YouTube Premium has released the official trailer for Academy Award winner Jordan Peele’s sci-fi comedy series Weird City. The video offers a glimpse of the quirky antics that we should expect to see when the series debuts on February 13th.
All the Colors of the Dark
Even by extreme ‘70s standards, it remains among the more notorious – and disturbing – thrillers in genre history.
Now experience, “One of the most entertaining gialli you’ll ever see,” (10k Bullets) like you’ve never seen it before. The luscious Edwige Fenech (STRIP NUDE FOR YOUR KILLER) gives the performance of her career as a woman tormented by visions of satanic violence, hallucinatory horror, and psychosexual insanity.
George Hilton (THE STRANGE VICE OF MRS. WARDH), Ivan Rassimov (EATEN ALIVE) and Susan Scott (EMANUELLE AND THE LAST CANNIBALS) co-star in this EuroShock masterpiece from director Sergio Martino (TORSO) and screenwriter Ernesto Gastaldi (DEATH WALKS ON HIGH HEELS) – with “Possibly one of the best horror scores of all time,” (Scream Magazine) by Bruno Nicolai – now featuring a new 4k scan from the original negative and throbbing with exclusive Special Features!
Severin Films presents ALL THE COLORS OF THE DARK – The ultimate giallo shocker - now uncut in HD for the first time ever in America!
Academy Award®-Winning director Morgan Neville (20 Feet from Stardom) tells the provocative story of legendary director Orson Welles during the final 15 years of his life, when he struggled to complete The Other Side Of The Wind. It's the untold chapter of one of the greatest careers in film history: defiant and unbowed.
Now Streaming on Netflix.
Universal’s R-rated “Halloween” refresh is headed for a major opening at the box-office. The David Gordon Green-directed film is eyeing an opening in the $57-65 million range in the U.S., though some analysts say it could hit $70 million.
Rungano Nyoni‘s utterly captivating debut feature I Am Not a Witch centers on 8-year-old Shula (Maggie Mulubwa), a young Zambian girl who’s quickly accused of witchcraft after she shows up in a small village unannounced. A token trial follows; Shula is found guilty and sent to live in a barren, government-run witch camp, where she — like the other women interned there — is always tethered to a large, heavy spool of ribbon, to prevent her from flying off and (presumably) killing someone.
Once Shula decides to opt in on her new status as a witch — her other choice, according to those in charge, is to cut the ribbon and be turned into a goat — she’s embraced by the older women in the camp, who dote on her like a daughter/granddaughter. The affection and attention are nice, as is the status Shula earns when she’s taken to judge civil disputes and her decisions are taken seriously. But she must also face scorn, hostility, and disgust from the locals (and intrusive curiosity from visiting tourists), which ultimately outweigh the positive aspects of the witches’ community.
Viewed by Nyoni as a fairy tale, I Am Not a Witch nevertheless is based on the existence of actual witch camps in Africa; Nyoni, who was born in Zambia before moving to Wales as a young child, stayed in one in Ghana for a month that has been operating for more than 200 years. It’s clear that her research informed the film, which is richly observed and beautifully detailed.
It’s also gorgeously filmed and full of realistic, lived-in performances, especially Mulubwa’s; her Shula is simultaneously defiant and vulnerable — every inch an old soul in a young body. I Am Not a Witch raises compelling questions about superstition and fear of “the other” and how they can lead to women being blamed for misfortune even in societies that value women and in many ways view them as equal to men.
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