Next Screening? Same Sex couple learns that horror finds a way on “Hallowed Ground”

Satanic rituals and softcore lesbian porn.

This version of “Hallowed Ground” is from actor turned director Miles Doleac promises to be a money-making machine when it opens in early June.

 

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R.I.P. John Singleton — 1968-2019

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John Singleton broke out with “Boyz N The Hood,” for which he was nominated for the best director Oscar. He was the first African American filmmaker so nominated.
He built a career out of action films (“Shaft”) and movies about the black experience (“Beloved,” “Rosewood,” “Baby Boy,” “Poetic Justice”) and for a time had to wear the label “The Important Black Director Who ISN’T Named Spike Lee” with as much grace as he could summon.

His family just shut off life support for him as he won’t recover the “massive stroke” he suffered last week.

He made a “Fast and Furious” sequel, backed “Hustle & Flow” and like a lot of filmmakers over 40, struggled to get much traction and get projects made in recent years.

I think we may have chatted about “Rosewood” when it came out.

But the memory that sticks out is being in New York and watching him direct a scene from his 2000 remake of “Shaft” in Times Square. He was positively giddy, dancing around the set. A later account in I believe “Premiere Magazine” had producer Joel Silver suggesting he “dance your ass over behind the camera and get me a take.”

Damned killjoy.

He never did become “The Next Spike Lee.” Tastes ran a little too close to say, Brett Ratner, for that. He did some good work and will be remembered for it, launched important careers and can be forgiven for that run of bad pun African American drama titles that followed “Poetic Justice” (named for Janet Jackson’s poet-character in it, “Justice”).

He had more movies and projects in him, more life to live. And 51 is a ridiculously young age to die. RIP.

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Preview — Aniston and Sandler reunite for a TV movie — “Murder Mystery” for Netflix

Any doubt these two have moved on from mainstream cinema — permanently — is answered and underlined with this trailer.

Not a laugh in it.

Gemma Arterton and Luke Evans also star in “Murder Mystery,” which streams June 14.

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Preview: Chadwick Boseman is the “cop who kills cop killers” in the city of “21 Bridges”

Oh my, might STX have made a dirty cop thriller?

Not Chadwick Boseman. He’s the detective sent to figure out why eight police officers died in a drug raid, and kill or catch — in that order — the people responsible.

What will he discover as he closes Manhattan’s “21 Bridges,” shuts down subways and ferries, swamping the island with a “flood of blue” in this manhunt?

Sienna Miller, Keith David and J.K. Simmons also star in “21 Bridges,” which opens July 21.

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Preview: Hooking up with your daughter’s girlfriend? Kind of a “Funny Story”

Matthew Glave and Emily Bett (different billing on the poster and IMDb, “Emily Bett Rickards”) are the stars of this May 24 release (VOD, limited theatrical), which may explain why Blue Fox has it and it’s going to those platforms rather than full court press theatrical.

“Funny Story” looks cute, if kind of predictable. Made it into a lot of festivals, won some awards — Santorini, Santa Cruz, Southhampton.

And the five star reviews are all over it…from “The Movie Waffler” and her/his ilk.

But again, looks cute. So maybe.

 

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BOX OFFICE–Rewrite the record books, thanks to “Endgame”

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Variety (@Variety) Tweeted:
#AvengersEndgame slaughtered records with a $1.2 billion global debut https://t.co/22IjCAri6F https://t.co/0NnGfP0AF0 https://twitter.com/Variety/status/1122818056680394752?s=17

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Frost & Pegg’s production company lands “Rivers of London”

frost.jpgSimon Pegg & Nick Frost’s Stolen pop Picture To Adapt Ben Aaronovitch’s Epic Fantasy Drama ‘Rivers of London’, report via Deadline.com. https://t.co/GglHJqBTpj https://t.co/Th91c8gKgk https://twitter.com/DEADLINE/status/1122817818947244032?s=17

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Movie Review: Sad teen wishes he could “Just Say Goodbye”

 

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A six year-old boy comes home, drops his books, fetches a glass of milk and a drawing he did and calls for his mother. He finds her, in bed, empty bottles of pills littering the night stand.

He puts down the milk, pulls the covers up to her chin and kisses her. “Goodbye, Mom.”

The boy has to endure his father’s furious erasure of her from their lives, burning mementos, photos, the works. “She was NEVER here…She did this to US. Understand me?”

“Just Say Goodbye” begins with those gripping moments, and proceeds to squander them in a lukewarm melodrama about Jesse (Max MacKenzie) ten years later, bullied, guilt-ridden and miserable, with only one friend, our narrator Sarah (Katerina Eichenberger).

Screenwriter Layla O’Shea, director Mark Watling and star MacKenzie make this kid so passive that it takes a while for empathy to build up enough before Jesse hits his one friend, his great defender Sarah with his Big Reveal.

“I can’t wait till I’m gone.” He’s talking about college, right? Wait, he’s just 16. What he’s really talking about is taking Mom’s way out. He’s killing himself.

The rest of the movie is Sarah trying to talk him out of it and Jesse feigning glibness at his big plans.

“You’re 16. You make it sound like life’s over with already.”
“Isn’t it?”

Jesse insists that every shirt he buys has a pocket because he’s saved one photograph of his mother from his dad’s (William Galatis) Mom-Purge. That’s a nice detail in a movie that could use a lot more of those to go with the kid growing up to be an aspiring artist, the standard-issue (and way too old for high school) bully (Jesse Walters) and the bottles Dad crawled into after Mom killed herself.

The dialogue is stilted, and in general the movie could use a few more hints that these teens are real teenagers — in their preoccupations, their hormones, their speech.

Jesse just takes every injury and insult the bullying Chase dishes out, leaving it to  Sarah to ineffectually stick up for him, even when the non-swimmer is dragged into the lake where he might well die.

“You were letting yourself drown!”

“We’ve all got to go sometime.”

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The performances are generally tepid, with Eichenberger not capable of ginning up sympathy for MacKenzie’s Jesse by herself. His motives seems more questionable than your average big screen suicide and MacKenzie’s performance is more morose than empathetic.

There’s tension in the finale, but everything that comes between that gripping opening and that climax has a seen-this-before/I-know-what’s-coming quality.

It’s topical and never terrible. But “Just Say Goodbye” plays as if a word was left out of end of the title — “Already.”

1half-star

MPAA Rating: unrated, with violence, suicide, alcohol abuse and profanity

Cast: Max MacKenzie,  Katerina Eichenberger, Pamela Jayne Morgan, Jesse Walters, William Galatis

Credits:Directed by Matt Walting, script by Layla O’Shea. A Leomark Studios release.

Running time: 1:46

 

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Preview –Capturing New York, one frame at a time — “Martha: A Picture Story”

The only photographers to ever merit documentaries being made about them are the ones who photograph New York.

So if you’re in say, Cheraw, S.C. (a vivid, colorful, poor and forgotten town I pass through on the way to visit relatives) and you want to get famous, you have to go take pictures of what generations of shooters have photographed — the changing panorama of NYC.

That’s where Martha Cooper made her name. She left photogenic Baltimore for New York’s grime and glamour.

“A Picture Story” just premiered at Tribeca.

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AMC keeps upping the number of theaters showing “Endgame” around the clock

Earlier this week, pre release, AMC said four theaters in the chain would stay open all through the night this weekend, based on presale demand. Now that’s up to 17. From the LATimes
https://t.co/jlLao6wqy0 https://twitter.com/latimes/status/1122410119671820288?s=17

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