Latest news with #JordanPeele
Tatler Asia
9 hours ago
- Entertainment
- Tatler Asia
Valuable lessons on security from 7 home invasion movies
2. 'Us' (2019) In Us , Jordan Peele reframes the home invasion not as a random attack, but as a confrontation with buried truths. The intruders are literal copies of the protagonists—people who have been living underground while others enjoyed the surface. By staging the attack in a coastal holiday home, Peele critiques the illusion of retreat and privilege. The Wilsons, like many middle-class families, believe they've earned safety through consumption and distance. Us suggests this comfort comes at a cost—and that what has been repressed, socially or psychologically, will eventually demand its reckoning. 3. 'The Strangers' (2008) Bryan Bertino's The Strangers remains one of the bleakest entries in the home invasion canon because it offers no clear motive, no redemption arc and no heroic escape. A young couple is terrorised in their rural family home simply because, as one of the masked assailants says, 'you were home'. This randomness is what makes the film so disturbing—it strips away any sense of moral cause and effect. It's a rare film that underscores the idea that no matter how careful or secluded you are, violence sometimes arrives without reason, warning or narrative closure. 4. 'Don't Breathe' (2016) Don't Breathe flips the typical home invasion structure by making the intruders the ones who are hunted. A trio of petty thieves break into the house of a blind veteran, believing him defenceless, only to discover he is anything but. The film is a lesson in misjudgment—about underestimating physical disability, overestimating your own control and misreading silence as weakness. It also challenges audience sympathy. As secrets unfold, the line between perpetrator and victim becomes increasingly murky, reminding us that proximity to violence often reveals more about character than circumstance. 5. 'When a Stranger Calls' (1979) This film famously opens with a long sequence involving a babysitter receiving anonymous phone calls that escalate into stalking and, eventually, a violent reveal: the caller is already inside the house. While it evolves into a different kind of psychological thriller, the first act remains a defining moment in the genre. It highlights how easily early warning signs—unsettling behaviour, unexplained sounds, intuition—are dismissed. The lesson here isn't about building better locks; it's about taking unease seriously before it hardens into a threat. The call might be coming from inside the house, but the denial started long before that. 6. 'The Last House on the Left' (1972) Wes Craven's controversial debut confronts the viewer with a deeply uncomfortable truth: revenge is not catharsis. After a pair of teenagers are brutalised by strangers, the attackers unknowingly take refuge in the home of one of the victims' parents. What follows is retaliation, not justice. The violence escalates, but the emotional damage is never resolved—it multiplies. Craven's message is that home invasion doesn't just displace safety; it disrupts ethics. The instinct to protect one's home can curdle into something equally destructive, especially when filtered through grief and rage. 7. 'Fear' (1996) Fear isn't a typical home invasion film—it begins as a romance. Mark Wahlberg's character is introduced as the boyfriend, not the villain, and is initially welcomed into the family. But as possessiveness morphs into obsession, he begins asserting control not just over his girlfriend but over the household itself. The film's climax, involving a siege on the suburban family home, is the logical end to a series of ignored red flags. It's a reminder that danger doesn't always knock; it can sometimes charm its way in. In a culture that equates attention with affection, Fear quietly asks: how do you protect a home from someone you invited in? Across all seven films, home invasion is more than a plot device, but also a reflection of anxieties about wealth, privacy, power and the limits between public threat and private life. Whether through force or psychological manipulation, the home's safety is constantly questioned. The genre lasts because it challenges assumptions that locks protect, love is safe and threats are obvious. In reality, home invasion takes many forms, and the most dangerous often begin with a false sense of security. READ MORE Your safety checklist: Here's what to remember for in-flight emergencies 5 iconic hotels in film: Where architecture becomes the star 8 spine-chilling must-watch Korean movies
Geek Tyrant
2 days ago
- Entertainment
- Geek Tyrant
Trailer for the New JAWS Documentary JAWS @ 50 About the Making of the Classic Film — GeekTyrant
National Geographic has released the first trailer for Jaws @ 50 , a great-looking new documentary about the making of the classic Steven Spielberg-directed movie. Jaws @ 50 Definitive Inside Story is the 'authorized documentary celebrating the film that redefined Hollywood, 50 years after its premiere. Alongside Steven Spielberg, Jaws @ 50 charts the extraordinary journey from Peter Benchley's bestselling novel to one of the most iconic films ever made. 'Featuring rare archival footage and interviews with acclaimed Hollywood directors, top shark scientists, conservationists, the film uncovers the behind-the-scenes chaos and how the film launched the summer blockbuster, inspired a new wave of filmmakers, and paved the way for shark conservation that continues today. The doc comes from the acclaimed behind-the-scenes documentary filmmaker and author Laurent Bouzereau, who previously worked on Five Came Back , Natalie Wood: What Remains Behind , Mama's Boy , 40 Years of E.T. The Extra-Terrestrial , The Fabelmans: A Family in Film , Timeless Heroes: Indiana Jones & Harrison Ford , and The Bloody Hundredth . It also features interviews with Jordan Peele, Guillermo Del Toro, George Lucas, and many others. It's set to be released on Disney+ and NatGeo starting July 10th, 2025, and I can't wait to watch this!
Pink Villa
26-05-2025
- Entertainment
- Pink Villa
Box Office: Final Destination Bloodlines scares up USD 19.7M in second weekend, marks franchise's best despite steep drop
Final Destination: Bloodlines continues its strong box office run, scaring up a solid USD 19.7 million in its second weekend at the US box office, even as competition intensified over the Memorial Day holiday stretch. The R-rated supernatural horror sequel posted the biggest second three-day weekend in the Final Destination franchise's history, despite a steep 61.8 percent drop from its USD 51.6 million opening weekend. The latest entry surpassed the second weekend performance of 2009's The Final Destination, which brought in USD 12.4 million with a 54.9 percent drop. More impressively, Bloodlines now ranks as the second-biggest second weekend for an R-rated horror film in the post-COVID era and the fourth-largest among all horror releases in that period. It zoomed past Jordan Peele's Nope (USD 18.6M, -58.1 percent) and A Quiet Place Part II (USD 19.3M, -59.5 percent) and trails only A Quiet Place: Day One (USD 20.6M, -60.5 percent), Sinners (USD 45.7M, -4.8 percent), and Beetlejuice Beetlejuice (USD 51.4M, -53.7 percent). With a current domestic total of USD 89.7 million, the film is on its way to surpassing the US run of Nosferatu by Memorial Day Monday. Industry projections now see Final Destination: Bloodlines landing a domestic total between USD 125 million and USD 135 million — a strong showing for a legacy horror sequel in a crowded release window. Directed by Zach Lipovsky and Adam Stein and written by Guy Busick and Lori Evans Taylor from a story developed with Jon Watts, Bloodlines is the sixth installment in the long-running Final Destination franchise and its first since 2011's Final Destination 5. Kaitlyn Santa Juana stars as a college student who begins to experience terrifying premonitions after inheriting a vision tied to a structural disaster narrowly avoided in 1968 by her grandmother. The cast also includes Teo Briones, Richard Harmon, Owen Patrick Joyner, Anna Lore, Brec Bassinger, and franchise veteran Tony Todd. Initially developed as a streaming title for HBO Max, the film's strong concept and franchise appeal led Warner Bros. to opt for a theatrical release. Filming took place in Vancouver between March and May 2024, after delays caused by the 2023 SAG-AFTRA strike. Since its release on May 16, Final Destination: Bloodlines has earned USD 187.1 million globally, making it both the best-reviewed and highest-grossing installment in the franchise.
New York Times
10-05-2025
- Entertainment
- New York Times
‘Sinners' Box Office Success Puts It in Elite Company
Ryan Coogler's 'Sinners' is on a pace to collect at least $330 million in worldwide ticket sales for Warner Bros. by the end of its run, several box office analysts said, a haul that would put it in Hollywood's horror hall of fame. Ticket sales on that level, for instance, would be on a par with those for Jordan Peele's Oscar-winning 'Get Out,' which took in $256 million globally in 2017, or $337 million when adjusted for inflation. Among original horror movies, 'Sinners' would be the biggest since 2018, when 'A Quiet Place,' directed by John Krasinski, took in $440 million in today's dollars. In terms of franchise-starting horror films, 'Sinners' would rank higher than John Carpenter's original 'Halloween,' which generated $47 million in 1978, or an adjusted $241 million. 'Sinners' would be in line with Wes Craven's first 'Scream' ($358 million) and far above James Wan's 'Saw' ($180 million) and Oren Peli's 'Paranormal Activity' ($293 million). Mr. Coogler didn't conceive of 'Sinners,' an audacious Southern vampire fantasia set in the 1930s, as part of a series. 'I wanted the movie to feel like a full meal: your appetizers, starters, entrees and desserts — I wanted all of it there,' he told Ebony magazine. 'I wanted it to be a holistic and finished thing.' But 'Sinners' could easily start one if Mr. Coogler changed his mind, giving him immense power in Hollywood in general and at Warner Bros. in particular. 'What is impressing everyone is how deeply the movie is connecting and bringing audiences back for repeat viewing and expanding the audience,' David A. Gross, a film consultant who publishes a newsletter on box office numbers, said on Friday. 'The movie is going to be worth a fortune in streaming,' he added. 'Sinners' will exclusively appear on Max, the streaming service affiliated with Warner Bros. Warner Bros. declined to comment. The studio's internal estimates show 'Sinners' finishing between $300 million and $330 million. 'Sinners' was an instant success when it arrived in theaters in mid-April. Warner Bros. initially estimated that it had collected $46 million in the United States and Canada during its first weekend, later revising the figure to $48 million. Even so, it was not immediately clear when or if 'Sinners' would make money for Warner Bros., which spent at least $150 million to make and market the film. As the creative force behind the 'Black Panther' and 'Creed' franchises, Mr. Coogler, 38, was a highly sought-after filmmaker. To win the rights — multiple studios bid on the project — Warner Bros. agreed to give Mr. Coogler a cut of gross ticket sales (before a studio deducts costs). And theaters keep roughly 50 percent of the gross. Several analysts said on April 20 that for Warner Bros. to make money, 'Sinners' would need to attract substantial crowds in the weeks ahead. Its ability to do so was a question: Most movies have a difficult time drawing continued attention from consumers these days, even if they have terrific reviews. 'The trajectory for this film was predicted by no one,' Paul Dergarabedian, a senior media analyst at Comscore, which collects box office data, said in an email. (Mr. Coogler's fans would most likely beg to differ.) Mr. Dergarabedian noted that domestic ticket sales for 'Sinners' had declined only 5 percent from its first weekend to the second, one of the smallest such declines on record for a movie arriving to more than $35 million. Only James Cameron's 'Avatar' (2009) ranks better, with a 2 percent decline. In its zeal to work with Mr. Coogler, Warner Bros. also agreed to relinquish its ownership of 'Sinners' after 25 years. Mr. Coogler, who wrote, directed and produced the movie, would then own it. Some rival film companies were shocked that Warner Bros. would give a film away, even after 25 years. Other studios, however, have occasionally made similar deals for other filmmakers, including Quentin Tarantino, who first secured 'ownership reversion' in the 1990s while making films for Miramax. Mike De Luca, a chief executive of the Warner Bros. Motion Picture Group, called industry consternation over the ownership aspect of the deal 'ignorant and laughable' in an interview with The Hollywood Reporter published on April 22. Mr. Coogler 'made a pretty effective case for this movie, especially with its themes of Black ownership,' Mr. De Luca told that trade publication. 'Frankly, we're proud to be able to give it to Ryan.'
Hindustan Times
01-05-2025
- Entertainment
- Hindustan Times
Weapons: Makers release creepy 2-hour footage of children running away at night, leave horror fans surprised
The trailer of Weapons, the new horror film directed by Barbarian maker Zach Cregger, dropped earlier this week and caught attention of several fans. The producers of the film Warner Bros seemed to have taken an unlikely route in promoting the film, as it has now released an unlisted video of several children running away from their homes at night without any description. (Also read: Weapons trailer: Insane $38 million script of this movie caused a massive bidding war; Jordan Peele fired staff for it) The two-hour, unlisted video has a series of children running away from their homes late at night, which is seemed to look like a surveillance video where the viewer himself is watching from the point of view of the camera. The video raises questions- Who is watching the video? Who is looping in these moments together? This video was shared with the title, '2025_░_░_06: It must be noted that the video is in line with the premise of the film Weapons, which reads, 'When all but one child from the same class mysteriously vanish on the same night at exactly the same time, a community is left questioning who or what is behind their disappearance.' Reacting to the video, an eagle eye fan commented, 'The large face that acts as a reflection on the screen must be a clue.' A second fan said, 'This is insanely interesting, so excited.' Another said, 'Great to see viral marketing coming back.' A comment read, 'The marketing for this movie is insane. I love it.' 'Soooo damn eerie. This looks interesting to say the least!' said another fan. With more details about the plot being kept under wraps, horror fans and viewers will have to wait till August to find out the answers. Weapons also stars Austin Abrams, Cary Christopher, Benedict Wong, and Amy Madigan.
