Movies like The Gorge often cannot escape similarities with one or more episodes of The Twilight Zone. In this case, the similarities are noticeable almost immediately when two distinctly different individuals - both of whom are professional snipers - get a job protecting a mysterious gorge on its opposing sides. Inside are incomprehensible horrors, but outside are many oddities and unknowns as well.
From that hook, the film's director Scott Derrickson, who recently made The Black Phone, does a Super-G-level of slalom, flipping through genres in no time at all. From a thriller to a drama, then to a romance, and finally to a horror science fiction, The Gorge covers broader genre setups than an average movie theatre does over a weekend. Here, the film would often be too loose and disconnected, if not for Anya Taylor-Joy. For the most part, she carries the film on her slender back, providing a character that is constantly evolving and growing, but does so without stealing the spotlight. The same makes The Gorge overall a fun experience, even when the premise and the plot struggle to keep the audience engaged and interested in what, ultimately, hides the weird fog of the gorge.
If anyone is making a film about potentially corrupt police officers working in a huge US city, the shadow that Training Day casts on the same genre remains incredibly long. Even two plus decades since its release, that film is to the police crime thriller what Saving Private Ryan is to the war films. That’s why the director of The Rip, Joe Carnahan, didn’t have an easy job in front of him.
In his case, the unity under scrutiny is a narcotics team working in Miami. The same crew is suddenly placed in a tight spot after it raids a property where millions of US dollars are stashed, which are most likely directly connected to a narco cartel. In the night that follows, all bets are off as each of the team’s officers has someone to suspect.
From the get-go, it’s clear that the biggest center of gravity in the film is the relationship between Matt Damon and Ben Affleck. The duo has been writing modern Hollywood history since the late 1990s, and they can still click together. But the same gravitational pull is also pushing everyone to the other rims of that star-studded solar system. That includes the very important Steven Yeun, but also a number of female characters that almost disappear in the last third of the film.
Here’s where the biggest flaw of The Rip lies. Carnahan apparently didn’t fully decide if there’s too little or too much Damon & Affleck in his film. That’s why it ends up feeling somewhat under-cooked at its end, with several phases of the film that never completely deliver. That doesn’t make The Rip ultimately bad or unentertaining, but it does make it far away in terms of enduring quality from films like Training Day. The comparison might be unfair; however, it is still unavoidable.
The latest and biggest film from Paul Thomas Anderson has that very rare characteristic of modern cinema - it gets better as time passes. Initially, the story of several members of French 75, a fictitious rebellious militant organization in the early 2000s, seems incredibly shaky. The visuals are there, but the essence of its violent actions, undertaken by a motley crew of insanely colorful characters, fails to build in any clear direction.
It does, however, offer a glimpse into the main characters on both sides of the law, played well by Teyana Taylor, Leonardo DiCaprio, and Sean Penn. The problem is that it does it in a confused, insecure way that is neither fun nor disturbing. Instead, it presents some odd form of an alternative present that is mostly goofy and corny, even though it clearly resonates with the actual US political divide.
However, when the film moves to the present day, it kicks up a gear, mainly through the introduction of the revolutionary child of Charlene, played exceedingly well by Chase Infiniti. In the following mayhem, One Battle After Another becomes not just fun to watch, but also very moving. Here, the starting oddness combines well with the rest of the plot and delivers thrills just as much as great character development. In the end, both Anderson and his movie manage to win their final battle.
The kinetic force behind the film Sinners is a tangible type of energy that you feel in your rib cage. Like a muffled baseline in a club, it reverberates with you but does not hamper you in any way. Besides, it doesn’t force itself upon you, asking for your unwavering attention. It simply grooves, and you grove with it. The film that Ryan Coogler created works like that, allowing the audience to jump into as deep or as shallow as they like. All who do leap will get immersed in a world completely in tune with Coogler’s vision, which is a space of music, culture, danger, and endless injustice.
The film places the viewers in the Mississippi Delta in the 1930s, where a pair of criminals and twins, both played by Michael B. Jordan, set up a speakeasy. Their efforts to make an underground club for the downtrodden African-Americans face numerous hurdles, which include both the oppressive white figures and the local black population. However, Elijah "Smoke" and Elias "Stack" Moore won’t take no for an answer and make their vision happen. The first night of the club, however, a stranger from Ireland enters the same vision and quickly turns it into a escalating, bloody nightmare.
Even though Sinners, like another modern vampire movie, From Dusk Till Dawn, is broken into two substantially different parts, it still works as a unified work of art. It tells its viewers about the pain and the suffering of the black US population and how music was and continues to be a way not just to endure, but to thrive and prosper. In its tale, the film presents so much pain and suffering, but still remains eternally hopeful that things can and must get better. The notion of the main antagonist and his background in the downtrodden Ireland works perfectly alongside this, following it as a form of backup singer who can still steal the spotlight when needed.
Many already label Sinners as a modern masterpiece that goes a long way further than a good horror action film. However, the cultural influence that the film could have in the coming years is even bigger. With the proper mindset of the future viewers who enjoy it - and learn from it - Sinners could become a crucial element of the Black US culture that was created in our lifetime. Presently, the movie, along with the incredible Weapons, is the best horror film of 2025.
The directorial debut of Dave Patel is pouring its heart and soul into the film’s energy. The work, even though ultimately a finely-crafted and dynamic film, still fails at the same time precisely because of the insanely high energy it provides. From the sights and sounds to even the dense music soundtrack and the nearly-tangible smells of modern India, Monkey Man keeps relentlessly pushing and pushing.
But it feels like Patel, who is starring in the film at the same time, tried hard to bring across a more poignant and deeper message about the state of the biggest democracy in the world. The story of a downtrodden boy who grows up into a man thirsting for vengeance is easy to understand, though hard to empathise with. The reason for this is that in the film, somehow, everyone seems to be suffering. That plight turns into a series of individual spaces from which no one can escape.
This applies to the ritual character of Kid, but also to the beautiful women trapped in the glorified brothels of the upper floors of glamorous hotels. It applies to the corrupt cops on the street and to their commanders as well, whose hands are forever bloodied by the deeds they had or wanted to commit. Still, throughout all of this, castes are never mentioned, which is an odd blind spot for a film with these topics and societal context.
Chances are that for the film’s investors, it’s much more appealing to see a scenario where everyone is sort of bad in their own way instead of fully focusing on the powers that be. The main antagonist of the film could have played that role. But the script seemingly pulled away from pushing into the societal space where money is pouring in and very little pouring out, just like it has been for millennia.
Monkey Man is a stand-out action thriller that does both thrills and action really well. Yet, it is no White Tiger when it comes to its ability to address the current state of India’s wealth disparities. It does, sadly, just as little in showcasing what the future course of this unique but troubled nation could be.
If a person had to end up in a prison anywhere in the world, I'm pretty sure that most would choose a country like Sweden. Black Hills is an upcoming Swedish action thriller that tells a tale of one such location. However, in it, the prison is called Black Hills Correctional Facility, and it is a place no one would wish to be. Here, an inmate by the name of Marius will have to fight his way to reach freedom.
Check out the film's trailer right here!
Directed by David Anghel and written by JussiRuotsalainen, the film offers an action-packed tale of redemption and survival. If this sounds like something you'd enjoy, Black Hills will be out across the streaming and VOD landscape, but you can also catch it on Vimeo right now!
Intensity and energy are the main hallmarks of Predator: Killer of Killers. These elements shine through from the first moment and keep up relentlessly throughout the film. That's not an easy feat in any genre, let alone feature-length animated movies. It is also important to note that the director, Dan Trachtenberg, who previously made, among other things, 10 Cloverfield Lane, has diverse experience working on atypical projects. That helped him to keep both going even though the majority of the film's storyline is broken into three separate vignettes.
Each of these covers a different warrior on Earth, each in its period. That includes a Viking clash, a violent political turmoil in feudal Japan, and finally the Pacific theatre of WW2. In each, a predator seeks to find the strongest prey, take it down, and become the killer of killers. At the same time, the clueless humans hang desperately to nothing more than the raw desire to survive.
The vignettes come together in the crescendo of the film, erupting in even more action and bloodshed. But, these work together perfectly with rough but still defined characters, each from a different era and culture. Through a well-chosen style of animation, the desperate humans, just like the unwavering predators, managed to offer one of the best films in this franchise. Simply put, Predator: Killer of Killers is truly a killer movie (I had to go there).
Jason Bateman is a versatile actor, but Carry-On puts a lot of weight on his shoulders as key bad guy of Carry-On. Like in any action thriller, the bad guy is just as important as the main protagonist, here played by Taron Egerton. But, sadly for both of them and the audience, the film never manages to find the right formula between their interactions and the subsequent anticipation, where this tale of Novichok ends up - ironically - very lacking in the department of on-screen chemistry.
Instead of something that will be the new version of Die Hard 2, the film sends us into the grotto of the Transportation Security Administration or TSA in a huge Los Angeles airport. Here, Ethan, played by Egerton, has a day from the depths of hell when the mysterious Traveler pulls him into a web of lies, deceit, and mortal danger. In the heart of it all is a case with the Novichok agents that the Traveler needs to put on a plane at LAX, no matter the cost. Ethan, on the other hand, has to stop him and still keep his life and the life of his pregnant girlfriend, or trade these for countless victims of the deadly compound.
The entire Carry-On could have been somewhat improved by shortening all of its phases, as well as taking out the completely redundant sequence in the luggage facility. It feels incredibly laden with CGI and ultimately serves no purpose other than to try and chase (pun intended) some relatively novel action thrills. However, the sequence, like the entire film, needed a bit of afterthought from the director Jaume Collet-Serra, as well as some cutting down of runtime. This wouldn’t have turned Carry-On into a masterpiece of action cinema - that ultimately lies in the lacking dynamic between Bateman and Egerton - but would have made it a bit more compact and appealing.
There can never be too many movies set in the medieval fantasy period, especially if they're based on a blend of action and horror. Simply put, the same mix of genres always provides a level of fun and thrills that nearly guarantees a good time for cinephiles of these types of films. Devil's Knight is one such film, and this title only recently came out. Here's how the film describes itself:
In the realm of Veroka, an elite group of global monster hunters is summoned by King Samuel to vanquish the ancient Bone Devil, whose reign of terror threatens the Kingdom of Remény.
The movie is directed by Adam Werth and stars John Wells, Kevin Sorbo, Angie Everhart, and Daniel Baldwin. It also features the legendary Eric Roberts. It was written by Vincent V. Gelsomino and Adam Werth. Devil's Knight is produced by Michael Mahal and Sonny Mahal of Mahal Empire Productions.
The concept of the Japanese Geisha has long fascinated the world of cinema. For decades, these enigmatic but alluring figures have been a prominent element of the endless appeal of the Far East. From their distinctive look and unique personal presentation, all the way to the complex psychological portraits behind the makeup and clothes, these ancient performing artists and entertainers never fail to capture our imagination. However, the latest film with the Geisha subjects manages to immerse the audience even deeper in the same cultural phenomenon. That film is Dark Feathers: Dance of the Geisha, and here is how it describes itself:
Geisha ladies of Japanese culture have long been revered for their beauty and entertaining skills of singing, dancing, and conversation. Some are known to possess special abilities that can drive men crazy. Kate (Crystal J. Huang) leads a mysterious life in San Francisco as a photographer and ballroom dancer. But when all her dance partners turn up dead, detective Remy (Gilles Marini) begins to investigate. As he gets closer to the truth, he too succumbs to passion for Kate, which strains his marriage with Amelia (Karina Smirnoff) and leads to his own death. With the body count growing, police pressure to catch Kate builds, revealing her participation in a secret underworld of honor and culture.
Crystal J. Huang, the producer and director of the film, clearly found inspiration in a range of subject matter associated with the phenomenon of the geisha. That is why the film offers a strong sense of atmosphere, combining the elegant and the deadly. In equal measure, the scenes of action and violence complement those of dancing and vice versa. In both cases, the exchange between the forces of life and the forces of death continues unabated. Here, the presence of the veteran actor, Michael Madsen, further enforces the sense of mystery and life-and-death choices.
Visually, Dark Feathers: Dance of the Geisha offers a very immersive experience, where ballroom dancing halls provide a playing field for grace and splendor. At the same time, the film uses other locations with just as much effect, offering an almost dream-like viewing experience. Through stellar cinematography, the film ultimately tells about very different cultures coming together through emotions, passion, and art, just as much as violence and drama.
Tactile, measured, and beautiful, Dark Feathers: Dance of the Geisha is a story that easily captivates with its unique story and characters. If you’d like to learn more about the film, check out its official website as well as its Facebook, X, Instagram, and TikTok profiles. Finally, watch the entire film right now on Amazon Prime US and Amazon Prime Canada and become lost in the beautiful, mysterious, and deadly world of the Geisha.
There’s no doubt that Jeremy Saulnier can deliver a mean and unusual thriller. Blue Ruin is borderline brilliant, while Green Room does a good job at keeping you interested past its exploitation-level punks vs nazis premise. But, at the same time, Saulnier’s films tend to pay a price for their unique vision. Hold the Dark is a perfect example of this notion and now, Rebel Ridge is likely taking the same bold but faulty formula even further.
The concept of his latest film is very straightforward - a former marine martial arts expert, Terry, goes via bicycle to a local courthouse in a backwater southern US. He wants to bail his cousin Mike out of jail and do it fast, as his life might be in danger inside. That is why Tery feels that he has only a limited time to do the same before potentially deadly harm comes to Mike. But, a chance encounter with a police patrol derlails the entire plan and puts him on a crash course with the entire local law enforcement.
Some have hailed Rebel Ridge as a thinking man’s modern version of Rambo. But, while the main character, played exceedingly well by Aaron Pierre, has the charisma to pull it off, the rest of the cast does not. What’s worse, the script also doesn’t have the fuel needed for a Rambo-like experience.
There is a huge focus on the police and court procedures, which should likely shine a light on the US system’s terror of those with the wrong color of skin or insufficient bank accounts. So, the entire script from start to finish is rooted in some kind of police procedural setup. To make things worse, these procedures take over nearly two and a half hours over the course of the film’s run time, which was completely unnecessary as well. Due to this, the constant but lackluster attempt at social commentary falls short and is more of a burden to the film than anything poignant or meaningful.
Rebel Ridge is a well-crafted film with a clear artistic design behind it, as well as a cast that gave it its best shot. But, Aaron Pierre alone cannot carry the faults that Saulnier embedded in the film’s script before the first shot was even filmed.
To have a good laugh, go watch a random clip from the original Road House film from 1989. There, so many things are completely god-awful and terribly unintentionally funny, but Patrick Swayze somehow made it all work out in the end. Today, the film is a classic of campy movies and something that offers loads of fun whether you ultimately appreciate it as a work of cinematography or something that is basically a reel of Fail Army videos with a shared common topic.
The 2024 remake of Road House works broadly in a similar manner, offering the central point of Jake Gyllenhaal as the ex-MMA now wanton bouncer coming to the Florida Keys to set everything right without even trying. The director of the film, Doug Liman, focused on the need to keep the original’s carefree fun spirit and he managed to do a moderately good job there. The photography of the film is great, the warm Florida sun shines on the white sands, while the night shots are all clad in colorful bar lights. Liman previous did films like Edge of Tomorrow, so his cinematography, including inventive camera movements, is excellent. Overall, the visuals are definitely there, but the narrative essence doesn’t manage to follow suit.
The reason for that is that neither Man nor Gillenhall managed to fully capture the once-in-generation mixture of unintentional charm that the original had. That is why the new version has drastically fewer insanely dumb parts, but just as few very good parts as well. There are also many abs and biceps in the film, countlessly more than any appreciation of the female body. Also, people wrestle and fight all of the time, grappling on the floors and bar tables with no end in sight. Because of that, at least, Road House from 2024 will become an iconic gay film in the coming years and decades.
Humanity has always been fascinated with the concept of competitions where the participants risk mortal injuries or even fight to the death. In ancient times, cultures like the Roman Empire had their gladiators, while Aztecs sacrificed prisoners of war in similar game-like events. In the present day, such practices are either non-existent or highly illegal, but the fascination remains, especially when modern technology is thrown into the mix. That is why films like the legendary Running Man became cult classics. Now, a new feature film takes on this concept, but does it in a fresh and unique manner. That film is Arena Wars and it comes out very soon with its hellish version of death games.
Gravitas Ventures is well known for bringing innovative independent films to a worldwide audience. On June 25th, Arena Wars will bring the battle to the big screen in North America and on VOD in most geographic regions. Be warned, folks, Arena Wars is not for the faint of heart as it places our heroes, who happen to be freedom-seeking convicted criminals, on a live television show "Arena Wars" to engage in mortal combat for your evening entertainment! Think the masked singer meets WWE but with knives, sludge hammers, convicted murderers, and chain-saws.
Our protagonist Luke Bender (John Wells) is a wrongfully convicted Marine serving a life sentence, who leads a group of ragtag convicts through a series of arenas in the ultimate quest of good vs evil, freedom vs certain death. In Arena Wars, convicted criminals can fight their way to freedom against seven of the world's most dangerous masked gladiators. Enter our masked gladiators in full combat armor: Master Blaster, a chain-saw-toting psychopath; Cutie-pie, whose machete is sure to capture your heart; Calypso, who is ready for a fight in some scary WW2 riot gear; Meat Wagon, and many more.
Arena Wars also stars its TV host, Michael Madsen (Kill Bill, Hateful Eight), and Robert Lasardo as Perez (The Mule, Death Race), Eric Roberts as Admiral Jordan (Runaway Train, The Dark Knight). The very capable Brandon Slagle is at the helm, directing and capturing the action of the Arena Wars mayhem (The Flood, Battle for Saipan). Mark your calendars for June 25th, folks; that's when Arena Wars slashes, punches, and kicks its way to select theaters and VOD! Arena Wars is not to be missed!
The film is a must-watch for all fans of genres like action, gore horror, and thrillers, especially those that involve the tech aspect, seen here in humanity’s insatiable hunger for TV and online video violence. However, Arena Wars doesn’t shy away from dark humor, which is a great counterbalance to the somber note of death games. Here, a great cast, including Roberts, Lasardo, and Madsen, is a perfect fit, as veterans who can effectively dabble in both serious characters and those roles with a comedic twist. Also, as the trailer shows, the movie features a high level of polish, seen in editing and color correction, as well as other elements that make it big scene-worthy for sure.
Arena Wars will hit theaters and video-on-demand services on June 25, 2024. All who find this setup intriguing should pre-order the film on Amazon right now, but every action movie fan out there should be aware - when the 25th comes, be ready for your bloody dose of Arena Wars!
Flying is often scary and Plane is at its best when it tackles this idea. The film begins as a very grounded drama of a south Asia flight going badly wrong, but then the second part mutates into a hostage action flick. Here, the level of quality and believability also drops, despite the fact that the main characters, played by Gerard Butler and Mike Colter, do a solid job with their roles of the airplane captain and a convicted criminal, now bound to work together to survive.
However, it is the plot that meanders and presents a very lackluster main villain, here in the form of a Philippine island warlord who loves violence as much as his crisp curly hairdo. The director, Jean-François Richet, still resuscitates the film at the very end with a satisfying nail biting finale, which places the entire experience of watching Plane in a more interesting thriller action category. Seeing how much more expensive films like Rebel Moon fail at countless more things than this movie, it can be said that Plane is overall a good action piece.
There’s a clear and definite characteristic of both Dune films and it’s not something, at least in my experience, that the reviews tend to notice or mention. That characteristic relates to the issue of characters and their relatability. While both films come with many different individuals who have widely different personalities and goals, all of them have in common the fact that I don’t really care what happens to them.
I don’t want any righteous retribution against Baron Harkonnen, just as I don’t care if Paul Atreids becomes the emperor. I’m not invested in whether or not Chani ends up with Paul or if the Sardukars protect the Emperor or die trying to do that. I also couldn’t care less whatever Stilgar or Gurney Halleck want or aim for.
Instead, like the first Dune film, we’re left with an audio-visual spectacle that dazzles the senses, potentially tickets the mind, but does next to nothing to the way we feel about it. The second film, furthermore, even follows the Hollywood blockbuster formula. As we follow Paul in his newly instated guerilla war against Harkonens, we get the well-known 1-2-3 punch. First step is dialogue, followed by combat, followed by something mysterious and grand, like a spice trip, impressive outwordly location, or a fever dream.
All of these - including dialogues - look great, but feel void. Through this shuffle of elements, the film streams on through its plot and races to its completion. The only moment it breaks its stride is the short excursion to the Harkonne world, where again, we get the same 1-2-3 formula, but this time in black and white.
A clear pattern is emerging from Denis Villenu in his last three films - that includes the two Dune movies, but also the Blade Runner 2049 that came before them. These films feel great visually as you watch them and there is an undeniable aesthetic power to them. But, beyond the nice shots there is a plethora of cardboard cutouts representing characters and that, sadly, undermines the entire experience in a subtle but unmistakable manner.
The legend of the Kiamichi Beast dates back over 200 years. Back then,
in the area of the mountains in Oklahoma, the tales of the local Native
American tribes tell of an elusive creature that is haunting the same
wild woodlands. In that rugged terrain, this mythical creature has been
accused of bringing fear into the hearts of men and even worse,
disappearing into the night with their children.
This story is the basis of a whole series of films from Master Hughes Productions. Behind them is Master Hughes, director, actor and producer who took on the legend of the Kiamichi. The series begins with The Kiamichi Beast Expedition, where Hughes, along with a veteran tracker Victor Inman, sets off into the mountains for a perilous mission. There, things that are not only dangerous for them, but also able to install unspeakable terror, lie in wait.
The successful title was followed by The Kiamichi Beast Expedition 2, Trail of the Kiamichi Beast and finally the latest entrance in the series, The Quachita Beast incident. All of the films were more greeted by the Bigfoot enthusiasts community, but also found their audience among other interested viewers. Through them, the crew around Master Hughes focused on creating the best possible experience for the audience of this series. In the foundation of each sequel was the unshakable desire of everyone involved to blend reality and imagination into an unforgeable cinematographic encounter.
Now, with The Quachita Beast Incident being available for online viewing, it is certain that a brand new generation of fans will learn about this series. If you're interested in Bigfoot and many other mysteries that our great world offers, check out the same film on TubiTv right now and watch it - it will be an unforgettable experience no matter what!
If you have a science fiction action film on a grand scale where "rebels" fight the "Imperium", certain issues of copyright and artistic freedom are bound to get raised. However, the director and main creative force behind Rebel Moon, Zack Snyder, clearly wasn't dissuaded by any of those notions or he simply has steel faith in his team of lawyers. Instead of giving the script an un-Star Wars redo, Snyder went full-force into the development of a two-part epic where Kora, a former super-soldier of the Imperium, is taking on her former employees for the sake of a small farming moon and its despondent inhabitants.
The biggest immediate impression that comes from watching Rebel Moon is its completely uncensored ripoffs from the Star Wars franchise. From costumes to the broader topics and relationships, all the way to the core nature of this very familiar-feeling story set in a galaxy far, far away, it was all seen before. More precisely, it was all seen in the famous George Lucas franchise. But, Snyder does all of this thievery so unapologetically and without restraint that you cannot somewhat enjoy the end-result knockoff adventure. Add a dash of predictable and unnecessary slow-mo fight sequences and the classic Snyder dish is served. However, despite all of its failings when it comes to originality and uniqueness, it is still a somewhat fun cinematographic experience which is at moment - ironically - more entertaining than a few of the new Star Wars films.
The appeal of all David Fincher work is multifaceted, but the core element among them has to be his characters. No matter what is the focus of the narrative or what is the visual setting of a film, his characters remain front and center. The Killer does not deviate from that concept and instead doubles down on it, albeit in a novel manner.
The unnamed protagonist of his latest film is, like the title states, a killer. But, he is a professional hitman to whom the process of death-dealing is an organized, meticulous venture. Usually, he is very good at it. However, when the killing and hurting comes perilously close to those he loves, the process takes on a different form.
Starring Michael Fassbender, the movie is an expensive-looking action flick but which remains steadily grounded as well. The Killer is not a perfect machine of homicide, but a slightly confused professional in uncharted personal waters. Clean of all forms of empathy and compassion, the Killer slowly finds himself drifting away from these pillars of his work so far. But, as that takes place, some new insights also open up for the same characters, all of which are masterfully captured by a manically-committed Fassbender. Yet, unlike Gone Girl, which also has a strong leading role, this film blends that role with everything else as well. There are more positive and appealing elements in the film as well.
From the beginning to the end, the plot steers clear of any James Bond-like twist and turns, rejecting both glamor and mystery of international murder-for-hire. Instead, it showcases it just as any other line of work, but one that involves shooting, stabbing and murdering in general. That makes it both fresh and fun, even at the very end, which is atypical and full in line with the rest of this ordinary-looking, but very unique film. Honestly, we didn’t expect anything less from the great David Fincher and just as great Michael Fassbender.
History of cinematography shows that the right kind of independent film does not hold anything back. In the case of The Lords of Cornhole, an upcoming action comedy, even the very thought of holding back is not present. Instead, the film goes all out and delivers what will surely be one of the top indie gems of 2023. Here's how the film describes itself:
Which do you prefer VIOLENCE or COMEDY? Well you don't have to choose when you get ample doses of BOTH in: The Lords of Cornhole! Brought to you by the never-indicted, very stable geniuses at Coldheart Productions with a little help from recording artist Djo Life, not to mention the "World's Strongest Director" Peter Leon! You'll be holding your bags tight and hoping our heroes will make it "right in the hole", in a movie that promotes the classic American subjects of performance diminishing drugs, bad parenting and of course CORNHOLE.
While all of this might sound a bit too much, the film's trailer shows all of this in full glory! It is also a great taste of what the viewers can expect very soon. Check the trailer out right here:
Immediately, it's plain to see that the movie will showcase wild&violent action, attractive people in bathing suits, and plenty of laughs. But, if you're looking for a singular reason why you should check out The Lords of Cornhole it is the fact that it features Alex Kack, aka The Green Shirt Guy as well!
The film will have its official premiere on September 10th at 7pm at the Loft Cinema in Tucson, Arizona. Tickets are on sale, so don't be a cornhole and grab a couple of those right now!
"To be the best you must beat the best. Don't poke the wrestling bear and expect him to go out gently."
The trailer for the upcoming short action film called The Best (2023) starts with this simple premise. From here, the same trailer showcases a ring and what is soon to be the grounds for an incoming wrestling match but does it with a lot of tension and expectation. Thanks to a powerful music tune and the blood-red color effect - all in less than a minute - the same trailer manages to set the stage for what could be an iconic short wrestling film.
The film is based on the tale of a young wrestler and his journey to turn into the very best of this unforgiving and demanding business. From its shots and soundtrack, the film promises a sharp and hard experience, which is completely in line with the same tough-as-nails entertainment industry. Of course, the professional background of the crew working on the film definitely adds to this as well.
The Best is directed by Marc Ash, a veteran of the industry, who is also starring in it. Besides him, the film also features Thomas Bragg and Malcome Dhark, but also introduces Laurie Lennon Williams. Between them, the same crew has decades of experience in the wrestling and movie domains, and that immediately shines through.
The Best is available on video-on-demand services and any wrestling fan should check it out - that goes most of all for those who are willing to go beyond the multi-million dollar spotlights and see the same space in a new, gritty, and very much authentic light.
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