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Tag: In A Violent Nature

  • Dexter Franchise Announces Resurrection with Michael C. Hall

    Dexter Franchise Announces Resurrection with Michael C. Hall

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    Photo: Jon Kopaloff/Getty Images for Paramount+

    San Diego Comic-Con is counter-Olympic programming for nerds everywhere. Running the same weekend as the 2024 Games opened, SDCC features panels from the stars and creators of our favorite IP-driven projects — including Transformers, the Marvel cinematic universe, Lord of the Rings, The Walking Dead, and more — all for the sake of giving fans what they want: a few crumbs or even a whole new detail about releases in postproduction, newly green-lit shows, and maybe a spicy spoiler a panelist spilled, to the horror of press people the world over. Aside from all the trailers, what are we getting? Let’s dive into the Olympic swimming-pool-size highlights out of San Diego Comic-Con 2024, including a surprise virtual appearance from Kamala Harris, plus major news from Dexter, Doctor Who, Star Trek, The Boys, and more.

    A July 27 Star Trek panel doubled as an info dump about several different projects. The two-episode premiere of the upcoming final season of Star Trek: Lower Decks got a date: October 24. But if the show ending makes you sad, you can rest assured that the franchise still other content in the works. For example, Alex Kurtzman is co-writing a live-action, half-hour comedy with Justin Simien (Dear White People) and Star Trek: Lower Decks star Tawny Newsome. Currently in development at Paramount+, the show will follow Federation outsiders who are serving on a gleaming resort planet — and having their day-to-day “exploits” broadcast to the entire quadrant.

    It also seems like some sort of Star Trek musical, in the vein of the Star Trek: Strange New Worlds musical episode “Substance Rhapsody,” might be on the way. Per Deadline, EP Akiva Goldsman told a fan who asked if there would be any similar episodes in the future, “We’re in the very early stages of figuring out whether we can bring a version of that to the stage.” Meanwhile, Cillian O’Sullivan has joined the cast of the upcoming season of Strange New Worlds and will recur as the legacy character Dr. Roger Korby.

    Show creator Matt Groening surprised the audience by playing a clip of Kamala Harris during a July 27 panel, introducing her as a Simpsons “super fan.” Quoting the 1996 episode ‘Treehouse of Horror VII,” Harris said, “We must move forward, not backward; upward, not forward; and always twirling, twirling, twirling towards freedom.” Per The Hollywood Reporter, this is a resurfaced video message that was taken years ago, so it wasn’t recorded specifically for Comic-Con. Still, after a presidential campaign that has included Brat summer memes and an appearance on Drag Race, it doesn’t seem like Harris would mind an opportunity to keep courting the stan vote.

    IFC Films and Shudder had Johnny make a surprise appearance in a July 26 panel to help announce that we’re getting In a Violent Nature 2. Chris Nash will return as screenwriter for the slasher sequel.

    Michael C. Hall made a surprise appearance in a July 26 panel where Showtime announced that he would return as Dexter in the new series Dexter: Resurrection, a present-day follow-up to 2021’s Dexter: New Blood. It is set to premiere in summer 2025. Hall will also narrate the inner voice of young Dexter in the previously-announced origin story Dexter: Original Sin, which is expected to launch in Decemeber 2024.

    The Who-niverse is expanding. Russell Tovey and Gugu Mbatha-Raw will lead the cast of The War Between the Land and the Sea, a five-part spinoff from Russell T Davies ordered by the BBC and Disney+. The news was announced in Hall H on July 26. Per an official description, the show will see a “fearsome and ancient species” emerging from the ocean to trigger an international crisis. It sounds like UNIT — including Kate Lethbridge-Stewart (Jemma Redgrave) and Colonel Ibrahim (Alexander Devrient) — will have to do their best to save humanity without the Doctor.

    We also got some casting news for the main show. A preview of the Christmas special showed Nicola Coughlan’s character, Joy, coming face to face with a Silurian and the Fifteenth Doctor. Meanwhile The Little Mermaid star Jonah Hauer-King was confirmed to star in Doctor Who’s next season as part of Ruby Sunday’s story.

    Haven’t had enough of The Boys? Don’t fret; there’s more coming even after the series concludes with season five. Prime Video has green-lit Vought Rising, a prequel following the rise of the franchise’s New York–based evil media empire in the 1950s. Aya Cash and Jensen Ackles reprise their roles from the original series, while Boys writer and executive producer Paul Grellong will serve as showrunner, Prime Video confirmed. The news was announced at a July 26 panel featuring Boys creator Eric Kripke and cast members Anthony Starr, Jessie T. Usher, Jack Quaid, Erin Moriarty, Karen Fukuhara, Claudia Doumit, Susan Heyward, Valorie Curry, Laz Alonso, Tomer Capone, Nathan Mitchell, and Chace Crawford. It’s the series’ second spinoff after the college drama, Gen V.

    This post has been updated.

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    Zoe Guy,Jennifer Zhan

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  • The Best Horror Movies of 2024 So Far, Ranked: ‘Immaculate,’ ‘Late Night With the Devil,’ ‘In a Violent Nature’ and More

    The Best Horror Movies of 2024 So Far, Ranked: ‘Immaculate,’ ‘Late Night With the Devil,’ ‘In a Violent Nature’ and More

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    2024 has been loaded with horror releases, with scary stories about everything from rampaging spiders to satanic late-night talk shows. This crop is distinctive for its unconventional reworkings of well-worn tropes. There’s a slasher that owes as much to Terrence Malick as to Jason Voorhees; a dystopian-future tale that eschews global destruction to examine the implosion of one family; and two movies about nuns with evil pregnancies. Better yet: Several of these efforts have made waves at the indie box office, illustrating the horror audience’s affinity for going to strange new places.

    Some of the year’s biggest titles are to come, from original works (“Trap,” “Longlegs”) to hotly anticipated sequels (“MaXXXine,” “Alien: Romulus”) to bone-chilling indies (“Terrifier 3,” “Oddity”). But the following already stand tall among 2024’s best releases.

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    William Earl

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  • ‘In a Violent Nature’ Review: A Fresh Canadian Spin on Slasher Conventions

    ‘In a Violent Nature’ Review: A Fresh Canadian Spin on Slasher Conventions

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    Slasher movies often droop between grisly highlights due to the weak plotting and cardboard characters meant to lend structural integrity to their shock content. “In a Violent Mind” avoids those pitfalls by pretty much sidestepping entirely the standard niceties of narrative and psychological detail. There is explanatory backstory — however piecemeal and possibly-inaccurate — but otherwise writer-director Chris Nash’s first feature approaches the usual bloody business with a sort of minimalist purity, enabled by focusing almost wholly on the POV of one Unstoppable Killing Machine. 

    It’s a gambit that might easily turn monotonous. Yet this Canadian indie manages to keep us engaged, stirring queasy viewer dread if not much outright terror. Premiering in Sundance’s Midnight section, the Shudder Original is slated to begin streaming on that genre platform sometime this spring. 

    We seem to be back in “Blair Witch” territory at the beginning (and again during a panicked stretch at the end), as off-camera hikers poke around the ruins of a forest fire tower. One of them spies a necklace draped on a pipe, which he pockets before they leave. Our suspicion that removing this talisman might be a bad idea soon bears fruit, as immediately afterward the ground stirs, and a man’s figure covered with soil emerges from its grave. It lumbers to a decrepit house on the border of these parklands — in which the entity once lived, we glean — where a local poacher has the misfortune to be malingering. 

    This first kill is not graphic, but such restraint won’t last long. That evening, the ghoul is attracted to a campfire outside a cabin, introducing us to seven young adults staying there. One of them (Sam Roulston as Ehren) tells the local legend of the “White Pine Massacre,” which involved lumberjacks several years prior picking on the “mentally hindered” son of a store owner. Their pranks inadvertently led to the boy’s death — falling from that aforementioned fire tower — followed by the men’s own mysterious slaughter. (Later, in the present time, a game warden played by Reece Presley fleshes out this history a bit further.) 

    Needless to say, our mute, relentless perp (Ry Barrett) is that wronged Johnny come back to vengeful half-life, wreaking grievous bodily harm on anyone he finds. Breaking into a ranger station, he acquires rusty tools of historical-turned-homicidal value from display cases. Subsequent mayhem is vivid, to say the least. While not all the gory prosthetic FX entirely convince, Nash’s penchant for long sustained shots encompass some coups of seamless transition between visibly intact actor and gruesome aftermath. 

    Naturally, there is a Final Girl (Andrea Pavlovic as Kris). But as we’re almost entirely locked into the undead killer’s perspective — primarily from a traveling camera position behind him as he creeps through the woods — these frequently petulant, argumentative victims never require much dimensionality. Their eventual realization that something is very wrong happens mostly off-screen, with dialogue overheard just briefly in moments before they face lethal peril.

    Aside from the aforementioned stretches of spoken backstory, the only prolonged verbal interlude comes from Lauren Taylor in a late appearance as a passing Good Samaritan. Her monologue pushes the envelope in terms of risking dissipation of the creepy atmospherics. Still, ultimately the mood of menace is sustained enough for an unsettled, eerie fadeout.

    Using an almost square aspect ratio, DP Pierce Derks makes the northern Ontario wilderness locations both lovely and sinister, with enough variety to the visual tactics that the film never gets stuck in found footage horror’s first-person-camera stylistic rut. A complete lack of any original scoring (some incidental music is heard from radios and such) mostly accentuates the tension. 

    “Violent Nature” isn’t exactly the scariest of screen horrors; it doesn’t have much in the way of humor or complexity. Yet its stripped-down approach to a familiar gist has a distinctiveness that is impressive, and is sure to please fans who are always up for a new slasher film — but wish most of them weren’t so interchangeable. 

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    Dharv2014

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