Movies
Trespass (VOD/limited)
“‘Trespass‘ is a stupid movie, with even dumber characters, and an atrocious plot. It’s a pointless movie that does nothing to further the home invasion subgenre, and ultimately becomes a snoozer of a copycat that isn’t worth a second of your time.”
There’s no arguing the filmmaking talent behind Trespass, directed by Joel Schumacher, but what hits the screen is an embarrassingly clichéd home invasion thriller that doesn’t have a single drop of entertainment value.
The pic centers on a crafty business man (Nicolas Cage) who, along with his wife (Nicole Kidman) and daughter (Liana Liberato), are the victims of a home invasion. The intruders want Cage to open his safe, which holds hundreds of thousands of dollars and diamonds.
The first and foremost problem is that there truly is nothing at stake. The invaders aren’t threatening; all they do is spend the first 45 minutes screaming back and forth with Cage. There are no sexual advances on Kidman or Liberato, and none of the masked men/women physically assault Cage. They literally just throw spit at each other and make loud threats. An hour into the movie, one of the baddies tosses out a line that literally says it all: “ Let’s start over.” That is the point where the movie should have started. Things finally escalate, but by then it’s too little, too late.
Even more embarrassing is the jumbled third act that ends up playing like the “OC” skit on “SNL” (see below). And even worse of an offense are the onslaught of twists (if you can even call them that) that prompted me to exclaim “what a twist!” aloud on several occasions.
Trespass is a stupid movie, with even dumber characters, and an atrocious plot. It’s a pointless movie that does nothing to further the home invasion subgenre, and ultimately becomes a snoozer of a copycat that isn’t worth a second of your time.
The buried origins of the cinema zombie will be explored in upcoming documentary Black Zombie, and Deadline reports that Kino Lorber has picked up the doc for U.S. release.
Kino Lorber will release Black Zombie in theaters later this year.
From writer and director Maya Annik Bedward, Black Zombie digs beneath the blood-soaked spectacle of modern horror to uncover the zombie’s buried and unsettling origins.
Long before it became associated with flesh-eating ghouls, the zombie was a living metaphor for slavery: not a monster, but the ultimate victim of colonial power.
Deadline further details, “Director Maya Annik Bedward traces the evolution of the zombie from colonial Haiti to contemporary Hollywood, reconsidering iconic films like White Zombie, Night of the Living Dead, and The Serpent and the Rainbow alongside archival footage, vérité scenes, and interviews with cultural historians, artists, and genre legends including Yves-Grégory Francois, Mambo Labelle Déesse, Slash, Tom Savini, and Zandashé Brown. Part cultural reckoning, part horror remix, Black Zombie exposes how a figure born from enslavement, spiritual belief, and resistance was transformed into one of pop culture’s most profitable monsters.”
“I’m thrilled to partner with Kino Lorber on the release of Black Zombie,” said Maya Annik Bedward. “The film explores the power of images to shape our understanding of history, culture, and race, making it especially meaningful to work with a distributor so deeply engaged with cinema’s past and present. Their passion for films that challenge, illuminate, and expand our understanding of the world makes them an ideal partner for bringing this story to audiences across the U.S.”
Kino Lorber’s Karoliina Dwyer adds, “The zombie is one of the most iconic images in cinema, and you’ll never look at them the same after watching Black Zombie. Maya Annik Bedward has crafted a fascinating, deeply researched documentary that unearths the long-buried Haitian origins of the genre, interrogating colonial, political, and Hollywood history to powerful and illuminating effect. We’re so proud to bring this documentary to U.S. audiences this fall.”
Executive producers for the documentary include music legend Slash.
‘I Walked With a Zombie’ (1943)
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