreed 2 . FREDDY VS. JASON (2003) It has been 20 years since we got to witness one of the most iconic face-offs in horror history, and while Freddy vs. Jason was not critically acclaimed, there is no denying that this campy horror flick was epic as hell and killed at the box office. We got to see a legendary showdown between two of the greatest slashers in movie history while also watching them do what they do best, which is, of course, haunting, slicing, and dicing their victims. However, could another mashup of the A Nightmare on Elm Street and Friday the 13th franchise work? Since the ending of Freddy vs. Jason is left open ended, the answer is…of course, it could work. We are left with so many possibilities for where the story could go next, and let’s be honest, it’s not like these franchises’ sequels ever rested on logic or necessity. Plus, I think I’ve got the perfect direction of where to take it… Since both franchises have been in shambles for several years now, there has been no push for these characters to return on the big screen. Why not kill two birds with one stone? Give me the ultimate slasher movie, one-upping Freddy vs. Jason with a sequel where they team up to face off against some of the other classic horror villains. Yep, I’m talking about Pinhead and Michael Myers in the craziest ring of them all, HELL. Why not bring all these different fandoms together to create one of the most chaotic horror movies of all time, featuring a team of virtually unstoppable killers against another team of virtually unstoppable killers, all of them doing what they do best…killing! Now, the reality of it is that we’d need a studio willing to buy the rights to all these characters, or beg the studios to work together to make the nightmare Freddy and Jason vs. Pinhead and Michael come true. It seems worth the effort to try. BEHIND THE MASK: THE RISE OF LESLIE VERNON (2006) Behind the Mask: The Rise of Leslie Vernon is probably the most underrated flick on this list. As moviegoers and horror fans, we haven’t really gotten many great slasher villains in recent decades, so it was a pleasant surprise when we received this gem in 2006. Behind the Mask takes a unique approach to the slasher genre creating a mockumentary about an aspiring serial killer. Leslie Vernon (Nathan Baesel) allows a documentary crew to follow him as he plans to commit his first act as a serial killer, which is just mind boggling to me but also such a brilliant way to learn the ins and outs of what drives these people and their planning process. Now, do we need a continuation of Leslie Vernon’s story? No, because if you’ve seen the film, you know our killer’s fate. What we do need, however, is a series of anthology films, each one following a different aspiring killer. Call me crazy, but I think this could really grab the slasher-loving audience, resulting in something that horror fans would look forward to every year. The title is already set up for it, anyway: Behind the Mask: [insert serial killer name ]. TRICK ‘R TREAT (2007) Trick ’r Treat was a little-seen hidden gem that has become a major staple during the Halloween season. While there have been rumors circling for many years that director Michael Dougherty would make a sequel to this anthology, there hasn’t been any movement except for a recent announcement from Dougherty that it is “inching along.” With that said, I’ve decided to take matters into my own hands, declaring that Sam, the trick-or-treating demon in orange footie pajamas and a burlap sack over his head, needs to return for another round of scares! Since the anthology format allows for a wide variety of stories to be told, here is what I’m thinking to make a sequel really fascinating. We continue to have Sam as our connective tissue throughout the different stories being told, but each story focuses on a different holiday, such as Christmas, Easter, and Valentine’s Day. This approach also could bring out the possibility of introducing new terrifying characters that make up Sam’s gang, like a devilish elf, a creepy Easter Bunny, or a crazy Cupid. Just think of all the possibilities that this terrifying gang could get into in the sequel, Trick ’r Trick: Holidaze . THE CABIN IN THE WOODS (2011) The Cabin in the Woods has become a modern horror classic, so how the hell did we never get more of this story? The satirical horror flick was critically acclaimed, a commercial success, and it seems to be one of the most memorable horror comedies of all time; so, the question remains… does this story warrant more movies? The answer is YES! While some may think a second The Cabin in the Woods may not have the same impact as the original since we already know the twist, let’s not forget that said twist actually leads to more questions that need answering. With that in mind, my thought is that we don’t need a sequel , we need a prequel. (NOTE: mild spoilers ahead) To me (and given the ending), a prequel makes the most logistical sense. Perhaps it depicts one of the first rituals? I’m only assuming that the rituals would have become more complicated as time went on, and showing how we figured out how to please the Gods would be an interesting way to see how the rituals have evolved over time. At the same time, it would allow us to dive deeper into “The Ancient Ones,” explaining why we need to satisfy them through sacrifice in the first place. Why do they need, or even want , this? The evolution of it all could be a very intriguing take in Knocking Down the Cabin . I’m so in. IT FOLLOWS (2014) It Follows is perhaps my favorite movie on this list, and one that I think deserves more love and appreciation. While this gem stands so tall on its own, I can’t help but want more because, man… I fucking love this movie. It leaves me begging for more. With The Entity being a metaphor for the paranoia around contracting an STD, there is so much more you can do to explore this idea. “Why did it all start? Why won’t it stop?” are just a couple of the questions I can’t get out of my head. In an effort to get answers to these questions and more, the perfect approach to continuing the story of The Entity is to craft the flick as a movie that is both a prequel and sequel. What does that mean exactly? Let me explain… move the story forward by telling the story backwards. While that may sound confusing as hell, I promise you it’s a genius way of furthering this kind of story. Netflix’s Fear Street trilogy is a perfect example of what I’m talking about. This is the exact approach that film series took, and it was such a brilliant way to flesh out the history of the world the movies are set in while also furthering the story at the same time. So, in present day, Jay (the highly underrated Maika Monroe returning in the lead role) is trying to understand The Entity, tracking down how it started so that she can stop it from continuing. In the flashbacks, we get to witness how, why, and where The Entity came to be. Interweave these timelines to create additional depth and understanding as Jay transitions from victim to hero, with all the great commentary that comes with that. And I already have the perfect title: Follow It. Photo Credits: Photo 1 - 20th Century Studios; Photo 2 - New Line Cinema; Photo 3 - Anchor Bay Entertainment; Photo 4 - Warner Bros. Pictures; Photo 5 - Lionsgate

Previous December 31, 2024 Next A BITESIZE CHAT WITH ALAN TUDYK With his 12th Disney Animated film now in theatres, Alan Tudyk joins Nick to talk about his role as Valentino in Wish , some of his career highlights, the upcoming Creature Commandos , and even do a few of his signature voices. Make sure to check out Wish now in theatres. Interview conducted on November 20th, 2023 by Nick van Dinther. Photo Credits: Banner - Ben A. Pruchnie; Photo 1, 2 - Walt Disney Studios

WHAT IF...?: SEASON TWO Starring: Jeffrey Wright AMARÚ It feels like Marvel understood that “not having stakes” is actually a blessing because What If…?: Season Two is one helluva ball of humor and joy. There’s a clear passion in these episodes that Season One sometimes lacked, and while the highs aren’t as high, there’s a care and energy that’s far more enjoyable. Each episode is filled with a child-like delight that is palpable in the writing, voice-acting, action, and story. What If…? is a comic lover’s ultimate playground, and this season is pure excitement, gift-wrapped and waiting to be opened day after day this holiday season - a great idea for its release schedule. QUENTIN Despite tremendous animation, slick action sequences, and great voicework (Taika Waititi and Jeff Goldblum, especially), What If…? somewhat suffers because of the stories being told. Most episodes are either blatant ripoffs (think, “What if…Marvel made Die Hard? ” and “What if…George Miller Directed a Marvel Movie?”), or the premise simply isn’t interesting enough to sustain a 30-minute runtime (“What if…Captain Carter Fought the Hydra Stomper?” - more like “Who Cares…?”). When you couple that with cheesy dialogue and a sense of humor that often caters to younger audiences, you end up with quasi-entertaining fare with enough “that's neat” moments to please the least demanding fans of superhero content.

PERCY JACKSON AND THE OLYMPIANS: SEASON ONE Starring: Walker Scobell, Leah Jeffries, Aryan Simhadri, Charlie Bushnell, Virginia Kull, Adam Copeland, and Glynn Turman Creators: Rick Riordan and Jonathan E. Steinberg AMARÚ They did it y’all. They fucking did it. Those horrible Percy Jackson movies are in the rear view because Walker Scobell, Leah Jeffries, and Aryan Simhadri are officially the new young-adult trio we’re gonna watch grow up. This show is excellent, and what’s most satisfying is the fact that for an action-packed YA franchise, the best parts are its world-building, pacing, and acting. My only wish is that next season (or four!!) lets the big moments breathe more to cut down on the anticlimactic reveals. Otherwise, this is an honest, entertaining, and beautifully structured adaptation that kept a huge smile on my face. NICK I’ve never read the Percy Jackson books (nor was I a fan of the Logan Lerman-led films), but my fellow writer Amarú's love for the book series led to me checking this series out. Honestly, what a blast! Due to its similarities, it’s bound to be measured against the Harry Potter franchise, but the world-building and eclectic cast of supporting characters (Adam Copeland is terrific) are on the same playing field. These aspects set the new leads up for success, and I expect them to only get stronger as they grow within these characters. I’ll definitely stick with this pleasant surprise of a series. CALEB Someone should’ve handed out Red Bulls on set because Percy Jackson and the Olympians is critically low on energy. The three leads basically sleepwalk through every scene, offering no charisma or chemistry whatsoever. The cinematography is expressionless, the effects look cheap, and the scripts are perplexingly dry. There were moments where it felt like the writers were going through the book scene by scene and systematically removing any and all tension they could find. The Percy Jackson books are just about as fun as young adult novels come, so there’s absolutely no excuse for an adaptation this boring. For shame, Disney… for shame.

BLACK RABBIT Starring: Jason Bateman, Jude Law, Cleopatra Coleman, Sope Dirisu, Amaka Okafor, and Troy Kotsur Creators: Zach Baylin and Kate Susman BODE I never got into Ozark like a lot of people did. Despite being filled with talent, I found that show to be half-baked in its characterization and plotting. Its deadly serious tone and plodding pace didn’t help either. My thoughts on Black Rabbit , which shares much of Ozark ’s creative DNA, are similar. Jason Bateman and Jude Law have an intriguing dynamic, and it’s tense in the right moments (especially in the last few episodes). But undercooked characters, time-padding subplots, and a near-humourless vibe keep this miniseries from reaching its full potential. It ultimately left me thinking that it should be better than it really is. QUENTIN Black Rabbit is enjoyable enough for fans of bleak crime dramas, mostly due to Jude Law and Jason Bateman, but it would have been so much better had it focused on one plotline. The true story on which it is loosely based, about a scandal at a high-end restaurant, would have been compelling on its own; likewise, had it focused solely on the good-brother-helps-bad-brother storyline, all good there too. There is plenty to mine from either of those plotlines; However, by mashing them together, neither is truly developed as well as it should be. Ultimately, we’re left with a see-what-sticks hybrid of Ozark , The Bear , and Rounders .

THE FALL OF THE HOUSE OF USHER Starring: Bruce Greenwood, Mary McDonnell, Carla Gugino, Mark Hamill, Zach Gilford, Willa Fitzgerald, Rahul Kohli, Kate Siegel, Henry Thomas, T’Nia Miller, Samantha Sloyan, Sauriyan Sapkota, Kyliegh Curran, Carl Lumbly, Katie Parker, and Ruth Codd Creator: Mike Flanagan PAIGE The Fall of The House of Usher oozes with suspense and chills. While the family in this series may be crumbling, showrunner Mike Flanagan certainly isn’t, as he continues to prove he is a Master of Modern Horror. The sheer atmosphere of this show will give you the creeps, and while there are some flaws, its storytelling approach is top notch. This may be Mike Flanagan’s best work to date, featuring a stellar cast of Flanagan regulars who manage to make Usher feel like the horror version of Succession . QUENTIN Though not without effective jump scares and haunting imagery, The Fall of the House of Usher is more chilling than outright scary, but that doesn’t make series creator Mike Flanagan’s final Netflix offering any less of a win. The storytelling structure…a man discussing his family’s downfall…provides a captivating overarching narrative even though the overall season plays like an anthology of Edgar Allan Poe’s most famous stories. This brilliant approach, coupled with terrific performances, timely themes, and proven source material, make for one of Netflix’s best series (even if some episodes work better than others). It certainly creates excitement for what Flanagan might do at Amazon. KATIE Reminiscent of Dopesick , Succession , and Final Destination , The Fall of the House of Usher is an incredible addition to Mike Flanagan’s impressive back catalogue of horror shows. It’s unsettling, gory, and darkly funny, while Flanagan seamlessly weaves Edgar Allen Poe’s stories together with his storytelling, using the source material to enhance the narrative rather than being beholden to it. The structure is engaging and fun, and I was both dreading and looking forward to finding out the unique ways that each irredeemable Usher offspring would be tortured with each episode. And, as always, the regular cast’s performances are fantastic. NICK Mike Flanagan's Netflix era only has one miss (The Midnight Club ), yet somehow The Fall of the House of Usher beats the odds to become his strongest effort. Anchored by an enthralling performance from Bruce Greenwood, Flanagan's familiar cast is terrific (including a wonderfully off-type Mark Hamill) as they enrich each of these characters with depth and nuance. It’s a bit of a departure from his previous work, but still features many of Flanagan’s staples, including some truly terrifying imagery. Add in his ability to, not only adapt the works of Edgar Allan Poe, but modernize them, and House of Usher is a touch of brilliance.

MR. MCMAHON Starring: Vince McMahon, Shane McMahon, Stephanie McMahon, Linda McMahon, Hulk Hogan, Steve Austin, Dwayne Johnson, Dave Meltzer, Bret Hart, Eric Bischoff, Paul Heyman, John Cena, Paul Levesque, Mark Calaway, Tony Atlas, Trish Stratus, Cody Rhodes, Shawn Michaels, and Booker Huffman Creator: Chris Smith NICK Mr. McMahon is a story of admission without explanation. Although this docuseries provides in-depth coverage of WWE's questionable history, featuring interviews from wrestling's greatest legends, the most interesting aspect was always going to be Vince McMahon in his own words. On that front, it's underwhelming. Vince is never pushed, and when interesting answers arise, the follow-up is almost non-existent. Unlike his father, however, Shane McMahon chooses not to hold back, becoming the most compelling part of the whole story, building on the underlying throughline of strained father/son relationships in the McMahon bloodline. I’m ready to see a project on Shane telling that story instead. QUENTIN Mr. McMahon is an enlightening docuseries and a fun trip down memory lane for wrestling fans of the 80s and 90s. It gives insight into Vince McMahon’s drive, character, and approach to business while exploring the rise of WWE. However, since nearly the entire series was filmed before recent allegations, it doesn’t explore that ongoing scandal too much. Instead, it allows McMahon to tell his own story of who he thinks he is, some of which will raise eyebrows, allowing viewers to form their own opinions as to whether he might be capable of the crimes for which he is being investigated. I dug it.

Previous December 31, 2024 Next A BITESIZE CHAT WITH BRANDON CRONENBERG Filmmaker Brandon Cronenberg (Possessor) joins us to talk about his newest release, Infinity Pool , the current state of horror, and the future of his burgeoning film career. BB: You experimented with the visual language of [Infinity Pool ] quite a bit, which made it really exciting to watch. Were there any scenes in particular that were difficult to shoot, but turned out better than you had hoped for? BC: It was all kind of difficult to shoot because we were on a pretty tight indie schedule, and that was more challenging, I think, than the kind of hallucinatory scenes, the more formally stylistic stuff. That stuff was fun, but a lot of it is done [with] you taking material and re-photographing it, so it was a bit more leisurely whereas the main shoot was a bit hectic. I think, to me, the hardest sequence was probably the home invasion. We had one day to do that whole sequence, and it’s probably, you know, two and a half days of shooting if we were able to take our time. But, yeah, I’m really happy with how it turned out. BB: With Possessor and Infinity Pool , there is this power dynamic between the elite and the lower body person. Has this concept always grabbed you, or would you like to deviate from that discussion in subsequent films? BC: It isn't the case that I think about it on a film-to-film basis. I mean, I wrote Infinity Pool before we shot Possessor , but after I’d written the script for Possessor . So, maybe there were certain thematic elements that made their way into [Infinity Pool ’s] script that I wasn’t sure I was going to even be able to tackle in Possessor because that film kept falling apart, over and over again, for the better part of eight years. So, there’s some overlap, probably. In that sense, that was where my head was at. But at the same time, I also think that the power dynamic of the economic divide is something that’s only becoming a more difficult-to-tackle issue. So, you know, you kind of pull the tensions that you see around you in the world into your work and process them in that way. BB: The rating of the film was brought down from an NC-17 to an R rating. What was the process like for you to make those changes to kind of fit those guidelines? BC: It's a process that very directly involves the MPAA because you send a film to them, they tell you, “this would be NC-17,” and you say, “okay, give us some feedback.” [Then] you work with an MPAA consultant…actually, Neon has an MPAA consultant who I work with…[he] sort of interprets their feedback for you in a way that’s hopefully a little bit more specific and practical. Then you just go back and forth. In our case, we tried to appeal at one point. So, I actually had to fly to LA, go to Sherman Oaks, to the MPAA headquarters, and it’s like putting your film on trial a little bit. They have a room full of people…apparently, there’s a priest there, that’s part of the requirements…and you screen the film, and you sort of make a case for why this should be R. Actually, weirdly, the MPAA representatives agreed with us in that case, that we had made our case, but we split the room five to five, and you need two thirds. So, we made a couple of minor tweaks after that. BB: You got to work with a modern day scream queen in Mia Goth prior to what has become her breakthrough 2022. What was the experience of working with her and the rest of the cast? BC: Interestingly, she was shooting Pearl when we first spoke, when we sent her this script. Those films hadn’t come out when I cast her in the film, and I don’t think we actually saw them until after we had shot. It’s fantastic that she’s having such a big year. I think she’s brilliant. I’ve been wanting to work with her for years. Everything she’s in is another example of how exciting she is as an actor and what a talent she is. It’s funny that she’s had this run of horror films, and is now, you know, the big scream queen because it wasn’t the case when we were shooting or that hadn’t happened yet. But, I mean, she’s an absolute delight to work with and obviously brilliant. BB: Working with actresses like Andrea Riseborough, and now Mia Goth, do you find their performances to be more horrifying than your body horror sequences or vice versa? BC: You know, I don’t know. I lose all perspective as I’m working on it. Certainly, with actors like those, the performances are the exciting part to me. I mean, it’s fun to do the horror stuff. We get incredibly giddy on set and start laughing maniacally when the prosthetics come out and everybody’s being squirted with blood just because it’s… as disturbing as those scenes are for some people to watch, when you actually shoot them, they’re incredibly funny. It’s sort of like playing Halloween. I mean, those are, in a way, the most lighthearted scenes to shoot, so they’re very enjoyable. That’s kind of basic nerdy stuff that is fun, but you can kind of just do it with your friends. To bring on an actor who you’ve never met prior to the film, to have someone inject that kind of life into your characters and into your stories, [is] thrilling in a very particular way. BB: I know a lot of films have working titles when creating them, but I know with this film, the title Infinity Pool has some subtle context. I was wondering if you had any other ideas for titles for this project? BC: No, it actually was the working title. I mean, it was based on a short story, and at one point, there was a kind of short comic version while I was writing the script that came out. It was a very short comic in an anthology comic, and that story was called, I think, “Death in Lee Tolka.” But that was never gonna be the name of the film. BB: How do you feel about the surge of love for horror in recent years? And has the genre changed at all? BC: I’m not sure if it’s [changed] necessarily. I don’t know. I feel like there’s always a market for horror, like from a film industry perspective. Certainly, a lot of my friends are horror fans, and so maybe my perspective is skewed, but it doesn’t seem like anyone has lost a love for the genre. I don’t know. It’s interesting. There’s this move now in the industry to embrace some pretty arty, intriguing horror, and they’re coming out of, you know, Neon and A24. So, I don’t know if it’s just because a market has been carved out and now there’s more interest in making films like that? I’m not sure. But I don’t think that those films are new. I think there has always been arty horror, and there has always been this love for horror films. I think we’re in a pretty interesting place right now because there’s a lot of visibility both with the more mainstream horror and this kind of stuff, but I don’t know that it’s necessarily a completely new thing or that those kinds of films stopped being made at any point. BB: Are there any horror films that stuck out to you over the course of 2022 that you really enjoyed? BC: You know what? I’m just starting to catch up on that stuff. I mean, this is hugely biased, but obviously Mia’s work has really stuck out. But there’s a lot of stuff that I just haven’t [seen], like I’m just now finally catching up to because the editing process was very long and intense on this one. So, there’s a kind of a year’s worth of film that I haven’t had a chance to engage with. So, it seems so self-serving to say X and Pearl , but they were quite good. BB: With both your films being body horror films, the elephant in the room is that your father has a historic legacy in the genre. How has your father impacted your love for body horror as a sub-genre? BC: I don’t know if he has. It’s hard to say. You know, I can’t see my father’s films with any kind of perspective because I’m too close to him. I’m too close to his films. So, I can’t watch his movies the way that normal people watch movies and be influenced in the way that people generally mean by that. Obviously, we’re related and he was a big part of my childhood and still is a big part of my life, but just as a human being. So, as a person, obviously, he influenced me genetically and in terms of my upbringing, but as a filmmaker, it’s hard to say. I can’t really unpack that in the normal way. BB: Are there any films that Inspire your work? BC: The problem is… I watch a bunch of films, usually with Karim Hussain, my cinematographer. He lives pretty close to me, and he’s an encyclopedia of film knowledge. My knowledge is all over the place. I have hugely embarrassing gaps, but he’s seen everything and knows everything. So, we usually will sit down and watch a mass of stuff, and I kind of just pack it into a weird loaf that sits somewhere in the back of my brain. So, it’s kind of hard to remember what we were watching when we were doing marathons in 2020, or 2019, when we sort of started this. I think some of the Steadicam and macro-gore stuff has definitely come from some [Dario] Argento films, you know, Opera and that kind of stuff. But that’s not something specific to this film, those are just incredibly formally stylish genre films. It’s not a very good answer, not a very interesting answer… BB: No, no worries! I appreciate your work because it feels original, and I feel like that’s the twist that you bring to the table with all of your horror films. So, thank you for that. For your future projects, would you ever get into any other genre and try something new? Does that interest you? BC: Absolutely! I mean, I love horror films. I’m happy to be a horror filmmaker. But I’m not trying just specifically to work in that genre. It’s just where my head is at. I’m happy to work outside, I’m just kind of taking these projects one at a time and following my interests. I do have… one of the things I’m working on is an adaptation of a book called Super-Cannes as a limited series, and that’s more of a weird detective story in a way. It’s somewhat horrific, but it’s not necessarily a traditional horror story. It’s a bit more of a surreal procedural. BB: Well, DC just announced they’re doing Swamp Thing . You should definitely throw your name into the ring to James Gunn! BC: Haha, let them know that! I don’t know if Infinity Pool is winning me fans at Warner Bros., but we’ll see. Make sure to check out Infinity Pool now in theatres. Interview conducted on February 2nd, 2023 by Paige Frabetti. Photo Credits: Banner - Rich Polk/Getty Images; Photo 1 - Neon; Photo 2 - Caitlin Cronenberg/The Globe and Mail

Previous December 31, 2024 Next A BITESIZE CHAT WITH KEIR O'DONNELL Keir O'Donnell (Wedding Crashers, Fargo) joins Paige to discuss his debut behind the camera with the heist film #Marmalade and the transition from acting to directing. Make sure to check out Marmalade now in theatres. Interview conducted on February 2nd, 2024 by Paige Frabetti. Photo Credits: Banner - Variety; Photo 1 - Signature Films, Photo 2 - New Line Cinema

THE WATERFRONT: SEASON ONE Starring: Holt McCallany, Mario Bello, Jake Weary, Melissa Benoist, Rafael L. Silva, Humberly González, Danielle Campbell, and Brady Hepner Creator: Kevin Williamson QUENTIN Maybe I’m wrong, but I think most people know Kevin Williamson as the writer behind the Scream franchise; however, he also created Dawson’s Creek , and his latest, The Waterfront , feels like an adult version of the Creek . It’s a mix of Ozark and Yellowstone dysfunctional (crime) family tropes shaded in the tone of a show from The WB. And make no mistake, it hits every soapy crime drama cliché: addiction, affairs, a surly patriarch, double crosses, family secrets, murder…the list goes on. That said, it’s an easy binge, especially because Holt McCallany and Topher Grace are hard to turn away from whenever they’re on screen.

TALES FROM THE WOODS: SEASON ONE Starring: Zolee Griggs, Miles Robbins, Dylan Gelula, Justin Benson, Aaron Moorhead, Sonedala Sihavong, Phonesavanh "Tata" Phimpha, Gabriel Soutphilabaideng, and Sivilay Ouanephongchareune Creator: John Hegeman QUENTIN If the three episodes provided for review are any indication, Tales from the Woods is an interesting idea undone by lackluster execution. Each episode is based on a classic fairy tale (“Sleeping Beauty,” “Cinderella”), and while I appreciate that the individual filmmakers (including frequent Marvel Television collaborators Justin Benson and Aaron Moorhead with “Jacques the Giant Slayer”) take big horror swings to expand the oft-told stories, the barely 20-minute runtimes simply don’t give them enough time to fully develop their outside-the-box takes. It’s possible future episodes will get better, but this anthology is off to a rough start. KATIE Based on classic fairytales “Sleeping Beauty,” “Jack and the Beanstalk,” and “Cinderella,” Tales from the Woods ’ first three episodes has some solid foundations to build on. This is why I was so disappointed by two of the takes on these stories, which are primed for interesting and unsettling interpretations. “The Sleeping Beauty" is okay, but feels like a TV movie and lacks the runtime to develop the plot. I enjoyed “Jacques the Giant Slayer” because it's weird, compelling, and full of grotesque visuals. Unfortunately, “Cinderella” is unbearable, a girl-boss take on the fairytale that made me cringe rather than cower.

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