Australian director Sean Byrne is one of horror’s premiere mixologists. His debut, 2009’s The Loved Ones, meshed teen romance with gruesome Hostel-style extremism. 2015’s The Devil’s Candy put a heavy metal spin on the haunted-house romp. His new film, Dangerous Animals, in theaters now, raises a question no one was asking about a classic B-movie subgenre: When is a killer shark movie not a killer shark movie?  Answer: When the killer shark is just a weapon in a human killer’s hands.  Despite arriving just in time for the 50th anniversary of Jaws, Dangerous Animals has less in common with it (or with The Shallows or 47 Meters Down) and is more in line with Texas Chainsaw Massacre or Saw (or one of Australia’s modern horror successes, Wolf Creek). Hassie Harrison (Yellowstone) stars as Zephyr, an American surfer floating around the Australian coast looking for the perfect waves — and maybe the right romance. She does not find it in Tucker (Jai Courtney of Terminator Genisys), who abducts her off the beach before dawn and locks her up with another tourist, Heather (Ella Newton), on his shark expedition boat. Tucker is a mega-creep who gets off on shark attacks. Zephyr and Heather are his latest chum. At 90 minutes, Dangerous Animals is lean and mean fun. Zephyr is no damsel in distress, and quickly plots an escape from what looks like an impossible situation. Tucker has driven them out to the middle of the ocean where he can gets wasted on cheap liquor, dance to disco tunes, and prepare to ritualistically dunk his prey into shark-infested waters. He’s an absolute psychopath, and Byrne lets Courtney completely off the possible-Hollywood-leading-man leash. The actor is frothing at the mouth and twitching in his eyes throughout the deranged picture, with a level of egolessness that manifested slightly when he played [checks notes] Captain Boomerang in Suicide Squad. This is better. Harrison summons her own power in the face of Courtney’s towering physique in Zephyr’s multiple escape attempts. Byrne takes full advantage of the claustrophobic setting of the boat — and the vast emptiness of the sea surrounding it. It’s a geographically coherent but unsettling maze for a cat shark-and-mouse game that rarely succumbs to contrivances to ratchet up the tension. Getting off a boat surrounded by sharks just seems really tough! And for as blockheaded as Tucker seems, he’s devoted much of his life to building the ultimate floating prison. While Dangerous Animals never goes full Deep Blue Sea with far-fetched shark kills, Byrne, by way of Tucker’s fetish, still sets up some nightmarish attacks. Tucker doesn’t just like to watch sharks tear his victims to shreds, he also videotapes them on a 1990s-era camera for future VHS viewing. So the deaths are slow and savage, with Courtney’s wide-eyed gaze committing as much violence as the razor-sharp shark teeth. There’s blood in the water, and all over this killer’s hands. In the days of so-called “elevated horror,” Dangerous Animals delivers earnest thrills with a simple-yet-innovative slasher premise. In my mind, the freshest horror movies find a kernel of specificity in a timeless premise. Byrne’s movie isn’t far off from the Halloween formula — big guy hunts down indomitable woman with scary weapon of choice — but whisking us to Australia, sending us to sea, and the what-if of a sightseeing tour guide with a hard-on for shark attacks is the focused lens a filmmaker needs to deliver something new. Sick, but new.

Xando Member Oct 28, 2017 37,943 In an interview with GamesMarkt, Omega Forcedirector and producer Tomohiko Sho – who produced this year's Dynasty Warriors: Origins – was asked how successful the series is in the West, given that most of the Steam user reviews for the game are written in Chinese. Sho replied that, in his view, Dynasty Warriors is not yet a successful series in the West, but that it's possible for this to change in the future. "I believe that the 'Dynasty Warriors' series is not yet in a position to be called a success in the West," Sho said. "On the contrary, I believe that there is a great potential for the series to gain many fans in the future. "With our latest title, Dynasty Warriors: Origins, we were able to attract new fans in addition to those we have had since the PlayStation 2 era. The Western market is very important, and I believe that if there is a next title, we will gain even more new fans." Click to expand... Click to shrink... Dynasty Warriors producer says the series still can’t be called a success in the West | VGC The latest game, Dynasty Warriors: Origins, has sold more than 1 million copies worldwide… www.videogameschronicle.com Origins was the first game in the series i played and i absolutely loved it so i hope it can continue to grow in the west.  --R Being sued right now, please help me find a lawyer Member Oct 25, 2017 15,658 Origins is a must play for everyone that likes action games. A masterpiece from beginning to end.   PlanetSmasher The Abominable Showman Member Oct 25, 2017 133,345 I think he's being modest more than anything else. This is less "the series is a failure" and more "I think we can do even better".   Glio Member Oct 27, 2017 27,882 Spain I honestly think what limits the franchise most in the West today is the setting of Three Kingdoms, not the gameplay. It's a fascinating historical period, but I don't think it'll be very popular here.  Dekuman Member Oct 27, 2017 21,144 Glio said: I honestly think what limits the franchise most in the West today is the setting of Three Kingdoms, not the gameplay. It's a fascinating historical period, but I don't think it'll be very popular here. Click to expand... Click to shrink... it's why spin offs of the formula like Hyrule Warriors do considerably better.   Richietto One Winged Slayer Member Oct 25, 2017 26,133 North Carolina Glio said: I honestly think what limits the franchise most in the West today is the setting of Three Kingdoms, not the gameplay. It's a fascinating historical period, but I don't think it'll be very popular here. Click to expand... Click to shrink... Unfortunately this. Obviously it did really well on Steam and what not but there's a reason Hyrule Warrios can do so damn well on a single platform. It's the setting.   fiendcode Member Oct 26, 2017 26,412 We saw this from the CCUs tbh, overwhelmingly tilted towards Asia.   LAA One Winged Slayer Member Oct 28, 2017 3,264 Origins I haven't tried, more tempted seeing impressions here, but I read Steph Sterling's review on it and they weren't happy with realism essentially removing personality from it. I think the other thing that puts me off is they just seem very heavy handed with DLC too, and seemingly for pretty basic things, I want as complete of a game as possible. Really I'm kinda surprised they haven't done more collabs with more IPs. I think Hyrule Warriors was really the first I truly played and loved. Other collabs since I've enjoyed too like P5 Strikers. Berserker was fine. AOT I enjoyed too and that's actually very different from the others. I'd love a KH Musou eventually.. so many characters and abilities they could use, and enemies are pretty simplistically designed, and there's already been moments where you had to kill 1000+ Heartless, seems a perfect fit, ha.  PlanetSmasher The Abominable Showman Member Oct 25, 2017 133,345 Dekuman said: it's why spin offs of the formula like Hyrule Warriors do considerably better. Click to expand... Click to shrink... Do they really do that much better?  OP OP Xando Member Oct 28, 2017 37,943 Glio said: I honestly think what limits the franchise most in the West today is the setting of Three Kingdoms, not the gameplay. It's a fascinating historical period, but I don't think it'll be very popular here. Click to expand... Click to shrink... You're probably right but for me the three kingdoms setting made it even more interesting. Don't think a medieval europe or a more western fantasy approach would catch me in the same way.  Disco Stu Member Oct 27, 2017 2,557 Glio said: I honestly think what limits the franchise most in the West today is the setting of Three Kingdoms, not the gameplay. It's a fascinating historical period, but I don't think it'll be very popular here. Click to expand... Click to shrink... Totally agree and this is coming from someone seeks out other Three Kingdoms content because of KOEI. Someone the other day mentioned using the engine for an Avengers or Superman style game. I could see that catching on if done right.  Glio Member Oct 27, 2017 27,882 Spain PlanetSmasher said: Do they really do that much better? Click to expand... Click to shrink... Not all of them, but some, yes. Age of Calamity is the best selling musou at 4M.  Rosebud Two Pieces Member Apr 16, 2018 51,357 I want Origins but still too pricey unfortunately. I love Samurai Warriors, Pirate Warriors, Persona 5 Strikers...   TheAggroCraig This guy are sick of the One Winged Slayer Member Nov 6, 2017 7,354 I'll show up for the franchise again when they bring back Dynasty Warriors Gundam   Dekuman Member Oct 27, 2017 21,144 PlanetSmasher said: Do they really do that much better? Click to expand... Click to shrink... Here's what i can find from the Nintendo million seller list Hyrule Warriors - Age of Calamity 4+ million units as of March 2021  MetalKhaos Member Oct 31, 2017 2,228 PlanetSmasher said: I think he's being modest more than anything else. This is less "the series is a failure" and more "I think we can do even better". Click to expand... Click to shrink... That's my take. Origins was first DW game I enjoyed in a really long time. Solid entry, and I feel a game like this is made all the better with this current gen due to how incredibly fast the loading times are.  SlasherMcGirk Member Oct 27, 2017 4,429 Cincinnati Glio said: I honestly think what limits the franchise most in the West today is the setting of Three Kingdoms, not the gameplay. It's a fascinating historical period, but I don't think it'll be very popular here. Click to expand... Click to shrink... It's not even that I think its the fact that they have done the same setting and characters 20 times over. It's an interesting period and story with great characters but you can only add and stretch the same story so many times without diminishing returns.   PlanetSmasher The Abominable Showman Member Oct 25, 2017 133,345 SlasherMcGirk said: It's not even that I think its the fact that they have done the same setting and characters 20 times over. It's an interesting period and story with great characters but you can only add and stretch the same story so many times without diminishing returns. Click to expand... Click to shrink... I think the other problem is there aren't that many periods of time across history that can support this kind of game structure with such a heavy emphasis on specific heroes. Like, they tried Troy once and it didn't really catch on, nor did Bladestorm. For better and for worse, the Three Kingdoms and Sengoku eras are kind of the time periods that have A) a level of ubiquity in Asia that makes East Asian players interested in them and B) an emphasis on character substantial enough to support the Musou gameplay format. By comparison, I don't think a Musou game based on (for example) the American Revolution would sell particularly well outside of the US, and that war was A) not that long and B) took place in an era where firearms had largely supplanted melee combat so the movesets would wind up feeling very samey.  Ltn_Esteves Member Feb 4, 2021 213 Dekuman said: Here's what i can find from the Nintendo million seller list Hyrule Warriors - Age of Calamity 4+ million units as of March 2021 Click to expand... Click to shrink... And I think that is without japan sales, since Nintendo is only the publisher in the west   Astral Member Oct 27, 2017 33,463 TheAggroCraig said: I'll show up for the franchise again when they bring back Dynasty Warriors Gundam Click to expand... Click to shrink... Man I would love this. Did they stop for licensing reasons or something? Origins was amazing and I can't wait for what's next.  PlanetSmasher The Abominable Showman Member Oct 25, 2017 133,345 Astral said: Man I would love this. Did they stop for licensing reasons or something? Origins was amazing and I can't wait for what's next. Click to expand... Click to shrink... They stopped because the third game sold almost no copies. People got sick of the concept after the second game.  Glio Member Oct 27, 2017 27,882 Spain PlanetSmasher said: I think the other problem is there aren't that many periods of time across history that can support this kind of game structure with such a heavy emphasis on specific heroes. Like, they tried Troy once and it didn't really catch on, nor did Bladestorm. For better and for worse, the Three Kingdoms and Sengoku eras are kind of the time periods that have A) a level of ubiquity in Asia that makes East Asian players interested in them and B) an emphasis on character substantial enough to support the Musou gameplay format. By comparison, I don't think a Musou game based on (for example) the American Revolution would sell particularly well outside of the US, and that war was A) not that long and B) took place in an era where firearms had largely supplanted melee combat so the movesets would wind up feeling very samey. Click to expand... Click to shrink... It doesn't really need to be historical. There are One Piece, Zelda, Dragon Quest, Gundam... They could do something sci-fi or fantasy with their own setting and characters if they want. But, hey, if they like three kingdoms, they don't need to change it, but it's going to be very hard to grow in the West.   Dreamboum Member Oct 28, 2017 23,942 How are they gonna find an audience in the west when the game is 80 *euros* on all platforms? Their biggest discount is 64 euros. Come on man  MarvelousIntent Member Aug 13, 2019 3,936 LAA said: Origins I haven't tried, more tempted seeing impressions here, but I read Steph Sterling's review on it and they weren't happy with realism essentially removing personality from it. I think the other thing that puts me off is they just seem very heavy handed with DLC too, and seemingly for pretty basic things, I want as complete of a game as possible. Click to expand... Click to shrink... I'd recommend watching some gameplay to see how you feel about it. I understand Steph's gripes with Origins, but it is legitimately the best game in the series and it isn't even close. Like, the combat is actually good. Enemy officers actually put up a fight. Lu Bu is an actual boss fight and hard as hell to beat. Origins three greatest faults are where it chooses to end, the silent protagonist you can't customize, and that there are only like 9 weapons. The weapons issue also isn't that bad because each weapon has functions different and has plenty of abilities to choose from. It feels fantastic to play and blows every other game out of the water. Also, as far as I'm aware, Origins doesn't really have DLC. It had some pre-order bonuses, but thats it. As it is, the game is complete.  PlanetSmasher The Abominable Showman Member Oct 25, 2017 133,345 Glio said: It doesn't really need to be historical. There are One Piece, Zelda, Dragon Quest, Gundam... They could do something sci-fi or fantasy with their own setting and characters if they want. But, hey, if they like three kingdoms, they don't need to change it, but it's going to be very hard to grow in the West. Click to expand... Click to shrink... I don't think a bunch of anime Musou spinoffs are going to grow the franchise in the West. They've been doing anime spinoffs for 20 years and they just sell to people who are already Musou fans who happen to like that particular anime. It's a concept that only works on fanbase overlap. And I don't think an original setting is going to interest people who aren't already fans either.  General Tso Member Jan 10, 2018 540 Dynasty Warriors Origins was an excellent refresh, and I hope they continue to build off it (like they did DW2 through DW5), because the fundamentals are all there.   DontHateTheBacon Unshakable Resolve Member Oct 27, 2017 14,618 It was my first Dynasty Warriors game and I had a complete blast with it. I'm in if this is what they'll be like going forward. I hope the dust settles well for it in the west.   Dale Copper Member Apr 12, 2018 24,363 Glio said: Not all of them, but some, yes. Age of Calamity is the best selling musou at 4M. Click to expand... Click to shrink... One Piece Pirate Warriors 4 is also at 4 million sales. Spinoffs are more popular if they push them.  thewienke Member Oct 25, 2017 19,345 "If there is a next game" I hope they're being deliberately evasive there considering Origins ends half way through the story Although I do think the story is more interesting before the Three Kingdoms are established since there are more players and more going on  Pyro God help us the mods are making weekend threads Member Jul 30, 2018 18,900 United States Glio said: I honestly think what limits the franchise most in the West today is the setting of Three Kingdoms, not the gameplay. It's a fascinating historical period, but I don't think it'll be very popular here. Click to expand... Click to shrink... This is definitely part of it. I'm more into Samurai Warriors because the setting is more interesting to me.  LiquidDom Avenger Oct 27, 2017 2,729 I bought Origins on day one but have so much else on my plate. I'd like to get to it soon, might be a good palette cleanser after Death Stranding 2   OP OP Xando Member Oct 28, 2017 37,943 Dreamboum said: How are they gonna find an audience in the west when the game is 80 *euros* on all platforms? Their biggest discount is 64 euros. Come on man Click to expand... Click to shrink... I bought a key for like 43€ a few months ago so you can definitely get it cheaper if you're looking for it.   Kyrios Member Oct 27, 2017 19,152 --R said: Origins is a must play for everyone that likes action games. A masterpiece from beginning to end. Click to expand... Click to shrink... Yup, still a frontrunner for my personal GOTY.  OP OP Xando Member Oct 28, 2017 37,943 Only thing i wished they would improve on really would be that the MC has more of a personality   DyCy Member Oct 25, 2017 587 I loved Origins as my first real DW (I played the first Hyrule Warriors) but as interesting as it was for a first timer I do wonder how much I'd want to revisit the Three Kingdoms story over and over again in sequels so I do think the setting is limiting the potential of the franchise. Would love a spin off based on Star Wars, Marvel or Final Fantasy though.  Astral Member Oct 27, 2017 33,463 PlanetSmasher said: They stopped because the third game sold almost no copies. People got sick of the concept after the second game. Click to expand... Click to shrink... Aw damn. I honestly didn't even know there was a third one. I think they have the potential of making a really good one with the current formula.   Glio Member Oct 27, 2017 27,882 Spain PlanetSmasher said: I don't think a bunch of anime Musou spinoffs are going to grow the franchise in the West. They've been doing anime spinoffs for 20 years and they just sell to people who are already Musou fans who happen to like that particular anime. It's a concept that only works on fanbase overlap. And I don't think an original setting is going to interest people who aren't already fans either. Click to expand... Click to shrink... I'm going to be cynical because it's an idea that doesn't appeal to me personally, but I'm pretty sure if they made a dark fantasy setting with fallen knights, ruined kingdoms and cursed battlefields; and marketed it as "the Dark Souls of musou," it would sell. And I feel almost dirty just proposing it.  PlanetSmasher The Abominable Showman Member Oct 25, 2017 133,345 Glio said: I'm going to be cynical because it's an idea that doesn't appeal to me personally, but I'm pretty sure if they made a dark fantasy setting with fallen knights, ruined kingdoms and cursed battlefields; and marketed it as "the Dark Souls of musou," it would sell. And I feel almost dirty just proposing it. Click to expand... Click to shrink... I don't...really think it would work? Like the entire fantasy of Musou is "being an unstoppable killing machine", trying to focus it around super-hardcore grimdark difficulty would kind of defeat the purpose of it being Musou at all. Dark fantasy doesn't just succeed by default, and I don't think audiences would be tricked by that either. The Berserk musou flopped catastrophically badly.  MaxAugust Member Jan 28, 2018 3,573 thewienke said: "If there is a next game" I hope they're being deliberately evasive there considering Origins ends half way through the story Although I do think the story is more interesting before the Three Kingdoms are established since there are more players and more going on Click to expand... Click to shrink... The secret is everyone throughout time has felt that the pre-Three Kingdoms phase of the Three Kingdoms is the interesting part. Pretty much every adaptation stalls out a bit after things solidify. Hard to make the decades long stalemate and then abrupt anticlimactic (although poetic in an "everyone fails" way) denouement satisfying as a conventional narrative.  

This weekend is a major one for new movies, with the release of Mission: Impossible – The Final Reckoning and Disney’s live-action Lilo & Stitch remake in theaters. But even if you carved out two days for two major blockbusters, good news: Monday is Memorial Day. So why not spend your three-day weekend sneaking in one more movie? Per usual, a handful of worthwhile titles are leaving Netflix on June 1. Here are five you may want to catch before they’re shipped off to another platform or disappear into the pit of VOD, where you are unlikely to rent them. Cult of Chucky (2017) Is Child’s Play/Chucky the most underestimated horror franchise? Thanks to writer-director Don Mancini’s 37-year commitment to shaking up his slasher formula with each new installment, it’s certainly up there, even in the series’ direct-to-video era. Cult of Chucky picks up shortly after the events of 2013’s Curse of Chucky, which saw the murderous ginger doll stalk Nica Pierce (Fiona Dourif, daughter of Chucky voice actor Brad Dourif!) and slay her whole family. When the police arrive, Nica is ultimately charged with the murders, and hauled away to an institution. In Cult of Chucky, an abusive psychiatrist has convinced her she really was the perpetrator of the crime and Chucky was all in her head — until the doll shows up to kill more people. It’s bloodsplatteringly twisted fun. Mancini finds ways to get multiple Chucky dolls in the mix, and up the gross-out humor a few notches. Enjoy, sickos. Den of Thieves (2018) If you have yet to meet Big Nick (Gerard Butler), king of the scuzzy cops, hurry up: The terrific Den of Thieves 2: Pantera is also on Netflix, but you only have a week to catch the first installment in the series. Writer-director Christian Gudegast gives Heat a dirtbag makeover, as Butler’s bleary, on-the-verge-of-divorce antihero hunts down a team of ex-Marines who are pulling off elaborate bank heists. Pablo Schreiber (Halo) is piercing as Ray, the leader of the criminal operation, while O’Shea Jackson Jr. and 50 Cent give the Ocean’s 11-esque team its needed swagger. But Butler as Nick, bumbling around and failing at life, carries the movie, bringing in an unexpected amount of emotion as the story barrels toward its big Federal Reserve set piece. At 140 grimy, gun-heavy minutes, no one is really making movies like Den of Thieves at the moment. Ma (2019) Maaaaaaaaaaaa. Blumhouse understandably pitched this psychological horror film from [checks notes] The Help director Tate Taylor??? as “from the producer of Get Out and Halloween,” but Ma is much goofier and more meme-friendly than either of those movies — and for the better. It all lands thanks to Oscar-winner Octavia Spencer, whose vindictive, violent Sue Ann is on the wavelength of Kathy Bates’ Annie Wilkes in Misery and Glenn Close’s Alex Forrest in Fatal Attraction. At first, “Ma” is a local legend for buying kids alcohol and giving them a safe haven to party. But Sue Ann has an ulterior motive, and — well, shit goes down. Culture writers have found plenty beneath the surface of Ma over the years, especially in regard to how it grapples with race. But if that sounds heady, good news: the melodramatic horror surface is great, too. Ramayya Vasthavayya (2013) Fans of Indian action should check out this revenge thriller starring N.T. Rama Rao Jr. (RRR), who really seems to exist to walk in slow motion while preparing to beat the crap out of someone, so it’s good that we invented movies in time for his arrival on this planet. Compared to the hyper-stylish RRR or the playful action-comedy Mard Ko Dard Nahi Hota (aka The Man Who Feels No Pain), Ramayya Vasthavayya is pretty basic. Nandu (NTR) is falling hard for Akarsha (played by Indian mega-star Samantha) but he also has some secrets that means he will eventually need to cut people down with a machete. But boy, does director Harish Shankar make NTR look good doing it! Whether he’s getting smacked across the face with a lead pipe or pounding some goons, the actor delivers what the camera needs. Unhinged (2020) Much like Quentin Tarantino, we here at Polygon endorse Russell Crowe’s released-during-pandemic-times-and-therefore-seen-by-too-few-people movie Unhinged. Crowe is actually the villain in this road-rage horror-thriller, which stars Caren Pistorius as an overworked single mother who crosses paths with the wrong brute while rushing to get her son to school one morning. The title is apt: Crowe’s “The Man” is quite unhinged! And instead of brushing off the beeping car behind him, he goes full Duel on the unsuspecting mom. Crowe seems as committed to playing an animalistic terror as he was committed to playing Maximus in Gladiator, and yet he surprisingly did not win another Oscar for his work in Unhinged. 

Matt Palmer is unapologetic about how to kill someone in his new movie, Fear Street: Prom Queen. “We spent a lot of time working out how to kill people,” Palmer tells Digital Trends in an exclusive interview. Palmer is the co-writer and director of Prom Queen, the fourth film in Netflix’s Fear Street franchise. While the first three Fear Street movies are considered a trilogy, Prom Queen is a standalone movie with new characters and stories. However, the common denominator is the setting, the town of Shadyside. Based on R.L. Stine’s novel, Fear Street: Prom Queen transports audiences to 1988. Senior prom is two days away, and six girls are running for prom queen. Two of them — the kind outcast, Lori Granger (India Fowler), and the popular bully, Tiffany Falconer (Fina Strazza) — are bitter rivals. Executing political maneuvers to win votes for a popularity contest is difficult enough. Yet the toughest challenge on prom night will be avoiding a masked murderer stalking the candidates. Recommended Videos Ahead, Palmer talks about the importance of needle drops, the key changes from book to screen, and how to execute the perfect kill. Alan Markfield / Netflix This interview has been edited for length and clarity. Digital Trends: I wanted to start with the needle drops. They stood out right away. What was the one ’80s song you knew had to be in Prom Queen? Matt Palmer: I’m Not Scared by Eighth Wonder. Why is that? I think there are bigger needle drops in terms of known songs, but that song, there’s something special about it. It was actually written by the Pet Shop Boys, which is why it’s such a good tune. But it’s a slightly lesser-known tune. It has this throbbing and pulsing. Very early on, I was like, this is what the prom looks like from the sounds. That pulsing and blaring thing. I feel like the whole tone of prom came from that song. Also, the lyrics as well. It’s a kind of Lori Granger story. That was the one. We switched things up during the edit. There were different tracks pulled out and changed to get the right energy. That was the one right from the beginning. That’s going right there after that kill, and it’s not going anywhere. With your musical process, are you a director and writer who builds a scene and knows exactly what song to put in? Is it more about getting a playlist from your music supervisor, running through things, and seeing what works? Take me through that musical element. It’s funny because, in the first movie I made, there is a lot of music in it, but it’s composed music. It goes under the radar. A lot of people with Calibre are like, “Oh, that’s great. There’s no music in it.” I’m like, “Eh, it’s kind of there. You’re just not noticing it.” But this one [Prom Queen] was a completely different assignment. You hear [Quentin] Tarantino talk quite a lot about how he’ll pull out a record and that’ll start the movie in his head. It was a lot more like that with this one, which was really fun. Like the Billy Idol one, you start to assemble montages around the music. It’s a very different way of working, but a really fun one. It’s quite addictive. I’d like to do it again. It’s like building a long playlist. Yeah, I spent two months at the very beginning, when we were just starting to write the movie, agonizing over this playlist. There were tunes that were key like You’re the Inspiration by Chicago. I had a whole scene where the Devil character dances with Lori. Then, we were like, we don’t need this scene. The scene isn’t helping the character or the film. And I was like, “But the music!” [Laughs] It was so hard to cut because I was so in love with the idea of setting a scene to that music, but it had to go. Sometimes, the images come from the music. Sometimes, it completely switches, like Sweet Dreams. The dance-off was going to be Prince, but Prince tunes are incredibly hard to license. Once Gloria was in, this wasn’t going anywhere. Even if we get Prince at the last minute, this [Gloria] is the tune. It’s funny how it happens. The morning I found Gloria, I was walking through the pre-production office, and a couple of hours later, it was playing in every room. I heard people singing Gloria, and I was like, OK. This is the tune. The spirit of the book is alive in the movie. I know some changes were made. Obviously, the name of the character Lizzie* is Lori. Why did you change her backstory? In the book, the girls are mean to each other in Prom Queen. … There’s a lot in the book, and it’s obviously from a different time. There are a lot of girls talking about boys. It was interesting as a man writing a female character. Not just one, but five girls lead the movie. It was really important to have great female producers. They were guiding me on that. If all the girls in the movie were just talking about guys, it would just feel like it was from a different time. You have to make it connect with a modern audience. I don’t think those kinds of interactions would really play today. Alan Markfield / Netflix The other thing is it’s a whodunit. If you’re working from source material where a whole lot of people in the world know who did it, you have to change the story so that people don’t know who did it because that’s the lifeblood of mystery. R.L. Stine is great. If you like stuff, take it. If you want to go in a different direction, take it. He’s very flexible. It gave us the freedom to launch off from a great premise and take it into some new characters and interesting directions. *In R.L. Stine’s book, the main character is named Lizzie McVay. In the movie, it’s Lori Granger. A lot of these kills are showcases for practical effects. Take me through building a kill. Do you want it to happen one way and then see if you can do it practically? Well, we would write what we wanted and then try and work out how we could do it. We’ll try and do this until someone says it’s kind of impossible. One of the things I’m pleased with the movie is it does feel like all of the kills are quite different. Quite early on, someone was like, “What’s the killer’s signature weapon?” I remember going to see the remake of My Bloody Valentine. He has his ax. It’s like every single kill is an ax. After four of them, I’m craving a chainsaw. This killer in Prom Queen will just grab things and have a few things handy. It opens the possibility of different kills. Even tonally, there’s one kill that I feel is much darker and scarier. There’s one that’s comedic and drawn out. There’s one that’s very abrupt and sudden and probably the goriest thing in it. It’s quite satisfying. I’ve watched a lot of slasher movies, and I’m unapologetically rabid about it. I like [Dario] Argento. What I like about Argento is you can feel when a kill is coming. There’s almost a ritual to it with Arengto and a contract with the audience. It’s like, “OK, it’s coming. It’s going to look cool, and I’m going to focus on my directorial skills. It’s going to be gory as f***.” Just bring it. I guess I come from that school of when a kill is coming, it’s like a sacred and special moment. You need to do something that’s going to satisfy the audience and maybe surprise them as well. Put elements in it and mix it all up. We spent a lot of time working out how to kill people. Alan Markfield / Netflix I would hope a director of a slasher thinks about it a lot, so that’s good. [Laughs] Probably too much. I was reading an interview about how you programmed a film festival and picked out movies to run all night. I’ll give you the choice here. You have Prom Queen as your first one. What are the next four movies to pair it with? So I wouldn’t play Prom Queen first. [Laughs] I’d play Prom Queen either third or fourth. I spent 15 years doing this, and honestly, it’s insane. OK, the things I learned. If you’re going to play a slow movie, play it second. The third spot should always be the most insane, crazy, mind-bending, psychotronic, f***** up thing. That creates an energy in the middle of the night. People feel like, “I’ve seen the craziest thing ever, so anything after this is a bonus. In the fourth slot, play something with a plot. People need something to grab onto at five in the morning. At one event, I played Child’s Play fourth. Child’s Play has a really good narrative and plot. The manager of the cinema was like, “My god. They’ve all woken up. They all look way more awake than they did after the third movie, and they’re all ready for the fifth one.” It took me a while to realize, but don’t play something long or too abstract at number four. Otherwise, people will fall asleep. It’s crazy. You don’t always get it right. I played Black Christmas second at the first one. It’s a great movie, but I got away with it. That’s the other thing. Anything that goes over an hour and a half, and you’re really dicing with death. That’s why Prom Queen is 87 minutes. I found with 87-minute movies, people tend to feel they were short and sharp. I liked it, and I didn’t get sleepy. I was like, can I make a movie that, if it was playing at four in the morning, wouldn’t get people bored? I’d probably play Prom Queen third or fourth. Fear Street: Prom Queen is now streaming on Netflix.

Each week on Polygon, we round up the most notable new releases to streaming and VOD, highlighting the biggest and best new movies for you to watch at home. This week, Mickey 17, the science fiction comedy from Oscar-winning Parasite writer-director Bong Joon Ho, starring Robert Pattinson as an expendable clone, gets copied onto HBO Max following its March theatrical debut. Netflix has a full slate of releases, with the Academy Award-winning Brazilian drama I’m Still Here and Fear Street: Prom Queen, the fourth horror flick in the franchise based on the R.L. Stein books. Guy Ritchie fans can check out his adventure film Fountain of Youth on Apple TV Plus, and you can rent Wolfs to watch George Clooney and Brad Pitt team up again. Here’s everything new that’s available to watch this weekend. New on Netflix Air Force Elite: Thunderbirds Genre: DocumentaryRun time: 1h 31mDirector: Matt Wilcox The documentary takes viewers inside the cockpit of the U.S. Air Force’s demonstration squadron, which has been touring the country since 1953 to perform feats of aerial acrobatics and family-friendly military propaganda. The Netflix original, produced by Barack and Michelle Obama, features interviews with the daredevil pilots, explaining how they train to show off the capabilities of the F-16 Fighting Falcon fighter jets with complex synchronized maneuvers. Fear Street: Prom Queen Genre: HorrorRun time: 1h 30mDirector: Matt PalmerCast: India Fowler, Suzanna Son, Fina Strazza There’s just two days to go until senior prom 1988, and the most popular girls at Shadyside High are fighting over the title of prom queen. But the race gets shaken up as candidates start disappearing. Expect a lot of gory kills. Matt Palmer (Calibre) co-writes and directs the slasher film, which is the fourth in a series based on R.L. Stein’s Fear Street books. I’m Still Here Genre: Political dramaRun time: 2h 15m Director: Walter SallesCast: Fernanda Torres, Selton Mello, Fernanda Montenegro As a military dictatorship takes over Brazil, congressman and father of five Rubens Paiva (Selton Mello) is arrested and disappears. His wife, Eunice (Fernanda Torres) spends decades searching for answers and justice. I’m Still Here won the Oscar for Best International Feature Film, and Torres won a Golden Globe and an Academy Award nomination for her performance. New on Apple TV Plus Fountain of Youth Genre: Action adventureRun time: 2h 5mDirector: Guy RitchieCast: John Krasinski, Natalie Portman, Stanley Tucci Guy Ritchie puts his spin on Indiana Jones in this Apple original, where estranged siblings Luke (John Krasinski) and Charlotte Purdue (Natalie Portman) go on a globe-trotting adventure to chase the legendary source of eternal life. The film was shot on location in London, Cairo, Vienna, and Bangkok, and is packed with chase scenes, gunfights, and puzzles. From our review: If Fountain of Youth kept up the simple fun of its first few scenes, it could have been a solid tribute to the adventure genre. But James Vanderbilt and Guy Ritchie’s attempt to find some profound meaning in the search for lost treasure never really works, because their characters are too thin to make their emotional catharsis meaningful. New on Hulu The Last Showgirl Genre: DramaRun time: 1h 25mDirector: Gia CoppolaCast: Pamela Anderson, Jamie Lee Curtis, Dave Bautista After three decades of donning a sparkly costume and feathered crown to perform in Le Razzle Dazzle on the Las Vegas strip, Shelly Gardner (Pamela Anderson) learns the show will be closing in two weeks, pushing her to reassess her life and try to figure out her future. Anderson was nominated for a Golden Globe for her role in the melancholy film. New on HBO Max Mickey 17 Genre: Science fictionRun time: 2h 17mDirector: Bong Joon HoCast: Robert Pattinson, Naomie Ackie, Mark Ruffalo Desperate to get off Earth, Mickey Barnes (Robert Pattinson) volunteers to become an expendable, a crew member who is cloned over and over again to assist with space exploration in the latest science fiction film/vicious critique of capitalism from Oscar-winner Bong Joon Ho. Mark Ruffalo plays the buffoonish leader of a planned colony, whose ambitions come into conflict with the creatures living on the frozen planet. New on Shudder The Surrender Genre: HorrorRun time: 1h 35mDirector: Julia MaxCast: Colby Minifie, Kate Burton, Chelsea Alden The Surrender starts as a family drama with Megan (Colby Minifie of The Boys) returning home to help her mother Barbara (Kate Burton) care for her terminally ill father and deal with the issues that drove them apart. But when Robert (Vaughn Armstrong) finally dies, Barbara plans a resurrection ritual instead of a funeral, and the horror really begins. New to digital The Legend of Ochi Genre: Fantasy adventureRun time: 1h 36mDirector: Isaiah SaxonCast: Helena Zengel, Finn Wolfhard, Emily Watson, Willem Dafoe A24’s family-friendly movie used complex puppetry to bring its titular adorable monkey-like creature to life. Set in a remote area of the Carpathian mountains, the film follows lonely 12-year-old Dasha (Emily Watson), who goes on a quest to return a baby ochi to its family, defying her father Maxim (Willem Dafoe), who thinks the mythological creatures are vicious beasts that should be hunted down. The Trouble with Jessica Genre: Dark comedyRun time: 1h 29mDirector: Matt WinnCast: Shirley Henderson, Alan Tudyk, Rufus Sewell Cash-strapped Sarah (Shirley Henderson) and Tom (Alan Tudyk) are having one last dinner party for their old friends before selling their London home, but one of those friends, Jessica (Indira Varma) almost ruins everything when she hangs herself in the garden. Two couples band together to try to cover up the death and avoid spooking the buyer as things get increasingly out of hand. Until Dawn Genre: HorrorRun time: 1h 43mDirector: David F. SandbergCast: Ella Rubin, Michael Cimino, Odessa A’zion A teen investigating her sister’s disappearance leads a group of her friends to a mysterious mansion in an abandoned mining town, and they get stuck in a time loop where they’re brutally murdered in a different way each night. Reminiscent of The Cabin in the Woods, David F. Sandberg’s love letter to the horror genre (and only very lose adaptation of the 2015 video game Until Dawn) builds tension as the group puzzles together how to survive the night. The film is only available for digital purchase as of May 23, with no date set yet for digital rental. From our review: There’s way too much going on in Until Dawn. Director David F. Sandberg tried to make a faithful-ish adaptation of the popular 2015 video game, a Groundhog Day-style repeating-day movie, a comedy, a drama with something to say about trauma, and a love letter to every horror subgenre ever, all at the same time. But the byproduct of all this ambition is a movie that never quite finds an identity, and winds up feeling more generic than inspired. Wolfs Genre: Action comedyRun time: 1h 48mDirector: Jon WattsCast: Brad Pitt, George Clooney, Amy Ryan Spider-Man: No Way Home director Jon Watts reunites George Clooney and Brad Pitt as a pair of lone-wolf fixers who both get called in to dispose of the same body. But when the job gets messier than expected, they’re forced to grudgingly work together to survive the night.

This article contains spoilers for Fear Street: Prom Queen Right before the first kill of Fear Street: Prom Queen, viewers get a montage of sounds and images appropriate to the movie’s 1988 setting. Accompanied by Billy Idol’s “White Wedding,” we see mean girl Tiffany Falconer (Fina Strazza) prepping for prom, cool girl Christy Renault (Ariana Greenblatt) buying drugs, and protagonist Lori Granger (India Fowler) trying on her dress. Included in this sequence is a shot of moviegoers watching Phantasm II, the cult classic from director Don Coscarelli. Onscreen, we see one of that ’80s film’s standout scenes, where flying silver balls launched by the evil Tall Man (Angus Scrimm) soar across a hallway before lodging into the head of a victim. By this point, such homages are an expected part of the Fear Street franchise, based on the YA novels by R.L. Stine. The first three movies, all directed by Leigh Janiak, feature multiple references to previous horror movies. But the Phantasm II nod in Prom Queen does more than provide further watch suggestions for Fear Street‘s intended audience, young teens new to the horror genre. It also points to the important fundamentals of horror filmmaking, which is something sometimes lost in the more frantic original trilogy. As in Coscarelli’s movie, Prom Queen uses a deliberate pace and clear spacial arrangement to make its kills legible, thereby heightening the experience beyond jump scares and references. It makes for a better horror experience. Two Types of Killing Palmer’s approach can be seen in the scene directly following the montage. The scene opens with a mid-range shot of Greenblatt’s cool girl standing next to the sports car driven by her drug dealers. The camera stays pretty tight on her as she finishes her transaction and walks off. When she crosses a bridge to the parking lot where she’ll meet her end though, the visual language changes. A wide shot captures Christy as she crosses a bridge, the soft orange light from the post above her providing a tranquil mood. That continues into the next shot where our victim walks happily through an empty parking lot. The tone shifts suddenly with a hard cut to a close up of Christy as she stops, and the camera moves around her as she looks around. A cut back to a wide shot shows that she is largely alone and trapped on three sides. Brick buildings and trucks surround her on all corners. So when a figure arrives in a foreground of one of the wide shots and an axe drops into frame, we understand Christy’s predicament. She’s utterly alone, save for this person who’s come to kill her. And the killer stands in front of her one means of escape. Christy doesn’t see the killer before the axe blade lands in her neck, but we viewers do. In fact, the camera stays with the killer up until the attack, cutting only briefly back to Christy’s perspective. Even as the killer chops at the pleading girl, the camera returns to a brief wide shot to show how her cries will go unanswered. Contrast this kill to the opening scene of the first entry, Fear Street: 1994, in which a slasher in a mask and hood stalks bookseller Heather (Maya Hawke). Director Janiak uses the aisles of the mall storefronts where the attack takes place to to build tension. We never really know where the killer is in relationship to Heather, even when closeups show the characters in full. Thus the attacks are all shocks, with the killer (and in one case, a counterattacking Heather) coming out of nowhere to surprise the viewer. There’s nothing inherently wrong with this style. Janiak is a good filmmaker, and her excellent debut picture Honeymoon demonstrates that she knows how to build dread and mood. But with Fear Street, Janiak chooses shocks over scares, with the killers constantly jumping out at the victims. Such energetic moviemaking gets a jolt from viewers but ultimately operates as shorthand, giving us the quick payoff of a scary scene without making us wait through the buildup. Prom Queen is all about the fundamentals of building a scary scene. In the bloody art room sequence, perhaps the most memorable moment, the camera lays out the geography of the space before we see the killer use a paper cutter to sever a jock’s arms. A tracking shot follows the jock Bobby (Dakota Taylor) and his girlfriend Linda (Ilan O’Driscoll) as they enter the room, keeping them in the center of the frame while also showing the points of exit and the objects in the room. Linda gets killed off-screen, moving out of frame and into the darkness. When she returns, holding the entrails spilling from a wound in her stomach, we see not only the room, but also start looking for the instruments that can do such damage. So when the killer stymies Bobby’s counterattack by slamming his arm on a table, we’re not seeing the paper cutter for the first time. But we do feel a sense of dread when we realize the proximity between Bobby’s hand and the cutter, a dread that gets consummated when he starts chopping away. Join our mailing list Get the best of Den of Geek delivered right to your inbox! It’s that sense of dread that makes horror so powerful. The actual kill can surprise us or disgust us, and Fear Street does that well (remember the improbable head in a bread slicer kill from 1994?). But the kill can also provide a sense of relief because it’s all so knowable. We no longer fear the potential for a character’s death because it has arrived. We may hate it and it may upset us, but it doesn’t scare us. A Legacy of Death With its more intentional pace and excellent spacial awareness, Prom Queen spends more time building dread. Drawing from masters like Coscarelli (who certainly loved a good jump scare from time to time) and pulling from the Italian giallo tradition that inspired the American slasher, director Matt Palmer grounds Prom Queen in a larger horror tradition. Palmer shows his young audience not just the cool movies they can check out after watching the latest Fear Street. He also shows them how to watch these movies; the fundamentals of horror filmmaking that provide the building blocks of the genre. Thanks to its well-constructed and well-paced kill scenes, Prom Queen goes beyond referencing the 1980s and looks at the history of horror and educates the next generation of horror fans. Fear Street: Prom Queen streams on Netlfix on May 23, 2025.

Keke Palmer is the latest Black Hollywood star to speak out about how race and gender can affect pay. Lionel Hahn/Getty Images 2025-05-23T14:02:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Keke Palmer has been acting since she was 10, but told BI she didn't feel adequately paid until 2022. She said that she doesn't compare herself to others in Hollywood because she feels she's not on an even playing field. Palmer said that's why she's diversified her income sources. Keke Palmer has worked in Hollywood since she was 10 — but when asked by Business Insider when she felt adequately paid, the 31-year-old said: "'Nope,' that was probably the first time."Palmer played Emerald Haywood in Jordan Peele's 2022 horror movie, in which she and Daniel Kaluuya play siblings who try to get a photo of a murderous UFO to sell the image for money.Before "Nope," Palmer led the Nickelodeon series "True Jackson, VP," which ran from 2008 until 2011, starred in the 2015 slasher comedy "Scream Queens" created by Ryan Murphy, and voiced the mammoth Peaches in multiple "Ice Age" movies. Palmer's first prominent movie role was at the age of 12 in 2006's "Akeelah and the Bee," in which she starred opposite Queen Latifah.Palmer, who is also a singer, TV host, author, and podcaster, said that gender and racial inequalities are very real in Hollywood, but she doesn't dwell on them."I don't compare — especially as a Black person, a Black woman — because it's not a fair thing to do to myself," Palmer continued. "I don't think that comparing oneself makes sense in any regard, because you're not at the same vantage point, beginning or otherwise, as someone else."She added that "if you are getting your needs met, that has to be at the forefront of your mind. That doesn't mean that everything is fair, but it's an important thing to think about and have a particular perspective about." Daniel Kaluuya and Keke Palmer at the UK premiere of "Nope" in July 2022. Dave J Hogan/Getty Images Palmer encourages other actors in Hollywood to diversy their income streamsPalmer said it's one of the reasons she's diversified her income streams, including owning multiple production companies, and has encouraged others to do the same. "It's essentially why I turned my brand into a holdings company with subsidiaries. You have to diversify," Palmer said.It's increasingly common for A-listers to launch multiple businesses to increase career longevity. Rihanna has Fenty Beauty and Savage X Fenty. Kim Kardashian launched Skims, and Reese Witherspoon's media company, Hello Sunshine, is among the most successful in Hollywood.In recent years, Black actors, including Octavia Spencer, Viola Davis, Mo'Nique, and Taraji P. Henson, have spoken out about not being paid fairly on account of their race and gender.In a 2023 SiriusXM interview, Henson confirmed rumors that she considered quitting Hollywood over pay inequality."I'm just tired of working so hard, being gracious at what I do [and] getting paid a fraction of the cost," she said tearfully. "I'm tired of hearing my sisters say the same thing over and over. You get tired. I hear people go, 'You work a lot.' Well, I have to."

Today marks the launch of Mashable Say More, a video podcast where Mashable staffers interview your favorite actors, writers, directors, and more for long-form interviews that allow us to dig into their careers, latest projects, and internet obsessions. Hosted by Mashable Entertainment Editor Kristy Puchko and Senior Creative Producer Mark Stetson, this weekly video series kicks off with interviews with Fear Street and Goosebumps author R.L. Stine to talk about Netflix's new slasher, Fear Street: Prom Queen, and director Matt Wolf, to dig into his critically heralded documentary Pee-wee as Himself. A spinoff of Leigh Janiak's 2021 Fear Street trilogy, Fear Street: Prom Queen is co-written and directed by Matt Palmer. A more direct adaptation of Stine's adored YA horror novels, this movie is set in 1988 Shadyside, where a cloaked killer is knocking off would-be prom queens ahead of prom. Who will take the crown, and who will get the axe? You'll have to tune in to find out. In his interview, Stine was more interested in talking about his writing process, his funny fandom, and what drives him. Plus, his pitch-perfect comedic timing got the Mashable crew into a giggle fit. Speaking of giggle fits, Pee-wee as Himself is a two-part doc that explores the man behind the '80s icon, the late Paul Reubens. The American performer died before the film was wrapped, yet Wolf persevered to create a complex and empathetic portrait of Reubens that invites audiences not only to understand him, but perhaps to better understand ourselves. Wolf and Puchko got personal talking Pee-wee, relating on how Reubens' discussion of his own queerness shaped Pee-wee's Playhouse. Plus, Wolf offers his recommendations to dive down a Pee-wee Herman rabbit hole. Mashable Say More will have new episodes every Friday, viewable on Mashable and Youtube. You can subscribe to our podcast feed anywhere you download podcasts. Kristy Puchko Kristy Puchko is the Entertainment Editor at Mashable. Based in New York City, she's an established film critic and entertainment reporter who has traveled the world on assignment, covered a variety of film festivals, co-hosted movie-focused podcasts, and interviewed a wide array of performers and filmmakers.