Marilyn Manson Sets Out To Kill In New Trailer For ‘Let Me Make You A Martyr’

(AOTN) Marilyn Manson brings us to the edge of our seats in the latest trailer release for Corey Asraf and John Swab’s feature-length debut, Let Me Make You A Martyr. The bold drama, starring Sons of Anarchy’s Mark Boone Junior, Niko Nicotera, and Marilyn Manson centers on two siblings caught in a storm of paternal abuse, forbidden love, and revenge. Watch the unsettling, cryptic trailer below:

Building off the filmmaking duo’s short film Judas’ Chariot, which went to Cannes 2014, Let Me Make a Martyr follows adoptive siblings Drew (Niko Nicotera) and June (Sam Quartin) as they set out to take down a viscous crime ring headed by their adoptive father, Larry (Mark Boone Junior, Sons of Anarchy). Set in Tulsa, the two pick up and care for a young girl named Rooney along the way, and in the story that unfolds, the group finds themselves at the prey of a brutal hunt by Pope (Marilyn Manson), a hitman hired by Larry. In the end, the story begins to dive into the surreal.

The directing duo state, “We’ve told a story that matters, and sharing that experience with people who shaped both us as artists was an unforgettable experience.” “It felt very authentic,” Boone tells Rolling Stone.

The directors have worked on a plethora of projects since 2010. John Swab grew up in Tulsa Oklahoma and studied his uncle, Jeff Swab, who was a writer/producer in the 1990s, about the delicate elements of the filmmaking process. After establishing a career as a painter, he put his screenwriting degree from the School of Art Institute of Chicago to use by teaming up with Corey Asraf, a commercial, music video, and short film producer/director on the leap-pad of Let Me Make a Martyr, their first short film Judas’ Chariot.

The film will be released on June 6th across multiple VOD platforms, and special theater releases across the country.

PREMIERE DATES

May 25th – Tulsa, Ok @ Circle Cinema 7pm (two week run)
(w/ directors John Swab and Corey Asraf, actor Sam Quartin, Producers Alan Staab, Brett Swab)

May 27th- Austin, Texas @ Alamo Drafthouse (two week run)
(w/ directors John Swab and Corey Asraf, actor Sam Quartin, Associated Producer Alexander Hiers)

June 5th – Los Angeles, CA @ Sunset 5 Cinema’s (one night only)
(w/ actors Mark Boone Junior, Slaine, Niko Nicotera, Sam Quartin. Producers of the film, and select crew)

June 9th – Brooklyn, New York @ Anthology Film Archives
(w/ actors Michael Potts, Gore Abrams, and Sam Quartin. DP, and other crew)

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Sony Reveals The Trailer For Stephen King Adaptation “The Dark Tower”

(AOTN) Sony Pictures has released the official trailer for Stephen Kings ” The Dark Tower.” King fans have been waiting for this film for many years. The Dark Tower follows the story of  The Gunslinger, Roland Deschain,  who roams around an Old West-like landscape where “the world has moved on” in pursuit of the man in black.  Roland is also searching for the fabled Dark Tower, in the hopes that reaching it will preserve his dying world.

Idris Elba will star as The Gunslinger and Matthew McConaughey will star as his arch enemy the Man in Black. The movie is directed by Nikolaj Arcel ( The Girl With The Dragon Tattoo, 2009) and it slated for release on August 4, 2017!

About the film: 
There are other worlds than these. Stephen King’s The Dark Tower, the ambitious and expansive story from one of the world’s most celebrated authors, makes its launch to the big screen. The last Gunslinger, Roland Deschain (Idris Elba), has been locked in an eternal battle with Walter O’Dim, also known as the Man in Black (Matthew McConaughey), determined to prevent him from toppling the Dark Tower, which holds the universe together. With the fate of the worlds at stake, good and evil will collide in the ultimate battle as only Roland can defend the Tower from the Man in Black.

Check out the trailer below:

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5 Movie Villains You Agreed With

Many motion pictures contain the theme of the battle between darkness and light. That darkness can come in many different forms depending on the narrative. But the most common shape is in the embodiment of the villain. The bad guy. From Darth Vadar to Ronno in Bambi, many antagonists are invented and affectionately disapproved of.

But what happens when the agenda of an incarnation of fictional evil actually contains a degree of valid truth?

This editorial is going to explore 5 movie villains where you did kind of see their point!

Hannibal Lecter from Silence of the Lambs

FBI trainee Clarice Starling was warned of Hannibal Lecter’s tremendous talent for getting inside the minds of those that he came into contact with. Still, that did not deter her. In fact, maybe it actually helped her somewhat!

As events unravel, we come to realise that Hannibal developed a degree of affection for the young female. At first his proposed deal that she tells him some personal things about herself in exchange for information about Buffalo Bill, the killer she was pursuing, seemed manipulative. And in a way it was. But by the end of the movie, Clarice managed to confront some personal demons that she had been determined to resist. All in all, she came out of the experience an unshackled soul and fully liberated.

Well done, Hannibal.

Silva from Skyfall

How would you feel working for a boss that would readily sacrifice your life and leave you to be tortured for all eternity? One can pretty much sympathise with one of James Bond’s greatest modern bad guys, Mr. Silva from the 007 movie, Skyfall.

The fact that Silva had the opportunity to confront his main target twice and had trouble emotionally finishing the job showed a level of depth that many bad guys in Bond films do not normally contain. Even Bond, himself, had a grudge against M, who pretty much gained a reputation for pissing off most that were working for her!

Clubber Lang from Rocky III

Mr. T has the honour of playing one of the Rocky franchise’s most malicious boxers in Clubber Lang.

The mouthy brawler was a definite step up from Apollo Creed in terms of ruthlessness, but before he beat Rocky in their first fight during the second act of the movie there is a scene in which Rocky announces his retirement to the people of Philadelphia. Lang gatecrashes his lovely worded speech to tell the Italian Stallion that he is the number 1 ranked contender while Rocky has been avoiding him and fighting challengers not worthy of the title.

Clubber may be a character that everybody loves to hate but he did have a point.

Matt Cordell from Maniac Cop

Those that love their low budget slasher movies will be familiar with this B-movie starring Bruce Campbell.

A former office named Matt Cordell was framed by the mayor for murder and subsequently viciously attacked in prison by some of the inmates he previously put away while on the beat, all because the mayor didn’t like his style of doing it his own way. Thought to be dead but still alive, Cordell came back to get revenge on those that wronged him while also taking his newfound urge for blood on the unsuspecting public.

That last part we obviously cannot agree with, but I imagine it’s not exactly nice to have your whole life ruined by a charge you had no involvement in. You may find yourself having mixed feelings for this killer, even rooting for him at times!

Two Face from The Dark Knight

The most well known mayor in the DC Universe, Harvey Dent sure didn’t expect events to unfold the way they did in The Dark Knight! While most people would lay blame at The Joker for corrupting his mindset, later on in the movie Dent turned Two Face reminded everybody of the corruption within the city of Gotham which contributed to pushing him over the edge and going against his own rules and taking care of crime without the need for Batman.

The heartfelt loss of his fiance became the focal point of his campaign of terror during The Dark Knight’s climax, the icing that was spread firmly on the cake by The Joker. Two Face is probably the most agreeable adversary in the entire Christopher Nolan superhero trilogy.

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Head to the 2017 Tribeca Film Festival to Uncover New Cinematic Treasures

(PCM) It is clearly the time to enter the world of cinematic treasures by heading to the 2017 Tribeca Film Festival, now in its 16th year, and running through April 30. There is a great deal to shout about at this year’s festival, including several world premieres, riveting documentaries, nearly 100 feature films, special screenings, Gala events and closing night films. Among the world premieres are memorable movies starring Al Pacino, Debra Winger, Burt Reynolds, Zachary Quinto, Jenny Slate and Jon Hamm. The documentaries focus on Whitney Houston, Gilbert Gottfried, and Frank Serpico, and are sure to give us food-for-thought.

Sixteen years ago, producer Jane Rosenthal, and actor/director Robert DeNiro, reached out to the New York film industry and beyond, and they conceived of the Tribeca Film Festival. Rosenthal, and marvels at how far it has come in 16 years. Rosenthal is the producer of such charming and memorable movies as “About A Boy,” and “Meet The Parents.”

“Yes, so much has changed since we started, but a good story is still a good story,” she recently explained. “Global storytelling allows us to see ourselves in one another, and over the past 16 years, we have had filmmakers from more than 80 countries join us – including Iraq, Iran, Israel, Palestine, Egypt and Somalia, among others,” Rosenthal said.

“For any civil society to grow, create and think beyond the status quo, the arts are a necessity,” she said, “especially in an era of such unprecedented uncertainty.”

Among the many titles to consider are: Steve Coogan and Rob Brydon in “The Trip to Spain;” real-life couple Marion Cotillard and Canet play themselves in “Rock’n Roll;” Cate Blanchett art-theory tour-de-force “Manifesto” and “The Dinner,” starring Richard Gere and Laura Linney.

Also, Burt Reynolds stars in Adam Rifkin’s “Dog Years,” about an 80-something former Hollywood star. This movie also stars Chevy Chase and Ariel Winter; Quinto, Slate and Hamm lead the cast of Brian Shoaf’s “Aardvark,” a competition title about a therapist who falls for her patient’s brother; and Pacino, Evan Peters and Barkhad Abdi appear in “Dabka,” which is Bryan Buckely’s story of a journalist trying to embed himself with Somali pirates. Debra Winger also stars alongside Tracy Letts in Azazel Jacobs’ latest about a rekindled marriage, “The Lovers.”

Other films to take note of: “Love After Love,” a compelling drama about a family whose patriarch dies of a fatal disease and leaves the daughter, Suzanne (Andie MacDowell) and her middle ages sons to navigate the choppy waters of their lives; “One Percent More Humid,” about two college-age friends played by Juno Temple and Julia Gardner, who reunite for a humid New England summer and help one another cope with the unimaginable. There are also the films, “The Boy Downstairs,” starring Zosie Mamet, an original romantic comedy and coming-of-age tale about a young writer looking to find her way back in New York after a two year stint in London.

Among the documentaries to take note of are: “No Man’s Land,” “The Reagan Show,” “The Departure,” “The Death and Life of Marsha P. Johnson,” “The River Below,” “A Suitable Girl,” “Shadowman,” “When God Sleeps,” “True Conviction,” and “The Sensitives.”

The documentary “Frank Serpico,” tells the story of the man who was immortalized in Al Pacino’s riveting drama “Serpico.” Now, 45 years later, Frank talks about his Southern Italian roots, his time as an undercover officer and his post-NYPD life.  Adding their own recollections are Frank’s fellow officers, childhood friends, his west side neighbors, and his admirers such as writer Luc Sante and actor John Turturro. With unprecedented access to its subject and augmented by original music, this is a riveting film.

Rosenthal is thrilled that “Legendary Storytellers” are joining this year’s festival, including Alejandro Gonzales Inarritu, Jon Favreau, Kobe Bryant, Lena Denham, Jenni Konner, Barbara Streisand, Tom Hanks, and Bruce Springsteen.

The festival is celebrating the works of two filmmakers with unrivaled abilities to chronicle American life: Michael Moore and Ken Burns. Moore will be there to celebrate the 15th anniversary of “Bowling for Columbine,” and Burns will show excerpts from his extraordinary PBS documentary, “The Vietnam War.”

The rich history of Tribeca, which dates back to May 2002, continues, and has been enhanced over the years. The festival immediately took its place as a major place of cinematic delights, probing works of art and deep discussions that make entertainment and art so vital.  “Breaking boundaries,” Rosenthal said, “has always been encouraged at Tribeca, as long as long as the participating artists make things interesting for our audiences. If there’s a good story, no matter the screen or surface, we’ll seek it out for you.”

For festival tickets and information, please go to: https://www.tribecafilm.com/filmguide. Or please call, 646-502-5296.

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Gifted Review

(AOTN) Family stories are arguably one of the easiest niches for any filmmaker to tackle. I don’t mean the onslaught of cartoons (not made by Pixar or Laika) or family comedies that treat their audiences with obvious condescension, but the classics like Kramer vs, Kramer, Mrs. Doubtfire or even Richard Glatzer and Wash Westmoreland’s Quinceañera, the ones that explore how families do their best to work through life’s dilemmas and curveballs – divorce, stepparents, children’s personal issues that will shape their adult lives for better or worse – to better the lives of those who make the “family unit” up. Eight years after making his debut with (500) Days of Summer, Marc Webb returns to a more intimate form of storytelling after half a decade forming his own bond with wall crawling spider-men, resulting in Gifted, his own sweet and pretty genuine contribution to the family genre.

On the shores of coastal Florida (actually, the beaches of Tybee Island and Savannah, GA, the home of my alma mater, as the end credits revealed) lived a quiet man, a young girl and a one-eyed tabby named Fred in a colorful little . The man, Frank (Chris Evans), is a boat repairman who traded in his life as a philosophy professor to maintain boat parts while loving and caring for his deceased sister’s daughter, Mary. Played by newcomer McKenna Grace, Mary joins a list of lovably precocious adolescent girls in films who find their way into the audiences’ hearts and stays with them long after the final scene, something her male contemporaries have always struggled with this millennium. And then there’s Fred the Cat, who the audience is prone to love from the start for both being a cat and a survivor of tough times.

Frank has come to a point where he can’t give his niece the life (or education) he feels she’s owed, deciding the public school down the road is what’s best for her to be her own person. The problem is, like her mother Diane, she’s smart. Really smart. Smarter than every student and teacher in the building (possibly even the whole state) smart, especially when it comes to mathematics, but not at knowing the meaning of “ad nauseam” smart. Mary’s intellect catches the attention of her teacher, Bonnie (Jenny Slate, The LEGO Batman Movie), while her angry defense of a classmate against a bully catches that of the principal’s (Elizabeth Marvel, True Grit).

It’s with a phone call from the inquisitive principal that the real drama is set into motion. You can’t have a family melodrama without some outside force coming to disrupt the family, usually involving a lengthy courtroom battle where long hidden scars are brought to light, and this outside force comes in the form of Evelyn (Lindsay Duncan, TV’s “Sherlock”), Frank’s “very British” mother. Evelyn is a character where, right off the bat, one false move would transform her into a caricature antagonist of the wicked grandmother of Boston, but Mr. Webb and Ms. Duncan are smart enough to avoid going in that general direction; instead, they opt to slowly reveal Evelyn as a deeply flawed individual whose obsession with seeing her deceased daughter’s brilliance with proofs reach its full potential, even if in the form of a granddaughter whose intelligence surpasses her own, and the subconscious knowledge of what her wishes had on Diane’s mental deterioration has all but cut her off from the role she could have had in her son and granddaughter’s life.

The power of Gifted comes primarily from what Mr. Webb and screenwriter Tom Flynn explore from this trio and their difficult decisions regarding Mary’s future, as well as Oscar nominated cinematographer’s Stuart Dryburgh’s gorgeous photography showcasing the various Georgia-as-Florida landscapes. And it ultimately wouldn’t have worked if there wasn’t an actor to play Frank who could match wits, charms and depths with Ms. Duncan and Ms. Grace, something Chris Evans is more than willing to rise to the challenge on. Apart from his iconic and career-defining turn as Marvel Comics’ “star spangled man with a plan,” Mr. Evans isn’t an actor one normally takes into consideration for such a quiet and understated performance. But he empowers Frank with an endearing empathy that makes his struggles, both as a father figure and as someone all but forced to live under the shadow of a more revered sibling, deeply understandable. His scenes with Ms. Duncan sting as the relationship between a mother and son is further damaged by headstrong reservations about someone near and dear to them with little hope of a salvable future. As the equally headstrong child prodigy who propels the narrative, Ms. Grace is a talent to watch out for, deftly maneuvering a thin line that comes with a character such as Mary. Her chemistry with the entire cast, but especially Mr. Evans and Ms. Duncan, is naturalistic and darling and her handling of the scenes involving the mathematics the adults around her can’t solve are sure to give the audience a hearty laugh.

Also joining Frank, Mary, Evelyn and Fred the Cat for their exploration of long-suppressed is Roberta (Octavia Spencer), Frank and Mary’s spunky, yet loving neighbor and landlord. This is the kind of performance Ms. Spencer could knock out in her sleep at this point in her career, but it’s still a fun performance that reminds us why she’s one of the silver screen’s most endearing character actresses. There’s also Jenny Slate, who juggles the part of both the “flawed but loving teacher” and the “obvious romantic interest for Frank,” though Ms. Slate does a fine job of giving Bonnie enough of her own identity to transcend whatever obviousness accompanies the expectedness of a part like her’s.

By the time things post-courtroom reach an inevitable conclusion, the story takes a strange turn that reunites and allows all members of the Adler family to find solace and closure in the events that have formed their life: a mother reconciling with her creation of tragedy, an uncle doing best by what life had dealt him and a child with the power to change the world and herself. Gifted ultimately isn’t a film that will redefine the family drama genre, but it never needed to be. Its job is done by a fine ensemble and a good script that speaks to the best of peoples’ potential. Hopefully, we’ll be seeing more films like this from Mr. Webb down the line.

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Rob Zombie’s ‘Halloween.’ A 10 Year Retrospective

(AOTN) The Halloween movie series had arrived at a difficult place back in 2002 when Dimension released Halloween: Resurrection, starring rapper Busta Rhymes and incorporating the then new Big Brother style concept into it’s narrative. It’s conclusion was standard. We had all seen it before in previous installments and any fresh ideas were seriously lacking. It became eventually obvious that the Halloween franchise may be in trouble after already going down several different routes in the past.

Hollywood had just got the ball rolling when it began to churn out reboot after reboot of some much cherished films including the original The Texas Chainsaw Massacre. Approximately four years went by, and fast forward to 2006, a remake of 1978’s Halloween was set in motion and confirmed to be directed by industrial metal singer Rob Zombie. At that point he was known for his original theatrical works of House of 1000 Corpses and it’s sequel, The Devil’s Rejects. Although Corpses was met with mixed criticism, Rejects fared much better with audiences, but fans were very skeptical that Zombie had the talent to respect the original Halloween enough by creating something new and would have a pleasant impact.

 

‘The Devil’s Rejects’ fared much better than Rob Zombie’s previous effort, ‘House Of 1000 Corpses.’

Regardless, it was going to go ahead no matter what anybody thought and everybody had to just hold their breath and wait! Rob did the decent thing and called John Carpenter, director of the original movie, to confirm his intention of remaking one of his most notable and masterful works which was met with a rather nonchalant attitude by the man that also knew what it was like to reproduce a production when he remade The Thing back in 1982. Basically, Carpenter didn’t care and simply wished him good luck.

Zombie met heavy concerns with attempted reassurance by reporting that he would incorporate more realism into his vision of Halloween and also create mostly new material that had not been seen before. In other words, 2007’s Halloween would simply not be a shot by shot remake as the abysmal and pointless remakes of Psycho and The Omen came to be.

Gus Van Sant’s 1998 remake of Psycho was a pointless exercise.

Halloween was finally released on August 31st, 2007. As promised, it delivered much more new material. However, Zombie’s approach of thoroughly exploring the character of Michael Myers did not go down too well, with fans insisting that Myers is a force of evil that should be left down to one’s own interpretation as to what and why the way he was. 07’s Halloween heavily indicated that the reason why Michael killed his family and stalked his second sister years later was simply because he was raised by a dysfunctional family.

As what Halloween 5 did for the movie slasher that was once proclaimed to be not human, Myers was given a human soul and appeared to be somebody akin to a lonely man looking for that somebody special to give him some love. While the first half of the picture is mainly new, the second half quickly became dull and uninspired once Michael broke out of the hospital and killed those closest to his sister in an attempt to get to her. Scenes from the original film are imitated but much more carelessly. It all eventually leads to an equally unimaginative ending that delivered an underlying sense that Rob’s small fountain of ideas had well run dry. It was as if he had a vision for creating an original movie that would run about an hour in length. In the second half, he simply borrowed what we had already become familiar with.

2007’s ‘Halloween’ explored the Michael Myers character. An unpopular move with fans.

 

Still, Rob Zombie’s Halloween, at least back then, was entertaining on a superficial level and wasn’t totally devoid of a couple of replays if one had not much else to do.

Now here in 2017, after watching the movie once more after a rather lengthy amount of time, how is it?

Well, it is still much the same. What has become more noticeable is how second rate the dialogue really is. As if that wasn’t enough, the timing of delivery is often off. Although Malcolm McDowell as Dr. Loomis probably delivers the film’s best performance, he is guilty of forcibly putting too much into it at times. Sheri Moon Zombie’s acting here is surprisingly heart wrenching as Michael’s mother who struggles to come to terms with losing everything after one blood splattered night. Scout Compton is largely forgettable as Laurie Strode.

She just does not hold a candle to the virginal, sweet and innocent portrayal originated by Jamie Lee Curtis.

Jamie Lee Curtis’ portrayal of Laurie Strode was much more likeable.

The decision to cast Daeg Faerch as young Michael was decent but would have been even better if he was told to play Michael much more mysteriously instead of a kid with a lot of built up anger that eventually and predictably leaked out on those around him.Really, 07’s Halloween does not largely differ to how it was first seen 10 years ago. Except that it’s flaws show through more copiously. The good thing is that it is somewhat timeless.

Daeg Fearch as young Michael was a presence ominous enough.

With a new Halloween picture in pre-production and slated to be released next year in 2018, perhaps it will regain some of the elements that were missing in the Rob Zombie version and his sequel. John Carpenter is onboard as executive producer and seems to have regained his enthusiasm once again for the pale white mask wearing killer he created 39 years ago.

Now in the middle of an 8 year hiatus, this has been the longest ever time that Michael Myers has not returned to Haddonfield. There is no doubt that his presence is longed for by many devotees.

We just hope that whatever effort is put into it, that it is a little bit more than what was put into creating that mixed effort that was made 10 years ago.

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