(LOS ANGELES and ENGLEWOOD CLIFFS, NJ) -- /PRNewswire/ -- Cineverse (Nasdaq: CNVS), an entertainment technology company and studio, has announced its newest streaming channel: Mohr Stories. Unveiled as part of LG Electronics and LG Ad Solutions' 2026 IAB NewFronts presentation to advertisers, the new channel features Emmy-nominated comedian and New Jersey native Jay Mohr (Last Comic Standing, Jerry Maguire, Saturday Night Live) and his popular podcast, with new weekly episodes including interviews with stars of comedy, film, sports, music, and TV.
2019's Ready or Not was a mediocre riff on the old The Most Dangerous Game template of a pleb being hunted by wealthy elites. The twist was that the murderous toffs weren't engaging in their hunt for the love of the sport but rather to avert a family curse that eventually saw them all explode at dawn, having failed to kill their prey. As a horror-comedy it was a dud for two reasons: the final girl, Samara Weaving's Grace, was so competent compared to her antagonists that we never felt she was in any real danger; and it simply wasn't funny.
(BRANCHBURG, NJ) -- The English department and the Evelyn S. Field Library at Raritan Valley Community College (RVCC) will present a screening of the documentary, The Librarians, on Wednesday, April 8, 2026 at 4:30pm. The program, which is free of charge and open to the public, will be held in the Event Center at the College's Branchburg campus.
Whenever two movies that share a similar premise are released in the same year, movie geeks like to figure out which one is Deep Impact and which is Armageddon. Those two 1998 blockbusters shared the same setup of an asteroid on a world-ending collision course with Earth, but took very different approaches. Deep Impact was a relatively sombre affair while Armageddon was a Michael Bay action comedy.
The New Jersey Play Lab thinks it's time for you to write the movie you've been wanting to see and they believe they can help. They're presenting a hands-on weekly workshop on Zoom to help you generate a structurally sound screenplay targeted for producing and festival success. The workshops take place Sundays from 9:30am to 12:30pm from April 19 through May 17, 2026. The workshop fee is $250.
2019's Ready or Not was a mediocre riff on the old The Most Dangerous Game template of a pleb being hunted by wealthy elites. The twist was that the murderous toffs weren't engaging in their hunt for the love of the sport but rather to avert a family curse that eventually saw them all explode at dawn, having failed to kill their prey. As a horror-comedy it was a dud for two reasons: the final girl, Samara Weaving's Grace, was so competent compared to her antagonists that we never felt she was in any real danger; and it simply wasn't funny.
Whenever two movies that share a similar premise are released in the same year, movie geeks like to figure out which one is Deep Impact and which is Armageddon. Those two 1998 blockbusters shared the same setup of an asteroid on a world-ending collision course with Earth, but took very different approaches. Deep Impact was a relatively sombre affair while Armageddon was a Michael Bay action comedy.
Writer/director John Patton Ford's 2022 feature debut Emily the Criminal proved one of the more interesting crime thrillers of recent years. In that movie, Aubrey Plaza gave a career best performance as a struggling young woman who desperately turns to crime only to discover she has a knack for it. Ford's second movie, How to Make a Killing, features a similar anti-hero, but here the crime is murder.
Following Hamnet and "Wuthering Heights", Maggie Gyllenhaal's The Bride! is the latest in a line of awful movies inspired by the work of great English writers. It's Mary Shelley here of course, but Gyllenhaal also plucks from James Whale's Bride of Frankenstein. Whale cast Elsa Lanchester in the dual roles of Shelley and the titular monster, and Gyllenhaal pulls the same trick here with Jessie Buckley. That's where the similarities end however, as The Bride! has more in common with '70s exploitation flicks and '90s horror comedies than either Shelley's novel or the Universal monster movies it inspired.
In its 1960s peak, the Hagsploitation (or psycho-biddy) sub-genre gave a second act to classic Hollywood stars like Joan Crawford, Bette Davis and Olivia de Havilland, who found themselves cast as aging psychopaths. It wasn't without controversy, drawing accusations of ageism and misogyny from critics. It's a surprise that our current age of sensitivity has seen a mini-revival of the form with movies like X and The Visit using senility as a cheap, albeit effective way to explain their villains' actions.
