Sunday, October 19, 2025

Release: The Revolution

 
The Revolution
Genre: Thriller
Director: Sam Raimi
Writer: Alex Conn
Cast: Sadie Sink, Willem Dafoe, Charlie Plummer, Caleb McLaughlin, Dylan Minnette, Bruce Greenwood





Budget: $29,000,000
Domestic Box Office: $52,973,176
Foreign Box Office: $13,484,153
Total Profit: $10,102,009

Reaction: Sadie Sink has easily become one of the studio's most consistently bankable female stars - her six leading roles have all resulted in box office successes. This film squeaking out $10 million in profit is a testament to her growing star power.



"The Revolution is stylish thanks to Raimi's direction, but it often feels a little too on-the-nose. Sadie Sink owns every scene she’s in, and the mystery builds nicely… until it starts unraveling in about five directions at once. The final twist is messy at best and Willem Dafoe is sadly and criminally underused. The film is pretty decent but loses some cool points for having yet another teenager who seems to have magic hacker powers and way too much screen time spent watching people…watch screens." - James Tubbs Jr., Vice Magazine


"Sam Raimi's The Revolution is a moody, but undeniably gripping teen thriller that blends Heathers with Mr. Robot and a dash of Raimi-style chaos. Sadie Sink owns the screen, and Willem Dafoe delivers another scene chewing performance. The film flirts with brilliance in its paranoia and moral ambiguity but stumbles with bloated pacing and a climax that trades nuance for shock. Still, it’s a slick and unsettling cautionary tale about secrets, systems, and the fallout of weaponized justice in a digital age. Messy, but worth the chaos. While it tends to stumble a bit, it stands up as one of Alex Conn's better entries in a long time." - Dexter Quinn, Cinematic Observer Newsletter


"The Revolution tries to masquerade as a high-stakes thriller, but has a completely hollow core.  Alex Conn’s script is riddled with underdeveloped characters and implausible emotional arcs, with even the film’s supposed protagonist, Hannah, feeling like a sketchbook outline of a person. The film relies far too heavily on moody montages of characters scrolling, texting, or browsing apps that sound like something cooked up in a marketing meeting.  In a time when schools are struggling to address real bullying, The Revolution seems less like a cautionary tale and more like a recruiting video for those who think righteousness and revenge are the same thing." - Dave Manning, The Ridgefield Press









Rated R for language, violence, drug use, and thematic elements.





In Development

 

Texas Chainsaw Massacre: Flesh and Blood: More faces have joined the first Texas Chainsaw Massacre film from LRF. Hannah Kepple (Starkweather, Duke Nukem) and Skyler Gisondo (Supergirl: Power, Time Out!) will play two of the college students traveling through the Texas heartland, while Robert Patrick (Fantastic Four: Doom, Hunter) has been cast as a corrupt small town sheriff, and Mare Winningham (Rob Peace, "The Outsider") has joined the film as a local who tries to caution the outsiders to danger. Bryan Bertino directs from a script by Clive Steinbeck.

DOOM: Video game adaptation DOOM has rounded out its cast with the additions of Nathan Fillion (Maximum Ride: School's Out Forever, The Troop) as the main character's commanding officer, Bokeem Woodbine (Old Dads, "Halo") as the voice of the villainous Baron, and Asa Butterfield (Amnesiac, Titans: Evil Incarnate) as a rookie security officer on Mars. Joshua Collins has penned the adaptation, which James Wan is directing.

Starlight: The star-studded period Hollywood drama from writer Chad Taylor and director Todd Haynes has added Jeff Goldblum (The Driftwood Populace, Knight Rider), Kevin Kline (The Good House, "Disclaimer"), Kyle MacLachlan (Nightwing, Echo Valley), and Isa Briones ("The Pitt", "Star Trek: Picard") to its cast - joining the previously cast Jennifer Lawrence, Sydney Sweeney, and Chris Evans.

Material Girl: The Chloe Grace Moretz-led Madonna biopic, Material Girl has added Diego Boneta (Scarface, AKA Billy the Kid), Dylan O'Brien (Desert Dreams, Zombielove), and Joe Alwyn (Paki, Pocahontas) to the supporting cast. Boneta will play John "Jellybean" Benitez, a club DJ who Madonna turns to to remix her early songs. O'Brien will play Mark Kamins, another DJ Madonna dates and uses for industry contacts. Alwyn, meanwhile, will play Madonna's first boyfriend and bandmate upon moving to New York City. Alma Har'el is directing the film from a script by Diane Esposito.

Tears of an Angel: Elle Fanning (Spider-Man: Requiem, Klondike) and George MacKay (Pompeii, H.H.) are headlining the fantasy romance Tears of an Angel for director Luca Guadagnino (Hideaway, Camp Manhood) and writer Carl Flimmer (The Thin Man, Resident Evil 5). Fanning will play an angel who begins a romance with a struggling musician, played by MacKay. Stefanie Scott (Friday the 13th: Blood ties, The Spectre) will also appear in the film in a supporting role.

Full Custody: Famed comedian Shane Gillis ("Tires") is set for his first leading film role in Full Custody. He will play a manchild who takes custody of his niece after his sister is sent to rehab. Vale Cooper (I Was Honey Boo Boo) is set to play his niece, a young girl wise beyond her years - possibly even wiser than her goofy uncle. David Gordon Green (Prince Avalanche, Halloween Ends) is directing the film from a script by John Malone (Lucifer, Starship Troopers).

Saturday, October 18, 2025

Now Showing: The Revolution

 
The Revolution
Genre: Thriller
Director: Sam Raimi
Writer: Alex Conn
Cast: Sadie Sink, Willem Dafoe, Charlie Plummer, Caleb McLaughlin, Dylan Minnette, Bruce Greenwood

Plot: The film opens in a dimly lit room with unsettling close-up shots of faceless hands typing on an old flip phone. In the dark silence, text appears on the screen, filled with cryptic messages and promises of a reckoning at Rye High School. A tense exchange unfolds as the unseen texter receives a reply from someone on the other end of the line, their voice distorted beyond recognition. The conversation hints at a carefully orchestrated scheme to reveal the ugly secrets of Rye High’s elite crowd.

This faceless figure is Hannah (Sadie Sink), an introverted artist who finds comfort only in her sketchbook and isolation. Years of being bullied and shunned by Rye High’s social elite have left her resentful and alienated. The chief perpetrators of her suffering are Trevor (Charlie Plummer), Matt (Caleb McLaughlin), and Adam (Dylan Minnette), three popular boys who dominate the school’s social landscape. Each is wealthy, attractive, and self-assured, thriving off the power they hold over others, especially those like Hannah.

Trevor, the ringleader, openly mocks weaker students, promoting a toxic idea that his bullying “builds character.” Beneath his arrogant exterior, however, Trevor hides a secret: he funds his lifestyle by dealing drugs. Matt, the charming athlete, is also masking a deep vulnerability. Behind his easy smile, he grapples with self-worth issues and a history of being bullied, which he hides to maintain his “tough guy” image. Adam, the quietest yet often the cruelest, conceals his own truth: he is gay, hiding his sexuality for fear of losing his popularity and social status. These secrets, carefully hidden, have now been discovered by Hannah and her enigmatic partner on the other end of the phone.

As the school year unfolds, strange events begin to unsettle the boys. An anonymous YouTube channel called The Revolution appears, posting exposés that peel back the boys’ public façades to reveal their darkest secrets. The first video leak exposes Trevor’s drug dealing, throwing his life into chaos. His parents, already struggling financially, are crushed by the shame, and the school board suspends Trevor as rumors of his arrest circulate. Trevor denies everything, but the damage is done, and his once-loyal friends begin to distance themselves. The school is abuzz with scandal, but Trevor, Matt, and Adam refuse to believe anyone could take them down.

Meanwhile, Matt’s father, a prominent lawyer with a reputation to protect, is furious at the threat to his family’s image. He hires Brint (Bruce Greenwood), a hardened private investigator, to uncover the mastermind behind The Revolution. Brint dives deep into the school’s underbelly, meticulously searching for clues. Oblivious to the true danger of the leaks, Trevor, Matt, and Adam meet secretly, convinced they can root out the person responsible. Their meetings are filled with tension and accusation, each suspecting the others of betraying their secrets.

The revelations grow more brutal with each video. The second leak targets Adam, outing his hidden sexuality to the entire school. His girlfriend publicly dumps him, humiliated and devastated, and Adam quickly finds himself isolated from his former friends. The same boys who once followed him now mock him, making him a target for the very bullying he once encouraged. Adam’s self-worth plummets, his reputation destroyed, as he realizes he has become the victim of his own toxic game.

Then, the third leak reveals Matt’s carefully concealed history of being bullied. The irony is painful, as the entire school now views the once-formidable Matt as weak and pitiable. Instead of respect, he now faces ridicule and sympathy — the last thing he wanted. The power dynamic within their friend group crumbles, and paranoia tightens its grip on them. Trevor, Matt, and Adam no longer trust each other, each wondering who might have betrayed them.

In a climactic twist, Trevor’s drug dealings finally catch up with him, leading to his arrest. Principal Henderson (Willem Dafoe), a stern but mysterious authority figure at Rye High, is seemingly behind the crackdown. Trevor’s pleas of innocence fall on deaf ears, and he is led out in handcuffs as whispers of his downfall spread. The boys begin to suspect that The Revolution has access to information beyond what any student could know, heightening the tension and fear of exposure among them.

Hannah, meanwhile, watches from the shadows, a silent spectator as her carefully crafted plan wreaks havoc. Her only confidant remains the distorted voice on the phone, who reassures her of their shared goal. Principal Henderson intensifies his disciplinary efforts, enacting strict anti-bullying policies and heightening surveillance, though his true motives remain clouded. His public condemnation of bullying seems to veil a more personal agenda.

Brint, the investigator, begins to suspect that the culprit may be linked to Rye High’s administration. He follows leads, interviews students and staff, and pores over security footage, yet each clue leads to another dead end. All the while, the voice on the phone keeps Hannah one step ahead, guiding her to evade Brint’s watchful eye. With every step Brint takes, The Revolution grows bolder, escalating the chaos and driving Trevor, Matt, and Adam closer to the edge.

As the boys’ desperation reaches its peak, Brint finally catches a break. He receives an anonymous tip pointing him toward Hannah. Determined to expose her, he confronts Matt, who, in a final act of survival, leads him to Hannah. In a tense showdown, Brint corners Hannah just as she is preparing to release another damning video. Her confident demeanor wavers as Brint reveals the extent of his investigation, exposing her as the mastermind behind The Revolution. Yet, as Brint interrogates her, a shocking twist unfolds.

A new video leaks while they stand there, implicating Principal Henderson himself. The video, containing footage and confidential documents only he could access, hints that he has been manipulating events at the school for his own purposes. Just as Brint begins to process the revelation, Hannah’s phone rings, and the familiar distorted voice resonates through the room.

In a tense climax, Principal Henderson enters, finally revealing himself as the voice guiding Hannah all along. Henderson’s motivations come to light: a frustrated idealist, he despises the elitist culture at Rye High and sees the boys’ downfall as a way to rid the school of its toxic hierarchy. He believed that by using Hannah’s anger and alienation, he could channel her actions toward a vision of “justice.”

Henderson’s downfall comes unexpectedly. Adam, who had been quietly following the events, overhears Henderson’s confession. Overwhelmed by anger, Adam confronts Henderson, and in a desperate struggle, Henderson reaches for a hidden gun. A final, chaotic scuffle ensues, resulting in a gunshot. Henderson falls, leaving a shocked silence in his wake.

In the aftermath, Hannah is forced to confront the consequences of her actions. Though her tormentors have been brought low, she grapples with the realization that she has become complicit in a cycle of cruelty and vengeance. Brint, shaken but resolute, assures her that Henderson’s death will be investigated and kept from tarnishing her further. However, the impact of The Revolution lingers, leaving scars across the school as students and teachers alike face the aftermath of their darkest secrets revealed.

In the final scenes, Hannah walks through the halls of Rye High, her steps filled with the weight of regret and relief. The once-powerful trio of Trevor, Matt, and Adam have been forever changed, stripped of their influence but haunted by their own mistakes. Rye High’s corridors are quieter, the student body subdued, but the lessons of The Revolution linger in their minds.

As the credits roll, the final shot returns to the dimly lit room where it all began, the abandoned flip phone sitting on the table, vibrating with one last message: “The Revolution is far from over.”


HISTORY LESSON (SEASON 8)

 

Welcome to History Lesson, where we take a closer look at the movies that dare to tackle real-life events with varying levels of accuracy, drama, and WTF casting choices. These films promise to educate and entertain, but more often than not, they rewrite history with the subtlety of a sledgehammer. We’ll be your guide through the land of miscast biopics, dramatic embellishments, and historical “inspired-by” liberties, breaking down whether these flicks are Golden Reel Award-worthy masterpieces or just a big-budget Wikipedia summary. Either way, it’s more fun than your high school history class—and there’s popcorn.

This time around we will take a look at Season 8's fact-based slate....





HISTORY LESSON: CROWLEY
In Crowley, Nicolas Winding Refn dives headfirst into the life of Aleister Crowley, the self-proclaimed "Beast 666," and delivers a film that feels like a fever dream laced with cocaine, heroin, and just a splash of sacrificial cat blood. Tom Hardy is magnetic as Crowley, capturing both his brilliance and his lunacy with an unhinged energy that could summon the gods - or at least make you believe he thought he could. From occult chess matches against imaginary deities to mountaintop sex magic rituals, the film spares no detail in chronicling Crowley’s rise as a mystic provocateur and his descent into a drug-fueled haze of infamy.

For all its hallucinatory madness, Crowley impressively sticks close to the historical record, albeit with a bit of theatrical flair. The Golden Dawn's messy internal politics? Check. His ridiculous "Abbey of Thelema" experiments with wild animals and polluted water? Absolutely. The infamous Book of the Law being dictated by a supernatural entity named Aiwass? Well, that’s what Crowley claimed, and Refn leans into it with devilish glee. While the film captures Crowley’s grandiose self-image and his undeniable influence on modern occultism, it doesn’t shy away from his many personal failures, leaving viewers to decide whether he was a visionary, a fraud, or just an absolute madman who couldn’t kick his cocaine habit.




HISTORY LESSON: DESCRESCENDO
Ah, Decrescendo, the tragic tale of Alys Robi, Canada’s own answer to Carmen Miranda - if Carmen Miranda had spent most of her career being wildly successful, then was mysteriously lobotomized into obscurity. Directed by the late Jean-Marc Vallée, this biographical drama leans hard into the heartbreak and melodrama of Robi’s life, though you might find yourself asking, “Wait, who?” Unless you’re from Quebec (and even then, you’re probably squinting a little), this is one of those “who greenlit this?” stories.

Christina Hendricks gives it her all, going from starry-eyed ingénue to electroshock therapy recipient with the kind of pathos that almost makes you forget you have no idea what song Alys Robi ever sang. The film hits its dramatic beats hard - too hard, honestly. Electroshock, de-nailing, and a lobotomy are given excruciating detail, but her actual music? Barely a blip. And don’t even get us started on the subplot about her lost duet with Frank Sinatra, which feels more like someone pitching a conspiracy theory on Reddit than a credible part of her legacy. Decrescendo is beautifully shot, yes, but let’s not pretend this was the most pressing historical figure to immortalize. For a film that’s supposed to be about the rise and fall of a star, it leans heavily on the “fall” part - maybe because the “rise” wasn’t quite as memorable outside Quebec.





HISTORY LESSON: THE TOWER
Scott Cooper’s The Tower drops you straight into one of the darkest chapters in U.S. history: Charles Whitman’s 1966 mass shooting from the University of Texas Tower. With Jesse Plemons turning in a chilling performance as Whitman, the film attempts to unpack the factors leading up to the event, from his abusive upbringing to his spiraling mental state. If you’re here for nuanced character studies and gritty crime drama, The Tower delivers. If you’re here for any semblance of optimism.... well, wrong movie.

The film’s grim intensity doesn’t flinch, but it also raises the question: did anyone really need a dramatized retelling of a mass shooting? Sure, it’s historically accurate down to Whitman’s Spam purchases, but there’s a lingering discomfort in watching such a tragedy unfold as entertainment. It’s undeniably well-made, with Florence Pugh lending depth as Whitman’s doomed wife and Michael Peña providing understated heroism as Officer Ray Martinez. Yet, there’s a sense that The Tower exists mostly to showcase how bleak and senseless human violence can be.





HISTORY LESSON: OCTOBER CRISIS
Who knew Canada had its own high-stakes drama that wasn’t about hockey or maple syrup? Enter October Crisis, where Kathryn Bigelow takes us deep into 1970 Quebec - a time when separatist Marxists thought kidnapping politicians and ranting about capitalism could totally start a revolution. Nicholas Hoult plays Bernard Lortie, the FLQ leader whose bad ideas escalate into full-blown chaos, and Michael Keaton channels peak dad-energy as a fuming Pierre Elliott Trudeau, dropping his iconic "just watch me" line with the kind of flair usually reserved for a mic drop.

The movie is meticulously detailed, but let’s be real - this is niche history. Outside of Quebec, who was sitting around thinking, “You know what would make a great thriller? A bunch of dudes ranting about mailboxes and Marxism.” The cast does their best to sell it, with Peter Capaldi doing his hostage thing as British Trade Commissioner James Cross and Ralph Fiennes having an ill-fated cameo as Pierre Laporte. Maybe this one’s for the deep history buffs - or anyone looking to see tanks rolling through Montreal for something other than a snowstorm.

Friday, October 17, 2025

PREMIERE MAGAZINE #334

 

The Roundup with Jeff Stockton (Season 34 Round 4)

 
 
 
Is Round 4 the start of Season 34's fortunes turning around? Here's The Roundup....



3. Blood Brothers
While the film did not stick the landing, the film was decent and it was nice to see the return of Giovanni Garcia.

2. All the Fives
On the surface, All the Fives is a very simple film. But the key to its success is that it does those simple things very well - and it nails the casting.

1. X-Men: Age of Apocalypse
Dwight Gallo and co. have developed a very successful formula for these X-Men films that keep things exciting and fresh each time despite being in its 5th entry by now. 


3. N/A

2. Blood Brothers
I think part of reason the film ended up just good instead of great is in the casting. The play the film is based on, Topdog/Underdog, has starred the likes of Don Cheadle, Jeffrey Wright, Mos Def, Corey Hawkins, and Yahya Abdul-Mateen II - but here we got Aldis Hodge and Jharrel Jerome (who never once look or act like brothers)? These two-handers are only as good as the actors playing them - and usually need world-class talents to work. Like I said, the adaptation was good, but it probably could have been great.

1. Box Office
X-Men was a much needed hit and All the Fives managed to earn a decent profit. It seems like the next few rounds have fewer riskier films, so hopefully the studio can at least tread water long enough for Superman to hopefully save the day at the end of the season.

Thursday, October 16, 2025

On Location (Season 34 Round 4)

 
All the Fives
- Pittsburgh, Pennsylvania, USA



Blood Brothers
- Yonkers, New York, USA



X-Men: Age of Apocalypse
- Montreal, Quebec, Canada
- Marrakech, Morocco

Box Office Breakdown (Season 34 Round 4)

 


All the Fives
Budget: $23,000,000
Total Box Office: $77,974,884
Total Profit: $36,890,445













Blood Brothers
Budget: $8,000,000
Total Box Office: $8,976,856
Total Profit: -$7,989,291











X-Men: Age of Apocalypse
Budget: $200,000,000
Total Box Office: $923,966,438
Total Profit: $327,010,667










Box Office Facts
All the Fives
Wyatt Russell has quietly been proving himself to be a pretty bankable leading man - his last four films in a role have turned a profit at the box office. Overall, 10 of the 12 films Wyatt Russell has appeared in have turned a profit.

Blood Brothers
The long-awaited return of writer Giovanni Garcia (who last had a film released in Season 18) did not result in good will at the box office as Blood Brothers came in as the writer's lowest grossing film.

X-Men: Age of Apocalypse
The latest X-Men film is the highest grossing film for the studio since The Avengers in Season 32, and managed to gross over three times the amount of the second highest grossing film of this season so far (Sgt. Rock).




Genre Rankings
All the Fives
Drama: #159
Thriller: #86

Blood Brothers
Drama: #377

X-Men: Age of Apocalypse
Action: #35
Superhero: #23
Sci-Fi: #11




Season 34 Round 4
Total Box Office: $1,010,918,178
Total Profit: $355,911,821

Season 34 Totals
Total Box Office: $2,169,345,756
Total Profit: $344,549,298





Season 34 Summary
1. X-Men: Age of Apocalypse : $923,966,438
2. Sgt. Rock : $306,851,781
3. The Flintstones : $252,498,418
4. Robopocalypse : $242,879,106
5. Nineteen Eighty-Four - Part Two : $196,422,340
6. All the Fives : $77,974,884
7. Exodus : $76,164,182
8. Heist Society : $33,109,892
9. Convalescence : $19,377,305
10. Test of Time : $17,123,993
11. Mises : $14,000,561
12. Blood Brothers : $8,976,856


Wednesday, October 15, 2025

Release: X-Men: Age of Apocalypse

 
X-Men: Age of Apocalypse
Genre: Action/Superhero
Director: Miguel Sapochnik
Writer: Dwight Gallo
Based on Marvel Comics characters
Cast: Jamie Dornan, Toby Stephens, Jessie Buckley, David Oyelowo, Millie Bobby Brown, Rebecca Ferguson, Garrett Hedlund, Rosamund Pike, David Morrissey, Jamie Bell, Zach McGowan, Diana Silvers, Kiki Layne, Jeffrey Dean Morgan, Peter Macon



Budget: $200,000,000
Domestic Box Office: $423,771,850
Foreign Box Office: $500,194,588
Total Profit: $327,010,667

Reaction: The X-Men films continue to be a consistent cash cow for the studio, with the franchise now having brought in over $3 billion at the worldwide box office between the five films.




"X-Men: Age of Apocalypse is a sprawling, time-twisting epic that delivers both grand spectacle and intimate character drama. The film does what these do best and give each X-Man space to shine. While its dense plotting occasionally threatens to overwhelm, the film’s bold vision makes it one of the franchise’s most satisfying entries yet. Can't wait to see more!” - Freddie Poulter, TheWrap.com




"Now this is what Hollywood's X-Men Apocalypse should have been. The team struggling without their leader grounds the film admist its larger-than-life action and spectacle. While the sheer scale of the battle sequences and large number of characters can be overwhelming at times, the film's exploration of power, sacrifice and the true meaning of being an X-Man elevates it above typical cape-fare. A solid entry in the X-Men series, well done Dwight Gallo and Miguel Sapochnik." - Dexter Quinn, Cinematic Observer Newsletter 



"X-Men: Age of Apocalypse is an ambitious mutant epic that delivers striking visuals, inventive action, and a menacing turn from Peter Macon as Apocalypse. Jamie Dornan’s Cyclops and Jessie Buckley’s Jean Grey provide a strong emotional core, and the Horsemen’s recruitment scenes carry a dark, mythic weight. The psychic rescue of Xavier and Jean is a creative highlight, but the film’s sheer scale sometimes overwhelms its character work, and certain subplots feel underdeveloped. Still, when the missile-silo finale erupts - Phoenix versus Apocalypse - it’s an undeniably satisfying payoff." - Dave Manning, Ridgefield Press








Rated PG-13 for intense sequences of sci-fi violence and action






Comic to Film: X-Men: Age of Apocalypse

 

Welcome back to Comic to Film! This time we will be taking a look at the massive ensemble cast of what will now be the fifth film in the X-Men film series (obviously not counting spin-off or crossover films) - X-Men: Age of Apocalypse. Miguel Sapochnik (X-Men: Hellfire, Skyrim) is back to direct for the second time. Dwight Gallo (The Lone Ranger, The Vintner) is also back as writer.