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AUXILO (HELP): New Paranormal Horror From Tamae Garateguy Begins Production This August

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AUXILO (HELP): New Paranormal Horror From Tamae Garateguy Begins Production This August

Auxilo (Help) was formally announced by Variety before the weekend. Alas, unheardof circumstances around a nationwide digital infrastructure outage here in Canada forbid us from following up that announcement until this morning, to get the best exposure. Auxilo, a new paranormal horror flick from Argentine director Tamae Garateguy begins production this August in and around Buenos Aires, Argentina.

 

I’ve always been intrigued by Garateguy (She Wolf, All Night Long with my friend Jimena Monteoliva (Matar al dragon)) and our friends at Del Toro Films (On the 3rd Day, The Funeral Home) are producing this new flick with Furia Films (The Last Heretic – in post) so I wanted to make sure there were as many eyes on this as possible. 

 

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It’s 1931. Emilia, a rebellious and defiant young woman, is sent by her father to a convent. Her arrival unleashes paranormal manifestations in the place, which become increasingly strong for all the residents, but even more for Emilia, like a cry for help that is impossible to ignore.

 

Auxilo is intriguing for reasons beyond just its director. The paranormal horror takes place in a convent in Buenos Aires during the year 1931. This is one year after the 1930 Coup D’etat and the first of many military dictatorships in Argentina over the next fifty-three years. 

 

“I feel like this film falls into the moment. There’s a lot of anger from women. Supposedly everything is moving forward to produce more equality between men and women, and this clear setback is a little like the film that talks about all of the oppression women face. It takes place in the 1930s. I’d like to think that we’re less oppressed now, but look at what’s happening,” Garateguy told Variety.

 

She went on: “How can the horror, the helplessness of not being able to scream and the despair it provokes be represented? In recent years, those women who are no longer there because they were murdered, scream through us, the ones that are still here.”

 

Of greater interest and importance, all departments in the production will be led by women, bolstering its empowerment. That’s it for now, a lengthy introduciton and announcement of this new project by Garateguy. We will pester our friends at Del Toro Films for any and all information as it comes available. 

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AUXILO” (HELP), film directed by Tamae Garateguy, produced by Furia Films and Del Toro Films, begins shooting in August.

 

AUXILIO” is the new feature film directed by Tamae Garateguy, one of the most outstanding Latin America female directors in genre cinema. A crossover of horror genre and historical, placed in a convent in Argentina in 1931. This project produced by Furia Films and Del Toro Films promises to deliver a top horror film for the audiences: Paranormal horror told by female voices, with a crew that puts together the artistic eye of women in all departments of the production. 

 

Setting a scenario in the city of Buenos Aires in 1931, a crucial historical moment for the country (1930 was the year of the first military coup), the feature film AUXILIO (Help) is happening in a convent, where along with the religious people, lived a group of women as residents. These women, being isolated from society against their will, could end up there due to insanity, misbehavior for feminine standards, or for political matters, serving the convent as a place for confinement and torture practices.

 

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It’s 1931. Emilia, a rebellious and defiant young woman, is sent by her father to a convent. Her arrival unleashes paranormal manifestations in the place, which become increasingly strong for all the residents, but even more for Emilia, like a cry for help that is impossible to ignore.

 

Packed with paranormal horror elements, AUXILIO is produced by the companies Del Toro Films (The Funeral Home), and Furia Films (The Last Heretic). Néstor Sánchez Sotelo and Daniel de la Vega, team again, after producing together titles such as White Coffin and I am Toxic, which have reached international festivals circuit and markets, and also On The 3rd Day, their most recent film, acquired by Shudder and HBO. 

 

Tamae Garateguy (She Wolf, Las Furias, 10 Palomas), Argentine director with a journey that goes through erotic thriller, horror, western, and action, accumulates credentials for her bold, daring and extreme vision. Next to start shooting AUXILIO, Tamae refers to this project as “a great opportunity for me as a director, to cross a classic horror story, with the horror produced by the worst news we must face in our daily life” and adds, “How can the horror of the helplessness of – not being able to scream and the despair it provokes – be represented?  In recent years, those women who are no longer there because they were murdered, scream through us, the ones that are still here.” 

 

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Sánchez Sotelo and De la Vega, got into this horror genre project “AUXILIO”, led by the vision of her director Tamae; teams are already working in the preparation for the shooting that starts in August, and will be held in different locations of Buenos Aires, Argentina.

 

In words of the producers, “AUXILIO will revitalize the genre cinema, with a story told by a female eye with Tamae as director, and also by all women that are part of the crew and cast, which we proudly confirm, are the great majority in this project.” says Sánchez Sotelo, and De la Vega puts a high standard on the talk, by saying that, “due to the bets and risks taken, this film will mark a before and after in Latin American genre cinema”.

 

Director and producers, haven’t shared any further details, but promise to tell great news in the following weeks. Keep an eye on AUXILIO.

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

Hitting the three-quarter-century mark usually means a retirement home, a nursing facility, or if you’re lucky to be blessed with relatively good health and savings to match, living in a gated community in Arizona or Florida.

For Sylvester Stallone, however, it means something else entirely: starring in the first superhero-centered film of his decades-long career in the much-delayed Samaritan. Unfortunately for Stallone and the audience on the other side of the screen, the derivative, turgid, forgettable results won’t get mentioned in a career retrospective, let alone among the ever-expanding list of must-see entries in a genre already well past its peak.

For Stallone, however, it’s better late than never when it involves the superhero genre. Maybe in getting a taste of the MCU (Marvel Cinematic Universe) with his walk-on role in the Guardians of the Galaxy sequel several years ago, Stallone thought anything Marvel can do, I can do even better (or just as good in the nebulous definition of the word).

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The property Stallone and his team found for him, Samaritan, a little-known graphic novel released by a small, almost negligible, publisher, certainly takes advantage of Stallone’s brute-force physicality and his often underrated talent for near-monosyllabic brooding (e.g., the Rambo series), but too often gives him to little do or say as the lone super-powered survivor, the so-called “Samaritan” of the title, of a lifelong rivalry with his brother, “Nemesis.” Two brothers entered a fire-ravaged building and while both were presumed dead, one brother did survive (Stallone’s Joe Smith, a garbageman by day, an appliance repairman by night).

In the Granite City of screenwriter Bragi F. Schut (Escape Room, Season of the Witch), the United States, and presumably the rest of the world, teeters on economic and political collapse, with a recession spiraling into a depression, steady gigs difficult, if not impossible, to obtain, and the city’s neighborhoods rocked by crime and violence. No one’s safe, not even 13-year-old Sam (Javon Walker), Joe’s neighbor.

When he’s not dodging bullies connected to a gang, he’s falling under the undue influence of Cyrus (Pilou Asbæk), a low-rent gang leader with an outsized ego and the conviction that he and only he can take on Nemesis’s mantle and along with that mantle, a hammer “forged in hate,” to orchestrate a Bane-like plan to plunge the city into chaos and become a wealthy power-broker in the process.

Schut’s woefully underwritten script takes a clumsy, haphazard approach to world-building, relying on a two-minute animated sequence to open Samaritan while a naive, worshipful Sam narrates Samaritan and Nemesis’s supposedly tragic, Cain and Abel-inspired backstory. Schut and director Julius Avery (Overlord) clumsily attempt to contrast Sam’s childish belief in messiah-like, superheroic saviors stepping in to save humanity from itself and its own worst excesses, but following that path leads to authoritarianism and fascism (ideas better, more thoroughly explored in Watchmen and The Boys).

While Sam continues to think otherwise, Stallone’s superhero, 25 years past his last, fatal encounter with his presumably deceased brother, obviously believes superheroes are the problem and not the solution (a somewhat reasonable position), but as Samaritan tracks Joe and Sam’s friendship, Sam giving Joe the son he never had, Joe giving Sam the father he lost to street violence well before the film’s opening scene, it gets closer and closer to embracing, if not outright endorsing Sam’s power fantasies, right through a literally and figuratively explosive ending. Might, as always, wins regardless of how righteous or justified the underlying action.

It’s what superhero audiences want, apparently, and what Samaritan uncritically delivers via a woefully under-rendered finale involving not just unconvincing CGI fire effects, but a videogame cut-scene quality Stallone in a late-film flashback sequence that’s meant to be subversively revelatory, but will instead lead to unintentional laughter for anyone who’s managed to sit the entirety of Samaritan’s one-hour and 40-minute running time.

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Samaritan is now streaming worldwide on Prime Video.

Samaritan

Cast
  • Sylvester Stallone
  • Javon ‘Wanna’ Walton
  • Pilou Asbæk

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Matt Shakman Is In Talks To Direct ‘Fantastic Four’

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According to a new report, Wandavision’s Matt Shakman is in talks to direct the upcoming MCU project, Fantastic Four. Marvel Studios has been very hush-hush regarding Fantastic Four to the point where no official announcements have been made other than the film’s release date. No casting news or literally anything other than rumors has been released regarding the project. We know that Fantastic Four is slated for release on November 8th, 2024, and will be a part of Marvel’s Phase 6. There are also rumors that the cast of the new Fantastic Four will be announced at the D23 Expo on September 9th.

Fantastic Four is still over two years from release, and we assume we will hear more news about the project in the coming months. However, the idea of the Fantastic Four has already been introduced into the MCU. John Krasinski played Reed Richards aka Mr. Fantastic in Doctor Strange in the Multiverse of Madness. The cameo was a huge deal for fans who have been waiting a long time for the Fantastic Four to enter the MCU. When Disney acquired Twenty Century Fox in 2019 we assumed that the Fox Marvel characters would eventually make their way into the MCU. It’s been 3 years and we already have had an X-Men and Fantastic Four cameo – even if they were from another universe.

Deadline is reporting that Wandavision’s Matt Shakman is in talks to direct Fantastic Four. Shakman served as the director for Wandavision and has had an extensive career. He directed two episodes of Game of Thrones and an episode of The Boys, and he had a long stint on It’s Always Sunny in Philadelphia. There is nothing official yet, but Deadline’s sources say that Shakman is currently in talks for the job and things are headed in the right direction.

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To be honest, I was a bit more excited when Jon Watts was set to direct. I’m sure Shakman is a good director, but Watts proved he could handle a tentpole superhero film with Spider-Man: Homecoming. Wandavision was good, but Watts’ style would have been perfect for Fantastic Four. The film is probably one of the most anticipated films in Marvel’s upcoming slate films and they need to find the best person they can to direct. Is that Matt Shakman? It could be, but whoever takes the job must realize that Marvel has a lot riding on this movie. The other Fantastic Four films were awful and fans deserve better. Hopefully, Marvel knocks it out of the park as they usually do. You can see for yourself when Fantastic Four hits theaters on November 8th, 2024.

Film Synopsis: One of Marvel’s most iconic families makes it to the big screen: the Fantastic Four.

Source: Deadline

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Dan Aykroyd, Chevy Chase Star in ‘Zombie Town’ Mystery Teen Romancer (Exclusive)

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Dan Aykroyd and Chevy Chase have entered Zombie Town, a mystery teen romancer based on author R.L. Stine’s book of the same name.

The indie, now shooting in Ontario, also stars Henry Czerny and co-teen leads Marlon Kazadi and Madi Monroe. The ensemble cast includes Scott Thompson and Bruce McCulloch of the Canadian comedy show Kids in the Hall.

Canadian animator Peter Lepeniotis will direct Zombie Town. Stine’s kid’s book sees a quiet town upended when 12-year-old Mike and his friend, Karen, see a horror movie called Zombie Town and unexpectedly see the title characters leap off the screen and chase them through the theater.

Zombie Town will premiere in U.S. theaters before streaming on Hulu and then ABC Australia in 2023.

“We are delighted to bring the pages of R.L. Stine’s Zombie Town to the screen and equally thrilled to be working with such an exceptional cast and crew on this production. A three-time Nickelodeon Kids Choice Award winner with book sales of over $500 million, R.L. Stine has a phenomenal track record of crafting stories that engage and entertain audiences,” John Gillespie, Trimuse Entertainment founder and executive producer, said in a statement.

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Executive producers are Trimuse Entertainment, Toonz Media Group, Lookout Entertainment, Viva Pictures and Sons of Anarchy actor Kim Coates.  

Paco Alvarez and Mark Holdom of Trimuse negotiated the deal to acquire the rights to Stine’s Zombie Town book.

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