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Monday, July 19, 2010

Peter Jackson in talks to direct 'Hobbit' movies

By Borys Kit and Matthew Belloni

It looks like Peter Jackson might direct the two "Hobbit" movies after all.
Jackson is in negotiations to helm the films, which were left without a captain after Guillermo del Toro parted ways on May 30. Obstacles to a deal remain, including agreeing on a schedule that will allow Jackson to fast-track the films for release in 2012 and 2013, but insiders are cautiously optimistic that a pact can be worked out.
Talks, which have been going on for a week or two, heated up in recent days between Warner Bros./New Line and Jackson's team. Complications include the shaky financial situation of partner MGM, which owns the "Hobbit" rights and could hold up the production timetable. A significant delay would be a dealbreaker for Jackson.
Del Toro left the project over similar timing concerns. His move caught observers by surprise because the filmmaker had devoted so much time to work with Jackson drawing up plans for the movies, and working on the script with Jackson, Fran Walsh and Phillippa Boyens. He moved his family to New Zealand. Casting was even in the early stages.
But since his departure, Warners/New Line, which runs point on the production over partner MGM, never did a full-on search for a director, even as some names surfaced as possible contenders. Why? Because Warners/New Line was trying to woo Jackson back to Middle-earth.
Jackson has other commitments -- the director has been working on secret projects -- and wasn't sure he wanted to devote another chunk of his life to the tales of J.R.R. Tolkien. But because of the complicated nature and the advanced stage of the undertaking -- Middle-earth was being built from the ground up when del Toro left so unexpectedly -- it wasn't simply filling a chair with a warm body.
To Warners/New Line, Jackson is the most logical choice not only because he made the "Lord of the Rings" movies but also because he is deeply involved as a producer on the "Hobbit" films.
Insiders say the next few days will be crucial in the negotiating process between Jackson's camp and the Warners/New Line side.

Thursday, July 15, 2010


Movie Info

Genre(s): Action  |  Suspense/Thriller
Written by: Kurt Wimmer
Directed by: Phillip Noyce
Release Date:
Theatrical: July 23, 2010
Running Time: minutes, Color
Origin: USA


Starring Angelina Jolie, Liev Schreiber, and Chiwetel Ejiofor
As a CIA officer, Evelyn Salt swore an oath to duty, honor and country. Her loyalty will be tested when a defector accuses her of being a Russian spy. Salt goes on the run, using all her skills and years of experience as a covert operative to elude capture. Salt's efforts to prove her innocence only serve to cast doubt on her motives, as the hunt to uncover the truth behind her identity continues and the question remains: "Who Is Salt?" (Columbia Pictures)

Friday, July 9, 2010

Not So Fast: Mendes & Craig Will Wait for James Bond's Return

A couple of days ago we wrote about the cancellation of MGM's Bond 23, the next movie in the James Bond franchise, that MGM couldn't get going because they're all screwed up right now. Well, apparently that news was just a bit exaggerated. I'm sure the production is telling the crew to find different jobs because it's not happening right now, however, Deadline's Mike Fleming firmly states that "Bond isn't going anywhere." A Bond insider tells Fleming: "You are absolutely right, there is no new news. Development will resume once MGM is viable again." So really, there's not much to be worried about, and Bond will be back one day.A couple of days ago we wrote about the cancellation of MGM's Bond 23, the next movie in the James Bond franchise, that MGM couldn't get going because they're all screwed up right now. Well, apparently that news was just a bit exaggerated. I'm sure the production is telling the crew to find different jobs because it's not happening right now, however, Deadline's Mike Fleming firmly states that "Bond isn't going anywhere." A Bond insider tells Fleming: "You are absolutely right, there is no new news. Development will resume once MGM is viable again." So really, there's not much to be worried about, and Bond will be back one day.
Yes, everything is still "on hold" until MGM sorts everything out (Fleming says we'll know "by early fall" if someone like Spyglass or Summit will take over), but that doesn't mean the entire James Bond franchise has been canceled until further notice. We also made a mistake of following what other sites were saying, which was essentially just an exaggeration of the delay. The good news is that Fleming says director Sam Mendes and actor Daniel Craig will both wait until Bond 23 gets back on track. If anything, that's most important, because I'm sure everyone is looking forward to seeing Mendes direct Craig in his third James Bond movie.
You can read our past articles regarding MGM and Bond 23: A few days ago it was reported as canceled but in April we already announced that it had been "delayed indefinitely." We're not sure how soon it'll be until this gets back on track, but you can be sure we'll keep you updated - from one James Bond fan to the next!

Thursday, June 24, 2010

Alice in Wonderland (2010 film)

Alice in Wonderland is a 2010 fantasy adventure film directed by Tim Burton, written by Linda Woolverton, and starring Mia Wasikowska, Johnny Depp, Helena Bonham Carter, Anne Hathaway, Crispin Glover, Michael Sheen and Stephen Fry and released by Walt Disney Pictures. It is an extension of Lewis Carroll's novels Alice's Adventures in Wonderland and Through the Looking-Glass. The film uses a technique of combining live action and animation.
In the film, Alice is now nineteen years old and accidentally returns to Underland (misheard by Alice and believed to be called Wonderland), a place she visited thirteen years previously. She is told that she is the only one who can slay the Jabberwocky, a dragon-like creature controlled by the Red Queen who terrorizes Underland's inhabitants. Burton said the original Wonderland story was always about a girl wandering around from one weird character to another and he never felt a connection emotionally, so he wanted to make it feel more like a story than a series of events. He does not see this as a sequel to previous films, nor as a re-imagining.[4] It premiered in London at the Odeon Leicester Square on February 25, 2010, and was released in Australia on March 4, 2010, and the United States and the United Kingdom on March 5, 2010, through IMAX 3D and Disney Digital 3D, as well as in traditional theaters.
In addition to being Burton's highest grossing film, Alice in Wonderland spent three weeks as the #1 movie in the United States, is currently the highest grossing film of 2010, and currently ranks as the fifth highest-grossing film of all time.[5] Despite its short theatrical-release window, it is also only the sixth film ever to cross the $1-billion mark in worldwide grosses, in addition to also being the first picture to do so without a PG-13 rating. It is also the second film produced and released by Walt Disney Pictures, as well as the only springtime release, to accomplish this feat

Tuesday, June 8, 2010

Scott Pilgrim Set Visit Part 2: Meet Sex Bomb-omb

If you've read Part 1 of SuperHeroHype's visit to the Toronto set of Edgar Wright's Scott Pilgrim vs. the World, then you already know what a big part music will be playing in the movie. With that in mind, we're going to focus Part 2 on the actors who'll be making the music, the boys and girls of the movie's house band, none other than Scott Pilgrim's band Sex Bob-omb.

While on set, we had a chance to speak at length with Mark Webber (far right) and Alison Pine (second from right) who play the band's singer/songwriter/guitarist Stephen Stills and drummer Kim Pine, respectively, and Johnny Simmons (third from left), Sex Bob-omb's biggest fan Young Neil, about what it took to bring these characters to life. In some ways, while Part 1 was meant as an introduction to the world of Scott Pilgrim, this part will probably appeal more to the fans of Bryan Lee O'Malley's books who are already familiar with some of these secondary satellite characters,

Johnny Simmons as Young Neil

We'll start off with one of the younger actors in the movie, 23-year-old Johnny Simmons, a child actor who has appeared in movies like Evan Almighty and Hotel for Dogs, but whose been playing teen roles in movies like the horror flick Jennifer's Body. That brings him to the part of Young Neil, not really a member of Sex Bob-omb perse, but more like their biggest fan. Even so, he's one of the members of the cast who already had musical experience, and like the other actors, he had a lot to say about doing the music for the movie.

Q: I was wondering how you handled the transformation into this character?

Johnny Simmons: They just kind of put me in different clothes, really.

Q: This isn't your costume, right?

Simmons: No, this is Johnny right now.

Q: We just wanted to make sure. So what's your favorite part of this film?

Simmons: The thing they're shooting right now, the Gideon fight. Jason Schwartzman's like one of my favorite actors, for sure, so that would have to be it.

Q: How close is your character to the book?

Simmons: Yeah, it's pretty close. It's never really established that me and Stephen Stills are roommates. It's one of the biggest differences. Which I think is kind of a big deal, so yeah, it's pretty close.

Q: Your character and Knives sort of strike up a weird relationship. What was that like on the set and also working with Ellen Wong?

Simmons: Yeah, we've become really good friends. Our characters start dating in the book, and we made up little back stories to our characters and little outtakes that we'd bring up to Edgar as a joke, and we have a really good time.

Q: Did you talk to Bryan Lee O'Malley to get any backstory from him about Young Neil?

Simmons: I got like a list of things at the beginning. There were ten things that Bryan made for each one of us, and he drew us our own personal picture of our character that was in color. I just have a copy of it, I think that they're going to do something special with the originals at the end, like presenting them to us, but I can't remember what they were. But there were some funny things at the beginning that he gave us. Of course, I can't remember one of them now. Yeah, he told us a little bit.

Q: I don't remember Young Neil getting into the action at all. Is it the same here or is it a little more involved with some fights?

Simmons: Everybody has a stunt except me. Every single person has a stunt, but I don't have a stunt, there's nothing. No wire, no pulling. I try to get in on the danger, but there's nothing.

Q: You didn't go to Edgar as ask him for some?

Simmons: I begged him. If there's another one, I'm definitely getting a stunt.

Q: How was it working with Edgar?

Simmons: He's awesome. Yeah, he's been hosting these double features. Like last week was "Team America" and "Army of Darkness," two of Bill Pope's movies who is shooting this. So he works all day long--fourteen, fifteen hours a day--then Saturday he goes into the editing room and then Sunday he's hosting movies. So he's just obsessed with everything to do with the film industry and it's really inspiring to watch. Especially one of my favorite directors. To be on set with him and seeing him that dedicated to something, and being so tired, where you would want to use your Saturday/Sunday to kind of take a break, he's sitting there setting up movie theaters.

Q: Was the movie your first encounter with the Scott Pilgrim books or had you read them previously?

Simmons: I hadn't read them. I read (the script) about a year and a half ago, or two years or so. I was just leaving to New York to go film a movie called "The Greatest," and I go on in at the last minute, and it's like "There's no way in hell that I'm going to get this," but I just went in on a whim, and like a year and a half later, or maybe just like a year, somebody was saying they were on Facebook, and I was like, "Yeah, whatever." We had been waiting for feedback, you know, nothing had come of this, and for a while it was on hold or something, and I was focused on "The Greatest" and "Jennifer's Body," then I kept asking about this film in particular. He friend requested me and I was like, "Yeah, it's Edgar, but it's probably not." And we started messaging back and forth through the inbox and like a month had gone by when we were just talking, and I said, "Well, you're in LA, if you want to meet up for coffee or whatever." And he was also friends with Jason Reitman, who doesn't have his real name set up, so I figured it could have been the real Edgar. He said "Yeah, let's meet up for coffee. I'd also like to offer you the role of Young Neil." So then I call my manager, I'm like, "Is this like for real? Or is this a joke?" And they didn't know anything, and neither did the casting director, who's Avi Kaufman. It was like this huge, mad scramble to find out if this was a legit guy or whatever. So I'm going to coffee with him the next day, still thinking this is all bullsh*t, and there's Edgar Wright sitting there. So the whole time we were having this meeting, and I'm just like, "Holy crap, it's really you and I just got Young Neil, okay." But he offered over Facebook.

Q: Do you see any similarities between yourself and Young Neil?

Simmons: Yeah, I'm sure there's similarities. I play guitar, so we had to learn bass, and Chris Murphy from Sloan is our coach, and that was pretty easy to step into. I had to learn every song, because they didn't know which one I was actually going to be playing. Yeah, I guess I'm kind of goofy and simple - he's described as simple minded with layered t-shirts. I guess I fit right in with the - except no layered t-shirts today, I'm just going plain white.

Q: Is any of the music played live on set or has it been recorded in the studio and played back?

Simmons: Yeah, I thought that was going to be kind of rough, because you have to match everything up and the lights have to be exactly in sync. For instance, have you guys seen the Gideon stage? Are you guys going to get to see it? It's pretty epic. It's like, they have all these LED lights, like the huge TV and there's little sound waves going through that syncs perfectly with the music. So they have to shoot completely 360, so that all has to be perfectly synced each time. So they've got a system that basically runs the song for the particular part that you're playing and then the music syncs up with the lights perfectly.

Q: So you have to do everything?

Simmons: Yeah, pretty much. With the big stages they had to do that, so. The Gideon one's the most difficult because it's got so many lights and so many different angles where it would have to be perfect synced up. Whereas at another, smaller venue, there wouldn't be you know, crazy lights going on.

Q: They already have the music recorded then?

Simmons: Yeah, prerecorded. Nigel Godrich was the guy who recorded it, who did Radiohead.

Q: Are you actually playing songs from the books?

Simmons: I don't know exactly if they were the exact same, but Beck wrote those, which was pretty epic.

Q: When you're getting into character are you only looking at the script or are you going to the book and using that as well?

Simmons: Yeah, probably both. I mean, it's pretty laid out, just by the way that Bryan had drawn the character. It's pretty easy. That's what I was looking at when I auditioned. The thing I kind of liken him to is… it says simple-minded, layered t-shirts, and that's just enough because it's very easy. You just put on like a goofy sort of face and then try to zone out as much as possible when you're on the set, and be scared of just about everything. And that's all I think about whenever I'm up there. It's like everybody's kind of like at a party. He's got this party scene, he's holding a drink and he's just kind of looking around like, "Sh*t. Oh man. I have to talk to somebody right now or else they're going to know I'm not cool." It's pretty like just zone out. (Simmons makes the Young Neil zone-out face.

Q: You actually just turned into the character when you did that, it's amazing. What was the best thing about working with Edgar?

Simmons: I think just how he inspires you to keep up with him. I heard that about Peter Jackson, who he's friend with. Just a mad scientist who basically never stops because he's so obsessed with what he does and it's never going in to work, it's going to have fun and do what you love and just be a geek and sort of geek out, you know? I think Edgar inspired me a lot in that way. It's not really going in to work or set, it's coming here to do what a lot of people would really love to do. Lucky enough to get to do it, so. That's pretty much, that's what I learned from Edgar.

Q: Your character's name is based on Neil Young, so do you get to play any music? (Warning: The next answer may be kind of a SPOILER! since it's not in the book. )

Simmons: I do, I take over Scott's position. I don't know if I'm supposed to give that away or not. Yeah, that's a big one, I don't know if that's supposed to go in or not, but yeah, I kind of, Scott throws me the bass at one point when he goes to fight somebody, and there's this huge like slow-motion shot that they shot at 100 frames or something like that, but it goes through the air and it goes, Young Neil just goes like - [laughter] And he grabs a hold of it, and the, we shot it like ten times because the strap came, had to go perfectly over my head, and at first I had this rubber guitar and it didn't look right. So they brought the cool, like it's a Rickenbocker, which is about sixty pounds or something.

Q: I thought you said you didn't have any stunts?

Simmons: Well, I guess that's kind of, that's my stunt, there you go. I could have gotten my nose broke. So, it comes over, then we change it to the other one and it's just like this epic moment. And at the end there's a line that Scott says that says, "Neil, you're awesome at bass. You will now be known as Neil." It's a cool moment, yeah.

Q: Is that your favorite scene in the film?

Simmons: Yeah, I think that would be the funniest of my stuff, probably. That's the funniest bit I thought so far. Yeah, that's probably my favorite filmed, other than the Gideon. Maybe with the guitar coming over. Seeing Jason Schwartzman up there with his cane and his white (suite)- it's like insane, you know? There's this gigantic pyramids that are built up next to each other in Chaos Theater. All these, or hipsters with—and then, I've had these for a long time, my Converse, and they're supposed to be lame kid that's Chaos Theater and every one of the has black shirts on and Converse, and I was like, I'm not cool according to Scott Pilgrim.


Click on "Next" to read our interview with Alison Pill who plays Kim Pine.

Sunday, May 30, 2010

Movie News

The first time we saw Marshall Curry's Racing Dreams at last year's Tribeca Film Festival, we were blown away by how drawn we were to watching the lives of three very different kids ranging from 11 to 13 as they compete in the National Go Karting Championship.

Following the articulate Josh Hobson, the ambitious Annabeth Barnes and the troubled Brandon Warren over the course of a year, Curry created a film that's very much a coming-of-age story at its core, capturing the innocence of youth within the highly competitive field that's paved the way for some of the greatest racers in NASCAR. Even so, you absolutely don't have to be a fan of NASCAR racing to enjoy the movie for the story it tells, though watching the kids drive these karts around at high speeds is certainly thrilling in itself.

Curry exploded out of the gate as a filmmaker five years ago with the excellent Street Fight about the fierce battle for the mayorship of Newark, a debut so strong it received a surprise nomination at the Oscars that year. Similarly, Racing Dreams itself has won a number of awards at various festivals, proving Curry isn't going to be one of those doc filmmakers who only has one great doc in them. got on the phone with the New York-based filmmaker last week to talk about the doc that hopefully more people will make an effort to check out this holiday weekend. Your last movie "Street Fight" takes place in New Jersey, which is very close to New York City, but the world of NASCAR is not something you really see or hear a lot about in New York, so how did you get involved in that world?

Marshall Curry: I was always sort of interested in it for that reason. I live in New York and pretty much nobody who I know in New York could name three NASCAR drivers, and yet my wife is from Charlotte, North Carolina, my parents are both from South Carolina and I got a bunch of family down there. When I go down South, it's huge and that's when you understand. They say it's the second-biggest spectator sport after football. It's bigger than baseball and basketball, and when you go down to Charlotte, you really see it. I just thought that was interesting that there can be something that's such a huge part of my country's culture and I don't know anything about it. One of the cool things about making documentaries is that you get to spend a year or two learning about stuff you don't know anything about. In the back of my mind, I always thought that maybe it would be interesting to do something about NASCAR then I read an article about these kids that race go karts that go 70 miles an hour. I thought that seemed pretty interesting and went to a few races and decided that yeah, there's a movie in that.

CS: How long after "Street Fight" was that? 'Cause that came out in 2005, right?

Curry: That's right, and it sort of spilled into 2006 with the Oscar stuff. It did festivals for a while and then it was on PBS, and then it was doing foreign sales and DVD, HBO Latin America, places like that, so I was doing a lot of promotion for that. This one, I really started doing research for right after "Street Fight" and we started filming for real in January of 2007, so the movie followed the 2007 year for those kids.

CS: Were they all centrally located around that North Carolina area and is that generally where most of these young racers come from?

Curry: There are a lot there. Brandon and Annabeth are both in North Carolina, Josh is in Michigan, and the racing takes place in North Carolina, but also in Pennsylvania and Upstate New York. It is considered the national series so on that level, you have kids from all over the place who are coming to compete. But I would say that it's the most popular in the South.

CS: So how did you find the three kids your movie follows? I guess some of them you found at the races you attended?

Curry: When I was first researching the project, I went to a couple of races and that's where I met Josh Hobson, the super-articulate great racer, he's like a grown-up in a child's body. When I met him, I thought, "Oh, wow, if I can find some other kids like this than there's definitely a story here." I shot a little bit of test footage and cut together a trailer, shopped it around and raised the money to make the movie and then spoke to a couple people down to the awards ceremony from the previous year. We met 50 maybe 75 kids and we would just ask then, "What does your room look like?" "What do your parents do for a living?" "What kinds of books do you like to read?" Stuff that didn't necessarily have to do with racing but would just draw out their personality and find out what kind of kids they were, and who might be interesting on camera. There were a few that popped, but those three: Josh, Anabeth and Brandon, really stood out. In fact, the awards ceremony is right next door to this giant karting convention that happens every year, and Anabeth's opening scene where she's signing the autographs where she explains that ever since she was a little girl she wanted to be the first woman to win the Daytona 500, that was actually the test footage that we shot of her. You can see that she's so funny and bubbly and articulate and charming. Once we met her, five minutes later I thought, "She'd gotta be in this movie."

CS: So you were filming right from the beginning, even as you were trying to find the right kids for the movie?

Curry: That's right, that's right, and then the third, Brandon, we just found later that night, so I had a conversation with him. One of the things that was interesting was trying to think about the way that the movie was going to be structured 'cause Brandon doesn't race against Anabeth and Josh. I decided very early that I didn't want to make another kid competition film. I mean, "Spellbound" has done it and done it perfectly. We don't need another one. Obviously, there are a number of movies like that and so to me, at the very beginning I thought, "Okay, I'm not going to find ten kids and whittle them down to see who wins the National Go Karting series." That's not what I was interested in. What I really wanted to do was make a movie about adolescence and about three kids have one foot in childhood and one foot in adulthood who happen to also race go karts that go 70 miles per hour. The racing and the series provides suspense and it's exciting to watch but even from the beginning as I was picking characters who weren't even going to be racing against each other, I knew that this was more about characters than it will be about fitting into the kid competition (thing).

CS: What were the logistics of following all three stories? Because you do show the kids at home a lot as well as these races all over the country.

Curry: What we would do is just go and spend time with each of the kids, so we'd go spend a few days or however much time, and sometimes we would just go when we haven't seen them in a little while and usually I would either shoot with a soundperson or I would do sounds with a (shooter) and then there would be a third person there. Everything we shot went onto cards rather than tapes, so we had to constantly dump those cards onto harddrives and back up the harddrives so we had a third person there who would hang out in the van with all the computer equipment and do all that. We would just kind of pop in and just hang out for a few days. I would be in touch with the families a lot and sometimes, I would know, say like when Annabeth and her Dad go to buy a race car, her Dad told me. "Oh, we're thinking of going to buy a race car," so I said "Great, I'll be on a plane and I'll be there to catch that," because I thought that would be a moment. But a lot of the stuff was just hanging around and seeing what happens. We shot 500 hours of footage to make a 90 minute movie and in most of it, nothing much did happen, but all we needed was 90 minutes.

CS: I spoke to a couple of filmmakers who made a movie about the Kentucky Derby (called "First Saturday in May") and it was amazing because they were following these horses in the year leading up to the Derby, and they had to do some reverse-engineering to figure out which horses might actually make it. You kind of lucked out because you ended up with these great kids who ended up doing reasonably well. Did you try to figure that out as well or would it have been fine if they lost or dropped out?

Curry: It definitely makes it more fun that they end up doing well, but I think if they hadn't done well, I think it would have still been a compelling movie, but it would just be a different movie. It sort of goes back to what I was saying. Whether they did well or not, I think we would have a movie about kids struggling with having family issues and feeling romance for the first time and all of those issues that had nothing to do with who became the National Go Karting Champion.

CS: They have great personalities and you do root for them, so were you editing as you went along or did you have to wait until the end when you knew how things would end and then backtrack?

Curry: We were not really editing as we were going along but I was thinking about editing a lot as we were going along. I shoot and edit and I would think as we were going, "Okay, here's where Anabeth's story seems to be going, so we need to pursue this and that." When we finally finished, each kid had 50 dead-ends and I thought, "Maybe this will be important. We need to chase this down to the very end" and some storylines turned out to not be as interesting or as significant as I thought it might be at one point, but as we were going, we were constantly talking about what is the storyline going to be for each of these kids and where is their story going to go? We were definitely thinking a lot about getting the elements that would enable us to tell the story when we got to the edit room.

CS: The narrative is very unique for a doc, maybe because you did leave it until after you had figured out the story. I know lots of doc filmmakers are editing as they go along, which must create a different dynamic.

Curry: Yeah, we edited for a year and a half and there were three editors working together on the footage, so when we were shooting, we would chase down storylines but also try not to force them. Some of my favorite material in the footage is stuff that just came out of nowhere. When Brandon called Annabeth that time and they had that phone conversation where they're saying "Who do you like? Who do you like?" and they're giggling and Brandon's toes are squirming. All of that was just kind of, it's that gold that documentary filmmakers love and I knew it as we were shooting that this was going to be one of my favorite scenes, it's going to be one of the better scenes I've ever shot. I was thinking, "Oh my gosh, I've been on that call myself and everyone I know has been on that call themselves and yet, I've never seen it in a movie before." That kind of balance between being prepared to get the beats that we need to tell the story and then just being wide open and flexible and willing to follow where the story takes you. There's a great quote from Albert Maysles. Alfred Hitchcock had said, "In fiction films, the director is God. In a documentary film, God is the director." I sort of liked that line and there's obviously a lot of truth in that.

Saturday, May 29, 2010

Reel Movie Trailers: [Rec] 2 Restricted trailer

From the makers of [Rec], you know, the foreign movie that Quarantine copied because so many people in America can't be bothered to read subtitles, comes [Rec] 2, and this time a lucky few of you will be able to see it. Magnet Releasing is putting the film out in limited release on July 9th, and accordingly, they've released an age-restricted trailer, which you can view below.

[Rec] 2 picks up 15 minutes after the first film, taking us back into the quarantined apartment building where a terrifying virus has run rampant, turning the occupants into mindlessly violent, raging beasts. A heavily armed SWAT team and a mysterious government official are sent in to assess and attempt to neutralize the situation. What they find inside lies beyond the scope of medical science—a demonic nightmare of biblical proportions more terrifying than they could have possibly imagined. Above all it must be contained, before it escapes to wreak havoc on the unsuspecting world outside.

Just enter your birthday to prove you can handle such harsh material as contained within the restricted trailer and enjoy the bloody mayhem!