submitted 6 days ago by maegul@lemmy.ml to c/movies@lemm.ee

Upvote the film you'd like to watch the most in the comments below!

Nominations are in for July's Fedi Film Club (see nominations post here).

Each one in is a separate comment below, which you can upvote.

And, for clarity, they're also in the list below, in alphabetical order.

If you have any handy tips on the best way to get a hold of any of these, please share! Note though that the high seas in general are likely are well known option.

  • Big Trouble in Little China
  • Dungeons and Dragons: Honour Among Thieves (2023)
  • I’m Thinking of Ending Things (2020)
  • Soylent Green
  • Terminator 2: Judgment Day
  • The Andromeda Strain (1971)
  • The Apartment (1960)
  • The Peanut Butter Falcon (2019)
  • Underwater (2020)
  • Wacko (1982)

And of course, the point of all this is to crowd-source human curated film recommendations. This is definitely a diverse bunch of films, some of which I didn't know about and others I'd never seen. I'll definitely want to watch more than one of these!

submitted 1 week ago by Blaze@lemm.ee to c/movies@lemm.ee
submitted 2 weeks ago by Blaze@lemm.ee to c/movies@lemm.ee


A woman named Sam finds herself trapped in New York City during the early stages of an invasion by alien creatures with ultrasonic hearing


Michael Sarnoski


Michael Sarnoski, John Krasinski, Bryan Woods


  • Joseph Quinn as Eric
  • Lupita Nyong'o as Samira
  • Alex Wolff as Reuben
  • Djimon Hounsou as Henri
  • Thea Butler
  • Jennifer Woodward as Nurse

Rotten Tomatoes: 86%

Metacritic: 68

submitted 2 weeks ago by Blaze@reddthat.com to c/movies@lemm.ee


A man seeks to break free from his predetermined path, a cop questions his wife's demeanor after her return from a supposed drowning, and a woman searches for an extraordinary individual prophesied to become a renowned spiritual guide.


Yorgos Lanthimos


Yorgos Lanthimos, Efthimis Filippou


  • Emma Stone as Rita
  • Jesse Plemons as Robert
  • Willem Dafoe as Raymond
  • Margaret Qualley as Vivian
  • Hong Chau as Sarah
  • Tessa Bourgeois as Louise

Rotten Tomatoes: 74%

Metacritic: 65

submitted 5 hours ago by Emperor@feddit.uk to c/movies@lemm.ee

Tim Robbins is shutting down any “deranged” comparisons between his 1992 film “Bob Roberts” and the assassination attempt on Donald Trump.

Conspiracies surfaced on social media after Thomas Matthew Crooks killed a Trump rallygoer and tried to assassinate the former president, injuring two others in the crowd as well. Robbins weighed in after one theory claimed the shooting was arranged by convicted felon Trump to boost his campaign for re-election, much like the plot of Robbins’ political drama “Bob Roberts.”

“To anyone drawing a parallel between my film ‘Bob Roberts’ and the attempted assassination of Trump, let’s be clear. What happened yesterday was a real attempt on a presidential candidate’s life,” Robbins wrote. “Those that are denying the assassination attempt was real are truly in a deranged mindset. A human being was shot yesterday. Another killed. They may not be human beings that you agree with politically but for shame folks. Get over your blind hatred of these people. They are fellow Americans. This collective hatred is killing our souls and consuming whatever is left of our humanity.”

“Bob Roberts” was written and directed by Robbins, who also starred. The film centered on the rise of a populist conservative politician (Robbins) who stages being shot by an assassin to win a U.S. Senate seat in Pennsylvania.

submitted 5 hours ago by Emperor@feddit.uk to c/movies@lemm.ee

Shortly after A Quiet Place: Day One's record-breaking opening weekend, there was online outrage after it was reported that the horror movie would be available to watch at home within a month of its cinema release.

This was only an alleged release date and nothing has been confirmed by Paramount even now. It sparked a debate, however, about how the report would impact Day One's chances at the box office, and a wider one about how movies just aren't given the time to build their audiences at the cinema.

submitted 7 hours ago by UKFilmNerd@feddit.uk to c/movies@lemm.ee
submitted 10 hours ago by Blaze@sopuli.xyz to c/movies@lemm.ee
Movie posters from Ghana (pixelfed.social)
submitted 13 hours ago by MacedWindow@lemmy.world to c/movies@lemm.ee


And one more slightly nsfw one (eye stabbed with broom) here

submitted 12 hours ago by Emperor@feddit.uk to c/movies@lemm.ee

“Longlegs,” an occult-tinged horror mystery about an FBI agent on the trail of a serial killer, opened to a phenomenal $22.6 million, easily outgrossing “Fly Me to the Moon,” a $100 million dollar rom-com featuring two of Hollywood’s brightest stars.

To pull off that upset, “Longlegs” got a lift from some sensational reviews, as well as a creepy performance by Nicolas Cage. The film’s opening weekend results are a record-breaking debut for Neon, the indie distributor that did an outstanding job of generating word-of-mouth for “Longlegs” thanks to a viral marketing campaign. It was one that saw the studio create a “90s-style website” highlighting the gruesome crimes of its antagonist, as well as a phone number that people could call to hear a demented message from Cage. It’s a page right out of the playbooks of previous cult hits like “The Blair Witch Project,” where it worked so well that it essentially created a new paradigm for building buzz, and “Snakes on a Plane,” where a bunch of people got personalized recordings of Samuel L. Jackson ranting about air travel and reptiles. “Longlegs” was directed by Osgood Perkins and stars “It Follows” breakout Maika Monroe, both of whom just turbocharged their asking prices.

What makes the result even more impressive is how little Neon shelled out to achieve its success. The movie was produced for under $10 million and the studio spent roughly the same amount to market and distribute “Longlegs.”

“This has been a really wild ride,” said Elissa Federoff, Neon’s chief distribution officer. “Working with the film’s creative team, we have been able to put together something really special. When you start with a film as wholly original as this one and you combine it with a fully fleshed out, bespoke marketing campaign, you can achieve something extraordinary.”

But even though “Longlegs” was the big story of the weekend, the top slot at the box office went to “Despicable Me 4,” which retained its box office crown after dominating moviegoing throughout the Fourth of July holiday. The animated comedy from Universal and Illumination earned $44.6 million in its second weekend of release, pushing its domestic total to $211.1 million. This week the companies announced they were making “Minions 3,” a “Despicable Me” spinoff, which is scheduled to hit theaters in 2027. The “Despicable Me” series recently topped $5 billion at the global box office, becoming the first animated franchise to hit that milestone.

submitted 20 hours ago by Blaze@sopuli.xyz to c/movies@lemm.ee
submitted 16 hours ago by Emperor@feddit.uk to c/movies@lemm.ee

Paramount Pictures is closing deals with Robert Pattinson and Smile filmmaker Parker Finn to tackle a remake of Possession, the cult 1981 psychological supernatural horror movie written and directed by Polish filmmaker Andrzej Zulawski.

The deal is being made in the shadow of the landmark transaction that saw parent company Paramount Global agree to be acquired by a consortium led by Skydance. That deal will take about a year to complete, including clearing regulatory hurdles.

The Possession pact is personal for Paramount CEO Brian Robbins and motion picture co-heads Daria Cercek and Michael Ireland, who fought hard to keep Finn in the Paramount family. He’s a homegrown talent, with Smile becoming a surprise hit at Paramount in 2022.

Finn will write the script, direct and produce via his Bad Feeling banner. Pattinson will produce via his production company Icki Eneo Arlo. His acting involvement will be clarified down the road as the script and schedules develop.

Vertigo Entertainment’s Roy Lee, who helped produce Zach Cregger’s breakout Barbarian, will also produce.

The package hit the town in mid-June, quickly eliciting a bidding war. According to sources, theatrical players Warner Bros., Sony and Paramount were the final bidders.


The deal marks a leveling up for Finn, who is in post on Smile 2 for Paramount and has a first-look deal with the studio. Possession was not part of the first-look, but the studio has seen Smile 2 and feels tremendously high on it.

Possession is intended to be Finn’s next movie. It will afford Finn a bigger scale, but sources say he hopes to keep an eye on an intimate story.

submitted 1 day ago* (last edited 1 day ago) by Emperor@feddit.uk to c/movies@lemm.ee
submitted 1 day ago by Emperor@feddit.uk to c/movies@lemm.ee
submitted 1 day ago by Emperor@feddit.uk to c/movies@lemm.ee
submitted 1 day ago by Emperor@feddit.uk to c/movies@lemm.ee

There’s nothing I find so cheering, these days, as the rise of the horror movie. Take its intrusion into this year’s summer blockbusters. We have the usual soulless franchises and deadly repeats – Despicable Me 4, Deadpool 3, Furiosa: A Mad Max Saga, Bad Boys: Ride or Die – and then we have a flicker of light in the dark. Turns out that audiences do want new stories, they do want new characters, and they do want inventive film-making after all. Because a genuinely imaginative – arthouse, even – movie is predicted to draw in big audiences and make a great deal of money. It has come in the form of a horror film: Longlegs.

Just released on Friday and starring Nicolas Cage as a serial killer, Longlegs has been reviewed, variously, as “the scariest film of the decade”, and “a film in which every frame is a nightmare”. But it is also starkly beautiful – starting from the opening shot, as we follow a small girl’s progress through a snowy landscape. We move through claustrophobic basements and misty woods, our eyes flicking to layers of shadow in the background, to wherever the characters have last omitted to look. The film is thick with references for film buffs; flashbacks are indicated through texture and ratio changes; there are arty bursts of absurdity.

Yet the film is also expected to gross some $20m (£15.5m) in the US on its opening weekend – an astonishing haul for an indie movie. A BBC review suggests that in future, “horror movies could become the new summer blockbusters, while superhero movies become the counter-programming alternatives”.


In fact, until a couple of years ago, it was quite routine for horror films to promote themselves to journalists and awards committees by strenuously denying they were horror films at all: instead they claimed to be “elevated horror”, “post-horror”, or “extreme drama”. Darren Aronofsky once described his film Mother!, in which a newborn child is eaten by a mob, as a “thriller” with “home invasion elements”.

But now the genre is at last on course for rehabilitation. What started in 2017, when Jordan Peele released the high-concept gothic Get Out, has continued in a stream of inventive horror films: Hereditary, Us, Nope, Lamb, M3GAN, Talk to Me, Beau Is Afraid. Accolades have mounted, and film-makers no longer have to dredge around for actors, worried the stigma will tank their careers.


But the really good news, I think, is that the rise of the horror film bucks a dismal pattern. Mainstream cinema is now choked by franchises from the likes of Marvel and DC. Films for grown-ups are increasingly packaged in the bright colours of comic books and infected with parables from the nursery: good overcomes evil, hard work pays off, friendship is nice. We get the same characters, and the same stories, in the same fish-bowl universes.

Horror, by contrast, has become ever more sophisticated, interrogating contemporary anxieties – where do evil and vice really lie? – and playing with form. Last year, Huesera: The Bone Woman drew us into the experience of postpartum psychosis; 2020’s The Invisible Man took us on an empathetic journey with a victim of domestic abuse.

submitted 2 days ago by Blaze@sopuli.xyz to c/movies@lemm.ee
submitted 2 days ago by TheImpressiveX@lemmy.ml to c/movies@lemm.ee
submitted 2 days ago by Mzpip@lemm.ee to c/movies@lemm.ee
submitted 2 days ago by UKFilmNerd@feddit.uk to c/movies@lemm.ee

The Crow star Bill Skarsgård says he wishes his version of Eric Draven wasn't in such great shape because it doesn't fit the character.

It just feels like there is a mysterious campaign to say nothing good about this film now. Yes, it may be rubbish when we finally get to see it but in this run up to its release, its all negative.

submitted 3 days ago by UKFilmNerd@feddit.uk to c/movies@lemm.ee

The manslaughter trial against Alec Baldwin over the fatal shooting of Rust cinematographer Halyna Hutchins has been dismissed. Judge Mary Marlowe Sommer threw out the case over how police and prosecutors treated a handful of bullets, which they failed to turn over to the defence.

“The state is highly culpable for its failure to provide discovery to the defendant,” Judge Sommer said. “Dismissal with prejudice is warranted.” The dismissal came as a surprise as gasps were said to be heard in the courtroom and Baldwin was congratulated by his family and supporters.

More to come…

submitted 2 days ago by Blaze@sopuli.xyz to c/movies@lemm.ee
submitted 4 days ago by Blaze@sopuli.xyz to c/movies@lemm.ee
submitted 3 days ago by TheImpressiveX@lemmy.ml to c/movies@lemm.ee
submitted 4 days ago by Emperor@feddit.uk to c/movies@lemm.ee

Certain movies feel predestined to become cult classics, whether through the sum of their creative parts, the outlandishness of their conceits, or a combination of both. Hell Comes to Frogtown firmly ticks each box, and the end result is unashamedly glorious trash.

Directed by schlock merchant Donald G. Jackson – who boasts The Demon Lover, Kill, Kill Overkill, Rollergator, and Guns of El Chupacabra in his filmography – the screenplay was co-written by James Cameron regular Randall Frakes, who’d work with the box office conqueror on Xenogenesis, Battle Beyond the Stars, Aliens, and Terminator 2: Judgement Day.

Arriving in a banner year for its leading man, Hell Comes to Frogtown landed months before John Carpenter’s They Live, although it remains entirely up for debate as to whether Sam Hell or John Nada wins the award for ‘Best-Named Character Played by Roddy Piper in 1988’.

Throw in Golden Globe-winning Conan the Barbarian and Razzie-nominated Red Sonja star Sandahl Bergman, an endearingly threadbare budget, and the unbridled nonsense of a post-apocalyptic world infested by sterile humans, mutant amphibians, and government-sponsored codpieces, the end result was never going to be anything less than anarchic nonsense.

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