Who doesn’t like a good adventure thriller about time travelling? Inspired by the classic blockbuster film of the same name, this show explores the provocative story of a time traveler from the future in a high-stakes race against the clock. Using a dangerous and untested method of time travel, he journeys from 2043 to the present day. He has a mission – locate and eradicate the source of a deadly plague that will all but annihilate the human race. “12 Monkeys” makes its series premiere on January 16, Friday at 9pm ET/PT.
The last thing you expect when you move into a retirement community is that supernaturally bad things will happen.
Late Phases sets up just such a situation when blind war veteran Ambrose McKinley (Nick Damici) is forced to movie into the Crescent Bay community by his son, Will (Ethan Embry). Next thing you know, the blind vet is asking about silver shotgun ammo.
Late Phases will be in select theaters on November 21st. Check out the trailer after the jump.
Syfy’s TV adaptation of Terry Gilliam’s 12 Monkeys has been scheduled – the series will premiere on Friday, January 16th, 2015.
The series follows a time traveler (Stanford, above left, with Amanda Schull and Emily Hampshire) from the year 2043, who comes to our present to try to prevent a deadly plague that eventually will destroy the human race.
Details follow the jump.
Syfy’s Television adaptation of 12 Monkeys will begin production in Toronto on August 6th with two new cast members: Tom Noonan and Emily Hampshire.
Noonan will play the ‘mysterious villain who is the face of the enigmatic Army of the 12 Monkeys,’ while Hampsire will be Jennifer Goines, ‘a dangerous, unstable mental patient who might have the key to unraveling the mystery of the 12 Monkeys locked away in her head.’
12 Monkeys is scheduled for a January, 2015 premiere. For more, follow the jump.
The House of the Devil opens with a graphic card that claims seventy per cent of American adults in the ‘80s believed that there were Satanic cults that abducted and sacrificed people – and that thirty per cent believed that we didn’t hear about because of a government cover up. So, we know going that this a particular type of horror film.
Samantha [Jocelin Donahue] is a college student who needs to come up with a lot of money to cover the rent of an apartment – which she needs to get away from her slutty, slobby dorm roommate. When she spies a flyer on one of the various bulletin/flyer boards on campus, she thinks she’s got it made – despite some good advice from her best friend, Megan [Greta Gerwig]. The circumstances surrounding the babysitting job are peculiar to say the least – and the couple who hire her are beyond odd. But, she needs the money – and even an impending lunar eclipse can’t sway her.
It’s been several hours since I walked out of the theater and I’m still wondering whutinthehighholyhellwuzzat?!? If you’ve seen any of the films that Kaufman wrote previously [Being John Malkovich, Adaptation, Eternal Sunshine of the Spotless Mind], then you know that is the usual state of mind that follows a screening his work. It’s just that Synecdoche, New York takes things to a whole other level.
Kaufman lulls us into a state of false comprehension by opening with the family of small time theatre director Caden Cotard [Philip Seymour Hoffman] as they go about a depressing day – a day that seems to last forever and ends with his artist wife, Adele Lack [Catherine Keener] and daughter, Olive [Sadie Goldstein] leaving for a show in Berlin. The two-week separation becomes seventeen years.
In the meantime, Caden, following on the heels of a Broadway success with Death of a salesman, wins a genius grant of quite possibly billions and mounts a play that he hopes will bold and true and a bunch of other artistic stuff. What he winds up with is a scale version of New York – peopled by actors playing all the people in his life [however slightly or parenthetically]. But that’s all window dressing.
Besides being a pun on Schenectady [the Cotards’ hometown], synecdoche is a word that can mean “a part that represents the whole.” In terms of Kaufman’s film, this can mean any number of things – Kaufman himself says that it means what you take out of it. For me, the film is about Life. It grows and shifts in variations on a theme even as members of Caden’s cast quit and are replaced – even though the new actors are doing the same things as their predecessors, they are different because they are different people, much as we are different people at various stages of our lives.
Life, and Death, are both bigger than we are, and smaller. We can be replaced, though never exactly. We can be reproduced, though never exactly, in any number of media. In an odd way, Kaufman seems – to me at least – to be saying that life, the universe and everything is what it is. That can be both a comforting thought and a harrowing one.
Final Grade: A+