The Chamber Of Terror TV Spot: "Nash Caruthers is on a deadly collision course with the people that tore his world apart...along with something unexpected. Something far more sinister.
This feature film’s ensemble is led by Timothy Paul McCarthy, Jessica Vano, Ry Barrett and Derek Gilroy.
Written, Produced and Directed by Michael Pereira. Produced by Craig Lobo and Berge Karageusian.
Lensed by award-winning Cinematographer Michael Jari Davidson. Practical Makeup Effects created by The Butcher Shop Makeup Effects Studio."
The Chamber of Terror is on the festival circuit and will be heading to Nooga Underground Film Festival and Panic Fest.
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Joe Bob’S Jamboree Moves to Memphis' Malco Summer Drive-In for Second Annual Event on July 8-10, 2022: "The second annual Joe Bob’s Jamboree, a three-day genre-film celebration that includes the World Drive-In Movie Festival, a fan convention with celebrity guests from the genre film world, and...
This feature film’s ensemble is led by Timothy Paul McCarthy, Jessica Vano, Ry Barrett and Derek Gilroy.
Written, Produced and Directed by Michael Pereira. Produced by Craig Lobo and Berge Karageusian.
Lensed by award-winning Cinematographer Michael Jari Davidson. Practical Makeup Effects created by The Butcher Shop Makeup Effects Studio."
The Chamber of Terror is on the festival circuit and will be heading to Nooga Underground Film Festival and Panic Fest.
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Joe Bob’S Jamboree Moves to Memphis' Malco Summer Drive-In for Second Annual Event on July 8-10, 2022: "The second annual Joe Bob’s Jamboree, a three-day genre-film celebration that includes the World Drive-In Movie Festival, a fan convention with celebrity guests from the genre film world, and...
- 4/12/2022
- by Jonathan James
- DailyDead
Sundance Film Festival: London has revealed that “Zola” and “Coda” will be among the 2021 lineup, when the festival returns to Picturehouse Central next month.
“Coda” — an acronym meaning “Child of Deaf Adults” — features Marlee Matlin (“The West Wing”) and 19-year-old Emilia Jones (“Locke & Key”) navigating their relationship, while “Zola” is based on a 148-tweet viral Twitter thread from 2015 by Aziah “Zola” Wells. It stars Taylor Paige (“Ma Rainey’s Black Bottom”) and Riley Keough (“Max Max: Fury Road”) and will close the 4-day festival.
Edgar Wright’s rockumentary “The Sparks Brothers,” described as a “musical odyssey,” opens the festival on July 29.
Other feature film offerings, which have been selected from the longer line-up shown at the Sundance Film Festival, include “The Nest,” starring Jude Law (“Sherlock Holmes”), animation “Cryptozoo,” which features Lake Bell (“BoJack Horseman”) and Michael Cera (“Arrested Development”), and documentary “Writing With Fire,” about a female-run Indian newspaper, which...
“Coda” — an acronym meaning “Child of Deaf Adults” — features Marlee Matlin (“The West Wing”) and 19-year-old Emilia Jones (“Locke & Key”) navigating their relationship, while “Zola” is based on a 148-tweet viral Twitter thread from 2015 by Aziah “Zola” Wells. It stars Taylor Paige (“Ma Rainey’s Black Bottom”) and Riley Keough (“Max Max: Fury Road”) and will close the 4-day festival.
Edgar Wright’s rockumentary “The Sparks Brothers,” described as a “musical odyssey,” opens the festival on July 29.
Other feature film offerings, which have been selected from the longer line-up shown at the Sundance Film Festival, include “The Nest,” starring Jude Law (“Sherlock Holmes”), animation “Cryptozoo,” which features Lake Bell (“BoJack Horseman”) and Michael Cera (“Arrested Development”), and documentary “Writing With Fire,” about a female-run Indian newspaper, which...
- 6/2/2021
- by K.J. Yossman
- Variety Film + TV
Following a family that begins to unravel after a home invasion, Ronny Trocker’s Human Factors has an ambitiously unconventional structure that leads to a convoluted puzzle box of a film. The well-directed sophomore narrative feature ultimately loses itself, placing more importance on its central theme of interpersonal interactions while firmly rejecting a more fleshed-out, compelling story.
Taking a break from their stressful line of work, advertising agency owners Nina (Sabine Timoteo) and Jan (Mark Waschke) whisk their children (Wanja Valentin Kube and Jule Hermann) to their isolated vacation home, hoping for much needed rest and relaxation. Days after arriving, they hear a piercing scream as they witness a supposed home invasion from their own wildly different individual perspectives. In the aftermath of the event, mistrust begins to brew with tensions between the family rising as they attempt to figure out the motives and the culprits behind the scare. Instead...
Taking a break from their stressful line of work, advertising agency owners Nina (Sabine Timoteo) and Jan (Mark Waschke) whisk their children (Wanja Valentin Kube and Jule Hermann) to their isolated vacation home, hoping for much needed rest and relaxation. Days after arriving, they hear a piercing scream as they witness a supposed home invasion from their own wildly different individual perspectives. In the aftermath of the event, mistrust begins to brew with tensions between the family rising as they attempt to figure out the motives and the culprits behind the scare. Instead...
- 2/11/2021
- by Diego Andaluz
- The Film Stage
Suffocatingly indebted to the films of Michael Haneke in its chilly dissection of (upper) middle-class malaise, Ronny Trocker’s “Human Factors” is the kind of puzzle-box thriller that you’d want to re-watch immediately — if only it left you with any desire to ever watch it again. , Trocker’s second feature (following 2016’s “The Eremites”) never quite manages to make good on its gamesmanship and only allows itself to have any fun once it’s sure that nobody else is.
The film’s X-ray insight into brittle bourgeoise fear is still lucid enough to get under your skin, especially when Trocker seizes on the feeling that we’ve seen this before and begins to weaponize it against us. Klemens Hufnagl’s floating camera wends its way through an empty Belgian vacation home somewhere near the German border; the place is eerie and expectant, acclimating us to a film preoccupied with blind spots in domestic bliss.
The film’s X-ray insight into brittle bourgeoise fear is still lucid enough to get under your skin, especially when Trocker seizes on the feeling that we’ve seen this before and begins to weaponize it against us. Klemens Hufnagl’s floating camera wends its way through an empty Belgian vacation home somewhere near the German border; the place is eerie and expectant, acclimating us to a film preoccupied with blind spots in domestic bliss.
- 2/4/2021
- by David Ehrlich
- Indiewire
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