Latest news with #GetOut
Engadget
11 hours ago
- Business
- Engadget
Phasmophobia is getting the Hollywood treatment
Paranormal horror game Phasmophobia is being adapted into a movie by Blumhouse Productions and Atomic Monster, in partnership with the games developer Kinetic Games. Blumhouse is a major player in the horror genre, having produced the Purge and Paranormal Activity franchises as well as Get Out , The Invisible Man and many more. Atomic Monster produced all the films in The Conjuring universe since 2016's The Conjuring Two . First released on PCs in 2020, Phasmophobia quickly became a pandemic-era hit , with YouTubers and streamers racking up millions of views playing the multiplayer survival game. The game follows one to four players as they work to complete a contract requiring them to identify the type of ghost haunting a specific site. The horror genre has risen in popularity over recent years in both video games and the film business . In 2023 Blumhouse adapted the video game horror series Five Nights at Freddy's into a film, which went on to be the highest grossing film in its history. Blumhouse has also begun making video games in-house, and released its first game, Fear the Spotlight , last year. Blumhouse Productions announced the Phasmophobia adaptation at its first-ever 'Business of Fear' event in Hollywood, where founder and CEO Jason Blum and Atomic Monster founder and CEO James Wan spoke about the business of horror movies. No distributor or release date has been announced yet.
New Straits Times
08-05-2025
- Entertainment
- New Straits Times
#SHOWBIZ: Rising star Trisha Ooi confronts her demons in 'Susuk Bidadari'
EMERGING actress Trisha Ooi is proving that she's not afraid to step into the shadows of the horror realm, with her latest role in the highly anticipated film, 'Susuk Bidadari'. And by all accounts, the talented 25-year-old, whose full name is Reyshqa Aqiera Mohd Nasron Ooi, could not be more thrilled about the opportunity. For an actress still carving her niche in the Malaysian film industry, the ,chance to sink her teeth into a completely new character is pure gold. In 'Susuk Bidadari', Primeworks Studios' chilling new offering with visionary director Faizal Nadxaman at the helm, Trisha undergoes an eerie transformation into a haunting spirit, Seri. "In this film, I play a ghost! It's always fun to challenge myself to try something new. "I even took on my first antagonist role recently, which was a fantastic experience," the effervescent actress reveals with excitement in her voice during a chat session. Trisha's approach to her craft is grounded in a refreshing sense of self-assuredness. Her philosophy is simple yet powerful: give every role her all and steer clear of the often-tempting trap of comparisons, especially when it comes to the work of seasoned veterans. "I've always tried to give my best, pouring every ounce of my energy and focus into each character I portray. "It genuinely never crosses my mind to compare myself to anyone," she insists with a thoughtful nod. "Like with this role as Seri, why would I even consider comparing my portrayal to the legendary Maya Karin in 'Pontianak Harum Sundal Malam'? "She's an icon, a true legend in Malaysian cinema. My focus isn't on measuring up to her past glories. It's solely on whether the audience connects with my interpretation and finds my performance believable." To truly embody the spectral essence of Seri, Trisha has diligently done her homework by immersing herself in the world of horror cinema. She specifically sought inspiration from critically acclaimed films such as Jordan Peele's psychological thriller, 'Get Out'. "It was purely for reference, to understand the nuances of the genre and the kind of atmosphere we were aiming for, not to create a carbon copy. "The charismatic Rosyam gave me some incredibly insightful advice about that. "He pointed out that while watching other movies can be beneficial, ultimately you have to discover your own unique way into the character," she says, referring to Datuk Rosyam Nor who plays the male lead in 'Susuk Bidadari'. Trisha adds: "The most authentic and compelling performances often come from trusting your own instincts and connecting with the role on a personal level." She also views every interaction and observation as a valuable learning opportunity. Beyond simply watching, Trisha actively collaborates with the entire production team, recognising that a cohesive vision is crucial for a successful film. "Before we even started shooting a single scene, I made it a point to have in-depth conversations with the director, producer, the incredibly talented make-up artists responsible for Seri's haunting look, and even the wardrobe department, to gather everyone's perspectives on how Seri should be portrayed." She admits that despite embracing her role in a horror film, she harbours a rather common fear. "Actually, I'm 'penakut' — easily scared! But I absolutely refuse to let that be an excuse to shy away from a challenging and exciting job like this. "Besides, when you're on set, there are so many people around, a whole bustling crew dedicated to bringing the story to life. "There's simply no time to overthink the spooky elements when you're in the thick of filming," she says with a laugh. While the entire production of 'Susuk Bidadari' took around 20 days of intense filming, Trisha's ethereal performance as Seri was mostly captured within a focused seven-day period. She spoke warmly about the invaluable experience of working alongside other cast members such as Che Puan Sarimah Ibrahim. "I had the privilege of working with Rosyam before in 'Memoir Seorang Guru', but this was my first time sharing the screen with the wonderful Sarimah and the talented Alya Iman. "When you get the chance to collaborate with actors who possess such immense capabilities and experience, there is always something profound to learn from them. "Sometimes, they generously share specific acting tips, little nuggets of wisdom gleaned from years in the industry, and other times, the most valuable lesson is simply observing their work ethic and approach to their craft. "If you come to the set with an open mind and a genuine willingness to learn, you can absorb so much," she says. Interestingly, her journey into acting began in the dynamic world of stunt performance. Trisha reveals that she even incorporates some of that unique skill set into her role as Seri. "Stunt acting is where I first honed my performance skills, it's my forte. So why not infuse a little bit of that physicality and nuanced movement into the character of Seri?" she adds with a smile. 'Susuk Bidadari' is set to be released later this year.
Hindustan Times
30-04-2025
- Entertainment
- Hindustan Times
Weapons trailer: Insane $38 million script of this movie caused a massive bidding war; Jordan Peele fired staff for it
Not a prestige drama or an adaptation of a bestseller, a fierce bidding war in Hollywood raised eyebrows because it was for a original idea for a horror film. Now that the trailer has released, viewers are also reacting to the first footage of the upcoming film Weapons, helmed by Barbarian director Zach Cregger. The film sold to production house New Line for an overall sum of a jaw-dropping $38 million, with reports even saying that there were multiple studios that wanted to get hands on the project. (Also read: How two Hollywood stars leveraged their stardom to turn struggling tier-5 football club into £100 million powerhouse) As the trailer suggests, Weapons revolves around a small-town mystery where the sudden disappearance of multiple children at the same time shocks everyone. It all happens on a random Wednesday morning when 17 children in the fictional town of Maybrook woke up from their beds and ran into the night. They never came back. Julia Garner plays the class teacher of the school who is at the centre of the allegations as questions pile up regarding the mysterious disappearances. Reacting to the trailer, a fan commented, 'Now that's how you make a trailer, you give people a taste, get them excited and curious without giving away the story. Can't wait to see what Zach Cregger has in store.' A second fan said, 'The child narrating added to the horror factor. It reminds me of those 'I heard to from a friend of a friend' scary stories from my childhood.' A comment read, "You had me at "director of Barbarian". This is gonna be epic." As per a Deadline report from January 2023, the bidding war for Weapons circled down to two production houses- New Line and Universal. Jordan Peele, the celebrated writer-director of Get Out and Nope, really wanted to produce the film, but Universal's bid for Weapons was $7 million less than New Line. The report also mentioned that the bidding war of Weapons which went up to $38 million included the director receiving $5 million as a director, plus a $10 million total for scripting and producing the film. The deal landed with New Line and Jordan Peele was left furious to have to let go of this project. 'In the wake of the auction, Peele parted ways this week with his longtime Artists First managers Joel Zadak and Peter Principato, latter of whom is also Cregger's manager,' added the report. Will the film live upto the expectations that are already preceding its release? Viewers will have to wait till August to find out the answers. Weapons also stars Austin Abrams, Cary Christopher, Benedict Wong, and Amy Madigan.
Indian Express
26-04-2025
- Entertainment
- Indian Express
Opinion From ‘Sinners' to ‘Stree' — why horror is the new social commentary
Ryan Coogler's film Sinners is about a lot of things. Blues music, cultural appropriation, the African-American experience, the lives of immigrants, one's battle with faith, and the carnal attraction felt between lovers. But all these heavy-handed topics are interspersed with a tale of bloodthirsty vampires who want to attack a group of partygoers at the opening of a throbbing new nightclub in Mississippi in the 1930s. Sinners joins a growing list of horror films in the last decade or so that have tried to address complex political and social topics. Hollywood films that come to mind are Get Out, The Purge series, Midsommar and The Hunt among others. What is it about the horror genre that makes it palatable for audiences to deal with social, political, racial and religious issues than say a straight-up drama or comedy? Years of awards-bait movies and a slight disdain towards the sweeping 'issues'-based films from casual moviegoers have put the drama genre on a bit of a back foot. Comedies tend to polarise audiences a lot more today than in decades past and news comedy shows and talk show panels tend to provide a regular stream of satire right into homes. Enter horror, a genre where the externalisation of the issue in the form of a ghost/monster/spirit tends to make it a tad more convenient to address. The viewer need not necessarily come in with the burden of having prior knowledge about the subject matter. They can simply walk in with the expectation of the thrill of being scared and walk out with some food for thought. One might make the argument that horror was always a genre of the outsider. That films like Rosemary's Baby, or The Exorcist induced shock and questioned the status quo even back in the day. What sets the recent crop of horror films apart is that the characters who have agency are often those who find themselves marginalised in real life. This, in turn, leads to the exploration of subjects and cultures that are rarely dealt with. There's race (Us, Candyman), Gen-Z paranoia (Talk to Me, Bodies Bodies Bodies), feminism (The VVitch, The Substance), and LGBTQ+ issues (I Saw the TV Glow, Titane). Back home, we are witnessing a surge of films in the horror-comedy genre kicked off by the stupendous success of Stree (2018) and Stree 2 (2024). The Stree films cleverly addressed themes like gender norms, consent, the male gaze and patriarchy. As compared to the West, horror has not been as consistent a force at the box office for Bollywood. After gothic classics like Mahal and Madhumati from the 1940s and '50s, the genre was mostly synonymous with the campy Ramsay Brothers films of the '80s and '90s, transitioning into a phase in the 2000s when Ram Gopal Varma brought an urban flavour to films like Bhoot and Darna Mana Hai. Following this, there was a lull until horror's recent resurgence. Having bigger production and VFX budgets has helped tell stories in a richer, grander fashion, and adding the comedic element has also attracted family audiences to the theatres. There's also a renewed interest in tales of the supernatural inspired by Indian folklore, fairy tales and mythology. The re-release of Tumbbad in 2024 was a massive success. Set in British-ruled India, it critiqued our obsession with wealth while taking a cue from the stories of local deities. The Kannada film Kantara, while not an out-and-out horror film, also incorporated supernatural elements from folklore to delve into class politics, depicting the conflict between the tribal community and the ruling class. There have also been some bright spots in the streaming space with the likes of Bulbul, which dealt with domestic violence, Ghoul, which had a premise around authoritarianism, and the recent series Khauff, which explores women manoeuvring a city like Delhi. We seem to be going through a time when horror filmmakers and writers seem to have figured out how to marry pulp with prestige. A generation that grew up with Stephen King novels and arthouse cinema seems to be blending the two while throwing their own, unique lived-in experiences into the mix. The horror tropes might still be present, but they come with just enough of a tweak to make them fresh and exciting. Sinners has been a rare success. An original hit film in a sea of sequels and IP franchises. As we continue to live in a world ravaged by war, terror attacks and constant political turmoil, the thirst for stories that address our anxieties and fears from people with diverse backgrounds will only increase. The monsters aren't going back under the bed anytime soon.
WIRED
23-04-2025
- Entertainment
- WIRED
'Sinners' Proves Audiences Crave Sex, Vampires—and Fresh Ideas
Apr 23, 2025 5:49 PM Ryan Coogler's horror movie has shattered box office records—and the myth that audiences don't care about original stories. Still from Sinners. Courtesy Warner Bros. Pictures Kyle Brett had a feeling Sinners , the new supernatural horror from Black Panther director Ryan Coogler, would have a big opening weekend—but he was also hyper aware of the consequences of failure. 'It's already extremely hard to have a successful original horror movie or just any original movie,' Brett, a former Netflix lawyer who currently works as a creative executive at Blumhouse, the production company behind M3GAN, Get Out , and the Insidious franchise, tells WIRED. 'If that shit had bombed, original film would have truly gone away.' The night before its US release, Brett predicted on X that Sinners would clear $60 million, based 'on nothing but the number of Black folks who have asked me about it.' In the business of Hollywood, nothing is guaranteed, least of all a hit movie that's based on an untested story. But not only was Sinners a hit, breaking multiple box office records, it's becoming a full-on cultural phenomenon, complete with memes and literary deep dives. Perhaps most importantly, it has challenged what's become conventional wisdom in show business: the idea that audiences won't respond to original stories. Sinners has almost everything you could possibly want out of an original film: sex, vampires, a haunting score by composer Ludwig Göransson, and Michael B. Jordan in maybe his best performance yet. The movie opens in Jim Crow-era Mississippi during 1932, and follows identical twin brothers Smoke and Stack, both played by Jordan, who have returned home after time away in Chicago, where they moonlighted as gangsters for Al Capone. They've come back to start a juke joint but are put to the test when a coven of vampires encroaches on their new business. Across its two-hour-plus run time, what unfolds is classic Coogler: a lush, complex story about family, community, and survival that dares to reinvent the horror genre into something new altogether. The premise has resonated with audiences in such a powerful way that Sinners opened with $48 million domestically and $63.5 million globally, making it the biggest debut for an original film since 2019, when Jordan Peele's Us opened to $70 million (the anticipation surrounding a new Coogler project likely also played a role). Sinners likewise surpassed Nope , also by Peele—which pulled in $44 million its first weekend in 2022—as the biggest opening for an original film since the pandemic began. It is now the only horror flick in over 35 years to receive an 'A' on CinemaScore. 'IPs are a comfortable, safe bet, but originals, when you have something that right out the gate can connect with audiences, they can have as big a punch,' says Daniel Loria, an analyst at The BoxOffice Company. 'That's definitely what we're seeing.' It can still be hard to pinpoint exactly what kind of movie works best in Hollywood these days. The success of big-budget blockbusters— Dune , Barbie and Wicked —aren't exactly a litmus test of how well the industry is faring, or what audiences are ultimately satisfied with. Certain IP, like The New Mutants from 2020, bomb or never take off for a number of reasons; often it has to do with earnings, but poor reviews and studio mismanagement can also be a factor. 'Some franchises are past their best and haven't performed. This happens every decade or so, which means the studios are looking at new franchise stories to take forward,' says David Hancock, an analyst at Omdia. ' A Quiet Place did this. Minecraft may do it.' Minecraft , a Warner Bros property, currently holds the top spot at the worldwide box office, with $720 million and is estimated to top one billion. Video game IP is especially hot right now. The Super Mario Bros Movie , released by Universal Pictures in 2023, topped $1.3 billion. Paramount's Sonic the Hedgehog has yielded major dividends for the studio. Until Dawn and Mortal Kombat 2 are also slated to drop this year. One of the things Sinners got right, Brett says, 'is that they treated themselves like they were IP.' That means, per his agreement with Warner Bros, Coogler gets the rights to his film back in 25 years—the type of deal that's mostly unheard of today. Some studio executives believe it sets a 'very dangerous precedent' for copyright ownership and distribution entitlements, Vulture reported, saying it will crater the current power dynamics of the studio system, 'effectively imperiling the cinematic back catalogue: the core asset behind all movie-studio valuation.' But 'that's the kind of attitude you need with an original,' Brett says. 'It's like, No, this is my intellectual property.' For a time, Marvel epics were a proven seat filler, but the fatigue and declining critical reception around superhero movies that has bubbled up in recent years—a consequence of Marvel flooding the market with comic book IP—means that is no longer the case. Marvel is currently in rebound mode. It dropped Jonathan Majors, who was a rising star in the MCU, in light of his domestic assault case (he was found guilty of two out of four charges) and The Marvels became the studio's lowest-grossing film across its 33 titles, earning $206 million globally, well below its $374 million budget. It's 'hard to reinvent that form and I think this next generation is looking for ways to tell their own stories that service their own sort of collective ADHD,' Avengers: Endgame co-director Joe Russo told GamesRadar+ last year, likening young moviegoers' communication style to 'memes and headlines.' Not all original films are seeing a huge demand, as the age of streamers has reshaped consumption habits. As of March, movie sales in the US and Canada were down 7 percent this year compared to the same period in 2024, according to Comscore. In a recent interview with The Independent , director Steven Soderbergh bemoaned that very reality. His latest feature Black Bag , a spy thriller starring Cate Blanchett and Michael Fassbender that was released in theaters last month, has yet to turn a profit; it pulled in $37 million worldwide on a budget of $50 million. 'This is the kind of film I made my career on,' Soderbergh said in the interview. 'And if a mid-level budget, star-driven movie can't seem to get people over the age of 25 years old to come out to theatres—if that's truly a dead zone—then that's not a good thing for movies. What's gonna happen to the person behind me who wants to make this kind of film?' Still, the success of Sinners offers a beacon of hope. It's currently on track to have a second weekend increase, which 'would be much more impressive for a non-IP April release,' Erik Anderson, the founder of Awards Watch, noted on X. It also belongs to a cohort of original films, many centered around identity, from directors that have also found audiences, commercial appeal, and critical acclaim in recent years, including Celine Song's Past Lives , Cord Jefferson's American Fiction , Lawrence Lamont's One of Them Days , and Sean Baker's Anora , which won Best Picture at this year's Academy Awards. Hancock predicts the 'next decade will see a return to original stories' as a bid to bring in a wider range of audiences. But the takeaway from Sinners and other movies like it go beyond just IP fatigue, says Brett, noting these films—and their unique audiences—need to be adequately marketed and prioritized. 'If there is anything Hollywood misses it's how much Black audiences will continually engage with them,' he says. 'It's not just like this one-time customer type of thing. People will return to Sinners . The excitement of it, to me, shows that it has a long shelf life.'
