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Fans of B-movies, rubber monsters, and back issues of Weird War Tales  will want to check out “The Lair,” a good-enough horror/action hybrid that sics a ravenous monster on a group of British and American soldiers stationed in modern-day Afghanistan.

“The Lair” checks off some genre fans’ qualitative boxes, thanks in part to co-writer/director Neil Marshall ’s knack for top-this violence, post-spaghetti-western war movie repartee, and general eye for action filmmaking, from choreography to mood lighting. There’s also some tinny dialogue and wooden performances throughout, and some creaky scenes featuring an indistinct group of hostile Afghani soldiers. Thankfully, what Marshall (“ The Descent ,” “The Reckoning”) and his co-writer/star/wife Charlotte Kirk get right here matters more than what they don’t, especially with regard to one surprisingly compelling supporting performance.

“The Lair” kicks off with its most eye-catching and dramatically urgent scenes: scrappy Royal Air Force Captain Sinclair (Kirk) is quickly shot out of the sky by Afghan fighters, without warning or unnecessary narrative throat-clearing. A fellow RAF man, Johnson (Alex Morgan), dies while trying to save Sinclair. “Sorry ...” he says before a short pause. “For the inconvenience.”

Sinclair then flees from her attackers into an abandoned bunker, which contains the toothy monster that’s understandably all over this movie’s posters and advertising. It’s a neat-looking monster, even if it doesn’t look like it cost an arm and a leg (in real life), and was also maybe the product of Russian experimentation (in the movie), since the bunker it escaped from features some decorative Cyrillic warnings. Of particular note: “Do not open.”

Sinclair doesn’t read or speak Russian, but Kabir ( Hadi Khanjanpour ), a sympathetic Afghani soldier, does. He tags along with Sinclair to a nearby military base, where their respective wounds are tended to and some perfunctory getting-to-know-you information is exchanged. Sinclair also tries to warn Major Roy Finch ( Jamie Bamber ) and his group of disaffected stock types, like Everett ( Mark Arends ), the rookie, and Lafayette ( Kibong Tanji ), the klepto.

But Finch and his squad, which also includes three Brits led by the unflappable Sergeant Oswald Jones ( Leon Ockenden ), don’t believe in monsters, and also don’t know anything about the Russian base that Sinclair’s just escaped. Maybe she hallucinated it all? Kabir disagrees and in a short amount of time, so does the monster, who descends on Finch’s group and makes short work of them. Meanwhile, the surrounding Afghani soldiers are still armed, nearby, and unhappy.

Much of your enjoyment of “The Lair” depends on how you feel about its performances and dialogue, since so much of the movie repeats the same war and horror movie clichés that were already rote by the time that John Carpenter and company messed around with them in both “ Assault on Precinct 13 ” and “The Thing.” Sinclair even refers to Finch’s group as “ The Dirty Dozen ” and his outpost is marked by a chintzy-looking sign that reads: “Welcome to Fort Apache.” These callbacks are not necessarily mood-killers, but Kirk’s indifferent line delivery and the sign’s setup-as-punchline presentation might be. And as far as zingers go, “Batter up, you son of a bitch,” (spoken by Finch) isn’t praiseworthy or lamentable. 

Really, the movie’s performances are the biggest potential roadblock since so much about “The Lair” is, by now, rather old hat, as Marshall and genre buffs know. (“Dog Soldiers” fans should definitely seek out “The Lair.”) But the action filmmaking, from interstitial chases to fight choreography, looks good, and so does the monster and its practically-effected victims. 

Most of Marshall’s ensemble cast members hit their marks hard enough. There’s a difference between unpolished and bad acting, and Khanjanpour proves it with his brittle, but resonant turn as Kabir. Khanjanpour makes you believe that there’s a frightened and resolute person behind even a pandering howler like, “That was some f**ked up sh*t!” I believed Khanjanpour as long as he was on-screen, and that goes a long way in a movie where an outsider like Kabir must establish the human stakes of this otherwise familiar genre exercise.

Now playing in theaters. 

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Film credits.

The Lair (2022)

Charlotte Kirk as Sinclair

Jonathan Howard as Hook

Jamie Bamber as Finch

Leon Ockenden as Jones

Mark Strepan as Wilks

Hadi Khanjanpour as Kabir

Troy Alexander as Bromhead

Mark Arends as Everett

Adam Bond as Serrano

Kibong Tanji as Lafayette

• Neil Marshall
• Charlotte Kirk

Cinematographer

• Luke Bryant
• Christopher Drake

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Movie Review – The Lair (2022)

July 14, 2023 by admin

The Lair , 2022.

Directed by Neil Marshall. Starring Charlotte Kirk, Jonathan Howard, Jamie Bamber, Leon Ockenden, Troy Alexander, and Hadi Khanjanpour.

An RAF pilot is shot down over Afghanistan and stumbles across an underground lab where human/alien hybrids are being bred.

Strange times for filmmaker Neil Marshall, as it is quite clear from his last few movies that the glory days of his critical and commercial hits Dog Soldiers and The Descent are now a distant memory, and whilst news of a new Neil Marshall movie will always bring about it some hope that it might actually be worthy to sit alongside those lauded early works, the evidence has so far suggested otherwise.

And whilst recent efforts, such as 2020s The Reckoning , have been somewhat unfairly derided for sloppy production values and Marshall seemingly thrusting his co-writer and significant other Charlotte Kirk into the lead role, it does appear that this is the business model that the director is using going forward, which leads us to The Lair and sees Neil Marshall treading over old ground as he returns to the world of claustrophobic creature features.

This time, however, we are not in an isolated Scottish cottage or an unchartered cave but in Afghanistan, where Royal Air Force pilot Kate Sinclair (Charlotte Kirk) is shot down by Taliban soldiers. Fighting her way to shelter, Sinclair finds herself in an underground Russian bunker where she discovers several strange humanoid creatures being kept in glass tanks. Due to circumstances, these creatures escape and kill her pursuers, eventually finding their way to the base where Sinclair been taken to after bumping into some American soldiers, and there we have our motley crew of monster fodder as the creatures close in for the attack.

Pretty basic stuff and the sort of B-movie plot that Neil Marshall should be able to make something worthwhile out of as The Lair basically takes his two most popular movies and smashes them together, changes the setting and away we go. However, what made those two movies so engaging was not just the creature effects and Marshall’s genre knowledge, but having characters that were likeable and, probably more important, well acted, and The Lair is not a movie that scores highly on either of those points.

Action and horror can be a difficult hybrid if one of the elements is off. Neil Marshall knows what he is doing when it comes to setting a scene, framing action and getting the most out of the special effects on offer, and The Lair does do pretty well in those departments as the director tips his hat towards the obvious touchstones of Aliens and Predator – as well as Roger Corman’s Humanoids From the Deep , which is probably the nearest comparison, both visually and stylistically – with heavy doses of vintage John Carpenter and Wes Craven thrown in for good measure.

Unfortunately, the characters from those movies were exactly that – characters that were fully fleshed out with clever, concise writing and memorable performances. Here, Marshall and Kirk have tried to offer backstories to several characters but they weren’t needed, their inclusion slowing down the momentum and almost bringing the movie to a standstill, and in a horror/action mash-up that is the most unforgivable crime.

Elsewhere, it isn’t what is written as much as how it is said that grates, as accents vary all over the place. Charlotte Kirk seems to be trying to replicate Sean Pertwee’s rough southern English dialect from Dog Soldiers and Doomsday but it just feels put on and unnatural, whereas the prize for the ‘Why Did He Do That?’ award goes to British actor Jamie Bamber for his portrayal of American Major Roy Finch, who might be from Texas during some scenes but in others he could from Florida, perhaps even the Mid-West. Much like with the script, less would definitely have been more when it comes to the performances.

But acting and dialogue aside, The Lair does have some fun action sequences that work very well. The man-in-a-suit approach to the mutant creatures does give the whole thing that vintage Roger Corman B-movie vibe, and when the proverbial does start to hit the fan there is much joy to be had as heads get lobbed off, clawed hands punch through faces and tentacles get hacked to pieces. The effects may not be the greatest you have ever seen but we’re not (quite) down to SyFy levels of CGI ‘enhancement’, and at least by having people in suits to play the creatures the other actors have something physical to react to. Yes, it looks a bit silly at times but that is part of the fun, and those fun parts are when The Lair works best.

There will be those that will dislike The Lair because it isn’t as intense or polished as The Descent , or as frenetic as Dog Soldiers , and if this had been made by a less well-known director then it would probably get a pass from those people for being the throwaway B-movie homage that it is. But because it was made by Neil Marshall – the director who brought you Dog Soldiers , The Descent , Doomsday and Centurion (and Hellboy , but we don’t talk about that) – it will be held to a much higher standard than it probably should be, and if the Marshall/Kirk creative team are going to continue down the route of knocking out cheap genre movies of their own scripts then they need to tighten up their game, be less ambitious with their material and tap into what made those earlier movies work as well as they did. In the meantime, The Lair will do as a stopgap.

Flickering Myth Rating – Film: ★ / Movie: ★ ★ ★

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‘The Lair’ Review: There’s More Guts Than Glory in This Military Monster Mash

Co-writer Charlotte Kirk is a downed pilot battling reptile-men in Neil Marshall’s lively if silly action-horror offering.

By Dennis Harvey

Dennis Harvey

Film Critic

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It remains to be seen if the Marshall-Kirk alliance is going to generate much more than glorified vanity-project vehicles for the second party, or be the best use of the first one’s talents. But Kirk is OK here stepping into a rough-and-tumble heroine role akin to that of Milla Jovovich or Kate Beckinsale in the “Resident Evil” and “Underworld” franchises. Whatever else one can say for it, “The Lair” as a whole is certainly less embarrassing than “Reckoning,” which had her as an absurdly glam, witchy 17th-century peasant.

Here, she is Lt. Kate Sinclair, a Royal Air Force pilot shot down in 2017 Afghanistan. Armed insurgents chase her into an underground bunker not found on any intelligence map, apparently a top-secret relic from Soviet occupation days. Fleeing down, down, down into its depths, she discovers some sort of laboratory whose white-robed staff are still present — as corpses mummified in terminal poses of abject terror. 

But no one doubts her anymore once night falls, when the now-fully-liberated lab creatures lay siege to the compound. Presumably bio-engineered to create some kind of Cold War supersoldier, they prove very hard to kill, though a grenade or bludgeoning skillet can manage nonetheless. Conversely, these uglies make short work of the stationed grunts. Just a handful remain alive by the film’s midpoint, including figures played by Kibong Tanji, Leon Ockenden, Mark Strepan and Troy Alexander, plus Hadi Khanjanpour as a captured local. Lacking enough fuel to flee enemy-combatant territory, they decide instead they’ll have to raid the underground bunker in order to at least vanquish their non-human foes.

Shot on Hungarian locations passably standing in for the Nangahar Province’s remoter reaches, “The Lair” has some of the muscularity of “Dog Soldiers” and Marshall’s career peak to date, 2005 spelunking horror “The Descent.” But his scripts for those films were better than this one, with its lumbering attempts at uber-tough repartee and characters drawn (as well as played, with cartoonish accents) in broad, blunt terms.

It is not always clear just how tongue-in-cheek we’re meant to find all this chasing about by next-generation Creatures from the Black Lagoon, and moments meant to be thrilling or funny instead too often come off as on-the-nose hokey. (The biggest laugh occurs when it is proposed that the Soviets only invaded Afghanistan as a “smokescreen” to cover up a crashed alien spacecraft’s discovery.) The film’s incidental politics are also groan-worthy, with those retro Russkies surely up to no good and interchangeable Afghan insurgents dispatched with such trigger-happy zeal.

Still, if the results are inferior to Marshall’s early features, not to mention the conceptually derivative but vigorous bigger-budget ones he did next (2008’s “Doomsday,” 2010’s “Centurion”), “The Lair” at least reaffirms his ability to enliven formulaic content. There’s nary a dull moment, albeit no truly memorable ones either. It’s a movie more hectic than exciting, let alone scary. But it does move along at a brisk clip that attests to the director’s knack for staging and pacing splattery action. 

Given likely limited means, the production is resourcefully well put together in tech and design terms, though it might’ve benefitted from accompaniment less standard than the percussive bombast of Christopher Drake’s original score.

Reviewed online, Oct. 18, 2022. Running time: 97 MIN.

• Production: (U.K.) An RLJE Films, Shudder release of a Highland Film Group, Ingenious Media presentation of a Rather Good Films production. Producer: Daniel-Konrad Cooper. Co-producers: Daniel Kresmery, Jonathan Halperyn, Kwesi Dickson. Executive producers: Joe Simpson, Phil Rymer, Sean Wheelan, Reinhard Besser, Walter Mair, Simon Williams, Samantha Allwinton, Neil Marshall, Charlotte Kirk, Arianne Fraser, Delphine Perrier, Henry Winterstern. 
• Crew: Director: Neil Marshall. Screenplay: Neil Marshall, Charlotte Kirk. Camera: Luke Bryant. Editor: Marshall. Music: Christopher Drake.
• With: Charlotte Kirk, Jonathan Howard, Jamie Bamber, Leon Ockenden, Hadi Khanjanpour, Troy Alexander, Mark Strepan, Kibong Tanji, Harry Taurasi, Mark Arends, Alex Morgan, Adam Bond. 

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‘The Lair’ Review: Going Underground

A band of grunts takes on mysterious underground monsters in this goofy horror movie.

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By Jeannette Catsoulis

Suctioning brains and snacking on innards, the monsters in “The Lair” appear motivated solely by hunger, any higher purpose remaining stubbornly veiled. Though I suppose when you’ve spent more than three decades entombed in an abandoned Soviet bunker, a good meal would be something of a priority.

Lively, noisy, dark and daft, this gloopy creature feature from the British director Neil Marshall plays like a loose, if vastly inferior callback to his two best films, “Dog Soldiers” (2002) and “The Descent” (2006) . The year is 2017, and Kate Sinclair (Charlotte Kirk), a resolute Royal Air Force pilot, is shot down in a remote region of Afghanistan. Fleeing insurgents, she takes refuge in said bunker, only to face a toothy blob that has eaten one of her pursuers and ripped the face off another. Venturing deeper, she discovers pods containing more beasties in a liquid suspension. Has she found a nursery, or a laboratory?

Answers will arrive, but good luck catching them in the ensuing melee when Kate is rescued by a raggedy band of misfit soldiers that excels mainly at delivering B-movie dialogue like “Kill anything that shrieks!” Aside from Hadi Khanjanpour, as a coolheaded Afghan prisoner, the acting is pretty awful, though the script is so clunky and the characters so clichéd it’s tough to blame the performers.

If all you’re after, though, is the slap of tentacles and the spaghetti-spill of intestines — and a reminder of the alien autopsy from “The Thing” (1982) — then you won’t care that the action itself is so messy and underlighted it’s a wonder the squad kills anything except the film crew. As for the brain-sucking, by the time the credits roll you’ll probably have a fair idea what that feels like.

The Lair Not rated. Running time: 1 hour 30 minutes. In theaters and available to rent or buy on Apple TV , Google Play and other streaming platforms and pay TV operators.

The Lair review – ropey but hilariously gory B-movie

British filmmaker Neil Marshall's latest yarn is on the cheap side but reaffirms his status as a capable peddler of schlocky action

26 Jan 2023

When Neil Marshall burst onto the scene roughly twenty years ago with his first two films – soldiers vs. werewolves actioner Dog Soldiers and caving nightmare The Descent – he was hailed by some as the bright future of British genre filmmaking, a B-movie fanatic who instinctively understood how to shoot and cut together action, horror and bare-knuckle thrills. Of course, things never turned out that way, with Marshall’s style never being quite hip enough to ride the critical wave many modern horror directors have managed since (and the less said about his 2019 Hellboy reboot the better).

Thankfully, his latest feature The Lair (and its immediate predecessor, last year’s The Reckoning ) represents something of a return to basics for the filmmaker – and a director who could have carved out a healthy career making straight-to-VHS schlock had he been born two decades earlier is now doing the streaming-era equivalent.

We are supposed to be in Afghanistan (though Hungary, of all places, doubles for it in this instance), as fighter pilot Sinclair (Charlotte Kirk, also co-writer here with Marshall) is shot down behind enemy lines. She stumbles onto a Soviet-era bunker, where she awakens some long slumbering sci-fi experiments. As one thing leads to another, she reconnects with British and American invading forces, and alongside a token Afghan (politically correct this ain’t), they come together to take on the bad guys in a final showdown.

Let’s get this out of the way: much of The Lair is not good. The actors are a largely anonymous group, who – perhaps on a dare from Marshall – all elect to do some preposterous accent. A largely British cast attempt all manner of American slangs and a hodgepodge of British regionals (the Cornish actor exhibits some Celtic solidarity by attempting a Welsh accent, the sound of which feels as out of this world as the plot). The humour which riffs through the script gets a laugh or two, but in a “did they actually think that was funny?” kind of way. None of the characters exhibit more than one personality trait, and when they do it’s often a variation on “annoying.”

And yet, in spite of all that, when it comes to the action (and there is plenty of it), Marshall delivers. The Lair is hilariously, maddeningly gory, while scenes in which the characters journey into the bunker showcase masterful direction of light, shadow and movement. The low-budget occasionally scuppers a shot or two with unconvincing CGI, but much of the film sticks to good old-fashioned prosthetics and Marshall never resorts to chaotic shaky-cam to cover his tracks: the viewer always has a firm grasp of the geography and scope of every set-piece.

It’s easy to forget just how effective those first two features of his were at constructing bone-crunching action on bare budgets. Dog Soldiers may have just been an Aliens riff, but what a wonderfully effective one it was, a film fully face-down in the mossy damp of the Scottish Highlands. The Descent remains one of cinema’s greatest evocations of claustrophobia, delivering on every scare and then some. The Lair is nowhere near as good as either – too much feels ropey and cheap – and yet it's proof that Marshall still has the capacity for some fine B-movie hucksterism.

The Lair is released on Shudder on 26 January.

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Metacritic reviews

• 63 RogerEbert.com Simon Abrams RogerEbert.com Simon Abrams The action filmmaking, from interstitial chases to fight choreography, looks good, and so does the monster and its practically-effected victims.
• 60 Los Angeles Times Noel Murray Los Angeles Times Noel Murray The Lair doesn’t finish as spectacularly as it starts; but that just means it’s a good genre picture and not a great one.
• 30 The New York Times Jeannette Catsoulis The New York Times Jeannette Catsoulis Lively, noisy, dark and daft, this gloopy creature feature from the British director Neil Marshall plays like a loose, if vastly inferior callback to his two best films, “Dog Soldiers” (2002) and “The Descent” (2006).
• 30 Paste Magazine Matt Donato Paste Magazine Matt Donato The Lair is an abomination of bad accents (“Texan American” yee-haw, “Unintelligible Englishman,” Australian muddying both), excruciating action hero one-liners, and discouragingly archaic plot choices.
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The Lair Movie (2022)

Horror | Action | Adventure | Latest English Movies

Hindi , Telugu , Tamil , English | 1 hr 33 min | Release Date Oct 27, 2022

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Neil marshall director, jonathan howard actor, mark strepan actor, charlotte kirk actor, hadi khanjanpour actor, jamie bamber actor, cesare taurasi actor, leon ockenden actor, neil marshall actor, troy alexander actor, kibong tanji actor, mark arends actor, alex morgan actor, adam bond actor, mohsen hassan nejad actor, musa ibrahimov actor, angela scudder kirk actor, daniel-konrad cooper actor, luke bryant actor.

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Home » Horror News » Lair Movie Review

Lair Movie Review

PLOT : When an associate claims a demonic force made him kill his family, a fraudulent ghost hunter conducts an experiment on an unwitting family in an effort to prove the existence of the supernatural.

REVIEW : There is a very intriguing idea at the core of writer/director Adam Ethan Crow’s supernatural horror movie Lair (watch it HERE ), but for me that idea wasn’t brought to the screen in the most interesting way possible. A substantial amount of the 99 minute running time had gone by before I was really drawn into the story – and getting through the first 20 minutes of the film was especially rough. That’s because we spend most of those minutes with a really repugnant character: fraudulent ghost hunter Steven Caramore, played by Corey Johnson in a way that makes sure this guy is as difficult to tolerate as possible. Caramore’s associate Ben Dollarhyde ( Oded Fehr in a very brief appearance) has been jailed for murdering his family, and Dollarhyde claims he carried out the murders while under the influence of a demonic force unleashed by an artifact he and Caramore got their hands on during their ghost hunting scams.

There are plenty more artifacts where that one came from, so Caramore decides to conduct an experiment in hopes of proving that supernatural forces exist so he can help Dollarhyde avoid prison, and ideally profit from it as well. He has inherited a building in London, so he and his buddy Ola (Kashif O’Connor) put some hidden cameras and some allegedly cursed items in there, then rent the space to a family. From across the hall, Caramore watches the family’s every move, looking closely for any paranormal activity. Watching get all of this set up, I just felt that it would have been more interesting to learn about his voyeurism and the reason for it later in the film, instead of following him every step of the way.

We finally get to spend some time with other people when Maria Engel (Aislinn De’ath) moves into the building with her daughters Joey (Anya Newall) and Lilly (Lara Mount) and her girlfriend Carly Cortes (Alana Wallace). But watching this bunch isn’t a great relief, because you have to endure a lot of relationship drama between Maria and Carly. I was getting more desperate for evil spirits to show up than Caramore was. Thankfully, they finally arrive – and Caramore has unleashed something quite nasty on this family. Something that will outright murder people and leave blood splattered all over the place. That’s the kind of paranormal activity I like to see in movies, so this was when the movie finally engaged me.

The second half of Lair features enough horror and intense emotions (including some pay-off to all the relationship drama we had to watch), it gradually started to feel that sitting through the first half had been worth it. I was not getting much enjoyment out of the movie for a long stretch, then it shifted gears and when the end credits started rolling I felt like I had been adequately entertained.

As unpleasant as Caramore is to watch, Johnson plays the hell out of him, so I have to commend him for that. I can’t say I liked any of the characters in this movie, but they were all played well. This is the screen debut for Anya Newall, and she makes a strong impression as the teen heroine who butts heads with her parental figures in addition to having to deal with, and try to protect her little sister from, a murderous entity.

With some tweaks and re-structuring, Lair might have turned out better than it is, but the way Crow told his story worked out well enough in the end. It’s not a bad way to spend 99 minutes.

Lair is receiving a digital and VOD release in North America on November 9 th.

About the Author

Cody is a news editor and film critic, focused on the horror arm of JoBlo.com, and writes scripts for videos that are released through the JoBlo Originals and JoBlo Horror Originals YouTube channels. In his spare time, he's a globe-trotting digital nomad, runs a personal blog called Life Between Frames, and writes novels and screenplays.

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• Name:- The Lair Movie 2022 Telugu
• Cast: Charlotte Kirk, Capt, Kate Sinclair
• Director :- Neil Marshall
• Producer:-   Daniel-Konrad Cooper
• Movie Release Date :-  2022
• Movie OTT Platform :- Amazon Prime

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Netflix's Dragon's Lair Movie Gets Big Update After 4 Years of Development

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Producer Roy Lee gives a hopeful update on the Dragon's Lair movie at Netflix , an adaptation of the 1980s arcade game of the same name set to star Ryan Reynolds.

To kick off their San Diego Comic-Con panel "Producers on Producing," a panel exploring the ins and outs of film production, Collider spoke with producers Lorenzo di Bonaventura, Akiva Goldsman and Roy Lee on their various projects, from Constantine 2 , I Am Legend 2 and The Thing series. In the midst of these updates came one about Dragon's Lair , giving fans of the franchise a little hope after four years of development.

Black Mirror: Bandersnatch Isn't the Choose Your Own Adventure We Wanted

Netflix's Black Mirror: Bandersnatch is certainly ambitious, but falls short in its interactive storytelling.

It's been a hard-fought battle to get the film made. After almost a year of negotiations, Netflix picked up the rights to the film in 2020 . Through his production company, Vertigo Entertainment, Roy Lee was set to produce the film alongside Trevor Engelson of Underground Films. Don Bluth, Gary Goldman, Jon Pomeroy and Ryan Reynolds himself. Notable among those names is Don Bluth , who was not only the director behind such beloved childhood classics as Secret of Nimh and An American Tail , but also the lead animator behind the iconic visuals of the original Dragon's Lair game. Dan and Kevin Hageman, known for their work on The Lego Movie and Scary Stories to Tell in the Dark, were set to write the script.

Originally, it was gonna be one of the movies that was gonna be like a choose your own adventure.

What has happened to the film since then? According to Lee, " The status has changed a lot . Originally, it was gonna be one of the movies that was gonna be like a choose your own adventure. They had that Black Mirror episode where you could decide the fate of the characters, and that's the way we had originally developed it. We had a 400-page script because you could go different directions and go different ways , and Ryan Reynolds was gonna play Dirk the Daring, but they pulled the plug on that format. Now, we're reconfiguring it as a straight, linear movie."

Halloween Is Actually a Choose Your Own Adventure Franchise

With multiple reboots and several viable-yet-incompatible storylines, the Halloween franchise works best as a Choose Your Own Adventure series.

It's been suggested before that Netflix could be the perfect home for such choose-your-own-adventure stories like Dragon's Lair , so some fans will be disappointed to see that format left to the wayside. Don't fret about the writers, though, they've still got the job. They just had a long road ahead of them, because as Lee said, " They just had to take the 400-page script and pare it down ."

What is Dragon's Lair, Anyway?

Dragon's Lair was a video game released in 1983 and created by Rick Dyer, which spun off into a franchise that will (hopefully) soon include this very film at Netflix. At one point, it was the most popular game in America . Its gorgeous visuals stood out from the usual arcade game fair of the 80s thanks to its use of the then-revolutionary technology of LaserDiscs to store Don Bluth's cinematic animations. It told an epic tale of a knight, Dirk the Daring, setting off to save Princess Daphne from a horrible dragon and an evil wizard. This style of cinematic storytelling in arcade games never took off, and the game eventually faded into obscurity, but the game is still fondly remembered by many, as well as its comic book spin-off and other interesting additions to the world of Dragon's Lair .

With luck, this new film will revive this beloved franchise from its obscurity. While the adaptation won't be using the choose-your-own-adventure style of the original game like was initially planned, there's still a lot to be excited about. With a host of experienced producers, two great writers and a mega star onboard, this film may very well be able to pull out of its long development period and grace our TVs in the near future.

Source: Collider , The Hollywood Reporter .

'Fly Me To The Moon' Lands a Digital Release Date

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The Big Picture

• Fly Me To The Moon offers a sharp satire on NASA conspiracy theories with great performances and hilarious moments.
• NASA was supportive of the film's concept, allowing the director to celebrate the Apollo 11 landing with reverence.
• The rom-com drama follows a compelling tale of love and self-discovery, featuring a stellar ensemble cast.

Greg Berlanti ’s latest film Fly Me To The Moon is set to launch on Apple TV+. After a brief theatrical window, the movie starring Channing Tatum and Scarlett Johansson is now available to rent or purchase, the streamer announced . The movie presents a sharp satire of conspiracy theories surrounding NASA’s “fake” moon landing.

The film has some great performances and many hilarious moments. It received mixed reviews from fans and critics, though it has a 91% audience score on Rotten Tomatoes . In its box office run, the rom-com drama grossed $39 million worldwide . Fly Me To The Moon follows the relationship between marketing specialist Kelly Jones (Johansson) and the NASA launch director Cole Davis (Tatum) as they are tasked by the President of the United States to create a fake version of the Apollo 11 landing, in case the real mission is not successful.

NASA Was Very Supportive of ‘Fly Me To The Moon’

Berlanti along with scribe Rose Gilroy has presented a great commentary on conspiracy theories surrounding the Apollo 11 landing . The director previously told Collider that the real organization was all in on the movie’s concept and was quite supportive of them, “They got what we were really trying to do, which was use, obviously, the most talked about element at the outset — the conspiracy theory — because that's the thing that's in so much in the public's consciousness now,” Berlanti said. “We wanted to use one of those stories to tell a story about why the truth is important . They got what we were trying to celebrate about the program, and it allowed us to ultimately show, with reverence, the greatest humankind accomplishment on film .”

Fans can expect to see real-life locations, amazing humor, and a thrilling plot. Overall, the film presents a compelling tale wrapped in a screwball chemistry between Tatum and Johansson. The movie boasts an ensemble of compelling performers including Nick Dillenburg , Anna Garcia , Jim Rash , Noah Robbins , Peter Jacobson , and Colin Woodell . Further rounding off the cast are Christian Zuber , Donald Elise Watkins , Ray Romano , Colin Jost , Victor Garber, and Woody Harrelson , among others. Berlanti directs from a screenplay by Gilroy while the story is by Keenan Flynn and Bill Kirstein.

Fly Me To The Moon is available for rent or purchase on Apple TV+. You can get more details about the film with our guide here and check out our review here .

Fly Me to the Moon (2024)

Marketing maven Kelly Jones wreaks havoc on launch director Cole Davis's already difficult task. When the White House deems the mission too important to fail, Jones is directed to stage a fake moon landing as back-up.

Telugu Movie Simbaa Twitter (X) Review

By Rohan Verma

The Telugu film Simbaa , featuring Jagapathi Babu and Anasuya Bharadwaj, finally hit theaters on August 9, 2024. Since its announcement, the film has generated a significant buzz among fans eagerly awaiting this crime thriller. As the film began its theatrical run, early viewers flooded social media with their reactions and reviews.

Directed by Murali Manohar, Simbaa also stars Gowtami, Vasista Simha, Srinath Maganti, Divi Vadthya, Anish Kuruvilla, and Kabir Singh. Krishna Saurabh composed the film’s music. Among others, Krishna Prasad handled the cinematography, while Tammiraju oversaw the editing.

Telugu Movie Simbaa netizens’ review

Social media after the release of Simbaa, especially X (formerly Twitter), has been abuzz with audience reactions. One viewer expressed his unexpected reaction to the film and wrote , “First half surprised me to the core. Totally unexpected stuff. Interval time ki sleep esesthanemo anukuna kani start ayina 30 minutes ke nidrochesindi.” (The first half surprised me to the core. Totally unexpected stuff. I thought I might fall asleep during the interval, but I dozed off just 30 minutes after it started.)

Another user called Simbaa a must-watch and wrote , “Simbaa: Fight For Nature. A most important movie for the current society Jagapathi Babu presence makes it more interesting and important. The cell memory idea concept. Brilliant performances from #Anasuya, #VassistaNSimha, #Divi, and others.”

The message is reaching everyone and receiving a great response❤️‍? Environmental HIT #SIMBAA is in cinemas now!? @IamSampathNandi @iamjaggubhai @SampathNandi_TW @anusuyakhasba @DiviActor @ImSimhaa @kabirduhansingh @KrishnaSaurabhS @MuraliMano95490 pic.twitter.com/eATGcrsNTR — Murali Manohar (@MuraliMano95490) August 9, 2024

Anasuya acting kummeysindhi ???, andharu chudalsina cinema , twists kuda vunnai , must watch.. #SIMBAA pic.twitter.com/hy7dHlP52u — ?‍♂️ (@VenuMvenu7143) August 9, 2024

A third user praised the cast’s performances, particularly highlighting Jagapathi Babu and Anasuya Bharadwaj. He wrote , “#SIMBAA Very Good Movie. JagapathiBabu excelling in a standout role and #Anasuya delivering a stellar performance. Perfect for a family viewing for this weekend.”

Another netizen wrote , “Very few films will speak about our society, nature and duty. #SIMBAA is one of them. The film is a mixture, thrilling moments, fun, action and entertainment in right portions which engaged audience till the end and delivered much needed message to society.”

With such positive reviews circulating, it will be interesting to see how Simbaa performs at the box office on its opening day.

Rohan Verma, widely known as Wrestling Hindi News, is a multifaceted content creator with a thriving YouTube channel boasting over 100,000 subscribers. While his digital presence is synonymous with the pulse of the wrestling world, Rohan is more than just a sports journalist; he's a versatile content writer and author with a distinct flair.

Beyond the adrenaline of the wrestling ring, Rohan Verma has a deep-seated passion for the Indian movie and TV industry. His unique perspective and keen insights into the intricacies of the entertainment world make him a notable voice in the realm of pop culture.

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