Gareth Evans (director)
Gareth Huw Evans is a Welsh film director, screenwriter and action choreographer. He is best known for bringing the Indonesian martial art pencak silat into world cinema through his films Merantau, The Raid, The Raid 2. Evans was raised in Hirwaun, Cynon Valley, he graduated from the University of Glamorgan with an MA in screenwriting, made his living by helping people learn Welsh over the internet. After directing a small-budget film called Footsteps, Evans was hired as a freelance director for a documentary about the Indonesian martial art pencak silat, he became fascinated with it, discovered Indonesian martial artist Iko Uwais, working as a deliveryman for a phone company. Evans cast Uwais in his 2009 film Merantau, he planned to produce a larger action film, but scaled the production budget down and created an action film called The Raid. After the success of The Raid, the larger action film became the basis for its sequel, The Raid 2: Berandal. In late 2016, Evans started working on his next film, which stars Dan Stevens.
The film was released by Netflix on 12 October 2018. In October 2017, TheWrap reported that Evans had pitched his idea for a Deathstroke solo film and is in early talks to write and direct. Evans passed on directing a Justice League Dark film, he lived in Jakarta with his wife and their daughter, until the family moved back to Wales in 2015. In November 2011, The Raid won the Midnight Madness Award at the Toronto International Film Festival in 2011. Gareth Evans on IMDb Gareth Evans on Instagram
Southbound (2015 film)
Southbound is a 2015 American anthology horror film directed by Radio Silence, Roxanne Benjamin, David Bruckner, Patrick Horvath. Produced by Brad Miska, the film premiered at the 2015 Toronto International Film Festival on September 16, 2015, was released theatrically on February 5, 2016 in a limited release; the film was included on numerous Best Horror Films of 2016 lists including those by Rolling Stone and the Thrillist. Five interlocking tales of terror follow the fates of a group of weary travellers who confront their worst nightmares and darkest secrets on a desolate stretch of desert highway. Directed by Radio Silence Written by Matt Bettinelli-OlpinMitch and Jack are on the run from mysterious floating creatures. Filled with remorse, Mitch looks at a photograph of his daughter Katherine as they drive down a nameless highway. Out in the desert, Mitch does not tell Jack. In desperation, the pair pulls up to a run-down gas station. Inside, the men witness strange events; as Mitch and Jack attempt to escape, they pull up to the same gas station further down the road.
Jack tries to leave as the creatures close in on the pair, is killed. Mitch, believing that this is the fate he deserves, refuses to leave and instead follows the creatures to a nearby motel, he finds himself in a home that he finds familiar. Hearing the sound of his disembodied daughter, Mitch follows the sounds and finds an apparition of his daughter Katherine, who begs for his help; as he moves closer to his daughter, she continues to run away. Mitch is trapped in the hallway of the house, tormented until death by the regret he was not able to help his daughter. Directed by Roxanne Benjamin Written by Roxanne Benjamin & Susan BurkeAt the same motel are Sadie and Kim, traveling musicians in a band called The White Tights. Leaving the motel, visiting landmarks, stalked by the floating creatures, their van's tire goes flat and they are forced to pull over. Stranded in the middle of the desert, they are picked up by a eccentric couple. In the backseat of their car, Sadie sees a bear trap; the band is taken to the couple's house further down the road.
Inside, the band is shown to their room. At dinner with the Kensingtons, who live nearby with twin sons, they are served a meal of burnt meatloaf. After dinner, Kim begins to blame Sadie for Alex's death, whereupon both Ava and Kim begin vomiting a black substance. Sadie gets help and the people in the house give Ava and Kim a white liquid medicine to drink. Sadie tries to persuade them to leave; that night, Sadie has a nightmare of Alex being killed in a car accident. Waking up in the middle of the night and Kim are gone, she finds them outside around a bonfire, participating in a strange cult ritual with the others in the house. Investigating from the brush nearby, Sadie's foot becomes caught in the bear trap seen in the couple's car the day before. Hearing the commotion and Kim give chase as Sadie escapes the trap and moves into a nearby shed. Terrified, Sadie hails an approaching car for help. In the road behind her, one of the floating enigmatic creatures can be seen watching Sadie. Directed by David Bruckner Written by David BrucknerThe driver of the car, talks to his wife Claire on the phone.
Distracted, he does not see Sadie and she is hit by his car. Lucas exits the car and sees Sadie lying on the ground, critically injured, calls 911. A certified EMT gets on the line to help; the voices of the dispatcher and the EMT tell Lucas to drive Sadie to a nearby town, where he finds a medical facility. Entering the facility, he finds it abandoned; the surgery fails, Sadie dies. He finds that all doors are locked. Shortly after, his phone rings again, they agree that Lucas did not deserve this, promptly tell him that he can leave. They mysteriously provide him with access to clean clothes and a new car, so it will be as though nothing happened. Lucas, hesitant to leave, is reassured, he leaves the facility, enters the car, drives away. As he does, one of the floating creatures can be seen on the edge of the road overseeing the events. Directed by Patrick Horvath Written by Dallas Hallam & Patrick HorvathSandy, the dispatcher on the phone with Lucas, watches him drive away from a nearby payphone.
She hangs up, walks into a bar named The Trap. Inside, the bartender Al reprimands Sandy for leaving the door open. An argument ensues between another patron in the bar. Danny barges in with a shotgun, demands to know the location of his sister. Warren, revealed to be a demon, cuts a gash into Danny's back. Danny takes Al hostage and forces him to drive to his sister's location: the back room of an ice cream
Sundance Film Festival
The Sundance Film Festival, a program of the Sundance Institute, takes place annually in Park City, the largest independent film festival in the United States with more than 46,660 attending in 2016. It is held in Salt Lake City, Utah, as well as at the Sundance Resort, it is a showcase for new work from international independent filmmakers. The festival consists of competitive sections for American and international dramatic and documentary films, both feature films and short films, a group of out-of-competition sections, including NEXT, New Frontier, Midnight and Documentary Premieres; the 2019 Sundance Film Festival began January 24 and ran through February 3. Sundance began in Salt Lake City in August 1978, as the Utah/US Film Festival in an effort to attract more filmmakers to Utah, it was founded by John Earle. The 1978 festival featured films such as Deliverance, A Streetcar Named Desire, Midnight Cowboy, Mean Streets, The Sweet Smell of Success. With chairman Robert Redford, the help of Utah Governor Scott M. Matheson, the goal of the festival was to showcase American-made films, highlight the potential of independent film, to increase visibility for filmmaking in Utah.
At the time, the main focus of the event was to conduct a competition for independent American films, present a series of retrospective films and filmmaker panel discussions, to celebrate the Frank Capra Award. The festival highlighted the work of regional filmmakers who worked outside the Hollywood system; the jury of the 1978 festival was headed by Gary Allison, included Verna Fields, Linwood G. Dunn, Katharine Ross, Charles E. Sellier Jr. Mark Rydell, Anthea Sylbert. In 1979, Sterling Van Wagenen left to head up the first-year pilot program of what was to become the Sundance Institute, James W. Ure took over as executive director, followed by Cirina Hampton Catania as executive director. More than 60 films were screened at the festival that year, panels featured many well-known Hollywood filmmakers; that year, the first Frank Capra Award went to Jimmy Stewart. The festival made a profit for the first time. In 1980, Catania left the festival to pursue a production career in Hollywood. Several factors helped propel the growth of Utah/US Film Festival.
First was the involvement of actor and Utah resident Robert Redford, who became the festival's inaugural chairman. By having Redford's name associated with the festival, it received great attention. Secondly, the country was hungry for more venues that would celebrate American-made films as the only other festival doing so at the time was the USA Film Festival in Dallas. Response in Hollywood was unprecedented, as major studios did all they could to contribute their resources. In 1981, the festival moved to Park City and changed the dates from September to January; the move from late summer to midwinter was done by the executive director Susan Barrell with the cooperation of Hollywood director Sydney Pollack, who suggested that running a film festival in a ski resort during winter would draw more attention from Hollywood. It was called the US Video Festival. In 1984, the now well-established Sundance Institute, headed by Sterling Van Wagenen, took over management of the US Film Festival. Gary Beer and Van Wagenen spearheaded production of the inaugural US Film Festival presented by Sundance Institute, which included Program Director Tony Safford and Administrative Director Jenny Walz Selby.
The branding and marketing transition from the US Film Festival to the Sundance Film Festival was managed under the direction of Colleen Allen, Allen Advertising Inc. by appointment of Robert Redford. In 1991, the festival was renamed the Sundance Film Festival, after Redford's character the Sundance Kid from the film Butch Cassidy and the Sundance Kid. UK-based publisher C21 Media first revealed in October 2010 that Robert Redford was planning to bring the Sundance Film Festival to London, in March the following year, Redford announced that Sundance London would be held at The O2, in London from 26–29 April 2012. In a press statement, Redford said, "We are excited to partner with AEG Europe to bring a particular slice of American culture to life in the inspired setting of The O2, in this city of such rich cultural history, it is our mutual goal to bring to the UK, the best in current American independent cinema, to introduce the artists responsible for it, in essence help build a picture of our country, broadly reflective of the diversity of voices not always seen in our cultural exports."The majority of the film screenings, including the festival's premieres, would be held within the Cineworld cinema at The O2 entertainment district.
The 2013 Sundance London Festival was held 25–28 April 2013, sponsored by car-maker Jaguar. Sundance London 2014 took place on 25–27 April 2014 at the O2 arena; the Sundance London 2015 Festival was cancelled in an announcement on 16 January 2015. Sundance London returned to London from 2–5 June 2016 and again 1–4 June 2017, both at Picturehouse Cinema in London's West End. Inaugurated in 2014, Sundance Film Festival: Hong Kong took place from 22 September to 2 October 2016 and is scheduled again for 21 September to 1 October 2017, it is held at The Metroplex in Kowloon Bay each year. From 2006 through 2008, Sundance Institute collaborated with the Brooklyn Academy of Music on a special series of film screenings, panel discussions, special events bringing the institute's activities and the festival's programming to New York City. M
Adam Wingard is an American film director, screenwriter, editor and composer. He is notable for his works in the horror genre the films You're Next, The Guest, Death Note. Wingard was born in Oak Ridge and graduated from Full Sail University in 2002, his first feature, the horror comedy Home Sick, starring Bill Moseley and Tiffany Shepis, proved to be a stepping stone to his second feature, the psychotropic ghost story horror film Pop Skull. Made on a total budget of $2,000, Pop Skull had its international premiere at the Rome Film Festival and its domestic premiere at the AFI Film Festival in 2007. A Horrible Way to Die and What Fun We Were Having followed; the serial killer love story horror film A Horrible Way to Die premiered at the 2010 Toronto International Film Festival in the ‘Vanguard’ section and was acquired by Starz/Anchor Bay at the festival for a North American theatrical and home media release. What Fun We Were Having is a 4-part anthology dealing with the taboo subject of date rape.
The anthology had its premiere at the 2011 Fantastia Film Festival in Montreal where Wingard was honored by the festival with his own sidebar section: “Medicated Monsters – A Spotlight on Filmmaker Adam Wingard”. In 2011, Wingard co-directed Autoerotic with mumblecore icon Joe Swanberg, he was selected to direct one chapter of The ABCs of Death, a 26-chapter horror comedy anthology for Drafthouse Films and Magnet. A recent solo directorial effort, You're Next, a home invasion slasher, premiered at the 2011 Toronto International Film Festival as part of the ‘Midnight Madness’ section; the film was acquired by Lionsgate, received a wide release in August 2013 to favorable reviews. In 2014, Wingard directed The Guest starring Dan Stevens, which premiered at the Sundance Film Festival, the Toronto International Film Festival and Fantastic Fest, receiving wide critical acclaim upon its wider theatrical release in mid-September. Wingard directed Lionsgate's horror film Blair Witch, based on a script by Simon Barrett.
The film is a sequel to the 1999 found footage horror classic, The Blair Witch Project and received ambivalent reviews. In 2015, Wingard had signed on to direct a live-action American film adaptation of Tsugumi Ohba and Takeshi Obata's popular horror crime-thriller manga series Death Note; the neo-noir dark fantasy horror-thriller was released on Netflix in August 25, 2017 to a polarized reception, with criticism aimed at the number of changes from the source material, rushed plot, shallow execution, incoherent writing and pacing, while praise was aimed at Wingard's direction, the visual style, production design, performances of the cast, the dark, macabre sense of humor. In May 2017, Wingard was announced as the director for Kong. Wingard's film Pop Skull won the Best Feature Film award at the Indianapolis International Film Festival and the Jury award at the Boston Underground Film Festival. Wingard's A Horrible Way to Die won Best Screenplay, Best Actor and Best Actress at the 2010 Fantastic Fest in Austin, Texas.
Wingard's You're Next won Best Picture, Best Director, Best Screenplay, Best Actress at the 2011 Fantastic Fest in Austin, Texas. Adam Wingard on IMDb Adam Wingard at AllMovie Twitch Interview with Adam Wingard Lumiere Reader Interview Fatally Yours Interview with Adam Wingard
Comics is a medium used to express ideas through images combined with text or other visual information. Comics takes the form of juxtaposed sequences of panels of images. Textual devices such as speech balloons and onomatopoeia indicate dialogue, sound effects, or other information; the size and arrangement of panels contribute to narrative pacing. Cartooning and similar forms of illustration are the most common image-making means in comics. Common forms include comic strips and gag cartoons, comic books. Since the late 20th century, bound volumes such as graphic novels, comic albums, tankōbon have become common, while online webcomics have proliferated in the 21st century with the advent of the internet; the history of comics has followed different paths in different cultures. Scholars have posited a pre-history as far back as the Lascaux cave paintings in France. By the mid-20th century, comics flourished in the United States, western Europe, Japan; the history of European comics is traced to Rodolphe Töpffer's cartoon strips of the 1830s, but the medium became popular in the 1930s following the success of strips and books such as The Adventures of Tintin.
American comics emerged as a mass medium in the early 20th century with the advent of newspaper comic strips. Histories of Japanese comics and cartooning propose origins as early as the 12th century. Modern comic strips emerged in Japan in the early 20th century, the output of comics magazines and books expanded in the post-World War II era with the popularity of cartoonists such as Osamu Tezuka. Comics has had a lowbrow reputation for much of its history, but towards the end of the 20th century began to find greater acceptance with the public and academics; the term comics is used as a singular noun when it refers to the medium, but becomes plural when referring to particular instances, such as individual strips or comic books. Though the term derives from the humorous work that predominated in early American newspaper comic strips, it has become standard for non-humorous works too. In English, it is common to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language comics.
There is no consensus amongst historians on a definition of comics. The increasing cross-pollination of concepts from different comics cultures and eras has only made definition more difficult. Examples of early comics The European and Japanese comics traditions have followed different paths. Europeans have seen their tradition as beginning with the Swiss Rodolphe Töpffer from as early as 1827 and Americans have seen the origin of theirs in Richard F. Outcault's 1890s newspaper strip The Yellow Kid, though many Americans have come to recognize Töpffer's precedence. Japan had a long prehistory of satirical comics leading up to the World War II era; the ukiyo-e artist Hokusai popularized the Japanese term for comics and cartooning, manga, in the early 19th century. In 1930s, Mr. Chester, an early founder of "the Golden Age of Comics", which make the comics flourished after World War II. In the post-war era modern Japanese comics began to flourish when Osamu Tezuka produced a prolific body of work.
Towards the close of the 20th century, these three traditions converged in a trend towards book-length comics: the comic album in Europe, the tankōbon in Japan, the graphic novel in the English-speaking countries. Outside of these genealogies, comics theorists and historians have seen precedents for comics in the Lascaux cave paintings in France, Egyptian hieroglyphs, Trajan's Column in Rome, the 11th-century Norman Bayeux Tapestry, the 1370 bois Protat woodcut, the 15th-century Ars moriendi and block books, Michelangelo's The Last Judgment in the Sistine Chapel, William Hogarth's 18th-century sequential engravings, amongst others. Illustrated humour periodicals were popular in 19th-century Britain, the earliest of, the short-lived The Glasgow Looking Glass in 1825; the most popular was Punch. On occasion the cartoons in these magazines appeared in sequences. American comics developed out of such magazines as Puck and Life; the success of illustrated humour supplements in the New York World and the New York American Outcault's The Yellow Kid, led to the development of newspaper comic strips.
Early Sunday strips were full-page and in colour. Between 1896 and 1901 cartoonists experimented with sequentiality and speech balloons. Shorter, black-and-white daily strips began to appear early in the 20th century, became established in newspapers after the success in 1907 of Bud Fisher's Mutt and Jeff. In Britain, the Amalgamated Press established a popular style of a sequence of images with text beneath them, including Illustrated Chips and Comic Cuts. Humour strips predominated at first, in the 1920s and 1930s strips with continuing stories in genres such as adventure and drama became popular. Thin periodicals called
A. J. Bowen
Alfred Charles Bowen Jr. known professionally as A. J. Bowen, is an American actor and producer, he starred in A Horrible Way To Die. Bowen was born in Marietta and attended the University of Georgia along with Jacob Gentry and David Bruckner, he was a musician. LA Weekly called Bowen "mumblegore's go-to star", he starred in The House of the Devil. His production company, has completed its first feature, Maidenhead, in which he stars, he starred in Hatchet II. He was part of the Christmas episode of Dread Central's Dinner for Friends, he starred in the thriller film Rites of Spring. He will star in the science fiction film Synchronicity, he appeared in The Reconstruction of William Zero. A. J. Bowen on IMDb
Fantasia International Film Festival
Fantasia International Film Festival is a genre film festival, based in Montreal since its founding in 1996. Held in July of each year, it is valued by both hardcore genre film fans, distributors, who take advantage of the eclectic line up to select foreign and domestic films for release across North America. By virtue of the reputation developed over the last 15 years, this festival has been described as the "most outstanding and largest genre film festival in North America"; the history of the Fantasia Festival has roots in the Asian Film scene in Montreal. Beginning in 1996 where it screened Asian films from Hong Kong and Anime from Japan, the festival expanded its international repertoire and screened genre films from all across the world. Since this time many world and international premieres have featured at Fantasia fest, including Shaun of the Dead, Perfect Blue, Millennium Actress, Midnight Meat Train, The Sorcerer’s Apprentice and Uzumaki. Among the many North American premieres have included Ringu, Inglourious Basterds, Thirst, We Are What We Are, Visitor Q and Night Watch.
The Creeping Garden was one of the featured films in the 2014 Festival. Fantasia 2012 featured the screenings of the films Toad Road, Doomsday Book, the horror anthology film V/H/S, Hidden in the Woods, Seediq Bale, Quentin Dupieux's Wrong. Fantasia 2011 opened the 2011 edition of the festival with the Canadian Premiere of Red State; the festival featured the presentation to John Landis of a lifetime Achievement award. The Canadian premiere of the director's new film and Hare took place. Notable was the world premiere of the Swedish horror film Marianne, which some had hailed as one of the great discoveries in genre cinema of 2011; the world premiere of Final Destination 5 was part of Fantasia 15. Burke and Hare Red State The Wicker Tree Absentia Morituris Aversion Brawler Deadball Exit Final Destination 5 Love Marianne Rabies Retreat The Devil's Rock The Theatre Bizarre The Whisperer in Darkness If a Tree Falls Zombie Hunter Curse of Chucky Fantasia 2010The films for Fantasia 2010 were announced on Tuesday, June 29, 2010.
Tickets went on sale on July 2010 at 1 pm. The Festival started on July 8, 2010 running until July 28, 2010 with 6 indoor screening venues and one outdoor location. For 2010 a permanent blog was introduced to communicate with fans year-round. Fantasia 2009The films screened at Fantasia 2009 were, among others, Love Exposure, Embodiment of Evil, Vampire Girl vs. Frankenstein Girl, Smash Cut, Trick'r Treat, Must Love Death and Dread; the festival started on July 9 with Takashi Miike Yatterman and ended on July 29, 2009 with the North American premiere of Quentin Tarantino's film Inglourious Basterds. Fantasia 2008The lineup will be announced on Thursday, June 26, 2008. FanTasia 2007The edition was held from July 5 to July 2007 at the Concordia University. In addition to the Hall hall and DeSeve hall, a third screening room has been added at the D. B. Clarke Theatre. There were, no outdoor shows this year. Montreal film Flutter received the award for best Quebec short feature. FanTasia 2006 Fantsasia's 10th anniversary and 10th edition, the 2006 edition, is the first to feature free outdoor shows.
The outdoors shows are free. Outdoor projections included films from the previous editions: Kamikaze Girls, the last four episodes of Goldorak, Night of the Living Dorks and Attack the Gas Station; the indoor shows use the same Concordia University facilities as since the move to Concordia. The outdoor shows are several kilometres away from the indoor shows. With the 10th anniversary, Fantasia is helping to launch an associated but separate Toronto festival Toronto After Dark Film Festival. Fantasia 2005Fantasia is now 10 years old. However, this is the 9th edition of the festival, due to a missed year in 2002; the festival is again held at Concordia University. This year, a trailer-filled DVD is provided as part of the festival guide book and not a separate purchase. Fantasia 2004The 2004 Fantasia was held at Concordia University using the Hall Auditorium and deSeve Cinema. Unlike the 2003 event, no DVD filled with trailers was available. FanTasia 2003 Fantasia 2003 was held for the first time on the Concordia University campus, using the DeSeve Cinema and Henry F. Hall Alumni Auditorium.
The venue change was instigated by the lack of consideration that the Imperial Theatre gave in informing the festival organizers on the status of Imperial. This was the first year that a DVD filled with movie trailers of movies shown at the festival was available for purchase with the festival guide book. FanTasia 2002 Fantasia 2002 was cancelled due to problems with the Imperial Cinema; the air conditioning system was broken, it could not be fixed in time for Fantasia. Indeed, the theatre was not repaired until 2004. Due to the lack of assurance that the theater would be available, the fact that it broke four months before the festival, meant that alternate bookings were not available; the lack of assurance for the 2003 festival meant a change in venue. FanTasia 2001The 2001 edition was the last held in the Imperial Cinema, it was the last time the festival was jointly held with Comedia. FanTasia 2000The 2000 edition of Fantasia featured the debut of the Just For Laughs film festival, Comedia, as a selection of comedy films were shown with the regular Fantasia fare.
This was the final year that a Toronto edition of the festival was presented. Fantasia International Film Festival 1999The 1999 edition of Fantasia was the only one that used the ex-Centris facilities; this year featured the second Toro