Author Archives: Leonard Wilson

Film Review: The Substance (dir. by Coralie Fargeat)

Posted on by Leonard Wilson

Between Revenge and now The Substance, French filmaker Coralie Fargeat is two for two.

If you are a fan of body horror along the lines of most of David Cronenberg’s films (Scanners, Rabid, Videodrome) and have also managed to dodge any information about Coralie Fargeat’s The Substance, stop reading and give it a watch. Easily the best film of 2024 in the “What the hell did I just witness?” category, The Substance is a total experience from start to finish. The winner of Best Screenplay in this year’s Cannes Film Festival, It’s a mix of Death Becomes Her and Multiplicity, but I highly recommend watching it without knowing too much about the film. This makes it hard to write since there are some wild surprises abound and I’m refraining from giving too much away.

Elisabeth Sparkle (Demi Moore, Charlie’s Angels 2) was once a popular star in Hollywood, but that light has faded since she’s grown older. Working in a line of fitness videos isn’t quite the same as making movies, but it helps to keep her afloat. When she overhears her manager, Harvey (Dennis Quaid, The Day After Tomorrow) talking about dropping her for a younger, fresher face, her spirits are hurt. During a doctor’s visit, she is gifted a flash drive labelled “The Substance”, which explains a set of rules to unlock “a better version of yourself”. Elisabeth eventually takes the plunge and as a result, her better version is revealed. The rules for The Substance are as strict as the ones in Gremlins, requiring great care for both bodies to maintain an optimum efficiency for the week each one gets to play.

After giving her new self a name, Sue (Margaret Qualley, Once Upon a Time in Hollywood) decides to take on the duties and auditions that Elisabeth couldn’t get. As Sue’s popularity grows, so does her desire for more time. This leads to changes for both Sue and Elisabeth, as each side fights to hold on to their life (or lives). Can Sue and Elisabeth find a way to coexist without going at each other’s throats?

For The Substance, Fargeat’s filming style is a mix of colorful extreme close shots and fast changes between scenes. At least, this is how I perceived it. Dennis Quaid’s character is made to seem larger than life and repulsive, so we tend to get close ups of him eating and smoking while talking. Sue’s scenes are bright, rich and colorful. Elizabeth’s scenes are more standard. All in all, it gives the whole film a creep factor in that most of the shots feel nearly intrusive on their subjects. The horror starts off small, but escalates quite well. Fargeat has a way of making even the smallest of scenes (like throwing out garbage) something to cringe over. The sound quality in this movie is wild, reminiscent of what Leigh Whannell used for Upgrade. The creaking of bones echo. The voice on the phone feels like it’s right in your ear and fluids are extremely squishy. I winced, I laughed, and most importantly, I found myself muttering “What the hell?!” a few times.

Performance wise, the film belongs to both Moore and Qualley and they carry the film effortlessly. As Elisabeth, Demi is both haunted and courageous. At 62, this is a performance unlike anything I’ve see her do before and it reminded me of Nicole Kidman in The Hours or Charlize Theron in Monster. While her changes might not be as great for the Golden Globes with both Amy Adams, Mickey Madison and Cynthia Erivo in the mix, she deserves the accolades for what she puts herself though. I also wouldn’t be shocked if Moore’s name reaches the Oscars. Qualley is just as great, with Sue equally enjoying her fame and finding herself disgusted with who she’s sharing this life with. Note that there is a lot of nudity in the film, but given the situations both characters are in, I felt it made sense for the film.

Overall, The Substance is a wonderful off-kilter showing by Coralie Fargeat. It makes for a great late night film to watch that may make you wince, shudder and perhaps even cover your mouth once or twice. .

Film Review: Anora (dir. by Sean Baker)

Posted on by Leonard Wilson

I sometimes forget that as a viewer, I have no control over a movie’s storytelling process. I remember watching Clint Eastwood’s Mystic River after blind-buying it and pleading with the film during a major scene between Sean Penn and Tim Robbins’ characters. I knew why the story moved in this direction. I understood the choices each character made and what brought them to this moment, but nothing could change the events. Not my pleas, not my anger, nothing. Great film, but hard watch. What’s presented on screen is the story we’re given.

Sean Baker’s Anora is a fun film in many ways. I was a little skeptical at first, but quickly found myself invested in where this story was taking me. Before you decide to watch it, however, you should know there’s a lot of sex in the first 30 minutes or so. I don’t know how Disney’s gonna handle that one when it gets to Hulu, but hey, Alien Romulus holds up just fine with the violence involved.

Anora introduces us to Anora “Ani” Mikheeva, a sex worker who everyone at her nightclub, Headquarters, adores. When she meets Ivan (Mark Eydelshteyn), it’s business as usual. He spends a lot, was looking for a girl who could speak Russian and Ani discovers he’s the son of an oligarch. They hit things off so well that during a party in Vegas, they decide to get married. When word of the marriage reaches Ivan’s parents, they send Toros (Karran Karagulian) and two of his employees, Igor (Yuri Borisov) and Garnick (Vache Tovmasvan) to have the wedding annulled. What starts as a simple task becomes a full on quest when Ivan panics and leaves. Will the group find Ivan? And if they do, can Ani convince Ivan to uphold the marriage? That’s the gist of the film.

In some ways, the flow of Anora reminds me of Norman Jewison’s Moonstruck. We’re introduced to Ivan’s extended family, and despite all of the issues, there are some small connections made over time. As they spend time trying to locate Ivan, I loved the interactions Ani has with the group. Without revealing too much, it all comes to a head. The pacing is pretty even. For a film that’s 2 Hours and 15 minutes, you won’t even notice how fast it moves.

When it comes to acting, the entire film is carried singlehandedly on the shoulders of Mikey Madison. She was impressive in Once Upon a Time in Hollywood, and she completely shines here. Ani is sexual and kind, yet fierce when it comes to fighting for what’s hers. She easily stands toe to toe with anyone she’s up against. Madison is easily due the recognition she’s received so far since the film was released. Granted, she’s not alone in all this. both Karagulian and Tomvmasvan serve as comedic foils in certain ways, which really help to move the story along. There are fine performances from all of the cast members, but these the ones who stood out, in particular.

The Cinematography is pretty standard in Anora. While there are a number of dark setting scenes, they’re all well lit. There any any shots in the film that stood out as being spectactular in any way.

The only real drawback to Anora is the direction of the story. It’s not a terrible thing. It may be more a realistic ending, more in the vein of Robert Benton’s Kramer vs. Kramer or Damien Chazelle’s Babylon, where you might find yourself hoping for one outcome, only to receive something else entirely. It doesn’t fully hurt the film. I’d argue that it might enhance it, considering how eager I was for what I wanted to see occur.

Overall, Anora is a fine film if you’re not discouraged by the sexual elements early on. You might find yourself cheering for Ani throughout her adventure, despite the directions the story takes.

Film Review: Nosferatu (dir. by Robert Eggers)

Posted on by Leonard Wilson

I stepped out of the doors of the Regal Times Square yesterday, feeling giddy as a schoolkid. In my hands were a custom popcorn bucket and an Orlock Funko-Pop. I thoroughly enjoyed Robert Eggers Nosferatu and Christmas Morning was a delight. It was Film Euphoria. It was as if Halloween had one last gift to give, one final end of film zinger, and give it did.

At my early morning showing for Robert Eggers Nosferatu, we had at least one fellow who fell asleep and snored through the bulk of the film. Not loud enough to be disruptive, but it almost mimicked the strange purring sounds of the film’s antagonist. Granted, I understand. My showing was around 10a.m. on Christmas Morning and perhaps they partied hard the night before. Anything’s possible. Still, part of me likes to think that a person walking into a Robert Eggers film may have some expectations. With only three films under his belt – The Witch, The Lighthouse, and The Northman, regular audiences know that he has a taste for the macabre (perhaps even the unhinged), usually employs a slow burn when it comes to pacing and works with a great deal of light and shadow. If either of his previous films worked for you, Nosferatu‘s a near perfect fit for his style. If you’re not a fan of Eggers work, nor a fan of the previous renditions of Nosferatu, there’s little here that will make you change your mind (save for just a little more gore, perhaps). It’s a little hard to spoil a story that’s more than a century old, but Eggers makes enough changes to keep the film from being the exact note for note story as before. Is it scary? Yes. Is there blood? Sure, but none of it is in the ‘jumpscare every other second’ variety. If that’s what you’re looking or hoping for, none of the Nosferatu’s (including this one) will deliver that and you will be quite disappointed. This is a prime cut of wagyu beef, not your everyday sirloin.

As most know, Nosferatu was essentially stolen from Bram Stoker’s Dracula. The original – Nosferatu: A Symphony of Horror was a silent film released back in 1922 by F. W. Murnau. Although the story was written and changed to fit German audiences, elements were still very close to Stoker’s and the Stoker Family tried to get rid of it. Copies were burned, but like that Jumanji box, it managed to slither through the years, gaining popularity to the point of Canonization. If Film History is your thing, I highly recommend watching the 1922 film, if you haven’t already. It amazes me how most of what they did was accomplished (my favorite scene being Orlok prepping his coffins for his trip). At the time of this writing, the movie is currently available on Amazon Prime. For me, I love the 1979 update by Werner Herzog, Nosferatu The Vampyre. There are a few minor changes in the plot, but it’s just as powerful.

Thomas Hutter (Nicholas Hoult, Mad Max: Fury Road) is married to his lovely wife Ellen (Lily-Rose Depp, The King) in the town of Wisborg. Ellen suffers from fits of melancholia, which cause her to either spurt morbid tales or put her in convulsive fits. He’s looking for a way to improve his financial station with his bride while keeping her problems hushed, and has found a great opportunity from his boss, Herr Knock (Simon Burney, Mission Impossible: Rogue Nation). It appears a wealthy old man wishes to move to Wisborg and purchase an estate there. The only stipulation is that he is infirm and cannot make the journey. Thomas is charged with traveling to the Carpathian mountains, where he is to visit Count Orlock at his home with the deeds and contracts. During his trip, Thomas is warned of the dangers ahead, but proceeds full on, meeting the Count and his strange ways. Upon learning of Ellen and her beauty, the Count sets off a chain of events that will put all of Wisborg at risk. Can the Count be stopped in time?

There’s so much love in this production, it seems. It certainly has the atmosphere down. Cinematographer Jarin Blaschke, who worked on all of Eggers previous films, weaves some magic with light that in some scenes rival Alejandro Amenabar’s The Others. Lanterns and candles are blinding, while at the same time, you might find yourself squinting to see the figure in the shadows. I had a few “look around the screen” moments while watching it. There’s absolutely nothing to complain about from a visual standpoint, it’s just beautiful. It’s also quite dark in nature. We’re dealing with vampires, possession and the occult, which Eggers takes in a few extremes (particularly through Skarsgard, Depp and Burney). Ancient tomes? Check. Romani banishing the darkness with Garlic? Check. Consecrating the soil? Done. The sound design in the film is nice, particularly with the breathing and talking for Orlok, which felt like it travelled through the audience. Blood squelches, screams are crisp. There’s little more I can say there, really. I was entertained and transported.

The cast is wonderful. The only thing I’ve ever watched Lily-Rose Deep do was Yoga Hosers, and she’s come a long way from that. Ellen is a tortured character, and Deep rides this through – fits, convulsions and all – to a point where you may wonder if she was really okay on set. We follow Nicholas Hoult’s Thomas as he moves from quiet reservation to curious disbelief and then ultimately, just full on terrified. Even the smaller roles work. Simon Burney’s character becomes repulsive. Emma Corrin, who had a fun turn earlier this year in Deadpool & Wolverine has good moments, along with Aaron Taylor-Johnson (Kraven the Hunter). Then there’s Dafoe. It never hurts to have Willem Dafoe in your lineup. This is his third film with Eggers and he’s come something of a lucky charm as Prof. Ebenhart von Franz. As the Van Helsing of the story, Dafoe is a treat to watch on screen, especially when paired with Ralph Ineson from The Witch. I could watch the two of them as detectives solving Gothic/Victorian X-Files in their own series or movies.

As Orlock, Bill Skarsgard (John Wick 4) really melts into the role, giving the character a low near constant purr and a voice that enunciates every word. Perhaps it was just me, but I did have a bit of a problem figuring out what Orlock was saying at some points. It improved as the story went on, though. Orlock’s look does veer from the traditional, through. That’s a jolt in itself. While he looks more like the Draugr in Skyrim or in Eggers own The Northman, I found myself thinking of “Taserface” in Guardians of the Galaxy, Vol. 2. If you can get past that feeling, it still works. It’s a creepy character and Skarsgard does it justice, I felt.

Clocking in at about 2 hours and 12 minutes, it’s considered the longest Nosferatu film. I found this odd because were a number of sequences the original and remake had that Eggers missed (like the loading of the coffins). The film is cut pretty well, for what it’s worth, though I’m not sure what they could have removed to trim scenes down.

If the film has any faults, any problems, there was one. The one weird misstep in all of this is a sex scene that seemed just a little out of place. I understand why it happened, and how it was supposed to fuel the story, but it comes on so fast and fierce that I sat there in the audience whispering…”Wait…what’s happening…Whoa…now? Here? Why?” Mind you, this is coming from someone who watched Shame more than once when it was first released. That, if anything, might freak a few people out if they’re not ready for it. Either that, or I’m becoming prudish in my old age.

Overall, I loved Nosferatu. If it weren’t so expensive to get out to a theatre, I’d make another run at it. As a remake, it easily stands toe to toe with John Carpenter’s The Thing and Chuck Russell’s The Blob as one you can sit on the shelf next to those who came before it. It’s a worthy adaptation, with moments of sheer dread and some that may push a boundary or two.

DC Studios and James Gunn reveal the Superman Teaser!

Posted on by Leonard Wilson

Despite my disdain for DC constantly rolling out remakes for their prime characters over the years, I’ll admit that I’m excited for what James Gunn could bring to a Superman story. We know he doesn’t play when it comes to killing characters, as evidenced in movies like Super, his DC Show Peacemaker and the Guardians of the Galaxy trilogy. We also know we have the potential for horror, having written Zach Snyder’s Dawn of the Dead and his own Slither being a fun and twisted flick. Above all, we know he loves animals.

All I’m hoping to see is something new, something fun & exciting. That’s more than enough for me. The teaser shows that Clark’s not alone in all this. He’s got quite a bit of backup, which looks pretty cool.

Superman has a release date set for July 11 of next year.

Behold the Live Action How to Train Your Dragon Teaser!

Posted on by Leonard Wilson

It’s been almost 15 years since the original How to Train Your Dragon was released. Taking a page out of Disney’s playbook, it looks like Dreamworks’ & Universal Pictures have decided a Live Action version was in order. Whether it was just to keep the story fresh in the minds of audiences, or to refresh the copyrights, here we have it. This was wild surprise on the big screen for me, because at first I thought it was a commercial for a possible theme ride at Universal Studios or something. It wasn’t until Gerard Butler showed up (reprising his role as Stoick the Vast) that it hit me – this is an actual movie. I have mixed feelings about this. With director Dean Deblois returning to the helm, there’s no way they can mess this up. I’ll be there for this. I’m totally sold. Then again, if it’s a shot-for-shot remake like Gus Van Sant’s Psycho or Jon Favreau’s The Lion King, would it still be entertaining? To Universal’s credit, Toothless and the other dragons look pretty good.

Universal/Dreamworks’ How to Train Your Dragon, starring Mason Thames (The Black Phone), Nico Parker (The Last of Us), Nick Frost (Hot Fuzz) and Julian Dennison (Deadpool 2) will be released next year in Cinemas.

The team is back in The Bad Guys 2 Trailer!

Posted on by Leonard Wilson

It looks like the 2nd greatest heist team (after the Crimson Paw) is back for another go around in The Bad Guys 2! Director Pierre Perifel and the cast have returned and the story finds our newly released & reformed thieves trying to do good. Of course, it doesn’t help that a heist team of admirers have asked The Bad Guys for assistance on a caper. Will the team stay reformed? Will the movie finally use Billie Eillish’s “Bad Guy” in the film, for a change?

We’ll find out when the movie releases next summer.

Fear No Evil (dir. by Frank LaLoggia)

Posted on by Leonard Wilson

In the early 1980s, my Dad owned a RCA Videodisc player. Among the assortment of films he owned, a few were listed as “Do Not Watch” for the kids. The Omen films, Cruising, The Exorcist, Rosemary’s Baby, Raging Bull, The Life of Brian, and Fear No Evil. There may be others, but those were the ones I remember in particular growing up. Over time, I’ve been able to see almost all of them save for Raging Bull & Cruising. I was able to catch Fear No Evil via AMC+ earlier this year, and honestly, I wish my Dad were still alive. I’d ask him what prompted him to get this film, and watch it on purpose. I’ll never know, but here’s this movie that he was curious enough to buy at one point.

Directed by Frank LaLoggia, Fear No Evil is the tale of three Angels – Mikhail, Gabriel, and Rafael – who are out to bring back or smite Lucifer (Richard Jay Silverthorn, who also did the make up for the film), running around on Earth as a man. Lucifer states he’ll be reborn and then smites himself. We then celebrate the baptism of Baby Andrew Williams, which really doesn’t go as planned. His parents, Greg (Barry Cooper, Johnny Firecloud) and Marion (Alice Sachs, Seems Like Old Times) struggle with Andrew (Stefan Arngrim, The A-Team) over the years until his 18th birthday. An incident with the birthday cake leaves the mother injured, a father at a loss, and a teen with more freedom than he needs.

Fear No Evil basically takes Damien: The Omen II‘s story and drops it into a public school. As the Antichrist, Andrew is pretty aware of what he is and has no real regrets about it. Having an eye for Julie (Kathleen Rowe McAllen, TV’s All My Children), Andrew stalks the grounds of his local high school. He’s found brooding from the building’s fire escape and tries his best to dodge Tony (Daniel Eden, St. Elmos Fire) and his crew. Outside of the religious themes, there’s a sequence where the bullies corner Andrew in the High School shower (though it doesn’t quite turn out the way it did in Brian DePalma’s Carrie). I’m thinking that probably was the big thing that caused my Dad to keep this off our radar. When Julie discovers she’s the reincarnation of Gabriel (now Gabrielle), she and Mikhail (Elizabeth Hoffman, NBC’s Sisters, Dante’s Peak) join forces. Will they be able to stop Andrew before it’s too late?

When it comes to the acting, Fear No Evil has some over the top performances. With the notable exception of Hoffman and McAllen, most of the cast amped up the camp level with their characters. Arngrim and Cooper both have moments where their characters are completely losing it. Whether it’s a Dad starting a bar fight because his son’s the devil, or a dodgeball sequence that goes off the rails (and had me laughing throughout), everyone kind of hams it up. I will give Arngrim some marks for his voice. When he speaks up, he reminds me of the Sister of Mercy’s Andrew Eldritch, for some reason.

I did enjoy the effects and makeup, for what it’s worth. Some of the effects are full of glitter and lasers, feeling a bit like Flash Gordon or the climax of The Manitou. Richard Jay Silverthorn, who also plays Lucifer at the beginning of the film, handled the makeup and the effects. For a movie with a pretty low budget, it’s not bad at all. The music may be the film’s greatest strength. With tunes like “Blitzkreig Bop” and “Psycho Killer”, the movie’s high school setting is peppered mix of classic rock and orchestral work. The film’s score does work well with the notion that evil things are afoot.

Overall, Fear No Evil isn’t that great a film compared to others before or after it. It does deserve some kudos for trying to deliver a tale with a small budget, and the effects are somewhat interesting. It comes across, however, as just a bit much with the acting. It’s more an “In your face” kind of evil than anything subtle.

Horror Film Review: The Hunger (dir. by Tony Scott)

Posted on by Leonard Wilson

Whoa! Hold your horses! This isn’t the only review for The Hunger. Take a look at Lisa’s Review and if you’re so inclined, feel free to double back here.

It seems fitting that we start our descent towards Halloween with Tony Scott’s first feature film, The Hunger. As a fan of Vampires in general, it may not be a great film, but I feel like it does have a place in history where creatures of the night are concerned.

When I think of Whitley Streiber, Wolfen comes to mind and anyone who knows me also knows how much I adore that film. I don’t usually associate him with Vampires, but 1983’s The Hunger is pretty interesting. To me, there’s a nice beauty and mystery to the film as the undead involved could just be regular people asking the same questions about mortality we do, all to some beautiful movie throughout. They are practical vampires. There’s no real explanation as to how John and Miriam move about through the day. Rather than biting, they use small knives to acquire blood. The powers they wield are subtle, putting the story on par with Kathryn Bigelow’s Near Dark when it comes to avoiding vampire cliches. Additionally, this film also never mentions the word ‘vampire’.

Miriam (Catherine Deneuve, Belle de Jour) and John Baylock (David Bowie, Labyrinth) are vampires living in present day Manhattan. Enjoying their existence as any member of the undead would, they spend their nights mingling among the living and discarding bodies by dawn. What seems like a great unlife takes a turn when John finds himself unable to sleep. This restlessness escalates as he finds he’s losing his hair and gaining more wrinkles. The pair stumble on the Park West Sleep Clinic, and Dr. Sarah Roberts’ (Susan Sarandon, Blue Beetle) studies on sleep and aging. For me, one of the best scenes of the film was a parallel between John’s rapid aging while waiting in the Clinic alongside a lab monkey that is also suffering a similar issue. Sarah doesn’t really get to check in on John (who ages a quick 15 years during the wait), but their meeting does eventually introduce her to Miriam.

Miriam eventually loses John after he falls into a near mummified state. Although he becomes incredibly old, he’s still far from death’s touch. I love her explanation for him: “Humankind die one way, we another. Their end is final. Ours is not. In the earth, in the rotting wood, in the eternal darkness, we will see and hear and feel.” We also learn that this has happened with all of Miriam’s former lovers over the ages. Miriam then turns her sights on Sarah, which blossoms into a mix of a romance at first. Trivia fans will recognize the piano piece Miriam plays for Sarah (Lakme by Delibes), which Scott reused for True Romance. That was a nice touch. Needing a new partner, Miriam’s approaches become more predatory after Miriam’s true nature is revealed.

The cast in The Hunger all do well, but let’s face it, the real draw here was always Bowie (at least for me, anyway). It’s a shame his character doesn’t stay on screen for long, but he makes good use of the scenes he has and he’s there for at least half the movie. The film essentially belongs to Deneuve, who brings some charisma to Miriam’s character. Whether she’s being playfully flirtatious or deadly serious, she seems to be in control. I don’t have anything particular against Susan Sarandon as an actress. She’s quite good in this, but part me kind of imagined Lesley Ann Warren (Clue) doing all this a bit better.

Tony’s directing style is beautiful but slightly disjointed, with flashbacks giving an idea to Miriam’s past. On the one hand, they aren’t enough to be too revealing, but they’re also accompanied with some strange sound zingers that could be a bit off-putting. He moves quickly between scenes, but the general ideas of immortality and her longevity are suggested. Cinematographer Stephen Goldblatt (Outland) would go on to work on the Lethal Weapon films and Schumacher’s Batman films. There are some good uses of shadow and light here.

The music a mix of classical pieces, mixed with what sounds like either wind chimes and synth keyboards. The classical music stands out. The score, not so much. It’s not a terrible thing by any means, but it’s a strange selection of sounds. Other than the music, I was bothered by the film’s ending. What occurs seems like it could have happened at any time, and why it does is never explained in any way. I guess it worked. By the end, though, I felt like I watched something where the first 3 acts were fully thought out and the production team threw a dart at a board full of possible endings.

Overall, The Hunger is a interesting film to watch if you catch it late at night. Every director has to start somewhere, and while it’s a little sketchy in the end, there’s some style and grace to it all.

Ana de Armas visits the Continental in the Ballerina Trailer!

Posted on by Leonard Wilson

It seems rather fitting to see Ana de Armas taking the lead in a story within John Wick’s universe. After all, she’s has a knack for action with films like No Time to Die and Ghosted, and she’s worked with Keanu Reeves in both Knock Knock and Exposed. The real question with Ballerina is whether audiences will want to see a John Wick-like film with a female lead. I can already imagine the incel crowd chirping about how John Wick is now tainted with the touch of – (Ick!! Dare I say it….) – Women. That same crowd may also have forgotten about Adrianne Palicki’s assassin in the first film, and Halle Berry’s character with her dogs in the third. Female Assassins are as old at the Kunoichi. Perhaps even far older than that. There are so many tales to be told, especially in this universe.

I’m excited to see how this turns out. With a look that mirrors Le Femme Nikita and Point of No Return, de Armas’ Eve looks to be just as dangerous as her predecessor, possibly as one of the Ballerina assassins referenced in John Wick 3. The trailer has the feel of the other movies, but we’ll have to wait and find out when it releases. Len Wiseman has the directing duties on this one. It’s been a while since he made a movie, but I did enjoy the style of 2012’s Total Recall. Hopefully, he’ll do good here.

The only thing that I find odd is the name – audiences all know it has to do with John Wick. Does it have to have that whole “From the World of John Wick” in the title? I’m pretty sure your average movie viewer will put things together once they see the Continental, Winston (Ian McShane) or Charon (Lance Reddick, in one of his final roles). Also on hand are Norman Reedus (The Bikeriders) and of course, Keanu Reeves, which could just be a cameo.

From the World of John Wick: Ballerina will be in cinemas in 2025.

Ryan Coogler and Michael B. Jordan take on horror with the Sinners trailer!

Posted on by Leonard Wilson

Ryan Coogler and Michael B. Jordan are back for another team up. This time, the Creed & Black Panther pair are venturing into horror with Sinners. The trailer doesn’t give much, but it looks as if Jordan may be playing twins. There may possibly be vampires or werewolves involved as well.

Sinners will be in Cinemas in March of 2025.