Knock Knock...Who's There? I think that should be the name for the sequel to the new thriller Knock Knock. If you saw the trailer featuring sexy stars Keanu Reeves and newcomers Lorenza Izzo and Ana De Armas, chances are you'll run out to the theater expecting buckets of blood from horror master Eli Roth. But you may be disappointed. This flick is more in the same vein as Fatal Attraction, The Hand That Rocks the Cradle, and cult fave The Crush (starring Carey Elwes, who may have been a good choice to star in this...but I digress).
The set up is almost like an episode of ABC's What Would You Do? Keanu Reeves plays a dad (take a minute to wrap that around your brain) with a wife and two kids. At the age of 50, he still oozes a natural coolness; the guy is super Zen. With his wife and kids conveniently out for the weekend, he's home alone to work on a project during a dark and stormy night. Cue the titular door knock! Outside are two young, sexy thangs standing in the rain, stuck with a dead phone and nowhere to go.
At this point, I started thinking, how would I handle this? Mr. Reeves becomes the Everyman, and at first, he does everything right, helping these young ladies, remaining cool and hip. However, I am not giving anything away when I say he gets seduced by the girls and they all end up having a menage a trois (Mistake #1). True, we live in the Age of Ubers, and he does call a car for them, but with a 45-minute wait, what else is there to do but casually talk with beautiful strangers about everyone's favorite topic: SEX!
It would be a perfect world for this dad if the two giggly girls were gone after the crazy romp, but they don't leave, and thus begins the cat-and-mouse game. The second act makes you root for the innocent dad and then it flip-flops to the girls because they seem to be having a blast torturing this guy. (Because technically, he is a cheating dad and no good, right?) With contagious laughter, the girls completely destroy everything in his life, and you almost don't want to see them get caught. They hit the house like a wrecking ball!
I kept waiting for the movie to get more ruthlessly wicked (because, hello, Eli Roth), but it never turned that queasy corner; even the sex scene was pretty tame. I walked in thinking it was going to be Fatal Attraction 2015, but the scariest element of the movie was the idea it ultimately suggests: The Internet can change your life and instantly bring on lots of judgment. That is something Glenn Close didn't have in her crazy bag of tricks for Michael Douglas back in 1987.
Eli Roth has clearly grown up with this thriller, working with comedic actress/producer Colleen Camp (Yvette in Clue!) who also has a cameo. During the press junket for the film, the two discussed how they were able to finance the project. In 2014, they got tickets to the Oscars and ran around trying to get a big name to star in the thriller. At one point, she yelled to Roth, "Come on, John Travolta is getting us in to the Vanity Fair party!"
Moral of the story: this is one unlikely duo that needs to work together on more projects.
The Jane Austen classic is getting a horror remix in 2016, this time with stars from Doctor Who (Matt Smith!) and Downton Abbey (Lily James!), and we are IN LOVE.
We read Seth Grahame-Smith's novel back in 2012, and we knew back then that a kickass film adaptation was inevitable. Who wouldn't want to see Lizzy Bennett and her corset-wearing sisters slice and dice their way through Britain's undead? For those who loved Abraham Lincoln: Vampire Hunter, this is your bloody cup of tea.
Do you love 80s slashers? If the answer is "yes," then Dismembering Christmas is the film for you, a straight-up homage to cult faves like Happy Birthday to Me, Friday The13th, Black Christmas, Silent Night Deadly Night, and Curtains.
Slasher Studios has clearly done its homework, and I'm going to go ahead and give this an A+ for the awesome effort. Writers Kevin Sommerfield and Steve Goltz have their work cut out for them trying to make a decade-specific genre feel fresh for a 2015 audience. They stick to a formula that keeps a slasher like this entertaining and give the audience what they want and expect.
The set-up: A group of fresh, young faces spends Christmas in a secluded cabin in the woods that has a scary history and lots of red flags. So does the group leave as soon as possible? Nope! Thank goodness these kids don't listen to the old folks who try to warn them.
In the grand tradition of Jason, Freddy, and Michael, Dismembering Christmas comes a slasher to follow in the snowy footprints around the cabin. Without giving too much away, the mask is unsettling, and you definitely would run away if you saw it.
Getting the characters separated around the cabin is no easy task, but Dismembering Christmas does this in a believable way. The creative deaths are all worthy of being mentioned here, but I don't want to spoil anything because, after all, that's the fun of this movie!
The actors all rise to the challenge, play it straight, and don't knock the horror genre. The score by Dylan Curzon is first-rate and sets the perfectly eerie tone. And director Austin Bosley has created a tight thriller and doesn't waste time -- he gets to the horror we've all been waiting for.
Do yourself a favor and check out this terror-filled treat during the upcoming holiday season...or put it in a stocking for the horror lover in your life.
You can order Dismembering Christmas and other Slasher Studio titles and soundtracks at Slasher Studios.
The more Nicole Arbour opens her mouth, the more her defense crumbles.
After the YouTuber made headlines with her controversial "Dear Fat People" video, she became the brunt of other bad jokes and the target of every anti-fat-shaming supporter in the blogosphere. She also appeared on ABC's The View to clarify and defend herself...to humiliating results.
The below clip clearly demonstrates how much of an AMATEUR she is (especially while sitting at a table full of comedy veterans). Granted, there are YouTubers out there with genuine talent (we're friends with a few), BUT appearing on live TV just shows how much Arbour has to learn and how much she needs to rethink her "brand" -- because crafting your image with carefully edited vlogs and lazy punchlines does not a comedian make.
Early 2015 gave us the airy and shiny house groove of "Hold My Hand" while this past summer delivered the uplifting "Don't Be So Hard On Yourself" and the Tinie Tempah collaboration "Not Letting Go." All three of these tracks appear on the album, and all three sound as if they were born out of a 1995 jam session. (To clarify, that's a very good thing.)
Of course, all of this praise could be attributed to 90s nostalgia, which is all the rage as we move further into the 2010s. But after listening to the rest of this fantastic collection of inspired tunes, Glynne's soulful vocals are undeniably a perfect match for the silky smooth production and lyricism that runs throughout the dozen-plus set. By pop music connoisseur standards, it's as if Adele and Betty Who had a love child and raised it on early-90s R&B and house (while nurturing her fluid sexuality). If you need proof, start with the aptly titled "Right Here."
But it's not all Clinton-era throwbacks. There's 80s-tinged funk, as evidenced by the very Chaka Khan-esque "You Can Find Me" and the finger-shaking anthem "It Ain't Right." And then there are more stirring exercises in vulnerability in tracks like "Take Me Home" and "Saddest Vanilla," a gorgeous duet with the mesmerizing Emeli Sande.
Finally, if you're looking for a more mature alternative to Taylor Swift's summer smash "Bad Blood," make sure to check out Glynne's track of the same name, a more subtle (and poetic) approach to dealing with haters -- this time with a Western Asian flavor.
To stand back and observe the album in its entirety (The Deluxe Edition includes some worthy bonus tracks, including a soaring acoustic rendition of "My Love") is to fully realize that I Cry When I Laugh represents a rarity in today's pop music landscape: a fully realized masterwork that delivers on all emotional levels.
Last week, Dismaland, the temporary theme park created by provocative artist Banksy, was introduced to the world.
This week, the anonymous artist has released a promotional video that gives us a much better look at what’s actually inside the park (located in the UK). It looks like an incredibly twisted skew on the culture of theme parks, which can already feel pretty dismal as is.
Watch as a family in need of a vacation heads to Dismaland -- the most nightmarish place on Earth:
Earlier this week, the Mercedes-Benz Evolution Tour stopped in Los Angeles for the second installment of the multi-city music tour showcasing their new babies, the compact luxury GLA and CLA. Following a successful 2014 launch, this year's tour continues to appeal to both music and car lovers.
Featuring a headlining performance by the Bastille at the Hollywood Palladium in Los Angeles, the event also featured a special set by DJ Ruckus (who DOESN'T love a mashup of Montell Jordan's "This Is Houw We Do It" with TLC?) and a live interactive art exhibition by Gregory Siff.
The band kicked off the night with their rollicking single, "Things We Lost in the Fire" and closed out their hour-long set with their 90s cover/mashup "Of The Night" and their mega-smash "Pompeii."
The gay rights movement is brought to visceral life in director Roland Emmerich's Stonewall, a retelling of the 1969 New York City riots during which "the toss of a single brick" birthed a crusade for equality.
Synopsis: STONEWALL is a drama about a fictional young man caught up during the 1969 Stonewall Riots. Danny Winters (Jeremy Irvine) is forced to leave behind friends and loved ones when he is kicked out of his parent’s home and flees to New York. Alone in Greenwich Village, homeless and destitute, he befriends a group of street kids who soon introduce him to the local watering hole The Stonewall Inn; however, this shady, mafia-run club is far from a safe-haven. As Danny and his friends experience discrimination, endure atrocities and are repeatedly harassed by the police, we see a rage begin to build. This emotion runs through Danny and the entire community of young gays, lesbians and drag queens who populate the Stonewall Inn and erupts in a storm of anger.
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