Movies
Leigh Whannell’s ‘The Invisible Man’ Scares Up an “R” Rating for “Strong Bloody Violence”
With the PG-13, action-heavy “Dark Universe” behind us, Universal Studios is now dedicated to bringing back their iconic monster movies in far more interesting ways, and up first is The Invisible Man from Blumhouse and Upgrade writer/director Leigh Whannell. Just how far have we come from the days of the planned/failed “Dark Universe,” you ask?
Well for starters, The Invisible Man is definitely going to be a rated “R” horror movie!
The MPAA has given the film an “R” rating for “some strong bloody violence, and language.”
This should probably come as no big surprise, as the official trailer had hinted at a few bits of Upgrade-style violence. And we expect nothing less from Leigh Whannell.
Here’s the full plot rundown:
“Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass (Elisabeth Moss) escapes in the dead of night and disappears into hiding, aided by her sister (Harriet Dyer), their childhood friend (Aldis Hodge) and his teenage daughter (Storm Reid).”
“But when Cecilia’s abusive ex (Oliver Jackson-Cohen) commits suicide and leaves her a generous portion of his vast fortune, Cecilia suspects his death was a hoax. As a series of eerie coincidences turns lethal, threatening the lives of those she loves, Cecilia’s sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see.“
The Invisible Man stalks audiences on February 28, 2020.
Movies
‘Backrooms’ Director Kane Parsons Is No Fan of Generative AI: “Defeats the Purpose Entirely for Me”
There has been a lot of talk recently about filmmakers embracing generative AI as part of the filmmaking process, from Darren Aronofsky to Martin Scorsese. But what about filmmakers that are against the use of Gen AI for creative pursuits? You can count 20-year-old Backrooms director Kane Parsons among that group, which should give you some hope for the future.
In a new chat with The Australian, the self-taught young filmmaker makes it crystal clear that he won’t be using generative AI in any of his upcoming filmmaking projects.
“I think I’m in the same boat as most well-adjusted people,” Parsons tells the outlet. “If I could snap my fingers and make generative AI disappear forever, I probably would. Creatively, I get no enjoyment from using those tools. It defeats the purpose entirely for me.”
“What interests me more is interrogating it artistically,” Parsons notes. “We already live in a world where you walk outside and there are billboards and signs that are obvious AI slop. That’s become part of our visual reality. To me, generative AI feels less like innovation than a symptom of a broader cultural and economic rot.”
He explains, “I’m interested in using that iconography in art – not using AI to make the art itself, but examining what it represents. I definitely want to explore it further in future projects.”
Kane Parsons also notes during the interview with The Australian, “… there’s so much at stake and so many genuinely harmful consequences already happening.”
Backrooms marks young prodigy Kane Parsons’ feature directorial debut, and it’s based on his own series of YouTube videos that were brought to life using Blender, the open-source 3D computer graphics software suite. So it’s no surprise that Parsons, who has hand-made his filmmaking career up to this point, isn’t buying into the hoopla around Generative AI.
His debut feature is the #1 movie in the world, so perhaps he’s onto something.
What’s next from Kane Parsons, you ask? Stay tuned…
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