They said it wouldn't be so hard. RIGHT?!
‘Human Centipede’ Director Tom Six Returns This Fall With ‘The Onania Club,’ One of the ‘Most Vile Movie Experiences of All Time’
Three years after finishing “The Human Centipede” trilogy, writer-director Tom Six is officially set to return to theaters with his latest horror shocker “The Onania Club.” The filmmaker is keeping plot specifics about the movie under wraps for now, but he is promising the physiological thriller features “mostly strong female characters” and will “definitely pass the Bechdel test with flying colors.” The cast includes Jessica Morris, Darcy DeMoss, Deborah Twiss, Karen Strassman, and Flo Lawrence.
Read More:‘The Outsider’: Stephen King Reaffirms His Hatred of Stanley Kubrick’s ‘The Shining’ in New Novel
While plot details are remaining a mystery, “The Onania Club” is set in Hollywood, California. The exclusive release promises the movie “will be one of the most vile, inhumane movie experiences of all time.” Anyone who has seen “The Human Centipede” films know Six can more than deliver on this promise. The movie is produced by Tom Six and Ilona Six through their Six Entertainment Company production banner.
In addition to “The Human Centipede” films, Six is also known for making the features “I Love Dries,” “Honeyz,” and “Gay in Amsterdam.” He launched the “Centipede” franchise in 2009 and it spawned two sequels in 2011 and 2015. “The Onania Club” is Six’s first non-“Centipede” release in 10 years.
Check out the first official poster for “The Onania Club” below, which includes the line: “Come and see, see and come.” Considering the tagline and the fact that “onania” is an archaic term for masturbation, Six won’t have a problem courting controversy with his latest offering.
“The Onania Club” is seeking distribution. The film is eyeing a fall 2018 release date.
‘Brooklyn Nine-Nine’ Cast and Crew Supported Stephanie Beatriz When She Shut Down Sexism On Set
It may come as no surprise that “Brooklyn Nine-Nine” actress Stephanie Beatriz has no trouble speaking up when a man’s behavior crosses a line. In a recent interview with Vulture, the actress and LGBTQ advocate shared an anecdote that will sound all too familiar to many women in Hollywood, about an older male actor who was calling everyone “honey,” “babe,” and “baby” on set. (Beatriz did not share the actor’s name). Observing him interacting with the other women on set, Beatriz remembers wishing he would call her a name just so she would have a chance to respond.
“Sure enough once we hit set, he did speak to me that way, and I said, ‘I’d really prefer it if you called me by my name.’ And he was like, ‘All right, sweetie.’ And then I stopped and said, ‘No. I am actually serious. I am not sweetie. My name is Stephanie, and I’d like you to call me by my actual name.’ And he was a little bit of an older guy, and I don’t think he was used to anybody talking to him that way, especially not a young woman.”
It’s the kind of assertive statement many actresses might not feel comfortable making, but after many seasons on the show, Beatriz knew her “Brooklyn Nine-Nine” team would have her back. She went on:
“But that was our show. It’s our house, and I wasn’t going to let him come into our house and disrespect the crew, the other actors, myself. It was really great that I felt really supported in that. Everyone around me, the director that day, the crew, our creators, rallied around me and said, ‘Yeah. You did the right thing. Thank you for speaking up and making sure that you felt comfortable in your work environment.'”
Read More:‘Brooklyn Nine-Nine’ Saved by NBC, Renewed for More Episodes
Beatriz plays Detective Rosa Diaz on “Brooklyn Nine-Nine,” which was recently canceled by Fox before NBC picked it up for a sixth season. Beatriz is bisexual, which inspired the writers on the show to dedicate two full episodes to Rosa’s coming out as bisexual. Gina Rodriguez played Rosa’s love interest in the fifth season finale, which aired on Sunday. Read the full interview with Beatriz here.
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THIS ARTICLE IS RELATED TO: Television and tagged Brooklyn Nine-Nine, Stephanie Beatriz
‘Deadpool 2’ at $125 Million Could Suggest Marvel Box-Office Fatigue Has Come at Last
With three Marvel movies now in theaters, Ryan Reynolds' snarky superhero opened just below even its low-end expectations
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Is a $125-milllion opening weekend enough? Seems crazy to ask, but that’s what our Marvel-dominated world has come to. “Deadpool 2” had the third-biggest opening of 2018, and the third biggest opening for a Marvel film, after Disney’s “Black Panther” and “Avengers: Infinity War” (both over $200 million to start).
“Deadpool 2” opened to over $300 million worldwide, and had a lower budget than many Marvel titles ($110 million, about double the 2016 original), so this should be a profitable title and then some. But it also shows the first signs of possible Marvel weariness, if only because the gross came in a little under expectations.
25 Films With the Best Cinematography of the 21st Century, From ‘Tree of Life’ to ‘In the Mood for Love’
Cinematrography is tough to judge on its own merits, because it can be hard to extract it from the other powers of great visual storytelling. At the same time, every beautiful movie shows the signature of a talented director of photography as much as a filmmaker. In the process of considering the finest cinematographic achievements of this decade, this list includes on gorgeous films that — in some cases — achieve more on the level of cinematography than anything else. The past two decades have found the craft of cinematography making extraordinary advances on the level of digital technologies and other innovations, but at the end of the day, these particulars matter less than the sheer impression left by the images and movements captured by cinematographers operating at the peak of their abilities. Here are some of the best examples from this young century.
25. “The Diving Bell and the Butterfly” (2007)
Ever since “Schindler’s List” Janusz Kaminski has been known as Spielberg’s go-to DP, but it was on this far smaller film by painter Julian Schnabel that the great Polish cinematographer created his most emotionally resonant and powerful images. The film is small in scope, told from the point-of-view of a man in the prime of his life who, after a stroke, is left completely paralyzed except for his left eyelid. Kaminski uses a wide variety of different techniques – playing with shutter angles, frame rates and digital effects – to make the images feel as if they are the product of the protagonist’s obscured vision. But the film is more than visual gimmickry; while Schnabel is best known as a painter, on “Diving Bell,” it was Kaminski holding the brush. Each image carries with it the heightened emotional state of a character clinging to his humanity – each glimpse or memory tinged with a powerful glimpse of hope, desperation and loss. Never has cinematography been used to express subjectivity with subtle touches, transforming a nifty visual conceit into a remarkable piece of art. –Chris O’Falt
24. “There Will Be Blood” (2007)
One always gets the sense that Robert Elswit and Paul Thomas Anderson learn from each other during the process of making a film together, not just how to lens something, but where to look, what to see, what not to see. It’s been enough (for the director, at least) that they’re not reteaming on Anderson’s latest, which he reportedly shot himself, but what a fruitful marriage it was. Elswit has long proven himself able to do anything, from blockbusters of the “Mission: Impossible” stripe to gonzo period comedies like “Inherent Vice,” but his sharpness always marks his work. And the darkness, too, rising most masterfully (and monstrously) in Anderson’s 2007 masterpiece, “There Will Be Blood.” An intimate character drama writ on large, epic-scale, Elswit’s camera is just as comfortable capturing a glistening, enraged Daniel Day-Lewis as it is a sweeping vista of American West promise. The darkness glows, and it consumes. –Kate Erbland
Read More:Why Paul Thomas Anderson Didn’t Hire a Cinematographer For His New Movie
23. “Eternal Sunshine of the Spotless Mind” (2004)
When we talk about the magic of “Eternal Sunshine,” it is often about the chocolate-and-peanut butter-like combination of writer Charlie Kaufman’s inventive narrative insanity and director Michel Gondry’s ephemeral visual poetry. However, it’s Ellen Kuras’ cinematography that serves as the glue holding the two together. On a very practical level, Kuras’ lighting serves as vital exposition – clearly delineating the different dimensions and supplying inventive transitions – which allows the complex science fiction device to melt into the background and the metaphysical poetry to rise to the top. In a film about the erasing of memories, the lighting itself has a fragility in its washed-out beauty that creates a visual texture. The result not only mirrors the film’s themes; it becomes the primary storytelling device. Kuras creates a film that’s both intimate and otherworldly at once. –CO
22. “Silence” (2016)
Mexican DP Rodrigo Prieto first joined forces with Martin Scorsese on “Wolf of Wall Street,” but their collaboration reached new heights on “Silence.” When you watch the powerful religious/period drama, the distinct palette and stark imagery is striking, even for a Scorsese film, but not altogether surprising considering the careful planning that goes into each his films. But Prieto created the film’s sculpted look under impossible conditions. Juggling rough locations under constantly changing and harsh weather conditions, Prieto somehow controls the elements by making fog, nature, the sea and the sunlight into the tools of his outdoor studio. –CO
21. “The Handmaiden” (2016)
Cinematographer Chung Chung-hoon and Park Chan-wook have collaborated since 2003 (“Old Boy”) to create some of the most unique cinematic works of the century, but it’s with “The Handmaiden” that Chung’s work is allowed to really shine. His camera always moves with a divine sense of purpose — Park knows how to wring any space for every ounce of its potential drama — but Chung’s lighting has never been more measured or exact. The night scenes are coated in a luminous gray haze that haunts the estate with the ghosts of Lady Hideko’s discarded relatives, and the sex scenes are soaked in a supple warmth that actively resists the blankness of pornography; there’s an honesty to these images that lets Park shoot a 69 while still keeping it 100. –DE