With there being an overlap between wrestling fans and horror fans, it only made sense for WWE Studios to produce See No Evil. And much like The Rock’s Walking Tall and John Cena’s The Marine, this 2006 slasher was designed to jumpstart a popular wrestler’s crossover career; superstar Glenn “Kane” Jacobs stepped out of the ring and into a run-down hotel packed with easy prey. Director Gregory Dark and writer Dan Madigan delivered what the WWE had hoped to be the beginning of “a villain franchise in the vein of Jason, Freddy and Pinhead.” In hindsight, See No Evil and its unpunctual sequel failed to live up to expectations. Regardless of Jacob Goodnight’s inability to reach the heights of horror’s greatest icons, his films are not without their simple slasher pleasures.
See No Evil (previously titled Goodnight and Eye Scream Man) was a last gasp for a dying trend.
See No Evil (previously titled Goodnight and Eye Scream Man) was a last gasp for a dying trend.
- 5/17/2024
- by Paul Lê
- bloody-disgusting.com
‘Koko: A Red Dog Story.’
Alternate content releases Koko: A Red Dog Story, Standing Up for Sunny and A Boy Called Sailboat premiered in Australian cinemas last weekend, together with the conventionally-released Kairos.
It is difficult to judge the box office results given the limited number of sessions and screens, but all faced the challenge of going into the market with minimal marketing support and publicity.
The third edition of the Red Dog franchise from writers and directors Aaron McCann and Dominic Pearce had the widest release on more than 80 screens, distributed by Roadshow Films and producer Nelson Woss’s Good Dog Distribution.
Last week Woss told If he was encouraged by the responses from test screenings in Indianapolis and charity previews in Perth. But he acknowledged there were no ads on TV or in newspapers and no billboards, bus shelters or buses for the the low-budget film co-funded by Screen Australia,...
Alternate content releases Koko: A Red Dog Story, Standing Up for Sunny and A Boy Called Sailboat premiered in Australian cinemas last weekend, together with the conventionally-released Kairos.
It is difficult to judge the box office results given the limited number of sessions and screens, but all faced the challenge of going into the market with minimal marketing support and publicity.
The third edition of the Red Dog franchise from writers and directors Aaron McCann and Dominic Pearce had the widest release on more than 80 screens, distributed by Roadshow Films and producer Nelson Woss’s Good Dog Distribution.
Last week Woss told If he was encouraged by the responses from test screenings in Indianapolis and charity previews in Perth. But he acknowledged there were no ads on TV or in newspapers and no billboards, bus shelters or buses for the the low-budget film co-funded by Screen Australia,...
- 12/9/2019
- by The IF Team
- IF.com.au
(L-r) Debra Liang, Tine Klint and Lauren Valmadre.
Celebrating the 10th anniversary of her international film sales and distribution company LevelK, Tine Klint offers some advice to Australian filmmakers.
Perhaps the most valuable tip: Don’t target the world, even though the mantra “local for global” is in vogue.
“I recommend staying true to original stories,” Tine tells If. “Don’t adapt and change cultural differences: some projects lose their originality because they are designed for world platforms or global deals.”
A former sales exec at TrustNordisk, Zentropa and Nordisk Film, the Copenhagen-based Klint first connected with Australia when Aquarius Films’ Angie Fielder got in touch in 2009 after announcing plans to produce Wish You Were Here.
Subsequently Klint and Fielder met at the Berlin International Film Festival in 2010 and LevelK handled international sales for the drama directed by Kieran Darcy-Smith.
That led to numerous collaborations with Aussie filmmakers encompassing such films as Celeste,...
Celebrating the 10th anniversary of her international film sales and distribution company LevelK, Tine Klint offers some advice to Australian filmmakers.
Perhaps the most valuable tip: Don’t target the world, even though the mantra “local for global” is in vogue.
“I recommend staying true to original stories,” Tine tells If. “Don’t adapt and change cultural differences: some projects lose their originality because they are designed for world platforms or global deals.”
A former sales exec at TrustNordisk, Zentropa and Nordisk Film, the Copenhagen-based Klint first connected with Australia when Aquarius Films’ Angie Fielder got in touch in 2009 after announcing plans to produce Wish You Were Here.
Subsequently Klint and Fielder met at the Berlin International Film Festival in 2010 and LevelK handled international sales for the drama directed by Kieran Darcy-Smith.
That led to numerous collaborations with Aussie filmmakers encompassing such films as Celeste,...
- 12/5/2019
- by The IF Team
- IF.com.au
‘Judy & Punch’. (Photo: Ben King)
Two Aussie films, Mirrah Foulkes’ Judy & Punch and Ben Lawrence’s Hearts and Bones, will be among the 12 features in official competition at this year’s Sydney Film Festival (Sff).
Also up for the festival’s $60,000 Sydney Film Prize are Florian Henckel von Donnersmarck’s Never Look Away, which was nominated for two Oscars; recent Cannes selections such as Pedro Almodóvar’s Pain and Glory, Bong Joon-Ho’s Parasite, and Kleber Mendonça Filho and Juliano Dornelles’ Bacurau; Sundance World Cinema Dramatic Special Jury Award winner Monos, from directors Alejandro Landes and Alexis Dos; Joanna Hogg’s Sundance Grand Jury Prize winner The Souvenir; Nadav Lapid’s Golden Bear winner Synonymes, as well as Sacha Polak’s Dirty God, Teona Strugar Mitevska’s God Exists, Her Name is Petrunya, and Kiwi director Hamish Bennett’s Bellbird.
Sydney Film Festival launched the full program for its 66th...
Two Aussie films, Mirrah Foulkes’ Judy & Punch and Ben Lawrence’s Hearts and Bones, will be among the 12 features in official competition at this year’s Sydney Film Festival (Sff).
Also up for the festival’s $60,000 Sydney Film Prize are Florian Henckel von Donnersmarck’s Never Look Away, which was nominated for two Oscars; recent Cannes selections such as Pedro Almodóvar’s Pain and Glory, Bong Joon-Ho’s Parasite, and Kleber Mendonça Filho and Juliano Dornelles’ Bacurau; Sundance World Cinema Dramatic Special Jury Award winner Monos, from directors Alejandro Landes and Alexis Dos; Joanna Hogg’s Sundance Grand Jury Prize winner The Souvenir; Nadav Lapid’s Golden Bear winner Synonymes, as well as Sacha Polak’s Dirty God, Teona Strugar Mitevska’s God Exists, Her Name is Petrunya, and Kiwi director Hamish Bennett’s Bellbird.
Sydney Film Festival launched the full program for its 66th...
- 5/8/2019
- by jkeast
- IF.com.au
Darlene Johnson. A new initiative from the National Association of Cinema Operators (Naco) and the Motion Picture Distributors Association of Australia (Mpdaa) will give two emerging Indigenous filmmakers the opportunity to attend Aimc 2016.. . Darlene Johnson is a writer/director from the Dunghutti clan from the Nsw mid-north coast. A graduate of Uts and Aftrs,.Johnson.s short films and documentaries have won numerous awards, including an Emmy nomination in 2001 (Best Documentary Stolen Generations). . She has two feature films currently in development, with Phillip Noyce attached as an Ep to one and David Gulpilil attached as a cast member and cultural advisor on the other. . Ian Ludwick is a Bulgun Warra man from Hopevale, Queensland. Formerly a policeman and paramedic,.Ludwick.turned to writing and producing in 2009.. He completed the Indigenous Producers Initiative with Screen Australia and an attachment to Arclight Films earlier this year. He also recently attended the Toronto...
- 9/29/2016
- by Staff Writer
- IF.com.au
Screenwriters who want to think outside the conventional narrative box can learn a lot from neuroscience studies of monkeys.
Huh? Yes, that.s the subject of a lecture to be delivered in Sydney on July 30 by writer, director, actor and educator Steve Vidler.
His keynote talk at a StoryCode event at the Academy of Information Technology in Ultimo is entitled .What monkeys can teach us about screen story- or how I learned to stop worrying about 3 act structure and love neuroscience..
Vidler, who has a PhD in screenwriting at Macquarie University and lectures at Aftrs, will ask attendees, .How many screenplays have you read, and how many films have you seen that suffer from the same problem? Screen stories that are conventionally .properly. structured, and yet are devoid of meaning.
.The big problem shared by most approaches to screen storytelling is that they.re based on the assumption of some...
Huh? Yes, that.s the subject of a lecture to be delivered in Sydney on July 30 by writer, director, actor and educator Steve Vidler.
His keynote talk at a StoryCode event at the Academy of Information Technology in Ultimo is entitled .What monkeys can teach us about screen story- or how I learned to stop worrying about 3 act structure and love neuroscience..
Vidler, who has a PhD in screenwriting at Macquarie University and lectures at Aftrs, will ask attendees, .How many screenplays have you read, and how many films have you seen that suffer from the same problem? Screen stories that are conventionally .properly. structured, and yet are devoid of meaning.
.The big problem shared by most approaches to screen storytelling is that they.re based on the assumption of some...
- 7/27/2015
- by Don Groves
- IF.com.au
A sequel is on route for Kane starrer See No Evil with production set to start in fall 2013. According to Variety, WWE Studios is producing the sequel to the 2006 horror thriller alongside Lionsgate. Star wrestler Kane played a psychopath called Jacob Goodnight who goes on a killing spree in the film which made $19 million worldwide, and also included Christina Vidal, Samantha Noble, Luke Pegler Michael J. Pagan, Steven Vidler, Rachael Taylor, Ponny McNamee and Craig Horner. The film will be directed by Jen and Sylvia Soska (American Mary, ABCs of Death 2).
- 8/6/2013
- Upcoming-Movies.com
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