Hugh Glass is a skilled hunter, experienced in trapping some of the most predatory of beasts in the American West in order to claim their fur. However, it all goes wrong one day when he and his three friends and companions John Fitzgerald, Andrew Henry and Jim Bridger are travelling some untouched territory. They are confronted by a bear who wastes no time in viciously attacking Glass, leaving the other three men to flee without a second glance. Unfortunately for them, Glass is not dead after his mauling, and he's not happy about being left for dead by the people he's supposed to be able to trust. Determined to survive on his own even as a particularly bitter winter sets in, he just wants to find the cowards that betrayed him and take revenge.
Continue: The Revenant - R Rated Trailer
In the 19th Century in Cumbria, England, an old house stood overlooking a tremendous stretch of land. That house was Crimson Peak, inhabited by Sir Thomas Sharpe (Tom Hiddleston) and his sister, Lady Lucille Sharpe (Jessica Chastain). When author Edith Cushing (Mia Wasikowska) marries the handsome and quite Thomas Sharpe, she moves to Crimson Peak to live with the siblings. However, upon arrival, strange thing begin to occur. Mysterious visions and terrifying objects begin to emerge, showing that the house is not as it appears. As Cushing struggles to get to the bottom of the house's dark history, the secrets of the family steadily begin to unveil themselves to her.
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Expanded from a sharp 3-minute short, this horror mystery is packed with clever jolts and witty freak-out moments. Argentine filmmaker Muschietti creates such an oppressively intense atmosphere that we only barely notice how thin and underdeveloped the script is. But when we're not cringing from the eerie imagery, it's difficult not to see the contrivances and conveniences that fill the plot.
Orphans Victoria and Lilly (Charpentier and Nelisse) have survived in a woodland cabin for five years, and when they're discovered they are understandably animalistic. But their Uncle Lucas (Coster-Waldau) takes them in, fending off a custody battle with an aunt (Moffat) to raise his nieces with his rock-chick girlfriend Annabel (Chastain). Then Lucas is hospitalised after a strange nighttime incident, and Annabel is left alone in the house with these still-feral girls. Their strange behaviour makes Annabel suspect that they weren't alone in that cabin, and may have brought a jealous maternalistic ghost with them. So the consulting psychologist (Kash) starts to investigate the cabin's history.
Oddly, despite the fact that Chastain's personal odyssey is at the centre of the film, most of the narrative comes from the psychologist's procedural investigation into the identity of the woman the girls are calling "Mama". This involves implausible luck as he discovers ludicrously detailed records in dusty archives and then helpfully leaves his documents lying around so the right person can find them. Meanwhile, Coster-Waldau is needlessly marginalised in a corny plot turn early on. And it doesn't help that we never quite accept Chastain as a goth rocker, even though she gives it her best shot.
Continue reading: Mama Review
The film starts with a cheesy wedding video showing the romance and marriage of Clara and Koldo (Dolera and Martin), leading up to the reception in a beautiful garden hotel. Then guests start feeling queasy, infected by the gruesome virus of the previous films, which turns them into snarling, flesh-eating monsters.
And all hell breaks loose. From here, filmmaker Plaza abandons the found-footage genre, shooting things as a more standard horror romp as Clara and Koldo are separated and must try to find each other amid the carnage.
Continue reading: [Rec]3 Genesis Review
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