The Darkest Nothing: Paraphrenia (2018) Teaser And Posters

The movie is a cyber crime psychological thriller about the first technically possible “red room” with live video streaming out of a deep web site, with the psychiatrist who is responsible for it using projection technology and the whole platform for manipulating the viewers, who indirectly submit themselves into a deep and disturbing psychotherapy with subliminal messages and explanations about dreams, fears and pop culture references, movies and music, and how they affect the audience subliminally.

This is the first feature length film out of the series, with 5 short movies as bonus material, showcasing the whole back story of the psychiatrist, his entire group and how they got into the underground horror deep web business.

Gallery and more info below!!

Film Review: ‘Winchester’

Even the most tepid gothic thriller can be “original,” and “Winchester” qualifies: Set in 1906, it’s the first (and probably the last) ghost story to be haunted by the spirit of gun control. Helen Mirren, taking a paycheck role but incapable of slumming (or, at least, incapable of doing so without giving it her all), plays the real-life historical character Sarah Winchester, the turn-of-the-century California widow whose late husband, William Wirt Winchester, left her a 50 percent stake in the Winchester Repeating Arms Co. Mirren, her silver hair swirled into a Victorian bun, a black crepe dress buttoned up to her neck, speaks in an American accent, with a voice of calmly possessed clarity. Sarah sees ghosts everywhere, but she isn’t scared of them. She wants to help them. They’re the spirits of people killed by those dastardly rifles her husband invented.

The way that she helps them is to never, ever stop building rooms onto her sprawling San Jose mansion, a colossal gray Victorian with teal trim and red roofs. To say that she’s renovating the seven-story, 100-room structure wouldn’t do the project justice — the house is metastasizing. Carpenters work on it round-the-clock, sawing and hammering all night long, and the place is a loopy labyrinth of alcoves and walkways and boxy carved chambers. It’s like a cozy bed-and-breakfast the size of Xanadu, as designed by M.C. Escher. The point of all this labor is to give the ghosts a place to come and heal. But some of the spirits don’t cooperate. They’re so testy they need to be locked away, sealed into their rooms with 13 nails.

The Winchester Mystery House, as it’s known, is a legendary tourist attraction (according to San Jose folklore, it really is said to be haunted by the ghosts of people killed by Winchester rifles). But in “Winchester,” Sarah’s paranormal real-estate fetishism is more than a wealthy widow’s eccentricity — it’s a compassionate gesture offered to the victims of gun violence. The board of the Winchester Repeating Arms Co., however, thinks she’s gone around the bend, and are using that as an excuse to take away her stake.

To accomplish this, they hire a dissolute physician, Dr. Eric Price (Jason Clarke), to move in and do a psychiatric evaluation of her; basically, they pay him to declare her mentally unstable. What they don’t count on is that Price is a laudanum addict haunted by visions of his late wife, who killed herself (yes) with a gunshot. The movie’s villain, meanwhile, is the melty-faced, vengeful Jack-in-the-box spirit of a Confederate corporal whose brothers were killed by Union soldiers. “Winchester” is the supernatural-schlock version of a liberal think-tank paper. It says, “Look at all the ways guns can kill — and turn people into ghosts.”

Sarah may not be crazy, but the film seems slightly nuts. It was directed and co-written by Michael and Peter Spierig, the German-Australian filmmaking brothers who made the showy, overblown “Daybreakers” (2014) as well as the recent torture-porn sequel “Jigsaw,” and they’re trying, for once, to be “restrained.” But that just means that there’s drawing-room dialogue between Jason Clarke and Helen Mirren that sounds like it came out of a Vincent Price movie; mostly, it’s there to break up the routine ghostly shock cuts. Mirren does all she can to look like she’s having fun, but “Winchester” isn’t a movie about acting. It’s an empty grab bag of a spook show in which the Spierig brothers never do figure out a way to turn the Winchester Mystery House into an exhilarating movie set. It’s more like a hardwood maze that traps us.

Leonardo DiCaprio to Star in Quentin Tarantino’s Manson Movie

After being courted for several months, Leonardo DiCaprio will star in Quentin Tarantino’s untitled Charles Manson movie, sources confirmed.

DiCaprio will play an aging, out-of-work actor in the film. Margot Robbie, meanwhile, is being eyed for the role of Sharon Tate.

This will mark DiCaprio’s first film since winning the Oscar in 2016 for his performance in Alejandro G. Iñárritu’s “The Revenant.” DiCaprio and Tarantino last collaborated on 2012’s “Django Unchained.”

He is repped by LBI Entertainment.

As previously reported, Tom Cruise is also being pursued to star in the director’s ninth feature. Sources now tell Variety that Tarantino is interested in casting Al Pacino in the film as well. Sony is handling distribution.

The movie will hit theaters on Aug. 9, 2019, Variety has learned. Opening on the 50th anniversary of the day that the Manson family committed the LaBianca murders and the day after Tate was killed, the film will head off against “Artemis Fowl,” Disney’s adaptation of the popular sci-fi and fantasy series.

Sony beat out several bidders, including Warner Bros. and Paramount, for rights to the film. The movie — shrouded in secrecy — is set in 1969 and is believed to involve Charles Manson and the Manson family murders. The director has told media outlets that it’s not a biopic, but is an ensemble film set during the tumultuous time period. It’s the first pic that Tarantino is releasing without the Weinstein Company. A group of investors led by Maria Contreras-Sweet is in a strong position to buy the Weinstein Company following sexual misconduct allegations against its disgraced founder Harvey Weinstein.

Deadline Hollywood first reported the news.

Huge $150 Million Presidents Day Weekend Opening

Disney-Marvel’s “Black Panther” is heading for as much as $150 million in its North American opening on the four-day Presidents Day weekend, updated tracking is showing.

That’s significantly above the first tracking on Jan. 25 for the Chadwick Boseman tentpole, which initially placed the debut in the $100 million to $120 million range for the Feb. 16-19 period. “Black Panther” could break the Presidents Day weekend record of $152 million, set in 2016 by “Deadpool.” It will easily top the second-highest debut for  the four-day holiday, set in 2015 when “Fifty Shades of Grey” opened with $93 million.

“Black Panther” has been gaining steam this week. Fandango reported Wednesday that “Black Panther” is outpacing all superhero movies in advance ticket sales for Fandango’s online tickets service, eclipsing 2016’s “Batman v Superman.” It topped Fandango’s daily ticket sales in the wake of its world premiere and first screenings two days earlier.

The newest tracking showed total awareness of “Black Panther” at 88%, unaided awareness at 43%, and definite interest at 57%. Boseman stars as T’Challa, who takes over as the king of Wakanda after his father T’Chaka is killed, as shown in “Captain America: Civil War.” The film also stars Angela Bassett, Forest Whitaker, and Michael B. Jordan. Ryan Coogler directed the movie from a script he co-wrote with Joe Robert Cole.

Initial tracking on Thursday also showed that Warner Bros.’ comedy “Game Night” is projecting an opening in the $15 million to $20 million range on Feb. 23-25, while Paramount’s sci-fi thriller “Annihilation” should debut in the $12 million to $15 million area during the same weekend.

Game Night,” directed by John Francis Daley and Jonathan Goldstein, stars Jason Bateman and Rachel McAdams and follows a group of friends whose game night turns into a murder mystery. Supporting cast includes Kyle Chandler, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Michael C. Hall, and Jeffrey Wright.

Annihilation,” based on Jeff VanderMeer’s horror sci-fi novel, is directed by Alex Garland from his own script. The story follows a biologist, played by Natalie Portman, who embarks on a four-person expedition into a territory cut off from civilization while searching for clues about her husband’s disappearance. While there, she must deal with a contamination, vanishing colleagues, a deadly animal, and a creature known as the Crawler. Jennifer Jason Leigh, Gina Rodriguez, and Tessa Thompson also star.

Paramount made a deal with Netflix in December for the streaming service to handle the international release of  “Annihilation.”

Horror Screenwriter John Oak Dalton To Make Directorial Debut On The Girl In The Crawlspace

Now this one is beyond exciting for me! Horror Society has just gotten word that friend of the site, John Oak Dalton, writer of such films as Sex Machine, Scarewaves, Haunted House on Sorority Row, Jurassic Prey, and many others, is gearing up to make his directorial debut on the film The Girl in the Crawlspace.

The film is set to be produced by Henrique Couto who has directed several of Dalton’s scripts, including the aforementioned Haunted House on Sorority Row. Plus, Jurassic Prey director Mark Polonia will be on hand to edit the film. The three recently collaborated on the film, In Search Of. Scream queen and another frequent collaborator, Erin R Ryan is set to star.

The Girl in the Crawlspace is slated for release in 2018. Keep your eyes here, because the first chance I get to screen this for the Horror Society crowd in Chicago, I will!

Take a look at the press release below for some more information.

Director Henrique Couto (BABYSITTER MASSACRE) and screenwriter John Oak Dalton (HAUNTED HOUSE ON SORORITY ROW) are teaming up for the fifth time on one of Dalton’s screenplays—only this time they are wearing different hats, with Couto producing (and serving as Director of Photography) and Dalton directing.

THE GIRL IN THE CRAWLSPACE will begin shooting this spring in rural Indiana.

“John Dalton is one of my favorite collaborators, so helping him take the director’s chair was a no brainer for me,” Couto said.

“I have wanted to jump over to the director’s chair for a while, after working on the sets of some of the movies made from my screenplays,” Dalton said. “This is a script I feel strongly about, one that I have wanted to get out there.”

Erin Ryan (CALAMITY JANE’S REVENGE) will play the title character, Jill. At the outset, Jill escapes from a notorious serial killer who has kept her prisoner in a crawlspace. She tries to work her way back to normal with the help of a therapist, but becomes inserted into the therapist’s strained marriage with a failing screenwriter. Joni Durian (ALONE IN THE GHOST HOUSE) and John Hambrick (SCAREWAVES) play the troubled couple.
Others in the cast include Tom Cherry, Rachael Redolfi, Jeff Kirkendall, Joe Kidd, Iabou Windimere, Chelsi Kern and fellow director Andrew Shearer.

“It’s psychological horror, with hopefully some good twists and turns,” Dalton said.
Prolific b-movie director Mark Polonia , who Dalton has penned seven screenplays for–including JURASSIC PREY and AMITYVILLE DEATH HOUSE–has signed on to edit. This marks the second time Dalton, Couto, and Polonia have collaborated after this summer’s Bigfoot movie IN SEARCH OF.

THE GIRL IN THE CRAWLSPACE is slated for release in 2018.

Drive, He Said: Uma Thurman’s ‘Kill Bill’ Accusation Demands Action, Starting with a Response from Quentin Tarantino

Quentin Tarantino needs to come clean about what happened on the set of “Kill Bill.” He needs to speak out, to fess up and tell us what, exactly, he was thinking. Because that could be one small yet meaningful step toward repairing what’s sick and broken in our entertainment culture — and our culture, period.

In a bombshell interview with Maureen Dowd of The New York TimesUma Thurman, who for 10 years, beginning with “Pulp Fiction” (1994), was Tarantino’s movie-star muse, details what she went through at the hands of the predatory Miramax mogul Harvey Weinstein: the sexual coercion (hotel rooms, bathrobe, compliant publicists — the whole gruesome Harvey bit) intertwined with threats of career derailment, all of which she bravely resisted. But, of course, we have now heard these skin-crawling Weinstein stories many times. Thurman’s testimony, courageous and important as it is, adds up to one more horrific chapter in the saga of Harvey the unspeakable.

The every bit as jarring news in Thurman’s account is what transpired between her and Tarantino. In Mexico, nine months into the shooting of “Kill Bill” (the film had yet to be sliced into two volumes), just four days before the picture was set to wrap, Tarantino, filming a crucial sequence — the heroine’s ride to vengeance — asked Thurman to step into a rickety blue Karmann Ghia and cruise down a sandy rural road at 40 miles per hour. She didn’t want to do it, and said so. A technician on the set had informed her that the car was faulty; the sequence, from every indication, needed a stunt driver. But Tarantino wanted Thurman in the car — he craved the cathartic cinematic realness of it. And once he insisted, she gave in

She drove and drove, and wound up losing control of the vehicle, which slid off the road and crashed into a palm tree, seriously injuring Thurman’s back and her knees (injuries she suffers from to this day). She considered suing Miramax, but wasn’t able to get hold of the accident footage captured by the camera mounted on the back of the car. Weinstein, the lawyers at Miramax, and — yes — Tarantino knew the footage was actionable, and kept it from her. (They’d relinquish it only if she signed a waiver releasing them from liability.) She has the footage now, though, and has made it public. Watch the video, and you’ll see that every bit as disturbing as the car crash is the casual, all-in-a-day’s-work way that Thurman is hoisted out of the car (with Tarantino hovering), as if to deny the damage of what just happened.

So how could it have happened? The answer — or much of it, anyway — resides in Quentin Tarantino’s head. That’s why we need to hear it. And reflect on it. And judge it.

In the four months since the #MeToo revolution was launched on the wave of the original accusations against Weinstein, Kevin Spacey, James Toback, and others, there hasn’t been a lot of call for men to speak out. The accused, of course, have had nothing to offer beyond limp pro forma apologies and barely contrite silence. Other men have voiced impassioned support and belief in the movement — and, on occasion, they have struggled to reframe the argument, only to learn (as Matt Damon did) that this is a time for listening rather than parsing.

But Tarantino presents a different situation. He’s not accused of sexual harassment — but he was, of course, very close to Harvey Weinstein, so the question of what he knew and when he knew it, and what responsibility (if any) he holds for enabling Weinstein’s behavior, remains relevant. Tarantino has already spoken out on these matters, in an October interview with The New York Times that seemed, at the time, to keep the world at bay. He may now have to say more.

He certainly needs to address the “Kill Bill” car scandal in a far more detailed and confessional manner — because he’s in the murky middle of it, obviously, but also because Tarantino is in a position to shed light on how the vertiginous power dynamics of Hollywood operate, and how they might now change.

An honest question: Is the revelation of Thurman’s “Kill Bill” story a #MeToo moment? There’s no denying that the car incident didn’t just happen out of “negligence.” It was the result of a recklessness, an arrogance, a so-ingrained-it’s-taken-for-granted pattern of unchecked aggressive male dominion in the film business. Seen against the backdrop of #MeToo, against the pileup of accusations and a landscape that’s shifted, overnight, to a policy of zero tolerance, the “Kill Bill” incident looks, perhaps, like a second cousin to harassment: the cold exploitation of talent by those who surely knew better.

Some are calling it an act of misogyny, and are quick to lump it in with what they view as the misogynistic undercurrents of Tarantino’s films. But I would afix a not-so-fast!warning to that assessment. The cinema of Quentin Tarantino is a pop dreamscape in which the imagination — and, yes, the anger — of women has been portrayed with an audacious hellfire exhibitionism. “Death Proof,” the one-half of “Grindhouse” that he made after “Kill Bill Vol. 2,” is a parable of vengeance that, in fact, features a horrific female car crash, with bodies smashing through windshields and limbs flying. Yet taken as a whole, “Death Proof” is a virtual parallel of #MeToo: It’s all about women rising up to say that they’ve had enough, giving the men who’ve abused them a toxic taste of their own medicine. In both halves of “Kill Bill,” Uma Thurman’s The Bride is beaten down, bedraggled, and left for dead, but she’s also a slashing samurai-hellion with a whiplash gleam of empowered elegance. She’s a victim-turned-crusader, and nobody’s fool. The film is masochistic, and sadistic, and misogynistic, and feministic. That’s the Tarantino brew. More to the point, that brew is a heightened version of everything the movies have been for 100 years.

It’s telling that the Karmann Ghia sequence that Tarantino was shooting, if you watch it at the beginning of “Kill Bill Vol. 2,” is a deliberate echo of Janet Leigh’s night-drive-through-the-rain in “Psycho.” Leigh’s Marion Crane was, of course, on her way to the slaughter, and Thurman’s Bride faces terrors nearly as extreme, though she, unlike Marion, turns the tables and triumphs over them. But the parallel brings out the underlying Old Hollywood side of Tarantino. Thurman’s interview with Dowd includes accounts of how, during filming, it was Tarantino, off camera, who was actually spitting on her (instead of the Michael Madsen character) or pretending to choke her, just as it was Hitchcock who held the knife during certain set-ups in the “Psycho” shower scene. With that in mind, the “Kill Bill” car incident raises the question: Did Tarantino, like Hitchcock, feel as if he somehow had the right to subject his actors to the torments — or, in this case, the risks — that he chose, all in service to the gods of cinema?

That’s a question that only Tarantino can answer, and I truly hope he does. The fact that Thurman felt like she couldn’t say no to Tarantino is the most painful aspect of this story. You can see how refusing to get into that car would have meant, for her, upending the whole looming power structure. And that starts to sound very familiar. Yet what took place on the set of “Kill Bill” raises issues that extend beyond the parameters of #MeToo: How often, in the shooting of a movie, does this kind of risk take place? And how much does it happen to women vs. men? These questions will start to be answered in the days to come. For now, though, one can’t escape the feeling that the “Kill Bill” incident represents an assertion, and a circling of the wagons, by a testosterone-driven culture of scandalous entitlement. Even — or especially — if it doesn’t think of itself that way.