Moviefone Editorial

Tag: thriller

  • ‘Inheritance’ Interview: Neil Burger and Rhys Ifans

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    Opening in theaters on January 24th is the new action thriller ‘Inheritance‘, which director Neil Burger (‘Limitless’ and ‘The Marsh King’s Daughter’) shot completely on an iPhone, and stars Phoebe Dynevor (‘Fair Play’ and ‘Bridgerton’) and Rhys Ifans (‘Venom: The Last Dance’ and ‘House of the Dragon’).

    Related Article: Neil Burger Talks ‘The Marsh King’s Daughter’ Starring Daisy Ridley

    (Left) 'Inheritance' director Neil Burger. Photo Credit: Chris Chapman. (Right) Rhys Ifans in Neil Burger’s 'Inheritance'. Courtesy of IFC Films. An IFC Films Release.
    (Left) ‘Inheritance’ director Neil Burger. Photo Credit: Chris Chapman. (Right) Rhys Ifans in Neil Burger’s ‘Inheritance’. Courtesy of IFC Films. An IFC Films Release.

    Moviefone recently had the pleasure of speaking with director Neil Burger and Rhys Ifans about their work on ‘Inheritance’, developing the screenplay, Burger’s shooting style, the challenges and benefits of filming on an iPhone, Ifans and Phoebe Dynevor’s characters’ estranged father and daughter relationship, and working with the actors on set.

    You can read the full interview below or click on the video player above to watch our interviews.

    Phoebe Dynevor in Neil Burger’s 'Inheritance'. Photo courtesy of Angelo Dominic Sesto. An IFC Films Release.
    Phoebe Dynevor in Neil Burger’s ‘Inheritance’. Photo courtesy of Angelo Dominic Sesto. An IFC Films Release.

    Moviefone: To begin with, Neil, can you talk about conceiving the idea for the film over COVID and the process of developing the screenplay?

    Neil Burger: Well, I’d read a New York Times article about a reporter early in COVID, like in April of 2020, going from Serbia all the way to France. The borders are supposed to be open. Suddenly there’s checkpoints with guards with guns. There’s nobody on the street. I was like, “I want to see that, and I don’t want to just do a documentary about it. I want to set a story in it.” So, I began crafting a story, and then the world changed, and the world opened again a little bit, but I still had this story, and I still had this desire to see the new world as it was. I felt like the story was still valid in that way. So that’s where it came from. Then the idea of shooting on an iPhone went hand in hand with that because when you go in with a film crew, you are disruptive. You’re big and you’re noisy and you draw attention to yourself. People are looking at you. I wanted the opposite. I wanted to see how the world was at that point in time. I wanted to see what the new normal were. To do that, we had to be completely under the radar. I thought, what better way, it looks like a friend filming another friend with their iPhone. Everybody’s doing that. So that was the idea. It wasn’t as a gimmick. It wasn’t merely as a substitution to a motion picture camera, but it was because it gave us access. It meant that we could walk through a crowded Cairo market, and nobody would look at us.

    MF: As a filmmaker, can you talk about the pros and cons of shooting a movie of this scale on an iPhone?

    NB: Well, the pros are that you do have access. You can go anywhere. You can also go right up against somebody’s face and then down to their hands. It’s so mobile. We didn’t use any kind of stabilization or lens or anything like that, and it still looks beautiful. We mucked a little bit with the insides of it. We did, however, shoot on one single lens, the middle lens of the (iPhone) 13. It’s a 26-millimeter lens because the other lenses did not have the resolution that we wanted but the middle lens really does. We’ve blown it up to 60-foot screens, and it looks beautiful. But the other lenses didn’t quite do it, and so then it was like, “Okay, well, we’re just going to embrace that. We’re going to shoot it on one lens.” So, when Rhys, who plays Sam, is talking to (Phoebe) on one side of the street, we don’t go to her on the other side of the street. She’s tiny in the background. That was just like, that’s what it is. That’s the way we’re going to do it. We sort of take that risk as filmmakers and do it that way. So, there were a little bit of lighting things that happened in certain kind of low-light situations, like little bright lights would bounce around in the lens, which we had to remove digitally. But in general, I loved it. I thought it was so refreshing and liberating. I’ve done big movies before and I’ve done big stuff since then, and it’s always like, “Could we move the camera into his hands?” It was like, “Well, the camera’s going to cast a shadow, and we’d have to take out the wall or move that desk.” Then with this, you could just put your hand in and do it. It’s so fast and so fun. It was great.

    Rhys Ifans in Neil Burger’s 'Inheritance'. Courtesy of IFC Films. An IFC Films Release.
    Rhys Ifans in Neil Burger’s ‘Inheritance’. Courtesy of IFC Films. An IFC Films Release.

    MF: Rhys, what was your first reaction to the screenplay and the idea of shooting this movie on an iPhone?

    Rhys Ifans: Well, I mean what excited me mostly was of course, the screenplay. But in this instance, the exciting thing for me was one, working with Neil of course, and working with Neil in this very new way for both me and for him, which was shooting it all on ostensibly an iPhone and just what that would do to the working creative process. Then it turned out we both thoroughly enjoyed it. It was very kinetic, immediate, exciting and quick. It took a bit of getting used to. I mean, I say a bit, it took a day or two to get used to and then it was a real thrill. Then coupled with worldwide travel and adventure. When you’re shooting on an iPhone, you get less respect from the public because they don’t think you’re making a film. They just think you’re one of them, which is fantastic. Constantly, there was a sense of this could all go wrong, which for me was fantastic because it gave the whole thing a danger and an edge. It felt like in some instances, a little bit like street theater with a minimal crew. I say minimal crew, I mean generally a crew can be up to 100 plus people, and we had 10, maybe. 10 very skilled technicians. It was great to work with this technology that of course we’re all using, but it was great to be involved with it, with it being in the hands of a great filmmaker like Neil, who knows his way around the grammar of cinema. Those two things, that was the appeal for me, certainly.

    MF: Rhys, did shooting the movie on an iPhone change your acting approach at all, or was it the same as other movies you’ve worked on with normal film or video cameras?

    RI: It’s funny. It doesn’t change your approach necessarily, but it does change your attitude. On a regular movie, you will come in, you’ll rehearse, then you’ll walk away, and they’ll light the scene and set up the cameras. There’s a lot of waiting time, which in some ways is a good thing. But in other ways it depletes any energy you might discover in rehearsal or during a take, and then they turn around for close-ups, and so it’s a longer process. This felt a lot more immediate in the sense that we could shoot the whole scene, cut and immediately shoot the whole scene again. So, you’re not dropping the ball. It felt a little bit in some ways like a rehearsal room in a theater where you run the scene and the director goes, “That was great. Okay, do that again”, and immediately you do that again. So, what it gave Neil, I guess, was a huge kind of palette in the edit that he could choose from in terms of takes that he liked and that he would ultimately think would serve the story he ends up telling in the edit. So yes, I mean very tiring and exhausting in the sense that you’re constantly feeding the beast, the beast being the film. But I found it very exciting, and a very exciting way to work and a method I’d really love to explore again, in terms of what it does to performance. Then I think the other thing that really helped was of course any crowds or extras you might see in your periphery in this film are real people. Real people in that context are the greatest actors in the world because they don’t know they’re acting and that’s what we all strive to arrive at. So that really fed in the fact that we were in these real situations, and somehow made the situation itself feel realer and more urgent.

    Phoebe Dynevor in Neil Burger’s 'Inheritance'. Photo courtesy of Angelo Dominic Sesto. An IFC Films Release.
    Phoebe Dynevor in Neil Burger’s ‘Inheritance’. Photo courtesy of Angelo Dominic Sesto. An IFC Films Release.

    MF: Neil, in addition to shooting on an iPhone, you also implemented an experimental shooting style with minimal rehearsals and minimal camera setups. What was it like for you as a filmmaker to work in that way?

    NB: Well, the story is very scripted. It’s a thriller, so it must have all its puzzle-pieces parts in order. So, there’s no improv, yet we were willing to kind of be in situations that were loose. We did rehearse beforehand, but then when we got there, we literally would get ready at a hotel and then we would walk down the street to where we were going to shoot. The crew would fall away. It was just me and the cameraman and then the sound man even staying further back, and then Phoebe or Phoebe and Rhys. I would walk to a place in the street, and we had discussed it, then I would walk away, and I’d get a block away and I would just go, “Come on,” and they would start walking and they would do their thing and they were so great. We didn’t do conventional film coverage. There was no wide shot and then an over-the-shoulder shot and the closeup. We didn’t have time for that because even on an iPhone, the more you stood in one place, you were going to eventually attract attention, and I didn’t want that attention. So, we came up with ways to do it in a very caught-live sort of feel and a stolen feel. So, it has a new visual language to it, which also changed how the actors acted, which was great. They had to always be in character because they had to be ready for anything that happened.

    MF: Rhys, can you talk about the estranged father-daughter relationship between Sam and Maya, and working with Phoebe Dynevor on that relationship?

    RI: Well, I mean Phoebe’s just a joy to work with. We didn’t know each other, but we’ve got friends in common and she’s just very available as an actor. Phoebe similarly just embraced the process. It’s not a process you can resist in any way, shape or form. You do have to kind of jump out of the airplane and hope the parachute will open at some point. She absolutely did that. I just got to watch the film a couple of days ago for the first time. Of course, my character isn’t present in India, and I was always very jealous that they all got to go to India. So, I mean, that’s the other thing with the film, it really does feel like a wonderfully exciting kind of travel log. But she was just a joy and a thrill and fun to work with. I think with a process like this, it’s important that it’s fun and comes from a place of fun, you’re relaxed and then you’re to make yourself available, fresh and playful with the other actor or character. We’ve found that I hope.

    Phoebe Dynevor in Neil Burger’s 'Inheritance'. Photo courtesy of Angelo Dominic Sesto. An IFC Films Release.
    Phoebe Dynevor in Neil Burger’s ‘Inheritance’. Photo courtesy of Angelo Dominic Sesto. An IFC Films Release.

    MF: Finally, Neil, can you talk about casting Phoebe and Rhys and what it was like working with them on set?

    NB: Well, Phoebe we had seen in ‘Bridgerton’, and she was already cast when ‘Fair Play’ came out, but she’s playing a more proper, kind of put-together, conservative character, and here she’s very badass. She’s troubled and she’s self-destructive, and she can do it. I think it’s a Phoebe that people haven’t seen before and they’re going to be knocked out when they see it. Rhys has a very affable quality to it, and I wanted somebody who you looked at and you’re like, “I like that guy,” even though it turns out he has secrets that she spends the rest of the movie unraveling. But what was great about Rhys also was that he loved this methodology, and he normalized it for everybody else, including her. I mean, she was game, but it was stressful and weird. It was like, “Wait, we’re going to just shoot on the airplane without permission?” It was like, “Yeah,” and he was like, “It’s great. We’re going to do it.” So, they had a great mentor-protege, father-daughter relationship and good chemistry in that way. I just do want to say one more thing, and it is that this movie, we sort of can’t believe what we did on this iPhone. We created this international thriller, that goes around the world, New York, Cairo, Delhi, Seoul, and back to New York. There’ve been other shows that have been shot on iPhones, but this is really the first international thriller that has that kind of scope, that has that kind of excitement of an international thriller but done on an iPhone. It’s unique, and we feel very proud that we’re the first ones to do it.

    What is the plot of ‘Inheritance’?

    A young woman (Phoebe Dynevor) is drawn into an international conspiracy after discovering her father (Rhys Ifans) is a spy.

    Who is in the cast of ‘Inheritance’?

    Director Neil Burger's 'Inheritance' opens in theaters on January 24th. Courtesy of IFC Films. An IFC Films Release.
    Director Neil Burger’s ‘Inheritance’ opens in theaters on January 24th. Courtesy of IFC Films. An IFC Films Release.

    List of Neil Burger Movies:

    Buy Tickets: ‘Inheritance’ Movie Showtimes

    Buy Neil Burger Movies on Amazon

  • Movie Review: ‘Carry-On’

    Taron Egerton as Ethan Kopek in 'Carry-On'. Photo: Sam Lothridge/Netflix ©2024.
    Taron Egerton as Ethan Kopek in ‘Carry-On’. Photo: Sam Lothridge/Netflix ©2024.

    Landing on Netflix on December 13th, ‘Carry-On’ will probably make most people compare it to festive action classic ‘Die Hard.’ Which seems a little unfair given the latter film’s high watermark status in the action genre, but when you put an average joe character up against scheming criminals at Christmas, the comparisons are inevitable.

    Still, ‘Carry-On,’ while it truly can’t compare to the towering 1988 benchmark, it doesn’t embarrass itself in the genre, providing a solid amount of entertainment partly thanks to good performances from its leads.

    Related Article: Taron Egerton Talks ‘Tetris’ and Playing Video Game Designer Henk Rogers

    Does ‘Carry-On’ hold up?

    (L to R) Tonatiuh as Mateo Flores and Taron Edgerton as Ethan Kopek in 'Carry-On'. Photo: Netflix © 2024.
    (L to R) Tonatiuh as Mateo Flores and Taron Edgerton as Ethan Kopek in ‘Carry-On’. Photo: Netflix © 2024.

    The ‘Die Hard’ comparisons, while tough for any movie to live up to, are at least slightly short-circuited by some decent worldbuilding going on here. Taron Egerton’s Ethan Kopek isn’t even at the level of John McClane, who was at least an NYPD officer. Kopek instead is more of a man in search of his place in life; while he’s happily in a relationship, his TSA job isn’t exactly the most fulfilling purpose, but he’s largely coasting.

    It’s a worthwhile place from which to start a main character in a movie such as this –– because you have something to build from. You know he’s going to step up to the task at hand when the moment calls for it, but he’s not a superhero or a man (usually Liam Neeson in Jaume Collet-Serra’s other movies) with a particular set of skills. Unless you count running (foreshadowed with talk of Kopek’s high school track star status).

    Likewise, Jason Bateman is an interesting choice to play the primary antagonist as the man known only as “Traveler” is more of a tactical thinker than an all-action villain. And the action element is largely effective, even if one key scene appears to borrow heavily from ‘Toy Story 2.’

    Script and Direction

    Taron Egerton as Ethan Kopek in 'Carry-On'. Photo: Sam Lothridge/Netflix ©2024.
    Taron Egerton as Ethan Kopek in ‘Carry-On’. Photo: Sam Lothridge/Netflix ©2024.

    The script for the movie originated with a script by T.J. Fixman (who has mostly written video games) and has been through some polishing by Michael Green (a scriptwriting veteran whose credits include the Kenneth Branagh‘s Poirot films, ‘Logan’ and ‘Jungle Cruise’).

    As a result, it feels mostly lean and taught, and the characters are built in such a way as they work for this kind of movie. It’s far from a perfect screenplay, but it does nimbly skirt around some of the more egregious cliches and tropes.

    It also stays mostly grounded (at least until the action shifts to a plane) and believable and finds something interesting for most of the characters to do.

    Collet-Serra, meanwhile, knows his way around an action movie, and while he’s certainly pumped out some generic titles in his time, this feels sturdier and more energetic that some of his other efforts. And that’s despite it largely taking place in one location (albeit an airport that offers chances for different rooms).

    If there’s one big issue with the movie, it’s a scene where Danielle Deadwyler’s detective clashes with Logan Marshall-Green’s character (we won’t reveal it so as to avoid spoilers) in a speeding car. It’s an ambitious attempt to have the actors do a lot of the work themselves as opposed to cutting around stunt people. Yet for all its kinetic energy, it suffers from sometimes looking like the cut scene from a video game, draining the tension as you can’t help but chuckle at the weird visual. For a movie that is so focused on being real-world, it’s a misfire.

    Performances

    While Egerton and Bateman are the crux of the story, the script shares the character development love around the rest of the cast too.

    Taron Egerton as Ethan Kopek

    Taron Egerton as Ethan Kopek in 'Carry-On'. Photo: Sam Lothridge/Netflix ©2024.
    Taron Egerton as Ethan Kopek in ‘Carry-On’. Photo: Sam Lothridge/Netflix ©2024.

    As we mentioned above, Kopek is an unmoored young man, nervously happy about becoming a father with his girlfriend Nora. He’s coasting through his job, but of course gets a chance to shine when he’s put in peril. Egerton has played some more flamboyant characters in his time, but he does solid work as Kopek, keeping him from feeling like a superhero. And his interactions with everyone around him are entirely believable.

    Jason Bateman as Traveler

    Jason Bateman as Traveler in 'Carry-On'. Photo: Netflix © 2024.
    Jason Bateman as Traveler in ‘Carry-On’. Photo: Netflix © 2024.

    He may never get a name, but Bateman does revel in an interesting character –– and it’s one that the actor plays well. He’s threatening but not so physically imposing as to be ridiculous. He’s also good at delivering the exposition that is naturally a part of a villain such as this.

    Danielle Deadwyler as Elena Cole

    Danielle Deadwyler as Elena Cole in 'Carry-On'. Photo: Netflix © 2024.
    Danielle Deadwyler as Elena Cole in ‘Carry-On’. Photo: Netflix © 2024.

    As the dedicated LAPD detective who starts to dig into one aspect of the case, Deadwyler is similarly lumbered with some expositional dialogue but is also weaved effectively into the story later on. And she’s always convincing.

    Sofia Carson as Nora

    (L to R) Sofia Carson as Nora Parisi and Taron Egerton as Ethan Kopek in' Carry-On'. Photo: Netflix © 2024.
    (L to R) Sofia Carson as Nora Parisi and Taron Egerton as Ethan Kopek in’ Carry-On’. Photo: Netflix © 2024.

    Playing off of Egerton for much of the early going, she’s eventually more than just his love interest, actually handed some agency as the plot moves forward. It also doesn’t hurt that Nora is in some ways more capable than Ethan is.

    Supporting cast

    Dean Norris as Phil Sarkowski in 'Carry-On'. Photo: Sam Lothridge/Netflix © 2024.
    Dean Norris as Phil Sarkowski in ‘Carry-On’. Photo: Sam Lothridge/Netflix © 2024.

    The reliable likes of Dean Norris (as Egerton’s grumpy TSA boss), Sinqua Walls (as one of his colleagues) all help to fill out the world of Kopek’s daily drudgery, while Bateman’s character is supported by the likes of Theo Rossi as his accomplice. It’s a solid ensemble for a movie such as this.

    Final Thoughts

    (L to R) Taron Egerton as Ethan Kopek and Jason Bateman as Traveler in 'Carry-On'. Photo: Sam Lothridge/Netflix ©2024.
    (L to R) Taron Egerton as Ethan Kopek and Jason Bateman as Traveler in ‘Carry-On’. Photo: Sam Lothridge/Netflix ©2024.

    A solid action thriller with decent premise that aches in places to be ‘Die Hard’ but also does its own thing, ‘Carry-On’ might not exactly be in the first class of the genre, but it’s sitting comfortably in premium economy.

    ‘Carry-On’ receives 7 out of 10 stars.

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    What’s the plot of ‘Carry-On’?

    A young TSA agent (Taron Egerton) fights to outsmart a mysterious traveler (Jason Bateman) who blackmails him into letting a dangerous package slip onto a Christmas Eve flight.

    Who is in the cast of ‘Carry-On’?

    • Taron Egerton as Ethan Kopek
    • Jason Bateman as the Mysterious Traveler
    • Sofia Carson as Nora Parisi
    • Danielle Deadwyler as Elena Cole
    • Logan Marshall-Green as Agent Alcott
    • Theo Rossi as the Mysterious Watcher
    • Dean Norris as Phil Sarkowski
    • Sinqua Walls as Jason Noble
    • Josh Brener as Herschel
    • Curtiss Cook as Lionel Williams
    Jason Bateman as Traveler in 'Carry-On'. Photo: Netflix © 2024.
    Jason Bateman as Traveler in ‘Carry-On’. Photo: Netflix © 2024.

    Other Jaume Collet-Serra Movies:

    Buy Taron Egerton Movies on Amazon

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  • ‘Cellar Door’ Exclusive Interview: Jordana Brewster

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    Opening in theaters and on digital November 1st is the new thriller ‘Cellar Door’, which was directed by Vaughn Stein (‘Terminal’) and stars Jordana Brewster (‘The Fast and the Furious’), Scott Speedman (‘Underworld’) and Laurence Fishburne (‘The Matrix’).

    Related Article: Vin Diesel Takes to Instagram to Announce that ‘Fast X Part 2’ will Arrive in April 2025

    Jordana Brewster in 'Cellar Door'. Photo: Lionsgate.
    Jordana Brewster in ‘Cellar Door’. Photo: Lionsgate.

    Moviefone recently had the pleasure of speaking with Jordana Brewster about her work on ‘Cellar Door’, her first reaction to the screenplay, her character’s marriage, the bargain her character makes, if she would make that same deal in her own life, working with Scott Speedman, Laurence Fishburne’s “acting tools”, and collaborating with director Vaughn Stein, as well as an update on the upcoming ‘Fast X: Part 2‘.

    You can read the full interview below or click on the video player above to watch our interviews with Brewster, Scott Speedman, and director Vaughn Stein.

    (L to R) Scott Speedman and Jordana Brewster in 'Cellar Door'. Photo: Lionsgate.
    (L to R) Scott Speedman and Jordana Brewster in ‘Cellar Door’. Photo: Lionsgate.

    Moviefone: To begin with, can you talk about your first reaction to the screenplay and why you wanted to be a part of this project?

    Jordana Brewster: I really wanted to be a part of the project because Sera, my character, goes through so many different phases of life that I’ve also been through, and I understood her coping mechanisms and her desire to just push through and ignore any signs that something was awry. So, I thought playing that would be cathartic and fun.

    MF: How would you describe the marriage between Sera and John?

    JB: I think it’s really refreshing to see a marriage like this portrayed. It’s frayed, right? It’s worn in. It’s not like the beginning where it’s sexy and exciting. It’s like brushing their teeth next to each other. They’re going through the motions, they’re failing at something, and I think that’s what propels them to then say, “Let’s move and let’s get a house.” I feel like a lot of couples do that where they’re like, “Let’s just keep moving and ignore the problem.” So that’s where they’re at. I had a certain familiarity just because I quickly got along with Scott, so it felt very safe to play with the different levels of that.

    (L to R) Jordana Brewster and Scott Speedman in 'Cellar Door'. Photo: Lionsgate.
    (L to R) Jordana Brewster and Scott Speedman in ‘Cellar Door’. Photo: Lionsgate.

    MF: Can you talk about working with Scott Speedman on that relationship?

    JB: I think he was on set way before I was, and so I was talking to him before I even got to set. Then we’re both parents, so we just had a nice shorthand. I think it helps a lot to act with someone who’s willing to meet, and rehearse, and talk about the script, and is collaborative. Because you want to play tennis, you don’t want to have to do it all yourself, and you want to be able to react off someone. So that was fun with Scott. He made that very easy.

    MF: John becomes obsessed with opening the cellar door after they are told not to, but Sera isn’t bothered by it. Can you talk about why she doesn’t care about what is behind the cellar door?

    JB: I think the stakes are high for her. I keep thinking of a Jenga puzzle, and it’s like, the Jenga puzzle is gilded and it’s perfect, and she wants it to just stay in place because if she takes one tile off, the whole thing’s going to come down, and I think that’s what having the house represents for her. If she has the house, then she can get pregnant and then they will live happily ever after. But if something goes awry, they’re not going to survive. I also relate to that because I’m a control freak. I’m Type A, working on it, but I think there is this belief that like, “Oh, no, if everything’s not perfect, I’m not going to be able to handle it.” So, I think that’s why she’s so adamant about him staying away from the cellar door and to shut up about it already. I think initially she says, “Could a house make you happy?” She’s like, “No.” But I do think to some degree she thinks it can because it fits into her vision board. I think a lot of people can relate to that. “Oh, once I go to this college, I’ll be happy. Once I get this job, I’ll be happy. Once I have two kids, I’ll be happy.” Then the finish line keeps getting further and further away because of course, it’s like the old story.

    Jordana Brewster in 'Cellar Door'. Photo: Lionsgate.
    Jordana Brewster in ‘Cellar Door’. Photo: Lionsgate.

    MF: If you were in this situation in your own life, and you were offered this beautiful house, but with the agreement that you can’t look in the cellar, would you take it?

    JB: I’m too skeptical. I would think there’s a catch. Like Scott and I joked on set, we’re like, it kind of feels like it’s going to turn and become dirty. There was a point where we’re like, what does Emmett want from us? But no, I would assume there are cameras here, or I’m going to have to pay the piper at some point. So, I absolutely would not because I’m not as trusting as Sera is.

    MF: What was it like working with legendary actor Laurence Fishburne?

    JB: It was fun, because he has a gravitas but also a warmth, and he’s very generous about telling stories. He also uses acting, not tricks, but different tools to get you into a scene. So, I felt like it was also just an awesome learning experience to work with one of the greats.

    MF: Can you give me an example of one of Fishburne’s “acting tools”?

    JB: So, we shot all his scenes in one day, and we had the scene where we’re tipsy and he then brings up the awkward question of what would you do? Before rolling, he would just start laughing. Then we would start laughing and it was like this contagious thing so that by the time we began the scene, the ice was broken. So instead of talking about how he would do something, he just put it in our bodies in a way.

    Laurence Fishburne in 'Cellar Door'. Photo: Lionsgate.
    Laurence Fishburne in ‘Cellar Door’. Photo: Lionsgate.

    MF: Is that something that you might use moving forward on other projects?

    JB: Yeah, and it also teaches me that when you’re the elder on a set, it’s nice to be generous, and inclusive. On ‘Heart Eyes’ I worked with kids that were in their 20s, and I took a cue from him where it’s like we’re all here to play. It’s like the rising tide raises all ships. There’s no competition. I think that’s a very generous attitude to have. So, he’s awesome.

    MF: What was it like collaborating with director Vaughn Stein on set?

    JB: I love Vaughn. I love that he kept it very light. He’s so encouraging and wonderful. It was fun to work on such dark material with someone so loving, open, and fun.

    Jordana Brewster in 'F9'. Photo: Universal Pictures.
    Jordana Brewster in ‘F9’. Photo: Universal Pictures.

    MF: Finally, are you excited to start working on ‘Fast X: Part 2’ and reunite with that cast and crew?

    JB: Yeah. I love working on these movies. It enables me to travel, and meet amazing people, and be on the same IMDB pages as Helen Mirren and Charlize (Theron). Never did I think I’d worked with Charlize or Helen. So, it’s an unbelievable franchise to be a part of. I’m grateful and I’m excited for the next one.

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    What is the plot of ‘Cellar Door’?

    Looking for a fresh start after a miscarriage, a couple (Jordana Brewster and Scott Speedman) find themselves being gifted the house of their dreams from a wealthy homeowner (Laurence Fishburne) with one caveat – they can never open the cellar door. Whether they can live without knowing triggers shocking consequences.

    Who is in the cast of ‘Cellar Door’?

    • Jordana Brewster as Sera
    • Scott Speedman as John
    • Laurence Fishburne as Emmett
    • Katie O’Grady as Kathryn Conrad
    • Chris Conner as Paul MacManus
    (L to R) Jordana Brewster and Scott Speedman in 'Cellar Door'. Photo: Lionsgate.
    (L to R) Jordana Brewster and Scott Speedman in ‘Cellar Door’. Photo: Lionsgate.

    List of Jordana Brewster Movies and TV Shows:

    Buy Jordana Brewster Movies On Amazon

  • Movie Review: ‘Hold Your Breath’

    Sarah Paulson in 'Hold Your Breath'. Photo: Searchlight Pictures.
    Sarah Paulson in ‘Hold Your Breath’. Photo: Searchlight Pictures.

    Premiering on Hulu from October 3rd, ‘Hold Your Breath’ represents the second film is as many months that focuses on a mother desperately trying to keep her children safe from an evil presence outside their home, even as not everyone completely believes that it’s true.

    With Sarah Paulson offering a commanding central performance, the movie is sometimes a little too slow burn for its own good but has a convincing sense of dread.

    Related Article: Sarah Paulson Talks New Psychological Thriller ‘Hold Your Breath’

    Will ‘Hold Your Breath’ make you hold yours?

    Sarah Paulson in 'Hold Your Breath'. Photo: Searchlight Pictures.
    Sarah Paulson in ‘Hold Your Breath’. Photo: Searchlight Pictures.

    Though it was written before the pandemic, there’s a certain timeliness to ‘Hold Your Breath’s story of fears about something nasty from the outside getting into your home. And then there is the dual concept of motherhood as a driving survival instinct and the potential that the lurking threat is more a mental health issue than concrete evil, as explored recently in Halle Berry-starring horror thriller ‘Never Let Go’ (there is even a shared idea of attaching yourself by rope to your abode, though here it’s more a navigational aide).

    ‘Hold Your Breath’ tackles the character work in more accomplished fashion than ‘Never Let Go,’ though that’s primarily thanks to the efforts of writer and director Karrie Crouse and of star Sarah Paulson, who make her role more well-rounded than director Alexandre Aja’s effort.

    Script and Direction

    Ebon Moss-Bachrach in 'Hold Your Breath'. Photo: Searchlight Pictures.
    Ebon Moss-Bachrach in ‘Hold Your Breath’. Photo: Searchlight Pictures.

    Karrie Crouse wrote the script and joins forces with creative partner/husband William Joines to jointly direct the new thriller.

    If there’s a major issue with ‘Hold Your Breath,’ it’s that it really pushes the idea of the slow-burn thriller to such a degree that it feels like the gas is set to “low.” Long takes and sedate scenes do help to grow the dread levels, but the result is also a tone verging on frustrating, even with the odd shock dotted throughout. If you’re looking for a rollicking thriller with dynamic pacing, go elsewhere, but the movie still has plenty to offer.

    Striking visuals –– achieved primarily with practical effects and some digital assistance, give the movie a claustrophobic, windswept quality, making the 1930s setting fully believable and helping the power the story, which carries its themes of mental health, paranoia and suspicion effectively.

    Performances

    Sarah Paulson is the standout here, but she is aided by the actors playing her daughters and a creepy turn from ‘The Bear’s Ebon Moss Bacharach.

    Sarah Paulson as Margaret Bellum

    Sarah Paulson in 'Hold Your Breath'. Photo: Searchlight Pictures.
    Sarah Paulson in ‘Hold Your Breath’. Photo: Searchlight Pictures.

    Paulson has been putting in excellent, awards-worthy performances for years, and while ‘Hold Your Breath’ seems unlikely to bother trophy lists outside of genre categories, it’s worth noting how committed and intense her portrayal of Margaret is.

    She’s a woman facing the challenges of the man-made climate disaster of the 1930s, her family’s farm suffering the impact of howling dust storms and withering crops. Add to that the absence of her husband, away looking for work and the need to protect her daughters from the terror she suspects is swirling within the dust and you have a compelling central character whose anguish is both relatable and believable.

    As the tension ratchets up, Paulson makes every turn work, and Margaret remains sympathetic even in the face of her increasing desperation.

    Amiah Miller as Rose Bellum

    Amiah Miller in 'Hold Your Breath'. Photo: Searchlight Pictures.
    Amiah Miller in ‘Hold Your Breath’. Photo: Searchlight Pictures.

    A veteran of ‘War for the Planet of the Apes,’ Miller here has a slightly more thankless role than Paulson, playing the elder daughter largely called upon to worry about her younger sibling and act terrified at whatever is happening at any given moment. Still, she does well in the role, imbuing Rose with a real sense of burgeoning responsibility and making her fear understandable in the face of what happens to the family.

    Alona Jane Robbins as Ollie Bellum

    The younger Bellum daughter has more to her than Rose; as a Deaf girl (played well by Deaf actor Robbins), she’s even more at threat from the dangers lurking beyond the doors. Robbins combines a healthy amount of fear in the part with mastering some unfamiliar, period-specific sign language, and while she isn’t asked to do much than react for the majority of the running time, she handles the role with aplomb.

    Ebon Moss-Bachrach Wallace Grady

    Ebon Moss-Bachrach in 'Hold Your Breath'. Photo: Searchlight Pictures.
    Ebon Moss-Bachrach in ‘Hold Your Breath’. Photo: Searchlight Pictures.

    The role of Grady, the mysterious man discovered by Margaret lurking in the Bellum farm’s barn and claiming to know her husband, is a solid one for Moss-Bacharach. It might not have the nuance of ‘The Bear’s Ritchie, but it offers him the chance to play a similarly conflicted character. Is he a threat? He certainly appears to be, yet he also seems to be able to heal both Rose’s breathing issues and the family’s slowly-starving cow.

    Supporting cast

    Around the central family and Wallace, there are a few notable performances, including Annaleigh Ashford as Esther Smith, Margaret’s sister-in-law who initially seems to be suffering delusions of her own and puts her family at risk. Ashford is suitably nervy in the role, playing well off of Paulson. Arron Shiver as Sheriff Bell is an upright and decent support as the local lawman, while the various other women of the tiny community are good at the mixture of busybody concern and suspicion that such period pieces often contain.

    Final Thoughts

    Sarah Paulson in 'Hold Your Breath'. Photo: Searchlight Pictures.
    Sarah Paulson in ‘Hold Your Breath’. Photo: Searchlight Pictures.

    It won’t push the needle much in terms of this year’s horror offerings, but the visuals are good enough that you do wish it had seen the inside of a theater instead of heading straight to streaming.

    A powerful main performance and some excellent effects work make this one worth checking out.

    ‘Hold Your Breath’ receives 7 out of 10 stars.

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    What is the plot of ‘Hold Your Breath’?

    In 1930s Oklahoma, a young mother (Sarah Paulson ) haunted by the past becomes convinced that a mysterious presence in dust storms is threatening her family and takes extraordinary measures to protect them.

    Who is in the cast of ‘Hold Your Breath’?

    • Sarah Paulson as Margaret Bellum
    • Amiah Miller as Rose Bellum
    • Annaleigh Ashford as Esther Smith
    • Alona Jane Robbins as Ollie Bellum
    • Ebon Moss-Bachrach as Wallace Grady
    Sarah Paulson in 'Hold Your Breath'. Photo: Searchlight Pictures.
    Sarah Paulson in ‘Hold Your Breath’. Photo: Searchlight Pictures.

    Other Sarah Paulson Movies and TV Shows:

    Buy Sarah Paulson Movies on Amazon

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  • ‘Amber Alert’ Exclusive Interview: Hayden Panettiere

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    Opening in select theaters and on demand September 27th is the new thriller ‘Amber Alert’, which is a remake of 2012 film of the same name and stars and was executive produced by Hayden Panettiere (‘Heroes’, ‘Nashville’, ‘Scream VI’).

    Directed by Kerry Bellessa (‘Immanence’), who helmed the original, the cast also includes Tyler James Williams (‘Dear White People’), Saidah Arrika Ekulona (‘Bob Hearts Abishola’), and Kevin Dunn (‘Transformers’, ‘Veep’).

    Related Article: Connie Britton Talks Thriller ‘Here After’ and True Story ‘Winner’

    Hayden Panetteire as Jaq in 'Amber Alert'. Photo Credit: Courtesy of Lionsgate.
    Hayden Panetteire as Jaq in ‘Amber Alert’. Photo Credit: Courtesy of Lionsgate.

    Moviefone recently had the pleasure of speaking with actress and producer Hayden Panettiere about her work on ‘Amber Alert’, her reaction to the screenplay, her character’s motivations, playing a real-world hero, the friendship she forms with a stranger, working with Tyler James Williams, building suspense, and collaborating with director Kerry Bellessa on set.

    You can read the full interview below or click on the video player above to watch our interview with Panettiere and Tyler James Williams.

    Hayden Panetteire stars in 'Amber Alert'.
    Hayden Panetteire stars in ‘Amber Alert’.

    Moviefone: To begin with, can you talk about your first reaction to the screenplay and as an actress and producer, why you wanted to be part of this project and see it get made?

    Hayden Panettiere: After I read the script, my emotions were all over the place just as a human being, not even reading it as a character to play. But it was a story that I felt in my gut needed to be told, that the people in the world need to keep this in mind, including myself. I felt at first ashamed of myself for getting these Amber Alerts and not taking more time to look around me, and being of the mindset that the chances of me being the person who runs into this abducted child, or this car are slim to none. But realizing that if I thought that way, even as a mom, then how many other people are thinking that way? How many other people have just turned that alert off on their phones? So, I not only did it because I thought it could be an amazing movie, and a scary one at that because it’s so real, but also as like a PSA, basically and to hopefully change people’s perspectives on Amber Alerts.

    MF: Can you talk about why your character risks her life for someone that she does not know and what her motivations are in that situation?

    HP: The thing that Tyler’s character questions a lot throughout the beginning of the movie is, “You don’t even have a child. You’re not a mom. Why are you making such a big deal about this? Why are you going crazy about this? I mean, he’s in a car that’s the most-driven car in America. We don’t even have a license plate. The chances of that being the car are slim to none.” But maybe I can save this little girl. Even if the chances are slim, I won’t be able to live with myself if I don’t at least check.” We’re going off so little for them to ever put out Amber Alerts. They don’t do it without having at least a license plate. So, it’s even slimmer to none. But she convinces this stranger, who is on his way to something that is so important, and has to do with being a parent, because he has his kid, and he can’t let his kid down. But she convinces him that we must, at least (try). “We’re here and nobody else is looking. Nobody else is looking at this car. I don’t see anyone else following it. We have to.” As a mother, I will say I had a very difficult birth, and it almost took my life. But I was okay once she came out and I heard my child cry. I was so okay with the idea of that being the end of life for me. If my child was okay, I was at peace and that feeling just stays with you. Jaq doesn’t care if anything bad happens to her, if there is a child that needs help and isn’t going to get it from anybody else.

    (L to R) Hayden Panetteire as Jaq and Tyler James Williams as Shane in 'Amber Alert'. Photo Credit: Courtesy of Lionsgate.
    (L to R) Hayden Panetteire as Jaq and Tyler James Williams as Shane in ‘Amber Alert’. Photo Credit: Courtesy of Lionsgate.

    MF: Can you talk about the connection Jaq makes with Shane, and working with actor Tyler James Williams?

    HP: A lot of projects are not shot in chronological order. Those are for reasons of location, weather and all that kind of stuff. But I really loved that they made a conscious decision to shoot this movie in chronological order as much as possible. We were able to build our personal relationship at the same time as our characters, in the same way. So, what you’re seeing is not falsified. It’s not us hanging out afterwards and really knowing each other and being buddies, then having to pull ourselves back into these situations. It’s raw and real.

    MF: Can you talk about tone and building the movie’s suspense through your performance? Did shooting chronologically help with that?

    HP: Well, that was Kerry, the director. That was important to him, and it became important to me. It was like how I learned how to play a character in a horror film, because my first experience and my first teacher was Wes Craven himself. Sometimes the timing in scenes to get that scare, that jump, that make the audience feel what we want them to feel in that moment, means that we must slow down, and it almost feels like acting in slow motion. Then when it’s edited together, you bring the music in. As actors, we read a script, we fall in love with it, we fall in love with our character, and we do our best. But then it’s in the hands of other people, and we really have no idea what the outcome is going to be and how it plays. Music has always been important to me as a viewer of anything. When I saw it for the first time, the music just helps so much in taking the audience on the adventure. The roller coaster rolls the way we want it to for the audience.

    (L to R) Tyler James Williams and Hayden Panetteire in 'Amber Alert'. Photo Credit: Courtesy of Lionsgate.
    (L to R) Tyler James Williams and Hayden Panetteire in ‘Amber Alert’. Photo Credit: Courtesy of Lionsgate.

    MF: What was it like working with director Kerry Bellessa, both as an actress and as an executive producer?

    HP: He is amazing. He’s incredible: both him and his wife, who were very passionate about this project. I mean, they lived with this project for years, because this is a remake. Now they were finally, after all these years, able to truly make it a great film that everyone hopefully goes out to see. It’s not just a movie, but it’s a PSA. It’s a movie that we were all in the same mindset of wanting it so badly to change people’s minds, and how they look at the world. If they’ve turned that notice off on their phone, which we can do, turn it back on! Even though it’s so easy to think, “The chances of me being the person to find this abducted child are one in millions,” that it’s still going to be one of us. If we all had used our eyes and took a second to look around when we got that alert, if everyone thought the same way, then we could save so many children from just horrific deaths and torture. I mean, those few that have come back to us after years and found a way to escape and shared their story, we as human beings don’t want to believe that such horror is possible, that people out there can commit these acts. But that’s the cold, hard facts of life. So be that person. Be that person who takes two seconds, even if you’re in a rush, to just look around.

    MF: Finally, you played a superhero on the TV series ‘Heroes’, but what was it like portraying a real-world hero in ‘Amber Alert’?

    HP: I loved it, because my father’s always been my hero. He was a lieutenant in the fire department in New York City for twenty-one years and retired nine months before 9/11. The firehouse he retired from; they were the first on the scene. They lost their entire crew, their captain, everyone. He lost so many friends. I have this shrine to him of saving children, pulling children out of fires. I felt like I got to be him. I got to at least play him. Every time he went into a fire, they don’t know if they’re going to come out. But their focus is getting everyone to safety. “Even if I have to take the ceiling falling on me, I’m getting you out of here.” So, she’s determined, even if it’s the death of her, to save this one child.

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    What is the plot of ‘Amber Alert’?

    An ordinary rideshare becomes a high-stakes game of cat and mouse when Jaq (Hayden Panettiere) and Shane (Tyler James Williams) receive an alert of a child abduction on their phones. Quickly realizing they are behind a car that matches the description of the kidnapper’s, Jaq and Shane desperately race against time to save the child’s life.

    Who is in the cast of ‘Amber Alert’?

    • Hayden Panettiere as Jaq
    • Tyler James Williams as Shane
    • Saidah Arrika Ekulona as Cici
    • Kevin Dunn as Sgt. Casey
    'Amber Alert' opens in select theaters on demand September 27th.
    ‘Amber Alert’ opens in select theaters on demand September 27th.

    List of Hayden Panettiere Movies and TV Shows:

    Buy Tickets: ‘Amber Alert’ Movie Showtimes

    Buy Hayden Panettiere Movies On Amazon

  • Movie Review: ‘Never Let Go’

    Halle Berry as Momma in 'Never Let Go'. Photo Credit: Liane Hentscher.
    Halle Berry as Momma in ‘Never Let Go’. Photo Credit: Liane Hentscher.

    Opening in theaters on September 20th, ‘Never Let Go’ is the latest horror thriller from Alexandre Aja, who in recent years has brought us the likes of ‘Oxygen,’ ‘Crawl’ and ‘The 9th Life of Louis Drax.’

    Sadly, while ‘Never Let Go’ has some interesting initial ideas about faith, delusion, paranoia and suspicion, it wastes most of them in a predictable scare-a-thon that ends in disappointing fashion.

    Related Article: Halle Berry, Percy Daggs IV and Anthony B. Jenkins Talk ‘Never Let Go’

    Does ‘Never Let Go’ hold on to you?

    (L to R) Anthony B. Jenkins as Samuel, Halle Berry as Momma and Percy Daggs IV as Nolan in 'Never Let Go'. Photo Credit: Courtesy of Lionsgate.
    (L to R) Anthony B. Jenkins as Samuel, Halle Berry as Momma and Percy Daggs IV as Nolan in ‘Never Let Go’. Photo Credit: Courtesy of Lionsgate.

    The idea of a mother going to outrageous lengths to protect her kids from some danger –– be it real or imagined –– is far from new. ‘Never Let Go’ throws us into a post-apocalyptic world where Halle Berry’s mother lives in one of the few places still untouched by the nameless, faintly Biblical-seeming evil (there are several examples of serpent imagery) she is convinced will hurt them if they venture beyond the safety of their rickety wooden house. Tying ropes around their waists that are also connected to the house’s foundations is their main method of protection, even if it appears massively inconvenient (and indeed, that starts to factor into the drama).

    Despite the interesting notion of an evil that may or may not be real and the small-scale storytelling, ‘Never Let Go’ still stumbles. It’s never as scary or truly thrilling as it thinks it is and there are long stretches, designed to illustrate how tough the family’s life is becoming as winter hits hard and supplies dwindle that act like a dropped rope –– it goes slack, and the interest severely wanes to a degree that it never quite picks up again, even the in face of a frantic climax.

    Script and Direction

    'Never Let Go' director Alexandre Aja.
    ‘Never Let Go’ director Alexandre Aja.

    Writers Kevin Coughlin and Ryan Grassby have come up with a cool concept, but then don’t really find a way to do much that is fresh with it. There are some twists and turns we won’t specify here, but many of them will be something you’ll guess, and the final act descends into overt silliness.

    Likewise Aja’s directing is solid but uninspired here. Initial jump shocks give way to long tortuous sequences of ritual, routine and repetition, and he never manages to make the concept truly work on screen.

    Performances

    This is really a three-hander, since our focus is almost exclusively on Berry and the kids…

    Halle Berry as June/Mama

    Halle Berry as Momma in 'Never Let Go'. Photo Credit: Liane Hentscher.
    Halle Berry as Momma in ‘Never Let Go’. Photo Credit: Liane Hentscher.

    You can see why Berry might have been attracted to the role, which gives her the chance to play unyielding but also desperate and vulnerable. Her mother character is powered by the faith that what she sees is real, even in the face of one of her sons starting to question the nature of it all.

    Yet at the same time, the role mostly asks her to be nervy and wiry, becoming increasingly gaunt as the food starts to run out and she ponders turning the family’s beloved pet into their next meal. It sinks to a level of instability that begins to uproot the film, and never recovers. Berry has made a few questionable choices of late, and this is the latest.

    Anthony B. Jenkins as Samuel

    Anthony B. Jenkins as Samuel in 'Never Let Go'. Photo Credit: Liane Hentscher.
    Anthony B. Jenkins as Samuel in ‘Never Let Go’. Photo Credit: Liane Hentscher.

    As the “oldest” (by a few minutes) of his mother’s twins, Samuel is more mature than his brother, and the one who stays the course in believing what she says. Even as his own faith wavers, he keeps up the party line about the rope and the house. Jenkins puts in decent work, playing well off of Berry and Daggs.

    Percy Daggs IV as Nolan

    Percy Daggs IV as Nolan in 'Never Let Go'. Photo Credit: Liane Hentscher.
    Percy Daggs IV as Nolan in ‘Never Let Go’. Photo Credit: Liane Hentscher.

    Daggs is well matched with his brother as the “younger” twin, and as his belief in what his mother is telling them starts to crack, it ups the tension and drama.

    William Catlett as Papa

    It’s not much of a spoiler to say that figures from Berry’s character’s past make appearances in what she firmly believes are manifestations of the evil. Aside from one other we won’t explore at this time, Catlett plays Berry’s seemingly dead husband, and he’s effectively creepy without needing to dive into horror tropes.

    Supporting cast

    With its tight focus on the family unit, there are only a few other characters who appear, and they are mostly to drive the plot. They’re perfectly adequate, though so limited in scope the only ones who really make any sort of impact are Matthew Kevin Anderson as a hiker who shows up at the cabin and Mila Morgan as a young girl who may be more than she appears.

    Final Thoughts

    (L to R) Anthony B. Jenkins as Samuel, Halle Berry as Momma and Percy Daggs IV as Nolan in 'Never Let Go'. Photo Credit: Liane Hentscher.
    (L to R) Anthony B. Jenkins as Samuel, Halle Berry as Momma and Percy Daggs IV as Nolan in ‘Never Let Go’. Photo Credit: Liane Hentscher.

    Despite committed performances from Berry and the boys, this is an ultimately frustrating cinematic experience. It has some style via Aja’s experience with horror thrillers, but the story ay its core is never satisfying enough for anything to carry it through.

    There was certainly scope for an exploration of how parents put rules in place to protect their kids or how those with mental health issues deal with handling the outside world. But this isn’t an effective vehicle for either.

    By the end, you may be thinking that this is less ‘Never Lets Go’ and more “Never Gets Good.”

    ‘Never Let Go’ receives 5.5 out of 10 stars.

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    What is the plot of ‘Never Let Go’?

    A family consisting of a mother (Halle Berry) and her twin sons (Percy Daggs IV and Anthony B. Jenkins) has suffered from the torment of a malicious spirit for many years. However, when one of the boys starts to doubt the existence of the evil, the family’s sacred bond is broken, leading to a dangerous fight for survival.

    Who is in the cast of ‘Never Let Go’?

    'Never Let Go' opens in theaters on September 20th. Photo: Lionsgate.
    ‘Never Let Go’ opens in theaters on September 20th. Photo: Lionsgate.

    Other Halle Berry Movies:

    Buy Tickets: ‘Never Let Go’ Movie Showtimes

    Buy Halle Berry Movies On Amazon

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  • Movie Review: ‘Speak No Evil’

    James McAvoy in 'Speak No Evil.' Photo: Universal Pictures.
    James McAvoy in ‘Speak No Evil.’ Photo: Universal Pictures.

    Opening in theaters on September 13th, ‘Speak No Evil’ takes on the basic concept of a 2022 Danish chiller that has a shocking, politically charged and pitch-black ending and re-imagines it for American audiences in a way that still works.

    Though some might argue that the harder edges of the original –– which (spoiler alert if you haven’t seen it) ends with the murder of a child and a couple stoned to death that carries heavy echoes of the Holocaust –– have been whittled down here, there are still plenty of shocks and surprises to keep you guessing.

    Related Article: James McAvoy Talks ‘Speak No Evil’ and Playing His Nefarious Character

    Does ‘Speak No Evil’ Shout Proudly?

    (L to R) Ben Dalton (Scoot McNairy) and Paddy (James McAvoy) in 'Speak No Evil', directed by James Watkins.
    (L to R) Ben Dalton (Scoot McNairy) and Paddy (James McAvoy) in ‘Speak No Evil’, directed by James Watkins.

    Director Christian Tafdrup’s screenplay for the original film (written with brother Mads) shocked –– and in some cases, appalled those who saw it as part of 2022’s Sundance Film Festival. The big question was whether anyone would ever risk trying to remake it.

    Now we have our answer, as the Blumhouse team has stepped up to do just that, with ‘Eden Lake’ and ‘The Woman in Black’ writer/director James Watkins hired to bring his own take and style to the new movie. And while he’s certainly made some big changes, the twisty story, bolstered by great work from the likes of James McAvoy, Scoot McNairy and Mackenzie Davis, certainly makes for an enjoyable tense time at the movies.

    Script and Direction

    James McAvoy and director James Watkins on the set of 'Speak No Evil.'
    (L to R) James McAvoy and director James Watkins on the set of ‘Speak No Evil.’ Photo: Universal Pictures.

    Watkins is no stranger to bleak filmmaking –– after all ‘Eden Lake’ doesn’t exactly end with jokes and smiles. But what he chooses to do with ‘Speak No Evil’ is definitely interesting. Does it completely edge the new movie into justifying the remake completely? Not always, but it’s enough.

    Here, he borrows the basic premise of the Danish film –– two families interact in a way that is built on different cultural understandings of politeness and behavior, albeit to a less harsh degree than that of the original, since Americans and Brits share a lot of them. Yet there are other, different themes at play here, including toxic masculinity, guilt, financial struggles and misunderstandings.

    His script gives McAvoy in particular some great moments to play, but serves the whole smallish cast well, adding agency to the younger characters that the Danish film did not possess.

    On the visual front, the isolated farmhouse and rugged countryside offer interest and drama as the setting, while Watkins and regular cinematographer Tim Maurice-Jones get great mileage out of both the Italian and UK vistas.

    Performances

    McAvoy has the showiest part, but he’s very well supported by the others, who all enjoy dimensional characters and moments to shine.

    James McAvoy as Paddy

    Paddy (James McAvoy) in 'Speak No Evil', directed by James Watkins.
    Paddy (James McAvoy) in ‘Speak No Evil’, directed by James Watkins.

    Paddy is a fascinating character for McAvoy to bring to life, a bubbling, ostensibly charming but often overbearing blend of masculine energy and opinions. Along with Watkins, canny, well-constructed script, he slowly builds the tension until Paddy’s true intentions become clear.

    Scoot McNairy as Ben Dalton

    (L to R) Agnes Dalton (Alix West Lefler), Ben Dalton (Scoot McNairy), and Louise Dalton (Mackenzie Davis) in 'Speak No Evil', directed by James Watkins.
    (L to R) Agnes Dalton (Alix West Lefler), Ben Dalton (Scoot McNairy), and Louise Dalton (Mackenzie Davis) in ‘Speak No Evil’, directed by James Watkins.

    As one half of the couple who befriend Paddy and his wife, McNairy brings big “beta male” energy to Ben, a passive businessman who moved his family to London for his career but has seen his fortunes take a tumble. Like McAvoy, he commits to the role, bringing a nervy energy to the character who fears he may never match up to Paddy –– but has strength where it counts.

    Mackenzie Davis as Louise Dalton

    Louise Dalton (Mackenzie Davis) in 'Speak No Evil', directed by James Watkins.
    Louise Dalton (Mackenzie Davis) in ‘Speak No Evil’, directed by James Watkins.

    Louise might be the most complex character in the movie. A protective mother, a concerned wife but also a fully-rounded human being with her own drives and secrets. And she’s also something of a badass when called upon.

    It also doesn’t hurt that Davis and McNairy spent years working together (albeit not playing husband and wife) on AMC TV series ‘Halt and Catch Fire’ and bring their long experience to the on-screen relationship.

    Aisling Franciosi as Ciara

    (L to R) Paddy (James McAvoy) and Ciara (Aisling Franciosi) in 'Speak No Evil', directed by James Watkins.
    (L to R) Paddy (James McAvoy) and Ciara (Aisling Franciosi) in ‘Speak No Evil’, directed by James Watkins.

    Though Franciosi’s role is smaller, she also gets some good moments, particularly when the true nature of Paddy and Ciara’s behavior is revealed. She and McAvoy have a great dynamic.

    Supporting cast

    (L to R) Ant (Dan Hough) and Agnes Dalton (Alix West Lefler) in 'Speak No Evil', directed by James Watkins.
    (L to R) Ant (Dan Hough) and Agnes Dalton (Alix West Lefler) in ‘Speak No Evil’, directed by James Watkins.

    While the cast is understandably kept small, there are some other notable performances. Alix West Lefler as Ben and Louise’s daughter Agnes is good in her smaller role, since one of Watkins’ changes from the original is to give the families’ children some more agency. Together with Dan Hough, who makes a strong debut as Ant, Paddy and Ciara’s son, the person who keys Agnes and the others into Paddy’s dark side, all without saying a word. Finally, there is Kris Hitchen as Mike, Paddy and Ciara’s friendly neighborhood pub owner and chef, who turns out to have a similar dark side.

    Final Thoughts

    (L to R) Agnes Dalton (Alix West Lefler), Louise Dalton (Mackenzie Davis) and Ben Dalton (Scoot McNairy) in 'Speak No Evil', directed by James Watkins.
    (L to R) Agnes Dalton (Alix West Lefler), Louise Dalton (Mackenzie Davis) and Ben Dalton (Scoot McNairy) in ‘Speak No Evil’, directed by James Watkins.

    There will always be those who decry remakes as unnecessary and creatively bankrupt. But when you have a film as inventive and entertaining as ‘Speak No Evil’ turned out to be, it’s a welcome reminder that that’s not always the case.

    While it won’t have anyone shocked in quite the same way as the original, the new version is certainly tense and thrilling, and will keep you guessing as it puts its characters through the wringer.

    Yes, it’s more straightforward, but it has its own dark charms.

    ‘Speak No Evil’ receives 7.5 out of 10 stars.

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    What is the plot of ‘Speak No Evil’?

    A dream holiday in a beautiful country house becomes a psychological nightmare.

    Who is in the cast of ‘Speak No Evil’?

    • James McAvoy as Paddy
    • Mackenzie Davis as Louise Dalton
    • Scoot McNairy as Ben Dalton
    • Aisling Franciosi as Ciara
    • Alix West Lefler as Agnes Dalton
    • Dan Hough as Ant
    (L to R) Ant (Dan Hough), Ciara (Aisling Franciosi), and Paddy (James McAvoy) in 'Speak No Evil', directed by James Watkins.
    (L to R) Ant (Dan Hough), Ciara (Aisling Franciosi), and Paddy (James McAvoy) in ‘Speak No Evil’, directed by James Watkins.

    Other James McAvoy Movies:

    Buy Tickets: ‘Speak No Evil’ Movie Showtimes

    Buy James McAvoy Movies on Amazon

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  • ‘Speak No Evil’ Exclusive Interview: James McAvoy

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    Opening in theaters on September 13th is the new psychological thriller ‘Speak No Evil’, which was directed by James Watkins (‘The Woman in Black’) and is a remake of the 2022 Danish film of the same name.

    The movie stars James McAvoy (‘X-Men: First Class’ and ‘Split’), Mackenzie Davis (‘Terminator: Dark Fate’), Scoot McNairy (‘Batman v Superman: Dawn of Justice’), and Aisling Franciosi (‘The Last Voyage of the Demeter’).

    Related Article: James McAvoy Making Directorial Debut with ‘California Schemin’’

    James McAvoy stars in 'Speak No Evil'.
    James McAvoy stars in ‘Speak No Evil’.

    Moviefone recently had the pleasure of sitting down in-person with James McAvoy to talk about his work on ‘Speak No Evil’, his first reaction to the screenplay, his approach to his character and his motivations, working with the cast, and collaborating on set with director James Watkins.

    You can read the full interview below or click on the video player above to watch our interviews with McAvoy, Mackenzie Davis, Scoot McNairy and director James Watkins.

    (L to R) Paddy (James McAvoy) and Ciara (Aisling Franciosi) in 'Speak No Evil', directed by James Watkins.
    (L to R) Paddy (James McAvoy) and Ciara (Aisling Franciosi) in ‘Speak No Evil’, directed by James Watkins.

    Moviefone: To begin with, what was your first reaction to the screenplay and why did you want to be part of this project?

    James McAvoy: There are two things. I really liked the fact that there was this couple that were good people, and they were unhappy, and they had a relationship that you would never wish on your worst enemy. Then you’ve got these bad people who are so incredibly deeply, passionately in love, and you know they’re having sex every other minute, and It’s the kind of relationship you could only dream of. I thought that was such a good juxtaposition to have the bad people be the thing you aspire to, and the good people be the thing you would never want to be.

    MF: Can you talk about your approach to playing Paddy and what are his true motivations?

    JM: I mean, his motivations are completely selfish and self-serving, and he’s a complete narcissist, and he’s a sociopath. He’s toxically masculine and happy about it, which is the key thing I think, was that as much as he’s all these bad things, he does have one thing that not everybody does. Lots of good people don’t have this. He has the secret to being happy. He’s got loads of rage issues, he’s got loads of anger, all that, and he’s abusive and he’s manipulative, but he’s happy and that is such a draw for people to be around. You can go like, how’s that person got there? I want to get there because so many good people don’t have that capacity, it seems.

    (L to R) Agnes Dalton (Alix West Lefler), Louise Dalton (Mackenzie Davis) and Ben Dalton (Scoot McNairy) in 'Speak No Evil', directed by James Watkins.
    (L to R) Agnes Dalton (Alix West Lefler), Louise Dalton (Mackenzie Davis) and Ben Dalton (Scoot McNairy) in ‘Speak No Evil’, directed by James Watkins.

    MF: What was it like working with Mackenzie Davis and Scoot McNairy?

    JM: Mackenzie and Scoot were incredible, as was Aisling who played Ciara, Paddy’s wife, but I think Louise played by Mackenzie is less vulnerable. She sees the problem that Paddy could present much earlier. Ben is played by Scoot, and he gives an incredible performance. Scoot is much more like Paddy in real life than I am, not sociopathic or dangerous, but he’s a man of the woods. He hunts and he can fix things and can build his own house. He’s much more Paddy than me, and he plays this injured, kind of hurt masculine creature so well, and so he’s much more vulnerable. If Paddy’s like a lion searching the herd for the lame beast that he can take down the easiest, when he sees Ben, he’s like, “That’s our mark. That’s who we want”. He’s just so ripe for the brainwashing that Paddy wants to perform.

    MF: The film deals with some dark subjects but also includes kids in the cast, what was it like working with them on set?

    JM: They were great. They had the summer of their lives. It was like two kids, similar age, running about a big farmstead with loads of countryside around us, searching for bugs and doing arts and crafts and doing class, and then coming in every now and again and doing a really messed up scene about abuse. So, it was interesting and strange to see just how relaxed and okay they were. We were constantly checking in with them, constantly checking in with their families and their chaperones to make sure everything was okay. But they seemed great, and so professional, admirably professional like up there with Saoirse Ronan when she was 12 years old professional. They were brilliant.

    (L to R) James McAvoy (as Dalton) and Director James Watkins on the set of 'Speak No Evil'.
    (L to R) James McAvoy (as Dalton) and Director James Watkins on the set of ‘Speak No Evil’.

    MF: Finally, what was James Watkins like to work with as a director on set?

    JM: He’s free, open, really welcoming of ideas and suggestions, but at the same time, tightly calibrating and orchestrating this tightrope walk, which on one side of it has a lot of comedy, and then the other side has a lot of scares and fear and horror, but you can’t really jump either side until the end of the movie. You’ve got to stay on that tightrope so that both things are always possible. But he was brilliant. He had it so tightly wound.

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    What is the plot of ‘Speak No Evil’?

    A dream holiday in a beautiful country house becomes a psychological nightmare.

    Who is in the cast of ‘Speak No Evil’?

    • James McAvoy as Paddy
    • Mackenzie Davis as Louise Dalton
    • Scoot McNairy as Ben Dalton
    • Aisling Franciosi as Ciara
    • Alix West Lefler as Agnes Dalton
    • Dan Hough as Ant
    (L to R) Ben Dalton (Scoot McNairy) and Paddy (James McAvoy) in 'Speak No Evil', directed by James Watkins.
    (L to R) Ben Dalton (Scoot McNairy) and Paddy (James McAvoy) in ‘Speak No Evil’, directed by James Watkins.

    Other James McAvoy Movies:

    Buy Tickets: ‘Speak No Evil’ Movie Showtimes

    Buy James McAvoy Movies on Amazon

     

  • Movie Review: ‘Cuckoo’

    Hunter Schafer in 'Cuckoo'.
    Hunter Schafer in ‘Cuckoo’. Photo: Neon.

    Opening in theaters on August 9th is ‘Cuckoo,’ directed by Tilman Singer and starring Hunter Schafer, Dan Stevens, Jessica Henwick, Mila Lieu, Jan Bluthardt, and Marton Csokas.

    Related Article: Director Tilman Singer Talks ‘Cuckoo’ and Working with Hunter Schafer

    Initial Thoughts

    Hunter Schafer in 'Cuckoo'.
    Hunter Schafer in ‘Cuckoo’. Photo: Neon.

    German filmmaker Tilman Singer made a splash a few years back on the festival circuit with his horror feature debut, ‘Luz,’ and now he’s returned with a second entry in what could shape up to be one of the more loopy, esoteric filmographies in the genre if he sticks with it. ‘Cuckoo’ starts off on a weird note and gets even stranger from there, finding a nice balance between a serious sense of dread and an underlying tone of camp for most of its running time.

    It begins to run into problems in its third act, and while we shy away from movies over-explaining everything, ‘Cuckoo’ could use a bit more clarity down the homestretch. But it’s still a satisfying watch in many ways, thanks especially to excellent work from Hunter Schafer and the magnificent Dan Stevens.

    Story and Direction

    'Cuckoo' director Tilman Singer.
    ‘Cuckoo’ director Tilman Singer.

    Hunter Schafer (best known for her main role on ‘Euphoria’ but also recently showing up in ‘Kinds of Kindness’) plays Gretchen, a 17-year-old girl who is mourning the death of her mother. She’s forced to accompany her father (Martin Csokas), his wife (Jessica Henwick), and their mute young daughter Alma (Mila Lieu) to the Bavarian Alps, where her architect father has been hired to redesign a resort owned by Herr König (Dan Stevens).

    The Alps are beautiful, mysterious and vast, the aging, nearly empty resort broods on the side of a mountain, and Herr König himself is a ready-made mix of slippery charm and underlying menace who offers Gretchen a job at the hotel’s front desk. Grieving, angry, and bored (she also plays bass in a rock band that she’s been obliged to leave behind), Gretchen takes the gig – and immediately strange things start to happen.

    A woman wanders into the lobby in a sort of trance and begins to vomit, Alma herself has some kind of seizure that seems to actually cause time itself to glitch (a callback to an enigmatic scene that opens the film involving a different character), and worst of all, Gretchen is attacked one night while riding her bike by a woman in a hood with glowing eyes who emits a piercing, animalistic shriek. Herr König seems to both dismiss what’s happening while knowing full well what’s going on, and Gretchen’s one attempt to escape – with a young hotel guest (Àstrid Bergès-Frisbey) who takes a shine to her – ends in a serious car accident that puts the teen in the hospital.

    Greta Fernández and Hunter Schafer in 'Cuckoo'.
    (L to R) Greta Fernández and Hunter Schafer in ‘Cuckoo’. Photo: Neon.

    Up to this point, ‘Cuckoo’ has been building up a steady underlying sense of weird, queasy malevolence, thanks to the atmospheric setting, Singer’s use of silence and darkness, and the growing feeling that Gretchen is trapped in some of kind of waking nightmare where logic doesn’t quite apply. The late involvement of a former cop named Henry (Jan Bluthardt) who’s investigating his wife’s death points to the mystery eventually getting uncovered – which only partially happens.

    While the film’s third act is more action-oriented – as the injured Gretchen teams with Henry and moves to rescue a character she had previously shown little concern for – the explanation for what is happening at the hotel, the area around it, and a nearby medical lab in which Herr König is also involved remains frustratingly opaque. Without spoiling anything, it does tie into the bird of the film’s title, but in a way that’s still maddeningly unclear. As we said earlier, films don’t have to clarify everything; in fact, when it comes to horror, the lack of a clear rationale for the events of the story or the menace behind them often makes the narrative more terrifying.

    But Singer keeps the full contingent of secrets in ‘Cuckoo’ just out of reach, which doesn’t work as well once the film switches from atmospheric slow burn to wild-and-reckless homestretch. The movie accumulates an accelerating stream of bizarre moments on top of what we’ve already seen, yet none of it comes together in a way that quite makes sense. The result is still a fun, creepy ride, but lacks a satisfying resolution.

    The Cast

    Hunter Schafer in 'Cuckoo'.
    Hunter Schafer in ‘Cuckoo’. Photo: Neon.

    Not having seen ‘Euphoria,’ we can only go on our recent experiences with Hunter Schafer on the big screen, and ‘Cuckoo’ shows her to be a confident, fearless actor with lots of presence and emotional weight. Gretchen surfs a full range of reactions and feelings here, from grief to loneliness to rebelliousness to terror, and Schafer pulls them all off while keeping the character grounded, intelligent, and empathetic. It’s an impressive lead performance that bodes well for Schafer’s future beyond her breakout work on ‘Euphoria.’

    Opposite her is the great Dan Stevens, who is having a hell of a year between this, ‘Godzilla x Kong: The New Empire,’ and ‘Abigail.’ A resourceful, wide-ranging, and chameleonic actor, Stevens plays Herr König with a nice mix of low-key authority and gleeful malevolence, gradually making the performance bigger as the story goes off in stranger directions. Like Schafer, he is (and has been for a while) a compelling presence onscreen, and he’s uniquely suited to playing charming villains with outrageous accents. Although he’s hampered in some ways by the way his character (poorly, it must be said) explains what’s happening in his pastoral little kingdom, Stevens continues to deliver in what has become one of the most formidable under-the-radar acting resumes around.

    The rest of the cast is small and relatively unknown, but our only disappointment is that Jessica Henwick – so terrific in ‘Iron Fist,’ ‘The Matrix Resurrections,’ ‘Glass Onion,’ and ‘The Royal Hotel’ – gets underused here as Gretchen’s stepmother Beth.

    Final Thoughts

    Dan Stevens in 'Cuckoo'.
    Dan Stevens in ‘Cuckoo’. Photo: Neon.

    ‘Cuckoo’ takes its cues from ‘70s and ‘80s horror cinema, particularly indie and/or European efforts like David Cronenberg’s ‘The Brood’ (big Cronenberg energy here, in fact), Dario Argento’s ‘Phenomena,’ Nicolas Roeg’s ‘Don’t Look Now,’ and Jorge Grau’s ‘Let Sleeping Corpses Lie.’ All those films operate in a territory that veers back and forth between realism and nightmare, an aesthetic that Tilman Singer is clearly influenced by and successfully channels.

    That atmosphere can only take you so far, however, and Singer’s build-up of surreal story beats, genuinely unnerving imagery (as in the scene where Gretchen is chased on her bike) and thick atmosphere leads to a climax that is more perplexing than transcendent, with a wobblier grasp of the film’s brew of terror and camp. That may be where he wants his strange bird of a movie to ultimately land, but as a result ‘Cuckoo’ doesn’t quite sustain the horror heights that it aims for.

    ‘Cuckoo’ receives 7 out of 10 stars.

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    What is the plot of ‘Cuckoo’?

    After reluctantly moving to the German Alps with her father (Marton Csokas) and his new family, Gretchen (Hunter Schafer) discovers that their new town hides sinister secrets, as she’s plagued by strange noises and frightening visions of a woman pursuing her.

    Who is in the cast of ‘Cuckoo’?

    • Hunter Schafer as Gretchen
    • Dan Stevens as Mr. König
    • Jessica Henwick as Beth
    • Marton Csokas as Luis
    Dan Stevens in 'Cuckoo'.
    Dan Stevens in ‘Cuckoo’. Photo: Neon.

    Other Recent Horror and Thriller Movies:

    Buy Tickets: ‘Cuckoo’ Movie Showtimes

    Buy Hunter Schafer Movies on Amazon

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  • ‘Cuckoo’ Exclusive Interview: Director Tilman Singer

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    Opening in theaters on August 9th is the new horror-thriller ‘Cuckoo’, which was directed by Tilman Singer (‘Luz’) and stars Hunter Schafer (‘The Hunger Games: The Ballad of Songbirds & Snakes’), Dan Stevens (‘Godzilla x Kong: The New Empire’), Jessica Henwick (‘Glass Onion: A Knives Out Mystery’) and Marton Csokas (‘Sleeping Dogs’).

    Related Article: 10 Things We Learned At ‘The Hunger Games: The Ballad of Songbirds and Snakes’ Press Conference

    Hunter Schafer in 'Cuckoo'.
    Hunter Schafer in ‘Cuckoo’. Photo: Neon.

    Moviefone recently had the pleasure of speaking with director Tilman Singer about his work on ‘Cuckoo’, developing the screenplay, the themes he wanted to explore, the visual effects, and working with Hunter Schafer.

    You can read the full interview below or click on the video player above to watch the interview.

    'Cuckoo' director Tilman Singer.
    ‘Cuckoo’ director Tilman Singer.

    Moviefone: To begin with, can you talk about developing the screenplay and the themes you wanted to explore as a director?

    Tilman Singer: I mean, the idea grew out of a mood that I had at the time. I finished up the movie I shot before called ‘Luz’. I wasn’t in a good space at that time. I thought nobody’s going to watch that movie that we were making then. So, I had this kind of grim mood. I watched a documentary about the cuckoo bird and how they breed and that they put their eggs into the nests of other bird species. I couldn’t let go for quite a while. Then I started thinking about the themes, very abstractly. But I knew there’s something about family, about a circle, about a generational circle. It may be a violent one or one of love, but that’s what slowly evolved while thinking about my characters.

    Dan Stevens in 'Cuckoo'.
    Dan Stevens in ‘Cuckoo’. Photo: Neon.

    MF: Can you talk about the time looping effect you used in the film and how you executed that?

    TS: I mean, we shot scenes basically a couple of times with different levels of distress for the characters. So, we basically shot things repeatedly, but with a higher stress level and with more sweat on them and stuff like this. Then of course it’s an edit thing. Along with that came an idea for an effect that our cinematographer, Paul Faltz, said he wanted to shoot through a mirror and have that mirror shake on two axes, so you get a parallax view. So, the camera can look behind the actor so it’s not only shaking the screen. We couldn’t pull that off for every scene. We didn’t have the time for it. So then later we tasked an effect artist to recreate that. They got the plan from Paul, from the cinematographer, who took a mirror, one of those lighting mirrors, put two or three electrical drills on it that were sort of vibrating the mirror like this. Then when he drew them a sketch of this, they were like, “Oh, okay. We get it. We know what you did.” Then they could recreate it and we could use it for the scenes where we didn’t have it.

    Hunter Schafer in 'Cuckoo'.
    Hunter Schafer in ‘Cuckoo’. Photo: Neon.

    MF: Finally, can you talk about working with Hunter Schafer and what Hunter brings to a role like this?

    TS: Well, what Hunter brought to the role was, first herself, the way she connected to the role, to the movie, it was immediately clear that we were thinking and speaking about the same thing, and had this beautiful understanding, which it’s hard to get and you can’t really talk about it, because it’s kind of abstract. It’s kind of based on emotions and feeling or whatever you want to call it. So, she had that, which was most importantly to begin with. But then I saw her tape back then. I couldn’t go to Los Angeles to meet people because it was COVID times, and they shut down the borders. So, we had to rely on tapes, which kind of sucks, especially for the actors. It’s not a thankful thing to record yourself. But the way Hunter was able, even in this situation, to tap into something, an emotional bubble or pool or whatever you want to call it, within herself, in a relaxed but not casual way, was an extremely impressive talent that she has and that I could immediately see. I could see how she’s emotionally, mentally connected to the script. Sure enough, when she showed up on set, we shot some easy things before, like in the first day, as you do, everybody gets to know each other. But then she had to do difficult, heavy lifting, emotion scene, I think day two or three. That’s when I knew, “Oh, this is not only going to go great, but also be really special, what she’s bringing.” Sure enough, she is the movie. She is the story. Her character, her presence is that.

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    What is the plot of ‘Cuckoo’?

    After reluctantly moving to the German Alps with her father (Marton Csokas) and his new family, Gretchen (Hunter Schafer) discovers that their new town hides sinister secrets, as she’s plagued by strange noises and frightening visions of a woman pursuing her.

    Who is in the cast of ‘Cuckoo’?

    • Hunter Schafer as Gretchen
    • Dan Stevens as Mr. König
    • Jessica Henwick as Beth
    • Marton Csokas as Luis
    Hunter Schafer in 'Cuckoo'.
    Hunter Schafer in ‘Cuckoo’. Photo: Neon.

    Other Recent Horror and Thriller Movies:

    Buy Tickets: ‘Cuckoo’ Movie Showtimes

    Buy Hunter Schafer Movies on Amazon