no sudden move trailer

No Sudden Move would fit right in with a classic Hollywood noir marathon. Out of director Steven Soderbergh‘s diverse filmography, it’s most reminiscent of his movie The Good German in its intent. Together, the filmmaker and screenwriter Ed Solomon sought to capture a visual language rarely seen anymore. Benicio del Toro‘s Ronald Russo and Don Cheadle‘s Curt Goynes could pop in a ’50s noir and never look or sound out of place.

From the patience of the camerawork to the characters who are often as mysterious as the plot to the crackling dialogue, it’s a wonderful homage. It’s also, like many rewarding noirs, a well-put-together towering deck of cards. Seeing how it all comes together is a part of the fun, especially for Solomon, who embraces, not fights, how a story evolves.

The screenwriter, perhaps best known for Men in Black and the Bill & Ted films, previously worked with Soderbergh on HBO’s Mosaic. The two started to kick around ideas for a crime picture akin to the Ocean’s 11 trilogy, but No Sudden Move was the end result. We sat down with Solomon, who told us how the film grew into what it ultimately became.

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James DeMonaco didn’t expect The Purge to become what it has. The writer and director originally imagined the first movie as a small indie, but with backing from Blumhouse and Universal, we all know how it evolved: four sequels and a TV spin-off. It’s a series DeMonaco thought was coming to an end with The Forever Purge…but even that may change, if producer Jason Blum has his way.

If the fifth film is the end, though, it does have a conclusion both for the story at hand and the franchise at large. DeMonaco didn’t return to direct the grand (possible) finale, but he did act as a producer and write the script. During a recent Zoom call, the Purge creator told us about the rules of the franchise, the biggest question he asks himself and his collaborators, and whether we’ll see franchise favorite Frank Grillo return if the series ever gets resurrected.

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The first comic book David Dastmalchian bought was Avengers #249, which was printed in 1984. He bought it when he was nine years old, and he still owns his copy, which features the storyline “The Snows of Summer.” The issue had the Avengers fighting demons in a global blizzard. It’s not an especially famous issue, but your first is your first.

Years after collecting comics in Kansas and performing theater in Chicago, the true comic book fan and increasingly busy character actor got to bring his knowledge of the art-form to movies such as The Dark KnightAnt-Man, and The Suicide Squad, all of which he recently discussed with us in a forthcoming, and wide-ranging, interview.

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Blumhouse Movies on EPIX

Jason Blum isn’t done with The Purge. Although The Forever Purge was once billed as the fifth and final installment in the series, the producer isn’t ready to let the hit series go. And based on the ending of the latest installment, there are still more stories to tell.

As for the present, The Forever Purge is one of the bigger stories in the series. It opens the world up more, and this time the story takes place outside of a city landscape and in the state of Texas. Blum considers it the best of the franchise. In the beginning, though, people doubted the first movie would even work, let alone lead to four sequels.

Recently, Blum talked to us about the evolution of The Purge, how he tries to lead at Blumhouse, and why he was understandably more worried about other matters than movie theaters returning during the COVID-19 pandemic.

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Renny Harlin has a lot to say about his movies. So much to say that, in what was supposed to be a career-spanning interview, we only touched on the early days of his career in a half-hour discussion. Harlin was fresh off directing a horror-thriller, The Refuge, and promoting his new comedic crime caper, The Misfits (now on VOD). The director’s latest, which stars Pierce Brosnan, is a light throwback to the action movies of the ’90s.

Of course, the ’90s were a special time for Harlin. It’s when he directed one of the great buddy action comedies, The Long Kiss Goodnight, and the extremely entertaining Sylvester Stallone film Cliffhanger. And no one will ever forget 1999’s Deep Blue Sea, a movie that remains as entertaining as ever more than 20 years after it hit theaters.

In the future, we’ll talk to Harlin more about those titles, as well as his time making movies in China, including the under-seen gem Bodies at Rest. And we already spoke to him about the experience of making A Nightmare on Elm Street 4: The Dream Master. In the meantime, here’s a conversation with Harlin about how he originally envisioned his filmography, what he hoped to accomplish with The Misfits, and one career regret he’s trying to resolve at the moment.

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Willem Dafoe Interview

Willem Dafoe wants to see my face.

During a Zoom call, the video is not working at the start of the interview. Finally, once Dafoe and I connect face-to-face, he explains, “It’s important.” And it is important. Seeing how someone reacts, what lights them up, or what disinterests them, matters during an interview. When you’re interviewing Dafoe, you’re talking to a real conversationalist, somebody who feels completely present. You want to see that, not just hear it.

The interview is for the actor’s sixth collaboration with Abel FerraraSiberia. It’s a dream, or nightmare, of a film. It’s tricky to put into words or boxes. It’s a dream narrative you’re reacting to, not consciously analyzing. In other words, another project well-suited to Dafoe’s approach to performing, which as he told us, isn’t about calculation, but intuition.

Truly, acting is reacting for Dafoe.

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Making of Nightmare on Elm Street 4

A Nightmare on Elm Street 4: The Dream Master is one of the high points for the horror franchise and filmmaker Renny Harlin. The sequel stands the test of time thanks to imaginative dream sequences and practical effects that only look better with age, a Freddy Kruger movie that takes full advantage of the infinite possibilities of a dreamscape.

And although the 1988 picture changed Harlin’s life, he was always in fear while making it.

The Dream Master was only Harlin’s third movie, his follow-up to his now cult-classic horror film, Prison, which gave Viggo Mortensen one of his earliest starring roles. While Harlin talked to us about his new comedic crime caper, The Misfits, he recalled his roller coaster experience of directing the horror sequel.

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The Invincible finale didn’t pull its punches. Spoilers ahead, obviously, but showrunner Simon Racioppa and the team behind Amazon’s superhero animated show — which includes creator Robert Kirkman — showcased the true, devastating destruction that comes with turning a city into a bloody battleground between super-powered characters. The body count was high, but so were the personal stakes.

The season finale, titled “Where I Really Come From,” ended with serious physical and emotional blows for teen superhero Mark (voiced by Steven Yeun). For fans of the comic, it was a faithful adaptation, but for those unfamiliar with the source material, it packed gruesome surprises that are generally absent from large-scale comic book adaptations.

Before the final episode was even available on Amazon, Invincible was renewed for a second and third season. Showrunner Simon Racioppa told us about his hope for future seasons, but mostly, he walked us through the season finale of Invincible, from Mark’s childhood baseball game, to even the sound of Omni-Man’s (voiced by J.K. Simmons) thunderous punches.

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New Conjuring Universe Spinoff

The Conjuring: The Devil Made Me Do It is very different from the two main Conjuring entries that came before. For one thing, ghost hunters Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) aren’t dealing with a haunted house this time. They’re also up against a human antagonist. On top of all that, unlike the two other Conjuring films, The Devil Made Me Do It doesn’t explicitly set up a spin-off character. The Conjuring had Annabelle, The Conjuring 2 had the Nun. But The Conjuring 3 avoids setting up a spinoff altogether.

But that wasn’t always the case. When I spoke with The Devil Made Me Do It director Michael Chaves, he revealed that an earlier cut of the film did set up a spinoff character – but that character ended up on the cutting room floor.

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Eric Bana‘s performance in The Dry is one of those reminders that less is more. Sometimes more is more, yes, but in the case of the hit Australian crime mystery, silence speaks loudly. Bana stars as Aaron, a man investigating a murder-suicide involving his old friend back home, where he is not welcomed with open arms. Similar to the cast of colorful supporting characters in director Robert Connolly‘s depiction of rural Australia, as an audience, you’re suspicious of Aaron because Bana gives everyone so little.

It’s a mystery Bana sells in the patient but a propulsive thriller, based on Jane Harper‘s novel. Harper’s hit book hooked the actor, who’s returned to Australian cinema with a bang. “It was a book that I loved and that our director Rob Connolly loved,” he told us, “and we tried to honor the book and try to elevate it as much as we could from a cinematic perspective and felt like it had the potential to really pack a punch.”

As usual in The Dry, Bana doesn’t use bells and whistles as a performer. When we think of his most well-regarded roles, he never goes for the wild transformations always bound to generate headlines. Instead, Bana’s work is more natural and, to the actor, more relatable as a result. During our interview with Bana, he told us why he’s drawn to subtle characters, as well as his fondness for his breakout film, Chopper.

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