Category: Other Studios
Taglines: An epic mission becomes a deadly crisis.
The world watches in awe as the Roebling Clipper is launched into space. Using state-of-the-art scalar engines to fly around the Moon and back in just hours, the maiden voyage of the first-ever trans-lunar passenger ship is about to make history. Among those on board: First Lady Simone Mathany, space-exploration entrepreneur Steve Roebling, Dr. Denise Balaban, pilot Fiona Henslaw, and a very lucky lottery winner. But while en route, a massive solar flare sparks a cosmic-ray burst that accelerates Aurora’s engine and blows the ship away from Earth’s orbit.
Now out of control, it’s hurtling straight for the sun. At Mission Control, along with the desperate President Thomas Mathany, an increasingly anxious team of experts puts a plan into motion – an interception by a shuttle attached to the International Space Station. When that ends in disaster, the Aurora only picks up speed. Now being pulled toward the sun at three percent of the speed of light, it’s only a matter of hours before it burns. With that, the scalar engine will trigger cosmic ray bursts, and a giant electromagnetic pulse storm that will blow Earth back into the Stone Age. Now, preparing for the inevitable seems the last – and only – terrifying option.
About the Story
A privately owned spaceship with passengers, among them the president’s wife, is on its maiden flight around the Moon and back to Earth. When a massive solar storm blows the rocket off course, the ship moves forward out of control on a direct path toward the Sun, and eventually burns up. The Quantum scalar drive powering the ship, which is engineered to withstand extreme temperatures, survives solar impact and puts the Sun into a hyperactive phase, causing massive bursts of radiation that have a devastating effect on Earth. The second half of the movie depicts these effects and peoples’ struggles to find shelter and survive.
It is revealed that the US military has copied and militarized the Quantum scalar drive, and built a spaceship powered by Nuclear Pulse Propulsion to propel the weapon into orbit. The creator of the scalar drive teams up with a NASA astronaut to reconfigure the weapon so as to counteract the effects of the first one as it drops into the Sun. The Sun cools down and the Earth is saved from destruction.
The film contains a number of scientific inaccuracies. The quantum scalar drive and the nuclear pulse propulsion system are, while not presently in existence, reasonable devices used in a science-fiction setting. But having the spacecraft make an external whooshing sound as it passes in airless space is not. The ship, while out of control and not under power, makes a slingshot orbit of the moon.
In the absence of thrust the passengers of the craft would be weightless; they are shown as feeling a nine-gravity force during this orbit, when in reality they would share the orbit of the ship and feel no gravitational effects at all. Furthermore, while light-speed is mentioned within the dialogue of the film, the delay in radio contact between the Earth and lunar orbit, some two and a half seconds, does not occur, conversation between the two being continuous.
The lag which would occur between Earth and a ship nearing the Sun, which would approach sixteen minutes, is also not featured. Whether the radiation from the sun, both of heat and short wave radiation, and which increases with approach in an inverse square ratio, would be tolerated by the ship is not explained.
Directed by: Michael Robison
Starring: David James Elliott, Anthony Lemke, Natalie Brown, Alex Weiner, Mylene Robic
Production Design by: Sylvain Gingras
Cinematography by: Michel St. Martin
Film Editing by: Jean Beaudoin
Music by: James Gelfand
Art Direction by: Camille Parent
MPAA Rating: None.
Studio: Gaiam Vivendi Entertainment and Sonar Entertainment
Release Date: October 15, 2013
In the fictional village of Gladbury, every twenty-five years an angel visits the candlemaker and bestows a miracle upon whomever lights the Christmas Candle. However, shortly after the arrival of a new pastor, David Richmond in 1890, the Christmas Candle goes missing.
It is based on Max Lucado’s novel The Christmas Candle. The film is an Impact and Big Book Media Production presented by Pinewood Pictures being distributed by Rick Santorum’s film production company EchoLight Studios in the US and by Pinewood Pictures in the UK It is Susan Boyle’s debut on the big screen. Boyle also contributes an original song to the film, “Miracle Hymn”. It was shot in Gloucestershire, Worcestershire and in the Isle of Man.
The Christmas Candle is a timeless and inspirational story based on the novel by bestselling author, Max Lucado. Nothing out of the ordinary ever happens in the small village of Gladbury — except at Christmas. Legend has it that every twenty-five years an angel visits the village candlemaker and touches a single candle. Whoever lights the Christmas Candle receives a miracle on Christmas Eve. But in 1890, at the dawn of the modern age, all that is about to change. With the arrival of David Richmond, a skeptical, young minister, Gladbury’s humble candlemaker, Edward Haddington must fight to preserve his family’s legacy. When the Christmas Candle goes missing, the miraculous and the human collide in the most astonishing Christmas the town of Gladbury has ever seen.
The Christmas Candle
Directed by: John Stephenson
Starring: Hans Matheson, Samantha Barks, Lesley Manville, Sylvester McCoy, James Combo, Susan Boyle, Barbara Flynn
Screenplay by: Candace Lee, Eric Newman
Production Design by: Tony Noble
Cinematography by: Mike Brewster
Film Editing by: Emma E. Hickox
Set Decoration by: Rob Cameron
Art Direction by: Harry Pain
Music by: Tim Atack
MPAA Rating: PG for mild thematic elements.
Studio: Pinewood Studios
Release Date: November 22, 2013
Taglines: The legend is never the whole story.
The film takes audiences into the private realm of one the world’s most iconic and inescapably public women — the Princess of Wales, Diana — in the last two years of her meteoric life. On the occasion of the 16th anniversary of her sudden death, acclaimed director Oliver Hirschbiegel explores Diana’s final rite of passage: a secret love affair with Pakistani heart surgeon Hasnat Khan, the human complications of which reveal the Princess’s climactic days in a compelling new light.
Diana is a biographical drama film, directed by Oliver Hirschbiegel, about the last two years of the life of Diana, Princess of Wales. The screenplay is based on Kate Snell’s 2001 book Diana: Her Last Love, and was written by Stephen Jeffreys. British-Australian actress Naomi Watts plays the title role of Diana. The world premiere of the film was held in London on 5 September 2013. It was released in the UK on 20 September 2013. The film received negative reviews from both the British and American critics.
Directed by: Oliver Hirschbiegel
Starring: Naomi Watts, Naveen Andrews, Douglas Hodge, Geraldine James, Charles Edwards, Juliet Stevenson
Screenplay by: Stephen Jeffreys
Production Design by: Kave Quinn
Cinematography by: Rainer Klausmann
Film Editing by: Hans Funck
Costume Design by: Julian Day
Set Decoration by: Niamh Coulter
Music by: Keefus Ciancia, David Holmes
MPAA Rating: PG-13 for brief strong language, some sensuality and smoking.
Studio: eOne Films
Release Date: November 1, 2013
Acclaimed French filmmaker Abdellatif Kechiche’s latest, based on Julie Maroh’s graphic novel, was the sensation of this year’s Cannes Film Festival even before it was awarded the Palme d’Or. Adèle Exarchopoulos is a young woman whose longings and ecstasies and losses are charted across a span of several years. Léa Seydoux (Midnight in Paris) is the older woman who excites her desire and becomes the love of her life. Kechiche’s movie is, like the films of John Cassavetes, an epic of emotional transformation that pulses with gestures, embraces, furtive exchanges, and arias of joy and devastation. It is a profoundly moving hymn to both love and life.
This is an amazing film about young love that is actually honest with its audience. There are countless of films about people falling in love, but when you see “Blue is the Warmest Colour”. You realize just how rare films are that make a sincere attempt to catch what it really is like to fall for someone, without sentimentality, forced cuteness or cheap emotional manipulation. This is the rare love story that has real emotional truth about it. The fact that it is about two women who fall for each other is almost secondary to the way the film catches the universality of what it is like to fall in love and maintain the relationship.
“Blue is the Warmest Colour is a naturalistic and touching film, whether you’re gay, straight, bisexual, or whatever orientation. This is a film that can give you relationship advice and life guidance no matter what your orientation may be. It isn’t an indulgent film bringing only a unique gay relationship to light and nothing more, and it isn’t an ode to “coming out” and stockpiled clichés of “being different.” It shows how an interaction with a person can have a truly provocative impact on you as a person.
The struggles between the two lovers is depicted in breathtaking detail. The director masterfully captures all of the turmoil and hardship going on between Adele’s and Emma’s relationship. The movie’s long running time does not effect the film at all because you are so immersed into their characters. The sexual realization of Adele is perfectly shown in the movie. She is confused and doesn’t know what she wants, it is a typical teenage problem.
This movie is ultimately about Adele and her struggles to find her true self. The transformation that she experiences is utterly engrossing to watch. The film’s nearly three hour running time is devoted to showing the growth of her character and it is absolutely amazing to watch it unfold right in front of your eyes.The intimate scene’s between Adele and Emma are nothing short of miraculous in their depth and their honesty. The conversations are heartfelt, and the pain is evident and shared. It’s realism of the world we live in is honest and raw.
The movie owes so much of it’s emotional power to its two fantastic actresses. They really bring it their all in this. I’ve never had doubts of these two performances, the characters felt like real people and you felt so much for their relationship. Their emotional hardships feel completely real. The character’s flaws and insecurities feel so authentic because you actually believe them as real human beings. We never lose sight of their chemistry and devotion to one another, even in the most difficult of times.
The two of them are like fireworks, waiting to explode out. I cannot recommend this film enough to those of you out there who are interested in seeing this. This is one of the wisest and least condescending films I’ve seen this year. I congratulate the director, Abdellatif Kechiche and the two actresses, Adele Exarchopoulos and Lea Seydoux for an emotional and spiritual journey that had me compelled to the screen for 179 glorious minutes.
Director and screenwriter Abdellatif Kechiche developed the premise for Blue Is the Warmest Colour while directing his second feature film, Games of Love and Chance. He met teachers “who felt very strongly about reading, painting, writing” and it inspired him to develop a script which charts the personal life and career of a female French teacher. However, the concept was only finalised a few years later when Kechiche chanced upon Julie Maroh’s graphic novel, and he saw how he could link his screenplay about a school teacher with Maroh’s love story between two young women.
In late 2011, a casting call was held in Paris to find the ideal actress for the role of Adèle. Casting director Sophie Blanvillain first spotted Adèle Exarchopoulos and then arranged for her to meet Abdellatif Kechiche. Exarchopoulos described how her auditions with Kechiche over the course of two months consisted of improvisation of scenarios, discussions and also of them both sitting in a café, without talking, while he quietly observed her. It was later, a day before the New Year, that Kechiche decided to offer Exarchopoulos the leading role in the film; as he said in an interview, “I chose Adèle the minute I saw her. I had taken her for lunch at a brasserie. She ordered lemon tart and when I saw the way she ate it I thought, ‘It’s her!’”
On the other hand, Léa Seydoux was cast for the role of Emma, ten months before principal photography began in March 2012. Kechiche felt that Seydoux “shared her character’s beauty, voice, intelligence and freedom” and that she has “something of an Arabic soul”. He added on saying, “What was decisive during our meeting was her take on society: She’s very much tuned in to the world around her. She possesses a real social awareness, she has a real engagement with the world, very similar to my own. I was able to realise to how great an extent, as I spent a whole year with her between the time she was chosen for the role and the end of shooting.” Speaking to Indiewire on the preparation for her role, Seydoux said “During those ten months (before shooting) I was already meeting with him (Kechiche) and being directed. We would spend hours talking about women and life; I also took painting and sculpting lessons, and read a lot about art and philosophy.”
Blue is the Warmest Color
Directed by: Abdellatif Kechiche
Starring: Léa Seydoux, Adèle Exarchopoulos, Salim Kechiouche, Jérémie Laheurte, Catherine Salée
Screenplay by: Julie Maroh, Abdellatif Kechiche, Ghalia Lacroix
Cinematography by: Sofian El Fani
Film Editing by: Sophie Brunet, Ghalia Lacroix, Albertine Lastera, Jean-Marie Lengelle, Camille Toubkis
Set Decoration by: Coline Débée, Julia Lemaire
MPAA Rating: NC-17
Studio: Wild Bunch Films
Release Date: October 25, 2013
When roommates Brad and Sergio accidentally arouse the dead, they team up with sexy amateur ghost hunter, Fernanda, to expose the evil inside their home. But just as the guys start to get close to their hot new partner, they discover that a horny demon wants in on the action. Now, cameras are up, and more than fear is rising in this outrageous romp where only one thing is certain: someone is gonna get screwed.
In order to impress a girl, two roommates set out to make a documentary about a murder that took place in their house decades ago. The girl thinks that the victim’s ghost still resides there, the two guys think that making a movie with her will get them laid. But after they set cameras up around the house, and scary/funny things begin to happen that seem legitimately supernatural… they realize that the ghost is not only real, but she’s become smitten with our guys. Now, they have to try and find a way to get this ‘ghost bitch’ out of the house. A subversive, comedic take on the found footage genre.
Ghost Team One Review
“Ghost Team One” aims to do for “Paranormal Activity” what “Scary Movie” did for “Scream” — parody a successful horror franchise with a raunchy mix of scatological and sexual humor — but an aggressively obnoxious tone undermines a decent concept and appealing cast. Insufferable result fails as subversive satire or simply a silly good time, limiting the appeal of helmers Scott Rutherford and Ben Peyser’s feature debut to the frathouse circuit and like-minded havens for lowbrow humor. Simultaneous VOD and modest theatrical release from Paramount (home of “Paranormal,” natch) reps the savviest way to capitalize on minimal commercial potential.
As presented in de rigueur found-footage fashion, slacker buddies Sergio (Carlos Santos) and Brad (J.R. Villarreal) throw a wild house party leading to an unexpected discovery: Their home is haunted. And rather than any old run-of-the-mill spirit, it’s the ghost of an Asian prostitute they’re living with. Would-be hilarity ensues, severely hampered by an overall lack of creativity and uninspired exploitation of the “erotic paranormal activity” premise.
Despite the potential to push the envelope of hard-R content a la “Scary Movie” 13 years ago, there’s very little nudity (a random extra flashes her breasts at the camera early on, while a later shot of Brad sleeping in the buff inexplicably blurs out the nether-regions) and absolutely no explicit sex. Not that anyone can accuse the filmmakers of good taste, given the foul-mouthed preponderance of masturbation jokes and sexual references.
A juvenile sensibility dominates throughout, extending to the characterizations of the guys’ third roommate, Chuck (Tony Cavalero), a racist moron and drug addict struggling to stay sober, and significant femme roles — foxy paranormal groupie Fernanda (Fernanda Romero) and Brad’s burnout friend with benefits, Betsy (Meghan Falcone).
Even with the atypical casting of two Latino leads, the pic makes no attempt to avoid the typical genre pitfalls of sexism, homophobia and racism, with Asians particularly bearing the brunt of the tasteless jokes. The largely unseen and completely unheard cameraman is named Billy Chen (Eric Sun), and seems to exist exclusively so Chuck can call him “Ching Chong.”
Cavalero’s over-the-top idiot reaches his nadir in the third act when he’s possessed by the sex worker’s spirit (he starts making pho and dressing in flowered robes). What might have been a provocative gambit of role reversal all too predictably devolves into an absurdly prolonged minstrel show, replete with “me so horny”-level humor.
Santos and Villarreal get off to a shaky start with thoroughly unappealing characters, but eventually develop a likable camaraderie buoyed by solid comic instincts. An unexpected reference to Alfonso Cuaron’s “Y tu mama tambien” and an amusing punchline to the requisite Ouija board scene (“It’s made by Hasbro!”) hint at the possibilities if they had had more consistent material to work with. Romero and Falcone similarly show flashes of promise above the restrictions of their roles.
Second Review for Ghost Team One
Written and directed by Scott Rutherford and Ben Peyser, Ghost Team One is a found footage horror comedy that centers on roommates Sergio (Carlos Santos) and Brad (J.R. Villarreal), who, after throwing a wild house party, arouse the lecherous spirits dwelling in their home. The next morning, they team up with a drop-dead gorgeous partygoer and ghost enthusiast, Fernanda (Fernanda Romero), to help expose the lingering specters. Soon, however, both Sergio and Brad start competing for Fernanda’s affections, which leads to one titillated demon wanting in on the action.
Though Fernanda is beautiful and sexy, we quickly learn that she’s a bit crazy, too, and Segio knows it. That dynamic progresses and interweaves throughout the movie, with the boys slowly discovering that Fernanda isn’t quite the perfect girl they thought she was. Between the three of them, they begin to uncover secrets about the house, attempting various (and sometimes hilarious) tactics to lure the demon out and capture it on camera.
But at its heart, Ghost Team One is about the friendship between Sergio and Brad, whose close bond fuels most of the comedy. Both boys have a natural chemistry together that’s boosted by the film’s effective use of improv. The interplay between them is very believable, and in most instances their reactions to paranormal encounters are insanely true to life.
One of my favorite recurring bits they have is, when they get too freaked out in the house, they simply run away to the nearest busy street and catch their breath before they decide it’s safe to go back inside. It’s a subtle gag, but one that most found footage horror films wouldn’t try for fear of taking the characters out of the action. But because this is a horror comedy, it actually works.
Ghost Team One
Directed by: Ben Peyser, Scott Rutherford
Starring: Carlos Santos, J.R. Villarreal, Tony Cavalero, Meghan Falcone, James Babson
Screenplay by: Andrew Knauer, Arthur Pielli
Production Design by: Rémy Englander
Cinematography by: Ben Peyser
Film Editing by: John DeJesus
Costume Design by: Rémy Englander
Music by: Mike Plas
MPAA Rating: R for strong sexual content, brief graphic nudity, pervasive language, some drug use and violence.
Studio: The Film Arcade
Release Date: October 11, 2013
Taglines: There’s something about Mandy all the boys love..
Mandy Lane. Beautiful. Untouched. High school royalty waiting to be crowned. Since the dawn of Junior year, men have tried to possess her. Some have even died in reckless pursuit of this 16 year-old Texas angel.
Chloe and Red invite Mandy out to Red’s family ranch for the weekend. Mandy sees it as an excellent opportunity to cement her new friendships. The boys see it as an opportunity to finally get with Mandy Lane. Driving across the Texas landscape, the kids begin to gently chip away at the wall that surrounds her. Joints are smoked. A keg is stolen off a beer truck. Pills are crushed to fine powder and inhaled. Mandy observes it all with the gentle interest of a foreign tourist. And they love her for it.
At the ranch, all the boys start to make their move – each one hoping to be the first to attain the unattainable Mandy Lane. However, as night falls and the booze, drugs, and hormones take over, things are said and advances made which can never be reversed. Suddenly, sweet Mandy finds herself pit in a brutal struggle for survival against someone whose interest she has rejected. Forget reading, writing and arithmetic. In high school, learning to be yourself and not succumbing to peer pressure is the ultimate test. And this is one exam that Mandy is determined not to fail.
All the Boys Love Mandy Lane is an American slasher film directed by Jonathan Levine, and starring Amber Heard, Michael Welch, Whitney Able and Anson Mount. The plot centers on a group of popular high schoolers who invite an attractive outsider, Mandy Lane, to spend the weekend at a secluded ranch house, where they are followed by a merciless killer.
About the Story
At a Texas high school, Mandy Lane is an outsider who becomes a “hot chick” over the summer. She starts getting a great deal of attention from her male classmates. One of those classmates, Dylan, invites Mandy to a pool party at his house and she accepts with the provision that her best friend, Emmet (another outsider and bullying victim), can come along with her.
At the party, Dylan makes passes at Mandy and puts his hand on Mandy’s thigh. Emmet sprays Dylan with a supersoaker. Dylan attacks Emmett, throws him into the pool, and holds his head under water until Mandy intercedes. Emmet retreats to a roof overlooking the pool. Dylan comes to get him down but Emmet tricks him into jumping from the roof into the pool. When Dylan jumps he hits his head on cement and dies.
Nine months later, popular stoner Red is having a small party at his father’s cattle ranch and has invited Mandy along. She obtains permission from her aunt and agrees to go. Since Dylan’s death, she has been befriended by many of Dylan’s friends. Conversely, Emmet has been almost completely ostracized and is subjected to even more intense bullying.
When they arrive at the ranch, Chloe refuses to drive her car over the cattle grid and so, with a shortage of seats in the car still being used, Mandy and Bird elect to walk to the ranch. While walking, Bird tries to prove he is a “gentleman”, but before he can do more than kiss Mandy’s cheek, he is interrupted by Garth, the ranch hand, who drives Mandy and Bird the rest of the way to the ranch.
The kids go swimming in a nearby lake, then return to the house to drink and play games. After a disparaging remark, Jake walks out, followed by Marlin. They stop in a cattle shed where they engage in oral sex. Jake leaves after an argument. When Jake is far from the shed, Marlin gets knocked out with the butt of a double-barrel shotgun by a hooded figure. Marlin awakens to find the double-barrel shotgun rammed down her throat, almost killing her and breaking her jaw.
When Jake returns to the house, the power goes out. The group separates: Red goes to help Chloe who is upstairs alone, Bird goes out to start the generator, and Mandy starts lighting candles in the kitchen. Mandy is confronted by Jake, who confesses to turning off the power in order to spend time alone with her; when he tries to kiss her, she refuses, and he storms out. The power comes back on.
Jake goes looking for Marlin after being rejected by both Mandy and Chloe, and takes Red’s car and gun. Jake drives around in the darkness and eventually finds Marlin sitting by the lake. Just as he realizes she is injured he is pushed into the lake and then shot in the head; the hooded killer, who is revealed to be Emmet, then breaks Marlin’s neck with the butt of the shotgun.
Soon after, Bird, Mandy, Red and Chloe are joined by Garth at the house after a stranger in Red’s car fires fireworks at them on the porch. Bird chases after the car, believing that Jake is the driver, but encounters Emmet. During their fight, Emmet blinds Bird by slashing him across his eyes and stabs him to death. At the ranch, Mandy falls asleep in the kitchen, and Red and Chloe fall asleep on the couch.
In the morning, Emmet enters the house and approaches the sleeping Mandy, stroking her hair. Garth hears noise in the kitchen and suspects someone is in the house, but upon rushing downstairs finds Mandy still asleep with blood on her hair; “wake up” is spelled out in bloody alphabet magnets on the refrigerator. Garth and Mandy realize that they need to leave and go to wake up Red and Chloe.
As they open the door to leave, Emmet shoots Garth. Red and Chloe escape out the back door of the house and run to Chloe’s car, where they discover the bodies of Jake and Marlin dangling from a barbed-wire fence. Distraught, Chloe and Red kiss one another, when Red is shot from afar; paralyzed, he is killed off-screen by Emmet. Chloe flees, heading back to the ranch, and finds Bird’s body in the hay fields. As she runs, she is chased by Emmet, who is driving her car.
Meanwhile, Mandy retrieves the keys to Garth’s Bronco and finds the knife that Emmet used to kill Bird. She sees Chloe running towards the ranch, screaming, pursued by Emmet. Chloe runs to Mandy, but upon embracing her, Mandy stabs her in the stomach. While Chloe bleeds to death, Emmet and Mandy discuss their suicide pact; Mandy will take pills before shooting Emmet in the heart. Mandy then refuses, never having intended to kill herself. She and Emmet get into an argument and begin fighting. Garth hears Mandy yell for help and shoots Emmet, who attacks him.
All the Boys Love Mandy Lane
Directed by: Jonathan Levine
Starring: Amber Heard, Anson Mount, Whitney Able, Michael Welch, Edwin Hodge, Melissa Price, Peyton Hayslip, Brooke Bloom, Amber Bartlett
Screenplay by: Jacob Forman
Production Design by: Thomas S. Hammock
Cinematography byB Darren Genet
Film Editing by: Josh Noyes
Costume Design by: Michelle Lynette Bush
Art Direction by: Megan Hutchison
Music by: Mark Schulz
MPAA Rating: R for strong disturbing violence, pervasive drug and alcohol use, sexuality / nudity and language – all involving teens.
Release Date: October 11, 2013
Taglines: Blood is the strongest bond.
A seemingly wholesome and benevolent family, the Parkers have always kept to themselves, and for good reason. Behind closed doors, patriarch Frank rules his family with a rigorous fervor, determined to keep his ancestral customs intact at any cost. As a torrential rainstorm moves into the area, tragedy strikes and his daughters Iris and Rose are forced to assume responsibilities that extend beyond those of a typical family.
The most important task that the girls face is putting meat on the table— but not the kind that can be found at the local supermarket. As the unrelenting downpour continues to flood their small town, the local authorities begin to uncover clues that bring them closer to the secret that the Parkers have held closely for so many years.
We Are What We Are is an American horror film directed by Jim Mickle. It was screened at the 2013 Sundance Film Festival and in the Directors’ Fortnight section at the 2013 Cannes Film Festival. It is a remake of the 2010 Mexican film of the same name. Both a sequel and prequel have been announced.
About the Story
During a torrential downpour, a woman confusedly staggers into a store as the butcher receives a delivery. After several attempts to address her, she finally responds and explains that the foul weather has strongly affected her. The butcher says that it will get worse before it gets better, and she purchases groceries. As she leaves the store, she sees a poster that advertises missing teenage girls. Before she can reach her car, she begins bleeding from her mouth and loses consciousness as she falls into a rain-filled ditch, where she drowns.
Later, the sheriff tells Frank Parker that his wife has died. Consumed by grief, Frank does not show up to identify the body but instead sends his two daughters, Rose and Iris. Doctor Barrow, who delivered Frank’s young son Rory, explains that an autopsy is mandated by the state. During the examination, he finds evidence of Parkinson’s disease. Meanwhile, Frank is comforted by his kindhearted neighbor Marge, and, while driving through the storm later, finds a motorist in need of assistance; the film implies that he attacks her with a tire iron.
Rose and Iris debate whether they are prepared to take over their mother’s religious duties, but Iris is adamant that they perform this year’s ritual. Rory, too, has trouble keeping the family’s fast. Eventually, Rory wanders into his father’s shed and finds a young woman held hostage. Frank angrily demands that Rory leave, then forces his daughters to kill and butcher the captive. They reluctantly obey, and the entire family eats her remains after a bit of urging from Frank. Marge attempts to deliver a vegetarian meal to the Parkers, noting she thinks she heard a woman crying in the shed, but she receives an icy welcome from Iris.
We Are What We Are
Directed by: Jim Mickle
Starring: Kelly McGillis, Ambyr Childers, Michael Parks, Wyatt Russell, Julia Garner
Screenplay by: Nick Damici, Jim Mickle
Production Design by: Russell Barnes
Cinematography by: Ryan Samul
Film Editing by: Jim Mickle
Costume Design by: Elisabeth Vastola
Set Decoration by: Daniel R. Kersting
Music by: Jeff Grace, Darren Morris, Phil Mossman
MPAA Rating: R for disturbing violence, bloody images, some sexuality, nudity and language.
Studio: Entertainment One
Release Date: September 27, 2013
Niamh is the lone survivor of a bloody massacre after the furniture and objects in her family’s isolated house take on a monstrous life of their own. The police ignore her wild stories and the family friends and social worker that take her in try to introduce a new life. But in this psychological thriller, Niamh is unable to leave her violent past behind her, endangering everyone who crosses her path.
Dark Touch is a British supernatural horror film that was directed and written by Marina de Van. The film had its world premiere on April 18, 2013 at the Tribeca Film Festival and stars Missy Keating as the sole survivor of a bloody massacre that caused the deaths of her family.
In a remote town in Ireland, eleven-year-old Neve finds herself the sole survivor of a bloody massacre that killed her parents and younger brother. Suspecting a gang of homicidal vandals, the police ignore Neve’s explanation that the house is the culprit. To help ease her trauma, dutiful neighbors Nat and Lucas take her in with the supervision of a social worker. Neve has trouble finding peace with the wholesome and nurturing couple, and horrific danger continues to manifest. Haunted objects, an eerie score and a moody, oneiric look complement this intense and frightening peek into child abuse and the searing imagination of writer / director Marina de Van.
If you don’t know Marina de Van’s work, you should. She has written with Francois Ozon (8 Women), and her daring first feature, In My Skin, included her main character eating her own flesh. Her second feature, Don’t Look Back, screened at Cannes in 2009. De Van’s films are intense, intellectual and brutally honest. This newest film is a viciously drawn and taut supernatural thriller that adds to her growing body of bold work.
Dark Touch Review
Following the massacre of her family troubled Niamh moves in with a neighbouring couple and tries to put her life back together. But, when unexplained occurrences start labelling her a suspect in the murders, things take a sinister turn.
Dubbed “the Irish Carrie” – presumably by someone who’s never seen De Palma’s seminal, coming-of-age shocker – Dark Touch follows Missy Keating, daughter of Ronan, as the child blessed/cursed with telekinetic powers in unforgiving, small town Ireland. If that sounds like a weird premise, it’s because it is. And it works about as well as one might assume.
After the massacre of her entire family, young Niamh (Keating) moves in with a couple of kindly neighbours in an effort to move on with her life. But, when spooky things start happening, Lucas (Delaney) starts to suspect Niamh is to blame, and that she may have had more to do with the murders than she’s letting on. His wife (Plunkett) remains convinced that, as a victim of child abuse, she is simply disturbed and unused to normal life, and refuses to believe anything sinister is afoot, even when the evidence mounts against Niamh.
Ireland isn’t exactly known for its horror – the less said about the disgraceful Shrooms the better – and it’s interesting to note that writer/director De Van actually hails from France. The film is actually a Swedish, French and Irish co-production, with the remote area in which she sets her story remaining unnamed.
It doesn’t really resemble Ireland, in spite of the torrential rain plaguing the film’s opening moments, and there’s no spatial awareness, so it’s never clear how big the village is, how far the houses are from each other, or even where the local school is. Most of the action is limited to one, rather grand house but there’s no sense of how big it is, where any of the rooms are in relation to each other or how easily it would be escaped.
The heavy accents make everything unintentionally funny too, especially considering the very, very British social worker (sporting the fakest pregnancy belly in the history of cinema) over-pronounces even the simplest words, making everyone else sound like a yokel in comparison. The central cast isn’t helped by a ropey, exposition-heavy script and there are some dodgy, overly-dramatic performances on show here as a result. Plunkett and Delaney, who deserve much better than this, are likeable enough as the couple who unwittingly take Niamh in, but their parts are reduced to background noise as the kid takes centre-stage, while the social worker does little besides sit and listen quietly, offering no resolution to the poor child.
Keating, to her credit, does a decent job communicating her inner anguish, with what few lines she’s given, but even she can’t make her role as the instigator of a bloody, telekinetic massacre in the middle of the bog seem believable. As an actress, she more than holds her own, but she requires a far meatier role than this to really show off what she can do. However, at the very least, she’s already outshone her Da, who has thus far performed Postman Pat’s singing voice, in a widely-panned kids’ film, along with the husband of a wannabe singer in the tonally weird Goddess.
Dark Touch has two, very distinct, Major Moments that take place at the beginning and the end, with a bloated middle consisting mainly of knowing looks and overlong silences. The massacre is the most well-handled and shocking sequence of the entire film, grisly and gory and horrible, so it’s a shame that it happens within the first half hour. It almost feels as though the movie has shot its load too early, because although it aims to end on just as high a note, it takes too long to get there and the road is much too clearly signposted.
The final shot is brave and arguably quite shocking, too, but it doesn’t make any sense whatsoever. It’s nothing particularly new either, and even casual genre fans will poke holes in it. Christophe Chassol’s nicely tinkling score is perhaps the only element of the film that really works, and it does lend an element of atmosphere to certain key sequences – particularly when juxtaposed with a barking dog and a screeching baby – but it cannot elevate the cliché-ridden material.
Towards the final act, it becomes apparent that De Van cannot decide whether Niamh is inherently evil, or just a messed up kid. She becomes something of a saviour for abused children, but then acts out by burning everyone’s dollies at a birthday party. It’s a weird contradiction for a character who already cannot stand to sleep alone and who moves things, as she admits herself, “when I cry” suggesting deep-seated emotional issues that would possibly be best solved through therapy. As one character matter-of-factly notes, there are a lot of unanswered questions here, and De Van doesn’t seem quite sure which side to take. Niamh is, therefore, neither heroine nor villain.
Directed by: Marina de Van
Starring: Marie Missy Keating, Marcella Plunkett, Padraic Delaney, Aidan Gillen, Charlotte Flyvhom, Ella Hayes
Screenplay by: Marina de Van
Production Design by: Tamara Conboy
Cinematography by: John Conroy
Film Editing by: Mike Fromentin
Costume Design by: Lara Campbell
Set Decoration by: Cecilia Jalakas
Music by: Christophe Chassol
MPAA Rating: None.
Studio: Element Pictures, Eurimages
Release Date: September 27, 2013
Taglines: An accident. Two families. One truth.
Sophia Monet is a young woman battling depression after losing both her parents in the last six months. She becomes increasingly isolated and convinces herself that she’ll never see her parents again, dismissing any notion of an afterlife. She is drawn out of this flux when she meets a new love interest, Adam. After Adam’s mysterious disappearance, Sophia becomes determined to track him down. Her search leads to an eerie apartment building, where passing the threshold means leaving the living and entering the realm of the dead.
Into the Dark, also known as I Will Follow You into the Dark, is a 2012 supernatural romance thriller written and directed by Mark Edwin Robinson. The film stars Mischa Barton and Ryan Eggold as lovers separated by supernatural elements. The project went into production in January 2012.
The film’s original title derives from the Death Cab for Cutie song of the same name. On 14 May 2012, Epic Pictures Group released an international trailer for the film. The film premiered at the Hollywood Film Festival on 20 October, 2012, where it was nominated for the Best Feature Film award. The film will be released theatrically in the United States on 11 October, 2013.
Mark Edwin Robinson’s I Will Follow You Into the Dark (the film’s sales agent, Epic Pictures, is selling it internationally as Into the Dark) is set to come out later this year. The film stars Mischa Barton (“The OC”, The Sixth Sense) as the troubled Sophia Monet. I recently caught up with Barton at her home to discuss the film, her character and some of the more intense moments to shoot on set.
In the film, “A young woman (Mischa Barton) who is severely depressed after the deaths of both her parents retreats within herself, only to be drawn out of her depression by an unexpected romance with a man named Adam (Ryan Eggold). After Adam mysteriously disappears into the depths of a haunted apartment building, she vows to pursue him, even if it means crossing into the world of the supernatural.” Leah Pipes and Ryan Eggold also star.
Mischa Barton talks Into The Dark
The movie deals with a lot of grief and loss. What was it like charting your character’s arc through that?
For me, Sophia is one of these people who is making huge revelations about her life quite quickly and is kind of confused about everything. This whole rejecting God thing is a huge deal for her. A lot of people go through life not questioning things and, when they do, it’s a massive overhaul. That’s where her grief comes from. The crux of the story for me was the love story between her and Ryan [Eggold, who plays Adam in the film]. In order for her to go to the depths of what she goes to, the most important thing is that this love was real and palpable and that the audience wouldn’t question it. And then the other side of it was, “would it be scary enough for me?”
Now that I’ve seen it, the film has turned out more ethereal than I expected. Which I like as well. It is more of an Eternal Sunshine Of The Spotless Mind life after death kind of curious side of things as opposed to a straight horror. I think Ryan thought it would err more on the side of just being scary, but it’s not. It’s more about life and love and what’s worth it and what your beliefs are.
As far as her grief, I play grief well. I’ve always played these quite complicated, layered, dark, depressed characters. Sophia isn’t someone with a huge backbone when it comes to things. I mean she is, but she isn’t. She’s strong enough to know what she wants but she’s so uncertain about so many things in her life, but what she’s sure about is Adam.
Do you think that her being in such a negative place at the beginning of the film impacts her relationship with Adam?
Oh no, absolutely. It’s one of these capsule films about fate and this age where you’re questioning everything. Life after death, love, losing your parents. And grief hits you the hardest for the first time in your life because you haven’t been through that kind of grief before. I think for her it’s compounded and compounded and compounded by the fact that her father had these massive lies. And just the fact that she had to cover things up for so long. She lost her mother to a really gruesome looking battle with cancer and you don’t have to see any of this to believe that she’s had it about as hard as she possibly could. And she’s at this point where she thinks she’s given up on everything but of course she runs smack into Adam and it’s fate. And he brings out the best of her… Her art and whatever she was doing before have dissipated. Disappeared.
Astrid [Leah Pipes] is your boyfriend’s female roommate. That’s a complicated dynamic. You also don’t quite expect her to pull what she pulls near the end of the film.
No, she is possessed. She definitely… I think Astrid plays a necessary role in the film. I don’t have much to say about the relationship with Astrid because it was kind of hard to set the tone. It turned out the way it did. I think it plays quite well. It is what it is, I mean she’s got this new love coming into his life. Yeah I don’t really know what to say about Astrid except she’s a necessary evil and she becomes possessed. She plays a pivotal role. She’s just kind of a driving vehicle behind things and she shows what his life is like and the roommates are good supporting roles in showing what his life was before I came along, you know?
I Will Follow You Into the Dark
Directed by: Mark Edwin Robinson
Starring: Mischa Barton, Ryan Eggold, Leah Pipes, Frank Ashmore, Melinda Browne, Melinda Y. Cohen, Jessee Foudray, Willow Hale
Screenplay by: Mark Edwin Robinson
Production Design by: David L. Snyder
Cinematography by: Eduardo Enrique Mayén
Costume Design by: Tracey Moulton
Art Direction by: Effney Gardea
Music by: Jesse Voccia
MPAA Rating: None.
Studio: Epic Pictures
Release Date: October 11, 2013