Horror Thriller – Horror Fanatics http://horror-fanatics.com/ Fri, 07 Jan 2022 06:26:42 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://horror-fanatics.com/wp-content/uploads/2021/07/horror-fanatics-icon-150x150.jpg Horror Thriller – Horror Fanatics http://horror-fanatics.com/ 32 32 ‘The Wasteland’ review: Inma Cuesta’s Netflix horror movie is a speed bump, so stick around to the end https://horror-fanatics.com/the-wasteland-review-inma-cuestas-netflix-horror-movie-is-a-speed-bump-so-stick-around-to-the-end/ Fri, 07 Jan 2022 06:09:00 +0000 https://horror-fanatics.com/the-wasteland-review-inma-cuestas-netflix-horror-movie-is-a-speed-bump-so-stick-around-to-the-end/ Spoilers for ‘The Wasteland’ “The Wasteland” comes with a theme that makes it a classic horror movie. Set in battle-ravaged 19th-century Spain, the film revolves primarily around three characters (later reduced to two) as they battle a beast that torments them time and time again in their secluded home that seems far from civilization. . […]]]>

Spoilers for ‘The Wasteland’

“The Wasteland” comes with a theme that makes it a classic horror movie. Set in battle-ravaged 19th-century Spain, the film revolves primarily around three characters (later reduced to two) as they battle a beast that torments them time and time again in their secluded home that seems far from civilization. . The father, Salvador (Roberto Álamo), Lucia (Inma Cuesta) and Diego (Asier Flores) live far from the community after escaping war. Their life is roughly forty of the humanity that comes with the intention of destroying.

The fear itself is the element of horror in the film. It captivates the viewer, making the film a psychological thriller rather than a screaming film. Much of the Netflix film is supported by Diego and Lucia, the latter becoming an integral part of the film. The young boy is the one whose movie we watch as he sees the idea of ​​fear and a deadly beast form in front of him after his mother lets her paranoia take over her. While the father is the one who prefers to infuse his boy with courage the hard way, the mother uses love and is less macho in her approach.

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Diego is a rather delicate type, but shrewdly observant of his surroundings. He’s everything a nine to ten year old could be: curious, impatient, scared and immature. However, his life changes when things go wrong and the father never returns after going to deliver the body of a man who committed suicide in front of the family. What plays a crucial role in the film is the fact that there is very less of the devil, but there is so much fear that it causes. Director David Casademunt makes extensive use of sepia tones and sound effects to induce hair-raising sensations.

It is only in the last minutes of the film that we see the beast (this is what the deranged mother and son call the entity) that Diego finally manages to counter. In short, he manages to conquer fear, an element that leads to an unexpected death at the climax. Director and screenwriters Martí Lucas and Fran Menchón aim to use the threat as the greatest weapon at their disposal to frighten audiences and they achieve it with the greatest of ease. What has the most impact, however, is the cast’s stellar performance.

The tone is dark and there is no part where a little light humor comes into play. “The Wasteland” only evokes horror during the first 25 minutes and only picks up the beat from it. of the second act. It makes it a little dry and can distract attention, but it’s the cast that makes you strive for normalcy and hope the horror fades away. Netflix’s Spanish Horror is a thriller and it manages to thrill.

“The Wasteland” is streaming on Netflix.

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13 horror movies and thrillers leaving Netflix in January 2022 https://horror-fanatics.com/13-horror-movies-and-thrillers-leaving-netflix-in-january-2022/ Wed, 05 Jan 2022 02:07:00 +0000 https://horror-fanatics.com/13-horror-movies-and-thrillers-leaving-netflix-in-january-2022/ 702675 Snowpiercer 203 Unit 11/18/19 ph: David Bukach SP_ep203and4_11182019_0022 Morbius will not be released in January 2022 by Mads Lennon A new month is approaching and unfortunately that means that while many great new movies and shows are coming to Netflix in January 2022, there are also many leaving Netflix in January. All of the […]]]>

A new month is approaching and unfortunately that means that while many great new movies and shows are coming to Netflix in January 2022, there are also many leaving Netflix in January.

All of the horror and thriller content exodusing this month is already gone, with most of it leaving on January 1 and Snowdrops making its quick exit a day later. If you had any of the following movies on your watchlist and missed the opportunity to watch them while they were available on Netflix, you may still be able to watch them on another platform. form of streaming.

Horror leaves Netflix in January 2022

JAN. 1

  • Case 39 (2009)
  • Forensic files (Collections 1-9)
  • Pan’s Labyrinth (2006)
  • Pet Sematary 2 (1992)
  • Premonition (2007)
  • The fourth kind (2009)
  • Step-father (2009)
  • The foreigners (2008)
  • Underworld (2003)
  • Underworld: awakening (2012)
  • Underworld the uprising of the Lycans (2009)
  • Zodiac (2007)

JAN. 2

Additionally, while this isn’t a horror franchise, vampire fans will want to jump on The Twilight Saga before he’s gone. The franchise leaves Netflix January 16 and move to Peacock, which will become their new streaming home.

Several of the above movies haven’t even been on Netflix for very long, but it’s not uncommon for movies to come and go, especially since some of them were likely added specifically for the season. Halloween and have now entered into their brief licensing agreements.

The good news is that some of the movies listed above are available to stream on other platforms.

  • Case 39 is available to stream on Hulu and EPIX.
  • Forensic files is available for free streaming on Tubi, Pluto or IMDb TV, or with a subscription on Peacock.
  • Pet Sematary 2 is available to stream on Starz.
  • Premonition is available to stream on Starz.
  • Snowdrops is available to stream on HBO Max.
    • You can also now watch the first two seasons of Snowdrops, the TV show, ahead of the Season 3 premiere.


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The Last Thing Mary Saw Happens To Shudder – ATV Today https://horror-fanatics.com/the-last-thing-mary-saw-happens-to-shudder-atv-today/ Mon, 03 Jan 2022 02:04:52 +0000 https://horror-fanatics.com/the-last-thing-mary-saw-happens-to-shudder-atv-today/ Shudder, AMC Networks’ premium horror, thriller and supernatural streaming service, will find out The last thing Mary saw later this month … Shudder Original, The last thing Mary saw. After the success of the film at Feast of fear and Fantasy festival Last year, The Horror Period will air exclusively on Shudder on January 20, […]]]>
Shudder, AMC Networks’ premium horror, thriller and supernatural streaming service, will find out The last thing Mary saw later this month …

Shudder Original, The last thing Mary saw. After the success of the film at Feast of fear and Fantasy festival Last year, The Horror Period will air exclusively on Shudder on January 20, 2022. The film stars Rory Culkin, Stefanie Scott and Isabelle Fuhrman. The Scary Tale was written and directed by Edoardo Vitaletti.

Craig Engler, Managing Director of Shudder:

“We’re excited to bring Edoardo’s spooky and unique directorial debut to Shudder. Full of twists and turns that will leave viewers guessing until the very end and featuring an extremely talented cast and crew, The Last Thing Mary Saw is a compelling story we can’t wait to share with our members.

Southold, New York, 1843: Young Mary (Scott), blood dripping from behind the blindfold tied around her eyes, is asked about the events surrounding her grandmother’s death. As the story goes back in time, we see Mary, raised in a repressive religious household, finding fleeting happiness in the arms of Eleanor (Fuhrman), the housemaid of the household.

Her family, who believe they see, speak and act in the name of God, regard the girls’ relationship as an abomination, to be treated as harshly as possible. The couple attempt to continue in secret, but someone is still watching or listening, and the wages of perceived sin threatens to turn into death, with the tension only heightened by the arrival of an enigmatic stranger (Culkin) and the revelation of greater forces. at work.

Craig Engler, Managing Director of Shudder:

“It is such an honor to join Shudder’s incredible list of films. For years, they’ve raised the bar for engaging genre storytelling, and I’m delighted to partner with them to release The Last Thing Mary Saw, ”said writer-director Edoardo Vitaletti.

The film was produced by Isen Robbins and Aimee Schoof of Intrinsic Value Films, Harrison Allen and Madeleine Schumacher of Arachnid Films, Stephen Tedeschi and Executive Produced by Scoop Wasserstein. The last thing Mary saw will be available on Shudder from January 20, 2022.


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bazmee: Anees Bazmee starts working on 3 new films – thriller, comedy and love story https://horror-fanatics.com/bazmee-anees-bazmee-starts-working-on-3-new-films-thriller-comedy-and-love-story/ Sat, 01 Jan 2022 11:03:00 +0000 https://horror-fanatics.com/bazmee-anees-bazmee-starts-working-on-3-new-films-thriller-comedy-and-love-story/ MUMBAI: Filmmaker Anees Bazmee, best known for mass artists like “Ready,” “No Entry,” “Welcome” and “Singh is Kinng,” said he has started working on his next directorial venture and that he had three stories in the works, comprising a love story, a thriller and a comedy. While the writer-director awaits the release of “Bhool Bhulaiyaa […]]]>
MUMBAI: Filmmaker Anees Bazmee, best known for mass artists like “Ready,” “No Entry,” “Welcome” and “Singh is Kinng,” said he has started working on his next directorial venture and that he had three stories in the works, comprising a love story, a thriller and a comedy. While the writer-director awaits the release of “Bhool Bhulaiyaa 2”, starring Kartik Aaryan and Kiara Advani, he has started working on three films simultaneously.

“During the pandemic, I wrote a love story, it’s a youth story but not a college montage. I’m also working on a thriller thriller based on lines of ‘Deewangee’ (his 2002 film with Ajay Devgn) and a comedy. The comedy film is not a sequel to ‘No Entry’. It’s about three heroes, two heroines and there is also a family, “Bazmee said.
PTI.

The director has said he will be finalizing the scripts for all three projects soon. “One of the three films will go upstairs this year. I think the comedy film will go upstairs first. I love comedy as a genre and most of my films are comedy,” he said. he added.

Bazmee’s next film is “Bhool Bhulaiyaa 2,” which hits theaters on March 25.

The horror comedy also starring Tabu is a sequel to the 2007 film of the same name by filmmaker Priyadarshan which starred Akshay Kumar and Vidya Balan.

“Filming for ‘Bhool Bhulaiyaa 2’ is over and we are in post-production. We made this film in the midst of the pandemic with great difficulty. We can’t wait to release it in March, I hope it will be okay. so, “Bazmee said.



“Bhool Bhulaiyaa 2” is produced by Bhushan Kumar and Krishan Kumar under their T-Series banner and Murad Khetani of Cine 1 Studios.


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The 10 best horror movies of the 60s https://horror-fanatics.com/the-10-best-horror-movies-of-the-60s/ Thu, 30 Dec 2021 21:00:09 +0000 https://horror-fanatics.com/the-10-best-horror-movies-of-the-60s/ Horror is one of our favorite genres here at Your Money Geek. From the classic thrills of the best horror movies of the 1980s, 1990s, 2000s, and 2010s to the ridiculously bad horror movies we love to hate. We even love to read horror books and comics filled with ghoulish hosts and post-apocalyptic zombies. The […]]]>

Horror is one of our favorite genres here at Your Money Geek. From the classic thrills of the best horror movies of the 1980s, 1990s, 2000s, and 2010s to the ridiculously bad horror movies we love to hate. We even love to read horror books and comics filled with ghoulish hosts and post-apocalyptic zombies.

The 10 best horror movies of the 60s

The 1970s was the decade that really kicked modern horror into the mainstream, defining subgenres – demonic possession, slashers, zombies, body horror – that are still with us today. The 1960s, on the other hand, feel in-between and in-between, as features of older creatures and thriller thrillers morph into gelatinous semi-forms. Watching movies from the era can seem a little frustrating for horror fans today, as gore and ichor and mass murderers fail to gore and ichor and murder. mass like they’re supposed to. But horror is also fun when, like a Frankenstein monster, not all parts are sewn the right way.

Image credit: Universal-International Pictures.

Rosemary baby (1968)

baby rosemary

Rosemary baby is an extremely faithful, often word-for-word adaptation of Ira Levin’s novel, and it reproduces that book’s feminist approach despite director Roman Polanski’s ugly story of sexual violence.

Rosemary (Mia Farrow) is happily happy to be pregnant… until she starts to think that a witch clan in her new apartment building is trying to grab her baby. Her new neighbors and even her gynecologist insist that she is paranoid. But it turns out that the patriarchy is in fact seeking to have it. John Cassavetes, as a nice boy, maybe not so nice wait, is more terrifying than the devil himself, and Levin’s plot slowly gains weight and detail, like a fetus coming to a terrible term.

Image credit: Paramount Pictures.

Carnival of Souls (1962)

carnival of souls

Decisively agnostic church organist Mary Henry (Candace Hilligoss) mysteriously survives a car crash and drowning, and immediately goes to a new job. But she is stalked by a pale specter, and slowly loses her grip on her sanity first, or then on the border between the living and the dead.

The movie may punish Mary for being an independent career woman, Ir it can be a metaphor for the social stigma and isolation that single women are subjected to. Or it could be the survivor’s guilt, or a ghost story from the ghost’s perspective. The buzzing organ score may or may not be in her head as she stumbles into a world that no longer notices her, a shadow among the chiaroscuro shadows of the film. Herk Harvey’s only feature film addresses Hitchcock and points to Lynch. But he also feels isolated in his own disconnected bubble, without air or answers.

Image credit: Harcourt Productions.

Woman in the Dunes (1964)

woman in the dunes

woman in the dunes is unclassifiable. But if horror means suffocation in the weird, director Hiroshi Teshigahara’s surreal parable qualifies. Entomologist Niki Junpei (Eiji Okada) goes to the dunes to capture beetles, misses his bus, and is himself captured by local villagers who trap him in a pit where he and a woman (Kyōko Kishida) dig sand. for cement in exchange for basic necessities. Domesticity, capitalism, curiosity, and society itself are nightmares in which human beings are helpless accomplices.

In stunning and disturbing visuals, the sand moves, blows, crumbles and, like Junpei himself, goes nowhere. He goes from condescending scientist to animal (he tries to rape the woman at the request of his captors) then to inert dust, placid and empty of ambition like the grave.

Image credit: Toho.

The Birds (1963)

The birds

Perhaps Hitchcock’s most overtly sadistic film, The birds is loosely based on a short story by Daphné du Maurier. Hitchcock changed the protagonist to a female and chose Tippi Hedren as Melanie Daniels, a fickle socialite who is berated for her independence and fancy with an invasion of birds.

No reason is ever given for avian animosity. They are creatures of sheer mischief and visual brilliance. In a dramatic scene, they land one by one until they completely cover a jungle gym. In another shot, a bird flies over a burning gas station, looking down with the sight of a god or virtuoso director. Hitchcock is said to have stalked Hedren throughout the film, and his composure and determination is a rebuke to him and his vision of a world bent on destroying women for no reason, out of the blue.

Image credit: Universal-International Pictures.

The Innocents (1961)

The Innocents on a scale

The adaptation of Jack Clayton by Henry James Screw turn foreshadows many films about the possession of children to come. Or The Exorcist and The omen fishy about blood and demonic imagery though, Innocents is only repression and suggestion. The crisp black-and-white cinematography positions housekeeper Miss Giddens (Deborah Kerr) in solid reality, belied by imaginary ghostly fades that drift through her troubled sleep.

The two children in Miss Giddens’ care can be pursued by the spirits of secular servant lovers. But it seems more likely that the thing haunting the estate is Miss Giddens herself, who projects her fevered fantasies onto her terrified defendants. The horror is not an outside invader, but the adults of the house and their obsessive dreams of corrupted innocence.

Image credit: 20th Century Fox.

Kwaidan (1964)

kwaidan

Masaki Kobayashi’s horror anthology presents four popular tales united by a visual style so lush it’s from another world. The line between the mundane and the exterior is paper thin; spirits appear in a cup of tea or take out your wife’s slippers.

The longest tale, “Hoichi the Earless” features a superb samurai water fight against matte backgrounds and traditional biwi chants; we have the impression of seeing a painting come to life. The segment you have the most left over though is “The Snow Woman”, in which a demonic snow spirit haunts the cold line between love and hate, and a casual word or betrayal can bury your life like hell. the snow.

Image credit: Toho.

Night of the Living Dead (1968)

Night of the Living Dead

George Romero’s feature debut set the standard for all upcoming zombie films and also featured one of the first black protagonists in American horror. These landmarks are linked; While zombies have come to mean a lot of things over the course of the decade, they function here as a metaphor for America’s collective, voracious and racialized violence.

Ben (Duane Jones) is the only person to keep his cool as the dead start to rise and eat, and he tries to organize a small group that has gathered in a rural house to work together on the self-defense and preservation. But panic and hatred continue to stumble. The low-budget sets and scenic dialogues create an atmosphere of embodied claustrophobia that the zombie genre has rarely matched. And the ending, in which Ben escapes the zombies but not his fellows, is one of the most cynical in horror cinema.

Image credit: Continental Distribution.

Faceless Eyes (1960)

Faceless eyes

Eyes without face, Georges Franju’s grotesque Frankenstein riff, would have made viewers faint with its graphic scene of facial surgery. Even with a lot of gore horror movies over the past 60 years, this scene and the movie as a whole still offer a quick perspective.

Christiane Génessier (Édith Scob) lost her face in an accident, so her plastic surgeon father (Pierre Brasseur) sets out to capture other pretty young women and tries to transplant their faces onto his. Christiane agrees at first, but it’s really the daddy who is obsessed with consuming and reproducing female beauty, not the woman herself. The last scene, where Christiane wears a smooth white mask representing her own face as freed doves flutter around her, is beautiful and strange, a sort of symbolic escape from fathers and the identities they graft on their children. .

Image credit: Lux Compagnie.

Cap Fear (1962)

Cap Fear

The slasher usually dates back to Hitchcock psychopath, but Jason, Freddy, and Michael, not to mention Hannibal Lecter and Jigsaw, also have more than a little bit of Robert Mitchum’s Max Cady in their DNA. Vengeful ex-convict Cady isn’t a mystical force like some of his heirs, but Mitchum gives him a cunning, relentless malice and a savage sex gaze that is more than enough.

Honest lawyer Sam Bowden (Gregory Peck) believes law enforcement can protect him and his family. But Cady is too smart to get cornered by the cops, and Sam finds himself abandoning the warnings and work ethic to enter the gutter right next to her antagonist, struggling in horror – blood, mud. , hatred and revenge.

Image credit: Universal Pictures.

voyeur (1960)

Voyeur

The first slasher is also the first meta-slasher. Michael Powell’s Voyeur was released shortly before his friend Hitchcock psychopath, and he’s even more obsessively focused on his own masculine gaze. Cameraman Mark Lewis (Carl Boehm) is obsessed with filming fear on women’s faces as he kills them; the opening sequence of the film is a viewfinder view of the murder of a sex worker.

Powell launches psychoanalytic gibberish about the trauma inflicted on Mark by his psychoanalyst father. But most of the time, the film is a horror film about the pleasures and repulsions of horror films; titillate the viewer with the sadistic, scopophile content and violence that so titillates Mark himself. Voyeur is half a review of the shady grotesque and half a celebration of it, and it deeply shocked critics of the time. But the next generation of filmmakers was watching.

Image credit: Anglo-Amalgamated Film Distributors.

Final thoughts

Planet of the Apes

The movie that scared me the most and didn’t end here is Planet of the Apes. I know it’s not generally classified as a horror movie, but it scared me of the monkey mask when I was a kid. Human explorers leap into space and time to discover that the two of them are utterly indifferent to themselves and to all of their species.

Seeing him again as an adult he still has some of that cosmic horror, but he’s buried in endless exposure and Charlton Heston sinking his pecs. So I didn’t put it on the list. Time will take you which is somewhat scary and somewhat tedious, especially when it drops you off with a bunch of monkeys.

Image credit: 20th Century Fox.

More Wealth of Geeks Movie Recommendations

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This article was produced and syndicated by Wealth of Geeks.

Image Credit: Warner Bros.

Feature film credit: Harcourt Productions.


noah headshot e1636124027804

Noah Berlatsky is a Chicago-based freelance writer. Her book, Wonder Woman: Bondage and Feminism in the Marston / Peter Comics was published by Rutgers University Press. He thinks Adam West Batman is the best Batman, dammit.



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Leicester defender Ricardo Pereira left with a broken leg from the horror tackle of Liverpool youngster Tyler Morton who only won a yellow card in the Carabao Cup thriller https://horror-fanatics.com/leicester-defender-ricardo-pereira-left-with-a-broken-leg-from-the-horror-tackle-of-liverpool-youngster-tyler-morton-who-only-won-a-yellow-card-in-the-carabao-cup-thriller/ Wed, 29 Dec 2021 02:14:19 +0000 https://horror-fanatics.com/leicester-defender-ricardo-pereira-left-with-a-broken-leg-from-the-horror-tackle-of-liverpool-youngster-tyler-morton-who-only-won-a-yellow-card-in-the-carabao-cup-thriller/ Ricardo Pereira broke his leg following a reckless tackle from Liverpool youngster Tyler Morton, Leicester manager Brendan Rodgers confirmed. The 19-year-old Reds starlet embarked on the horror challenge in the team’s Carabao Cup 3-3 quarter-final match last week, with Liverpool advancing on penalties. Air sports Liverpool starlet Morton was guilty of a horror challenge on […]]]>

Ricardo Pereira broke his leg following a reckless tackle from Liverpool youngster Tyler Morton, Leicester manager Brendan Rodgers confirmed.

The 19-year-old Reds starlet embarked on the horror challenge in the team’s Carabao Cup 3-3 quarter-final match last week, with Liverpool advancing on penalties.

Air sports

Liverpool starlet Morton was guilty of a horror challenge on Pereira, who left the Leicester ace with a broken bone in his leg

Pereira, 28, twisted in pain on the pitch, then limped after the terrible tackle from teenager Morton, who jumped in the back with both boots on the ground.

It was clearly a terrible foul, with the Foxes ace left in severe pain, and yet Morton only received a yellow card from referee Andrew Madley at Anfield.

Fans had to wait for news of their right-back injury, and boss Rodgers revealed the extent of the problem following Leicester’s 6-3 loss to Man City on Boxing Day.

“Ricardo Pereira will be [out for] six to eight weeks, ”said the Foxes and the ex-Liverpool manager.

19-year-old Liverpool ace Morton was guilty of being too enthusiastic in his challenge

getty

19-year-old Liverpool ace Morton was guilty of being too enthusiastic in his challenge

Pereira was not happy with the tackle and the referee's lack of action

getty

Pereira was not happy with the tackle and the referee’s lack of action

“It’s so frustrating for him to see how hard he has worked.

“So that the referee doesn’t see this, it’s a fractured fibula and he’s lucky it wasn’t worse.”

The Liverpool man’s horror tackle was ironic timing, after Jurgen Klopp lambasted the referees for letting Harry Kane get rid of his bad challenge against Andy Robertson.

Robertson was then sent off in the 2-2 draw with Tottenham on December 19, with the Scotland captain apologizing for his actions, which led to questions being asked of England skipper Kane who said nothing about his tackle on the rear side.

However, Morton made no public apologies or comments to Pereira after their Cup clash, with Klopp making no reference to the post-match incident either.

Morton's two-foot tackle left the Leicester man with a broken leg and facing up to eight weeks

getty

Morton’s two-foot tackle left the Leicester man with a broken leg and facing up to eight weeks

And that could lead to an angry reception for the Reds when they travel to King Power Stadium to face Leicester in the Premier League again on Tuesday.

His broken fibula is the latest injury stroke for Pereira, who has struggled to regain his best form since suffering an ACL injury in 2020.

It also adds to the Foxes’ injury crisis at the back, with defenders Jonny Evans, Wesley Fofana, James Justin and Caglar Soyuncu also currently on the sidelines, as there are fears over Ryan Bertrand after he was sidelined. ‘he limped out of the warm-up before the City maimed.

Portugal international Pereira took to Instagram following Leicester’s Carabao Cup exit at the hands of Liverpool and criticized officials for their response to Morton’s bad tackle.

“Perspectives,” he wrote on social media.

“You can tell I should be feeling unlucky after losing my return game and part of me is, but after what could be a late season tackle, which could be an ACL, I feel lucky , it is not one of them even though I will be outside for a while.

“Like I said, it’s the perspective. For some, it was just a yellow card.

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THE KING’S MAN [2021] – Cult horror movies https://horror-fanatics.com/the-kings-man-2021-cult-horror-movies/ Mon, 27 Dec 2021 08:08:49 +0000 https://horror-fanatics.com/the-kings-man-2021-cult-horror-movies/ The King’s Man (2021)Directed by: Matthew VaughnWritten by: David Gibbons, Karl Gajdusek, Mark Millar, Matthew VaughnWith: Gemma Arterton, Matthew Goode, Ralph Fiennes, Rhys Ifans United Kingdom / United States IN THE CINEMA NOW OPERATING TIME: 130 minutes REVIEWED BY: Dr Lenera In 1902, Orlando, the Duke of Oxford, lost his wife Emily while working for […]]]>

The King’s Man (2021)
Directed by: Matthew Vaughn
Written by: David Gibbons, Karl Gajdusek, Mark Millar, Matthew Vaughn
With: Gemma Arterton, Matthew Goode, Ralph Fiennes, Rhys Ifans

United Kingdom / United States

IN THE CINEMA NOW

OPERATING TIME: 130 minutes

REVIEWED BY: Dr Lenera

In 1902, Orlando, the Duke of Oxford, lost his wife Emily while working for the Red Cross in South Africa during the Boer War, forcing the sworn pacifist to swear his son Conrad would never fight in a war. Twelve years later, Orlando is at the head of a spy ring dedicated to the protection of the United Kingdom and the British Empire against the approach of the Great War, but can only witness with horror the assassination of his friend, Archduke Ferdinand. Joined by Polly and Shola, Orlando assumes command of a secret spy ring in domestic service roles, but the mysterious Shepherd seeks to disrupt the world order, sending a team including Grigori Rasputin, Mata Hari and Erik Jan Hanussen wreak havoc. Maybe Orlando’s son may have to join the fight after all….

2014 Kingsman: Secret Service and 2017 Kingsman: the golden circle had been a pretty cool franchise so far, although the latter was a bit bloated and perhaps went a bit too far with the awkwardness; but what about the James Bond series exuding self-importance and coming rather heavy and serious, a spy franchise that allows itself a bit of awkwardness and primarily cares about having fun? [despite its violence far exceeding any 007 film, and by the way where’s the ’18’ rated version of the first one, we’re still waiting] must be cherished. That said, this third installment contains less humor; there are of course, but not that many, and I guess that was the right decision writers Matthew Vaughn and Karl Gajdusek made as they also make us spend a considerable amount of time in the trenches of the Premiere. World War. prequel set about a century earlier, Vaughn and Gajdusek are nothing but ambitious, challenging the viewer to put up with many changes of tone and even style in an epic tale that mixes revisionist history with real-life story , which deals as much with politics maneuvering at the highest level as it does with grief at the personal level, but paradoxically presents action scenes that are generally on a smaller scale than the sometimes genuinely global things we’ve seen in both. first films. They certainly took risks with this one, far more than they did in the second movie, and the result could have been a sad mess, but somehow they got it right. , resulting in a much more rewarding exercise than some of the big action blockbusters that came out this year.

So we start with a pan over a western landscape and a train moving in the distance, only for the text to inform us that we are in fact in South Africa. The Duke of Oxford, Orlando, his wife Emily and their young son Conrad visit an aid camp during the Boer War. Orlando works for the Red Cross, what we will find out later is due to guilt for participating in British colonialism and for slaughtering people who were only defending their country. Well, it’s 2021, so we just need to include anti-colonial messages in it; luckily, it’s only reduced to one scene. I don’t really disagree with the sentiment, but regular readers will know my hatred of having the same themes down their throats of production after production. Anyway, more to the point, what are the woman and the kid doing there anyway? Surely it is a little dangerous? Emily is killed in a Boer sniper attack on the camp, which prompted Orlando to insist that Conrad never enlist and even go to good old Herbert Kitchener, the leader of the British war effort and the first of a number of real-life stories. characters who will present themselves. Twelve years later, things are heating up with Europe as the epicenter. The man who organizes it all lives in a fort on top of a mountain, barking orders with a Scottish accent to his subordinates that he will kill on a whim if he chooses. So one of those baddies that makes you wonder why someone is working. We don’t see her face, so we know we’ll have a [hopefully] shocking reveal much later. He tries to pit the German, Russian, and British Empires against each other, and has a particular beef with the English who frequently harassed Scotland. Actually, it’s not entirely clear here, but it’s pretty common if you want to take over the world and also crazy, so let’s not get bored with details like that.

Fortunately, Orlando trains his spy ring. “British Intelligence is listening through keyholes, we are going inside”. His two main recruits are nanny Polly and housekeeper Shola. I guess it makes sense that Orlando, because of his beliefs, has such a high-ranking African servant, but Polly’s opening scene where she rudely responds to her boss doesn’t ring true; yet another example of modern attitudes placed in a period room. Conrad and Orlando ride with Archduke Franz Ferdinand in a parade through Sarajevo, Bosnia, and it’s Conrad who saves the Archduke from a bomb thrown by one of the Shepherd’s assassins. Later, however, the same guy succeeds in killing Ferdinand and his wife. A quick response is needed, and the first big mission is in Moscow where we get the best section of the film. Tsar Nicholas is manipulated by the “mad” monk Rasputin, who poisons his little boy and says he will cure him when Nicholas promises to quit the war. It’s always fun when Russia’s greatest love machine is on screen, and we’ve had some great performances, if not the final version of its story yet. Rhys Ifans is formidable in the role, almost matching Tom Baker and Christopher Lee, absolutely exuding the mystery, authority, and charisma that brought this debauched man of god to such high status. This series’ suspense and quirky sexual humor unfolds as Conrad is supposed to seduce Rasputin into agreeing to a date with a poisoned cake, but Rasputin prefers his father, which leads him to furiously lick the wound. to Orlando’s leg, sending the Duke into ecstasy. The battle takes over, with Rasputin a super-skilled martial arts expert in an excellently choreographed brawl. What’s odd about all of this is that it’s hardly crazier than the legend of Rasputin’s death. He was covered in cakes, wine and tea, all poisoned, beaten and shot, but he actually died by drowning. Well, that’s the legend; the accounts differ, but the main thing is still – Rasputin was a tough mutha.

The Shepherd responds by recruiting Vladimir Lenin so that he and his Bolsheviks can overthrow the Tsar and thus bring Russia out of the war, and our quartet must travel elsewhere to prevent the evil from happening. Well, actually a trio – Conrad decides to disobey his father’s orders and joins the men at the front. It’s hard to be shocked these days by “war is hell” stuff because we’ve seen so much of it, but Vaughn gives it a good shot, setting the scene with an awesome transition where the French campaign becomes No Man’s Land before focusing on Conrad who has in fact changed places with another soldier. An accidental shootout sends Conrad on a nearly suicidal mission, and we are given everything; appalling chaos, insane heroism, lucky flares, vicious close quarters fights that are more impactful than any chaos Vaughn has shown us before in the series – and humorless, either. Some may think this is all from a different movie, but I think Vaughn and Gajdusek are trying to get us to think about violence on the screen and whether it should be “fun” as he usually likes to show elsewhere. While the use of unexpected deaths of sympathetic characters is clearly a hallmark of this series and most commendable, Vaughn seems to be maturing well with this film and doesn’t seem to have a hard time holding back. Despite the enormous scale of its plot, it is relaxed enough to give us a relatively low-key climax influenced by that of Just for your eyes, but of course with Well rear projection [something the Bonds curiously never really licked until comparatively recently] which allows us to really wriggle in front of horribly dizzying planes and a plane out of control. Unfortunately, while much of the CGI is just average, a feature of this series, but not only this series; I couldn’t believe how inferior some digital elements were Spiderman: No way home.

Yes, the actual story is often edited into half-truths so that it fits into the narrative of the film, but it’s reasonably well thought out. Of course, we know that, for example, King George V probably didn’t change his Teutonic surname, Saxe-Coburg and Gotha, to Windsor, in reaction to anti-German sentiment, but it works in the context of the movie. And perhaps to suggest that Wilfred Owen’s famous poem ‘Dulce and Decorum Est’ was written by Conrad without saying how it got into Owen’s hands is rather lazy. Still, Tom Hollander, developing a gift for the comedic timing he’s once shown as that slinger on the web, gives a hilarious three-way performance, as cousins ​​Tsar Nicholas, Kaiser Wilhelm and George V. After Rasputin bit the bullet, we are still on the left with Mata Hari and Eric Jan Hanussen who advise and manipulate. Mata is in fact not present enough; you would think Vaughan and Gadjusek would have imagined some outrageous sex shenanigans she was involved in. This means that Valerie Pachner does not really have the opportunity to be heard. However, Daniel Bruhl has plenty of time to exude evil as Hanussen, a fascinating historical figure who isn’t known as well as he should be. He was an Austrian Jewish charlatan [or maybe not] in many fields such as astrology and hypnosis which had a major influence both during Weimer’s Germany and the early days of Nazi Germany which perhaps made Adolph Hitler the great orator that he has become.

Djimon Hounsou as Shola has plenty to do for once, but it’s really 60-year-old Ralph Fiennes who holds it all together, flaunting the suave style he’s shown before, perhaps starting with the non-marvel The Avengers [whatever you think of it, and I actually like it, you must admit that Fiennes is good in that role], but also have plenty of opportunities to show just how damn a good actor he is, showing emotions with limited power. There hasn’t been a role as good as this in a while for him. Matthew Margeson and Dominic Lewis’s musical score is more diverse than the scores of the two previous films [which weren’t quite good enough for what they were supporting]While also noteworthy is Michele Clapton’s costume design, which slightly stylizes familiar outfits of the era to match the overall aesthetic while scaling back the elegant Kingsman outfits according to the era. I really appreciated The king’s man [lazy title though], although I suspect that some viewers will be surprised by the gravity of this situation. It seems to have underperformed slightly at the box office, which is a real shame. We need franchises like this that are able to take such risks in only their third installment while resisting the urge to moderate things for a family friendly rating.

Evaluation: ????????????????????


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The best one-issue comics released in 2021 https://horror-fanatics.com/the-best-one-issue-comics-released-in-2021/ Thu, 23 Dec 2021 15:08:00 +0000 https://horror-fanatics.com/the-best-one-issue-comics-released-in-2021/ 2021 was a year of quality for comics, such as Marvel Comics, DC Comics, Image Comics, BOOM! Studios and other publishers have published amazing books. However, there were some numbers that stood out among the best individual comics of the year. In 2021, we have read and enjoyed thousands of comics. We’ve already revealed our […]]]>

2021 was a year of quality for comics, such as Marvel Comics, DC Comics, Image Comics, BOOM! Studios and other publishers have published amazing books. However, there were some numbers that stood out among the best individual comics of the year.

In 2021, we have read and enjoyed thousands of comics. We’ve already revealed our best comics of the year and our best new DC and Marvel Comics characters. However, nearly a dozen issues have caught our attention as the best single issue comics of 2021.

Related: Iron Man Reveals The Tragic Cost Of Being A Marvel Superhero

Eternals # 6


Eternals-6-Cover-Image-Featured

Kieron Gillen, Esad Ribic, Matthew Wilson, Clayton Cowles (editors Kat Gregorowicz, Darren Shan, Tom Brevoort)

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No issue has stunned readers more than Eternals # 6, which revealed the true tragic cost of being Eternal. The astonishing number redefined the complicated mythology of the Eternals in breathtaking ways while delivering one of the biggest twists of the year. Eternals # 6 was hands down the best Marvel comic released in 2021.

Flash # 776 – DC Comics


Doctor Fate breaks the fourth wall flash

Jeremy Adams, Fernando Pasarin, Matt Ryan, Jeromy Cox, Rob Leigh (editors Chris Rosa, Mike Cotton)

Wally West’s return to form in 2021 was highlighted by the spectacular fun Flash # 776. The interactive Fourth Wall comic puts readers in the front seat, as Doctor Fate calls for their help through a difficult situation. The comic put the action in the hands of readers in an incredibly creative way, and ended up being a total surprise as DC Comics’ best single issue of 2021.


Immortal Hulk # 50 – Marvel Comics


Immortal Hulk 50

Al Ewing, Joe Bennett, Ruy José, Belardino Brabo, Paul Mounts. Cory Petit (editors Wil Moss, Sarah Brunstad, Tom Brevoort)

Immortal hulk could be the best modern comic book, period. So gluing the landing was almost a monumental task. However, the series written by Al Ewing nailed the series finale in which the Hulk uncovers the truth about One Below All. So, without too much spoiler, Immortal hulk # 50 was a perfect final of the redefining race on the Jade Giant.

Immortal Hulk: Time of Monsters # 1 – Marvel Comics


Al Ewing, Alex Paknadel, Juan Ferreyra, Cory Petit (Wil Moss, Sarah Brunstad, Tom Brevoort

We’d be remiss if we didn’t include the one-shot as well Immortal Hulk: Time of the Monsters story “The time of the monsters.” What could have been an exhibition dump to explain the history of the Green Door ended up being the best one-shot of 2021. The comic told an integral, gruesome story, brought to life by Ferreyra’s stunning art.


Heroes Reborn # 4 – Marvel Comics


Rocket Raccoon Starbrand Heroes Reborn 4

Jason Aaron, James Stokoe, Cory Petit, (eds Martin Biro, Alanna Smith, Tom Brevoort)

Heroes are reborn surprised as the best Marvel Comics event in 2021, which was highlighted by Doctor Spectrum featuring Heroes Reborn # 4. In this issue, Spectrum faced off against the Starbrand-wielding Rocket Raccoon. The epic, violent and (at times) disgusting cosmic battle was spectacular thanks to James Stokoe’s incredible sense of scale and his unmatched ability to present epic action. The visual feast was an absolute delight.

Nightwing # 87 – DC Comics


Nightwing jumping around Bludhaven in DC Comics

Tom Taylor, Bruno Redondo, Adriano Lucas, Wes Abbott (editors Jessica Chen, Ben Abernathy, Jessica Berbey)


Sometimes you read an issue and know it will win all the awards. In Night wing In the case of # 87, it would be a real shame if it did not leave with equipment because it is truly an artistic achievement. The entire comic is drawn as a continuous image as the art of Redondo and Lucas’ colors make it one of the most artistically impressive comics in 2021. More impressive still, it never looks like to a gadget. Night wing # 87 will be studied for years to show what is really possible in the comic book world.

Related: Superman Took The Best Part Of The Batcave For His Own Stronghold


TMNT: Last Ronin # 2 – IDW Editions


TMNT Last Ronin Raphael Vs Karai 2

Kevin Eastman, Peter Laird, Tom Waltz, Ben Bishop, Esau Escorza, Isaac Escorza, Luis Antonio Delgado, Samuel Plata, Shawn Lee (eds Bobby Curnow, RG Llarena)

TMNT: The Last Ronin # 2 has revealed how high the stakes are in Michaelangelo’s question of stopping the Foot Clan once and for all. The story featured heartbreaking flashbacks to Raphael’s final position against Oroku Karai, as the hero fell in a burst of glory. The comic set the tone for the upcoming series and showed that no one is safe from brutal death. The problem was an emotional roller coaster from start to finish.

The Beautiful House by the Lake # 1 – DC Comics


The beautiful house on the lake # 1 cropped cover

James Tynion IV, Álvaro Martínez Bueno, Jordie Bellaire, Andworld Design (editors Chris Conroy, Marquis Draper)


Without going too much into spoils, The pretty house by the lake # 1 is a DC Comics Black Label that deserves its title. The methodical horror thriller is meticulously crafted, with some truly sensational twists that have to be read to be believed. The art of Martinez Bueno and the colors of Jordie Bellaire bring the elegant world to life in a sometimes gruesome way. At the end of the first issue, readers will immediately ask for more.

The many deaths of Laila Sarr # 1 – BOOM! Workshops


Ram V, Filipe Andrade, AndWorld Design, Marie Krupina, Grace Park (editors Eric Harburn, Ramiro Portnoy)

The many deaths of Laila Starra made our best comics of the year for good reason. The first issue introduces readers to a version of Death who ends up on the mortal plane after learning that it is no longer needed. That’s all we’re going to tell you, because entering the series blindly is the best way to read it. The poetic storytelling is thoughtful, poignant and unique. Filipe Andrade’s artistry and colors are spectacular and complement Ram V’s story wonderfully. It’s a knockout issue for a series that never fails.


DC Pride # 1 – DC Comics


Danny Lore, Lisa Sterle, Enrica Eren Angiolini, Becca Carey (editor Michael McCalister)

DC Pride # 1 was the best anthology comic of the year, with consistently interesting stories centered around some of the best LGBTIQA + villains and heroes. While we recommend that you read the entire anthology, the most significant story was Jess Chambers’ story, “Clothes Makeup Gifts”. The non-binary speedster took on a new Mirror Master-type villain named Reflek, while trying to find the perfect outfit for their date with Andy Curry. It was incredibly refreshing to have a story about a non-binary hero from a non-binary writer, with the comic proving to be both fun and super cute. Plus, Lisa Sterle’s outfit designs for Jess were top notch. Now give Lore, Sterle, and Angiolini a Jess Chambers, DC Comics miniseries. Please.


Wonder Woman Historia: The Amazons # 1 – DC Comics


Wonder woman historia

Kelly Sue DeConnick, Phil Jimenez, Hi-Fi, Arif Prianto, Romulo Fajardo Jr., Clayton Cowles (editors Chris Conroy, Andy Khouri, Andrea Shea)

The wait was worth it Wonder Woman Historia: The Amazons, as the first issue of the Black Label series delved deep into Amazon mythology in what can only be described as a jaw-dropping epic. DeConnick has crafted a breathtaking story spanning millennia with Jimenez art that makes every page feel like it should hang in an art gallery. The creators are pulling all the cylinders, in what is probably their best career job. The book is truly an incredible achievement.


Next: Blade Got His Powers From Morbius (Before Marvel Copied The Movies)

The best new Marvel comic book characters created in 2021


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Where Nightmare Alley ranks against Guillermo Del Toro’s best movies https://horror-fanatics.com/where-nightmare-alley-ranks-against-guillermo-del-toros-best-movies/ Tue, 21 Dec 2021 19:30:00 +0000 https://horror-fanatics.com/where-nightmare-alley-ranks-against-guillermo-del-toros-best-movies/ Writer-director Guillermo del Toro has made a name for himself in large part directing supernatural-themed films that are full of incredible creature designs and atmospheric production design. His latest film, Alley of nightmares, sees the filmmaker tackle the genre of black thriller for the first time in his career. RELATED: 10 Best Movies With The […]]]>

Writer-director Guillermo del Toro has made a name for himself in large part directing supernatural-themed films that are full of incredible creature designs and atmospheric production design. His latest film, Alley of nightmares, sees the filmmaker tackle the genre of black thriller for the first time in his career.

RELATED: 10 Best Movies With The Cast Of Nightmare Alley, Ranked By IMDb

Like many del Toro films, Alley of nightmares received critical acclaim but struggled to find a mainstream audience. The film immediately stands at the top of its filmography, comparing itself favorably to films such as Crimson woodpecker and Pacific Rim, but comes close to surpassing its absolute best work as Pan’s Labyrinth.

VIDEO OF THE DAY

Blade II

Blade talks to vampire Reinhardt in Blade II.

One of del Toro’s first forays into big budget Hollywood movies, Blade II Once again follows the titular hero as he attempts to protect humanity, this time against a new threat of mutant vampires known as the Reapers.

Although the film is packed with some of the best action sequences of the set Blade trilogy and brings back beloved characters from the first entry, the story is pretty generic and the film mostly favors style over substance. It’s a pretty entertaining and fun movie, but not one of del Toro’s best works and not as heavy or insightful as Alley of nightmares.

Pacific Rim

Set in a future where humanity is involved in a war with the huge interdimensional Kaiju, Pacific Rim is a sci-fi action film about humanity’s attempts to build and pilot giant robot bots called Jaegers to defeat the Kaiju.


While Pacific Rim features a ludicrous premise and focuses more on the visual spectacle than the character or story, it manages to deliver plenty of impressive fight scenes between the Jaegers and Kaiju. It’s not as deep or punchy as Alley of nightmares, but it makes for a fun and unique entry into his filmography.

Crimson woodpecker

Mia Wasikowski in Guillermo del Toro's Crimson Peak (2015)

Located in the late 1800s, Crimson woodpecker is a gothic romance film about an author who moves into a secluded mansion with her new husband and sister, only to find that the haunted mansion is home to many dark secrets.

Del Toro’s signature style lends itself perfectly to the gothic romantic genre, infusing the film with elegant horror sequences and visually stunning moments. For some, the film leans too far in the direction of romance instead of embracing more elements of horror, but the film effectively tells the story it sets out to tell. Crimson woodpecker is more in line with other del Toro films but does not execute its tragic storyline or thoughtful message as effectively as Alley of nightmares.


Cronos

Del Toro’s first feature film Cronos is a horror drama about a man who discovers a mysterious device that grants its owner eternal life quickly discovers that the device also has disastrous effects on the owner, transforming him into a vampire-like creature.

RELATED: Every Horror Movie Produced By Guillermo Del Toro, Ranked By IMDb

Although this is del Toro’s first film, Cronos is indicative of many of the filmmaker’s character traits, including his dark fairytale tone, thought-provoking storyline, and religious themes. It might not be as polished or well designed as Alley of nightmares, but it showed from the start what audiences could expect from a del Toro film.


Hellboy

Hellboy

Adaptation of fan favorite Dark Horse Comic character for the first time on the big screen, Hellboy is a superhero film about a demon captured by Allied forces during WWII and trained to become a superhero who works with a team of metahumans to keep Earth safe.

By making the first entry in the superhero franchise, unlike Blade II, del Toro was given the freedom to set his own tone and visual style. Frequent collaborator Ron Perlman, in one of his best films, is notable as the main character, capturing his sympathetic yet confrontational personality. The story is not as heavy or poignant as Alley of nightmares, but due to the striking imagery and religious ties, the character and story naturally suit del Toro’s cinematic sensibility.


Hellboy II: The Golden Army

HELBOY II: THE GOLDEN ARMY (aka Hellboy 2)

After the success of the first film, del Toro returned to Hellboy II: The Golden Army sees Hellboy and his team trying to stop Prince Nuada from locating the Mythical Golden Army and using it to try to rule the world.

The film retains the best elements of the first installment, such as the likable characters and sleek visuals, while developing the action sequences and creature design. It is a lower rate than Alley of nightmares but the film is still a fan favorite and many were disappointed when del Toro couldn’t complete the Hellboy trilogy.

The shape of water

The shape of water from Guillermo del Toro

Located in the 1960s, The shape of water is a romantic fantasy drama film about a guard at a government high security facility who meets and forms an unlikely romantic relationship with a government-owned amphibian-like humanoid creature.


RELATED: 10 Unrealized Guillermo Del Toro Projects That Could Have Been Great

The film is uniquely del Toro, finding beauty and romance in the dark and using a visually striking fairy tale to provide relevant and impactful social commentary. Featuring exceptional acting, gorgeous cinematography, and a moving score, the film is an empathetic and subversive exploration of being an outsider that earned del Toro the Oscars for Best Picture and Best Director. The shape of water is tied with Alley of nightmares, but some division elements such as the musical number give the latter a slight advantage.

Alley of nightmares

Cate Blanchett and Bradley Cooper in Nightmare Alley

Adaptation of a novel by William Lindsay Gresham, Alley of nightmares is a noir thriller about an ambitious con artist who learns to fake clairvoyance in order to defraud others, but finds himself lost when he gets involved with a well-connected psychologist.


The film is much more grounded than other del Toro films, but still showcases his iconic style and tone. Incredible performances by Bradley Cooper and Cate Blanchett, clever storyline and gripping themes help make Alley of nightmares one of the best films of the year and one of del Toro’s personal bests.

The backbone of the devil

The ghost reaches the backbone of the devil.

Located at the end of the Spanish Civil War, The backbone of the devil is a gothic horror film about a young boy who moves into a haunted orphanage he discovers filled with dark secrets.

In his best films, del Toro is able to generate sympathy for characters others consider to be monsters and The backbone of the devil is one of the best examples. The film is touching, atmospheric, and truly creepy, which is why some consider it one of the best horror films of the 2000s. Del Toro’s unique combination of horror and empathy makes the film stand out. as fresh and original, elevating it slightly above Alley of nightmares.


Pan’s Labyrinth

The end of Pan's labyrinth

Set just after the Spanish Civil War, the dark fantasy film Pan’s Labyrinth follows a young girl as she escapes into a fanatic world of fauns and fairies in order to avoid dealing with the Francoist stepfather.

The film manages to deliver a powerful commentary on a pivotal moment in history through the imaginative perspective of a frightened and innocent child. Although other administrators may have done Alley of nightmares, only del Toro could have made a film as gripping, magical and dark as his masterpiece, Pan’s Labyrinth.

NEXT: Guillermo Del Toro’s 10 Favorite Movies Of All Time, Ranked According To IMDb



Keanu Reeves and Carrie-Anne Moss in Matrix Resurrections

Early Matrix Resurrections reviews split over nostalgia and meta-sequel


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2:22 Ghost Story: Giovanna Fletcher, James Buckley and Stephanie Beatriz star in new supernatural thriller | Ents & Arts News https://horror-fanatics.com/222-ghost-story-giovanna-fletcher-james-buckley-and-stephanie-beatriz-star-in-new-supernatural-thriller-ents-arts-news/ Mon, 20 Dec 2021 06:22:29 +0000 https://horror-fanatics.com/222-ghost-story-giovanna-fletcher-james-buckley-and-stephanie-beatriz-star-in-new-supernatural-thriller-ents-arts-news/ A middle man, a Brooklyn sleuth, an esteemed TV actor, and the former Queen of Castle I’m A Celeb all walk into a theater. But there’s no punchline – instead, we get a critically acclaimed supernatural thriller that will scare audiences around Christmas time. London’s Gielgud Theater is home to a second series of 2:22 […]]]>

A middle man, a Brooklyn sleuth, an esteemed TV actor, and the former Queen of Castle I’m A Celeb all walk into a theater.

But there’s no punchline – instead, we get a critically acclaimed supernatural thriller that will scare audiences around Christmas time.

London’s Gielgud Theater is home to a second series of 2:22 A Ghost Story by Danny Robins, starring James Buckley (better known as Jay from The Inbetweeners), Stephanie Beatriz (Brooklyn Nine-Nine’s Rosa Diaz), Giovanna Fletcher ( podcast and bestselling author) and Elliot Cowan (from the Cilla Foundation and Apple TV +).

Picture:
Giovanna Fletcher and Elliot Cowan play a married couple in 2:22 A Ghost Story. Photo: Hélène Murray

This unlikely, but fiercely talented ensemble all cite the same reason for wanting to take the stage and perform – the writing.

“He’s a page turner,” Cowan explained of the play.

“I went through it twice in about two hours in preparation… and at that point I was hooked. I knew I wanted to do it.

This is a point of view echoed by Fletcher, who told Sky News: “I just read it and I was like, ‘I have to do this.’

Beatriz, who has had a busy year after appearing in In The Heights, voicing a new Disney character in Encanto and bidding farewell to Brooklyn Nine-Nine, also praises the story, telling Sky News: “It’s beautiful, it’s funny – it’s like something I’ve never done before.

“I was scared of myself reading it… it’s a good ****** script.”

The story in question sees Jenny and Sam (Fletcher and Cowan) move into a new home – but at exactly 2:22 each night Jenny hears some unusual noises. Determined to prove it’s a natural occurrence, Sam invites her friends Lauren and boyfriend Ben (Beatriz and Buckley) to stay with them until 2:22 a.m. to see what happens.

Stephanie Beatriz, James Buckley and Elliot Cowan in 2:22 A Ghost Story.  Photo: Hélène Murray
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The play sees a group of people waiting until 2:22 a.m. to figure out what is going on that night. Photo: Hélène Murray

Beatriz and Buckley come from hugely popular shows – and they hope fans enjoy their new roles

It’s been eight years since we’ve seen Buckley’s Jay in The Inbetweeners (and no, there’s no more planned), but the character is still well-loved in the 2020s, thanks to streaming services and the enduring popularity of the series.

Meanwhile, Beatriz stepped down as gruff-voiced, unadorned detective Rosa Diaz earlier this year, when Brooklyn Nine-Nine came to an end – a show that has been critically acclaimed for years.

Beatriz explains, “The thing about loving a series is that if you really like a series you usually consume all the seasons you can and so after a while you’ve known a character for years.

“And so sometimes it can be quite shocking to meet the actor playing this character in real life, and he doesn’t really look like the character you’ve built in your brain.

“I think in that way I’m delighted that people who know about our collective work from other places come to see us in this play because I think the characters we play in this play are very different from the people the audience does. might know us. “

For Buckley, he doesn’t think his new role on stage will change the way fans see him, saying “I always think people are up for anything,” but understands the appeal of The Inbetweeners.

“Jay’s character … is super popular, which is absolutely amazing and people really enjoyed it when I did that, I loved doing it too … if people see me as that character, I I don’t really have a big problem with that, ”he said.

Elliot Cowan, Stephanie Beatriz and James Buckley in 2:22 A Ghost Story.  Photo: Hélène Murray
Picture:
The show runs until February. Photo: Hélène Murray

“It’s so good to be back” on stage

It’s hard to talk about theater and not mention COVID, but as the industry heads into its busiest time amid a renewed threat of restrictions, actors say it’s so good to come back ( safely) on stage.

Cowan said: “The last time I was on stage two years ago … I didn’t know at the time that it would be my last time in a while. It’s so good to be back. . “

“It made the audience more responsive,” Fletcher adds, saying, “I think everyone is so invested in being in the theater… the reaction is stronger than ever.”

Cowan also says that while masks (which are now required to be worn by law in theaters) are a “hot inconvenience,” it’s the compromise required to keep shows on stage.

“It’s not judgmental anyway… it’s going to close if people are let go about it.”

Giovanna Fletcher, James Buckley and Stephanie Beatriz in 2:22 A Ghost Story.  Photo: Hélène Murray
Picture:
Giovanna Fletcher, James Buckley and Stephanie Beatriz in 2:22 A Ghost Story. Photo: Hélène Murray

Buckley says it’s a “relief” for the audience to come and enjoy the show – calling it “just what the doctor ordered.”

“It all adds up to the whole experience and if you come to see the show you will enjoy it, you will have fun – and for now, we are allowed to do it again. I hope that will continue.”

2:22 A Ghost Story is taking place at the Gielgud Theater in London until February 12.


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