Latest news with #GetOut
See - Sada Elbalad
2 days ago
- Entertainment
- See - Sada Elbalad
Blumhouse Acquires 50% Rights to "SAW"
Yara Sameh Blumhouse, the maker of horror hits like 'Insidious' and 'Five Nights at Freddy's,' has acquired the rights to all future 'Saw' movies, shows, and other properties featuring the murderous Jigsaw. The company paid an undisclosed amount for the part of the franchise currently owned by producers Oren Koules and Mark Burg. In statements, Koules said it felt like 'the right time to pass the baton,' while Burg said he wanted to 'move on and tell new stories.' Lionsgate, which has released all 10 films in the series to the tune of more than $1 billion at the global box office, will continue to be a partner in the property. It will also owned its existing 50% ownership stake in and distribution of future installments. With the deal, the franchise makes its way back to James Wan, who directed the original, blood-soaked 'Saw' in 2004. Wan's Atomic Monster label merged with Blumhouse in 2024. The company's list of films includes 'Get Out,' 'The Purge,' 'M3GAN' and 'Annabelle.' Jason Blum, founder of Blumhouse, said that 'Saw' had 'defined a generation of horror.' 'Its cultural impact continues to grow, making this a strategic investment in one of the most recognizable and successful genre properties of the last two decades,' Blum added. The Blumhouse CEO said that Wan and Leigh Whannell, writer of the first film, will be brought 'back in the fold' and will help guide the future of the franchise. ''Saw' holds a special place in my heart,' Wan said, adding, 'coming back to this world with a fresh perspective is both thrilling and deeply personal. For me, this will mark a significant creative return to the 'Saw' franchise for the first time since the early days, and I'm very much looking forward to embracing the original spirit whilst pushing the legacy forward in bold, unexpected ways.' CAA Evolution served as sole financial advisor in the transaction. read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News China Launches Largest Ever Aircraft Carrier Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Lifestyle Get to Know 2025 Eid Al Adha Prayer Times in Egypt Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War Arts & Culture Zahi Hawass: Claims of Columns Beneath the Pyramid of Khafre Are Lies News Flights suspended at Port Sudan Airport after Drone Attacks Videos & Features Video: Trending Lifestyle TikToker Valeria Márquez Shot Dead during Live Stream News Shell Unveils Cost-Cutting, LNG Growth Plan Technology 50-Year Soviet Spacecraft 'Kosmos 482' Crashes into Indian Ocean News 3 Killed in Shooting Attack in Thailand
Black America Web
4 days ago
- Entertainment
- Black America Web
Racial Justice, Mystery and a Lot of Ass Kicking in RZA's New Movie
Source: Melissa Nyomi Stoll / Melissa Nyomi Stoll RZA's new film One Spoon of Chocolate opens on a lonely stretch of Ohio highway. A handsome brother probably in his twenties is shooting phantom jump shots. A passing car of young white girls offers a lift. They leave laughing and flirting, his arms wrapped comfortably around two of them. But that seemingly harmless kindness is a setup: what happens next is brutal and chilling. They stop at a convenience store. The giggling girls ask him to buy them some snacks. When he exits the store, the girls are gone and he's pummeled by black hood wearing. bat-wielding white men. Blood seeps the asphalt. The next scene is even more horrific and from this vicious opening salvo, One Spoon of Chocolate plunges into Karensville—a small town that behind its quaint façade is teeming with racial violence, mystery and terror based on some 'real sh*t.' 'It's Get Out meets Rambo ,' says lead star Shameik Moore who most recently thrilled audiences in Spiderman. 'RZA is family. We've been working together for seven years. This one is art. This one is a very bold swing at being unapologetically Wu-Tang. Representing the culture in all the ways that we need it right now. It's exciting. 'It's about brotherhood,' reveals RZA. 'Redemption, which every man wishes he could find or is seeking it. And even more important, entertaining, provoking, and inspiring the audience is my mission. And I think this film does that.' Blair Underwood who plays a parole office describes the film as 'a great action film, a vigilante film.' and Shameik as a 'beast.' STAY INFORMED! CLICK HERE TO SIGN UP FOR OUR NEWSLETTER! The movie is set in a modern yet timeless American rust belt, the film follows Unique (Shameik Moore), a wrongly convicted soldier newly released, as he seeks healing with his cousin, Ramsey (RJ Cyler). Instead, they discover an underbelly of horror and racism, a sheriff and his white paramilitary buddies terrorizing the Black youth—disappearances, ugliness, violence and a chilling mystery. Unique's martial arts come alive as he fights back, carving his own path of redemption. True to RZA's signature style, the martial arts choreography blends old-school kung fu cinema with the raw intensity of modern street combat. The fight scenes are tightly staged and brutal, with Shameik Moore's Unique using fists, feet, and blades in battles that feel both artful and desperate. RZA worked with longtime collaborators from the Wu-Tang stunt team. Every punch, kick, and parry reflects Unique's inner struggle — as much about reclaiming dignity as defeating his enemies. RELATED STORIES: Method Man and Redman Kickoff The Tom Joyner Fantastic Voyage Wu-Tang Clan Announces 'Wu-Tang Forever: The Final Chamber' Tour RZA first dropped hints in 2012 about a piece revolving around social unrest and martial art-cinema fusion. Over a decade later, production kicked off in April 2024 in Atlanta, with principal photography wrapping by July, spearheaded by a cast including Michael Jackson's daughter Paris Jackson, Blair Underwood, and Shameik Moore. The movie world finally got its first look at the Tribeca film festival this month. Radio/TV personality Jazmyn Summers was there for Radio One to bring you the tea. RZA who won acclaim for The Man with the Iron Fists, says he's planning more films, 'If the universe allows it, I'll be making more movies for us. Movies are the culmination of all my art into one thing. Music is only now like a part of my brain. movies are my full brain,' he tells Summers. RZA co-produced the film with Talani, his wife of 16 years. 'I asked my wife if we should build a new house or make a movie,' he discloses, 'She said 'what do you wanna do? I said make a movie and she said I got your back.' The secret to their long loving marriage? 'We love each other and she is my best everything. Best friend. Best best best. That has to be the foundation,' he dishes. As for bad habits, 'Bad habits. I think I got rid of them, 'he laughs. Blair Underwood confesses his bad habits, 'Sweet sweets. My favorite candy is my wife, Josie,' he jokes. Underwood says the secret to a strong marriage is, 'being great friends first and listening. I'm a better person today than I was two years ago… it's a lot of learning and listening and understanding.' He and wifey Josie Hart have been married two years. READ MORE STORIES: Racial Justice, Mystery and a Lot of Ass Kicking in RZA's New Movie MFT: Marcus Jordan Remembers His First Stellar Awards Red Carpet MFT: Eric Benét Remembers His First Snoop Dogg Smoke Sesh Moore's bad habit is, 'I overthink a lot. I'm a Taurus.' And he invited the single ladies to come find him. 'But catch me in real life,' he warns 'not online'. Cyler says his bad habit is 'Chewing gum. My wife don't like it because I smack when I chew,' he laughs, Wendell Pierce who came to support the movie and will star in Superman as newspaper editor Perry White winked that his bad habit is a little naughty 'Ooh, I can't talk about that on any media platform but I don't do it with other people.' One Spoon of Chocolate draws blood and emotion in equal measure—a visceral call to arms wrapped in familial bonds and modern relevance underlining that redemption is never just physical—it's deeply human. With this one, RZA proves he's not just making movies—he's building a legacy not just in music but in film. You can catch some of the convos with the actors below Source: Jazmyn Summers / Jazmyn Summers Article by Jazmyn Summers. Photos and video by Melissa Nyomi Stoll of Melshotya You can hear Jazmyn every morning on 'Jazmyn in the Morning 'on Sirius XM Channel 362 Grown Folk Jamz . Subscribe to J azmyn Summers' YouTube . Follow her on Facebook and Instagram. SEE ALSO Black America Web Featured Video CLOSE
Metro
7 days ago
- Entertainment
- Metro
Horror fans 'seriously creeped out' as unhinged gets Channel 4 premiere
It can be quite a challenging task trying to remember viral dance routines from TikTok. With every passing week, it feels like there's a new song and matching movement to learn. So, if you're struggling to remember why Universal Pictures' M3GAN sent the internet into a frenzy in 2022, then fear not—Channel 4 has you covered. Airing on Saturday night for the enjoyment of horror fans, this twisted film about a seemingly sweet AI doll became an instant success three years ago after it capitalised on viral attention. The meme in question was created after fans tried to recreate the doll's eerie dance routine. Writing on X tonight as the sci-fi flick launched on the small screen at 10pm, @WestBromEL said: 'I'm watching M3GAN on @Channel4, it's seriously creepy.' @Mixer4everx added: 'Watching m3gan on channel 4. I love this movie.' Written by Akela Cooper, the film follows an artificially intelligent doll who develops self-awareness and becomes hostile toward anyone who comes between her and her human companion. Designed by Gemma, who is played by Get Out's Allison Williams, M3GAN goes from simply being able to listen, watch, and learn to being a full-blown killing machine. In the first week it was released, the somewhat comedic horror grossed nearly £24.9million, well above its predictions of £14million. Since, M3GAN has acquired an impressive 93% on review aggregator Rotten Tomatoes' Tomatometer, with thousands flooding the site with glowing reviews. And for those keen for more, fear not, as last month, it was revealed that a sequel, M3GAN 2.0, is going to be released soon. The plot will follow M3GAN as she is being rebuilt to combat a humanoid military robot created using M3GAN's technology that is attempting an AI takeover. Its cast will star Williams once more, as well as Jenna Davis, Ivanna Sakhno, and Violet McGraw, hitting cinemas on June 27. Additionally, it has also previously been announced that M3GAN will be getting a further spin-off, but with a more sensual twist. Blumhouse and Atomic Monster are joining forces for the third M3GAN instalment, a film that 'expands the universe' and is described as an 'erotic thriller'. A synopsis for the upcoming film reads: 'A man acquires an Artificially Intelligent android to cope with the loss of his recently deceased wife. In an attempt to create a truly sentient partner, he inadvertently turns a harmless lovebot into a deadly soulmate. 'The film is in the tradition of the 90s domestic thrillers but with a modern, technological twist.' Set to be released on January 2, 2026, it will be directed by Kate Dolan, famed for the chilling Irish folk tale You Are Not My Mother. This comes after M3GAN star Williams spoke to the Metro about the film and her fear of scary movies, despite garnering status as a Scream Queen herself. More Trending She said: 'The truth is I have a really low tolerance for horror, meaning when I watch a scary movie, it affects my sleep for a while. 'For real. So some of my favourites are my favourites, but they're stuck in time because I've been too scared to watch them again.' View More » M3GAN is available to watch on Channel 4. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Eerie sci-fi series dubbed 'freshest British drama in years' launched 10 years ago MORE: Skins star unrecognisable as he reunites with cast 12 years after show ended MORE: Rylan says Celebrity Gogglebox editors had to cut out 'career-ending' conversations
The Age
11-06-2025
- Entertainment
- The Age
I know what you read last summer (and it was probably horror)
In the mid-2010s, moviegoers embraced the so-called 'elevated' horror boom, with films such as The Babadook, Get Out, Midsommar and The Witch at the vanguard – low-budget, high-concept genre fare that used classic horror tropes to probe contemporary societal ills like toxic relationships, racism and mental illness. (The 'elevated' label was a bit of clever rebranding, like slapping an 'organic' sticker on a hamburger; these movies function the same way great horror always has – you just feel a little less dirty about enjoying them.) Now it seems it's literature's turn. In 2023, there was a record number of new horror books both published and sold, and two years on, the trend shows little sign of slowing. Literary agents are reporting submission piles filling up with more tales of the weird and eerie, from eco-horror to folk horror to the aptly named 'femgore' – hyper-violent, female-centric body horror. In the last year alone – and this is but a tiny sliver of what's on offer – we've had Gretchen Felker-Martin's Cuckoo, which made the very real horrors of gay conversion camps manifest in a grotesque body-snatching teen epic. Rachel Harrison's So Thirsty took a big, bloody bite out of 21st-century female friendship with its ultra-gory vampire antics. The Lamb, Lucy Rose's fairytale debut, told the touching story a young girl caring for her mother … by bringing her stray hikers to satiate her cannibalistic urge for human flesh (pair it with Monika Kim's The Eyes are the Best Part for a stomach-churning family-sized feast). And 50 years after the publication of his first novel, Carrie, horror stalwart Stephen King released his latest short story anthology You Like It Darker (just months after a brand-new novel, Holly – also featuring cannibals). King isn't the only elder statesman jostling for shelf space alongside the BookTok generation. George A. Romero, the man responsible for our modern conception of zombies, with films like The Night of the Living Dead and Dawn of the Dead, released his final novel earlier this year, somewhat fittingly from beyond the grave. Co-written by Daniel Kraus, who discovered the incomplete manuscript in an archive box at the University of Pittsburgh Library in 2019, Pay the Piper is a sweaty, cosmic eco-horror set in the muggy depths of the Louisiana bayou, where a nine-year-old girl named Pontiac and a rag-tag group of townsfolk from her home of Alligator Point come up against an ancient, vengeful evil that's been lurking in the swamp and preying on children. While Romero will forever be remembered primarily as an orchestrator of gnarly kills and ground-breaking special effects, his zombie movies always had more than merely brains on the brain. His seminal Night of the Living Dead is often read as a critique of racial tensions in 1960s America; it features a Black protagonist (played by Duane Jones) who survives an undead horde only to be shot by a white sheriff. The 1978 follow-up, Dawn of the Dead, set entirely in a shopping mall, can only be seen as a satirical indictment of rampant consumerism. Pay the Piper continues this tradition of smuggling hefty themes into seemingly straightforward horror schtick. Young Pontiac's home is under threat from a nefarious character known only as The Oil Man – a phantom-like stand-in for the entire fossil fuel industry – as well as The Piper itself, an aquatic Lovecraftian creature seeking restitution for the thousands of slaves slaughtered and dumped in its waters by the infamous Pirates Lafitte in the 1800s. Romero and Kraus' book mutates from gooey Southern Gothic to a full-throated treatise on human cruelty and environmental calamity; it's spooky, stirring Cajun cli-fi with a healthy dose of tentacles. Closer to home, this March saw the release of Margot McGovern's riveting supernatural YA slasher This Stays Between Us. McGovern's second book boasts a little bit of everything: early 2000s nostalgia, late-night seances, teenage crushes, buried secrets and a predatory entity known only as Smiling Jack that hunts its four young female protagonists as they try to survive year 11 camp in a remote, abandoned mining town. McGovern's first book, Neverland, released in 2018, hewed much closer to magical realism – but a life-long love of horror helped inspire her sophomore stab. 'I've always been a huge horror fan,' says McGovern. 'I read and watched a lot growing up, but there wasn't a lot of Australian horror at that time. Most of the movies came from the US. And with horror books, in the '90s it felt like you had R.L. Stine and then there was this huge gap before you jumped to Stephen King and Clive Barker.' Teen horror films filled that gap for McGovern. 'I always knew I wanted to write a book that was set here in Australia and evoked the Australian landscape and personality, but embodied all the fun of a late-90s slasher,' she says. 'Kevin Williamson's screenplays were a huge influence on me. I love Scream and I Know What You Did Last Summer and Teaching Mrs. Tingle – even movies like The Craft.' Of course, the defining feature of all these movies – and many of the books already mentioned – is teenagers. In horror, teens are often the heroes, the hapless victims and the target audience all at once. 'Horror occupies this really interesting liminal space for teenagers,' McGovern says of her passion for writing YA. 'It gives you that last little bit of make-believe. 'It offers a step up into the adult world, where things can be genuinely terrifying and violent. When you're 13 or 14, you feel like things are out of your control – you're going through this huge transition, you're figuring out who you are, your body's changing, all the rules are changing! – and horror not only explores that, but gives you a way to take back some power and agency.' Perhaps that explains our present-day horror boom, then. We're all of us teenagers in a world that feels increasingly out of control – but instead of regressing into childhood and escaping into all-out fantasy, we're ready to confront our fears; to look the monster under the bed, or the creature in the swamp, or the thing in the mirror dead in the eye. 'Horror has always responded to what's happening in the culture,' McGovern says. 'I think that's part of the reason why it's making such a comeback now. In times of uncertainty and upheaval, horror offers a set of familiar tropes that lets you approach your darkest fears in an almost comforting way.'
Sydney Morning Herald
11-06-2025
- Entertainment
- Sydney Morning Herald
I know what you read last summer (and it was probably horror)
In the mid-2010s, moviegoers embraced the so-called 'elevated' horror boom, with films such as The Babadook, Get Out, Midsommar and The Witch at the vanguard – low-budget, high-concept genre fare that used classic horror tropes to probe contemporary societal ills like toxic relationships, racism and mental illness. (The 'elevated' label was a bit of clever rebranding, like slapping an 'organic' sticker on a hamburger; these movies function the same way great horror always has – you just feel a little less dirty about enjoying them.) Now it seems it's literature's turn. In 2023, there was a record number of new horror books both published and sold, and two years on, the trend shows little sign of slowing. Literary agents are reporting submission piles filling up with more tales of the weird and eerie, from eco-horror to folk horror to the aptly named 'femgore' – hyper-violent, female-centric body horror. In the last year alone – and this is but a tiny sliver of what's on offer – we've had Gretchen Felker-Martin's Cuckoo, which made the very real horrors of gay conversion camps manifest in a grotesque body-snatching teen epic. Rachel Harrison's So Thirsty took a big, bloody bite out of 21st-century female friendship with its ultra-gory vampire antics. The Lamb, Lucy Rose's fairytale debut, told the touching story a young girl caring for her mother … by bringing her stray hikers to satiate her cannibalistic urge for human flesh (pair it with Monika Kim's The Eyes are the Best Part for a stomach-churning family-sized feast). And 50 years after the publication of his first novel, Carrie, horror stalwart Stephen King released his latest short story anthology You Like It Darker (just months after a brand-new novel, Holly – also featuring cannibals). King isn't the only elder statesman jostling for shelf space alongside the BookTok generation. George A. Romero, the man responsible for our modern conception of zombies, with films like The Night of the Living Dead and Dawn of the Dead, released his final novel earlier this year, somewhat fittingly from beyond the grave. Co-written by Daniel Kraus, who discovered the incomplete manuscript in an archive box at the University of Pittsburgh Library in 2019, Pay the Piper is a sweaty, cosmic eco-horror set in the muggy depths of the Louisiana bayou, where a nine-year-old girl named Pontiac and a rag-tag group of townsfolk from her home of Alligator Point come up against an ancient, vengeful evil that's been lurking in the swamp and preying on children. While Romero will forever be remembered primarily as an orchestrator of gnarly kills and ground-breaking special effects, his zombie movies always had more than merely brains on the brain. His seminal Night of the Living Dead is often read as a critique of racial tensions in 1960s America; it features a Black protagonist (played by Duane Jones) who survives an undead horde only to be shot by a white sheriff. The 1978 follow-up, Dawn of the Dead, set entirely in a shopping mall, can only be seen as a satirical indictment of rampant consumerism. Pay the Piper continues this tradition of smuggling hefty themes into seemingly straightforward horror schtick. Young Pontiac's home is under threat from a nefarious character known only as The Oil Man – a phantom-like stand-in for the entire fossil fuel industry – as well as The Piper itself, an aquatic Lovecraftian creature seeking restitution for the thousands of slaves slaughtered and dumped in its waters by the infamous Pirates Lafitte in the 1800s. Romero and Kraus' book mutates from gooey Southern Gothic to a full-throated treatise on human cruelty and environmental calamity; it's spooky, stirring Cajun cli-fi with a healthy dose of tentacles. Closer to home, this March saw the release of Margot McGovern's riveting supernatural YA slasher This Stays Between Us. McGovern's second book boasts a little bit of everything: early 2000s nostalgia, late-night seances, teenage crushes, buried secrets and a predatory entity known only as Smiling Jack that hunts its four young female protagonists as they try to survive year 11 camp in a remote, abandoned mining town. McGovern's first book, Neverland, released in 2018, hewed much closer to magical realism – but a life-long love of horror helped inspire her sophomore stab. 'I've always been a huge horror fan,' says McGovern. 'I read and watched a lot growing up, but there wasn't a lot of Australian horror at that time. Most of the movies came from the US. And with horror books, in the '90s it felt like you had R.L. Stine and then there was this huge gap before you jumped to Stephen King and Clive Barker.' Teen horror films filled that gap for McGovern. 'I always knew I wanted to write a book that was set here in Australia and evoked the Australian landscape and personality, but embodied all the fun of a late-90s slasher,' she says. 'Kevin Williamson's screenplays were a huge influence on me. I love Scream and I Know What You Did Last Summer and Teaching Mrs. Tingle – even movies like The Craft.' Of course, the defining feature of all these movies – and many of the books already mentioned – is teenagers. In horror, teens are often the heroes, the hapless victims and the target audience all at once. 'Horror occupies this really interesting liminal space for teenagers,' McGovern says of her passion for writing YA. 'It gives you that last little bit of make-believe. 'It offers a step up into the adult world, where things can be genuinely terrifying and violent. When you're 13 or 14, you feel like things are out of your control – you're going through this huge transition, you're figuring out who you are, your body's changing, all the rules are changing! – and horror not only explores that, but gives you a way to take back some power and agency.' Perhaps that explains our present-day horror boom, then. We're all of us teenagers in a world that feels increasingly out of control – but instead of regressing into childhood and escaping into all-out fantasy, we're ready to confront our fears; to look the monster under the bed, or the creature in the swamp, or the thing in the mirror dead in the eye. 'Horror has always responded to what's happening in the culture,' McGovern says. 'I think that's part of the reason why it's making such a comeback now. In times of uncertainty and upheaval, horror offers a set of familiar tropes that lets you approach your darkest fears in an almost comforting way.' Loading As a genre, horror has a very structured framework. 'But then inside that, chaos and creativity abound,' McGovern says. 'We're all looking for an invitation to play – but also a safe place where we can process what's going on. And horror gives us both.'
