Movie Review: Lights Out - David F. Sandberg


In 2013 David F. Sandberg directed a two-and-a-half minute short film that quickly went viral. He was able to scare audiences in a very short space of time, tapping into an almost primal fear of the dark. Three years later a relatively low budget Lights Out is set to scare the world with a skilled cast and clever script, with the help of Conjuring and Saw director James Wan as producer.

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Marvel vs DC: cinema civil war


If you’re heading to the movies on an upcoming Friday night you might be greeted by a crowd of duelling fandoms. This is due in part to the recent upsurge in comic book-based movie productions and, as a result, there are some things you might want to understand before taking your comic book-enthused friend on in a discussion about this multiverse.

Firstly, why now? Are these movies being brought into production simply because we are able to do bigger and better things with graphics-based software, or are the eight-year-olds from the first generation of Spiderman movies ready for an adult dose of their favourite films? Is the child inside of you that grew up in a Batman cape ready to take their Batman cape-wearing tween sibling to indulge in the same movie franchise that ignited their own imagination? Or is this generation looking for a two-hour escape from dreary day-to-day tasks?

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Tuks Camerata and UPSO to feature in new film


Free State is the result of a cross-border, co-production effort among South African production company Bosbok Ses Films, Utkarsh Entertainment, and Indian-based entertainment company ParNam Entertainment. The film, written and directed by acclaimed South African director Sallas de Jager, tells the story of the forbidden love between an Indian man and a white Afrikaans woman in the Free State during apartheid in 1979. Piet de Jager, one of the film’s producers, spoke to Perdeby to shed some light on the film.

The film portrays the love of two people of different races in a period of South Africa’s history where it was against the law. When asked if this was a difficult topic to make a film about, De Jager said, “I don’t think so. In fact, it’s reality. This movie tells a human story.” Although the film is set during the apartheid period, English is mostly used throughout the movie, and subtitles are used whenever any other language is used. This was done because “in a multicultural society, we follow reality.”

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The art of viral marketing: how to sell a movie


Sometimes movies are only as successful as their marketing teams. A lot of time and money is spent on creating hype for films, with marketing teams going to great lengths to make sure their movie is a box office success.

The most recent movie with an overboard marketing scheme was Deadpool. With Ryan Reynolds' quirky character, there was quite a bit for the marketing team to play with. From billboards featuring a skull and a poop emoji followed by an “L”, to romantic comedy posters ahead of its Valentine’s Day release, Deadpool was set to be a success from the start. The team also created a set of Deadpool emojis and a Tinder profile for the anti-hero.

Another movie to make use of Tinder was 2015’s Ex Machina. Users could find a woman called Ava on their Tinder feed who would interact with users, engaging in deep conversations about love and life. Eventually, Ava points users to her Instagram page where they could find more photos of her, only to find out that they had been speaking to a Tinderbot advertising a movie about deceptive artificial intelligence.

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Movie Review: The Hateful Eight Quentin Tarantino


Quentin Tarantino’s previous film, Django Unchained, starred Jamie Foxx as the freed slave Django and the pre-Civil War Deep South as the chains. His new film, The Hateful Eight – announced in the opening credits as his eighth – takes place in the post-war West, but otherwise is a neat reprise of the previous film. There is a white bounty hunter, his black associate (a memorable performance by Samuel L. Jackson) and the same looseness of history coursing through a profusely wordy script. Characters wind their way through seemingly endless threads of dialogue, only to blow each other apart in a blood-drenched apocalypse. Like the unchaining of Django, it’s the kind of feature one either very much relishes or reviles.

Since the start of his career, Tarantino has invited us to watch his films not as visions of reality, but as illustrations of ideas that merge into a world view. In The Hateful Eight, he has gathered together all the elements of a classic murder mystery and, as usual, he strings them out and gleefully stirs them together in a slow-cooking stew. But, rather than deal it out as it comes to the boil, he blows it up and delights in the spray of blood and organs over his guests.

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