!['Azrael' - Samara Weaving Stuns In A Movie That Doesn't Know What It Wants To Be [Fright-A-Thon Review]](https://thathollywoodshow.com/wp-content/uploads/2024/09/7c60cadf-eab1-485e-936e-1892eb217667-660x371.webp "7c60cadf-eab1-485e-936e-1892eb217667")
Recently, there seems to be a trend among filmmakers who want to stretch their prowess and make a movie with as little dialogue as possible. Sometimes, it aids the film like with Dunkirk or A Quiet Place. In other cases, as an audience, we need something in the way of dialogue, or it makes the
!['Azrael' - Samara Weaving Escapes The Mute Apocalypse [Trailer]](https://thathollywoodshow.com/wp-content/uploads/2024/08/unnamed-2024-08-19T103127.791-660x440.webp "unnamed – 2024-08-19T103127.791")
Samara Weaving has already shown her mettle as a modern day scream queen in movies like Ready Or Not, The Babysitter, and Scream VI. Now, she's taking her talents to the movie Azrael. The new film from IFC Films is set after the Rapture, where the only humans left are forced to stay mute. It's
This week from DC comics we get a title you do not want to miss! Usually when DC does annuals, they tell stories just outside of continuity or take the story in a different direction somehow. I suppose that is true of this issue as it went in a direction I did not expect. In fact, even though this
Joe Bob Briggs and Darcy the Mail Girl returned for The Last Drive-In: Joe Bob's Halloween House Party, delivering a double feature built around two very different approaches to Halloween horror. This time, the legendary horror host paired Body Bags (1993) with WNUF Halloween Special (2013),
George Carlin told perhaps the greatest joke on football ever told in his 10/11/1975 SNL monologue, where he contrasted the pastoral nature of baseball with the warlike sport of football. To quote one segment among many, “In football the object is for the quarterback, also known as the field
The term "crowd pleasing" or "crowd pleaser" has found itself layered with some derogatory undertones among critic circles. Broad appeal seems immediately discounted, as if populist filmmaking is somehow lesser than when compared to auteurs and hidden indie gems. I've always maintained that there
