“The world will never be the same again.” Sounds dramatic doesn’t it? But that’s just what many are predicting the fallout from the COVID-19 pandemic will be after over 600,000 cases and more than 20,000 deaths have been reported across the globe.
Economies are struggling and millions of people have lost, or are in the process of losing, their jobs. This catastrophic virus has turned the lives of ordinary folk like you and me upside down. One industry that has had to adapt to change incredibly quickly is film. In this special article, founder and editor Adam Brannon looks at how this virus could change the landscape of the film industry forever. Continue reading
Foreword by Adam Brannon: it’s fair to say that the world is going through troubling times, and where many of us would find solace at the cinema, we are no longer able to do that. I’m sure, like me, many of you are feeling anxious about the months ahead, but we will get through this.
With that in mind, we’re trying to up the content on Movie Metropolis as much as possible, giving you interesting content to read, digest and share with your peers. We’re starting with a fantastic interview from writer/director Yesser Laham, who’s film Landfill stars The Exorcist’s Linda Blair. Read on to find out more about his incredible career. Continue reading
It is humbling going into a film knowing that there will be some kind of social message. As a horror enthusiast, I have always enjoyed this aspect of film. It only makes sense that taboo or harder to tackle subjects could easily be infused into the genre allowing for creativity or confrontational situations.
In this case, Faulty Roots, a short film written, directed and produced by 18-year-old Ella Greenwood has a message. Greenwood plays the main character of Lola who suffers from depression. She meets up with friend Zack (Sani Thabo) who has an incurable genetic illness and they form a bond. Continue reading
Why are horror houses such a mainstay of the scary movie genre? It’s a concept that has been used time and time again, whether it be for the gory antics of The Last House on the Left or for the more subversive, spectral encounters of The Babadook, there is something about a fright-filled homestead that really hits a nerve with people.
Perhaps it’s the ultimate subversion of what makes us feel most safe that audiences get a kick out of. Where horror is concerned, taking something innocuous and perverting it into a symbol of fear is not only a commonly used dramatic device, it’s present in almost all scary films. Continue reading
After last year’s bitterly disappointing Once Upon A Time in Hollywood, which presumably only received an Oscar nomination because of its subject matter, I decided it was time to revisit some of Tarantino’s classics. I’ve always been a huge fan of his work, but Once Upon A Time in Hollywood was such a drab, underwhelming, damp squib of a movie, I actually started to question my Tarantino loyalty.
Reservoir Dogs is a film that I have always hugely enjoyed though and, having not seen it for a good few years, what better place to start? The film was initially released in 1992 and the story behind production is a quite an interesting one. Made on a meagre budget ($1.2 million), Tarantino had to beg, borrow and steal to get his debut film made. Continue reading