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If you ever make an action movie with Michael Mann, you'd better be ready to dance.

According to the writer-director of "Heat," choreographing the film's epic shootout in Downtown Los Angeles was precisely like staging a musical number. He doesn't mean "choreography" in a hyper-stylized John Woo sense, but rather in terms of logistics. Though the sequence is covered with handheld cameras to make it seem ferocious and wholly spontaneous, it is meticulously organized chaos. From the minute the gunmen hit the street, they know exactly where they have to be at every single moment, much like the Jets and the Sharks hitting their marks in "West Side Story." Their movements might appear effortless, but they're the result of months of training -- and given the length of the shootout, none of this training could be done on the streets of L.A.

Val Kilmer's Quick On The Draw And The Reload

The rehearsal period for the shootout began with Mann and company setting up shop in three target ranges owned by the L.A. County Sheriff's Department. Per Mann: 

"We built a true-scale mock-up of the actual location we were using along 5th Street in downtown L.A., with flats and barriers standing in for where every parked car was going to be, every mailbox, every spot where De Niro, Tom Sizemore, and Val Kilmer were going to seek cover as they moved from station to station."

Mann rehearsed his actors until every single movement was second nature, and they more than rose to the challenge. Talk to anyone who's been through basic military training, and they will heap the highest of praise on Val Kilmer's combat technique, particularly the moment where, taking cover behind a cop car with his Colt M4, he swaps out a spent magazine in five seconds. It's a textbook reload. Just as impressive is the way he instinctively points his rifle skyward as he shifts back and forth so as not to accidentally fire on one of his colleagues.

A Dance Of Death

This situation is highly unusual and precarious for the LAPD. As Mann explains, "Judged strictly in terms of scene analysis and character motivation, the police are used to entering a situation with overwhelming power on their side. When they're assaulted by people who know what they're doing, they don't do well." It's a frightening place for the cops to be, and Mann relates this sense of anxiety to the viewer by using the cacophonous location audio from the day of the shoot. If there was ever a massive gun battle in downtown Los Angeles (actually, there was an eerily similar one two years later in North Hollywood), this is how it would look and sound: bullets whizzing back and forth as the report of the firearms echo off the concrete and skyscrapers. It's urban warfare.

Mann's most impressive achievement in the execution of this sequence might be the way he keeps the audience focused on McCauley's objective. These men aren't trying to go down in a blaze of glory; they're trying to get the hell out of a tight situation with the loot they just heisted from the bank. This tension resonates throughout, and because we understand these characters as more than criminals, part of us wants them to get away scot free.

Mann went on to craft a number of captivating shootouts in films like "Collateral," "Miami Vice" and "Public Enemies," but the sequence in "Heat" towers above all of them. It's a brilliant, brutally effective piece of filmmaking that directors have been chasing over the last 27 years. But when it comes to staging a firefight with this degree of verisimilitude, no one dances like Michael Mann.

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The post How Michael Mann Made Heat's Massive Shootout Work appeared first on /Film.

The Capt. Christopher Pike seen on "Star Trek: Strange New Worlds," as portrayed by Anson Mount, is a far cry from the Capt. Pike that actor Jeffrey Hunter portrayed in "The Cage," the original 1966 "Star Trek" pilot. In "The Cage," Pike was a stern authority figure, largely humorless, and suffused with a note of anger. Indeed, Pike's anger was so powerful that he was able to use it to cloud the minds of a species of psychic Talosians who were holding him captive. 

The Pike of "Strange New Worlds" — a series set after the events of "The Cage" — is a far warmer, more genial captain whose greatest strength as a commander seems to be wrangling a crew proving to be far more serious than he. In the recently-aired episode "The Serene Squall," Pike — in what would eventually become the episode's "B" story — is kidnapped by space pirates and has to take the pirate ship by force in order to free himself and his crew. The overtaking of the pirate ship proves to be strikingly easy, and Pike breezily ends the episode back in the captain's chair of the Enterprise giving his best Billy Bones-style, "yarr-yarr" pirate impersonation. It may be difficult for Trekkies to picture Jeffrey Hunter doing a pirate voice. 

Regardless, Mount has found a handle on the character right away, jettisoning a commonly hammered, tiresome streak of angst in favor of enthused professionalism. He loves his job. And while Pike may be his to define for a new generation, it seems the captain was not close to his favorite "Trek" character. Indeed, his favorite wasn't even from the original series. It turns out that Mount, as he revealed in an interview with Collider, is a Data fan. 

A Fistful Of Data

One can't blame him, of course. Data was one of the standout characters on "Star Trek: The Next Generation," and was the featured character in a great number of episodes. The emotionless android played by Brent Spiner endeavored to be more human, and he was keenly interested in the machinations of human social interaction, which he frequently was ill-equipped to understand. 

Over the course of seven seasons and four movies, Data did grow more comfortable with humanity, and ultimately died at the end of "Star Trek: Nemesis," nobly sacrificing his life to safe the Enterprise from a Romulan attack vessel. Data was not just an interesting character, played impeccably by Spiner, but he offered Trekkies a unique opportunity to analyze their own behavior. How would you, dear viewer, explain concepts like humor or embarrassment to an android?

Collider asked Mount if he would like to — just for fun, mind you — transpose roles with one of his "Strange New Worlds" co-stars. Mount immediately said that the best role to play was Data:

"Oh boy, it wouldn't be 'Strange New Worlds.' It would be 'The Next Generation.' I've made no secret of this, and I've told them before. Data is, I think, maybe the most imaginative, interesting character in 'Star Trek' canon. He's Pinocchio in space. Such an actor's dream to play a non-sentient being that has to learn what sentience is. I was so jealous as a young actor, watching him get to do that." 

Mount And Spiner

Mount didn't make his on-screen acting debut until a 1999 in episode of "Ally McBeal," which came between the release of "Star Trek: Insurrection" in 1998 and "Star Trek: Nemesis" in 2002. Spiner would return to "Star Trek" in a few episodes of "Star Trek: Enterprise" as an ancestor of Dr. Noonien Soong, Data's human creator, and then both a descendent and an even earlier ancestor of the same character on multiple episodes of Paramount+'s "Star Trek: Picard." Spiner, digitally de-aged, would also briefly reprise his role as Data on that same show. Mount, meanwhile, would make his debut as Pike on the second season of "Star Trek: Discovery," a guest spot that proved popular enough to give his version of the character his own show. 

All of this is to say that Spiner's legacy appearances as Data (and various people named Soong) ran concurrently with Mount's eventual entrance into the "Star Trek" world That makes his appearance, if one wishes to think of it in these terms, something of a passing of the torch. A new generation of action picking up from the "Next Generation" characters. 

Regardless, Mount is not wrong. Data is a glorious challenge for any actor, and one that Spiner achieved magnificently.

Read this next: Every Star Trek Show And Movie In Chronological Order

The post Anson Mount's Dream Star Trek Role Isn't In Strange New Worlds appeared first on /Film.

Johnny Depp owes a great debt to Keith Richards, the inspiration for his swishy, eccentric pirate Captain Jack Sparrow. Depp cobbled together Sparrow's sexually ambiguous swashbuckler from fictional and historical references, from Pepé Le Pew to B. R. Burg's "Sodomy and the Pirate Tradition." Still, it's Richards who is known as the figurative — and literal — father of Sparrow. The producers had no trouble persuading the Rolling Stones guitarist to join the sequel, "At World's End," as Sparrow's father Captain Teague, but had a devil of a time finding the right moment for him to come aboard.

During production, "Pirates" producer Jerry Bruckheimer had to work around the Stones' busy international tour "A Bigger Bang," he told London Net.

"The hardest part was trying to fit our film schedule into his touring schedule, so we had to find about three or four days when the Rolling Stones weren't touring. But I think he was happy to be part of the film. It's just a small role, but important to the story, and I think he had a ball. He was there with his wife and kids and he clearly didn't want to leave."

A Lovely Bunch Of Coconuts

The Stone's tour hit another snag when Richards found himself in a situation the "Pirates" writers could have created for Sparrow himself. During a vacation in Fiji in April 2006, the then 62-year-old rocker fell out of a coconut tree and sustained a head injury. The band resumed their tour that July after Richards underwent brain surgery in New Zealand. Richards pressed on with both the tour and his cameo as Sparrow's father, Captain Teague, that summer. His fellow shipmate Orlando Bloom, an international star in his own right, gushed over the legend (via Associated Press). "I can't wait to see him — well, if he doesn't kill himself falling out of coconut trees," Bloom said. "Very rock and roll."

Richards serves up a brief and delightful cameo in "At World's End." Standing in the shadows wearing a deep crimson coat, he blows smoke off the top of a deadly pistol with the casual breath of a cigarette drag. While the pirates argue over their code, audiences get to relish watching Richards play a beautiful acoustic guitar in the background. The scene is a perfect medley of pirate and rock star, the apotheosis of Depp's own vision for his character:

"When I was thinking about Captain Jack was the idea that pirates were the rock and roll stars of that era, of the 18th century. First and foremost, the myth or the legend would arrive months before they would ever make port, that kind of thing, which is very similar to rock and roll stars, and it was about freedom."

Hail, Richards

"Pirates" is one of Richards' few onscreen credits, and perhaps the only one where he doesn't play himself. He starred in the 1987 documentary, "Hail! Hail! Rock 'n' Roll," as a frustrated musical director for Chuck Berry. In a scene from "Hail! Hail!" Richards looks every bit like a modern day pirate. Talking about Berry, he lounges in a loose white, button down with a light blue scarf encircling his neck. A skull ring adorns the middle finger on his right hand and a cigarette sticks up between two spindly digits on his left. The then 44-year-old Richards already possesses a gravelly voice, no doubt shaped by years of smoking those same cigarettes, and his lackadaisical movements are guided by thin, delicate wrists. Like Sparrow, his easy smile tells you that though he may look old for his age, he harbors a youthful zeal under his weathered exterior.

There's one major difference between Sparrow and Richards. Whereas the fictional pirate is so worried about his own mortality that he concocts various ways to swindle Davy Jones or find the fountain of youth, Richards appears to have no anxiety about his end days. When asked about whether he feared dying after his coconut tree accident, Richards brushed off the question. And despite decades of alcohol and hard drugs, the septuagenarian keeps touring. In a testament to his endurance, Richards' potential for more cameos as Captain Teague may have outlived the "Pirates" sequels helmed by Depp.

Read this next: The 23 Best Heist Movies Of All Time

The post This Was the Hardest Part of Persuading Keith Richards to Be In Pirates of the Caribbean appeared first on /Film.

Fans have been waiting quite some time for Ewan McGregor to make his return to the "Star Wars" galaxy, and now, after several weeks and six episodes, "Obi-Wan Kenobi" has wrapped up its run on Disney+. Whether or not this is going to be a season finale or a series finale remains somewhat undetermined. But given what limited time we have to work with when it comes to Obi-Wan and his journey before "A New Hope," it seems tough to imagine anything more compelling happening between the finale's conclusion and the beginning of "Star Wars" as we all first came to know it. In any case, the final episode left much to be discussed, particularly in regards to the ending and where all of our characters ended up. So, let's dig in, shall we?

Warning: massive spoilers ahead for "Obi-Wan Kenobi." Proceed with caution.

A Brief Recap

Truly, there is so much to talk about when it comes to the "Obi-Wan Kenobi" finale, but a brief recap is in order. The episode picks up with the refugees feeling the Empire, this time being chased in a Star Destroyer in a sequence that sort of mirrors the iconic opening of "A New Hope." Because of a bad motivator (I understood that reference!) Roken (O'Shea Jackson Jr.) will likely not have time to get everyone to safety before Vader and the Empire catch up to them. As such, Obi-Wan takes it upon himself to take a smaller ship to lead Vader away despite everyone's protest, with Leia protesting the hardest.

This ultimately leads to the confrontation that we've been waiting for, with Vader and Obi-Wan duking it out for the second-to-last time. Unlike the last time, Obi-Wan has re-aligned himself with the Force and that means he is actually a match for his former apprentice. Rocks are thrown at one another, tempers flare and emotions run high. Ultimately, Obi-Wan comes out on top but can't bring himself to kill his old friend, despite the fact that he finally recognizes that there is nothing of Anakin left under that mask.

But Obi-Wan has one final mission to carry out: save Luke! Indeed, Reva survived and goes to Tatooine to try and kill the boy. Uncle Owen and Aunt Beru do their best to protect him but to no avail. However, Reva, a survivor of Order 66 who saw young Jedi slaughtered, can't bring herself to do the deed. Obi-Wan arrives to comfort her, declaring that she did not become as bad as Vader. She didn't choose hatred.

Obi-Wan gets to reunite with Leia one last time before heading off to actually meet Luke and make peace with Owen before riding off into the twin sunset. In one final little bit of called for fan service, Obi-Wan finally gets to see the Force ghost of his former master, Qui-Gon Jinn, punctuating his journey and cementing the fact that the Jedi we first met in "A New Hope" has finally arrived.

Coloring In The Margins

Now we can really get into it. When this show was announced (even though it was originally going to be a movie), it was always going to have a finite area to work within. We know where these characters end up so this is an in-between-quel where you only have so much latitude to move around. Director Deborah Chow did her damndest to provide a satisfying conclusion while coloring in those margins. Why is it that Vader didn't continue to look for Obi-Wan after the events of this show?

Well, Obi-Wan whipped Vader's ass pretty bad on that rock-filled planet and that left an impression. Vader conferred with Palpatine towards the end of the episode via hologram from Mustafar and, when the Emperor implied that Vader's feelings for his former master were clouding his judgment, he made a point to demonstrate that wasn't the case. He is able to focus on the bigger picture and the petulance of Anakin came through from underneath that mask. Proving he doesn't care about Obi-Wan is why he is going to stop overturning stones. For now.

We also get a nice little final bit between young Leia and Obi-Wan on Alderaan that sort of helps to explain why Leia reached out to him in "A New Hope." Kenobi says to her that she can call him if she ever needs help, while also making it very clear that the nature of their relationship cannot be made known for everyone's safety. This helps to set the stage for what happens ten years later when Kenobi is called to rescue the princess once again. Chow is safely coloring within the lines here.

The same can be said for when Obi-Wan finally meets Luke, albeit briefly, and gifts him the T-16 model that we see him with in "A New Hope." It's a little relic left behind by some man he just knows as Ben Kenobi. Again, for now. It's all within the bounds of canon while attempting to add a little something to what we already know.

Compassion Over Hatred

The "Obi-Wan Kenobi" finale brings things full circle. We start out from a place of utter and complete darkness, with the Empire ruling the galaxy. Our hero is still dealing with the fallout of Order 66 and losing not only his apprentice — but his friend — to the Dark Side. Leia is kidnapped and the Inquisitors are wiping out what very little of the Jedi that remain. There is so little hope to hang a hat on at the start. Yet, by the end of it all,, when Obi-Wan steps off that ship to greet Leia, we can see the Jedi we all know and love is back. There is hope in his eyes once again and he more closely resembles the character originally portrayed by Alec Guinness. A hopeful, compassionate man who is one with the Force.

Obi-Wan even chooses compassion when dealing with Vader, who he had beaten and could have killed. However, When Anakin is revealed under that mask and explains that he killed what was left of his former apprentice, Obi-Wan was able to let go of the guilt he felt. He chose not to kill Vader, perhaps due to the lingering bit of hope left in his heart for redemption. Even when dealing with Reva, who was going to kill Luke, he chooses to show her kindness and light her way forward. On the flip side, Reva, a woman possessed by darkness, chooses light in dealing with Luke, now having a new path to walk divorced from the Dark Side, free of the vengeance in her heart.

Maybe the biggest surprise is the turn by Owen at the end of the show, easing up his cold shoulder in dealing with Kenobi. While he still has a crust to him, which is ultimately all about compassion and care for Luke, he is willing to show Kenobi a kindness that was not there in this show's first episode. Everyone wins by choosing hope and compassion over hatred. If that ain't "Star Wars," I don't know what is.

Hello There

But this show is about one man and "Obi-Wan Kenobi" rightly, at least from a thematic sense, really shifts the focus to him in the end. Even Vader acknowledges that he's back in touch with the Force during their battle. That period of darkness is over for our Jedi and some true growth happens. We really, truly see how the broken man from the end of "Revenge of the Sith" becomes the warm, sort of playful, wise Jedi brought to life by Guinness. There is value in that.

Perhaps nothing illustrates that growth more than Obi-Wan literally decided to leave his dark cave in favor of wandering in the light of the twin suns of Tatooine heading off to live the next ten years of his life before destiny comes calling again in the form of a message from Leia hidden inside of R2-D2. To really put a punctuation mark on the growth here, we finally see Qui-Gon Jinn in all of his Force ghost glory for the first time in Obi-Wan's eyes. This is something that had been teed-up at the end of Episode III but our hero hadn't gotten there yet. As his old master says, "I was always here, Obi-Wan. You just were not ready to see." Now, he's ready for it all.

This moment, with Kenobi riding into the sunset (or rather, sunsets) very much could serve as an end to this part of his journey. Sure, there are another ten years to fill in but the significant parts of the story have been told. It is not my place to say whether or not more story is worth telling but, from a certain point of view, all of the gaps have been filled in so that both Obi-Wan and the audience can move on.

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The post Obi-Wan Kenobi Season 1 Ending Explained: Goodbye, Old Friend appeared first on /Film.

Scott Derrickson's upcoming horror thriller, "The Black Phone," is based on Joe Hill's short story of the same name. Being the son of a legendary horror writer Stephen King surely lends solid inspiration to some of the stories Hill writes, and a key location in "The Black Phone" was inspired by an actual, super-creepybasement in his former family home.

/Film's Jacob Hall asked Hill about how "The Black Phone" came about — a short story he had penned almost 20 years back — which led to a revelation about the "basic horror movie basement" that inspired the one in the story/film:

"So I grew up in Bangor, Maine, and my family lived in a beautiful old Victorian, and the basement was a maze. It was dirt floor, and it was a maze of twisty cement corridors and low-hanging pipes and cobwebs and antiques. Your basic horror movie basement, you know? And there was, in one part of the basement, there was an antique phone which was not connected to anything, and that phone waited for me to get old enough to write a story about it."

This basement does sound like one that would absolutely be featured in a Stephen King horror novel, and the image of the cordless phone had a lasting impression on Hill, eventually making its way to a key aspect of the narrative in "The Black Phone."

Life Imitates Art (And The Other Way Round)

Hill has written many notable short stories and novels over the course of his career, including "Horns" (which inspired an adaptation starring Daniel Radcliffe) and "Heart-Shaped Box." Hill collaborated with his father while penning his short story collection "Full Throttle," and has previously talked about picking up certain narrative strategies from King, especially when it comes to revelations about evil.

Hill being inspired by an actual, creepy basement in his family home is great synchronicity in terms of fiction being inspired by reality and vice versa, as King himself has similarly been inspired by real-life events that led to fully-fleshed ideas for classic horror novels. For instance, King's critically acclaimed "It" was inspired by a random bridge he happened to discover during a car mishap, and Pennywise's sewer haunt spot was actually inspired by the local sewer system in Bangor.

As the basement memory essentially trickled into his short story, an important element as the lair is that of the killer, and the phone is a tool for abducted kid Finney to potentially escape, Hill expanded upon his experience of writing the short story:

"I wrote the story The Black Phone...for The Third Alternative magazine. When I wrote it, I could feel it struggling to become a novel. I could see a whole novel layer with Finney, our hero Finney wrestling with his predicament, locked in this basement stained with the blood of The Grabber's other victims, and I could see the conversations he would have with the dead children on the phone."

Talking to dead children is terrifying within any context, but Finney's unique predicament surely does help elevate the stakes of "The Black Phone."

Bringing An Effectively Terrifying Tale To Life

Hill's "The Black Phone" obviously had immense potential for a horror movie adaptation, which is essentially what Derrickson and screenwriter C. Robert Cargill did, while expanding the scope of the tale into a full-length feature. Hill told /Film that Derrickson managed to weave a "deeply autobiographical thread" about the 1970s Midwest, adding another layer of latent terror to an already disturbing story:

"So they [Derrickson and Cargill] wrote the screenplay together and executed it brilliantly, I think. Scott Derrickson wove this deeply autobiographical thread about life in the 1970s in the Midwest and what that was like, what that felt like, and it's honest. It's very emotionally accurate. It's truthful and somewhat painful, and I think that gives the film a lot of its power as well, the truthfulness of it."

Hill also talked about the "escape room" aspect of the film, which adds to the anxiety of whether Finney will make it out alive, with the aid of the dead children who talk to him via the disconnected phone on the wall. It is a powerful tale of a survivor taking back agency from the perpetrator, and it's pretty cool that Hill took solid inspiration from King's horror-movie-like basement and spun a grim, compelling story.

"The Black Phone" hits theaters on June 24, 2022.

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The post The Inspiration for The Black Phone Comes From Stephen King's Real-Life Creepy Basement appeared first on /Film.

If there's one thing we've learned about Chris Evans, it's that he's gonna serve no matter what he's wearing. Whether his character sports some interesting facial hair or goes to work in a blue spandex suit, it's likely going to look good — because, well ... Chris Evans is a pretty good-looking dude.

Ironically, though, the actor has pretty strong opinions on one of the more iconic — and flattering — looks of his career: that of Captain America, whom Evans portrayed for almost 10 years across an identical number of films. The Captain America suit evolved quite a bit in Evans' tenure as the character, and it's a fan favorite for many compared to other Avengers costumes. But for Evans himself, that couldn't be further from the truth.

'It's Not The Best'

Evans has been pretty gracious about Captain America's ever-changing look throughout the years. He even professed his love for the Stealth variation of the costume from "Captain America: The Winter Soldier" (above) — a personal favorite for a lot of Cap fans. But when it comes to other iterations of the uniform, which skew close to the red-white-and-blue theme to various degrees, Evans wasn't always impressed.

The actor broke his silence about the Captain America suit with LADbible TV, where he mulled over "the internet's biggest debates" with "Lightyear" co-star Taika Waititi. When asked whether Captain America has the best suit of any superhero, both Evans and Taika disagreed. "I might be biased," Evans said, "but it's not the truth." He continued:

It's the suit for him, and it works for him, but if we're measuring against all the Avengers, let's be honest: It's not the best. S***, they're all better than mine. Whether it's Scarlett [Johansson], whether it's [Chris] Hemsworth, whether it's Tom Holland...

The Next Generation

Cap's uniform might not be the best compared to every superhero costume, but the Captain America suit never fails to stir up a few positive feelings, at least for this writer. You don't have to be particularly patriotic to appreciate the work behind each particular suit. They deftly portray Steve Rogers' journey from moralistic symbol to disillusioned rogue and, eventually, to a hero on his own terms. It's why so many fans really love what each suit represents, both to the story at large and to Steve's own identity.

Still, we can't fault Evans for wishing for something a bit cooler for Captain America. Thor does have a cape, after all. But this is still Chris Evans we're talking about. The guy can sell even he dorkiest iteration of the suit, helmet wings and all. 

Though Evans' time as Captain America is (probably) done, the mantle lives on in Anthony Mackie's Sam Wilson. Mackie sported a remix of the classic Cap suit in the Disney+ series "The Falcon and the Winter Soldier," which is indisputably cool in so many ways. It's going to be fun to see the actor test out his own take on the suit in the future, especially knowing how story-driven the evolution of the costume can be.

Read this next: Every MCU Post-Credits Sequence Ranked From Worst To Best

The post Chris Evans Thinks Captain America Has the Worst Avengers Suit appeared first on /Film.

An anonymous reader quotes a report from Ars Technica: In the decade since larger-than-life character Kim Dotcom founded Mega, the cloud storage service has amassed 250 million registered users and stores a whopping 120 billion files that take up more than 1,000 petabytes of storage. A key selling point that has helped fuel the growth is an extraordinary promise that no top-tier Mega competitors make: Not even Mega can decrypt the data it stores. On the company's homepage, for instance, Mega displays an image that compares its offerings to Dropbox and Google Drive. In addition to noting Mega's lower prices, the comparison emphasizes that Mega offers end-to-end encryption, whereas the other two do not. Over the years, the company has repeatedly reminded the world of this supposed distinction, which is perhaps best summarized in this blog post. In it, the company claims, "As long as you ensure that your password is sufficiently strong and unique, no one will ever be able to access your data on MEGA. Even in the exceptionally improbable event MEGA's entire infrastructure is seized!" (emphasis added). Third-party reviewers have been all too happy to agree and to cite the Mega claim when recommending the service. Research published on Tuesday shows there's no truth to the claim that Mega, or an entity with control over Mega's infrastructure, is unable to access data stored on the service. The authors say that the architecture Mega uses to encrypt files is riddled with fundamental cryptography flaws that make it trivial for anyone with control of the platform to perform a full key recovery attack on users once they have logged in a sufficient number of times. With that, the malicious party can decipher stored files or even upload incriminating or otherwise malicious files to an account; these files look indistinguishable from genuinely uploaded data. After receiving the researchers' report privately in March, Mega on Tuesday began rolling out an update that makes it harder to perform the attacks. But the researchers warn that the patch provides only an "ad hoc" means for thwarting their key-recovery attack and does not fix the key reuse issue, lack of integrity checks, and other systemic problems they identified. With the researchers' precise key-recovery attack no longer possible, the other exploits described in the research are no longer possible, either, but the lack of a comprehensive fix is a source of concern for them. "This means that if the preconditions for the other attacks are fulfilled in some different way, they can still be exploited," the researchers wrote in an email. "Hence we do not endorse this patch, but the system will no longer be vulnerable to the exact chain of attacks that we proposed." Mega has published an advisory here. However, the chairman of the service says that he has no plans to revise promises that the company cannot access customer data.

Read more of this story at Slashdot.

More than half the UK backs the idea of rewriting the DNA of human embryos to prevent severe or life-threatening diseases, according to a survey. From a report: Commissioned by the Progress Educational Trust (PET), a fertility and genomics charity, the Ipsos poll found that 53% of people support the use of human genome editing to prevent children from developing serious conditions such as cystic fibrosis. There was less enthusiasm for use of the procedure to prevent milder conditions such as asthma, with only 36% in favour, and to create designer babies, with only a fifth expressing support, but views on the technology differed dramatically with age. Younger generations were far more in favour of designer babies than older people, with 38% of 16- to 24-year-olds and 31% of 25- to 34-year-olds supporting the use of gene editing to allow parents to choose features such as their child's height and eye and hair colour. In the UK and many other countries it is illegal to perform genome editing on embryos that are intended for pregnancies, but the restrictions could be lifted if research shows the procedure can safely prevent severe diseases. Genome editing has been hailed as a potential gamechanger for dealing with a raft of heritable diseases ranging from cystic fibrosis and muscular dystrophy to Tay-Sachs, a rare condition that progressively destroys the nervous system. In principle, the faulty genes that cause the diseases can be rewritten in IVF embryos, allowing those embryos to develop into healthy babies.

Read more of this story at Slashdot.

The Sun shone 20% less brightly on early Earth, and yet fossil evidence shows that our planet had warm shallow seas where stromatolites -- microbial mats -- thrived. Now a study may have solved the "faint young Sun paradox," showing that saltier oceans could have prevented Earth from freezing over during Archean times, 3bn years ago. From a report: We all know that the composition of the atmosphere (particularly the abundance of greenhouse gases) plays a crucial role in tempering Earth's climate, but what about the composition of the oceans? To answer this question researchers used an ocean-atmosphere general circulation model to investigate the impact of salinity. They show that saltier oceans result in warmer climates, partly because the salt depresses the freezing point of seawater and inhibits sea-ice formation, but mostly because the greater density of salty water alters ocean circulation patterns and aids heat transport to the poles. Under their Archean scenario they show that present-day levels of salinity produce a severely glaciated world with only a narrow strip of open water at the equator. But pushing salinity up to 40% greater than today revealed a warmer Archean world, with average surface temperatures of more than 20C, and ice only appearing seasonally at the poles. Their findings are reported in Geophysical Research Letters.

Read more of this story at Slashdot.

Apple announced the new MacBook Pro with an M2 chip earlier this month. While the new chip is plenty powerful compared to the M1, the notebook rocks the same design since 2016. The new M2 MacBook Pro is scheduled to launch this Friday. Ahead of the official launch, early reviewers of the device have shared their thoughts on the design and experience. Check out the review roundup of the new M2 MacBook Pro below.

New M2 MacBook Pro Reviews Are Out - The Highlight of The Device is The New M2 Chip WIth Enhanced Performance Capabilities

As mentioned earlier, the highlight of the latest 13-inch MacBook Pro is the new M2 chip. It comes with an 8-core CPU and a 10-core GPU, which according to Apple are 18 percent and 35 percent faster, respectively. In addition, it also features a 40 percent faster Neural Engine compared to the first generation of the chip. Alongside the new M2 chip, you can configure the machine with up to 24GB of unified memory and up 2TB of SSD storage.

In terms of design, the notebook packs an aluminum unibody design with a Touch Bar and two Thunderbolt 3 ports on the left. On the right, you will find an upgraded high-impedance headphone jack. You can get your hands on the new M2 MacBook Air for $1,299. You can check out the reviews by online publications and YouTube channels below.

The Verge

The M2 did edge out the pricier M1 Pro in the single-core benchmarks I ran. That’s impressive in itself (it indicates that though the M1 Pro has more power cores than the M2 does, those cores aren’t as strong as the M2’s power cores on an individual level). But it also bodes well for the M2 Pro, Max, and Ultra variants that we’ll presumably see down the line; they’ll likely display single-core speed improvements over their M1-based predecessors, rather than just loading on more cores.

How did this thing do on benchmarks? In CPU results — Geekbench, Cinebench, the Xcode benchmark, etc. — the results we’re seeing are somewhat better than the M1. In GPU tests, including some games, the results are substantially better.

Six Colors

The M2 did edge out the pricier M1 Pro in the single-core benchmarks I ran. That’s impressive in itself (it indicates that though the M1 Pro has more power cores than the M2 does, those cores aren’t as strong as the M2’s power cores on an individual level). But it also bodes well for the M2 Pro, Max, and Ultra variants that we’ll presumably see down the line; they’ll likely display single-core speed improvements over their M1-based predecessors, rather than just loading on more cores.

How did this thing do on benchmarks? In CPU results — Geekbench, Cinebench, the Xcode benchmark, etc. — the results we’re seeing are somewhat better than the M1. In GPU tests, including some games, the results are substantially better.

Gizmodo

Viewed in a vacuum, the MacBook Pro 13 is a great laptop with outstanding performance and unbeatable battery life, characteristics that put it ahead of some of its PC rivals. Zoom out and it's hard to see where this model fits within Apple's portfolio. The most direct rival to this entry-level Pro isn't the more premium versions, but rather, the MacBook Air. Not only does the Air have a lower starting price, but it has a larger display, a better webcam, quad speakers, more interesting color options, a slimmer chassis, and the benefit of a traditional shortcut row.

You can Check Out The Video Reviews Below

The new MacBook Pro with an M2 chip will launch this Friday and we will be covering more details on the machine as soon as further information is available. This is all there is to it, folks. Would you give the new M2 MacBook Pro a swing? Let us know your thoughts down below.

The post M2 MacBook Pro Reviews Are Out – New Chip Remains The Highlight of The Upgrade by Ali Salman appeared first on Wccftech.

Have you ever heard of the term "cyber soldier"? They are military hackers who do fascinating work. From defending the nation's critical infrastructure to launching attacks on enemy targets, cyber soldiers get advanced training to conduct cyber warfare, even during peacetime.

After a couple of delays, the Steam Listing for Blade Runner: Enhanced Edition now shows June 23rd as the release date for Nightdive Studios' remake of Westwood Studios' classic. This is a point-and-c...

Warning: major spoilers ahead for the "Obi-Wan Kenobi" season finale.

The season finale of "Obi-Wan Kenobi" ends on a rather emotional note, as things (kind of) come full circle for our central characters, setting them back on the paths they are meant to take moving forward. The episode's highlight is an epic final confrontation between Obi-Wan (Ewan McGregor) and Darth Vader (Hayden Christensen), paving the way for many callbacks, which, in turn, line up fairly well with the emotional arcs of the characters involved.

The episode also allows us a somewhat-more detailed glimpse into a young Luke Skywalker (Grant Feely), who does not even understand the gravity of the events that unfold around him (bless him, the poor child was terrified). Reva (Moses Ingram) embarks on a redemptive arc of sorts, although her fate from hereon out is unclear, which might be explored in greater depth in a potential spin-off with Reva at the center.

More importantly, the episode has two important cameos that add to the narrative significantly, while peppering in several Easter eggs relevant to the "Star Wars" universe as a whole. Here's a breakdown of every cameo, Easter egg, and callback in the emotionally-resonant "Obi-Wan Kenobi" finale.

A Familiar Face (Finally) Pops Up

Qui-Gon Jinn (Liam Neeson) does manifest as a Force Ghost in "Star Wars" canon, as it is confirmed in 2022's "Queen Hope" that his voice was heard by Anakin during his brutal slaughter of the Tusken Raiders. While the show sets up the possibility of Qui-Gon appearing as a Force Ghost to Obi-Wan, the latter is unable to connect to his former master due to his dwindling connection to the Force.

However, Qui-Gon appears towards the end of "Obi-Wan Kenobi," after the titular character meets a young Luke and heads towards the desert on his Eopi. Qui-Gon says that Obi-Wan is finally "ready," which might point toward the fact that he was finally confronted with his past and found his calling as a Jedi once again. Interestingly, Neeson's name does not appear in the credits, which could mean that the character was brought back with the aid of CGI and other effects.

'You Seem Agitated, My Friend'

Another solid cameo by Ian McDiarmid as Emperor Palpatine/Darth Sidious has graced our screens, as we see the actor reprise his role during his conversation with Vader. Naturally, Palpatine is as conniving and manipulative as always, asking Vader whether his vision is clear while hinting that it would be unwise for him to dwell on the past to the point of obsession. Palpatine also refers to Vader as weak, which spurs the latter to reaffirm his allegiance to his Sith master.

It's Over Obi-Wan, I Have The High Ground

There are a lot of reverse parallels to the prequel trilogy, especially in the way in which Vader attempts to burn Obi-Wan during their clash on Mapuzo. We get a glimpse of this in the comics, particularly in "Darth Vader #13" by Charles Soule, Giuseppe Camuncoli, Daniele Orlandini, and David Curiel, in which Vader has a dream about the events of Mustafar, in which he envisions himself winning.

In a deliberate reversal of roles, Vader violently clashes with Obi-Wan, splitting the Earth with the Force, making Obi-Wan fall inside the hole. There's a shot of Vader towering over Obi-Wan before he buries him under a huge pile of rocks, and this is an unmistakable reversal of the "It's over Anakin, I have the high ground" moment. However, as usual, Vader is so blinded by the idea of winning, that he underestimates Obi-Wan's ability to rise back up, and the two clash again.

Hello There, Classic Obi-Wan Stance

There are two specific callbacks with regards to Obi-Wan in this episode, one being the classic Obi-Wan fight stance that he is seen assuming many times, namely the one in which he raises his lightsaber above his head while pushing out his other hand forward. This is a great moment for the character, as this implies that Obi-Wan is finally stepping into his power, and has considerably healed his connection to the Force.

We also get a callback to the "Hello there" line uttered by Obi-Wan during his fight with General Grievous in "Revenge of the Sith." While Obi-Wan says this to Luke as a greeting, and the effect is not quite the same as the original utterance, this is still a great callback, as Alec Guinness' character also says the same to Luke when they first meet in "A New Hope."

Tala Durith's Holster

Whilst aboard Roken's ship, which is being followed by a Star Destroyer, Obi-Wan makes the difficult choice of putting his life on the life to save the lives of everyone else. This obviously means saying goodbye to a young Leia (Vivien Lyra Blair), and he asks Haja Estree (Kumail Nanjiani) to escort her safely back to Alderaan.

Leia is understandably upset, as she does not want Obi-Wan to go, but the two hug and promise to meet again someday. Obi-wan gives Leia Tala's holster as a gift, which might be the same one she is seen wearing during the Battle of Endor in "Return of the Jedi." Additionally, the holster is also a reference to Leia's costume in "Princess Leia: Age of Rebellion," and we see a young Leia wear a similar costume when she is back on her home planet.

An Iconic Moment From 'Star Wars: Rebels'

In "Star Wars: Rebels," Vader is confronted with his former apprentice, Ahsoka Tano, and there's an iconic moment in which a part of Vader's face can be seen through his broken helmet. Seeing Anakin and hearing fragments of his voice due to his failing life support system is an extremely emotional moment for Ahsoka, who stands her ground nonetheless, declaring that she won't leave him, not this time.

This scene has been recreated during Obi-Wan and Vader's fight, in which the former hits the latter's helmet (which is the reason behind Vader's head scar), revealing a part of Hayden Christensen's face in the suit. The way Obi-Wan says "Anakin" with choked emotion is similar to the way in which Ahsoka does. Vader even utters the "Then you will die" line, and this particular moment in the show is an especially emotional one (I absolutely did not start sobbing. Nope, not me).

Reaffirming Canon

There are several moments in the season finale that reaffirms canon events, especially ones that took place in the original trilogy. Older Obi-Wan's controversial statement to Luke about his father being killed by Darth Vader has always raised questions, and this is further fleshed out during the fight scene. Obi-Wan apologizes to Anakin, saying that he is truly sorry for everything. While it does seem for a moment that the person in Vader's suit is Anakin reacting to the statement, he quickly recovers and says that it was him that killed Anakin, not Obi-Wan.

This prompts Obi-Wan to say that his friend is truly dead, which adds more context to the odd framing of his reveal to Luke in "A New Hope." Furthermore, a young Luke never sees a lightsaber when Reva goes after him — uncle Owen (Joel Edgerton) tells him that the Tusken Raiders are targeting their home, and Luke is unconscious by the time Reva lights her saber. This holds up a grown-up Luke's absolute cluelessness when he holds a lightsaber for the first time (good thing he did not turn it on, there would be no "Star Wars" if he did). Luke also utters the "I am not afraid" line from the original trilogy.

Obi-Wan also bids goodbye to Leia, telling her that she can reach out to him whenever she needs help from a "tired, old man." He also clarifies that she will have to be covert about it, as it would be dangerous with the Empire growing more vigilant, which ties in neatly with her actions in "A New Hope."

Aunt Beru, Minor Easter Eggs, And More

Bonnie Piesse reprises her role as Aunt Beru and proves herself extremely resourceful when Owen tells her that Reva is coming for Luke. This further proves that it is probably best for Luke to grow up with his aunt and uncle, as they manage to hold their own against a great threat and never treat Luke like he is not their own (as it should be).

In terms of other Easter eggs, we see Obi-Wan donning the same robes that Alec Guinness is seen wearing in "A New Hope," and the goggles we see dangling around his neck are a reference to his costume in the "Star Wars" comics. We also see more Jawas, an astromech droid, and Obi-Wan using the Force to levitate rocks, like Rey (Daisy Ridley) in the sequel trilogy.

All episodes of "Obi-Wan Kenobi" are currently streaming on Disney+.

Read this next: Star Wars Movie Villains Ranked Least To Most Powerful

The post Every Star Wars Cameo, Easter Egg, & Callback in the Obi-Wan Kenobi Finale appeared first on /Film.

Our Jedi hero runs into an old friend and Darth Vader chats with familiar baddy in episode 6 of the Disney Plus show.

It has everything: comedy, murder, Helena Bonham Carter.

IMDB Rating: 6.7/10
Genre: Adventure / Family / Fantasy / Sci-Fi
Size: 1.86 GB
Runtime: 1hr 41 min

In 1865, during the siege of Richmond, Virginia, Union soldier POWs Captain Harding, Neb and Herbert escape in a balloon during a hurricane with two confederate prisoners, Sergeant Pencroft and journalist Spilett. The storm takes the balloon to a mysterious island near New Zealand in the South Pacific. Captain Harding proclaims himself leader of the group and they look for food. They discover that they are stranded on an island and soon are attacked by a giant crab that becomes their first meal. In the following days they build themselves shelter and find the island inhabited by other giant animals. One day they find two castaways on the beach: the aristocratic Lady Mary Fairchild and her sexy niece Elena. Later they find a trunk with weapons and a sextant and then they find the hut and journal of a man once marooned on the island by pirates. When pirates later return to the island, the castaways are surprised to be helped by Captain Nemo of the legendary submarine Nautilus. (Nemo -- notorious for his war against slavery -- was supposedly sunk and gone missing eight years earlier.) Finally, when a volcano threatens to obliterate their island, all must plan an escape.

In all of his creative projects, obsession stays due north for Tony Jaa. The martial artist, actor-director, and stuntman registered on mainstream radars worldwide in the Prachya Pinkaew-directed 2003 martial arts hit "Ong Bak," starring as Ting, a pensive warrior tasked to retrieve a sacred Buddhist statue after it was lifted from his Thai village by thugs. While his character tries to practice nonviolence, as a rule, Jaa's fists of fury aren't harmless; he banged and burnt himself up plenty just to get the footage needed for an entertaining thrill ride. Showcasing meticulously choreographed fights and ambitious stuntwork, "Ong Bak" grossed over $20 million on its fragile $1.1 million budget and crystallized into pop culture as one of the most lauded martial arts movies of the new millennium.

On the second go-round, star and now co-director Tony Jaa looked to diverge from the usual action template. The 2008 prequel "Ong Bak 2: The Beginning" is an amalgam of narratives, delivering its revenge-action piecemeal amid flashbacks with mystery and romance keeping things interesting. Spinning those plates in the air was both trial and alchemy for Jaa, who told Vulture:

"I want to give the audience something more, something different than they experienced from 'Ong Bak.' I wanted to make sure 'Ong Bak 2' had dimensions, a good story line and [was] packed with emotion as well as action. It is a challenge having these elements in a film, but the key to this is to keep things in balance and to have good control of the rhythms."

As production ran into trouble on "Ong Bak 2," the feature that would emerge from the delays and friction kept an emotional core of spiritual faith as strong as Ting's.

'I Think Many People Can Relate To The Concept Of Faith And Karma.'

While the epic "Ong Bak 2" had that "something more, something different" that Jaa wanted, he still adhered to a tried-and-true approach to storytelling to carry him through the rocky road to release. Thai studio Sahamongkol Films greenlit the next chapter, with Jaa picking up from prior director Pinkaew (Jaa would also write, produce, and choreograph). Nearly three-quarters of the picture was shot before a funding scuffle happened between Jaa and the studio, causing Jaa's breakdown and two-month exodus into the jungle. The police had to get involved and a co-director, famed Muay Thai choreographer Panna Rittikrai, would be installed before Jaa returned to complete production. When the film finally did release, leagues beyond its budget in December of 2008, it went on to become the second highest-grossing film of the year in Thailand.

Amid the press notes, Jaa touted a "philosophical action film" that mixed Buddhist teachings with its spinning back-kicks. "I believe it's important for an action film, regardless [of] which country it's from, to have its own philosophy to guide the story," Jaa told Vulture. "Buddhist teaching is what I believe — it's what guided me making this movie. I think many people can relate to the concept of faith and karma."

Faith and karma intersect heavily in "Ong Bak 2," which sees Jaa as a young nobleman whose hero's journey takes him down the path of righteous vengeance after his family is slain by a warlord's clan. The 15th-century warrior, Tien, racks up skills in multiple disciplines spanning regions and eras, from Japanese swordsmanship to Indian hand-to-hand combat, all unified by their most unassuming, energy-harnessing spiritual practices — a ritual dance or a chanted prayer before (and after) the blades fly.

The Best Fighting Is No Fighting

Despite having little in common narratively, both "Ong Bak" and "Ong Bak 2: The Beginning" practice what many practitioners would call an elevated form of martial arts, one that's counteractive and overcomes assailants often without fighting much at all. Several of the first film's action sequences feature the Thai warrior on the defensive, his parkour leaps and rapid-fire kicks laboring to escape from rabid opponents assigned to dispatch him. The takedowns usually happen in the "John Wick" fashion, only deployed when all other options have been exhausted. 

For Jaa, who found early inspiration in the films of Jackie Chan (whose martial arts turned fight-aversion into near-slapstick physical comedy), de-escalation and deflection are just as crucial to a martial arts tale as any flashier, more primal element. "I tried to create breathtaking and spectacular fight scenes like no other action film," Jaa said. "But the core of this film that we want to convey to audiences is that the ultimate martial arts is not beating everybody but [rather] not having to fight at all."

Where "Ong Bak" focused on the power of community and sacrifice to triumph above tragedy, its successor observes a man consumed by a mission of bloody justice. By the time Tien has cut a swath through thugs and assassins and finds the opportunity to avenge his father's death, it's not the exultant win he expected. But it's all part of the tonal and thematic balance of "Ong Bak 2" and part of Jaa's m.o. in front of and behind the camera: turning the insurmountable into a marvel.

Read this next: The 15 Best Star Wars Side Characters

The post Tony Jaa Wanted to Send a Message With His Ong-Bak Sequel appeared first on /Film.

"Unlike practically every major game console that's come before it, the Steam Deck, from PC gaming giant Valve, doesn't lock users into one ecosystem," writes Fast Company's Jared Newman. "While Valve's own Steam store is the default way to buy and play games, the Steam Deck also lets users install whatever software they want on the device's Linux-based operating system. The experience has been liberating..." From the report: In recent weeks, I've gorged on weird indie creations from itch.io, classic games from GOG.com, and free games from the Epic Games Store. I've used Plexamp to stream my personal music collection in place of in-game soundtracks, and I've used Vivaldi to browse the web in the Steam Deck's desktop mode. You don't have to use your Steam Deck this way, but just being knowing that it's an option makes the device more capable and personal. The tech industry is filled with companies that seem deathly afraid of this model, either because they don't trust their users or don't want to risk weakening their own ecosystems. By taking the opposite approach, Valve is proving that open platforms aren't so catastrophic, and it elevates the Steam Deck from yet another gadget into the most exciting consumer electronics device in years. [...] Valve could have easily used the Steam Deck to lock players into its own ecosystem. It could have opted not to include a desktop mode and withheld instructions on how to lift its read-only restrictions. It could have discouraged users from installing different operating systems and made its recovery tools unavailable to the public. Console makers have long insisted that such restrictions are necessary for the good of their platforms. In 2020, for instance, Microsoft argued that because console makers sell their hardware at or below cost to create a market for their software, they shouldn't have to accommodate third-party app stores or sideloading. Similar arguments have spilled out into the broader mobile app business as well. In response to a lawsuit from Epic Games, Apple has claimed that its investments in the App Store wouldn't be feasible if it couldn't force developers to use its in-app purchase mechanisms. Some defenders of Apple's viewpoint, such as Daring Fireball's John Gruber, have argued that iOS is more like a game console than a PC platform. So, it's all the more remarkable that Valve ignored all this hand-wringing and made the Steam Deck a haven for tinkerers. Instead of trying to shut out competitors, the company is betting that its own store will prevail on quality. If the Steam Deck successful -- as it appears to be so far -- it could upend years of conventional wisdom around walled gardens and become a threat to other consoles in more ways than one.

Read more of this story at Slashdot.

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Now signed into law, the bills aim to improve cybersecurity and collaboration on all levels of government.

IMDB Rating: 6.2/10
Genre: Action / Animation / Drama / Mystery / Sci-Fi / Thriller
Size: 1.58 GB
Runtime: 1hr 26 min

A great man, Ivan Bahn creates an underground train system (Metro) that links all of Europe with the idea that openness and mobility are the solution to the worlds problems. Then he falls to his own weaknesses. Starting in the late 1990s, though a parent company, Trexx, all people are being watched though a camera in their television then in the recent past, a new technology has evolved, "organic computer chips", which are introduced within a shampoo called Dangst and administered though the pores of the skin. These organic computer chips then create synapses to the subjects brain and using the subjects hair as antennae the human subjects brain is then directly linked to an AI surveillance and control mechanism and the human "handlers" that work there. It's hopeless as AI soon will control all of human experience and actions...or is it? There's one person, equally strong as Ivan Bahn and without his weakness "fear, sorrow, anger" that caused him to become corrupted. Will the hero fix things and bring Mr. Bahn's initial intentions into fruition? This superb film is quite difficult to understand as much is not stated explicitly but is rendered to the viewer though a careful consideration of the characters motives and connecting the clues, right down to why a child's toy of all things. Unsere "Rosebud" Vater...Sie verstehen...Wiedersehen mein Held. A "quality kill" if ever there was one.

This year marks the 50th anniversary of one of the greatest films of all time: Francis Ford Coppola's "The Godfather." Coppola's gangster epic was re-released in theaters, giving film fans the chance to see it on the big screen. "The Godfather" changed American cinema forever. Based on the popular gangster novel by Mario Puzo, the film chronicles the exploits of the Corleone crime family in the 1940s. The family's patriarch, Don Vito Corleone (Marlon Brando), begins to train his son, Michael (Al Pacino), to be his successor. Michael is corrupted by his father's influence.

Although "The Godfather" has been celebrated as a classic, its production did not go smoothly. Coppola recently noted that if he hadn't won an Academy Award for writing "Patton," he most likely would have been fired as the director of "The Godfather." The tumultuous creative process behind "The Godfather" inspired the ongoing Paramount+ streaming series "The Offer." "The Offer" explores the relationship between the producer Albert S. Ruddy (Miles Teller), Paramount executive Robert Evans (Matthew Goode), and Coppola (Dan Fogler).

In the subsequent decades, Mafia films became even more popular. Most cinephiles have seen classics like "Goodfellas" and "Pulp Fiction," but there are also many underrated gangster films that are worth checking out. Here are 20 underrated gangster movies that you need to watch.

The Outfit

"The Godfather" was praised for its incredible scale and scope, but not every gangster film needs to be an epic. The underrated thriller. "The Outfit" does a great job at setting a gangster story within a confined environment. Writer-director Graham Moore creates a claustrophobic atmosphere, which makes the gangster characters even more intimidating. Imagine the thrilling restaurant assassination scene from "The Godfather." What if that was the premise for an entire movie?

"The Outfit" is set in Chicago, Illinois, in the 1950s. The film follows lonely British tailor Leonard Burling (Mark Rylance). Burling's small store is trapped in an area controlled by the Irish Mafia. Crime boss Roy Boyle (Simon Russell Beale) sends his son, Ritchie (Dylan O'Brien), and his enforcer, Francis (Johnny Flynn), to intimidate Burling. The two gangsters tell Burling that they are going to use his shop to stash dirty money. They are part of Al Capino's crime syndicate, known by gangsters as "The Outfit."

However, Ritchie is almost killed after a brawl with a rival crime family. He returns to Burling's shop and reunites with his girlfriend, Mable (Zoey Deutch). Although Mable is employed as Burling's assistant, she wants to leave Illinois with Ritchie. When Francis arrives to investigate, he discovers that Mable is secretly an FBI informant. She only began dating Ritchie to report his crimes to the authorities. Burling is forced to negotiate the intense standoff. However, the kind-hearted shopkeeper has more secrets than anyone realizes.

The Gentlemen

British director Guy Ritchie helped to create an interesting subgenre of mob cinema. Ritchie's early films, including "Lock, Stock, and Two Smoking Barrels" and "Snatch," are set in the underground London crime scene. Ritchie later began to stray away from this genre and started directing mainstream Hollywood blockbusters. He stepped behind the camera to direct "Sherlock Holmes," "Sherlock Holmes: A Game of Shadows," "The Man From U.N.C.L.E.," "King Arthur: Legend of the Sword," and the live-action remake of "Aladdin."

Ritchie finally returned to his roots with the gangster comedy "The Gentlemen." "The Gentlemen" is Ritchie at his best. The story starts fairly straightforward but becomes very complicated when all of the characters start double-crossing each other. Ritchie makes the confusing nature of the story a running joke. At some points, the characters stop what they are doing, and try to figure out what is going on.

"The Gentlemen" is framed around an interview between enforcer Raymond Smith (Charlie Hunnam) and eccentric tabloid journalist Fletcher (Hugh Grant). Fletcher's boss, Big Dave (Eddie Marsden), orders him to investigate Raymond's connection to Oklahoma crime lord Mickey Pearson (Matthew McConaughey). Pearson and his wife, Rosalind (Michelle Dockery), have acquired a marijuana plantation. They plan on using it to fund their retirement. Although Chinese gangster Dry Eye (Henry Golding) approaches him to broker an alliance, Pearson refuses. Raymond must protect his employer from assassins.

The Gambler

"The Gambler" is one of the most essential gangster films of the 1970s. James Caan stars as Axel Freed, an English professor who gets in over his head after he racks up significant gambling debts. Axel is targeted by gangsters. It's a powerful examination of the consequences of greed and the addictive nature of gambling. It is only natural that fans would be skeptical about remaking such an iconic film. However, Rupert Wyatt's 2014 remake does a great job reframing the story in a modern context.

Mark Wahlberg steps into the lead role of Jim Bennett. like Axel, Jim is a college literature professor with significant gambling problems. Jim delivers eccentric lectures about Shakespeare's authorship in his classroom. He takes an interest in a quiet girl named Amy Phillips (Brie Larson), who is easily the brightest student in his class. Amy is surprised by Jim's kind words. She soon realizes that he is hiding something. During her shift working at a casino, Amy watches Jim lose almost all of his money. Jim must convince his mother, Roberta (Jessica Lange), to bail him out.

Wahlberg gives one of the most nuanced performances of his career. Jim is not an entirely likable character. He takes advantage of both Amy and his mother. However, Jim is humbled by his experience. He realizes how gambling has destroyed his life and seeks to make amends with Amy.

Made

Long before he became the director of blockbusters like "Iron Man" and "The Jungle Book," Jon Favreau began his career making independent films. After his screenplay for the romantic comedy "Swingers" became a hit, Favreau stepped behind the camera for a small-scale directorial debut. Favreau wrote, directed, and starred in the 2001 gangster comedy, "Made." He reunited with his "Swingers" co-star, Vince Vaughn.

Favreau gives one of the most empathetic performances of his career. Bobby Ricigliano is a former Mafia associate who is trying to make an honest living. Bobby wants to stay out of the dangerous crime scene so that he can take care of his young daughter, Chloe (Mackenzie Vega). He is barely able to provide for her and even takes a side job as an amateur boxer. Bobby is wary of his best friend, Ricky Slade (Vince Vaughn). Ricky is employed by Mex Reuben (Peter Falk), the most powerful crime boss in the area.

Max assigns Ricky and Bobby to negotiate a money-laundering deal in New York. They are dispatched to meet with Max's associate, Ruiz (P. Diddy). Bobby insists that this will be his last job. However, Ricky starts to get them into trouble. He can never keep his mouth shut. This infuriates Bobby. Favreau and Vaughn have hilarious chemistry, and it is clear that they are lifelong friends. Even though Bobby cares for his best friend, Ricky always seems to find a way to get under his skin.

Serpico

"The Godfather" franchise isn't Al Pacino's only contribution to the gangster movie genre. In between the first two "The Godfather" films, Pacino appeared in the masterful 1973 thriller "Serpico." He received an Academy Award nomination for best actor. Detective Frank Serpico is the polar opposite of Michael Corleone. Serpico is a straight-laced cop who is caught in a corrupt world. Many crime films from the 1970s have not aged well. However, "Serpico's" commentary about police brutality, racial discrimination, and systematic corruption is even more relevant today than it was when the film was first released.

"Serpico" is based on a true story that inspired the book of the same name by Peter Maas. Legendary crime movie auteur Sidney Lumet stepped behind the camera and focused on Serpico's secret investigation into the NYPD. The NYPD has been covering up the misconduct of many officers, shielding them from any consequences. Serpico becomes furious. He is shocked to see his fellow cops beating up poor citizens on the streets. However, Serpico is overwhelmed by the extent of the NYPD's criminal ties. He realizes that he is fighting against an entire system.

"Serpico" features one of Pacino's strongest roles. Serpico's anger is justified, but he is not an idealist. The pivotal flashbacks of Serpico's training show how much he learns after joining the force. He is forced to watch his fellow officers manipulate the law.

The Counselor

Many of the greatest gangster movies of all time are inspired by iconic pieces of literature. While "The Counselor" is not based on a book, it was written by acclaimed author Cormac McCarthy. McCarthy has written such classics as "No Country For Old Men," "The Road," and "Blood Meridian." "The Counselor" is about as unusual as gangster movies can get. Although it was marketed as a fast-paced action thriller, it is really an arthouse film. Neither McCarthy nor director Ridley Scott has been given enough credit for the risks that they took making this unique film.

"The Counselor" looks at the aftermath of a drug deal gone wrong. It shows how greed can lead to unintended consequences. Michael Fassbender stars as an unnamed lawyer, known only as "the Counselor." This enigmatic counselor plans to get engaged to his girlfriend, Laura (Penelope Cruz). He purchases an expensive diamond as an engagement present for her. However, the Counselor's diamond supplier, Reiner (Javier Bardem), has ties to the drug cartel. Reiner's girlfriend, Malkina (Cameron Diaz), steals a shipment from the cartel. After proposing to Laura, the Counselor receives word from Reiner's associate, Westray (Brad Pitt), that the cartel thinks that he is involved.

The dialogue in "The Counselor" is very unusual. There are often random, wide-ranging conversations that seemingly have no bearing on the actual plot. McCarthy shows the materialistic nature of these selfish characters. Despite his reputation as a successful lawyer, the Counselor is self-obsessed and cowardly.

Motherless Brooklyn

New York City is a popular setting for gangster movies. Jonathan Lethem's 1999 neo-noir novel, "Motherless Brooklyn," explores the history of New York and how various crime families influenced the creation of the city's modern infrastructure. Although it shows how this systematic corruption began, "Motherless Brooklyn" is a love letter to New York. It shows both the ugliness and beauty of the city. Edward Norton adapted Lethem's novel into a 2019 film of the same name. Although the novel is set during the present day, Norton's film moves the setting to the 1950s. This made "Motherless Brooklyn" feel like a classic mystery film.

Norton wrote, directed, and stars in the film as aspiring private eye Lionel Essrog. Lionel has Tourette syndrome and OCD and has struggled to be socially accepted. However, tenderhearted detective Frank Minna (Bruce Willis) is charmed by Lionel's eccentricities. He allows Lionel to join his detective agency. Frank is Lionel's hero. During a meeting with a client that turns violent, Frank is shot and killed. Lionel devotes himself to finding Frank's killers and who they are working for.

Lionel's investigation leads him to public official Moses Randolph (Alec Baldwin). Moses has been working to undermine the work of the mayor's office. As Lionel follows Frank's clues, he meets protestor Laura Rose (Gugu Mbatha-Raw). They begin to fall in love. At the end of the film, Lionel learns that Laura is actually Moses' daughter.

The Great Muppet Caper

How do you make the gangster genre feel fresh again? It is simple. Just add the Muppets. 1981's "The Great Muppet Caper" is the second theatrically released film in "The Muppets" franchise. Unlike 1979's "The Muppet Movie," "The Great Muppet Caper" does not take place within the context of "The Muppet Show." The Muppets are placed in a London jewel heist and interact with criminals, gangsters, and thieves. It works as a hilarious gangster movie parody. 

In "The Great Muppet Caper," Kermit the Frog, Fozzie Bear, and Gonzo the Great are all employed as journalists for The Daily Chronicle newspaper. As you might expect, they get into a lot of shenanigans while they are working. The Daily Chronicle editor Mark Tarkanian (Jack Warden) sends the Muppets to travel to London to investigate a bank robbery. When Kermit goes to interview fashion designer Lady Holiday (Diana Rigg), he meets Miss Piggy, who is working as Holiday's assistant. Piggy poses as Holiday and goes on a date with Kermit. Meanwhile, the real Holiday's necklace is stolen by her brother Nicky (the later great Charles Grodin). Nicky blames Piggy for the crime, and the Muppets have to clear her name.

The Cotton Club

"The Godfather" isn't the only gangster movie classic that Francis Ford Coppola directed. Coppola also helmed the 1984 biographical crime film "The Cotton Club." Unfortunately, "The Cotton Club" failed to land with the same impact as "The Godfather." The film underperformed with critics and audiences, and Coppola didn't even get the chance to release his director's cut until 2019. It deserves to be ranked among his best films. "The Cotton Club" perfectly captures the Harlem jazz scene in the 1930s. While there is an old-fashioned charm to Coppola's methodical pacing, the film does not feel antiquated in the slightest.

"The Cotton Club" follows the rise and fall of the titular nightclub. Richard Gere stars as Dixie Dwyer, an aspiring trumpet player and former Mafia henchman. Dwyer wants to leave his past behind him and commit himself entirely to music. Dwyer's neighbor, Sandman Williams (Gregory Hines), introduces him to the Cotton Club. Dwyer feels right at home, even though he is one of the only white men who frequents the club.

However, Dwyer's rise to prominence in the club sparks unintended consequences. His success in Hollywood draws the attention of the Jewish-American gangster Dutch Schultz (James Remar). Dwyer is drawn into the conflict between the Jewish and Irish mobs when his brother, Vincent (Nicolas Cage), starts working for Schultz.

Our Kind Of Traitor

Novelist John le Carre is best known for his contributions to the espionage genre. Le Carre's books have inspired many great films such as "The Constant Gardener," "Tinker Tailor Soldier Spy," "A Most Wanted Man," and "The Spy Who Came In From The Cold." "Our Kind Of Traitor" is set within the world of modern espionage but does not center on experienced spies. The book chronicles the adventures of literature professor Perry MacKendrick, who negotiates an intense standoff between MI6 and a band of Russian gangsters. Perry's unique perspective makes "Our Kind Of Traitor" feel distinct among Le Carre's many spy books. Susanna White directed an adaptation of the story in 2016 that retains the novel's interesting spin on the genre.

Ewan McGregor develops Perry's marital hardships. After having an affair with one of his students, Perry takes his wife, Gail (Naomie Harris), on a vacation to rekindle their relationship. During their extended stay in Morocco, Perry befriends Russian gangster Dima (Stellan Skarsgaard). Unlike other Le Carre adaptations, "Our Kind Of Traitor" has a sense of humor. Given their completely different backgrounds, Perry and Dimas' relationship is amusing.

Dima wants to ensure the safety of his family. He is willing to hand over potentially consequential knowledge to protect his children. Perry doesn't know anything about spy-craft, but he agrees to hand over a USB drive to MI6. After MI6 begins an investigation based on the information, Perry volunteers to deal with Dima.

Hot Summer Nights

The world of gangsters does not seem like it would be a good setting for a coming-of-age film. While combining the two genres may be unusual, the film "Hot Summer Nights" blends them. The perspective of an adolescent character gives the film a unique angle from which to approach the Mafia world. Young people are already going through a lot — having to deal with gangsters makes things even more complicated.

Timothee Chalamet is frequently cast in coming-of-age films, but his character Danny Middleton isn't quite as charismatic as "Lady Bird's" Kyle Scheible or "Call Me By Your Name's" Elio Perlman. Danny is aimless and lacks confidence. He can't stand up for what he wants, but at the same time, he doesn't have any long-term goals. Although Danny plans to just sit around during his family's summer trip to Cape Cod, he finds a surprising new profession: dealing drugs. Danny begins selling marijuana for the local dealer, Hunter Strawberry (Alex Roe).

Danny's real intention is to get closer to Hunter's sister, MaKayla (Maika Monroe). As he becomes infatuated with MaKayla, Danny rises in Hunter's gang. He doesn't realize the danger that he is in. Unbeknownst to his supplier, Dex (Emory Cohen), Danny begins selling cocaine. This takes the film in a dark direction. Dex seeks revenge on both Danny and Hunter. Hunter is forced to protect Danny to ensure his sister's safety. The ambiguous finale ends the film on a solemn note.

Legend

There aren't many gangsters in history quite as eccentric as the Kray twins. Reggie and Ronald Kray were identical brothers who ran an organized crime syndicate in London for almost two decades. Tom Hardy stars as both of the Krays in the 2015 biographical thriller, "Legend." Playing two identical characters could have easily been a gimmick, but Hardy develops both of the Krays into distinct characters. It's an acting showcase for Hardy. He has to interact with himself for an extended amount of time. His ambitious performance elevates the film.

Ronald and Reggie have been working together for their entire lives, but they still end up arguing about the same things. Ronnie accuses Reggie of being selfish and indecisive. Reggie worries about Ronnie's fearsome rage. Despite their arguments, the Kray brothers begin to make a name for themselves in the London underground. To sustain their future within the business, the Krays take control of a nightclub. Reggie falls in love with his driver's sister, Frances Shea (Emily Browning), and asks for her hand in marriage.

After Reggie is sent to prison, everything falls apart. Ronald becomes unpredictable without his brother's guidance. Despite their bickering, the Krays are able to revitalize their business and even attract the attention of the American Mafia. Philadelphia crime boss Angelo Bruno (Chazz Palminteri) offers to help expand their operation. This only lands them in deeper trouble, as Ronnie's murderous streak sparks an investigation from Scotland Yard.

The Grifters

Stephen Frears' 1990 film, "The Grifters," is one of the best depictions of con artists in cinema. Putting on different personas comes at a personal cost. The characters become lost in the people that they are pretending to be, and have difficulty defining their identities. Although many films about deception such as "Dirty Rotten Scoundrels" and "The Sting" take a comedic spin on con artists, "The Grifters" takes its subject material very seriously.

The stakes of "The Grifters" are personal. Lifelong swindler Lilly Dillon (Angelica Huston) has not seen her son, Roy (John Cusack), in almost a decade. Although they have never been close, Roy has fallen into the same line of work as his mother. A con gone wrong lands him in the hospital, where he almost bleeds to death. Lilly brings her son to safety. However, she has her doubts about Roy's girlfriend, Myra Langtry (Annette Bening). Her suspicions are proven correct. Myra is also a swindler. She attempts to entice Roy into joining her next scheme. They get caught up in a criminal conspiracy involving the FBI.

The relationship between Lilly and Roy is absolutely heartbreaking. Roy is destined to make the same mistakes that his mother did. Lilly does not realize the ramifications of her actions until the very end. Unfortunately, it is already too late for Roy. The somber ending closes the film in a grim yet realistic way.

A Most Violent Year

While there are a lot of entertaining gangster films, most of them do not depict the Mafia in a very realistic way. Real-life is rarely as exciting as the movies. The most authentic crime films are the ones that show the gradual escalation of events. J.C. Chandor's 2014 film, "A Most Violent Year," examines how a good man is systematically corrupted over time.

Abel Morales (Oscar Isaac) holds on to his hopes of being the only good man in a corrupt town. Unfortunately, this isn't possible in New York during the 1980s. Abel and his wife, Anna (Jessica Chastain), run an independent heating oil business. Their trucks are constantly hijacked by mob-connected thieves. Anna realizes that the only way to protect their business is to break a few laws, but Abel refuses to accept reality. As Anna works behind his back to defend their business, Abel is investigated by the ambitious assistant district attorney, Lawrence (David Oyelowo).

Light Sleeper

Martin Scorsese's name is synonymous with the crime movie genre. Scorsese's" Taxi Driver" screenwriter, Paul Schrader, is a great filmmaker in his own right. Like his frequent collaborator, Schrader often creates disturbing neo-noir films about the addictive nature of crime. 1992's "Light Sleeper" bears many similarities to Scorsese's classic films, but it does not tread familiar territory. Schrader takes a look at how difficult it is for a criminal to go straight.

John Le Tour (Willem Dafoe) is a drug dealer for high-end clients. John's stressful line of work takes a toll on his mental health. After briefly reuniting with his ex-wife, Marianne (Dana Delany), John decides to turn things around. Unfortunately, it is already too late. After an overdose, Marianne stumbles to her death.

John's only real relationship is with his supplier, Ann (Susan Sarandon). Although he allows himself to hold out hope that Ann will help him leave his past behind, John is investigated by the police. He is denied that closure that he seeks more than anything.

White Boy Rick

If "White Boy Rick" wasn't based on a true story, it would seem like one of Hollywood's craziest movie premises ever. The film chronicles the life of the youngest FBI informant in history, Richard Wershe Jr. (Richie Merritt). Rick was already a drug dealer, gangster, hustler, and rat before he reached his 15th birthday. Although Rick's rise to prominence is initially amusing, he is forced to face the consequences of getting involved with the mob.

"White Boy Rick" paints Rick's situation in a sympathetic light. His family lives in the slums of Detroit. Despite the hard work of Rick's father (Matthew McConaughey), they can barely make ends meet. At first, Rick starts selling drugs to provide for his family. The mob takes advantage of his ignorance. In real life, Richard Wershe Jr. spent the majority of his youth in prison. The film does not shy away from the dark ending of his story.

Gangster Squad

Who says that every gangster film needs to be serious? 2013's "Gangster Squad" may not be very realistic, but it sure is fun to watch. The film plays fast and loose with the facts. It was inspired by the real investigation by the Los Angeles Police Department into gangster Mickey Cohen (Sean Penn). To prevent Cohen from expanding his operation, LAPD Sergeant John O'Mara (Josh Brolin) puts together an elite group of cops.

Nicknamed the "Gangster Squad," O'Mara's team leaves their badges at home. They earn a reputation for being ruthless. O'Mara is already well-versed in violence. He is still traumatized by his military service in World War II. O'Mara bonds with his second-in-command, Sergeant Jerry Wooters (Ryan Gosling), over their shared experiences. Although Brolin and Gosling deliver grounded performances, Penn goes completely over the top. Cohen risks turning into a caricature, but Penn reigns himself in just enough to fit the tone of the film.

King Of New York

Christopher Walken is one of the most beloved character actors of all time. Even when he appears in a film for just a few moments, Walken is always memorable. He steals all of his scenes in classics like "Pulp Fiction," "Batman Returns," and "Catch Me If You Can." This doesn't mean that Walken is exclusively a supporting actor. He delivers a heartbreaking lead performance in Abel Ferrara's 1990 gangster film, "King of New York." 

Walken stars as drug lord Frank White, who has just been released from prison. Frank travels back to New York City to rebuild his empire. He discovers that the city has changed radically since he last visited. The streets are overrun with crime. Frank decides to change his ways and begins working for the city's people. However, the new generation of drug lords that replaced Frank don't share his goals. Frank is forced to defend himself from a younger class of criminals.

Trespass Against Us

The consequences of the gangster lifestyle can affect multiple generations of the same family. The 2016 independent gangster thriller, "Trespass Against Us," follows the trials and tribulations of a family caught up in their criminal past. Chad Cutler (Michael Fassbender) was raised to become a gangster. His father, Colby (Brendan Gleeson), considers it their family's legacy. Chad doesn't want his son to have the same experiences and tries to go straight.

This forces Chad to confront his father, who does not take kindly to his decision. Although Chad hopes that he can part with his father on good terms, he realizes that Colby will stop at nothing to control his grandson. Chad is forced to confront the harsh truth about his life. Even though his father is ruthless and violent, his actions are seemingly out of love. Chad wrestles with the feelings of guilt and confusion that he has felt ever since he was a child.

Romper Stomper

Gangster films rarely lionize the profession, but many of them are easy to misinterpret. You have to slightly empathize with characters like "The Godfather's" Michael Corleone or "Goodfellas's" Henry Hill to enjoy those films. This is not the case with 1992's "Romper Stomper." This Australian crime thriller follows a violent group of neo-Nazis that defend their territory. Instead of showing empathy for these detestable characters, "Romper Stomper" explores how fascism begins.

"Romper Stomper" features an early performance from Russell Crowe in what would become his breakout role. He has never been more terrifying. Crowe captures the animalistic rage of the skinhead Hando. Hando clings to his radical beliefs — even when it is clear that he needs to evolve to survive. His neighborhood is changing, and the police are finally cracking down on hate crimes. Sadly, the themes of "Romper Stomper" are just as relevant today as they were in 1992. Hando is raised in an environment of hate. He doesn't know how to do anything else.

Read this next: The 23 Best Heist Movies Of All Time

The post 20 Underrated Gangster Films You Need to Watch appeared first on /Film.

An anonymous reader quotes a report from BleepingComputer: Security researchers found that Adobe Acrobat is trying to block security software from having visibility into the PDF files it opens, creating a security risk for the users. Adobe's product is checking if components from 30 security products are loaded into its processes and likely blocks them, essentially denying them from monitoring for malicious activity. [...] In a post on Citrix forums on March 28, a user complaining about Sophos AV errors due to having an Adobe product installed said that the company "suggested to disable DLL-injection for Acrobat and Reader. Replying to BleepingComputer, Adobe confirmed that users have reported experiencing issue due to DLL components from some security products being incompatible with Adobe Acrobat's usage of the CEF library: "We are aware of reports that some DLLs from security tools are incompatible with Adobe Acrobat's usage of CEF, a Chromium based engine with a restricted sandbox design, and may cause stability issues." The company added that it is currently working with these vendors to address the problem and "to ensure proper functionality with Acrobat's CEF sandbox design going forward." Minerva Labs researchers argue that Adobe chose a solution that solves compatibility problems but introduces a real attack risk by preventing security software from protecting the system.

Read more of this story at Slashdot.

The Mass Effect Community Patch Team has released a brand new update for the first Mass Effect game of the Legendary Edition. This unofficial/community patch aims to fix and resolve numerous issues that plagued the remaster (and that Bioware hasn’t addressed yet). Community Patch 1.3 allows players to toggle helmets when accessing the Squad screen … Continue reading Mass Effect Legendary Edition Community Patch 1.3 released & detailed →

The post Mass Effect Legendary Edition Community Patch 1.3 released & detailed appeared first on DSOGaming.

Haitian voodoo collides with The Sisterhood of the Traveling Pants. ERZULIE isn’t exactly that but it’s the story of four women who get together for a vacation and come across a mermaid priestess. In legend, Erzulie Dantor is a protector of women, children, and those less fortunate. In this film, Erzulie (Leila Anastasia Scott) arrives to protect our four protagonists: Fay (Zoe Graham), Wendy (Courtney Olivier), Violet (Elizabeth Trieu), and Allison (Haley Raines).

Shot over the course of 12 days on a small budget, it might seem difficult to create a voodoo mermaid movie, but ERZULIE doesn’t heavily rely on special effects shots but instead uses practical effects in order to tell its story. The end result of that isn’t so much a mermaid film as it is a film about a powerful protector of women. (More Ariel with legs than Ariel with fins and a shell bra.) It lends a feminist message to the piece, which I’m sure is what first-time director Christine Chen wanted when she co-wrote the film with Camille Gladney.

Opening on a Louisiana resort in a great scene that will have people thinking about Jaws, the story picks up after the death of a resort guest while he and some friends were relaxing in the waterways of the resort. This was an excellent way to jump into a debut director’s film. Unfortunately, the first act of the film slows the pacing so that we can meet our four protagonists and understand why each needs the vacation. Fay, in particular, is in a relationship gone sour.

What accentuates the slow pacing of the first act is the lighting. Not only does the film rely on a lot of dialogue and exposition dumping in order to get to the action and voodoo, but all of the night shots are poorly lit, making it as difficult to see as that “Game of Thrones” episode from the last season everyone complained about. Not being able to see much while also having to listen to so much dialogue was rough.

What carries the first third of ERZULIE is its acting. All four women are stellar as is Jason Kirkpatrick who plays Rhett, the resort owner’s son who serves as a villain in the story, dumping toxic waste into the waters of Louisiana. There is a cartoonishness to his performance, but it’s fun to watch. On the other end of the spectrum is Alexander Biglane who plays Fay’s boyfriend. His performance is also cartoonish but it’s so over the top and dramatic that it comes off as if he’s auditioning for a daytime soap opera. He doesn’t have much screen time, but it was at that point that I wish this film had more time to get made. 12 days just doesn’t feel like enough time to get all of the best takes needed.

Of everyone in the film, Leila Anastasia Scott truly stands out, not just in her voodoo priestess makeup, but in her performance of the character. In nearly every scene, I felt uneasy and unsure of what she would do next. The way she talks through her clenched jaw, her piercing stares, and the confidence that she brings to the character of Erzulie steals the show.

Her arrival helps pick up the pacing of the film and gives this story of feminine heroism a strong identity while also playing into environmental issues since she is a creature of water and the resort has been dumping toxic waste. These big ideas do get a bit lost in my opinion, thanks to the lack of lighting to be able to see still. It ultimately becomes ERZULIE’s biggest problem, but I can’t fault Chen as a director with a small budget for that.

As a director and writer, she has created some strong characters with really fun elements based on legends that aren’t often used in film. It’s obvious that the film was shot quickly, but she was able to make a film that looked nice when it was daytime and pulled some fun performances out of her cast. I’d love to see more of her vision on future projects and hopefully, she’ll get more time with a bigger budget.

ERZULIE is now available On Demand.

The post [Movie Review] ERZULIE appeared first on Nightmarish Conjurings.

In 1997, Werner Herzog's made a documentary film called "Little Dieter Needs to Fly." The film told the true story of Dieter Dengler, a German soldier (only a few years Herzog's senior), who emigrated to the United States, joined the Air Force, and who was shot down over the jungles of Laos during the Vietnam War. "Little Dieter" follows Dengler, years later, back into the jungles of Laos and of Thailand to find the sites where he crashed and where the Pathet Lao handed him over to the North Vietnamese. Throughout the documentary, Dengler told stories of his torture in a prisoner of war camp, his near starvation, and eventual escape. He survived. 

Years later, in 2001, Dengler was diagnosed with ALS and tragically took his own life. Herzog understood how marked Dengler was by his horrifying wartime experience, saying in "Little Dieter" that "Men are often haunted by things that happen to them in life, especially in war ... Their lives seem to be normal, but they are not."

Still fascinated and moved by Dengler's story, Herzog would make "Rescue Dawn" in 2006, a fictionized remake of "Little Dieter" starring Christian Bale as Dengler, and shot in the Thai jungles nearby Dengler's actual crash site. Herzog, notoriously a stickler for authenticity, wanted the actors' experience to seem just as harrowing as Dengler's might have been, and he asked his cast to lose a great deal of weight to approximate their starvation. When it came to Dengler's meager diet, Herzog wanted that to be authentic too.

Bale, in a 2019 interview with GQ, revealed that one of the film's more harrowing moments was, in fact, not all that harrowing. Eating maggots and offal was no big thing for him.

He Wants To Be Present

Recalling working on "Rescue Dawn," Bale says Herzog was eager to join his actors in some of the film's more difficult scenes to the point where he would often get on camera and ruin the shot: 

"He loves doing whatever he's asked you to do, even if it's unnecessary and even if he gets into the shot. So, like, if we were tumbling down these rapids, there'd be Werner there and then Peter the cameraman would go, 'Werner, you were in the shot.' But Werner wanted just to be there alongside us. He loves to be really present and right there and not ask people to do something that he wouldn't do himself."

Rumors had been circulating about how, during "Rescue Dawn's" production, Herzog, along with his actors, had to eat real maggots on camera (recalling Dengler's own diet while being held prisoner). Bale had to dive into a bowl of maggots and offal on camera, and Herzog offered to eat some first. Bale, in the GQ interview, revealed that he was so enthusiastic, his co-stars Steve Zahn and Jeremy Davies ended up being intimidated by his commitment. It made Bale laugh and it wrecked the take:

"One of the best memories I have of being in the jungle is looking at [Zahn's and Davies'] faces as I'm tucking into a bowl of live maggots and pig offal. And I'm just jamming it in my mouth and seeing them look, knowing that the camera's coming round on them next and they're going, 'Does that mean we've got to do it?' It was great. I couldn't stop laughing. The shot actually ended up getting ruined because I was busting up."

Herzog Would Have Done It

Herzog had already confirmed as much in the Hollywood Reporter three years earlier and addressed the rumors that he, too, ate maggots. It turns out that Bale didn't need to see his director do it first. As Herzog tells it, not only did he lose a great deal of weight along with his cast, but was also perfectly willing to eat maggots as well. Herzog, however, did not actually do it.

"Well, it's a real story because, as a director, I would never demand anything from an actor that I would not be willing to do myself. Christian was almost starved to death in the film — he had lost 65 pounds. I said to him, 'Christian, you know, in solidarity, I'm losing half the amount.' I lost over 35 pounds. So he had to eat a bowl of wriggling live maggots and I said to him, 'Give me the spoon, I'll eat them first' and he said, 'No, no, no, you don't have to do it, just let's get over with it, turn on the camera,' and he started to eat. But I would have done it, of course."

Given that this is a director who once filmed next to an erupting volcano, and infamously trekked into the jungle to actually haul a real boat over a land mass for the production of "Fitzcarraldo," one can easily believe that Herzog would happily have eaten a bowl of maggots in solidarity. 

"Rescue Dawn" may be one of the better films of 2006, and can currently be seen on a variety of streaming services, including Prime Video, the Roku Channel, Tubi, Fubo, and Kanopy. 

Read this next: /Film's Top 10 Movies Of 2021

The post Eating Maggots In Rescue Dawn Was A Breeze For Christian Bale appeared first on /Film.

The Fall Guys Website announces the promised "free for all" era is now underway in Fall Guys: Ultimate Knockout, the battle royale platformer. This is for all platforms, and the Windows edition of...

Video game technology has come a long way in the past few decades, and video games have become a more respected art form unto themselves. Fans of horror movies can now find ways to enjoy their favorite scary stories in another medium, with games based on movies like "Evil Dead: The Game" and "Alien: Isolation" serving as a totally new terrifying experience for even the most jaded horror fan. Some games aren't quite as obvious about their horror inspirations, however, choosing to keep them a little bit closer to the chest. I've collected 10 of the very best video games for horror movie fans of every type, from the slasher film die-hards to fans of haunted house horrors, and paired each one with a movie that shares the same themes, visuals, or story. Grab your flashlight and some extra batteries, and let's dig into ten of the scariest, most cinematic horror games of all time.

Resident Evil 7: Biohazard / The Texas Chain Saw Massacre

Fans of Tobe Hooper's 1974 slasher classic "The Texas Chain Saw Massacre" have several options when it comes to finding a game that fits their tastes, including a brand new "Texas Chain Saw" game coming out in 2023. But there's already a perfect game for scratching that particular itch, and it's "Resident Evil 7: Biohazard." The 2017 addition to the "Resident Evil" franchise took the series in a new direction, returning to its survival horror roots while adding a more cinematic element. In "Resident Evil 7," players take on the role of Ethan Winters, searching through a crumbling plantation house in a Louisiana swamp for his missing wife. Part of what makes "Texas Chain Saw" so scary is the degradation of the characters' surroundings, forcing them to question what kind of family could live in such conditions. As Ethan starts meeting the plantation's inhabitants, the Baker family, they reveal themselves to be mutants, infected by a fungus. The Baker family were already pretty disturbed to begin with and mirror the Hewitt family of "Texas Chain Saw," right down to the creepy chats at the kitchen table. 

Unlike some of the previous "Resident Evil" entries, "Biohazard" focuses on the "survival" aspect of survival horror, forcing players to hide from enemies they simply cannot defeat and use more creative tactics to endure. Instead of vast hordes of zombies, "Biohazard" focuses on only a small handful of villains and uses its location to heighten the scares. It's "Louisiana Chain Saw Massacre," essentially, and it's just as scary as the film that inspired it. 

Outlast / The Blair Witch Project

While re-creating found footage horror in an interactive format might sound impossible, the 2013 game "Outlast" does a pretty impressive job. Fans of the 1999 found footage classic "The Blair Witch Project" will find a lot to love about "Outlast," which follows a freelance investigative journalist named Miles who explores Mount Massive Asylum in the mountains of Colorado in an attempt to uncover what happened there. He ends up discovering a whole slew of murderous patients and must take extreme measures to survive. Miles is an awful lot like the student filmmakers of "The Blair Witch Project," who explore the Maryland woods to look into the local legend of the Blair Witch. 

In "The Blair Witch Project," the audience can only see what's lit by things within the scene, like the sun or flashlights. "Outlast" mimics this by using a night vision setting on Miles' camcorder to allow the player to see what's going on in the dark, including the various enemies that might be hiding. "Outlast" is a survival game that doesn't rely heavily on combat, forcing the player to sneak their way through the levels if they want to survive. The game takes heavy inspiration from found-footage horror cinema in general, using jump scares and the pitfalls of technology (like running out of batteries) to really sell the scares. Fans of "Blair Witch," "Quarantine," "REC," and others are sure to find something to love here. The game has spawned two sequels, "Outlast 2," and "The Outlast Trials," the latter of which is due to be released later this year.

Dead Space / Event Horizon

Outer space is terrifying for many reasons, and films like "Alien" and "Event Horizon" have used it as a setting to incredible effect. Fans of extraterrestrial horror will certainly appreciate "Dead Space," a video game in which players must survive as an engineer aboard a massive space colony used to extract resources from the planet below. Unfortunately the extraction colony has been overrun by mutated horrors that worship an alien artifact, and the player is armed only with engineering tools to fight them. While "Outlast" mimics some of the aesthetic of the "Alien" franchise, it ultimately feels closer to Paul W.S. Anderson's "Event Horizon" because the creatures of "Outlast" aren't parasites looking for incubators — they're infected looking for others to mutate. The mind becomes lost along with the body, and it taps right into the existential hell of "Event Horizon." 

"Dead Space" has inspired multiple spin-offs, including a remake of the original game that's set to release in 2023. 

Bloodborne / Brotherhood Of The Wolf

Historical horror can be a lot of fun, and Christophe Gans' 2001 French-language film "Brotherhood of the Wolf" uses its 18th-century setting to create a scary story that's as beautiful as it is brutal. The film follows a pair of investigators trying to find the mythical "Beast of Gévaudan," which has been terrorizing the countryside and has left hundreds of people dead. The creature turns out to be controlled by a religious cult, and the duo realize there is much more to fear than just the Beast. "Brotherhood of the Wolf" is a creepy, sensuous story with a setting that is at once luxurious and rotting. 

Similarly, the 2015 FromSoftware game "Bloodborne" is set in the Gothic, Victorian-inspired city of Yharnam, where the player's character must try to determine the source of a blood-borne (get it?) disease that turns them into monsters. The weapons in the film and game are similar: Mostly swords, knives, and flintlock pistols, though there are a few fun fancy fantasy weapons in both. "Bloodborne" is inspired by the words of horror authors like H.P. Lovecraft and Bram Stoker, turning cosmic horror into something more palatable for 21st century audiences. If you want to fight unique, terrifying monsters in a Gothic setting by the light of the moon, "Bloodborne" is the game for you. 

Fatal Frame II: Crimson Butterfly / A Tale Of Two Sisters

Southeast Asian horror experienced a massive popularity boom in the United States in the late 1990s and early 2000s as films like "Ringu" and "Ju-On: The Grudge" were remade for American audiences. In 2003, two of the best horror ghost stories ever made into visual media were released: The Korean horror film "A Tale of Two Sisters," and the Japanese video game "Fatal Frame II: Crimson Butterfly." Both follow a pair of young sisters as they try to unravel the mysteries inside an old, haunted house, leading to horrible revelations about their families and personal histories. In "A Tale of Two Sisters," a teenage girl is having problems related to shock after the death of her mother. She moves into a secluded countryside estate with her younger sister, father, and stepmother, but soon she begins seeing the ghost of her dead mother (and worse). 

The PlayStation 2 game "Fatal Frame II" follows twin sisters who visit their favorite childhood place to play in an abandoned village before it's washed away by the construction of a new dam. The twins discover spirits throughout the village, including the mysterious Twin Shrine Maiden who was sacrificed in vain many years before. Unlike many horror games, the player doesn't have any weapons and cannot really fight the ghosts — they can only use the "Camera Obscura," a special camera, to capture images of the ghosts and eventually contain them. It's often impossible to even see the ghosts without the camera, which makes the game that much more terrifying. The first "Fatal Frame" had a meandering story that lost many of its players, but the second took hints from the films of the time to make a much more compelling mystery. If you like "The Ring," "The Grudge," "A Tale of Two Sisters," "The Eye," or just about any other Southeast Asian ghost story from the early aughts, make sure to check out "Fatal Frame II."

Condemned: Criminal Origins / Se7en

Media based on serial killers is almost always popular, interesting fans of both true crime and realistic psychological horror, but sometimes the most compelling serial killer stories are fictional. David Fincher's 1995 crime classic "Se7en" follows two detectives on the hunt for a fictional serial killer they call John Doe. Doe tortures and kills his victims in order to force them to atone for perceived vices, each aligned with one of the Seven Deadly Sins. The man Doe convicts of gluttony, for example, is doomed to eat until the eating itself kills him. That's pretty nasty stuff, and just the beginning of Fincher's demented thrill ride. Fans of serial killer stories like "Se7en" are sure to love the 2005 game "Condemned: Criminal Origins," which came out for Xbox 360 and PC. 

Players take on the role of Ethan Thomas, a crime scene investigator with the FBI's Serial Crime Unit. He's on the hunt for Serial Killer X, who framed Ethan for murder while he was looking for another serial killer, the Match Maker, and along the way he discovers a whole criminal underground of various serial killers hiding in plain sight. "Condemned: Criminal Origins" feels like playing as Clarice Starling from "The Silence of the Lambs" or Brad Pitt's character in "Se7en" while taking on numerous terrible enemies. If you can make it through the department store level without screaming, you're a stronger person than I am.

Deadly Premonition / Twin Peaks

I know, I know, "Twin Peaks" isn't technically a movie, but the prequel, "Fire Walk With Me," definitely is, and "Twin Peaks: The Return" feels like an 18-hour movie, so it's close enough. David Lynch and Mark Frost's "Twin Peaks" is a unique kind of horror because it deals more heavily with existential unease than it does jump scares, supernatural entities, or prolific serial killers. It follows Agent Dale Cooper (Kyle MacLachlan) as he tries to figure out who killed cheerleader Laura Palmer (Sheryl Lee). The murder turns out being much weirder than anyone could have anticipated, and the town of Twin Peaks, Washington is dealing with something strange and supernatural. 

The 2010 open-world survival horror game "Deadly Premonition" is heavily inspired by "Twin Peaks," right down to following an FBI agent with a love for coffee. The player acts as Agent Francis York Morgan, investigating the death of a young woman who bears resemblance to both Laura Palmer and another "Twin Peaks" character played by Heather Graham. As Agent Morgan continues his investigation, he gets sucked further into the mysteries of a small Washington town, and even ends up in their otherworldly red room. "Deadly Premonition" is about as close to "Twin Peaks: The Game" as someone can get without being sued, so fans of the deeply unsettling series should be sure to check it out. It's also just a heck of a lot of fun. 

Subnautica / The Abyss

The ocean is just about the scariest thing in existence, if you really think about it. Not only must someone down there survive whatever terrors lurk in the deep, but they have to survive the water pressure, the fact that they can't breathe, and variations in light and darkness. It's terror from every angle in a world completely inhospitable to human life, and it makes for a perfect setting for horror video games and movies. There are quite a few great films with underwater horrors, but James Cameron's "The Abyss" takes them to truly terrifying new depths. In the 1989 film, a team of Navy SEALS must investigate an unidentified underwater object after it causes a ship to sink. What they discover is an entire alien city, both beautiful and potentially horrific in its scope. "The Abyss" reminds us that while many of us fear the cold dark of outer space, there's plenty of cold darkness right here on Earth that we have yet to explore.

The 2018 game "Subnautica" isn't technically a horror game, but its horror elements are strong enough to terrify even the most un-shockable players. In "Subnautica," players explore an ocean-covered planet after your spacecraft crashes upon it. In order to survive, players must find food sources, build shelter, and create all of the things necessary for human life on an alien world. When the game gets scary is when players must search beyond water close to the surface and plumb the depths for supplies. Down there lurk colorful, beautiful monsters that might be harmless, or might decide to make the player into a snack. There are some visual similarities between "The Abyss" and "Subnautica," but the real link is the feeling of searching through dark water and discovering something terrible. 

Phasmophobia / The Conjuring

If ghost hunting is more your speed, there's an entire universe of "The Conjuring" movies to choose from, following paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) as they try to help all kinds of frightened families from the specters haunting their homes. The Warrens are based on the real-life couple who claimed to be demonologists and help people rid their homes of ghosts, using a variety of techniques (and later technology) to find the supernatural pests. 

If you've ever wanted to feel like the Warrens or one of the guys on "Ghost Hunters," look no further than "Phasmophobia," the 4-player cooperative ghost hunting PC game that puts you in the shoes of a paranormal investigator. The game gives players a variety of tools, including EMF readers, night-vision cameras, and even the occasional crucifix. What makes "Phasmophobia" so much scarier than other games with similar premises is that the various ghosts all react differently based on the player's voices and locations within the levels. That's right, if you're talking to your buddy and the ghost hears, that can be a nasty problem. The "game over" kind. Short of buying a bunch of the equipment and breaking into dilapidated old buildings yourself, there's no better ghost hunting experience than "Phasmophobia."

Until Dawn / Pumpkinhead

Supermassive Games' "Until Dawn" is an interactive horror narrative game that takes inspiration from too many movies to list, though the closest in both tone and content is probably the 1988 Stan Winston film "Pumpkinhead." Both seem like fairly straightforward slashers until they aren't, and they turn into majorly nasty monster stories. "Until Dawn" is about a group of friends returning to a mountainside retreat a year after the tragic disappearance of two of their friends. While some spooky happenings initially lead them (and the player) to believe that it's all a bitter story of revenge, it turns out there is so much more to it, including sacred ground and an ancient curse. With both "Pumpkinhead" and "Until Dawn," the less you know the better, because their winding stories reveal something unique for each person who enjoys them. 

"Until Dawn" is a truly impressive horror game, combining elements of camp slashers, folk horror, and social horror to create an experience that's hard to forget. Every choice the player makes throughout the game will influence the course of the story, and the sheer attention to detail makes this an incredible experience for just about every kind of horror fan.

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