While he’s helmed short films in the past, actor Pat Healy makes his feature film directorial debut with the darkly comedic Take Me, an unconventional heist/crime caper of sorts that features Healy in the role of Ray, professional kidnapper, who gets more than he bargains for with his latest “victim,” Anna (Taylor Schilling).
Take Me recently premiered at the 2017 Tribeca Film Festival, and Daily Dead chatted with Healy about the project. In our conversation, he discussed taking the reins as director, his approach to the material, collaborating with Schilling and Take Me producers Jay and Mark Duplass, and more.
Out in theaters this weekend is J.D. Dillard’s Sleight, which premiered last year during the Sundance Film Festival and is making its way to the big screen now courtesy of BH Tilt and WWE Studios. A bit of a genre mashup that brings together the worlds of magic and science fiction, Sleight follows a street magician named Bo (Jacob Latimore), who, after getting mixed up in a dangerous world of crime, realizes that his only way out is through the utilization of his unique abilities.
Opening in theaters and arriving on VOD this Friday is Steven Shainberg’s sci-fi thriller, Rupture, which stars Noomi Rapace as a single mom abducted by a sinister organization that experiments on her while she desperately tries to escape their clutches. Daily Dead recently spoke to Shainberg in anticipation of Rupture’s release, and he discussed what inspired the project, how the aesthetics he established helped serve the story, and his experiences collaborating with Noomi.
Ready to create some magic in theaters this weekend is J.D. Dillard’s Sleight, which premiered last year during the Sundance Film Festival, and arrives on the big screen now courtesy of BH Tilt and WWE Studios. A genre mash-up that brings together the worlds of magic and science fiction, Sleight follows a street magician named Bo (Jacob Latimore), who, after getting mixed up in a dangerous world of crime, realizes that his only way out is to utilize his unique abilities.
Daily Dead had the opportunity to recently speak with Dulé Hill, who portrays Angelo, Bo’s drug-dealing boss who is not the man you want to disrespect, especially when it comes to matters of business.
One of my favorite indie horror movies of the last five years is Justin Benson and Aaron Moorhead’s Resolution, a genre-bending effort that’s so confidently unique that it’s become a film I’ve recommended countless times to friends and family, whether they dig horror movies or not, and even programmed it as part of the film fest I used to run out here in Los Angeles, just because I wanted folks to have a chance to see it on a big screen (which doesn’t often happen for a lot of lower-budgeted genre fare).
A few years ago, their Lovecraftian love story Spring knocked my socks off, and I enjoyed their contribution to V/H/S: Viral as well, but nothing could have prepared me for my viewing experience while watching their latest movie, The Endless.
Psychopaths, the latest film from writer/director Mickey Keating, recently enjoyed its world premiere at the 2017 Tribeca Film Festival. Daily Dead had the chance to speak with Keating and Psychopaths co-stars Ashley Bell and Larry Fessenden, and the trio discussed reteaming for their latest collaboration (both Bell and Fessenden were in Keating’s previous genre effort, Carnage Park) and what fans can expect from Keating’s latest slice of horror-fueled fun.
It may not be wholly revolutionary in both its approach and the material it explores, but Phoenix Forgotten was a lot more fun than a lot of folks might give it credit for, and it completely took me back to my high school days of being obsessed with The X-Files, science fiction, and the question of whether or not we are truly alone in this universe.
Arriving in theaters this weekend is Phoenix Forgotten, a docu-style sci-fi film co-written and directed by Justin Barber. The film is centered around the Phoenix Lights phenomenon, a weird occurrence that happened back in 1997 which has yet to be explained over 20 years later. Barber’s project interjects a little fiction into the mix, as Phoenix Forgotten is focused on three missing teens who went out searching for the truth behind the mysterious lights that appeared, only to never be heard from again.
Before I began writing professionally about horror, I will be the first to admit I was a total stick in the mud. It wasn’t 100% my fault, but I was one of those people who had to have everything planned perfectly, and was always happy to bend over backwards to make sure I was living up to society’s expectations of who I should be, particularly close family members. I was living in this neat little box of a life, and honestly, it was destroying me from the inside, each and every single day.
Then, along came Hot Fuzz, and I realized that life doesn’t have to be so perfect, and that it’s okay to embrace who you are, even if it is a bit unconventional, because regardless of what anyone else thinks, just love what you love and never let anyone tell differently. I was finally ready to be a little less Nicholas Angel and learned to love the Danny Butterman living deep inside of me. And I owe that all to Edgar Wright and Hot Fuzz.
Out in theaters this weekend is Phoenix Forgotten, the new docu-style film from Justin Barber that explores the possible alien sightings that happened back on March 13th, 1997 in Arizona, that still have yet to be answered to this day. Co-written by T.S. Nowlin and Barber, Phoenix Forgotten follows three tenacious teenagers who set out to find the truth of the Phoenix Lights phenomenon one fateful night, only to disappear without a trace, leaving their friends, family, and authorities perplexed about what happened to them after they ventured into the desert in search of the truth.
Growing up, I was a big fan of both House and House II: The Second Story, so as you can imagine, Arrow Video’s recent House: Two Stories Blu-ray collection was right up my proverbial alley.
What I’m about to write is probably going to catch a lot of flack, but here it goes – in terms of creating a horror movie experience, I actually prefer The Amityville Horror (2005) to the 1979 movie. While director Stuart Rosenberg’s original is well-made and features strong performances from its leads, I’ve never really been a fan of it, and thus, have found over the last decade or so a true admiration for what Amityville (2005) was able to bring to the table.
I first fell in love with filmmaker Nacho Vigalondo’s work when I discovered Timecrimes in late 2008. Ever since then, he’s continually raised the bar for indie filmmakers worldwide with his thought-provoking approach to genre material. Starring Anne Hathaway and Jason Sudeikis, his latest movie, Colossal, arrives in limited theaters this weekend in New York and Los Angeles, and will continue to roll out in subsequent cities throughout the rest of April, courtesy of Neon.
For this month’s Practical-ly Perfect column, I thought it was the perfect time to take a moment and pay tribute to Bart Mixon’s contributions to the 1990 miniseries adaptation of Stephen King’s IT, which was directed by Tommy Lee Wallace (you can read my interview with him HERE). When it debuted on ABC in November of 1990, it became a landmark moment for television, and a big part of that was the now-iconic villain Pennywise, portrayed by the legendary Tim Curry.
Over the weekend, history was made in the live theatre world of Los Angeles, as Ben Rock and the legendary Stuart Gordon revived the stage play version of Kurt Vonnegut Jr.’s novel The Sirens of Titan for the Sacred Fools Theater.