original

The original ‘Faces of Death’ has a dark history in California schools

It’s been decades since “Faces of Death” stirred panic among parents of teens trading the 1978 pseudo-snuff VHS. The “video nasty” spawned a number of sequels, spinoffs and now a remake starring Barbie Ferreira and Dacre Montgomery that hit theaters this month.

But back in the 1980s, the original film caused an uproar at Southern California schools.

Days before school was out for summer in 1985, Escondido High School math teacher Bart Schwartz, then 28, used a spare two hours during finals week to squeeze in a film screening with his class. Schwartz wanted to show the film because it was “interesting.”

According to the Times coverage of the incident and subsequent lawsuit, the scenes shown in the classroom included autopsies, decaying cadavers and live animals being butchered, mutilated and tortured. The original “Faces of Death” also includes scenes of a man being electrocuted, a decapitation and an orgy during which a man is gutted by a flesh-eating cult.

Although today’s audiences might be more desensitized to such gruesome scenes thanks to hyperrealistic special effects in modern horror movies, and the commonplace spread of graphic clips online, audiences of the ‘80s were reportedly traumatized and scandalized. Not only was the film considered macabre, but it also was widely believed to be composed entirely of real footage.

“The ultimate taboo,” “100% real” and “banned in 46 countries!” were taglines for the original film. It wasn’t until decades after the film’s release that director John Alan Schwartz publicly confirmed that while some footage was real and pulled from news and autopsy archives, much of the movie was staged and the shockumentary’s host pathologist, Dr. Gröss, was an actor.

“Each new generation discovers it,” Schwartz told New York Public Radio in 2012. “And even though things look hokey now, there are still segments that people actually believe are real that aren’t.”

The 2026 remake, by comparison, is clear about its fictional plot, but also includes real clips of death that were “carefully trimmed,” according to director Daniel Goldhaber.

Back to 1985 — Escondido High’s Schwartz, who had previously been named “teacher of the year,” reportedly would not allow students to leave the classroom while the film played. One student, then 16-year-old Diane Feese, said the teacher fast-forwarded through the dialogue and forced students to watch the film’s most gruesome scenes. She covered her eyes, according to reports from the time, but was still subjected to other students’ commentary and the audio of the deaths depicted on-screen.

That fall — when school was back in session — Feese sued the teacher and the school principal for $3 million. Schwartz was suspended with pay for 30 days, then an additional 15 days without pay.

In 1986, another student in Schwartz’s math class, Sherry Forget, followed suit and took the math teacher to court for being subjected to the film. In 1987, the lawsuits were settled with Feese receiving $57,500 and Forget, who asked for $1 million, netting $42,500.

Less than a decade later, a Los Angeles high school teacher was also sued by his students for showing “Faces of Death.”

Verdugo Hills High School social sciences teacher Roger Haycock showed his cultural awareness class the film in December 1993. Students Jesse Smith and Darby Hughes alleged in their lawsuit that they were required to watch the film and write a paper on it. The teen boys said they suffered nightmares, emotional problems and were harassed by other students for their reaction to the film.

According to The Times, Haycock showed excerpts from “Faces of Death” to five classes that day and gave students the option to write a paper for extra credit or go to the library if they didn’t want to see the film. Haycock said he showed only parts of the film depicting animals being killed and did not show portions of the film that depict human death.

“Basically it had to do with the treatment of animals and the way we get our food, which was the lesson,” Haycock said at the time. “We go to the supermarket and get our meat, and we think it sanitizes us because it’s wrapped in plastic. But it has to be slaughtered for us by someone else. I was trying to show how other cultures provide food for themselves versus the way we do, living in the city.”

The judge dismissed the lawsuit, siding with the district’s argument that students shouldn’t be able to sue based on what they are taught in class.

Source link

‘Original’ sci-fi film from writers of ‘best horror movie ever’ on TV tonight

Fans will need to tune in as it is not streaming anywhere

An ‘original’ sci-fi film that comes from the writers of the ‘best horror movie ever’ is on TV tonight.

The movie, 65, was originally released in 2023 and gives film fans the ideal way to begin their extended bank holiday weekend. According to its synopsis, the story follows a lone pilot named Mills, who after a catastrophic crash, lands on an unknown planet.

He quickly discovers he’s actually stranded on Earth… 65 million years ago. Now, with only one chance at rescue, Mills and the only other survivor, Koa must make their way across an unknown terrain riddled with dangerous prehistoric creatures in an epic fight to survive.

Those wanting to watch the film will be able to watch it tonight (April 2) from 9pm on Film4. Fans will need to make sure they tune in if they don’t want to miss it as at the time of writing, the title is not currently streaming anywhere. Viewers could alternatively tune in to Film4+1 where the film will begin an hour later at 10pm.

Adam Driver, known for playing Kylo Ren in the Star Wars sequel trilogy leads the cast as Mills, while he is also joined by Ariana Greenblatt as Koa. Former Disney actress Greenblatt has since appeared in Barbie, Borderlands and Now You See Me Now You Don’t.

The film was written and directed by writing partners Scott Beck and Bryan Woods. The pair are most famously known for being the ones who penned the original horror film A Quiet Place before handing off creative control of the franchise to John Krasinski. They also made Heretic together, with fans calling both of their spooky offerings as ‘one of the best horror movies ever’.

Meanwhile, 65 failed to repeat the commercial success of their previous projects. It only made $60 million against a $45 million budget at the worldwide box office. And despite its less than favourable 35% rating on Rotten Tomatoes, many fans say it is well worth checking out.

Although one critic looking back on the film did share an updated verdict for why it is worth watching years after its release.

the film delivers a tense sci-fi survival story where action drives a narrative of isolation and connection. Fans of creature features and suspense will appreciate its concise format, focused on impact and pacing, echoing the tradition of dinosaur movies that have long held a unique place in the world of blockbuster cinema.

Many fans go so far as to disagree completely with the negative critical reviews. Its brief 93 minute runtime is also hailed as a positive and preferred option than slogging through a marathon release.

One fan went so far say it is the “best dinosaur movie ever made” with many making comparisons to how it has superior action to the Jurassic World movies. Another viewer added: “This film deserves 10 STARS!!! Instant Classic!!!”

Someone else claimed: “This movie checked off all the boxes. Space travel, dinosaurs, suspense, emotional connection, and Adam Driver! It doesn’t waste any time grabbing your attention, and the compelling story line is a great ride all the way through.”

However there are some who disagree, although they largely feel disappointed in the ending. Others argue that 65 did not get a fair chance at the cinema because it ended up against some big franchise sequels like John Wick 4, Shazam 2, Scream VI and Creed III.

One fan gave the ultimate approval when they commented: “Think Jurassic Park but much better and believe me when I say a lot better. This is that rare science fiction action movie that people have tried to make but didn’t get it right. Here, they finally not only got it right but they excelled!! Plus, real life marine Adam Driver is top notch in a really exciting movie.”

65 airs tonight at 9pm on Film4.

Source link

’13 Going On 30′ is getting a Netflix reboot: The details

Less than 30 years after “13 Going On 30” made legions of young millennials want to be “big-time magazine editors,” the classic rom-com is getting a reboot.

Jennifer Garner, who starred in the 2004 original as the 30, flirty and thriving Jenna Rink opposite Mark Ruffalo’s Matt “Matty” Flamhaff, is executive producing the project. “People We Meet on Vacation” star Emily Bader and Logan Lerman, known for “Oh, Hi!” and “Perks of Being a Wallflower,” will star in the reboot.

Brett Haley, who directed Netflix’s “People We Meet on Vacation,” will reunite with Bader to helm the project.

In a statement to “Deadline,” Haley said, “‘13 Going On 30’ is one of those rare, perfect films. Funny, emotional, deeply human, with unforgettable performances from Jennifer Garner, Mark Ruffalo, and Judy Greer. I’m a longtime fan, so stepping into this reimagining comes with tremendous responsibility.”

“Jennifer Garner being on board as an executive producer, after playing such a big part of what made the original special, is especially meaningful,” Haley continued. “I also couldn’t be more excited to reunite with Emily Bader after ‘People We Meet on Vacation.’ She and the amazingly talented Logan Lerman are a magical pairing. I feel incredibly lucky to be trusted with something that means so much to so many people.”

In case you missed it (or were living under a rock in 2004), our former Los Angeles Times film critic Manohla Dargis wrote of the film: “Another iteration on the apparently indestructible body-switching premise, ‘13 Going On 30’ closely adheres to the essential gimmick and learning curve introduced to superior effect in the 1988 hit ‘Big.’

“After a disastrous birthday party and a foolish wish to become ‘30, flirty and thriving’ (some alliterative propaganda she’s read in a fashion magazine), Jenna wakes one morning to discover that she’s metamorphosed into an older, taller, somewhat curvier version of herself. Now played by Garner, the wild-eyed teenager comes face to face with a wish fulfillment of a life that comes with a designer Manhattan apartment, an executive position at a slick women’s magazine, a hockey-star boyfriend who likes to strip to Vanilla Ice, and row upon row of designer shoes.”

While mum’s the word on plot specifics, the script for the reboot is by Hannah Marks, who penned and directed “Mark, Mary, & Some Other People,” with revisions by Flora Greeson, who wrote “The High Note.”

Once news of the reboot broke online, social media chatter picked up, with fans speculating which eras the film may be set in. If, like the original, the protagonist wakes up as a 30-year-old in today’s modern world, some worry the flick won’t be as lighthearted as the original.

One user on Threads said, “The concept of a 13 Going on 30 where a teenager in 2009 now wakes up in THIS reality in her 30s feels like horror not romcom.”

Source link

Netflix doubles down on original storytelling in 2026

Rather than chasing sequels and reboots, Netflix is betting its 2026 film strategy on a massive investment in original storytelling and a renewed focus on the theatrical comedy.

The streaming giant’s need for original content is one of the main reasons Netflix fought fiercely to acquire Warner Bros. But even after losing the bid to Paramount earlier this month, the priority remains.

“We’re zigging where legacy studios are zagging,” Dan Lin, Netflix’s film chairman, said Wednesday at Netflix’s slate event in Hollywood.

Last year, 18 of the top 20 theatrical films were based on already established intellectual property, like with sequels and remakes. The only two original ideas to break through were Ryan Coogler’s “Sinners” and Zach Cregger’s “Weapons.” Both of these films were received well by audiences and earned golden statues at this year’s Oscars.

Lin said that at Netflix, 2025’s slate was the “exact opposite,” where half of the films it released last year were based on original storytelling.

“We have a very healthy content budget. So if there’s a great movie out there, we’ll go out and either build it or acquire it,” Lin said.

Bela Bajaria, the company’s chief content officer, said the company isn’t too concerned with the theatrical element that other studios can offer when hunting for these original stories, as Netflix is a streaming-first company.

“We’ve always had competition. This isn’t really any different,” said Bajaria. “It’s to understand what the competition is, not head in the sand at all. [We have] to understand what the market is and continue to look ahead.”

It’s not just original ideas that Netflix is scouting; the streamer’s also looking to fill gaps in genres. In recent years, comedies have fallen out of favor with major studios — leaving room for streamers like Netflix to expand. This year, Netflix is looking to break through with upcoming comedy productions like Kevin Hart’s bachelor party-driven “72 Hours,” John Cena and Eric André’s buddy comedy “Little Brother” and Eva Longoria’s “Fifth Wheel,” which Lin describes as “our version of ‘Bridesmaids.’”

“We’re taking the chance, and we’re making the movies,” Lin said. “It’s what we’re delivering, I hope, [it’s] what audiences want and what they’re craving. There are a lot of genres that you just can’t find in theaters anymore. So, we’re making those kinds of movies.”

In addition to emphasizing comedies, there’s a lot of opportunity to develop young adult films, Lin said. Netflix has upcoming titles such as “Voicemails for Isabelle,” starring Zoey Deutch and Nick Robinson, and “Roommates,” with Sadie Sandler, to draw in younger movie watchers.

One genre in which Netflix doesn’t see much success is live musical adaptations, so it’s “not an area that I’m leaning into,” Lin said. He first joined the company in 2024 and has since green-lighted 88 films.

Netflix subscribers watch about seven movies a month, according to the streamer’s data. So, with the push for original stories, the streamer is hoping to meet its consumers’ demands.

The current strategy is to release up to four “event films” a year. For 2026, Netflix is looking at Greta Gerwig’s “Narnia” adaptation and David Fincher’s follow-up to “Once Upon a Time … in Hollywood” as its big hitters.

“It’s all very under wraps right now, but it’s something that I’m just so thrilled about because it was the book of my childhood. It was the book series that I loved, and I lived through, and I spent so much time imagining myself inside of Narnia,” Gerwig said in a video message during the Netflix event. “It’s been a joy and an honor to be the person who gets to imagine this universe.”

Gerwig’s “Narnia” is set to hit Imax this Thanksgiving and start streaming on Netflix come Christmas.

Source link