(ATLANTIC HIGHLANDS, NJ) -- After its world premiere at Dances With Films LA (DWFLA), one of the nation's leading indie film festivals, Directors' Commentary will have its New Jersey Premiere at SModcastle Film Festival, hosted by filmmaker Kevin Smith. The film will screen on Sunday, November 8, 2026 at 12:00pm.
(JERSEY CITY, NJ) -- Interested in filmmaking? You can learn how to produce a film like a pro at "Producing 101: From Script to Set with The Gig Media" on Saturday, November 14, 2026 at Miraley Studios in Jersey City.
(RED BANK, NJ) -- Count Basie Center for the Arts will cap its Centennial Celebration with an immersive re-enactment of its opening night on Saturday, November 14, 2026 at 6:00pm. Patrons can expect an immersive theatrical presentation from the moment they approach the venue – from 'stars' of the era arriving in classic cars, Gatsby-esque fashion and flair, an authentic speakeasy experience with custom, era-specific cocktails and mocktails, 1920s hot jazz and more.
(TEANECK, NJ) -- The Teaneck International Film Festival (TIFF) and The Puffin Foundation have selected director Katie Camosy as the recipient of the 2nd Annual Emerging Filmmaker Activist Award for her documentary Gaslit. The award includes a $5,000 cash prize and trophy and recognizes emerging filmmakers whose work embodies TIFF's guiding theme, "Activism: Making Change."
(NEW BRUNSWICK, NJ) -- The 45th Bi-Annual New Jersey Film Festival will take place between January 22-February 21, 2027. The Festival will continue in hybrid form as it has done in recent years, meaning it will be presented it online as well as with select in-person screenings at Rutgers University. Thirty-nine films will have their New Jersey or Area Premiere (Middlesex County) screenings as part of the New Jersey Film Festival and the United States Super 8 Film and Video Festival.
English language remakes of Kurosawa's 1963 thriller High and Low are like buses: you wait half a century for one and then three come along at once. Following Steven Soderbergh's mini-series Full Circle and Spike Lee's Highest 2 Lowest, we now get Ben Affleck's take on the setup in Animals. Unlike Soderbergh and Lee however, Affleck fails to credit Kurosawa, but make no mistake, this is just as much a remake of High and Low as Soderbergh and Lee's projects.
Over the past couple of decades, horror fans have grown increasingly weary of the prevailing Blumhouse/Waniverse school of quiet-quiet-bang scaremongering. Other Mommy, Blumhouse's latest production, at least deviates from this tired formula. Rather than quiet-quiet-bang, director Rob Savage has opted for bang-bang-bang.
Following 2021's Welcome to Raccoon City and a short lived 2022 Netflix series, this is the third attempt to reboot the Resident Evil property in just the last half decade. The decision to hand the IP over to Zach Cregger, of Barbarian and Weapons fame, initially seemed odd, as Cregger's previous work in the horror genre is so distinctive that he doesn't seem like the sort of filmmaker who would be happy to play in someone else's sandbox. But Cregger has made this reboot his own. Remove the title and you essentially have a standalone movie, one that thankfully doesn't rely on prior knowledge of either the original video games or the numerous screen adaptations.
The school classroom is a microcosm of society. It requires a strong leader in a teacher who can ensure everyone is pulling in the same direction. All it takes is one bad apple to disrupt the whole system. When I think back to my school days there were some teachers who knew exactly how to make us behave, and others who simply weren't cut out for the job. The latter's classes were anarchic, with half the class time devoted to trying to corral the little monsters who recognised weakness in their teachers. The sad thing is, most of these teachers would probably have been perfectly good teachers if they were allowed to simply teach rather than having to play a psychological cat and mouse game with budding sociopaths.
Kevin Macdonald's The Runner is the latest in a wave of thrillers in which a hapless protagonist is forced to become an accomplice to a crime, receiving orders from an anonymous villain over the phone. The formula worked quite well in Drop and Carry-On, but crucially, those movies were anchored by lead turns from capable actors in Meghann Fahy and Taron Egerton. Expecting a performer as limited as Gal Gadot to carry a movie on her own is asking for trouble, especially when the script is as shoddy as the one provided here by screenwriter Mark Gibson.
