- Published on
site update
So many movies ... so little time ...
On this day in 2018 (in the U.S.), an all-new massacre was brought to the masses -- this one with its own date -- and it was called the 4/20 Massacre. Written and directed by Dylan Reynolds, the film starred Jamie Bernadette, Vanessa Reynolds, Stacey Danger, and others.
According to our friends at IMDB.com, here's the plot summary:
"Five women go camping in the woods to celebrate a friend's birthday over 4/20 weekend, but when they cross the turf of an illegal marijuana grow-operation, they must fight to survive the living nightmare."
-- EZ
On this day in 2018 (in the U.S.), an all-new massacre was brought to the masses -- this one with its own date -- and it was called the 4/20 Massacre. Written and directed by Dylan Reynolds, the film starred Jamie Bernadette, Vanessa Reynolds, Stacey Danger, and others.
According to our friends at IMDB.com, here's the plot summary:
"Five women go camping in the woods to celebrate a friend's birthday over 4/20 weekend, but when they cross the turf of an illegal marijuana grow-operation, they must fight to survive the living nightmare."
-- EZ
- Published on
press release
CLEOPATRA ENTERTAINMENT
ANNOUNCES THE RELEASE OF
THEY WAIT IN SHADOWS
[Digital Video]
5/12/26
Cleopatra Entertainment announces the May 12th release of the new horror film They Wait in Shadows on Digital Video.
They Wait in the Shadows is a haunting psychological horror that follows estranged sisters Ingrid and Jenny as they move back into their family home after the death of their mother.
Ingrid, recently divorced, carries heavy guilt from a childhood incident she has never admitted to, while Jenny—caught in a cycle of unstable relationships and currently seeing the repugnant Ray struggles with her own unresolved wounds. Once inside the house, both sisters become plagued by traumatic memories and vivid nightmares of the monsters they believed existed only in their childhood imagination. When they discover an old Ouija board they once played with, strange and terrifying events begin to unfold, and their repressed traumas take on monstrous forms that infiltrate their dreams and waking fears. As the nightmarish episodes escalate, Ingrid realizes that her guilt may be feeding the horrors around them—and the monsters begin offering her a chilling, familiar deal.
In a shocking climax, Ingrid and Jenny must face the living embodiments of their trauma and decide whether escaping their past means confronting it—or becoming consumed by it. They Wait in the Shadows blends psychological dread with supernatural menace, exploring memory, guilt, sacrifice, and the fragile bond between sisters shaped by a lifetime of buried pain.
They Wait in the Shadows is a haunting psychological horror that follows estranged sisters Ingrid and Jenny as they move back into their family home after the death of their mother.
Ingrid, recently divorced, carries heavy guilt from a childhood incident she has never admitted to, while Jenny—caught in a cycle of unstable relationships and currently seeing the repugnant Ray struggles with her own unresolved wounds. Once inside the house, both sisters become plagued by traumatic memories and vivid nightmares of the monsters they believed existed only in their childhood imagination. When they discover an old Ouija board they once played with, strange and terrifying events begin to unfold, and their repressed traumas take on monstrous forms that infiltrate their dreams and waking fears. As the nightmarish episodes escalate, Ingrid realizes that her guilt may be feeding the horrors around them—and the monsters begin offering her a chilling, familiar deal.
In a shocking climax, Ingrid and Jenny must face the living embodiments of their trauma and decide whether escaping their past means confronting it—or becoming consumed by it. They Wait in the Shadows blends psychological dread with supernatural menace, exploring memory, guilt, sacrifice, and the fragile bond between sisters shaped by a lifetime of buried pain.
- Published on
press release
GoGetHer PRODUCTIONS
ANNOUNCES THE RELEASE OF
BLOODTHIRSTY
[Digital Video]
5/12/26
On the night of their anniversary, college student Sarah is unexpectedly called into work, leaving her boyfriend, Brian, to celebrate alone. As he waits for her return, a mysterious infection begins spreading rapidly and relentlessly, turning people around him into zombies before he can even react. In mere hours, Brian's friends and neighbors begin succumbing to the sickness, some faster than others, and even kids. The outbreak tightens its grip, transforming familiar faces into threats, their minds lost to the infection.
Trapped inside her workplace with no way out, Sarah struggles to survive as the chaos escalates, while Brian, desperate to reach her, must navigate an unraveling city. With every step, the dangers multiply, forcing him to make impossible choices in a race against time. Their relationship becomes a beacon of hope in the face of horror, but in a world where survival is uncertain, Brian must fight through the bloodthirsty hordes before it's too late because some things are worth risking everything for.
Bloodthirsty is a refreshing take on zombies from young auteur, Nachela Knox, who pumps new blood into the Urban Horror genre!
Trapped inside her workplace with no way out, Sarah struggles to survive as the chaos escalates, while Brian, desperate to reach her, must navigate an unraveling city. With every step, the dangers multiply, forcing him to make impossible choices in a race against time. Their relationship becomes a beacon of hope in the face of horror, but in a world where survival is uncertain, Brian must fight through the bloodthirsty hordes before it's too late because some things are worth risking everything for.
Bloodthirsty is a refreshing take on zombies from young auteur, Nachela Knox, who pumps new blood into the Urban Horror genre!
- Published on
As one who appreciates an older flick or two, I grow increasingly saddened by the fact that today’s audiences will rarely – if ever – give any attention to the productions of the bygone era.
For example, the local theater chain in my area sponsors Tuesday Night Classics, an ongoing series which celebrates the productions of yesterday at bargain-priced screenings every – you guessed it – Tuesday eve. The curator of the series arranges this line-up reasonably well in advance, letting folks know of their upcoming events in a three-to-six-month window; and the company does take patron suggestions via email. (I know this as I’ve submitted a good number of titles over the years.) The only problem I have with such events is that it’s pretty rare for any legitimately older and authentically classic films – except the truly well-known ones – to see the flickering light from the projectors. While it’s still a great opportunity to see Citizen Kane (1941), Casablanca (1942), or Singing In The Rain (1952) annually, I’m aghast that offerings like Legally Blonde (2001), How To Lose A Guy In 10 Days (2003), or Crazy Stupid Love (2011) somehow qualify for slots in the rotation.
For this reason, I’m forever thankful that venues like Turner Classic Movies and/or distributors like Warner Archive continue broadcasting or re-releasing the catalogue of truly classic films, ones that probably deserve the occasional dusting off and restoration even though folks aren’t exactly clamoring for something as tried-and-true. Once a week, I scroll through their guide and set recordings for those truly old pictures that tweak my interest, keeping the reliable DVR filled with an eclectic assortment of genre films for the occasional rainy day, and I’m constantly scrolling through the lists of forthcoming stuff from what remains of the WB. I hope I’m not the only one who still does this, and yet I long ago came to terms with the fact that I’m an ‘old dog’ to many. So be it … and get off my lawn.
1934’s Tarzan And His Mate, the second cinematic production to feature Olympic swimmer Johnny Weissmuller in the role that made him a household name, is exactly the kind of picture I’m talking about. The athlete headlined an astonishing twelve different pictures delivering the signature Edgar Rice Burroughs’ creation to the silver screen spread across sixteen years. While these films were found reasonably well in television syndication of my youth, they’ve all but vanished today. A 2016 flick – The Legend Of Tarzan starring Alexander Skarsgard, Samuel L. Jackson, and Margot Robbie – performed respectably at the box office but failed to fuel any lasting resurgence for one of the stronger characters to emerge from the days of pulp novels; thus, anyone seeking a return-to-form really has to search hard into filmdom’s deep, deep past to see how influential a muscular man in little more than a loincloth could have been.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“The idyllic life of Tarzan and Jane is challenged by men on safari who come seeking ivory and come seeking Jane as well.”
The truth is that Tarzan And His Mate opens, and the seminal swinger is nowhere to be seen. It really isn’t about until twenty-minutes in that actor Weissmuller and his Jane (played by the fetching Maureen O’Sullivan) make their entrance; and this is because the story as crafted by James Kevin McGuinness, Howard Emmett Rogers, Leon Gordon, and Bud Barsky set the stage by introducing two different teams of treasure seekers – one shown briefly while the other becomes the main focus – in pursuit of fortune and glory that ties inevitably to Tarzan, Jane, and the fabled Elephant’s Graveyard where an endless supply of ivory tusks awaits.
Harry Holt (Neil Hamilton, who would eventually famously play Commissioner Gordon in the late 1960’s Superhero series Batman) has come to Africa with hopes of convincing the lovely Jane Parker to abandon her fascination with swinging from vines and return to London. Though he realizes his chances are slim for winning her heart and hand from the Lord of the Apes, he’s come prepared to shower her with – get this – dresses and perfume, the likes of which she hasn’t seen since leaving civilization behind. Martin Arlington (Paul Cavanagh) has joined Holt on this adventure chiefly because he, too, has heard tales of the woman’s beauty as well as the promise of boundless ivory; so he’s willing to risk life and limb for a chance to touch Heaven on Earth and maybe even ‘bring it back alive.’
Once Holt and Arlington find themselves in somewhat dire straits in the dense jungle, Tarzan and Jane make their grand entrance, essentially saving the day and agreeing to serve as guides to the elusive and distant elephant burial grounds. Along the way, Holt begins to realize that he really hasn’t a chance to steal Jane’s heart, a development which only causes his somewhat dastardly partner to increase his own advances on the lady. After they reach the graveyard only to lose Tarzan’s support as the ape man realizes that the hunters are only after the ivory, Arlington double-crosses Tarzan privately, seemingly shooting and leaving him for dead.
Now, it doesn’t take a rocket scientist to realize our hero is still alive. Why, his name is in the title, after all! And – last I checked – this is his franchise. Still, there’s a bit of misdirection, most of which is dramatically necessary for Jane to come to grips with losing the love of her life and realize there’s no life for her in the jungle sans her fallen hubby and protector. But trying to abscond with all that ivory draws the ire of natives who’ve long protected the mythical lands, leaving Holt, Arlington, Jane, and their remaining team in a predicament that only the original ‘Lord of the Apes’ can rescue them from if he can make it back in the nick of time.
So, yes, there’s a fair amount of predictability in the second half of Tarzan And His Mate, mostly because any franchise property has fairly established parameters around which probably every adventure operates. Tarzan emerges from every encounter not entirely unscathed – he tangles with lions, tigers crocodiles, as well as the occasional jungle native – and has the scratches to prove it. While modern audiences might take issue with such a pale skinned male emerging as almost the – ahem – white conqueror over such lawless lands, audiences of old (and those of us who remember this is meant to be entertainment, for Pete’s sake!) will still most likely accept this as the pure escapism it was meant to be. Speaking in broken English, Tarzan is portrayed as a muscular simpleton who represents mankind’s best primal instincts – if it belongs to the jungle, then he’ll see the jungle retains it – so I never put much stake in those ideas that suggested ideologically was intended to be some ‘white savior.’ He’s white. Sure, he saves the day. But that’s as far as that hogwash got with me.
In many ways, O’Sullivan’s Jane emerges as a surprising screen equal. Given the character's pedigree, she’s along for the ride to underscore the moral particulars of why Tarzan does what he does: without her interpretation and the occasional dissertation, the ape man would be little more than a jungle-aged Superman-lite. She loves him – and says so – not because he’s an athletic with the body to prove it but because his heart and motives remain pure to the law of the land. The fact that he’s in peak physical condition is just an added bonus. But it’s she who gives words to the growing fable surrounding the love of her life, and her scenes arguably are as important as any of his feats of strength.
Visually, Tarzan And His Mate is quite the spectacle, so much so that even decades later I’m not entirely sure how they accomplished everything they did here without significant loss of life and limb. Actors and vicious animals share several frames; and a few sequences hint as to how much risk there was and remains today when trying to shift several pieces of the food chain about in the same mix. Though a few bits are rather obvious screen trickery, its nothing that detracts significantly from the derring-do, something that was a necessity in screen adventures of this sort. Sadly, we don’t get thrills like this today without CGI; and, yes, it makes me feel old sometimes just watching it done old-style.
For those of you who relish flicks of this sort, Tarzan And His Mate was still pre-code Hollywood, meaning it was shot entirely before the Hays Code was instituted to prohibit certain – erm – more salacious images and dialogue. As such, there’s a wonderful underwater swimming sequence of private time shared between the jungle’s ‘husband and wife’ that’s sexier than many R-rated films achieve even today; and that’s definitely saying something for what storytellers could accomplish in days of old. While it may not be O’Sullivan’s feminine form on display (the film credits Olympic medalist Josephine McKim as the swimming double), it’s still a deliciously sensuous ballet that I’ve read understandably stoked a bit of controversy even back in the day.
It's also worth noting that in 2003 the film was inducted into the U.S. National Film Registry, the organization that seeks to preserve features that have demonstrated lasting aesthetic or cultural appeal to the medium.
Tarzan And His Mate (1934) was produced by Metro-Goldwyn-Mayer (MGM). DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? Well, the film probably looks and sounds about as good as it ever has and probably ever will.
Yes, it makes me feel old knowing that Tarzan And His Mate (1934) still resonates as a worthy theatrical endeavor; and yet I don’t feel bad about it. The story is timeless in a way that only the best classics deliver. While the script kinda/sorta misses out on the opportunity for Tarzan to get vengeance against those who may’ve done him wrong, the character was never about seeking retribution: rather, he was about being a steward to the land and the creatures who inhabited it, so thematically all is well in the jungle. Excellent performances and some outstanding visuals make this one worth its running time in the price of gold … or make that ivory.
Highly Recommended.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Tarzan And His Mate (1934) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
For example, the local theater chain in my area sponsors Tuesday Night Classics, an ongoing series which celebrates the productions of yesterday at bargain-priced screenings every – you guessed it – Tuesday eve. The curator of the series arranges this line-up reasonably well in advance, letting folks know of their upcoming events in a three-to-six-month window; and the company does take patron suggestions via email. (I know this as I’ve submitted a good number of titles over the years.) The only problem I have with such events is that it’s pretty rare for any legitimately older and authentically classic films – except the truly well-known ones – to see the flickering light from the projectors. While it’s still a great opportunity to see Citizen Kane (1941), Casablanca (1942), or Singing In The Rain (1952) annually, I’m aghast that offerings like Legally Blonde (2001), How To Lose A Guy In 10 Days (2003), or Crazy Stupid Love (2011) somehow qualify for slots in the rotation.
For this reason, I’m forever thankful that venues like Turner Classic Movies and/or distributors like Warner Archive continue broadcasting or re-releasing the catalogue of truly classic films, ones that probably deserve the occasional dusting off and restoration even though folks aren’t exactly clamoring for something as tried-and-true. Once a week, I scroll through their guide and set recordings for those truly old pictures that tweak my interest, keeping the reliable DVR filled with an eclectic assortment of genre films for the occasional rainy day, and I’m constantly scrolling through the lists of forthcoming stuff from what remains of the WB. I hope I’m not the only one who still does this, and yet I long ago came to terms with the fact that I’m an ‘old dog’ to many. So be it … and get off my lawn.
1934’s Tarzan And His Mate, the second cinematic production to feature Olympic swimmer Johnny Weissmuller in the role that made him a household name, is exactly the kind of picture I’m talking about. The athlete headlined an astonishing twelve different pictures delivering the signature Edgar Rice Burroughs’ creation to the silver screen spread across sixteen years. While these films were found reasonably well in television syndication of my youth, they’ve all but vanished today. A 2016 flick – The Legend Of Tarzan starring Alexander Skarsgard, Samuel L. Jackson, and Margot Robbie – performed respectably at the box office but failed to fuel any lasting resurgence for one of the stronger characters to emerge from the days of pulp novels; thus, anyone seeking a return-to-form really has to search hard into filmdom’s deep, deep past to see how influential a muscular man in little more than a loincloth could have been.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“The idyllic life of Tarzan and Jane is challenged by men on safari who come seeking ivory and come seeking Jane as well.”
The truth is that Tarzan And His Mate opens, and the seminal swinger is nowhere to be seen. It really isn’t about until twenty-minutes in that actor Weissmuller and his Jane (played by the fetching Maureen O’Sullivan) make their entrance; and this is because the story as crafted by James Kevin McGuinness, Howard Emmett Rogers, Leon Gordon, and Bud Barsky set the stage by introducing two different teams of treasure seekers – one shown briefly while the other becomes the main focus – in pursuit of fortune and glory that ties inevitably to Tarzan, Jane, and the fabled Elephant’s Graveyard where an endless supply of ivory tusks awaits.
Harry Holt (Neil Hamilton, who would eventually famously play Commissioner Gordon in the late 1960’s Superhero series Batman) has come to Africa with hopes of convincing the lovely Jane Parker to abandon her fascination with swinging from vines and return to London. Though he realizes his chances are slim for winning her heart and hand from the Lord of the Apes, he’s come prepared to shower her with – get this – dresses and perfume, the likes of which she hasn’t seen since leaving civilization behind. Martin Arlington (Paul Cavanagh) has joined Holt on this adventure chiefly because he, too, has heard tales of the woman’s beauty as well as the promise of boundless ivory; so he’s willing to risk life and limb for a chance to touch Heaven on Earth and maybe even ‘bring it back alive.’
Once Holt and Arlington find themselves in somewhat dire straits in the dense jungle, Tarzan and Jane make their grand entrance, essentially saving the day and agreeing to serve as guides to the elusive and distant elephant burial grounds. Along the way, Holt begins to realize that he really hasn’t a chance to steal Jane’s heart, a development which only causes his somewhat dastardly partner to increase his own advances on the lady. After they reach the graveyard only to lose Tarzan’s support as the ape man realizes that the hunters are only after the ivory, Arlington double-crosses Tarzan privately, seemingly shooting and leaving him for dead.
Now, it doesn’t take a rocket scientist to realize our hero is still alive. Why, his name is in the title, after all! And – last I checked – this is his franchise. Still, there’s a bit of misdirection, most of which is dramatically necessary for Jane to come to grips with losing the love of her life and realize there’s no life for her in the jungle sans her fallen hubby and protector. But trying to abscond with all that ivory draws the ire of natives who’ve long protected the mythical lands, leaving Holt, Arlington, Jane, and their remaining team in a predicament that only the original ‘Lord of the Apes’ can rescue them from if he can make it back in the nick of time.
So, yes, there’s a fair amount of predictability in the second half of Tarzan And His Mate, mostly because any franchise property has fairly established parameters around which probably every adventure operates. Tarzan emerges from every encounter not entirely unscathed – he tangles with lions, tigers crocodiles, as well as the occasional jungle native – and has the scratches to prove it. While modern audiences might take issue with such a pale skinned male emerging as almost the – ahem – white conqueror over such lawless lands, audiences of old (and those of us who remember this is meant to be entertainment, for Pete’s sake!) will still most likely accept this as the pure escapism it was meant to be. Speaking in broken English, Tarzan is portrayed as a muscular simpleton who represents mankind’s best primal instincts – if it belongs to the jungle, then he’ll see the jungle retains it – so I never put much stake in those ideas that suggested ideologically was intended to be some ‘white savior.’ He’s white. Sure, he saves the day. But that’s as far as that hogwash got with me.
In many ways, O’Sullivan’s Jane emerges as a surprising screen equal. Given the character's pedigree, she’s along for the ride to underscore the moral particulars of why Tarzan does what he does: without her interpretation and the occasional dissertation, the ape man would be little more than a jungle-aged Superman-lite. She loves him – and says so – not because he’s an athletic with the body to prove it but because his heart and motives remain pure to the law of the land. The fact that he’s in peak physical condition is just an added bonus. But it’s she who gives words to the growing fable surrounding the love of her life, and her scenes arguably are as important as any of his feats of strength.
Visually, Tarzan And His Mate is quite the spectacle, so much so that even decades later I’m not entirely sure how they accomplished everything they did here without significant loss of life and limb. Actors and vicious animals share several frames; and a few sequences hint as to how much risk there was and remains today when trying to shift several pieces of the food chain about in the same mix. Though a few bits are rather obvious screen trickery, its nothing that detracts significantly from the derring-do, something that was a necessity in screen adventures of this sort. Sadly, we don’t get thrills like this today without CGI; and, yes, it makes me feel old sometimes just watching it done old-style.
For those of you who relish flicks of this sort, Tarzan And His Mate was still pre-code Hollywood, meaning it was shot entirely before the Hays Code was instituted to prohibit certain – erm – more salacious images and dialogue. As such, there’s a wonderful underwater swimming sequence of private time shared between the jungle’s ‘husband and wife’ that’s sexier than many R-rated films achieve even today; and that’s definitely saying something for what storytellers could accomplish in days of old. While it may not be O’Sullivan’s feminine form on display (the film credits Olympic medalist Josephine McKim as the swimming double), it’s still a deliciously sensuous ballet that I’ve read understandably stoked a bit of controversy even back in the day.
It's also worth noting that in 2003 the film was inducted into the U.S. National Film Registry, the organization that seeks to preserve features that have demonstrated lasting aesthetic or cultural appeal to the medium.
Tarzan And His Mate (1934) was produced by Metro-Goldwyn-Mayer (MGM). DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? Well, the film probably looks and sounds about as good as it ever has and probably ever will.
Yes, it makes me feel old knowing that Tarzan And His Mate (1934) still resonates as a worthy theatrical endeavor; and yet I don’t feel bad about it. The story is timeless in a way that only the best classics deliver. While the script kinda/sorta misses out on the opportunity for Tarzan to get vengeance against those who may’ve done him wrong, the character was never about seeking retribution: rather, he was about being a steward to the land and the creatures who inhabited it, so thematically all is well in the jungle. Excellent performances and some outstanding visuals make this one worth its running time in the price of gold … or make that ivory.
Highly Recommended.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Tarzan And His Mate (1934) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
press release
Writers Block Leads to a Bloodbath in
I Know Exactly How You Die
indie Horror Brings Mayhem and Laughs
Debuts on Streaming April 7, 2026
New York City-- MPX has announced the official US digital release of Rushabh Patel's I Know Exactly How You Die, an indie horror where deadlines aren't a writer's worst fear. Beginning April 7, audiences across the US will be able to rent or own I Know Exactly How You Die on Digital HD, including Prime Video and Fandango at Home. The film will also be available on DVD.
In I Know Exactly How You Die, Patel stars as hack writer Rian Burman. Rian has to finish his story without getting his protagonist murdered by a sadistic stalker who will stop at nothing to have her. The film world premiered to a sold out audience at Dances With Films NYC in January.
Rian Burman, a struggling horror novelist seeking inspiration, checks into a remote motel to finish his book. Haunted by heartbreak and creative paralysis, Rian begins writing a story about a woman named Katie, a drug counselor fleeing a violent stalker. But as he writes, the line between fiction and reality begins to blur, his scenes start coming true. At the same motel, the real Katie is hiding from a deranged ex–mailman turned serial killer. When Rian and Katie meet, their shared experiences confirm the impossible: his manuscript is somehow manifesting real events, including the stalker’s murders. As the deaths around them escalate, Rian realizes he might be both the author and the architect of the horror unfolding.
In I Know Exactly How You Die, Patel stars as hack writer Rian Burman. Rian has to finish his story without getting his protagonist murdered by a sadistic stalker who will stop at nothing to have her. The film world premiered to a sold out audience at Dances With Films NYC in January.
Rian Burman, a struggling horror novelist seeking inspiration, checks into a remote motel to finish his book. Haunted by heartbreak and creative paralysis, Rian begins writing a story about a woman named Katie, a drug counselor fleeing a violent stalker. But as he writes, the line between fiction and reality begins to blur, his scenes start coming true. At the same motel, the real Katie is hiding from a deranged ex–mailman turned serial killer. When Rian and Katie meet, their shared experiences confirm the impossible: his manuscript is somehow manifesting real events, including the stalker’s murders. As the deaths around them escalate, Rian realizes he might be both the author and the architect of the horror unfolding.
- Published on
cormanology 101
So many movies ... so much to celebrate!!!
On this day in 1994 (in the U.S.), the good people of Orlando, Florida were treated to the exclusive theatrical premiere event of The Unborn II. Directed by Rick Jacobson from a story by Rob Kerchner, Daniella Purcell, and Mark Evan Schwartz, the Horror/Fantasy starred Michele Greene, Robin Curtis, Scott Valentine, and others.
According to our friends at IMDB.com, here's the plot summary:
"A sinister fertility experiment has created a generation of twisted children. A relentless woman has made it her business to destroy these mutant babies before they destroy the world! One mother and her only friend are torn between love an repulsion of this deformed being and are ready to fight for it's survival, but this baby doesn't need love. It's been programmed to survive at any cost."
-- EZ
On this day in 1994 (in the U.S.), the good people of Orlando, Florida were treated to the exclusive theatrical premiere event of The Unborn II. Directed by Rick Jacobson from a story by Rob Kerchner, Daniella Purcell, and Mark Evan Schwartz, the Horror/Fantasy starred Michele Greene, Robin Curtis, Scott Valentine, and others.
According to our friends at IMDB.com, here's the plot summary:
"A sinister fertility experiment has created a generation of twisted children. A relentless woman has made it her business to destroy these mutant babies before they destroy the world! One mother and her only friend are torn between love an repulsion of this deformed being and are ready to fight for it's survival, but this baby doesn't need love. It's been programmed to survive at any cost."
-- EZ
From Google.com:
Directed by Rick Jacobson and produced by Roger Corman’s New Horizons, The Unborn II (1994) is a low-budget sci-fi horror sequel to the 1991 film The Unborn.
Plot Overview
The story follows the aftermath of a fertility experiment gone wrong, which resulted in several disfigured, highly intelligent, and murderous mutant children.
Key Details
Directed by Rick Jacobson and produced by Roger Corman’s New Horizons, The Unborn II (1994) is a low-budget sci-fi horror sequel to the 1991 film The Unborn.
Plot Overview
The story follows the aftermath of a fertility experiment gone wrong, which resulted in several disfigured, highly intelligent, and murderous mutant children.
- The Protagonist: Catherine Moore (Michele Greene) is a mother who has moved into a new home with her six-month-old son, Joey. Unknown to her at first, Joey is a telepathic, homicidal mutant who manipulates her to protect him.
- The Antagonist: Linda Holt (Robin Curtis), another survivor of the experiment, has dedicated her life to hunting and killing these mutant infants before they can threaten humanity.
Key Details
- Release: It was released direct-to-video in April 1994.
- Cast: Starring Michele Greene (L.A. Law), Scott Valentine (Family Ties), and Robin Curtis (Star Trek III: The Search for Spock).
- Practical Effects: The film is known for its "Joey" mutant puppet, which was designed by Gabe Bartalos and often described by reviewers as looking like a slimy, blood-covered electronic prop.
- Critical Reception: Reviews generally characterize it as a "so bad it's good" B-movie, noted for being silly and action-packed, with Muir's Horror Films of the 1990s calling it "dopey at times" but "certainly not boring".
- Published on
This Summer, find your place in the universe. Supergirl lands in theaters and IMAX June 26.
“Supergirl,” DC Studios’ newest feature film to hit the big screen, will be in theaters worldwide this summer from Warner Bros. Pictures, starring Milly Alcock in the dual role of Supergirl/Kara Zor-El. Craig Gillespie directs the film from a screenplay by Ana Nogueira.
When an unexpected and ruthless adversary strikes too close to home, Kara Zor-El, aka Supergirl, reluctantly joins forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.
Alcock stars alongside Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, and Jason Momoa.
DC Studios heads Peter Safran and James Gunn are producing the film, which is based on characters from DC, Supergirl based on characters created by Jerry Siegel and Joe Shuster. The film is executive produced by Nigel Gostelow, Chantal Nong Vo and Lars P. Winther. Behind the camera, Gillespie is joined by director of photography Rob Hardy, production designer Neil Lamont, editor Tatiana S. Riegel, costume designers Anna B. Sheppard and Michael Mooney, Visual Effects Supervisor Geoffrey Baumann, music supervisor Susan Jacobs and composer Claudia Sarne.
DC Studios Presents a Troll Court Entertainment / The Safran Company Production, A Film by Craig Gillespie, “Supergirl,” which will be in theaters and IMAX ® across North America on June 26, 2026, and internationally beginning 24 June 2026, distributed by Warner Bros. Pictures.
“Supergirl,” DC Studios’ newest feature film to hit the big screen, will be in theaters worldwide this summer from Warner Bros. Pictures, starring Milly Alcock in the dual role of Supergirl/Kara Zor-El. Craig Gillespie directs the film from a screenplay by Ana Nogueira.
When an unexpected and ruthless adversary strikes too close to home, Kara Zor-El, aka Supergirl, reluctantly joins forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.
Alcock stars alongside Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, and Jason Momoa.
DC Studios heads Peter Safran and James Gunn are producing the film, which is based on characters from DC, Supergirl based on characters created by Jerry Siegel and Joe Shuster. The film is executive produced by Nigel Gostelow, Chantal Nong Vo and Lars P. Winther. Behind the camera, Gillespie is joined by director of photography Rob Hardy, production designer Neil Lamont, editor Tatiana S. Riegel, costume designers Anna B. Sheppard and Michael Mooney, Visual Effects Supervisor Geoffrey Baumann, music supervisor Susan Jacobs and composer Claudia Sarne.
DC Studios Presents a Troll Court Entertainment / The Safran Company Production, A Film by Craig Gillespie, “Supergirl,” which will be in theaters and IMAX ® across North America on June 26, 2026, and internationally beginning 24 June 2026, distributed by Warner Bros. Pictures.
- Published on
press release
Lionsgate Limited
exclusive 4K + Blu-ray + Digital Steelbook and VHS Release, and National 4K + Blu-ray + Digital
Release June 9
Pre-orders for the exclusive Steelbook and VHS
will be live today at Lionsgate Limited
OFFICIAL SYNOPSIS
Debuting in blood-chilling 4K! Scream 4 amps up the carnage in horror master Wes Craven’s hall-of-mirrors fourth Scream installment. It’s the anniversary of the original Ghostface murders, and Sidney (Neve Campbell) has returned to Woodsboro to promote her new book about surviving the masked killer. But Ghostface still haunts Woodsboro – slashing through Jill’s (Emma Roberts) circle of friends, outwitting Sheriff Dewey (David Arquette), taunting tough-skinned reporter Gale (Courteney Cox)…and relentlessly stalking Sidney, Ghostface’s ultimate prize.
Special Features on the 4K+ BD + Digital
Lionsgate Limited Extras:
· The Meta of Scream
· Rebooting the Franchise: Scream 4 Revisited
· Ghostface Revealed!
· Wes Craven: The Maestro of Scream
Legacy Special Features:
· Feature Commentary with Director Wes Craven and Cast Emma Roberts, Hayden Panettiere, and Neve Campbell
· Deleted and Extended Scenes
· Alternate Opening
· Extended Ending
· Gag Reel
· EPKs:
B-Roll
Soundbites
· Junket Interviews
· Trailers
· TV Spot
Directed by: Wes Craven
Written by: Kevin Williamson
Produced by: Wes Craven, Iya Labunka, Kevin Williamson
Cast: David Arquette, Neve Campbell, Courteney Cox, Emma Roberts, Hayden Panettiere; Anthony Anderson; Alison Brie; Adam Brody; Rory Culkin; Marielle Jaffe; Erik Knudsen; Mary McDonnell; Marley Shelton; Nico Tortorella; Roger L. Jackson
SteelBook Artist: Gnah Studios
PROGRAM INFORMATION
Year of Production: 2011
Title Copyright: Scream 4 © 2011 LE Film Distribution LLC. All Rights Reserved. Artwork & Supplementary Materials ®, ™ & © 2026 Lions Gate Entertainment Inc. All Rights Reserved. Ghost Face® mask used by permission under copyright license from Easter Unlimited, Inc./Fun World Div. Ghost Face® is a registered trademark of Easter Unlimited, Inc./Fun World Div. All Rights Reserved.
Closed-Captioned: No
Feature Run Time: 101 mins.
Subtitles: English SDH – English and Spanish Subtitles
Format: 16x9 (2.39:1) Dolby Vision Presentation
Audio: English Dolby Atmos – Spanish 5.1 Dolby Digital
Rating: Rated R
Genre: Horror
Debuting in blood-chilling 4K! Scream 4 amps up the carnage in horror master Wes Craven’s hall-of-mirrors fourth Scream installment. It’s the anniversary of the original Ghostface murders, and Sidney (Neve Campbell) has returned to Woodsboro to promote her new book about surviving the masked killer. But Ghostface still haunts Woodsboro – slashing through Jill’s (Emma Roberts) circle of friends, outwitting Sheriff Dewey (David Arquette), taunting tough-skinned reporter Gale (Courteney Cox)…and relentlessly stalking Sidney, Ghostface’s ultimate prize.
Special Features on the 4K+ BD + Digital
Lionsgate Limited Extras:
· The Meta of Scream
· Rebooting the Franchise: Scream 4 Revisited
· Ghostface Revealed!
· Wes Craven: The Maestro of Scream
Legacy Special Features:
· Feature Commentary with Director Wes Craven and Cast Emma Roberts, Hayden Panettiere, and Neve Campbell
· Deleted and Extended Scenes
· Alternate Opening
· Extended Ending
· Gag Reel
· EPKs:
B-Roll
Soundbites
· Junket Interviews
· Trailers
· TV Spot
Directed by: Wes Craven
Written by: Kevin Williamson
Produced by: Wes Craven, Iya Labunka, Kevin Williamson
Cast: David Arquette, Neve Campbell, Courteney Cox, Emma Roberts, Hayden Panettiere; Anthony Anderson; Alison Brie; Adam Brody; Rory Culkin; Marielle Jaffe; Erik Knudsen; Mary McDonnell; Marley Shelton; Nico Tortorella; Roger L. Jackson
SteelBook Artist: Gnah Studios
PROGRAM INFORMATION
Year of Production: 2011
Title Copyright: Scream 4 © 2011 LE Film Distribution LLC. All Rights Reserved. Artwork & Supplementary Materials ®, ™ & © 2026 Lions Gate Entertainment Inc. All Rights Reserved. Ghost Face® mask used by permission under copyright license from Easter Unlimited, Inc./Fun World Div. Ghost Face® is a registered trademark of Easter Unlimited, Inc./Fun World Div. All Rights Reserved.
Closed-Captioned: No
Feature Run Time: 101 mins.
Subtitles: English SDH – English and Spanish Subtitles
Format: 16x9 (2.39:1) Dolby Vision Presentation
Audio: English Dolby Atmos – Spanish 5.1 Dolby Digital
Rating: Rated R
Genre: Horror
- Published on
press release
listen to what people are saying
about 2024's 'The Strange Dark'
Reviews
As for “The Strange Dark”, we are now out and officially distributed.
Digital Purchase and Rental:
- Amazon Prime:
https://www.primevideo.com/detail/The-Strange-Dark/0HXL6LX77JWE9AKH0RPKO5OKSJ
- Apple TV:
https://tv.apple.com/us/movie/the-strange-dark/umc.cmc.uoypi8jf05pygqecmr4s4mgk
Streaming (with Ads):
- Fandango at Home:
https://athome.fandango.com/content/browse/details/The-Strange-Dark/4757888
- Fawesome:
https://fawesome.tv/movies/10757062/the-strange-dark
- Xumo:
https://play.xumo.com/free-movies/the-strange-dark/XM0W7AS0NFI7WT
And, as of March 31, we get our official DVD and BluRay Release. It can be purchased from Amazon, Walmart, Deep Discount, MovieZyng, and more.
It’s loaded with Bonus Features including: a making of documentary, a blooper reel, and a 7 part commentary track (featuring the director in conversation with the producer, cinematographer, sound mixer, key grip, and three of the actors).
- "Indie sci-fi at it's best - imaginative, clever, and just the right side of unhinged" - Sci-Fi-London
- "The cast is outstanding with Bassman and Scott at the heart of this thrilling story" - Movies365
- "Intimate, idea-driven, and deeply unsettling without relying on spectacle" - Horror Movies Uncut
- "A nonlinear script in seven parts that undeniably keeps the audience engaged" - Reel News Daily
- "A solid, thoughtful genre piece that values emotional stakes over conceptual fireworks" - Overly Honest Reviews
- "Thriving at its best on sharp dialogue, unexpected humor, and smart structural choices" - Zombies in My Blog
- "Thought-provoking, eerie, and emotionally charged" - Cinema Crazed
- "The story and its characters deliver expertly" - SciFiHistory.Net
- "A solid piece of sci-fi entertainment" - Film Carnage
- "This film has something for everyone" - Cinephile Mike
- "One of the smartest and most original films I've ever seen!" - IMDB
- "A cosy thriller where The Twilight Zone invades a Hallmark Movie" - The Geek Show
- "Delightful and engaging throughout, with the right balance of menace, humor, and wonder" - Letterboxd
As for “The Strange Dark”, we are now out and officially distributed.
Digital Purchase and Rental:
- Amazon Prime:
https://www.primevideo.com/detail/The-Strange-Dark/0HXL6LX77JWE9AKH0RPKO5OKSJ
- Apple TV:
https://tv.apple.com/us/movie/the-strange-dark/umc.cmc.uoypi8jf05pygqecmr4s4mgk
Streaming (with Ads):
- Fandango at Home:
https://athome.fandango.com/content/browse/details/The-Strange-Dark/4757888
- Fawesome:
https://fawesome.tv/movies/10757062/the-strange-dark
- Xumo:
https://play.xumo.com/free-movies/the-strange-dark/XM0W7AS0NFI7WT
And, as of March 31, we get our official DVD and BluRay Release. It can be purchased from Amazon, Walmart, Deep Discount, MovieZyng, and more.
It’s loaded with Bonus Features including: a making of documentary, a blooper reel, and a 7 part commentary track (featuring the director in conversation with the producer, cinematographer, sound mixer, key grip, and three of the actors).
- Published on
in memoriam
For those of you who weren't there, the 1980's movie scene had a great number of 'sexy moms' finally getting a bit of screen time at the cineplexes. Mind you: they didn't have to parade about in sexy bikini's like Stacy's mom (of the famous tune) because these ladies just exuded a kind of loveliness that goes hand-in-hand with being a confident woman and trying to do their part in bringing the young'uns up with proper manners. Genre queen Dee Wallace properly 'ruled the roost' as the divorced mother who couldn't help but sometimes laugh at the things her kids said in Steven Spielberg's E.T. - The Extraterrestrial; and Lea Thompson brought an unexpected degree of the Oedipal Complexity to silver screens with both her young and old work in Robert Zemeckis' Back To The Future. I could go on, but methinks you get the point.
Somewhere kinda/sorta forgotten in the shuffle -- to a degree -- was Mary Beth Hurt's work in 1985's D.A.R.Y.L. As foster mom 'Joyce Richardson,' she found herself steward to a growing young man whose origins were the stuff of mystery. In spite of the challenges, Joyce blocked out all of the noise and embraced the kid for who he was, never letting a bit of a government conspiracy get in the way of dishing out nothing but love when young D.A.R.Y.L. needed it most.
The actress had some other respectable appearances in the worlds of Science Fiction and Fantasy. A quick glance at her resume shows contributions to such other projects as My Boyfriend's Back (1993), The Family Man (2000), Red Dragon (2002), The Exorcism Of Emily Rose (2005), and Lady In The Water (2006). While that may not seem like a lot to some, those of us who appreciate talent who are willing to do what they do in the realms of the Fantastic always -- always -- love the contributions.
Alas, none of us lasts forever, and I saw yesterday a news post regarding the woman's passing. There are indications that she endured a decade's long struggle with Alzheimers, a heartbreaking development for her and family. If nothing else, I hope those who knew her best kind find some solace in knowing that she's finally at rest.
Our warmest prayers and extended to the family, friends, and fans of Mary Beth Hurt.
May she rest in peace ...
-- EZ
Somewhere kinda/sorta forgotten in the shuffle -- to a degree -- was Mary Beth Hurt's work in 1985's D.A.R.Y.L. As foster mom 'Joyce Richardson,' she found herself steward to a growing young man whose origins were the stuff of mystery. In spite of the challenges, Joyce blocked out all of the noise and embraced the kid for who he was, never letting a bit of a government conspiracy get in the way of dishing out nothing but love when young D.A.R.Y.L. needed it most.
The actress had some other respectable appearances in the worlds of Science Fiction and Fantasy. A quick glance at her resume shows contributions to such other projects as My Boyfriend's Back (1993), The Family Man (2000), Red Dragon (2002), The Exorcism Of Emily Rose (2005), and Lady In The Water (2006). While that may not seem like a lot to some, those of us who appreciate talent who are willing to do what they do in the realms of the Fantastic always -- always -- love the contributions.
Alas, none of us lasts forever, and I saw yesterday a news post regarding the woman's passing. There are indications that she endured a decade's long struggle with Alzheimers, a heartbreaking development for her and family. If nothing else, I hope those who knew her best kind find some solace in knowing that she's finally at rest.
Our warmest prayers and extended to the family, friends, and fans of Mary Beth Hurt.
May she rest in peace ...
-- EZ