The producers of Sci-Fi cult favorite &#8220;Sharknado&#8221; have a new creature feature in the works — featuring a drug-addled alligator: &#8220;Attack of the Meth-Gator.&#8221;
The low-budget production company behind the project, The Asylum, specializes in what they refer to as &#8220;mock-busters&#8221; — movies that mock the larger-budget blockbusters in both title and plot. For example, 2009&#8217;s &#8220;Transmorphers: The Fall of Man&#8221; was a callback to &#8220;Transformers: Revenge of the Fallen&#8221;; and the company released &#8220;Titanic II&#8221; in 2010.
The new project, scheduled for release over the summer of 2023, gives a convenient recall to the recent hit film &#8220;Cocaine Bear&#8221; — but the production company says they already had &#8220;Meth-Gator&#8221; in the works prior to its release.
&#8220;Hold our bear &#8230; I mean, beer,&#8221; The Asylum tweeted on Friday. &#8220;Coming for your life this summer.&#8221;
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Hold our bear… I mean, beer. 
Coming for your life this summer. 
🧪🐊🌨️🧸 <a href="https://t.co/8V0WlPq8GY">pic.twitter.com/8V0WlPq8GY</a>
&mdash; The Asylum (@theasylumcc) <a href="https://twitter.com/theasylumcc/status/1629195412036014080?ref_src=twsrc%5Etfw">February 24, 2023</a></blockquote>
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The promotional imagery showed a large alligator with razor-sharp teeth and wild, glowing red eyes. Behind the monster stood several tall buildings and a few palm trees. The movie apparently centers around an alligator that was exposed to the drug through the fresh water supply.
&#8220;Please tell me this is real and not a joke,&#8221; an entertainment blogger begged, prompting a response from The Asylum confirming that the project was, in fact, real.
<a class="c-link c-link--focus-visible" href="https://onelink.to/dwapp" target="_blank" rel="noopener noreferrer" data-stringify-link="https://onelink.to/dwapp" data-sk="tooltip_parent" aria-describedby="sk-tooltip-107819">CLICK HERE TO GET THE DAILY WIRE APP</a>
&#8220;This is real! We’re pumping the meth into Floridas fresh water reserves as we speak!&#8221; they said.
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This is real! We’re pumping the meth into Floridas fresh water reserves as we speak! 😍
&mdash; The Asylum (@theasylumcc) <a href="https://twitter.com/theasylumcc/status/1629197292766126082?ref_src=twsrc%5Etfw">February 24, 2023</a></blockquote>
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Responding to a comment from a fan, Asylum CEO David Michael Latt said that a sequel would be titled &#8220;Crackodile.&#8221;
&#8220;For everyone peeing in their panties over Crackodile. Dad said yes,&#8221; Asylum tweeted back. &#8220;And @DaivdMLatt NEVER breaks a promise.&#8221;
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For everyone peeing in their panties over Crackodile. Dad said yes 🥹🥳😍 
And <a href="https://twitter.com/DavidMLatt?ref_src=twsrc%5Etfw">@DavidMLatt</a> NEVER breaks a promise <a href="https://t.co/DeS6eszd14">https://t.co/DeS6eszd14</a>
&mdash; The Asylum (@theasylumcc) <a href="https://twitter.com/theasylumcc/status/1629371969039929345?ref_src=twsrc%5Etfw">February 25, 2023</a></blockquote>
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Asylum offered one more teaser tweet on Saturday, showing some of the cast members complaining about one of their fellow actors being a difficult. &#8220;There&#8217;s that one drugged out diva on set that&#8217;s always late, ate half the crew, and leaving teeth all over the place.&#8221;
&#8220;We’ll give you no guesses to figure out who the cast of #MethGator is complaining about,&#8221; the tweet read. &#8220;Last day on set of Attack Of The Meth Gator! Our star will be entering rehab immediately after we wrap. We appreciate all your thoughts &amp; prayers for his full recovery.&#8221;
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We’ll give you no guesses to figure out who the cast of <a href="https://twitter.com/hashtag/MethGator?src=hash&amp;ref_src=twsrc%5Etfw">#MethGator</a> is complaining about 👀🧪🐊💅🏼
Last day on set of Attack Of The Meth Gator! Our star will be entering rehab immediately after we wrap. We appreciate all your thoughts &amp; prayers for his full recovery 🥹🙏🏼🧪🐊🚑🏥 <a href="https://t.co/xdCPEniXs1">pic.twitter.com/xdCPEniXs1</a>
&mdash; The Asylum (@theasylumcc) <a href="https://twitter.com/theasylumcc/status/1629663535826599936?ref_src=twsrc%5Etfw">February 26, 2023</a></blockquote>
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The Honda Classic – Round Three

‘Sharknado’ Producers Will Bring Drug-Addled Killer Reptile To Life In New Summer Flick

'Sharknado' Producers Will Bring Drug-Addled Killer Reptile To Life In New Summer Flick

Drugs

Entertainment

Horror Movies

Methamphetamine

Sharks

U.S.

Actor John Larroquette admitted that he once took a role in a horror movie in exchange for &#8220;a matchbox&#8221; of marijuana.
According to a recent <a href="https://parade.com/tv/john-larroquette-got-paid-in-marijuana-for-texas-chainsaw-massacre" target="_blank" rel="noopener">interview</a> for Parade Magazine, the &#8220;Night Court&#8221; actor explained that he had taken on the role — narrating the opening sequence of 1974&#8217;s &#8220;The Texas Chainsaw Massacre&#8221; — as a favor to his friend, director Tobe Hooper, and that he hadn&#8217;t expected to be paid for the work.
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John Larroquette confirmed the rumor that Tobe Hooper paid him in weed to narrate his 1974 film &#39;The Texas Chain Saw Massacre.&#39; <a href="https://t.co/mFTeL8as7q">https://t.co/mFTeL8as7q</a>
&mdash; Entertainment Weekly (@EW) <a href="https://twitter.com/EW/status/1614005627524730893?ref_src=twsrc%5Etfw">January 13, 2023</a></blockquote>
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Larroquette told Parade that he had actually met Hooper several years earlier when he was working as a bartender in Colorado — and when he later moved to Los Angeles to pursue a career in acting, Hooper called him and asked if he could spare an hour to narrate the beginning of his latest project.
&#8220;Tobe heard I was in town and asked for an hour of my time to narrate something for this movie he just did. I said ‘Fine!’ It was a favor,&#8221; Larroquette said — but he admitted that, on his way out the door, Hooper had slipped him a little something for his trouble.
&#8220;Totally true. He gave me some marijuana or a matchbox or whatever you called it in those days. I walked out of the [recording] studio and patted him on the back side and said, &#8216;Good luck to you!'&#8221; the actor added.
According to <a href="https://botanical.com/botanical/mgmh/h/hemp22b.html" target="_blank" rel="noopener">Botanical.com</a> — which has published a lengthy list of street-terms for marijuana and other related paraphernalia — a &#8220;matchbox&#8221; refers to approximately &#8220;1/4 ounce of marijuana or 6 marijuana cigarettes,&#8221; or the amount of marijuana that might fit in a matchbox.
The Louisiana native said that he has never even seen &#8220;The Texas Chainsaw Massacre,&#8221; explaining that horror movies are not really his thing — but he did appreciate the fact that the movie did well and netted him roles narrating sequences in the sequels as well.
&#8220;You do something for free in the 1970s and get a little money in the ‘90s,&#8221; he said.
Larroquette, who is part of the NBC &#8220;Night Court&#8221; reboot, famously withdrew himself from contention after four consecutive <a href="https://www.imdb.com/name/nm0488662/awards/?ref_=nm_awd" target="_blank" rel="noopener">Emmy wins</a> for Best Supporting Actor in a Comedy Series — from 1985-1988, during the show&#8217;s original run.
He was <a href="https://screenrant.com/night-court-john-larroquette-emmys-wins-consideration-end/#john-larroquette-wasn-t-the-only-star-who-withdrew-from-emmy-nominations" target="_blank" rel="noopener">not the only star</a> to take that step either — Candice Bergen bowed out after winning five times between 1989-1995 for her role in &#8220;Murphy Brown,&#8221; and Oprah Winfrey withdrew her name after winning seven times in 12 years.

2023 TCA Winter Press Tour – NBCUniversal

John Larroquette Admits He Got Paid A Box Of Marijuana For Role In 70s Slasher Flick

John Larroquette Admits He Got Paid A Box Of Marijuana For Role In 'Texas Chainsaw Massacre'

Celebrities

Hollywood

Marijuana

Hollywood &#8220;nepo babies&#8221; <a href="https://dailywire.com/news/jamie-lee-curtis-says-she-assumed-ana-de-armas-was-an-inexperienced-unsophiscated-young-woman-when-they-first-met-on-set/" target="_blank" rel="noopener">Jamie Lee Curtis</a> and <a href="https://dailywire.com/news/were-killing-it-kate-hudson-says-co-parenting-with-3-different-fathers-is-going-great/" target="_blank" rel="noopener">Kate Hudson</a> hit back at critics who appeared to suggest that the film industry — and other arenas as well — gave deference to the children of celebrities.
The topic graced the <a href="https://nymag.com/press/2022/12/extremely-overanalyzing-hollywoods-nepo-baby-boom.html" target="_blank" rel="noopener">latest cover</a> of New York Magazine, along with the headline, &#8220;Aw, Look! She Has Her Mother&#8217;s Eyes. And Agent: Extremely Over-analyzing Hollywood&#8217;s Nepo-Baby Boom.&#8221;
And while Curtis was not mentioned in the article herself, she appeared to feel singled out due to her own close ties to the theme of being an actress who was raised in a family of Hollywood stars. The daughter of Academy Award nominees Tony Curtis (&#8220;The Defiant Ones,&#8221; 1959) and Janet Leigh (&#8220;Psycho,&#8221; 1960), Curtis described herself in an Instagram <a href="https://www.instagram.com/p/Cmgx-KRLwlJ/">post</a> as &#8220;an OG Nepo Baby.&#8221; She went on to criticize the term, however arguing that it was being used to devalue people like her who, through no fault of their own, simply happened to have famous parents.
&#8220;I have been a professional actress since I was 19 years old so that makes me an OG Nepo Baby,&#8221; Curtis began. &#8220;I&#8217;ve never understood, nor will I, what qualities got me hired that day, but since my first two lines on &#8216;Quincy&#8217; as a contract player at Universal Studios to this last spectacular creative year some 44 years later, there&#8217;s not a day in my professional life that goes by without my being reminded that I am the daughter of movie stars. The current conversation about nepo babies is just designed to try to diminish and denigrate and hurt.&#8221;
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Curtis went on to explain that she had always been aware that the &#8220;reflected fame&#8221; from her parents could have brought her certain advantages, but that did not mean that she had no value or worth of her own.
&#8220;It&#8217;s curious how we immediately make assumptions and snide remarks that someone related to someone else who is famous in their field for their art, would somehow have no talent whatsoever. I have come to learn that is simply not true,&#8221; Curtis continued. &#8220;I have suited up and shown up for all different kinds of work with thousands of thousands of people and every day I&#8217;ve tried to bring integrity and professionalism and love and community and art to my work. I am not alone. There are many of us. Dedicated to our craft. Proud of our lineage. Strong in our belief in our right to exist.&#8221;
Curtis concluded with a note to her followers — and to herself — saying that it was important to simply &#8220;be kind.&#8221;
Academy Award nominee <a href="https://dailywire.com/news/may-we-all-today-sing-for-olivia-actress-kate-hudson-belts-out-newton-john-tune-in-touching-tribute/" target="_blank" rel="noopener">Kate Hudson</a> (&#8220;Almost Famous,&#8221; 2000) was raised by her mother, actress Goldie Hawn, and her stepfather, actor Kurt Russell — and <a href="https://pagesix.com/2022/12/26/kate-hudson-sees-nepo-babies-way-more-in-other-industries/" target="_blank" rel="noopener">she argued</a> that the influence of nepotism seemed to be far more prevalent in other industries.
&#8220;I see it in business way more than I see it in Hollywood,&#8221; Hudson said during an <a href="https://www.independent.co.uk/arts-entertainment/films/features/kate-hudson-interview-glass-onion-knives-out-b2250000.html" target="_blank" rel="noopener">interview</a> with The Independent on Sunday. &#8220;Sometimes I’ve been in business meetings where I’m like, &#8216;Wait, whose child is this?&#8217; Like, &#8216;This person knows nothing!'&#8221;
Hudson went on to say that, at least in her family, the correlation might have more to do with a common personality type than nepotism.
&#8220;It’s definitely in our blood. People can call it whatever they want, but it’s not going to change it,&#8221; she said. And at the end of the day, she argued that it all came down to who was willing to put in the work. &#8220;I don’t care where you come from, or what your relationship to the business is … if you work hard and you kill it.&#8221;

Premiere Of 20th Century Fox’s “Snatched” – Arrivals

‘Nepo Babies’ Jamie Lee Curtis & Kate Hudson Fight Back: ‘I Don’t Care Where You Come From’

'Nepo Babies' Jamie Lee Curtis & Kate Hudson Fight Back

Movies

Every Christmas brings toys, treats, and a dozen (or more) sticky-sweet films.
You know the favorites by heart (like “Elf”), but every December delivers dozens of wannabe classics brimming with Christmas cheer. Think “Three Wise Men and a Baby,” “Santa Bootcamp,” and “Haul Out the Holly,” from this year’s haul alone.
For some, though, the movie parade can be a mite too merry. It’s why Hollywood’s counter-programming gurus give us darker tales to balance out the cinematic eggnog.
The 1984 classic “Gremlins” may have unofficially started this bleak Christmas tradition. Director Joe Dante’s romp follows Zach Galligan and Phoebe Cates as they battle a town full of, well, gremlins.
The film is set during the holidays, and one scene pushed the boundaries of its PG rating.
Cates’s character recalls how her father tried to surprise the family one Christmas by sneaking down the chimney, Kringle style. Except he broke his neck during the descent and died. The family found out when they tried lighting the fireplace and smelled something odd.
The scene <a href="https://screenrant.com/gremlins-movie-classic-santa-scene-almost-cut/" target="_blank" rel="noopener">nearly got sliced by nervous Warner Bros. suits</a>, but Dante insisted it matched the film’s creepy tone.
Consider that the grandaddy of all dark and gloomy holiday films. Here are the others:
<h2>“Fatman” (2020)</h2>
Mel Gibson, of all people, stars as Ol’ Saint Nick in this bleak, bloody thriller. Gibson’s character &#8216;Chris Cringle&#8217; is burned out, but that’s not the worst of his problems. A disgruntled child can’t forget the lump of coal that greeted him one bitter Christmas morning.
So the lad hires a hitman (Walton Goggins) to take out the “fatman” once and for all. What follows is bleak, bloody, and not nearly as edgy as it wants to be.
It’s hardly Gibson’s fault, but he should have waited for a script rewrite before pulling on that famous red suit.
<h2>“Bad Santa” (2003)</h2>
It’s the ultimate black Christmas comedy, and it saves its sentimental side for the very end. Billy Bob Thornton stars as a department store Santa who uses the guise to rob department stores to his heart’s content. 
His thievery hits a snag when he bonds with a wayward teen in desperate need of a father figure. Good luck, kid.
The film’s finale showcases the beating heart that was there all along, buried under vulgar language, out-of-wedlock sex, and other R-rated shenanigans. Few actors portray flawed souls you can’t help rooting for quite like Thornton, and the story’s redemptive arc proves surprisingly solid.
<h2>“Christmas Bloody Christmas” (2022)</h2>
The story: A military grade Santa Claus robot goes rogue, slicing and dicing its way through an unsuspecting town. It’s up to a record store owner and her hipster employee to stare down the robot threat before it can paint the town red … with blood.
This uber-low-budget affair offers little wit to lighten the seasonal bloodshed.
<h2>“Violent Night” (2022)</h2>
David Harbour of “Stranger Things” fame gets a crack at playing the big guy. His Santa is fed up with ungrateful kiddos, and he’s been around the block a time or two. One flashback shows him in a former life as a Viking warrior who has a way with a sledgehammer.
Why? To explain how Harbour’s Santa stands up to a team of mercenaries, led by John Leguizamo, hoping to steal a rich family’s fortune. The action is relentless, and so is the ultra-violence. The screenplay proves routinely witty, though, which leavens the mayhem.
What might surprise viewers is the subplot involving an ex-couple who may reunite before the final credits roll. Their child, delightfully played by young Leah Brady, gives this Santa hope for the future.
<h2>“Black Christmas” (1974, 2019)</h2>
Director Bob Clark directed 1983’s “A Christmas Story,” arguably the definitive movie for the season. Eleven years earlier, Clark uncorked “Black Christmas,” one of the first slasher films. A group of sorority sisters face a serial killer in their midst, and the body count quickly starts to rise.
The 2019 remake leaned heavily into woke, drawing the ire of even liberal film critics who roasted its faux feminist trappings.
<h2>“The Night Before” (2015)</h2>
This very stoner Christmas stars Seth Rogen, Anthony Mackie, and Joseph Gordon-Levitt as three chums who spend each December searching for the best yuletide bash. That tradition is threatened by them aging out of their youthful shtick, but not before a final round of drinking, drugging, and other controlled substances.
The comedy is pure Rogen – R-rated high jinks with plenty of pot gags to wash it all down.
<h2>“Anna and the Apocalypse:” (2017)</h2>
You can never get too many zombie musicals set around the holidays. Anna (Ella Hunt) is in her final year of high school when an undead outbreak happens around the school’s Christmas pageant.
The usual mayhem occurs, from brain-chomping sequences to teen alliances gone awry. The big wrinkle? The engaging cast breaks into song now and then, bouncy numbers that make the horror tropes easy to digest.
<h2>“The Ice Harvest” (2005)</h2>
This Christmas alternative boasts a serious creative pedigree. It’s directed by Harold Ramis, the Ghostbuster who previously helmed “Groundhog Day” and “Caddyshack.” Co-screenwriter Richard Russo penned the novel-turned Paul Newman drama “Nobody’s Fool.”
John Cusack and Billy Bob Thornton star as morally dubious souls who steal $2 million from a mob boss around Christmas time. Now, they’ll have to stay alive long enough to spend it.
Iconic critic Roger Ebert gave the film <a href="https://www.rogerebert.com/reviews/the-ice-harvest-2005" target="_blank" rel="noopener">his inimitable thumbs up,</a> comparing the story to tales spun by crime guru Elmore Leonard.
<h2>“Die Hard” (1988)</h2>
It’s a Christmas movie. ‘nuff said. 
* * * * *
Christian Toto is an award-winning journalist, movie critic and editor of <a href="http://www.hollywoodintoto.com/" target="_blank" rel="noopener">HollywoodInToto.com</a>. He previously served as associate editor with Breitbart News&#8217; Big Hollywood. Follow him at <a href="https://twitter.com/HollywoodInToto?lang=en" target="_blank" rel="noopener">@HollywoodInToto</a>. 
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

Premiere Of Universal Pictures’ “Violent Night” – Red Carpet

Here’s A Bag Full Of Dark Christmas Movies For Those Sick Of Seasonal Sweets

Christmas

Readers Pass

There’s a new <a href="https://www.dailywire.com/topic/horror-movies">horror movie</a> in theaters that’s so gory fans are fainting and vomiting while watching it.
“Terrifier 2” is a relatively small <a href="https://www.dailywire.com/topic/entertainment">production</a> released last weekend on 700 screens, earning just $2.3 million so far, per <a href="https://www.usatoday.com/story/entertainment/movies/2022/10/16/terrifier-2-fans-vomiting-fainting-over-graphic-violence/10519066002/?fbclid=IwAR01TeX4qcocdPmJcDnEljlcdE0hwpHsHrzOhf6r2Erx-yYfWEuEDQigmlE">USA Today</a>. But even with these humble profits, the <a href="https://www.dailywire.com/topic/movies">slasher flick</a> is making headlines for how audiences are reacting to the over-the-top gore. 
Fans headed to Twitter to brag about extreme reactions to the horror flick.
“My friend passed out and the theater called an ambulance,” one Twitter user <a href="https://twitter.com/ratshitbastard/status/1579276269224853504">wrote</a>, sharing a photo of his friend being treated by emergency responders. “Highly recommended.”
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<a href="https://twitter.com/hashtag/Terrifier2?src=hash&amp;ref_src=twsrc%5Etfw">#Terrifier2</a> my friend passed out and the theater called an ambulance. Highly recommended <a href="https://t.co/DTrWjpeMO4">pic.twitter.com/DTrWjpeMO4</a>
&mdash; Andrew Liming (@ratshitbastard) <a href="https://twitter.com/ratshitbastard/status/1579276269224853504?ref_src=twsrc%5Etfw">October 10, 2022</a></blockquote>
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“Just saw Terrifier 2. It was an amazing gory mess. The guy behind me passed out cold n crashed into my chair, another guy left because he didn’t feel good, I overheard him say and walking out theatre door I heard a guy puking hard &amp; loud in the bathroom.” another person <a href="https://twitter.com/Bark_4KT/status/1578572770187046912">shared</a>. 
A third <a href="https://twitter.com/RyanTheHorrorM1/status/1578082164272398356">wrote</a>, “Terrifier 2 is so gory I puked in my popcorn.”
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Terrifier 2 is so gory I puked in my popcorn. 🤮🍿 <a href="https://t.co/AiXHkuuKOf">pic.twitter.com/AiXHkuuKOf</a>
&mdash; Ryan Rea🪓ts (@RyanTheHorrorM1) <a href="https://twitter.com/RyanTheHorrorM1/status/1578082164272398356?ref_src=twsrc%5Etfw">October 6, 2022</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
The movie is a follow-up to the 2016 movie “Terrifier” about a sadistic murderous clown named Art. It shows the creepy clown returning to terrorize a teen girl and her little brother after being resurrected by “a sinister entity.”
Overall, audiences seemed happy to be so grossed out by the film.
“Seeing Terrifier 2 in a theater was a real trip,” another viewer <a href="https://twitter.com/therealsirw2/status/1578378550171795456">shared</a>. “People in the audience were gasping, covering their eyes, and a few times I even heard retching sounds from a woman a few seats over.”
“It’s cool that a movie can still draw a reaction like that. Seems to rarely happen these days,” the fan said. 
One of the film&#8217;s producers shared a warning on Twitter, telling potential viewers that the film is likely to cause extreme reactions. 
“This movie contains scenes of graphic violence and brutal depictions of horror,” executive producer Steve Barton wrote. “Viewers who are faint of heart, prone to light headedness or have weak stomachs are advised to take extreme caution. There have already been numerous instances of fainting and vomiting in theaters. For those choosing to continue, you’ve been warned.”
David Howard Thornton plays Art the Clown in both “Terrifier” movies and will also be portraying the Grinch in an upcoming horror movie, “The Mean One.” The spin on the classic Christmas movie will show the main character slaughtering Cindy-Lou Who’s family and then turning his sights on her years later to “carve the roast beast,” the publication notes.

Popcorn in Theater Aisle

Moviegoers Vomiting, Fainting During Gory New Horror Flick ‘Terrifier 2’

Moviegoers Vomiting, Fainting During Gory New Horror Flick 'Terrifier 2' 

Horror

Audiences have been watching <a href="https://www.dailywire.com/news/the-rare-academy-award-winner-who-isnt-afraid-to-call-out-woke-hollywood" target="_blank" rel="noopener">Jon Voight’s</a> performances for decades, but the actor credits one particular role for the second half of his legendary career.
Voight says few thought he could convey the gritty antihero in 1985’s “<a href="https://www.imdb.com/title/tt0089941/" target="_blank" rel="noopener">Runaway Train,</a>” the tale of two convicts who break out of jail only to wind up on the titular train.
His screen image up until then lacked that brand of dangerous persona.
The ex-con character of Oscar “Manny” Manheim was the toughest guy in a tough prison, Voight explains. The Academy Award winner for “Coming Home,” renowned for his delicate features and gentle characterizations, seemed a longshot for the film.
“No one would have chosen me for that part. It came to me in a magical way, in a sense,” Voight tells The Daily Wire.
The role earned him critical honors — an Oscar nomination and a Golden Globe win — and a career rebirth.
“Without that performance, I probably wouldn’t have done ‘Heat,’ ‘Anaconda’ and ‘Ray Donovan,’” he says, ticking off three tough guy gigs in his career. “That’s what contributed to my longevity, being able to play the villain and the tough guys … I broke the mold.”
Voight, an icon who humbly calls himself a “character actor,” plays a curious chap in his latest project. “<a href="https://www.imdb.com/title/tt16375952/?ref_=nv_sr_srsg_0" target="_blank" rel="noopener">Dangerous Game: The Legacy Murders</a>” finds him anchoring an ensemble of bickering family members in a life or death struggle.
Voight plays Ellison Betts, an eccentric millionaire celebrating his birthday with his extended brood. Tensions are high as the siblings reunite in Ellison’s sprawling mansion, but that’s nothing compared to the threat awaiting them.
A hidden voice demands they play an immersion-style whodunnit game, one with a shockingly high body count.
Voight reunites with director Sean McNamara for the film. The duo recently completed work on “Reagan,” the 2023 eagerly biopic of the nation’s 40th president. The actor wasn’t sold initially on “Dangerous Game,” but McNamara coaxed him to come aboard.
“He found this so delicious, the way he spoke about it, I thought, ‘this is gonna be good,” Voight says, adding the veteran director makes coming to the set a joy. “He’s very positive … he always says, ‘that’s genius,’ at the end of every take, and he means it.”
For “Dangerous Game,” McNamara had multiple cameras shooting at the same time, with the director orchestrating from his booth in the back of the set, the actor explains.
The film arrives during a mini crush of murder mysteries, from the emerging “Knives Out” franchise to twin Agatha Christie remakes – with a third film, “A Haunting in Venice,” recently greenlit. Plus, Steve Martin’s “Only Murders in the Building” Hulu series keeps audiences guessing with a dash of humor.
Those projects aren’t as dark as “Dangerous Game, though, which veers from mystery to horror long before the end credits.
Voight’s career began with a pair of little-seen roles (“Fearless Frank,” “Hour of the Gun”), but his breakout performance in 1969’s “Midnight Cowboy” changed everything for him. The X-rated smash garnered Voight his first Oscar nomination, paving the way for follow-up movies like “Catch 22,” “Deliverance” and “Coming Home.” The latter earned him a Best Actor trophy, cementing his status as one of Hollywood’s most gifted stars.
His “Runaway Train” performance ensured he’d stay busy for as long as his creative fires burned. Even his willingness to express his conservative views, something most right-leaning stars keep to themselves, haven’t dimmed his Hollywood stardom. 
He’s actively supported President Donald Trump and slammed President Barack Obama during the latter’s two terms in office.
You won’t hear him getting political on a film or TV set, though. He famously agreed to disagree with his longtime “Ray Donovan” colleague Liev Schreiber, a policy he maintains in other work environments.
“Politics is not to be dealt with on a set. You’re there for the work, not there to proselytize anything. That’s the way I am,” he says. “Other people will try to get me into saying something, and I say, ‘hey, let’s do our work, fellas.’”
His remarkable, seven-plus season run on Showtime’s “Ray Donovan” gave Voight the chance to do something he couldn’t for much of his career – stick with a character and watch him grow.
Mickey Donovan, a loving father to Schreiber’s Ray and an unrepentant killer, gave Voight one of his best roles yet. “It’s the first time I’ve ever done that kind of a lengthy series. It was a lot of responsibility for me to craft it … we had to protect [the characters],” he says.
Voight’s next major project after “Reagan,” in which he plays a retired KBG agent, is co-starring in Francis Ford Coppola’s comeback vehicle, “Megalopolis.” The highly anticipated film features a who’s who of Hollywood stars, past and present, including Adam Driver, Laurence Fishburne, Dustin Hoffman, Talia Shire, Forest Whitaker and D.B. Sweeney.
The craft of acting still casts a spell over Voight, much like his longtime friend Al Pacino.
“I love his passion,” he says of “The Godfather” star. “I’m passionate, too. I wanna solve these characters. We get to make them something that gives people an experience.”
Voight may be 83, but his enthusiasm seems untouched by time.
“I’m an older fella … things change, but I’m always pretty much the same fella. I come to the set with the same intensity,” he says. “I don’t mail anything in. I don’t do that. I’m still very excited [by the process].”
Christian Toto is an award-winning journalist, movie critic and editor of <a href="http://www.hollywoodintoto.com/">HollywoodInToto.com</a>. He previously served as associate editor with Breitbart News&#8217; Big Hollywood. Follow him at <a href="https://twitter.com/HollywoodInToto?lang=en">@HollywoodInToto</a>. 
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

“The Godfather” 50th Anniversary Celebration

His New Film May Be A Mystery, But Jon Voight’s Longevity In Hollywood Is No Secret

conservative

Jon Voight

Francis Ford Coppola directed one of the most beloved films of all time with 1972’s “The Godfather.”
Two years later, many feel he topped himself with “The Godfather Part II.”
Add other iconic films like “Apocalypse Now” (1979) and “The Conversation” (1974), and Coppola represented the very best of ‘70s cinema.
His last great, — or even good — film remains far back in his rear-view mirror. Flops like 1996’s “Jack” with Robin Williams and, more recently, 2007’s “Youth Without Youth” suggest the director’s creative skills have long since curdled.
Film culture hopes the auteur’s next project, “Megalopolis,” starring Shia LaBeouf, Adam Driver, Talia Shire, and Forest Whitaker, returns Coppola to the heights of his early career.
If not, he’s certainly not alone in losing his mojo.
Many well-regarded directors have squandered their artistry over time. The following four directors fall squarely into that category.
<h3>Brian De Palma</h3>
Coppola’s ‘70s chum (along with Steven Spielberg and George Lucas) toiled in relative obscurity before he adapted Stephen King’s chilling “Carrie” for the big screen. The 1976 film remains one of the best King adaptations, and it secured his place as a first-rate horror movie.
He leaned into the genre, delivering the solid thriller “The Fury” (1978) and, later, the Hitchock homage “Dressed to Kill” (1980) with Michael Caine. His 1982 film “Blow Out” lacked commercial pop, but many praised its sublime artistry and, once again, Hitchcock echoes.
Quentin Tarantino dubbed the film <a href="https://faroutmagazine.co.uk/brian-de-palma-modern-cinema-drives-him-crazy/" target="_blank" rel="noopener">one of the greatest movies ever made</a>.
De Palma’s 1987 blockbuster “The Untouchables” earned co-star Sean Connery his first and only Oscar while cementing Kevin Costner’s stardom. Bravura sequences, like the baby carriage tumbling down a long stairway, defined the director’s signature touch.
His 1990 disaster “The Bonfire of the Vanities” proved so inept it inspired the must-read expose “The Devil’s Candy,” but De Palma rebounded with commercial hits like “Carlito’s Way” (1993) and “Mission: Impossible” (1996).
It’s been a slow, steady decline ever since.
The 2007 anti-war dud “Redacted” <a href="https://www.boxofficemojo.com/title/tt0937237/?ref_=bo_se_r_1">couldn’t crack the $100,000 mark</a> at the domestic box office. His 2012 erotic thriller “Passion” got pummeled by critics and ignored by audiences. His most recent film, 2019’s “Domino,” lacked both stars and critical huzzahs.
The director, now 82, has two projects in the works according to IMDB.com (“Sweet Vengeance” and “Catch and Kill”) with little details attached to either. One report suggests the latter title will be a horror movie <a href="https://www.thewrap.com/scarface-director-brian-de-palma-writing-horror-movie-about-harvey-weinstein-scandal/">inspired by producer Harvey Weinstein’s predatory crimes</a>.
<h3>Rob Reiner</h3>
The erstwhile &#8216;<a href="https://www.dailywire.com/news/bill-maher-clashes-with-meathead-rob-reiner-over-medias-burial-of-hunter-biden-laptop-bombshell" target="_blank" rel="noopener">Meathead</a>&#8216; made the transition from sitcom star to A-list auteur look easy. Sure, 1984’s “This Is Spinal Tap” didn’t generate any Oscar buzz, but it quickly became the mockumentary all others must be measured against.
And most come up short.
The “All In The Family” alum’s subsequent hits captured the zeitgeist over and again, from 1986’s “Stand By Me” to “The Princess Bride” (1987). Reiner’s ability to spin crowd-pleasing stories without pandering proved a runaway success. Think 1990’s “Misery,” 1992’s “A Few Good Men,” and 1989’s “When Harry Met Sally,” the ultimate rom-com.
Lately, Reiner’s films barely make a ripple in the pop culture waters. Duds like “The Magic Of Belle Isle” (2012), “And So It Goes” (2014), “Being Charlie” (2015), and “Shock And Awe,” a 2017 political screed leaning into his hard-left politics, got ignored by audiences.
Reiner’s next project could reverse his fortunes, assuming he still boasts the skills to pull it off. <a href="https://deadline.com/2022/05/spinal-tap-sequel-rob-reiner-michael-mckean-christopher-guest-harry-shearer-back-1235022317/" target="_blank" rel="noopener">He’s directing a “Tap” sequel</a>, reuniting the original faux band for more rock satire.
<h3>Kevin Smith</h3>
The New Jersey native’s 1994 opus “Clerks” is no one’s idea of a great film. It’s cheaply shot in uninspired black and white and features actors who hardly electrified movie houses.
It still packed plenty of charm and winsome humor, while incorporating Comic Con rants that now power plenty of YouTube channels. Smith’s ability to find the humanity in these low-level clerks jump-started his career, and rightly so.
The Kevin Smith media machine whirred to life.
Smith’s subsequent films, “Mallrats” (1995), “Chasing Amy” (1997), and “Dogma” (1999) delivered more of his cracked humor with bigger budgets and better stars (Ben Affleck, George Carlin, and Shannen Doherty).
Smith’s potty mouth and heartfelt connection with his fan base secured his place in Hollywood even when his films failed to deliver. The director’s ability to change course mid-career also boosted his fortunes. 
His politically-charged thriller “Red State” (2011) shocked fans and critics alike, while 2014’s “Tusk” delivered a squirm-inducing horror unlike anything since 1973’s “Sssssss.”
His films, alas, started a noticeably downward trend around that time. His iconic Jay and Silent Bob characters fueled films meant solely for hardcore Smith fanatics (2019’s “Jay and Silent Bob Reboot”), while 2016’s “Yoga Hosers” proved so painful it couldn’t lean into its clumsiness for cult movie consideration.
Variety described the latter as an <a href="https://variety.com/2016/film/festivals/yoga-hosers-review-kevin-smith-1201687721/" target="_blank" rel="noopener">“on-screen underwear stain.”</a>
His newest film, “Clerks III,” is an unremittingly lazy effort that finds Smith going through the motions while repeating the original film’s classic bits.
<h3>Oliver Stone</h3>
You don’t have to love, or even tolerate, Stone’s hard-Left politics to grasp his cinematic genius. The Vietnam veteran used his experiences to power “Platoon” (1986) and “Born on the Fourth of July” (1989), two award-winning films that entertain first and send a message later.
Stone’s 1987 smash “Wall Street” accidentally defined the decade’s rapacious culture, boiled down to star Michael Douglas’ “greed is good” speech. More powerhouse films followed, from “JFK’s” conspiracy laden storytelling in 1991 to 1994’s “Natural Born Killers” starring an unrecognizable Rodney Dangerfield.
Stone could stir the pot like few others, but he had the cinematic chops to pull off his gonzo storytelling.
Even his smaller films, like the under-appreciated 1988 thriller “Talk Radio,” showed his knack for grabbing audiences by the scruff of the neck and giving them a hearty shake.
That skill, put to lesser effect with “Nixon” (1995) and “The Doors” (1991), faded over time. Recent fair like 2016’s “Snowden” and 2012’s “Savages” suggested Stone’s creative fires no longer burned with this signature intensity.
More embarrassing?
His fawning documentaries highlighting his preferred dictators. The 2009 film “South of the Border” praised Venezuelan strongman Hugo Chavez while his four-part series “The Putin Interviews” flung softballs at the Russian strongman.
Christian Toto is an award-winning journalist, movie critic and editor of <a href="http://www.hollywoodintoto.com/">HollywoodInToto.com</a>. He previously served as associate editor with Breitbart News&#8217; Big Hollywood. Follow him at <a href="https://twitter.com/HollywoodInToto?lang=en">@HollywoodInToto</a>. 
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

“Nuclear” Photocall – 79th Venice International Film Festival

They Once Ruled The Silver Screen: 5 Hollywood Directors Who Lost Their Mojo

Pennsylvania native M. Night Shyamalan, the director of <a href="https://www.dailywire.com/watch/movies" target="_blank" rel="noopener">movies</a> such as &#8220;Signs&#8221; and &#8220;The Sixth Sense,&#8221; typically features several twists you never see coming in each of his projects. Often, the message of his movies is in what is left unsaid.
Well, sometimes life imitates art — such is the case with a hall-of-fame internet video that went viral over the weekend showing dozens of hooligans ransacking a Wawa convenience store in <a href="https://www.dailywire.com/news/where-lawlessness-reigns-how-a-weak-on-crime-d-a-has-left-a-city-at-the-mercy-of-criminals" target="_blank" rel="noopener">Philadelphia</a>, replete with surprises and hidden plotlines.
Philadelphia police are <a href="https://6abc.com/philadelphia-pa-wawa-ransacked-roosevelt-boulevard-video-philly-police/12266264/" target="_blank" rel="noopener">investigating</a> the incident in which nearly 100 teenagers ransacked the popular establishment known for its incredible deals on munchies and gasoline. As the video shows, dozens of unruly kids are seen causing mayhem in the northeast Philadelphia Wawa, pushing over shelves and taking whatever they can.
It seems like typical footage of a &#8220;smash-and-grab&#8221; that has become all too commonplace <a href="https://www.dailywire.com/news/14-arrested-in-smash-and-grab-thefts-totaling-340000-all-quickly-released-due-to-zero-bail-policy" target="_blank" rel="noopener">in American cities</a>. Yet, just like a Shyamalan film, the clip suddenly takes a turn.
Right before it ends, a patron turns to the man filming behind the counter and says, &#8220;Are y&#8217;all recording or are you making food?&#8221; The man apparently did not hear her, and she repeated herself again, saying, &#8220;Are y&#8217;all gonna make any sandwiches? Or are y&#8217;all just going to keep recording?&#8221;
&#8220;It&#8217;s going to be a little while,&#8221; an unnamed man says, presumed to be a Wawa employee.
<blockquote class="twitter-tweet" data-width="500" data-dnt="true">
Philadelphia is a dying city. It is doomed. Wawa tyson and the blvd <a href="https://twitter.com/PhillyMayor?ref_src=twsrc%5Etfw">@PhillyMayor</a> <a href="https://twitter.com/JimFKenney?ref_src=twsrc%5Etfw">@JimFKenney</a> <a href="https://twitter.com/DriscollForPHL?ref_src=twsrc%5Etfw">@DriscollForPHL</a> <a href="https://t.co/cNmT54przi">pic.twitter.com/cNmT54przi</a>
&mdash; 💥 (@iggles215) <a href="https://twitter.com/iggles215/status/1573860676417851393?ref_src=twsrc%5Etfw">September 25, 2022</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
In reaction to the hilarious request for food amid the pillaging, Barstool Sport&#8217;s Dave Portnoy tweeted, &#8220;The most unbothered human of all time.&#8221;
In actuality, the most unbothered humans are those in places like Philadelphia who continuously vote for Democrats whose policies, in turn, lead to rising crime, as shown in the video. Philly&#8217;s District Attorney Larry Krasner is one such offender.
First elected in 2017, Krasner instituted a series of criminal justice reforms, including deprioritizing shoplifting for items below $500. In turn, &#8220;arrests and charges for retail theft dropped nearly 70% between 2017 and 2021, while reported incidents rose 21%,&#8221; <a href="https://www.inquirer.com/news/philadelphia-shoplifting-rising-retail-20220901.html" target="_blank" rel="noopener">according</a> to the Philadelphia Inquirer.
Based on that evidence, it is more likely that the freeloaders who demolished the entire store just to grab some Snickers bars and nachos won&#8217;t see any jail time.
Yet rather than learn the error of their ways, Philadelphia <a href="https://whyy.org/articles/philly-da-larry-krasner-cruises-to-reelection-victory/" target="_blank" rel="noopener">re-elected</a> Krasner in 2021. In other words, Philadelphia citizens voted for this destruction. Twice.
That fact brings us to our second Shyamalan-level twist. In another video posted of the incident, viewers see what the world looks like in this near-postapocalyptic city. It is pure chaos. Kids are seen shrieking and running all over the place. As one Twitter user put it, &#8220;Philly is screwed.&#8221; It indeed looks like a nightmare scenario.
Wawa Tyson and the Boulevard <a href="https://twitter.com/hashtag/Philly?src=hash&amp;ref_src=twsrc%5Etfw">#Philly</a> <a href="https://twitter.com/hashtag/Philadelphia?src=hash&amp;ref_src=twsrc%5Etfw">#Philadelphia</a> is screwed <a href="https://t.co/4hRTpxvzix">pic.twitter.com/4hRTpxvzix</a>
<blockquote class="twitter-tweet" data-conversation="none" data-dnt="true">— 💥 (@0Ie2I5) <a href="https://twitter.com/0Ie2I5/status/1573860991305138177?ref_src=twsrc%5Etfw">September 25, 2022</a></blockquote>
Yet, just when you think there cannot possibly be any more surprises, if you rewind the first clip to five seconds, you will see an object knock off a sign to reveal a woman twerking.
Why does that matter?
Well, readers might remember the state Senator Tiara Mack out of Rhode Island. She posted a video of herself upside down in a bikini, gyrating her hips to gain attention. It was odd but also revealing — literally and figuratively.
In reaction, Fox News host Tucker Carlson <a href="https://grabien.com/story.php?id=384569">opined</a>, &#8220;You ever have those moments where you see something and you&#8217;re like, &#8216;Oh, that’s the future, that’s what it looks like!&#8217; We saw Tiara Mack, head in the sand, twerking, and we thought, &#8216;Man, that’s the Democratic Party 2020.&#8217;”
It looks like Carlson was right.
That means that the future of leftist cities, like Krasner&#8217;s Philadelphia, can be summed up in that clip: Massive crime, hunger, and degenerate Democrats — oblivious to the wreckage their leftist policies are creating.
Maybe that&#8217;s not such a twist after all.
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The views expressed in this piece are the author’s own and do not necessarily represent those of The Daily Wire.
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M. Night Shaymalan

‘Are Y’all Gonna Make Any Sandwiches?’: Philadelphia Gentlelady Demands Service As Wawa Is Ransacked By Hooligans

Philadelphia Woman Demands Service As Convenience Store Ransacked

Philadelphia

Progressivism

The Hundred Acre Wood from the classic children’s book “Winnie the Pooh” is about to become a nightmare.
Fans of the fictional teddy bear created by English author A. A. Milne were shocked to see the trailer released for the new <a href="https://www.dailywire.com/topic/horror-movies" target="_blank" rel="noopener">horror movie</a>, “Winnie the Pooh: Blood and Honey.” This new <a href="https://www.dailywire.com/topic/movies">project</a> will twist the innocent childhood tale into a grotesque story that’s not suitable for children.
<iframe loading="lazy" title="YouTube video player" src="https://www.youtube.com/embed/W3E74j_xFtg" width="720" height="385" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
The trailer shows a grown-up Christopher Robin returning to his childhood home only to discover Pooh and Piglet have become deranged, bloodthirsty killers after Robin abandoned them and went to college. They murdered Eeyore and Tigger at some point and, per the trailer, are seeking to continue their killing spree. They target their former friend and college girls staying in a nearby cabin. One scene shows the murderous pair mixing blood and honey together in a giant vat.
Development for the film began when the original book became a public domain work in the United States in January 2022, meaning <a href="https://www.dailywire.com/topic/disney" target="_blank" rel="noopener">Disney</a> no longer held exclusive film rights to the characters from the 1926 novel as it originally did.
The movie is being directed by Rhys Frake-Waterfield, produced by Jagged Edge Productions, and distributed by ITN Studios and MovieCompany.
Frake-Waterfield told <a href="https://variety.com/2022/film/news/winnie-the-pooh-blood-and-honey-director-1235278405/" target="_blank" rel="noopener">Variety</a> in May, “Christopher Robin is pulled away from them, and he&#8217;s not [given] them food, it&#8217;s made Pooh and Piglet&#8217;s life quite difficult. &#8230; Because they&#8217;ve had to fend for themselves so much, they&#8217;ve essentially become feral. So they&#8217;ve gone back to their animal roots. They&#8217;re no longer tame: they&#8217;re like a vicious bear and pig who want to go around and try and find prey.”
The film has been met with mixed reactions since it was announced, with many fans predicting it will be a giant fail.
Producer Scott Jeffrey and director Frake-Waterfield had a chat with <a href="https://www.tmz.com/2022/08/31/winnie-the-pooh-blood-and-honey-trailer-scary/" target="_blank" rel="noopener">TMZ</a>, saying their inbox was “absolutely flooded” with hate mail from Winnie the Pooh fans, who accused them of ruining the original story. He said there was no in-between and that people either loved the new project and were excited about its release, or claimed the horror film&#8217;s existence was “destroying their lives.”
The duo mentioned that other projects are in the works as well, including a potential new spin on Thor, since Marvel does not own the name of the Norse god, and a new version of Peter Pan where Neverland is a “circus.”
Disclosure: The Daily Wire has <a href="https://www.dailywire.com/videos/introducing-dw-kids" target="_blank" rel="noopener">announced plans</a> for kids entertainment content.

“Winnie The Pooh” Los Angeles Premiere – Red Carpet

‘Winnie The Pooh: Blood And Honey’ Horror Movie Trailer Drops After Copyright Lapses

’Winnie The Pooh: Blood And Honey’ Horror Movie Trailer Drops After Copyright Lapses

Disney

Oscar season is back, even if an increasing number of Americans no longer care about the annual ceremony.
The awards gala deserves all the disdain coming its way, but the movie awards season shouldn’t be dismissed so easily. Some of our brightest filmmakers save their best wares for this time of year, and despite the industry’s woke makeover, the season still delivers some stirring work.
And, in between, a few popcorn blockbusters elbow themselves into the conversation.
Will this fall top last year’s mediocre lineup? Just how much will Identity Politics and other progressive lectures infiltrate the so-called best and brightest fare? The following films hold the key.
“Honk for Jesus, Save Your Soul” (September 2, in theaters and Peacock)
Hollywood loves mocking Christianity in any way, shape, or form. It can come via genre fare (“The Purge” franchise) or Oscar-bait films like last year’s “The Eyes of Tammy Faye”).
This year’s entry stars Sterling K. Brown and Regina Hall as fallen televangelists trying to rebuild their spiritual kingdom. Does the film grant its broken characters some humanity? Will the screenplay discern solid Christian souls from those eager to swindle their brethren? We’ll see, but a strong theatrical debut could help its Oscar chances.
“God’s Country” (September 16)
This could be the season’s version of “The Hunt,” deliberately poking the “two Americas” bear, or just another progressive screed against Red State USA. Thandie Newton stars as a black professor who runs afoul of two white hunters.
Newton’s film proves subversive in the best sense of the word, acknowledging stereotypes before upending them. Unfortunately, the early reviews from its Sundance Film Festival run suggest a picture that plays down to our expectations. The film “punches up,” critics say, delivering a “bleep you” to the patriarchy.
“See How They Run” (September 16)
The “They Don’t Make ‘em Like This Anymore” crowd could be in for a treat. Oscar winner Sam Rockwell and future winner Saoirse Ronan (would anyone deny that prediction?) star as detectives in ‘50s era London solving a theatrical murder mystery. The comic romp features a great supporting troupe including David Oyelowo, Adrien Brody, and “The Affair’s” Ruth Wilson.
“Don’t Worry Darling” (September 23)
Olivia Wilde proved her directorial bona fides with 2019’s “Booksmart,” which was both absurdly woke and undeniably fun. This time ‘round, she’s playing in one of Hollywood’s favorite sandboxes, the 1950s, eager to show the decade’s glossy exterior didn’t match reality.
Again.
Harry Styles and Florence Pugh headline this psychological drama, which given the era must leave most of Wilde’s woke tics behind. Right?
“Blonde” (September 28, Netflix)
Let’s hope the hype doesn’t overshadow the movie. We’ve already read far too much about “Blonde,” from the casting of Cuban starlet Ana de Armas as Marilyn Monroe to the buzz about that NC-17 rating. The bigger question is obvious. What’s left to be said about the doomed superstar, one whose iconic beauty has powered countless tributes?
We’ve seen Marilyn Monroe depicted many times already, most recently in the sturdy 2011 drama “My Week with Marilyn,” that there’s seemingly little fresh ground to till. The same could have been said of “Elvis,” but Baz Luhrmann’s summer hit showed a fresh appetite for the rock icon.
“Bros” (September 30)
Comedy is on life support at the theatrical level, at least the bawdy, R-rated romps we once knew and loved. Director Nicholas Stoller of “Forgetting Sarah Marshall” fame tries to revive that genre with “Bros,” a gay rom-com starring far-left comic actor Billy Eichner.
Eichner falls for a muscular singleton (Luke MacFarlane) amidst a sea of LGTBQ+ trappings, according to the disappointing trailer. Dethroned comedy king Judd Apatow is on hand as a producer, but the cultural guardrails around humor in the modern era could keep “Bros” from reaching beyond its target audience.
“Amsterdam” (October 7)
Some of our most talented directors take their sweet time between projects. Think Quentin Tarantino, the late Stanley Kubrick and “Amsterdam” auteur David O. Russell of “American Hustle“ fame. He’s assembled a truly all-star cast (Christian Bale, Margot Robbie, Chris Rock Mike Myers, Robert De Niro, John David Washington and Michael Shannon) for an ensemble drama centered on soldiers caught up in a murder plot.
“Halloween Ends” (October 14 in theaters and Peacock)
Danny McBride and David Gordon Green delivered a mostly satisfying “Halloween” do-over in 2018, and then followed it up with “Halloween Kills,” the kind of brain-dead sequel that’s all too familiar to horror fans.
Here, the Michael Myers saga is supposed to wrap (as if the industry wouldn’t think of bringing The Shape back in some form). Jamie Lee Curtis makes what should be her swan song in the film, overseen by original “Halloween” director John Carpenter.
“Halloween Kills” showed way too much of Michael Myers. Can “Ends” bring back the sense of awe and mystery, or is that impossible in our short attention span times?
“Till” (October 14)
The suffering and death of Emmett Till are the stuff of American nightmares. The 14-year-old’s death at the hands of unabashed racists is made for a theatrical re-enactment, but the subject matter simultaneously demands the utmost restraint.
As is, the horror story needs no embellishment. Will the filmmakers turn Till’s tragedy into a referendum on race circa 2022? The focus here, and rightly so, is on the boy’s mother. She engaged the ‘50s era system seeking justice, and her journey could yield Oscar-worthy results. Danielle Deadwyler gets the plum assignment of bringing Mamie Till-Mobley to life.
“Black Adam” (October 21)  

Dwayne Johnson has played so many super heroic figures it’s a shock he’s never gone the full Superman until now. “Black Adam” arrives with plenty of fanfare along with the sense that the culture is getting a little bored of grown-ups in tights. Can Johnson bring some vitality to the genre, or will “Black Adam” ding the DC comic’s uneven universe? Just know that Johnson’s caped figure isn’t one of the good guys. The “Black” in Black Adam refers to his soul, Johnson <a href="https://www.vanityfair.com/hollywood/2022/08/who-is-black-adam">clarified</a> to Vanity Fair.
“Black Panther: Wakanda Forever” (November 11)
How do you make a “Black Panther” sequel without the titular hero? Director Ryan Coogler stared that question down after the film’s celebrated star Chadwick Boseman died in 2020.
The story behind the sequel, co-written by Coogler, is mostly under wraps. Boseman’s fellow cast mates return, including Letitia Wright, Angela Bassett and Lupita Nyong’o. We’ll also meet Sub Mariner (Tenoch Huerta) and Ironheart (Dominique Thorne), the black female heroine tied to Tony Stark’s iron legacy (and headed for her own Disney+ series).
“She Said” (November 18)
Journalism films have taken on a new, depressing flavor in the modern era. Do we really want to celebrate such a corrupt profession that often slavishly follows the Democratic playbook?
“She Said” can’t fix that problem, but the story follows two journalists who did their jobs so well they helped bring down one of Hollywood’s true supervillains.
Based on the memoir “She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement,” the film tracks New York Times journalists Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan) as they get the goods on producer Harvey Weinstein.
It’s only a movie, but let’s hope “She Said” at least touches on Hollywood’s culpability in Weinstein’s crimes (they knew) and how Hollywood reporters suspected his misconduct but didn’t pursue it.
“The Fabelmans” (November 23)
Steven Spielberg remains the most vital filmmaker of our era with a body of work that speaks for itself. His latest film finds him recalling his formative years, a time that convinced an Arizona lad to pick up a film camera and never let go.
The semi-autobiographical film co-stars Seth Rogen, Michelle Williams, and Judd Hirsch. Young Gabriel LaBelle gets the nod to play young Spielberg, here named Sammy Fabelman.
“Avatar: The Way of Water” (December 16)
It’s finally here. Director James Cameron follows up his 2009 smash with the first of four planned sequels. The first film doubled as an eco-lecture, and there’s little evidence Cameron’s eco-hypocrisy will stop him from wagging his finger at us anew.
Few filmmakers can get away with that brand of storytelling like Cameron, though. With classic films like “The Terminator,” “Aliens,” and “Titanic” under his Oscar-approved belt, can anyone dismiss an “Avatar” sequel out of hand?
Then again, the self-described “King of the World” is due for a mighty fall.
Christian Toto is an award-winning journalist, movie critic and editor of <a href="http://www.hollywoodintoto.com/">HollywoodInToto.com</a>. He previously served as associate editor with Breitbart News&#8217; Big Hollywood. Follow him at <a href="https://twitter.com/HollywoodInToto?lang=en">@HollywoodInToto</a>.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

The ‘Gaumont’ Room With Italian Place And Wide Screen In Paris, France On June 12, 1992.

New Films Coming From Spielberg, Cameron, And ‘The Rock’: Here’s Your Fall 2022 Movie Preview

Christian Bale

Christianity

Dwayne Johnson

Harry Styles

James Cameron

Judd Apatow

Marilyn Monroe

The <a href="https://www.dailywire.com/topic/lgbtq">LGBTQ</a> slasher <a href="https://www.dailywire.com/topic/horror-movies">horror film</a> “They/Them” was created for a specific audience, but even the most left-leaning critics say it’s a total mess.
“They/Them,” a Peacock original, stars <a href="https://www.dailywire.com/topic/celebrities">Kevin Bacon</a> as the head of a conversion camp that’s being plagued by a psycho killer. 
Per <a href="https://www.rottentomatoes.com/m/they_them">Rotten Tomatoes</a>, “Several queer campers join [Bacon as Owen Whistler] for a week of programming intended to ‘help them find a new sense of freedom.’ As the camp&#8217;s methods become increasingly more psychologically unsettling, the campers must work together to protect themselves. When an unidentified axe murderer starts claiming victims, things get even more dangerous.”
The thriller currently has a 29/100 critic score and 15/100 audience rating after its August 5 release.
<iframe loading="lazy" title="They/Them | Official Trailer | Peacock Original" width="500" height="281" src="https://www.youtube.com/embed/HtQk6sANmKs?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
“&#8217;They/Them&#8217; never connects on a gut level, as a horror movie should. It’s too somber and plodding — a &#8216;message movie&#8217; delivered in a drab package,” the Los Angeles Times wrote in its <a href="https://www.latimes.com/entertainment-arts/movies/story/2022-08-07/new-streaming-movies-prey-luck-lightyear-they-them">review</a>.
<a href="https://www.cnn.com/2022/08/05/entertainment/they-them-column/index.html">CNN</a> called out writer/director John Logan for failing to get the message across. Their reviewer said the story “at various times feels creepy, exploitative and preachy, without becoming particularly tense or scary.” 
Fred Topel from <a href="https://www.upi.com/Entertainment_News/Movies/2022/07/24/They-Them-movie-review/2011658713228/">UPI</a> said, &#8220;As an out gay filmmaker, Logan may have something sincere to say both about ant-LGBTQ tactics and the slasher movie genre. Unfortunately, combining them ends up sabotaging both sides of the story.&#8221;
The Daily Wire contributor Christian Toto said the film is terrible to the core and doesn’t live up to the standards of the horror genre. 
“Audiences may need Post-It notes on their screens to remind them it’s a horror movie,” he <a href="https://www.hollywoodintoto.com/they-them-review-woke-horror/">wrote</a>. “Add clunky romances, endless dialogue that would make a Hallmark movie scribe cringe and an embarrassing dearth of scares and you’ve got a missed opportunity on an epic scale.”
Like other critics, he calls out the cheesy camp sing-a-long to a Pink song as an especially cringe-worthy moment.
Toto concludes that the movie is “woke to its core, but that isn’t its fatal flaw. It’s cartoonish, scare-free and so intent on empowerment it skimps on every horror movie essential.”
Most critics hated it, but Gary M. Kramer from Salon had high <a href="https://www.salon.com/2022/08/05/they-them-review-peacock-horror-queer/">praise</a> for the thriller. He described “They/Them” as “a smart and savvy film that demonstrates the value of putting queer heroes in the horror genre as well as the damaging effects of conversion therapy and not allowing people to be who they are.”
“They/Them” is currently streaming on Peacock.

“THEY/THEM” New York Premiere

‘Exploitative And Preachy’: Kevin Bacon LGBTQ Thriller ‘They/Them’ Gets Eviscerated By Critics And Viewers

Kevin Bacon LGBTQ Thriller 'They/Them' Gets Eviscerated By Critics And Viewers

LGBTQ

Movie-goers will notice at least one familiar face missing when the upcoming horror-comedy &#8220;Scream 6&#8221; hits theaters in late March of 2023: Neve Campbell&#8217;s Sidney Prescott.
Campbell&#8217;s Prescott led a <a href="https://www.imdb.com/title/tt0117571/fullcredits?ref_=tt_ov_st_sm">motley cast</a> — including, among others, Matthew Lillard, Drew Barrymore, Jamie Kennedy, Skeet Ulrich, &#8220;The Exorcist&#8221; actress Linda Blair — as they battled a killer nicknamed &#8220;Ghostface.&#8221; The first film even featured uncredited cameos from director Wes Craven and &#8220;Happy Days&#8221; actor Henry Winkler.
But as plans for a sixth &#8220;Scream&#8221; movie began to solidify, rumors began circulating that <a href="https://dailywire.com/news/scream-knocks-spider-man-out-of-top-box-office-slot-with-34-million-over-the-holiday-weekend/">Campbell</a> was leaving the franchise — and <a href="https://deadline.com/2022/06/neve-campbell-scream-not-returning-1235038974/">according to Deadline</a>, she confirmed that those rumors were true. &#8220;Sadly, I won’t be making the next Scream film,&#8221; she said.
<blockquote class="twitter-tweet" data-width="500" data-dnt="true">
😱 <a href="https://twitter.com/hashtag/Scream6?src=hash&amp;ref_src=twsrc%5Etfw">#Scream6</a> will be the first film in the horror franchise without Neve Campbell&#39;s Sidney Prescott! Word began to leak on the convention circuit with Campbell, and she says today, “Sadly I won’t be making the next Scream film” <a href="https://t.co/qqYfJoZaax">https://t.co/qqYfJoZaax</a> <a href="https://t.co/P2f3ciELe0">pic.twitter.com/P2f3ciELe0</a>
&mdash; Deadline Hollywood (@DEADLINE) <a href="https://twitter.com/DEADLINE/status/1533859689187844096?ref_src=twsrc%5Etfw">June 6, 2022</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
Campbell — who currently stars in the <a href="https://dailywire.com/news/i-hope-netflix-has-pre-ordered-the-fainting-couches-ricky-gervais-comedy-special-hits-netflix-outrage-ensues/">Netflix</a> series &#8220;The Lincoln Lawyer&#8221; alongside Manuel Garcia-Rulfo and Becky Newton, explained that after 25 years and $744 million dollars — she felt that the amount she was offered to reprise her role for a sixth time did not match the value she had brought to the franchise in the first five installments.
&#8220;As a woman I have had to work extremely hard in my career to establish my value, especially when it comes to &#8216;Scream,'&#8221; Campbell said. &#8220;I felt the offer that was presented to me did not equate to the value I have brought to the franchise.&#8221;
&#8220;It’s been a very difficult decision to move on. To all my &#8216;Scream&#8217; fans, I love you. You’ve always been so incredibly supportive to me. I’m forever grateful to you and to what this franchise has given me over the past 25 years,&#8221; she added.
&#8220;Scream 5&#8221; raked in a cool $140 million worldwide, and in addition to Campbell&#8217;s Prescott, brought back Detective Dewey Riley (David Arquette) and Gale Weathers (Courteney Cox).
The <a href="https://www.hollywoodreporter.com/movies/movie-news/scream-6-casts-dermot-mulroney-1235158747/">sixth installment</a> will follow four survivors of the earlier Ghostface murders as they try to escape their past by leaving Woodsboro and attempting to start over. Actress Hayden Panetierre will be among the returning cast members, and &#8220;My Best Friend&#8217;s Wedding&#8221; star Dermot Mulroney is expected to join the franchise as a cop.
The script for the upcoming sequel will be a joint effort from James Vanderbilt and Guy Busick, and fifth-installment directors Matt Bettinelli-Olpin and Tyler Gillett will return to take the helm again.

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