Moonfall (film) 2022 film by Roland Emmerich The film was theatrically released in the United States on February 4, 2022, by Lionsgate and Summit Entertainment, and in the United Kingdom on the same day by Entertainment Film Distributors. It became one of the largest box-office bombs of all time, grossing only $67 million worldwide, and received mixed-to-negative reviews from critics. In 2011, astronauts Brian Harper, Jocinda "Jo" Fowler, and newcomer Marcus are on a Space Shuttle mission to repair a satellite. A mysterious swarm of alien technology attacks the orbiter, killing Marcus and knocking Jo unconscious before tunneling into the surface of the Moon. Brian, the only witness to the swarm, returns the crippled shuttle to Earth, but his story is dismissed and he is fired from NASA. Ten years later, conspiracy theorist K.C. As lunar orbit deteriorates, the Moon falls closer and closer to Earth, causing seismic and gravitational disturbances. Writer, director, and producer Roland Emmerich
Split (2016 American film) Film by M. Night Shyamalan Split is a 2016 American psychological thriller film written, directed and produced by M. Principal photography began on November 11, 2015, in Philadelphia, Pennsylvania. Kevin Wendell Crumb, a man struggling with dissociative identity disorder (DID) rooted in his history of childhood abuse and abandonment, has been managing living with his 23 distinct personalities well for several years with help from his therapist, Dr. Just outside Philadelphia, Dennis kidnaps three girls — Claire, Casey and Marcia — when they are waiting in the car of Claire's father to get driven home from a birthday party. Dr. Unstoppable (2010 film) 2010 film by Tony Scott Unstoppable is a 2010 American disaster action thriller film directed and produced by Tony Scott and starring Denzel Washington and Chris Pine. It is based on the real-life CSX 8888 incident, telling the story of a runaway freight train and the two men who attempt to stop it. It was the last film Tony Scott directed before his death in 2012. The film was released in the United States and Canada on November 12, 2010. It received generally positive reviews from critics and grossed $167 million against a production budget between $85–100 million. While two yard hostlers are moving a mixed-freight Allegheny and West Virginia Railroad (AWVR) train at Fuller Yard in northern Pennsylvania, Dewey, the engineer, realizes that a trailing-point switch ahead is not correctly aligned and leaves the cab of lead locomotive 777 to change it, setting the throttle to idle. As Frank predicted, the train barrels through the portable derailers unhindered.
‘Infinity Pool’ and the Battle for an R Rating To fans of Brandon Cronenberg, a director of grisly horror movies, an NC-17 rating from the Motion Picture Association is cause for excitement: What new forms of mutilation does this provocateur have in store? But to a filmmaker looking for a wide theatrical release — as Cronenberg was for “Infinity Pool,” opening on Friday — the rating is akin to the kiss of death. By definition, NC-17 simply means no children 17 or younger can be admitted, but in practice, there are more restrictions. Last year, the kiss was bestowed on “Infinity Pool,” a Sundance premiere starring Alexander Skarsgard and Mia Goth that deals liberally in sex and gore. He first decided to go back to the editing room, setting up a familiar Hollywood dance between artistic independence and a desire for commercial success. “It’s always fixable because you can always cut things,” Cronenberg said in a video call. “The total time off of the movie is probably like five seconds,” Noble said. IT’S POSSIBLE THAT CHANGE is coming.
A War-Waging Computer Is Hero-Villain of 'Forbin' EARLY in "The Forbin Project," Colossus, a supercomputer that controls the United States's military defense system, goes into an unprogrammed rage and launches a missile toward the Soviet Union. The President of the United States turns to Forbin, the man who invented Colossus, and gives him a petulant look that seems to say: "There goes the stock market . . . . the urban vote . . . . my golf game . . . .my image. You've made a fool out of me."It's one of the appealing things about "The Forbin Project," an unpretentious science fiction film with a satiric point of view, that when the world is about to blow up, the President of the United States can only bring to the occasion something akin to embarrassment.The film, which opened yesterday at the Cinema Rendezvous, is no "Dr. THE FORBIN PROJECT, directed by Joseph Sargent; screenplay by James Bridges, based on the novel "Colossus" by D. F.
Total Recall (1990 film) 1990 film directed by Paul Verhoeven Shusett bought the rights to Dick's short story in 1974 and developed a script with O'Bannon. Although considered promising, the ambitious scope kept the project in development hell at multiple studios over sixteen years, seeing forty script drafts, seven different directors, and multiple actors cast as Quaid. Total Recall was anticipated to be one of the year's most successful films. In 2084, Mars is a colonized world under the tyrannical regime of Vilos Cohaagen, who controls the mining of valuable turbinium ore. En route, Quaid is attacked by men led by his colleague Harry because Quaid unknowingly revealed his past; Quaid's instincts take over and he kills his assailants. On Mars, Quaid evades Richter and, following a note from Hauser, travels to Venusville, a district populated by humans and those mutated by air pollution and radiation. Cohaagen awaits them in the reactor control room, claiming that activating it will destroy the planet. Books
Dennis Muren Visual effects pioneer Dennis Muren, A.S.C (born November 1, 1946) is a self-taught American film visual effects artist and supervisor. He has worked on the films of George Lucas, Steven Spielberg, and James Cameron, among others, and won nine Oscars in total: eight for Best Visual Effects and a Technical Achievement Academy Award.[1] The Visual Effects Society has called him a perpetual student, teacher, innovator, and mentor.[2] He has been identified as a primary pioneer in bringing a new wave of visual effects films to the public, opening the doors for screenwriters and directors to tell stories never before possible with a new realism through the use of his skills in cinematic arts and advanced technologies.[3] According to Spielberg, he set the example at Industrial Light & Magic for visual effects excellence with effects that add strong, appropriate emotion to a shot and fit seamlessly into a movie.[4] Early life[edit] Industrial Light & Magic[edit] Personal life[edit] References[edit]
The Thing (1982 film) Film by John Carpenter Production began in the mid-1970s as a faithful adaptation of the novella, following 1951's The Thing from Another World. The Thing went through several directors and writers, each with different ideas on how to approach the story. Filming lasted roughly twelve weeks, beginning in August 1981, and took place on refrigerated sets in Los Angeles as well as in Juneau, Alaska, and Stewart, British Columbia. Of the film's $15 million budget, $1.5 million was spent on Rob Bottin's creature effects, a mixture of chemicals, food products, rubber, and mechanical parts turned by his large team into an alien capable of taking on any form. The Thing was released in 1982 to negative reviews that described it as "instant junk" and "a wretched excess". In Antarctica, a helicopter pursues a sled dog to an American research station. Clark kennels the sled dog, and it soon metamorphoses and absorbs several of the station dogs. Actor Wilford Brimley in 2012. Art director John J.
John Carpenter American director, screenwriter, producer, and composer John Howard Carpenter (born January 16, 1948) is an American filmmaker, actor, and composer. Although he worked in various film genres, he is most commonly associated with horror, action, and science fiction films of the 1970s and 1980s. He is generally recognized as one of the greatest masters of the horror genre.[1] At the 2019 Cannes Film Festival, the French Directors' Guild gave him the Golden Coach Award, lauding him as "a creative genius of raw, fantastic, and spectacular emotions".[2][3] Early life[edit] Career[edit] 1960s: Student films and Academy Award[edit] The next year he collaborated with producer John Longenecker as co-writer, film editor, and music composer for The Resurrection of Broncho Billy (1970), which won an Academy Award for Best Live Action Short Film. 1970s: From student films to theatrical releases[edit] Carpenter assembled a main cast that consisted of experienced but relatively obscure actors. Legacy[edit]
Rob Bottin American special make-up effects creator Well respected in his field of prosthetic makeup (better known as special make-up effects), and described in 2013 as a "special effects genius",[2] Bottin was nominated for an Oscar in 1986 for Best Makeup, and was awarded a Special Achievement Academy Award at the 1991 Academy Awards. He has two BAFTA nominations, and won two Saturn Awards with five further nominations.[3] Early life[edit] Bottin was born in the Los Angeles suburb of El Monte, California. His father was a foreman for a van and storage company.[4] Career[edit] After asking cinematographer Dean Cundey to introduce him to director John Carpenter, Bottin was hired by Carpenter to create the special makeup effects for his 1980 film The Fog.[6] Although his work was at first criticized for being too gruesome or distracting from the film's psychological themes, it has since been credited for actually enhancing the feel of the film. Filmography[edit] References[edit] External links[edit]
‘House of the Dragon’ and ‘The Rings of Power’ Both Use Diverse Casting. One of Them Does It Better. In theory, I’m on the side of the diversifiers. It’s true that Tolkien’s legendarium is a self-conscious attempt to invent a mythology for his beloved England, such that stripping away too much Northern European atmosphere is the equivalent of making a “Black Panther” adaptation set in South Korea or Scandinavia. But it’s also absurd to imagine that a narrative so vast and complex, spanning thousands of only partially mapped-out years, is somehow sullied if every adaptation doesn’t recapitulate the final battles in “The Lord of the Rings,” with its proto-European heroes pitted against darker-skinned Easterlings and Southrons. Especially when you consider that several thousand years pass between the events of the famous trilogy and the antecedents depicted in “The Rings of Power,” it seems easy enough to imagine diversifications that don’t betray anything essential to Tolkien’s world. This isn’t what “The Rings of Power” ended up doing.
In ‘Smile,’ Why the Grins Are So Grim Smiles lit up a corner of the Bronx recently after the Yankees beat the Red Sox in a gripping 5-4 home win. During the game last month, one guy in the stands behind home plate looked so thrilled he stood up with an extra-wide grin on his face, a countenance that was caught on camera and shared widely on social media. But this was no Yankees fan: This beaming weirdo was part of a promotional activation for the intensely creepy new horror film “Smile.” Now in theaters, it stars Sosie Bacon as a therapist who encounters an evil force that feeds on trauma around suicide and manifests in humans as a ghastly leer that grimly moves from body to body, à la “It Follows.” Jeannette Catsoulis, in her review for The New York Times, called it a “precision-tooled picture” with smiles that act as “bleeding wounds that can’t be stanched.” What makes a smile scary enough to build a film around, Finn said, is what it hides. Science backs him up. No wonder horror loves smiles.