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“House on Willow Street” is a Diabolical Good Time

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Fresh this week from IFC Midnight in association with The Darkside and Fat Cigar Productions brings us House on Willow Street, a solid horror thriller written by Catherine Blackman, Jonathan Jordaan, and Alistair Orr.  Orr, who also directed the 2014 indie film Indigenousonce again steps into the director’s chair and it’s easy to see from frame one that he’s grown much more comfortable and self assured in the role.

As the film opens, Hazel (Sharni Vinson), Ade (Steven John Ward), Mark (Zino Ventura), and James (Gustav Gerdener) are finalizing plans to kidnap the daughter of a wealthy man whom they all believe has wronged them in some way.  They zero in on Katherine (Carlyn Burchell) and the planned kidnapping seemingly goes off without a hitch despite the strange symbols carved into the home’s walls and the fact that Katherine looks like she might have been finishing a week long bender when they show up to take her.

The crew takes Katherine back to their hideout and records a video demanding a ransom in priceless diamonds from the girl’s parents.  Up until this point, everything seems fit to fall into your average kidnap film and one could almost anticipate Liam Neeson’s voice answering Hazel as she makes the ransom call.  But this isn’t your typical kidnapping film, and Neeson is not about to kick ass and save the day.

On the contrary, the crew begins to notice there is something very strange about Katherine.  She stares just a little too long at her captors; she has an almost feral quality to her, and knows just a little too much about her kidnappers.  In fact, it isn’t long before they realize that Katherine’s a woman with a ton of demonic baggage she’s about to unpack all over them.

No spoilers here, but what follows is a masterful attempt at melding two sub-genres (kidnapping/crime and possession) into something altogether unique.  And I have to tell you, under Orr’s direction and with solid performances by the actors, they almost universally succeed.  In fact, Orr, Blackman, and Jordaan, managed to tell a story about the heavy toll that grief and loss take on the body and spirit of those in their clutches.

The remarkably small cast (only five actors are credited on IMDb) works as a solid unit throughout.  Ventura and Gerdener attack their roles with sadistic gusto.  These guys have no problem kidnapping this girl and they don’t mind hurting her if necessary to get what they want.  Meanwhile, Vinson and particularly Ward play out their character’s humanity.  They didn’t want to do this, but they saw no other way to make Katherine’s father pay for what he’d done.  It gives the crew a nicely balanced effect without giving over to the cliche’s their characters could have been.

Steven John Ward and Sharni Vinson

But there’s no denying that in a possession film, the person possessed always takes the lead and Burchell’s Katherine is the center of every scene.  Possessed Katherine radiates menace and power in stark contrast with the vulnerable Katherine we see in videos leading up to her possession.  Burchell plays both with a steady hand and never lets her performance become less than real.

Overall, House on Willow Street, is a fun and genuinely scary film that, like the best horror, pushes the audience to look deeper into themselves.  As the lines blur between villain and victim, captor and captured, I found myself asking who was the real bad guy here? Who should I be rooting for?  Those answers, as in real life, aren’t clear cut, and Orr and his cast do their level best to remind us that when the chips are down, black and white are rarely present and it’s all too often in the shades of grey that we find ourselves.

House on Willow Creek releases on VOD and select streaming services this Friday, March 24, 2017.  Make sure to check it out!

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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