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While attending the 2018 Sundance Film Festival, Daily Dead had the opportunity to catch up on a trio of comedies that ran the gamut of humor: Augustine Frizzell’s Never Goin’ Back, Sebastián Hofmann's Time Share, and Jonathan Watson’s Arizona, which is centered around the 2008/2009 housing crisis.

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Easily the most polarizing of the Midnighters that played as part of the 2018 Sundance Film Festival, writer/director Sam Levinson’s Assassination Nation perfectly encapsulates the crossroads we’re currently at as a society.

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During the 2018 Sundance Film Festival, Daily Dead had the opportunity to speak to co-writer/director Sebastián Hofmann and co-writer/producer Julio Chavezmontes about their recent collaboration on the dark comedy Time Share. The film stars Luis Gerardo Méndez, a well-meaning husband who takes his wife and son on a family vacation at a swanky resort, only to find out that his villa has been double-booked, and he’s forced to spend his relaxation time dealing with a myriad of stresses that pushes his sanity, and his marriage, to the brink.

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Let me start off this review by saying that in no way do I consider myself any kind of expert on black metal. In fact, most of my knowledge of metal music begins and ends with the artists who made a name for themselves here in the states. So, while I can’t really judge Lords of Chaos on its accuracy and authenticity in terms of the black metal movement of the 1980s and ’90s, what I can say is that in terms of creating an explosively unforgettable narrative brimming with a sense of bedlam and anarchy, director Jonas Åkerlund has done a helluva job with Lords of Chaos, which feels a bit more like a horror movie about the destructive patterns of youth than it does a straight-up biopic (and that works for me—for others, results may vary).

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Evil has taken root in the residence of the Graham family in Hereditary, the stunning feature film directorial debut from Ari Aster that’s one-half supernatural spook show, one-half psychological horror, one hundred percent an exercise in nerve-shredding terror. Anchored by incredible performances from Toni Collette (who is working on a level here that is simply beyond any of us mere mortals), Alex Wolff, Gabriel Byrne, and Milly Shapiro, Hereditary is an intimately crafted domestic nightmare in which family ties are wound so tightly, the results are a violently unexpected descent into literal madness and blood-soaked mayhem.

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Like most genre fans, I fell head over heels for Turbo Kid, the first feature from the filmmaking trio RKSS (François Simard, Anouk Whissell, and Yoann-Karl Whissell) that transported viewers to a post-apocalyptic future where BMX bikes and friendship rule over the savageness of the brand new world. For their follow-up feature, RKSS heads back to the Reagan Era for their genre-defying Summer of ’84, a murder mystery/slasher/coming-of-age comedy hybrid that confidently explores the triumphs and tribulations of being a teenager, all while delivering a horrifying tale that conjures up some really fun scares along the way.

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This past Tuesday night, Jonas Åkerlund’s Lords of Chaos closed out the Midnighter premieres at the 2018 Sundance Film Festival. Starring Rory Culkin, Emory Cohen, Jack Kilmer, Sky Ferreira, Valter Skarsgård, and Sam Coleman, Akerlund’s Lords recounts (in its own way) the start of the Norwegian Black Metal movement in the late 1980s, which was pioneered by Euronymous (Culkin), the founder of the band Mayhem, and how jealousy and egos corrupted the scene once an eager fan-turned-bandmate Varg (Cohen) takes Euronymous’ ideologies as a battle cry, culminating in an unforgettable showdown between the two musicians.

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In 2015, the filmmaking trio of François Simard, Anouk Whissell, and Yoann-Karl Whissell (otherwise known as RKSS, aka “Roadkill Superstar”) brought their first feature, Turbo Kid, to the Sundance Film Festival, and over this past week, they celebrated the world premiere of their latest throwback endeavor, Summer of ’84, that screened as part of Sundance's 2018 Midnighters slate.

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Earlier this week, up-and-coming filmmaker Augustine Frizzell celebrated the world premiere of her debut feature, Never Goin’ Back, which played as part of the 2018 Sundance Film Festival’s Midnighter programming slate. The rebellious stoner comedy follows two teenage dropouts (played by Camila Morrone and Maia Mitchell), who just want to take a vacation to the beach where they can eat donuts and relax, but their chaotic lifestyles keep getting in the way of their plans, resulting in hijinks and hilarity.

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Following its world premiere at the Sundance Film Festival Lizzie, the period piece centered on suspected axe murderer Lizzie Borden, has been acquired by Saban Films for North American distribution.

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Just a few days ago, Beyond the Black Rainbow filmmaker Panos Cosmatos’ second feature Mandy celebrated its world premiere at the 2018 Sundance Film Festival. Daily Dead had the opportunity to speak with Cosmatos, as well as the film’s star Nicolas Cage (who was only able to join us briefly) and co-star Linus Roache, who portrays the villainous cult leader Jeremiah, and they discussed the evolution of Mandy, their experiences collaborating together and with Andrea Riseborough, who plays the titular character, and much more.

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Over this past weekend, Nicolas Pesce celebrated the world premiere of his second feature, Piercing, at the 2018 Sundance Film Festival (his debut film, The Eyes of My Mother, premiered at the fest back in 2016). While in Park City, Daily Dead caught up with Pesce and Piercing co-star Christopher Abbott, where they chatted about working together on the adaptation of Ryū Murakami’s novel, tapping into the physical comedy of the story, the distinct visual style of the movie, collaborating with Mia Wasikowska, and more.

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While Shudder acquired rights to the buzzed-about movie Revenge back in August, NEON and the AMC-owned streaming service are teaming up for a new agreement that will allow the former to give the movie a North American theatrical release before it streams exclusively on the latter.

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Daily Dead Managing Editor Heather Wixson called Assassination Nation "a brutal and confrontational middle finger to society & mob rule mentality" after seeing the film at Sundance this week, so we're excited to hear that the movie has already been acquired by NEON and AGBO for global distribution.

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Just a couple of years ago, up-and-coming director Nicolas Pesce celebrated the world premiere of his debut feature, The Eyes of My Mother, at the Sundance Film Festival, and he’s now returned in 2018 with his follow-up effort, Piercing, a slick and stylized exploration of obsession and murderous intentions. Featuring memorable performances from Christopher Abbott and Mia Wasikowska, a savagely funny and surprising script from Pesce, who adapted Ryû Murakami’s novel of the same name for the big screen, and a neo-retro approach to both the score and visual style of Piercing, Pesce confidently proves here that when it comes to telling stories, he enjoys screwing around with viewers' sensibilities and expectations. And I am all about it.

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