Brand new trailer for Jaume Balagueró’s, the director of 2007’s REC and it’s equally terrifying 2009 sequel REC 2, return to the franchise’s supposed final installment, REC 4: Apocalypse
When Channel 3 news reporter April O’Neil (Judith Hoag) is accosted one night during the walk to her car by a group of thugs, four strange saviors submerged in shadow come to her rescue with the speed and stealth of ninjas. Both foes and friends represent forces the city of Manhattan will reckon with in incredible ways. On the side of crime and greed is the mysterious Foot Clan, a clandestine syndicate originating from Japan believed to be long forgotten. Led by the imposing Shredder (James Saito) and trained as ninjas, the Foot uses their talent for crime’s sake, in addition to recruiting the city’s delinquent youth as the next generation of troops. On the side of virtue and righteousness are…mutated teenage turtles who dwell in the sewers, also schooled in the ways of the ninja by their master Splinter (Kevin Clash), a adult human sized mutated rat! Soon, the quartet formed by Leonardo (Brian Tochi), Donatello (Corey Feldman), Michelangelo (Robbie Rist) and Raphael (Josh Pais) will test the hardness of their shells and the sharpness of the Shredder’s blades!
If all the world’s stage, then surely some players crave the spotlight more than others. And if ever there was a player, it was Errol Flynn. The Last of Robin Hood tells the twisted story of three people who will do almost anything for fame. That each must settle for infamy is one of the juicy, yet unexplored ironies in a movie that doesn’t know which story it wants to tell. By taking an evenhanded and humanistic approach to such salacious subject matter, the filmmakers have effectively squashed any possibility for tawdry fun. Instead, we get a bone-dry historical drama that skimps on the history and bypasses the drama entirely.
Martin Scorsese : In Raging Bull, I guess the boxing scenes have a lot to do with the action sequences in my mind. All this editing and all this camera movement that I’d been exposed to for the past 25 years or 30 years came into play in those sequences, and Hitchcock had a lot to do with it, there’s no doubt, particularly in designing the scene where Sugar Ray Robinson, in the third bout that they have, when La Motta’s on the ropes, looks up at him, and Sugar Ray comes in for the kill. And there’s a kind of edited sequence of punishment that this character’s taking. I based it on, shot by shot, the shower scene of Psycho. And so I designed it correspondingly, in a way. The glove corresponds to a knife. And so, we shot it that way.
There’s a scene in the first act of the film where the young protagonist Eric, in an effort to gain control of a situation to proclaim his innocence, bites down on a prison guard’s genitals and holds on like a dog with a chew toy. That moment alone does a lot to encapsulate the do-or-die realities of the film’s prison environment, but more importantly showcases the immediate talent of its star Jack O’Connell: Like it or not, he demands your attention and he’s not letting go anytime soon.