Articles

  • 2 weeks ago | avclub.com | Matt Schimkowitz

    Ouija: Origin Of Evil is a far better sequel than the original Ouija, a movie based on a tabletop seance simulator, deserves. Heck, as Katie Rife wrote in her 2016 review, “it’s better than it needs to be.” Unsurprisingly, it was directed by Mike Flanagan, a horror filmmaker of some note and one of the few willing to admit when they did wrong. In this case, it has nothing to do with the quality of his films, but rather their commercial viability.

  • 2 weeks ago | avclub.com | Matt Schimkowitz

    The daughter of Oscar-nominated Top Hat and Swing Time screenwriter Allan Scott, Philippa Scott was born in Los Angeles on November 10, 1934. After studying acting at the Royal Academy of Dramatic Arts in London, she made her Broadway debut in 1956. That year, she appeared in John Ford’s seminal western The Searchers as Lucy, one of the kidnapped girls who sets the plot in motion. Before the decade was through, she appeared in Auntie Mame.

  • 2 weeks ago | avclub.com | Matt Schimkowitz

    What’s the best way to coax a good performance out of an actor? If you’re Lars Von Trier, the answer is mocking their father. On the press tour for her new Prime Video action comedy, Deep Cover, Bryce Dallas Howard reminisced about the time Von Trier called her father, Academy Award winner Ron Howard, a “terrible filmmaker” on the set of Manderlay.

  • 2 weeks ago | avclub.com | Matt Schimkowitz

    Personalised advertising and content, advertising and content measurement, audience research and services developmentStore and/or access information on a deviceYou can choose how your personal data is used.

  • 2 weeks ago | yahoo.com | Matt Schimkowitz

    Ouija: Origin Of Evil is a far better sequel than the original Ouija, a movie based on a tabletop seance simulator, deserves. Heck, as Katie Rife wrote in her 2016 review, “it’s better than it needs to be.” Unsurprisingly, it was directed by Mike Flanagan, a horror filmmaker of some note and one of the few willing to admit when they did wrong. In this case, it has nothing to do with the quality of his films, but rather their commercial viability.

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