1. With the purpose of writing about true crime in an authoritative, fact-based manner, veteran journalists J. J. Maloney and J. Patrick O’Connor launched Crime.
2. Directed by Uwe Boll. With Brendan Fletcher, Shaun Sipos, Michael Paré, Matt Frewer. A man with a thirst for revenge builds a full body armor from Kevlar and goes on.

You Are Reading: Who Was Better? 20 Pairs Of Actors Who Played The Same Superhero. American Horror Story: Murder House (originally titled as American Horror Story) is the first season of the FX television series American Horror Story, aired between. · Evan Brewer Previous Allegation of Abuse. According to Wichita police, Evan’s father, Carlo Brewer, had been concerned for several months about his son.

When a devoted husband and father is left home alone for the weekend, two stranded young women unexpectedly knock on his door for help. What starts out as a kind. Last year, Ryan Gosling told GQ that Harrison Ford punched him in the face while filming Blade Runner 2049. According to Ford himself, yup, it happened, it’s.

Whatever happened to Eli Roth as a director? In 2. 00. 3, I watched Cabin Fever and was instantly smitten with the twisted new talent on the horror scene. His sense of humor reminded me of Sam Raimi and Peter Jackson before they went Hollywood from their splatterfest beginnings. He directed two movies after, Hostel and its sequel, and while I found Part Two to be underwhelming in execution, I was quite a fan of the original hostel.

It further cemented that it felt like Roth was going places. Most of those places were as an actor or a producer. Roth has acted in more movies (two Tarantino flicks) than he’s directed since 2. Hostel: Part Two. His name was attached to and then departed other projects, notably an adaptation of Stephen King’s Cell, and then it felt like he just vanished altogether. Roth has re- emerged with two films bearing his name as director, the Green Inferno, which premiered in 2. Toronto film Festival, and Knock Knock.

After having watched both movies in one day I can say neither was worth the wait. Knock Knock concerns Evan (Keanu Reeves), an architect, a former world- famous DJ (?), and family man. His wife and children have left for the weekend so that dear old dad can finally get some work done. Then one rainy evening a knock knock comes upon his chamber door.

Two soaked coeds, Genesis (Lorenza Izzo) and Bel (Ana de Armas), politely ask if they can dry off inside. They’re supposed to meet at a friend’s house and have gotten lost. Evan is hospitable to a fault and indulges with them in conversation. The girls are flirty and very interested in a sexual dalliance with Evan, and finally he gives in.

The next night Evan is ready to move on and pretend like nothing happened. However, Genesis and Bel are refusing to leave, and they have a design to punish and humiliate Evan for his martial indiscretion. The premise is a mixture of Fatal Attraction and a home invasion movie, and there is potential here for a slowly escalating thriller or a comically degenerating farce that surprises with its dips into darkness, like 2.

Cheap Thrills. Alas, Knock Knock is an unbalanced and unintentionally funny morality play that is so poorly executed, ham- fisted, and awkwardly developed that it’s more horrifying mess than horror. The first act of the film is a bit overwrought with making sure the audience knows exactly what kind of temptation trap Evan is falling under. Every line has an innuenduous ring, every flirtatious line an extended second of awkward eye contact, and every innocuous moment begins to feel like the forgotten detail in one of those absurd Letters to Penthouse fantasies (“You’ll never believe what happened to me…”). You can see the better film that has been crushed to death under the rush to make something tawdry, complete with both girls soaping up their bodies in a joint shower and then jointly pleasuring him to eliminate the last of his denials. If you felt the slowly escalating sexual tension, the desire, and yearning, and then weighing the consequences, the movie would have been a far more compelling moral dilemma and character piece. Instead, the girls are over- the- top in their seduction routines and once Evan gives in it all gets even worse. It’s not so much relatable or an interesting ethical conflict as it is the in- between scenes for a soft- core porn biding its time.

For what it’s worth, the gratuitous nudity is a bit shrift. At no point do Genesis or Bel feel like actual human beings; they are unhinged one- dimensional lascivious cartoons with ridiculous and guffaw- inducing motivation. As soon as the morning comes, Genesis and Bel have transformed from seductive and coy young adults to infantilized and highly sexualized bratty teenagers.

Our reintroduction involves both ladies filling the kitchen with breakfast supplies and throwing food around, laughing obnoxiously, and practically bouncing off the walls. Their initial adversarial one- upsmanship includes mooning Evan while he’s on a Skype call and drawing penises on his wife’s art. When a concerned neighbor stops by I was hoping for something a little more serious and dangerous, but they can’t even do that, which is what makes their late turn into would- be murderers to be completely unbelievable and forced. It’s so forced that Reeve’s sputtering monologue of incredulity pretty much sums up the point of view of any rational viewer. They play dress up and appear to have some psychosexual daddy issues, possibly resulting from childhood abuse or molestation, but at no point do they come across as a credible menace. Then there’s the concluding justification for their acts of retribution and it’s so lame and uninspired and a copout that you wish Roth had committed to the direction the film had been steering toward.

That’s the biggest failing of Knock Knock is that it could have worked as a thriller if Roth and co- writer Nicolas Lopez (Aftershock) had fully developed their scenario. There’s a fine story of events spinning out of control as one man gets in over his head trying to cover up his indiscretion. Evan doesn’t really grapple with his guilt because everything is manifested as an external threat. He becomes a literal hostage to his guests but they don’t ever turn the screws in a manner that belies a plan or even a sharper point. The first act should have been setting up storylines that would further complicate this hostage scenario with people dropping by and more opportunities to be caught. Rather than playing as a slow- boil hostage thriller or a be- careful- what- you- wish- for morality play, Knock Knock more approaches a failed farce.

The film even lacks any visual polish or carefully constructed set piece to stand out from the bargain bin of cheap horror thrillers, and Chile does not convincingly double for California either. Roth has been a filmmaker who found dark and creative ways to mix humor into his horror, but Knock Knock is one where his signature humor doesn’t feel intended. First off, the behavior of Genesis and Bel is wildly over- the- top, screechy, and just insufferable. Izzo and Armas are way too broad and way too unhinged without any sense of mooring from Roth as a director. It’s just not fun to watch. Their batty babydoll shtick isn’t funny or sexy or dangerous. The tone cannot find a balance or commitment.

There are lines of dialogue that are howlers and then there are moments that are played without the right sense of pacing or delivery or sense and they can transform something inane into something dreadfully funny. It’s hard to describe in words but Reeves’ strident yet flat delivery of “I’m a happily married man” after being bamboozled by two naked and nubile young women is hilarity in itself. Then there’s the final scene (spoiler alert) that rests upon a struggle to eliminate a damning social media post.

The resulting action and Reeves’ resultant scream to the heavens left me doubling over with laughter, more so because this is part of the misguided climax to a misguided movie. Suffice to say the moments that seemed intended to be comedic fall flat and the ones that are not, at least in their primary and secondary purpose, are the ones that produce hearty derisive laughter. After a long drought behind the camera, these two releases have shown me that Roth’s interests have become a bit more base, his skills a bit more ramshackle, and his sick sense of humor a bit more misapplied. After Cabin Fever and Hostel, I had high hopes that Roth would follow in his mentor Tarantino’s footsteps and rise above genre trappings as an artist. With news that Roth will produce a Cabin Fever remake for 2. I think my hopes for the man have gone up in smoke.

American Horror Story: Murder House. American Horror Story: Murder House (originally titled as American Horror Story) is the first season of the FX television series American Horror Story, aired between October 5, 2. December 2. 1, 2. The season was produced by 2. Century Fox Television, and the executive producers were Dante Di Loreto and series creators Brad Falchuk and Ryan Murphy. It centers on the Harmon family: Dr. Ben Harmon, Vivien and their daughter Violet, who move from Boston to Los Angeles after Vivien has a miscarriage and Ben has an affair.

They move into a restored mansion, unaware that the house is haunted by the ghosts of its former residents and their victims. The first season of American Horror Story received generally positive reviews from critics.

The series drew consistently high ratings for the FX network, ending its first season as the biggest new cable series of the year. The season was nominated for various industry awards, including the Golden Globe Award for Best Television Series – Drama, and received a total of seventeen Emmy Award nominations. In addition, Lange won the Golden Globe for Best Supporting Actress, the Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Drama Series, and the Primetime Emmy Award for Outstanding Supporting Actress in a Miniseries or a Movie. Characters from Murder House made appearances in the series' fifth season, Hotel.

Christine Estabrook returned as Marcy, the nosy realtor.[1]Matt Ross, who portrayed Dr. Charles Montgomery, appeared in the episode "Room 3. Sarah Paulson reprised her role as Billie Dean Howard in the season finale, "Be Our Guest". The first season follows the Harmon family: Ben (Dylan Mc.

Dermott), Vivien (Connie Britton) and Violet (Taissa Farmiga), who move from Boston to Los Angeles to start a new life in a Victorian mansion, after Vivien has a miscarriage and Ben has an affair with Hayden (Kate Mara), one of his students. On arrival, they learn from Marcy (Christine Estabrook), the real estate agent, that the previous owners of their new mansion, a couple named Chad and Patrick (Zachary Quinto and Teddy Sears), died in an apparent murder/suicide.

Their neighbour Constance (Jessica Lange) and her daughter Addie (Jamie Brewer) become frequent, and mostly unwelcome, guests. Addie seems to have a connection with the house's mysterious past. Larry Harvey (Denis O'Hare), a former resident of the house who has suffered from terrible burns, also begins inserting himself into the Harmons' lives, giving Ben a cryptic warning about the house. The house also "comes with" Moira O'Hara (Frances Conroy/Alexandra Breckenridge), a housekeeper who appears young and seductive to men, but old and matronly to women. Ben begins seeing patients out of his home office. One in particular, a possibly psychotic teenage boy named Tate Langdon (Evan Peters), takes interest in kindred spirit Violet, who suffers from depression. Ben is unaware that Tate is both a ghost and the son of Constance.

As the family settles into the home, bizarre events begin to occur with increasing regularity. It is soon revealed that there have been upwards of 2. The Murder House". The family struggles with their own personal tribulations, oblivious to the reality that their home is haunted by ghosts. While exploring the attic, Vivien discovers a latex bondage suit.

She later is raped by a man wearing it, who she believes is Ben, but is actually Tate. Vivien's rape results in the rare occurrence of becoming pregnant with twins by different fathers. It is later revealed that Tate's motive in having sex with Vivien was to conceive a baby for Nora (Lily Rabe), a ghost in the house who lost her own child. Hayden comes from Boston and tries to blackmail Ben into abandoning Vivien, so they can start their relationship over, threatening to tell Vivien that she's pregnant with Ben's baby. She is killed by Larry and buried by Ben in the house grounds, thus coming back as a ghost. Several ghosts in the house, including Hayden and Nora, conspire to drive Vivien mad so that they can raise the babies as their own. On Halloween, the one day in which the dead can walk among the living, Violet learns that Tate is an infamous school shooter, who killed a library full of his classmates (as well as crippling a teacher and setting Larry Harvey on fire) to punish his mother Constance for having Tate's younger (and deformed) brother smothered to death.

Addie is run over by a car, and Constance fails to get her corpse to the Harmon's property in time to imprison her spirit so that she can be reunited with her brother's ghost. Vivien, meanwhile, learns from the "Murder House Tour" that the house was the home of a back alley abortionist and that the still- living monster in the basement of the house is the creation of the doctor, whose son was killed by a patient's vengeful boyfriend, dismembered and resurrected as the monstrous "Infantata". Faced with the monster Tate is, and her own romantic feelings for him, Violet accidentally kills herself, something she doesn't realize was successful until weeks later when she discovers she cannot leave the house. After many ghosts, Vivien is committed to an insane asylum, while Ben is convinced that the second twin was fathered by Luke (Morris Chestnut), a neighbourhood security officer. Meanwhile, Constance enlists the help of a medium, Billie Dean Howard (Sarah Paulson), to help her talk to Addie. Constance discovers from Billie Dean to her horror, that Tate's child with Vivien will become the Antichrist.

After Ben learns of Tate being the "Rubber Man", he has Vivien freed from the asylum. Vivien gives birth to the twins in the house, with Moira recruiting the more benevolent ghosts of the house to help her deliver the children. Vivien and one of the newborn babies die, leaving Ben with the surviving twin. Violet breaks up with Tate after Chad reveals that Tate raped Violet's mother and murdered him and his boyfriend due to their deciding not to have a child. Ben tries to get into contact with his now dead wife and daughter, who refuse to show themselves.

As he grieves he contemplates suicide to be with them. Instead, Vivien shows herself and convinces Ben to leave the house immediately for the protection of the baby. As Ben is leaving the house, he is caught and murdered by Hayden, who hangs him to simulate a suicide. Hayden attempts to take the baby, but Constance, with the help of the ghost of a lover named Travis (Michael Graziadei), whom Hayden murdered, takes the child instead. Constance hides the baby and tells the police that Ben killed himself out of grief for his wife's death and that Violet (whose body is never found) ran off with the surviving child.

Now trapped in the house, the Harmons team up with Moira and the other benevolent spirits to forbid other families from moving in by scaring them away. The Naked Prey Full Movie In English. Meanwhile, Tate has consigned himself to living with Hayden, both of whom have been blocked out by the Harmons using a trick that Tate taught Violet. As the Harmons are decorating a Christmas tree, Tate promises to wait for Violet forever, as he and Hayden watch on through a door frame.

Three years later, Constance (who left town) returns to Los Angeles, but finds that her grandson, Michael (the Antichrist), has murdered his nanny. She slowly walks towards the smiling child as he rocks back and forth. She then smiles and whispers, "Now what am I gonna do with you?"Cast and characters[edit]Special guest stars[edit]Recurring[edit]Episodes[edit]Production[edit]Conception[edit]What you saw in the finale was the end of the Harmon house. The second season of the show will be a brand- new home or building to haunt.

Just like this year every season of this show will have a beginning, middle and end. The second season] won't be in L. A. It will obviously be in America, but in a completely different locale.“”– Murphy on American Horror Story's second season.[1.