> A man learns that his immortality comes with severe mental consequences.

IMDb

Now with added Al Jourgensen:

!

> It's a love affair > Mainly Jesus and my hot rod

> Horror can be a difficult genre to get into. While its fans enjoy feeling the tension provided by a good horror movie, those who are less experienced with the genre often don't enjoy that feeling. But, for many, a comedic tone can help to remedy this issue. > > Horror comedies are a great way to get into the genre. Horror is all about building tension, but laughter is all about relieving it. As a result, the best horror comedies don't stay tense for too long because they know when to put audiences on edge, while also knowing when to make them feel comfortable with a joke. The filmmakers behind these movies expertly blend screams and laughs to create horror films that are perfect for those who don't typically like the genre.

1. 'Evil Dead II' (1987)
2. 'Shaun of the Dead' (2004)
3. 'Zombieland' (2009)
4. 'Ready or Not' (2019)
5. 'The Cabin in the Woods' (2012)
6. 'Gremlins' (1984)
7. 'Freaky' (2020)
8. 'Tucker & Dale vs. Evil' (2010)
9. 'Killer Klowns from Outer Space' (1988)
10. 'Happy Death Day' (2017)

> The 1980s were a great decade for science fiction movies in general, and this included some great sci-fi comedies. With Blade Runner, E.T. the Extra-Terrestrial and two classic Star Wars movies, the 1980s was filled with classic sci-fi movies that changed the genre forever. This change was reflected in some great comedies too, many of which spoofed the genre's many tropes. > > Movies like Back to the Future and Ghostbusters showed that sci-fi could be hilarious while still telling fascinating stories. Some of the best sci-fi comedies of the decade would still be just as compelling with their humor ripped out, and this is often what separates a good comedy from a great one. Many of the decade's funniest sci-fi movies started long-running franchises, while others have a distinctly 1980s feel that gives them a nostalgic quality.

1. Back To The Future (1985)
2. Ghostbusters (1984)
3. Brazil (1985)
4. Spaceballs (1987)
5. Back To The Future Part II (1989)
6. Bill & Ted's Excellent Adventure (1989)
7. Repo Man (1984)
8. Honey, I Shrunk The Kids (1989)
9. Short Circuit (1986)
10. Weird Science (1985)

> Nick Frost is no stranger to horror comedies, having starred in such modern classics as Shaun of the Dead and Attack the Block. This year, the actor has already starred in Krazy House (review), and now he is reuniting with that film’s director Steffen Haars in Get Away, a frequently amusing folk horror comedy that relishes in bloodshed almost as much as it does cringe comedy. > > The Smith Family, comprised of patriarch Richard (Nick Frost), matriarch Susan (Aisling Bea), sister Jessie (Maisie Ayres) and brother Sam (Heartstopper‘s Sebastian Croft), is spending their holiday on Svälta, a fictional Swedish island with a dark past tied to Susan’s ancestor. Despite warnings not to from quite literally everyone they cross paths with along the way, the Smiths arrive on the island and are greeted with immediate hostility from the mainlanders, especially from the skeptical town elder (Anitta Suikkari), who is busy directing a play for their annual Karantan festival. Upon arriving at their AirBnb, the Smith family starts to notice strange occurrences happening on the island, as well as a few too many coffins being loaded onto boats at the harbor, leading to a comically violent fight for survival as Karantan draws near.

IMDb

cross-posted from: https://feddit.uk/post/17632508

> IMDb

cross-posted from: https://feddit.uk/post/17623208

> > Breaking Glass Pictures is releasing the horror comedy Hayride to Hell on the road to Halloween, and Bloody Disgusting is exclusively debuting the film’s official trailer today. > > > >Starring horror legends Bill Moseley and Kane Hodder, who previously worked together on Old 37, Hayride to Hell will be released on Digital and On Demand on September 24. > > > >Take a ride on the Hayride to Hell by watching the official trailer below. > > > > ... > > > > “Set on the Coxe Family Farm in rural Willis County, Farmer Sam (Bill Moseley) exacts his bloody revenge on unscrupulous local town-folk, including Sheriff Jubel (Kane Hodder), who menace him and attempt to steal the farm that has been in his family for 200 years.” > > Trailer > > IMDb

> Director Max Minghella (Spiral: From the Book of Saw, Horns) wears his cinematic influences on his sleeves with sophomore feature effort Shell, a body horror dark comedy written by Jack Stanley (The Passenger). > > Elisabeth Moss (The Invisible Man) finds herself embarking on a scary new beauty treatment as aging actor Samantha Lake. She quickly befriends Zoe Shannon (Kate Hudson), CEO of health & wellness company Shell. When their patients start to go missing, including starlet Chloe Benson (Kaia Gerber), Samantha realizes Shell may be protecting a monstrous secret. > >The escapist love letter to ’90s cinema leans into dark comedy, but embraces everything from Paul Verhoeven to Soapdish, Species, and Sliver, if that’s any indicator of genre range here. Bloody Disgusting spoke with Minghella, who made his feature directorial debut with 2018’s Teen Spirit, about the genre-bender out of TIFF, where the film had its World Premiere.

cross-posted from: https://feddit.uk/post/17574706

> > “That was never going to work for Tim,” Abdy said about making the “Beetlejuice” sequel for streaming. “You’re talking about a visionary artist whose films demand to be seen on a big screen.” > > > >The big issue between Burton and the studio was that the projected budget for “Beetlejuice Beetlejuice” at one point was around $147 million, largely due to “star salaries and producer fees.” That’s when De Luca and Abdy approached Burton and said he could make the sequel for an exclusive theatrical release as long as he got the budget down below the $100 million mark. They worked together to greenlight “Beetlejuice Beetlejuice” for $99 million, with Burton and cast members Michael Keaton, Winona Ryder, Jenna Ortega and Catherine O’Hara agreeing to less money up front but sizable back end deals that will now surely pay off since the sequel is a box office hit.

cross-posted from: https://lemm.ee/post/42606764

> > From director Bong Joon Ho, comes Mickey 17 - only in theaters January 31, 2025.

> In her “Krazy House” review for IndieWire, critic Katie Rife described writer/directors Steffen Haars and Flip van der Kuil’s absurdist Dutch horror comedy as testing “the limits of taste.” > >With its hyper-violent style and blasphemous dark humor, the latest feature from the filmmakers behind “New Kids Turbo” and “Bros Before Hos” also inspired Rife to write that their movie was “like an Adult Swim infomercial directed by black-metal teenagers.” That’s a point of pride in the outrageous project’s equally unapologetic first trailer — which debuted exclusively with IndieWire after “Krazy House” made its divisive world premiere at Sundance in January.

Trailer

> This cheeky suburban black comedy-horror confection builds from a slow start to a delicious finish, making up for what it lacks in subtlety with a whopping dose of impish delight. > > ... > > To reveal more would spoil a good last-third twist that morphs from suspense to high-camp comedy drenched in gore. Let’s just say there’s more going on behind Janet’s glossy veneer of sang-froid than you might initially think. Eastwood’s deadpan expression, the one thing that strongly recalls her father as an actor, is a secret weapon here, along with Culpo’s snippy timing, which does justice to screenwriter April Wolfe’s chucklesome one-liners.

cross-posted from: https://feddit.uk/post/17520035

> > # Kevin Smith reveals how and why KillRoy Was Here became an NFT release > ====================================================================== > > Two years after his horror anthology KillRoy Was Here received an NFT release, Kevin Smith has revealed exactly how and why that happened > > By Cody Hamman > > September 16th 2024, 9:14am > > Two years have passed since Kevin Smith's horror anthology KillRoy Was Here made its way out into the world as an NFT -- and to this day, the only people who have seen the movie are those who have either bought the NFT, been given access to one of the NFTs, or attended a special screening. Which means so few people have seen KillRoy Was Here, it could almost be described as Smith's "lost movie." Now, while speaking to Entertainment Weekly and promoting his new film The 4:30 Movie, Smith has revealed exactly how and why the movie became an NFT release. > > Directed by Smith from a script he wrote with Andy McElfresh, KillRoy Was Here was made on a minuscule budget as a project with film students at the Ringling College of Art and Design in Sarasota, Florida. The movie is a throwback anthology horror film featuring a creature that kills evil adults at the behest of victimized kids. The creature at the heart of the story is KillRoy, inspired by the "Kilroy was here" graffiti that became popular during World War II, showing a long-nosed man peeking over a fence. In this case, KillRoy started out as a Florida man named Roy Huggins, who was a soldier in the Vietnam War, not World War II, and when he was captured by enemy soldiers he got loose, killed a whole lot of people, and cannibalized one of the corpses. He had to be locked up in a mental institution, and when the place caught on fire Roy was left to burn. Now he's a supernatural being who stalks the Florida swamps, and his burns have left him looking a lot like that figure in the Kilroy graffiti. They say he has a psychic connection to kids, and if someone says his name three times he'll show up with his machete and start hacking away at anyone who has wronged a child. > > The cast includes Harley Quinn Smith, Jason Mewes, Chris Jericho, Betty Aberlin, Ralph Garman, Daisy McElfresh, and Justin Kucsulain. > > Smith told Entertainment Weekly, "We made this movie KillRoy Was Here with the kids at the Ringling College of Art and Design. I wound up with possession of the movie. When it was all done, I had this movie; perfectly watchable, Creepshow type of movie. So I reached out to Shudder and I was like, 'Hey man, you guys wanna run this? It's a Kevin Smith original, kind of horror movie. 30 grand.' That was it. Shudder was like, 'This is terrible. This isn't good enough for Shudder.' Then our producer on the movie, David (Shapiro), he goes, 'I met with this company, they are interested in buying a movie to release as an NFT. The first movie to release as an NFT, and what they wanna do is use it to showcase their blockchain technology.' And I was like, 'Oh, all right.' Perhaps this is another version of indie film, this is a new playground to go play in. Company paid us over a million dollars. I made a million dollars off of this movie. 'Not good enough for Shudder.'" Now, with that explanation, the whole NFT release strategy finally makes sense. > > KillRoy Was Here may not meet up to Shudder's standards, but here's hoping more of Smith's fans will have the chance to see the movie eventually. > >

> In a commentary track on Frankenhooker's DVD release with Frank Henenlotter (co-writer/director) and James Lorinz (actor), the problems the movie faced when going up against the MPAA were brought up. Henenlotter recalled a phone call with Richard Heffner who told him “Congratulations, you are the first film rated ‘S,’” When asked what that meant, he was told that 'S' stood for "sh*t." Henenlotter expressed that he was deeply hurt at the time, feeling that it was not their place to provide commentary on what they felt about the movie. This started a feud over the rating of the movie, and producer James Glickenhaus made it publicly known that he was fighting back. > > The movie eventually got an X rating (which was in use before being phased out the same year, 1990, in favor of NC-17). Henenlotter and his team refused the rating and released the film uncut and unrated, which came with its own problems with distribution. Frankenhooker would eventually gain an R rating when they cut some of the scene of exploding sex workers to six minutes from its original seven; again reflecting how petty and shallow the MPAA can be in their decisions. > > ... > > Frankehooker, along with Henenlotter's Basketcase and Brain Damage, have earned a substantial cult following. It is easy to see why, with all the movies blending dark humor chocked with memorable lines of dialogue, gore-soaked horror, and over-the-top creature effects. For Frankenhooker, you have the wonderfully charismatic Patty Mullen as the titular monster roaming the streets of New York asking random strangers if they "Wanna date?" There is also the infamous scene where multiple sex workers blow up after taking "super crack." To name but a few of the scenes that have made Frankenhooker a fan favorite.

> 2024 marks the 75th anniversary of the iconic board game Clue, one of Hasbro's most recognizable properties throughout its existence. From fun nights with friends and family to the big screen with the surprising 1985 hit starring Tim Curry, Madeline Kahn, and Christopher Lloyd, among others, the tabletop deduction game has delighted with its simple yet effective cases, asking players to find the who, the what, and the where of a murder. Countless versions of the classic formula have been introduced throughout the years, including editions based on popular shows like Wednesday and Scooby-Doo. Now, The Op Games is bringing the Staten Island vampires into a whodunnit of their own with the new Clue: What We Do in the Shadows Edition and Collider can reveal an exclusive look at the game available now at major retailers. > > Lest you fear that the vampire housemates and their familiar Guillermo are going to be killing each other in this edition, fret not, as the goal of the game is not to find the killer, but the hider. Laszlo's cursed 100% witch skin hat, a frequent target of Nick Kroll's Simon the Devious, has once again gone missing. With Simon not around, though, one of the housemates is responsible for stashing the hat away somewhere in the Vampire Residence, and it's up to players to figure out who hid it, where it's located, and with what object it's obscured. Nandor, Nadja, Laszlo, Colin Robinson, Guillermo, and The Guide are all potential suspects, while the board itself features locations from the show like the Fancy Room and the attic where Baron Afanas once stayed. > > Everything from the board to the tokens, character movers, cards, and even the note sheets in the game is given a What We Do in the Shadows makeover, bringing the Vampire Residence to life as well as other iconic moments and locales from the series. The objects used to hide Laszlo's cursed hat are given grey and black etched pieces to place in each room and range from floorboards to the possessed Nadja doll. Intrigue cards also bring back memories from the show's five-season run thus far, with visits to the wellness club and invoking the classic "Bat!" granting players an advantage.

> Ageing and death are perhaps the foundation of all horror, but this droll French chamber piece, adapted from an 1839 novella by Aleksey Tolstoy, puts a devious spin on that. The titular “vourdalak” – a kind of Mitteleuropean vampire – is Gorcha, wizened patriarch of a family of forest-dwelling peasants, who is driven to feed on the blood of those he loves the most. With the film incarnating this beastie in the form of a toothy puppet resembling Norman Tebbit (voiced by director Adrian Beau), it’s a cruel but funny metaphor for parental authority and late-life dependency. Obviously they didn’t have assisted living in early modern Bohemia. > > ... > > Beau could have adapted this as straight gothic. Instead, he opts for an enjoyable high-strung comedy that, with him often shooting through Hammer-style soft gauze, skims pastiche. D’Urfé’s court manners are ridiculously superfluous in the rustic setting, exposed as hypocritical when he roughly pursues Sdenka, and then redundant in the face of the ghoulish paterfamilias scoffing at him down the dinner table.

Trailer

IMDb

> Fresh off the film’s premiere at Sundance earlier this year, Netflix opened up their check book and shelled out a whopping $17 million to acquire worldwide rights to It’s What’s Inside, and the streaming service has released the upcoming movie’s official trailer this morning. > > It’s What’s Inside premieres globally on Netflix on October 4, 2024. > >Begin the twisted party game by watching the It’s What’s Inside official trailer below.

Trailer

> Meagan Navarro writes in her Sundance review for BD, “Its irreverent tone and Jardin’s visual eye ensure a highly entertaining time, though it becomes prone to tangled knots.” > >“The director pulls from his music video background for a vivacious, eye-catching feature that dazzles and lures you further into the tangled abyss, even as many of its central players frustrate,” Meagan continues. “Even still, It’s What’s Inside is pure fun. Moreover, it’s extremely funny. Jardin assembles an ensemble willing to push their frequently and intentionally insufferable characters past the point of insanity for our entertainment. On that front, Jardin’s debut is a stunning success. It’s a twisty puzzle box that demands your attention.” > > Meagan adds, “Not all the pieces fully come together, but Jardin’s ambitious debut will easily earn a devout following for its creative setup and commitment to bonkers fun.”

IMDb

> Writer/Director Coralie Fargeat set the bar high for herself in 2017, with her debut feature Revenge delivering a visceral, feminine twist to the rape-revenge thriller that climaxed in an epic bloodbath. So much that it seemed nearly impossible to top. Yet the filmmaker does just that with sophomore effort The Substance, transforming a familiar concept into something so entertaining and grotesquely over the top that it keeps you firmly in its grip until an epic, grand guignol finish.

cross-posted from: https://feddit.uk/post/16589411

> > The old eat the young. That is the back-of-a-beermat pitch for new Channel 4 drama Generation Z. And because the Z stands for zombie, the eating is meant literally. “I loved the idea of a horror story about societal breakdown, told from the perspective of different generations,” says its writer-director Ben Wheatley. “Once I started writing it, I couldn’t stop.” > > > >The film-maker’s first original series for TV begins with an army convoy crashing outside a care home. The subsequent chemical leak turns the residents into marauding monsters who attack local youngsters. “It’s a bit of a Brexit metaphor,” admits Wheatley. “But it’s by no means binary. We discuss it from each generation’s viewpoint, exploring the notion that boomers have ruined the lives of the young. Because it’s a genre piece, that’s basically by biting their hands and eating their brains.” > > > > ... > > > > “I love telly and watch a lot of it – Battlestar Galactica, The Sopranos and Deadwood were the golden age for me – so I was keen to play with a different train set,” he says. “It was exciting to write in longer form, rather than the sprint that is a film script. In terms of production values and cinematic scale, TV has closed the gap on film. It’s like the difference between a single and an album. Actors move freely between the two now. The skillset’s no different. Any stigma has long gone.” > > > > Fittingly for a series punctuated by gruesome deaths, he’s assembled a killer cast. Playing the pensioners are veterans such as Sue Johnston and Anita Dobson. “Sue’s first day on set, she was biting someone’s nose off,” he says. “They got to do stuff they don’t usually do, running around covered in gore, and had a blast doing it.” The gore is created the old-fashioned way. “Everything is practical, with prosthetics or models. There are very few CG effects. When arms are ripped off and blood spurts, there are people pumping plasma just out of shot. We use jelly when organs need to be edible. It’s all very visceral.” > > > > ... > > > > Generation Z is coming to Channel 4 this autumn.

cross-posted from: https://feddit.uk/post/16563475

> > John Carpenter's The Thing as performed by the claymated, Antarctic cast of the hit children's animation Pingu. > > IMDb

cross-posted from: https://feddit.uk/post/16411743

> > The first trailer for new vampire thriller The Radleys, starring Line of Duty's Kelly Macdonald, has been released. > > > >Adapted from Matt Haig's novel of the same name, the film centres around a married couple who are hiding a dark secret from their children: they're vampires. > > > > The film will receive its world premiere at the upcoming Edinburgh International Film Festival on Tuesday, August 20. Sky has also confirmed The Radleys will then be released on Sky Cinema and in cinemas on October 18. > > > > ... > > > > "The Radleys are an ordinary family who hold a dark secret... they are abstaining vampires," reads the official synopsis for the film. > > > >"As if being a teenager wasn't bad enough, bloodthirsty instincts take over the teens of the family, revealing the terrifying truth and opening the door for an extended family member to re-enter and upend The Radleys' once perfect slice of suburbia." > > Trailer

cross-posted from: https://feddit.uk/post/16340845

> > The Laundry Files started with an element of situational comedy juxtaposed on a background of nightmarish horror: the government agency for protecting us from the likes of Cthulhu turns out to be just another secret civil service bureaucracy with forms, committee meetings, and an obsession with secrecy. Into which we inject a narrator who is a brash young hacker-nerd from the late 90s dot-com culture (who has been conscripted willy-nilly into something structured a lot like a very 1950s-ish Len Deighton spy agency, if updated in line with health and safety and HR legislation). “The inappropriate hero” is one of the classic humorous narrative forms because it gives us a sympathetic viewpoint from which to explore the lunacy of a situation, and there’s plenty of humor in any bureaucracy (as the early Dilbert cartoon strips illustrated, before it jumped the shark circa 1998). > > > >By the eighth book in the Laundry Files, Bob isn’t an outsider anymore; indeed, he’s at the lower end of senior management, representing the agency in public. But there’s still plenty of situational humor to be extracted by watching how a government deals with a whole new bureaucracy it was hitherto unaware it possessed. > > > >And then, of course, there’s the horror element. Like humor, horror is a tone you can apply to any other genre of fiction. (You can have a horror-spy crossover, or horror on top of SF, or horror on top of historical fiction, or . . .) And I find combining horror and humor particularly useful because the one contrasts with the other to great effect.

cross-posted from: https://feddit.uk/post/16246386

> > This, though, is a very British journey into the macabre. The original title was “Tea Time of the Dead” (a spin on Romero’s Night of the Living Dead, Dawn, and Day of the Dead). It was easy to understand the wariness among industry observers in April 2003 when they heard that the project was finally going into production. The director had sold his film to nonplussed trade journalists as “a naturalistic comedy about the zombified existence of late twentysomethings, crossbred with a full-scale zombie invasion”. > > > >That was a lot to devour. The director later elaborated on the Reel Feedback podcast that Shaun had been conceived in the manner of Mike Leigh’s Life is Sweet (1990). Its heroes Shaun and Ed (Nick Frost) aren’t trying to save the world. They’re ordinary Londoners who, when clear and present danger looms, immediately look for refuge in their favourite pub, the Winchester, where they can have a “nice cold pint and wait for all this to blow over”. > > > > “Mostly in the American films, and even in 28 Days Later, it revolves around the military, or scientists, or people who can do something,” the director said. “What if it’s the least important people? What if it is two guys on the couch who are hungover and missed the news?” > > > >Wright’s admirers were ready to cut him some slack. He already had a fervent following in the UK thanks to cult TV sitcom Spaced, which also starred Pegg alongside Jessica Hynes. Nonetheless, that was no guarantee that he could make a successful movie. His debut feature A Fistful of Fingers (1995), a spoof western made in Somerset when he was barely 20, had received one or two encouraging reviews without making any impact at all at the box office. One critic summed up its ingredients as being “budget £10,000, cardboard horses and a handful of sixth-formers”. > > > >To certain foreign distributors, Shaun of the Dead didn’t seem a commercial proposition at all. It was far too quirky and sardonic. Senior managers at UIP, the company handling its international rollout, refused even to release it in some territories. > > > > ... > > > > A few weeks later, though, FilmFour went bust, and the funding for Shaun promptly vanished. There were many reasons why other industry executives were initially reluctant to bite on Shaun of the Dead. As Wright himself acknowledged in You’ve Got Red on You (2021), Clark Collis’s exhaustively researched book about the making of the film, British horror movies “died out” in the 1990s. The glory years of Hammer were a long way in the past. > > > > There had never really been a tradition of British zombie films anyway – and Wright himself was doubtful that the market was big enough for two of them at once. When he and Pegg were working on the first draft of the Shaun of the Dead screenplay, they were utterly dismayed to discover that Trainspotting director Danny Boyle and author Alex Garland were already hard at work on their own London-set story about the undead, 28 Days Later. > “I was like, “Argh, no! Oh, we’re f***ed!” Wright admitted to Collis. > > > >Omens on the comedy front weren’t any brighter. In February 2004, only two months before Shaun of the Dead was due to hit cinemas, The Sex Lives of the Potato Men, about the amorous misadventures of a group of vegetable delivery guys, had been fried to a crisp by indignant critics. “Nauseous”, “inept”, “smut for morons”, “witless and repulsive”, “useless”, and “one of the worst films of all time” were some of the nicer remarks reviewers made about the ill-fated film, which, like Shaun, starred several popular TV comedians. > > Archive

> Perhaps it’s fitting that a film about a ragtag rabble of not-so-superheroes failed to take off at the box office. But, 25 years since its release, the Ben Stiller-starring Mystery Men is worth rescuing from obscurity. That it hasn’t generated the cult following of so many other slightly under-the-radar movies of 1999 – think the cannibal horror movie Ravenous, or the Kirsten Dunst Watergate comedy Dick – feels criminal to the point of super-villainy. > >The first and to date last feature film by the TV commercial director Kinka Usher, Mystery Men now seems curiously placed within the history of comic book movies. Released on 6 August 1999 in the US, it spoofed the superheroes that came before it, while anticipating – or preemptively satirising, even – the yet-to-happen superhero boom with ideas as sharp as anything seen in almost two decades of the Marvel Cinematic Universe.

cross-posted from: https://feddit.uk/post/14697456

> Trailer > > IMDb

> Story details are being kept hidden, but it is described as being set in a “post-post-apocalyptic” world where former zombies struggle to reintegrate. The project hit the market earlier in June.

> Fallout star Ella Purnell has joined the cast of Craig Roberts’ comedy-horror The Scurry, which is now filming in the UK. > > Purnell will play a leading role, of a park attendant who must use her unique skills and strength to survive a band of killer squirrels. > > True Brit Entertainment is co-producer and UK distributor on the film, which is shooting on location and at Dragon Studios in South Wales. > > Previously announced cast members include Rhys Ifans, Screen Star of Tomorrow Paapa Essiedu, and Antonia Thomas. The Mash Report writer Tim Telling penned the script. > ... > > The film follows two pest controllers called to a country park café to investigate a routine vermin problem, only for an avalanche of deranged squirrels to descend at nightfall, wreaking mayhem on the staff and visitors in the park.

IMDb

cross-posted from: https://lemm.ee/post/12193828

> Chuck Norris will battle the undead in the action-comedy Zombie Plane, THR reports this morning. The “nostalgia-soaked” film will also star Vanilla Ice and Sophie Monk. > > THR details, “Zombie Plane centers on a secret government organization that recruits celebrities to be undercover agents, who together must save humanity from a zombie attack.”

IMDb

> From Searchlight Pictures, the Amy Adams horror movie Nightbitch is coming to theaters December 6, 2024, and the film’s official poster has been unleashed this week. > > ... > > Nightbitch is rated “R” for “language and some sexuality.” The “darkly comic horror film” was directed by Marielle Heller (A Beautiful Day in the Neighborhood). > > Scoot McNairy (Blonde) and Mary Holland (Happiest Season) also star. > >> “Nightbitch tells the story of a woman thrown into the stay-at-home routine of raising a toddler in the suburbs, who slowly embraces the feral power deeply rooted in motherhood, as she becomes increasingly aware of the bizarre and undeniable signs that she may be turning into a canine.”

IMDb

> Last year’s Cocaine Bear managed to spawn a trend even if it wasn’t a huge hit at the box office, with Cocaine Shark following and now Cocaine Werewolf howling our way soon. > > Amityville Coke Den isn’t far behind, we assume… > > Our friends over at Rue Morgue have provided us with a first look at the upcoming Cocaine Werewolf, which they reveal will be directed by Mark Polonia (director of Cocaine Shark!). > > Here’s the synopsis from Cleopatra Entertainment: “Cocaine, cash and a crew filming a low-budget horror movie in the eerie woods of northern Pennsylvania clash when an unexpected visit from a bloodthirsty werewolf literally enters the picture–with deadly results.”

The beginnings of a serialized comedic novel. A multi-plot political epic.

> Underrated and unforgettable, The Adventures of Buckaroo Banzai Across the 8th Dimension is a well-hidden superhero sci-fi comedy gem of the 80s. It combines sci-fi action with a healthy dose of absurdist humor making it my favorite movie, and it might become yours as well. This cult classic, written by Earl Mac Rauch and directed by W.D. Richter (of Invasion of the Body Snatchers fame) in his first-ever directorial effort, flopped at the box office but has since found a devoted fan following thanks to its outrageous premise. > > Buckaroo Banzai is a neurosurgeon by day, a rock star by night with his rock band The Hong Kong Cavaliers, and an interdimensional alien fighter whenever duty calls. Perfectly portrayed by Peter Weller (pre-RoboCop fame), with such deadpan seriousness, I wonder how he and the rest of the cast kept a straight face while filming. > > The plot of The Adventures of Buckaroo Banzai is best experienced, not explained, so I recommend you watch the film, after reading this.

> When it comes to making a hit movie, studios tend to stick to the formula they know works. It’s rare that an original film actually makes a mark, and when it happens, it’s usually an independent feature with the freedom to think outside the box. Take Repo Man, the 1984 independent film that is one of the most original movies ever. > > Repo Man marked the directorial debut of Alex Cox, who crafted a narrative that defies easy categorization. The film is a captivating blend of dark sci-fi, crime, and comedy. It all comes together in an original mix that still manages to enthrall audiences decades after its release, cementing the feature as a cult classic worthy for any cinephile’s watchlist. > > ... > > With a 98 percent approval rating on Rotten Tomatoes, not only is Repo Man Certified Fresh, but it’s gone down in cinematic history as one of the best cult classics of all time. > > Famed critic Roger Ebert rated the film 3 out of 4 stars (a high praise from the often cynical gentleman), and stated, “Most of those bad movies were so cynically constructed out of formula ideas and “commercial” ingredients that watching them was an ordeal. Repo Man comes out of left field, has no big stars, didn’t cost much, takes chances, dares to be unconventional, is funny, and works. There is a lesson here.”

IMDb

> Pete, a washed-up veteran comedian, must find an opener for his upcoming comedy tour. Pete is introduced to Ethan by his girlfriend Stephanie, who convinces him to take this young comedian on tour as his opener. Things start to take a wacky turn when Pete finds out Ethan is a vampire, and their tour goes from cheap motels, morning DJs, dive bars, and dinners to opening up for the Russell Peters special in Vegas. All while Ethan and Pete attempt to bridge the gap between being real and exploiting his vampirism.

IMDb

Trailer

cross-posted from: https://feddit.uk/post/10368294

> > While England is undoubtedly the target of criticism when it comes to the many facets of its cultural offerings – say cuisine, for example – there’s no denying that the country provides some truly breathtaking natural scenery. It’s equally valid that English people possess offbeat humour and sometimes outright weirdness. In very few movies is this combination as succinctly married as in Ben Wheatley’s 2012 black comedy Sightseers. > > > > Sightseers focuses on the journey of an admittedly odd couple, Chris and Tina, played by Alice Lowe and Steve Oram, respectively, as they take a short holiday through the English countryside in a caravan. However, there’s a darkness to the pair that leads them to commit a series of violent murders, taking their inner turmoil out on a handful of unsuspecting victims. > > > > ... > > > > Throughout the film, Wheatley details the stranger side of life in rural England, beginning with the rather uncomfortable relationship between its protagonists. Weirdness drips throughout the runtime of Sightseers, whether it be in the sickening nostalgia of Tina’s needy mother or in the violent banality of Chris’ immoral actions, then made all the more bizarre by the pair’s aggressive lovemaking.

cross-posted from: https://feddit.uk/post/10284037

> > Shaun Of The Dead will return to cinemas later this year to mark the 20th anniversary of the iconic British comedy. > > > > The iconic comedy – which starred Simon Pegg and Nick Frost as two no-hopers navigating a zombie apocalypse in Britain – arrived in cinemas 20 years ago today (April 9). > > > > Now, it’s been confirmed that Universal will treat audiences to another slice of fried gold when the film returns to cinemas at an unconfirmed date later this week.

cross-posted from: https://feddit.uk/post/10233305

Via Gamesradar:

> While it was uploaded on April 4, Catsuka, a Twitter account dedicated to anime news, delighted its followers by sharing the link to Sony-owned channel Throwback Toons two days later. The tweet explained that the hosting was entirely legal, too, which helped those thinking it might be too good to be true to enjoy it...

IMDb

> The People's Joker is unlike any other superhero film (or any movie in general), and its strengths lie in its differences, dark humor, and intriguing and thoughtful character development. The superhero parody film is directed and co-written by Vera Drew, who also stars as the titular character — Joker the Harlequin — with Bri LeRose also co-writing. While on the outside it might look like another live-action version of the Joker (and Harley Quinn), The People's Joker is able to stand out from the rest. > > ... > > One of the best (and often overlooked) corners of Hollywood is the superhero parody genre. Given the apparent superhero movie fatigue in audiences in the 2020s, satire of these movies is warmly welcomed. As a result, The People's Joker is an exciting and fresh addition to the superhero parody genre that delivers numerous laughs by poking fun at various renditions of Batman, the Joker, Penguin, and other DC Comics characters that have plagued the media for decades. > > While it rarely takes itself seriously, the dark comedy seamlessly weaves heartbreaking tales (like Joker the Harlequin's turbulent relationship with her mother and the abusive and toxic romance between Joker the Harlequin and Mr. J) throughout the movie. A viewer could be crying from laughter during one scene and tearing up due to Joker the Harlequin's harrowing journey in the next. Thankfully, The People's Joker has a (somewhat) hopeful and content ending. > > ... > > The People's Joker not only separates itself from other movies in the superhero genre but also from superhero parodies. It's not comparable to The Boys, Invincible, or Kick-Ass, due to its distinguished and important story revolving around a transgender woman in Gotham. It's hilarious, heartbreaking, distinctive, significant, and just what Hollywood needs after countless DC and Marvel projects (including the upcoming Joker sequel Joker: Folie à Deux). This superhero parody is just as good as Marvel and DC films (it may even be better than most of them).