#david matalon

[milliondollarbaby87]

Totally Killer (2023) Review

The return of the infamous “Sweet Sixteen Killer” after 35 years since the frist murder spree to claim another victim, sends 17 year old Jamie back in time to 1987 in an attempt to work out the killer and stop it all before he can even start. ⭐️⭐️⭐️⭐️ Continue reading Untitled

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#2023 #Anna Diaz #Charlie Gillespie #Comedy #David Matalon #Ella Choi #Horror #Jen D&039;Angelo #Jeremy Paul #Jonathan Potts #Julie Bowen #Kelcey Mawema #Kiernan Shipka #Kimberly Huie #Liana Liberato #Lochlyn Munro #Nahnatchka Khan #Nathaniel Appiah #Nicholas Lloyd #Olivia Holt #Randall Park #Review #Sasha Perl-Raver #Stephi Chin-Salvo #Totally Killer #Troy Leigh-Anne Johnson #Zachary Gibson

[popentertainment-moviereviews]

TOTALLY KILLER (2023)

Starring Kiernan Shipka, Olivia Holt, Julie Bowen, Randall Park, Lochlyn Munro, Charlie Gillespie, Liana Liberato, Kelcey Mawema, Stephi Chin-Salvo, Anna Diaz, Jeremy Monn-Djasgnar, Troy Leigh-Anne Johnson, Ella Choi, Nathaniel Appiah, Jonathan Potts, Kelcey Mawema, Stephi Chin-Salvo, Ella Choi, Jeremy Monn-Djasgnar and Nathaniel Appiah.

Screenplay by David Matalon & Sasha Perl-Raver and Jen D'Angelo.

Directed by Nahnatchka Khan.

Distributed by Amazon Studios. 106 minutes. Rated R.

It’s funny to imagine the pitch meeting for Totally Killer. “Well, it’s a slasher horror film about a masked killer targeting high school mean girls… And did we mention that it’s also a post-modern comedy? Oh, and also, it’s about time travel.”

Totally Killer has so many balls in the air at once that it is kind of shocking that it is as good it turns out to be.

With a relatively unknown young cast – lead Kiernan Shipka has a following for playing Sabrina the teenaged witch in The Chilling Adventures of Sabrina and Riverdale and her mom is played by Modern Family’s Julie Bowen – Totally Killer is a near complete surprise. And it’s a good surprise.

Now to be completely honest, Totally Killer works better as a comedy than as a horror – the killer sections in fact tend to be the soft spots here – but it’s a smart and funny film. And, let’s face it, most horror films since the original Scream work comic beats into their scripts.

It is all smartly and snappily directed by television scribe Nahnatchka Khan – best known for creating the quirky TV series Don’t Trust the B---- in Apt. 23 and Fresh off the Boat. (Her Fresh off the Boat star Randall Park has a funny supporting part as an ineffectual sheriff.)

It’s a terribly high concept idea. Jamie (Shipka) is a teenager who is in complete revolt from her overprotective do-good mother Pam (Bowen). It seems that back in the 1980s when mom was 16 (Jamie’s age now…), three of her friends were stabbed to death by “The Sweet Sixteen Killer” – and Pam has been expecting him to return ever since.

The killer has become something of a local celebrity – inspiring “Sweet Sixteen Killer” tours and Halloween costumes – but he has not been heard of since the original killings 35 years earlier.

And of course when Pam’s daughter turns 16, the killer returns, with filled with violent intents. Naturally he targets Jamie. Jamie’s best friend has been trying unsuccessfully to build a time machine from an old photo booth for the local science fair, based upon her mother’s long-ago notes, because of course she is. As the killer tries to get Jamie, she hides in the time machine. As the killer stabs at her in the booth, his violent stabbing inadvertently causes the machine to work.

Jamie arrives in 1987, on the day that the killings are about to start. (This is not as random as that may sound, she and her friend programmed in the date while the time machine was not operational. Now Jamie has to find the victims and save them, to figure out who the killer was, and to figure out how to get back to her own time. That last part is particularly tricky, as the time machine runs on Wi-Fi, which does not exist in 1987.

Also, it turns out, she has to keep her teen parents – who are much wilder than their future selves would suggest – from hooking up yet, because they are not supposed to get together until after they finish college.

Of course she quickly finds that telling the truth to alert the police and the potential victims of the danger, is not going to work. Even she recognizes that comparing herself to Marty McFly in Back to the Future to try to explain what happened makes her sound nuts. So she decides to act like a new student – recently moved there from Prince Edwards Island, Canada, of all places – and befriend her mother and the victims, who turn to be the local mean girl clique called the Mollys. (They idolize Molly Ringwald and tend to dress in outfits that match her different film wardrobes.)

With many fits and starts and roadblocks, she finally befriends teen Pam (Olivia Holt) and goes about trying to save everyone. But the more she tries, the more she slightly changes history, and she fails at stopping the killings.

The fish out of water aspects of a modern teen in the 1980s never fails to connect. Shipka frustratedly scolding her 1980s counterpoints with things like “unwanted touch” or “you can’t call her that” make for comic gold. Dealing with things like keggers and dodgeball and nude hot tubbing make for some wonderfully awkward humor.

Totally Killer also gets bonus points for having a major sequence in one of my favorite forgotten carnival rides, the Gravitron (redubbed the Quantum Drop here). As Wikipedia explains: “The ride is completely enclosed, with 48 padded panels lining the inside wall. Riders lean against these panels, which are angled back. As the ride rotates, the rider experiences a centrifugal force pointing outward from the ride's center. This force, along with the slant in the walls, allows riders to be completely supported by the walls, without their feet touching the ground. The ride can rotate at a maximum frequency of 24 rpm. It reaches that frequency in less than 20 seconds…. At this point, the riders are experiencing centrifugal force equivalent to three times the force of gravity.”

If Totally Killer somehow becomes responsible for the resurrection of the Gravitron regaining popularity in carnivals, then it will not just be a terrifically fun film, but it will have done a great service for humanity.

Jay S. Jacobs

Copyright ©2023 PopEntertainment.com. All rights reserved. Posted: October 6, 2023.

#Totally Killer #Kiernan Shipka #2023 #Movie Review #Jay S. Jacobs #Youtube

[brokehorrorfan]

Murder is so 1987. From producer Jason Blum, Totally Killer will be released on October 6 exclusively on Prime Video, but I’m giving readers in the Massachusetts area the opportunity to see the horror-comedy early - and for free!

Broke Horror Fan is sponsoring an advance screening of Totally Killer at Cinema Salem in Salem, MA on Thursday, October 5, at 9pm. Click here to register for complimentary passes while supplies last. Seating is first-come, first-served and not guaranteed, so be sure to arrive early!

Nahnatchka Khan (Always Be My Maybe) directs from a script by Jen D'Angelo (Hocus Pocus 2), David Matalon, and Sasha Perl-Raver. Kiernan Shipka, Olivia Holt, Charlie Gillespie, Lochlyn Munro, Troy L. Johnson, Liana Liberato, Kelcey Mawema, Stephi Chin-Salvo, Anna Diaz, Randall Park, and Julie Bowen star.

35 years after the shocking murder of three teens, the infamous “Sweet Sixteen Killer“ returns on Halloween night to claim a fourth victim. Seventeen-year-old Jamie (Kiernan Shipka) ignores her overprotective mom’s (Julie Bowen) warning and comes face-to-face with the masked maniac and, on the run for her life, accidentally time-travels to 1987, the year of the original killings. Forced to navigate the unfamiliar and outrageous culture of the 1980s, Jamie teams up with her teen mom (Olivia Holt) to take down the killer once and for all, before she’s stuck in the past forever.

#totally killer #kiernan shipka #olivia holt #julie bowen #randall park #contest #article #nahnatchka khan #charlie gillespie #lochlyn munro #liana liberato #kelcey mawema #horror #jason blum #blumhouse #Youtube

[nishikiyamayuko]

The Yuko/Yumi dynamic

Jean-Paul Sartre, The Flies / Like A Dragon: Prologue, Takeshi Miyasaka / egyptian colossal of ramesses II and the goddess sekhmet, @brunetteg1rl / September, Molly Matalon / Like A Dragon: Prologue, Takeshi Miyasaka / David Axelbank, Night Flower 025 / John Steinbeck, The Winter of Our Discontent / Like A Dragon: Prologue, Takeshi Miyasaka / L'homme sous les palmes, Dolores Marat / Nathaniel Hawthorne, The American Notebooks / Like A Dragon: Prologue, Takeshi Miyasaka

#I don’t mean this to be Shippy but if you want to. gone head #I mean everybody ELSE wants some of Yumi #sawamura yumi #yumi sawamura #yuko nishikiyama #nishikiyama yuko #yakuza: kiwami

[darkmovies]

Totally Killer (2023) Date de sortie : 06/10/2023 Réalisateur : Nahnatchka Khan Scénario : David Matalon, Sasha Perl-Raver, Jen D’Angelo Avec : Kiernan Shipka, Olivia Holt, Charlie Gillespie

#news #cinéma #actualité #acteurs #film poster #affiche de film #Blumhouse Television #Charlie Gillespie #Divide Conquer #film d'horreur #Kiernan Shipka #Nahnatchka Khan #Olivia Holt #slasher #Totally Killer (2023)

[kevinsreviewcatalogue]

Review: Totally Killer (2023)

Totally Killer (2023)

Rated R for bloody violence, language, sexual material, and teen drug/alcohol use

<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2023/10/review-totally-killer-2023.html>

Score: 3 out of 5

Totally Killer is a film where you can see the marks of Happy Death Day written all over it. That movie, which has grown in my estimation over the years, set a template for a kind of horror-comedy that Blumhouse has since come to specialize in, one that combines a slasher movie storyline with a big, high-concept hook straight out of a classic retro comedy (in Happy Death Day's case, it was Groundhog Day). In this case, director Nahnatchka Khan and writers David Matalon, Sasha Perl-Raver, and Jen D'Angelo not only put a slasher twist on the basic plot of Back to the Future and the Bill & Ted films, they went the extra mile and set large parts of the film in the '80s as well, having its modern-day protagonist confounded by the values of the decade as much as Marty McFly was by the '50s. The result is a film I enjoyed, but wanted to like more than I actually did given the wild ride that the trailers promised. On one hand, it nailed the comedy side of the equation and had a cool-looking killer, a great co-lead performance by Olivia Holt as an '80s mean girl, and a story that seemed to be going in some interesting directions, but on the other, the horror side was fairly rote, it held back on some of the ideas it leaned towards, and its leading lady Kiernan Shipka didn't do much to elevate the material. Ultimately, I'd sooner rewatch The Final Girls as a film that did a superficially similar story more effectively, but I can't deny that there's still a lot to like about this one, and I don't regret having watched it.

The film starts on Halloween in 2023, thirty-six years after Pam Hughes survived a killing spree where three of her friends were murdered by the "Sweet Sixteen Killer", a masked murderer who stabbed each of his victims sixteen times on their sixteenth birthdays in late October. Now, Pam is a soccer mom with a teenage daughter named (what else?) Jamie -- and tonight, she herself gets murdered by the Sweet Sixteen Killer, who was never caught and seems to have come back to finish the job. Jamie, distraught over her mother's death, suddenly receives two leads, first from a local true crime podcaster named Chris who tells her that Pam had received a note from the killer reading "you're next, one day" that she had kept secret, and second from her best friend Amelia, a science whiz who's trying to enter the science fair with a time machine that her mother Lauren designed but which she can't get to work. Thanks to some accidental intervention by the killer, Jamie somehow manages to figure out how to make the machine work, and gets sent back in time to 1987 on the day of the first murder. With a heads-up from the killer, she sets out to not only solve her mother's murder in the present, but also save her mother's friends in the past.

The comedy side of the film was clearly where Khan and the writers were most invested in the material. A lot of humor is mined from Jamie's reactions to not only how different the adults in her life were when they were her age, but also how the '80s were a very different time when it came to everything from politics to permissiveness, and not necessarily for the better, a rather appropriate perspective to take given how much of the film's plot concerns Jamie realizing just how much of a bitch her mother was back when she was her age. And on that note, Olivia Holt as young Pam was this film's heart and soul, not only looking like a perfect dead ringer for a young Julie Bowen (who plays her grown-up self) but understanding the assignment and feeling like nothing less than a more mean-spirited (if still heroic) version of the characters that her idol Molly Ringwald plays. Whenever Holt was on screen, which was fortunately often, this movie sparkled to life. The supporting cast, too, served as capable accomplices for Holt, whether it's their job to act frightened or make you laugh, and occasionally do both at the same time. (One kill in particular late in the film stands as one of the funniest "comedy" deaths I've ever seen.) The horror side of the film was a fairly boilerplate whodunit slasher that would be familiar to anyone who's seen Scream (a film that this one namedrops) or any of the films that followed in its wake. However, it was elevated by a killer whose look alone was creepy, wearing a Max Headroom-inspired mask that feels right at home in this movie's darkly comic sendup of the '80s and giving a twisted sort of edge to him. It may have just been aesthetics rather than substance, but those aesthetics were really damn cool, and given how much this movie is powered by a love of the visual and sonic landscape of '80s pop culture, it was exactly what the movie needed.

It was fortunate that this movie had Holt and its totally killer (sorry) style propelling it, because there were otherwise a lot of weak links here -- and unfortunately, they were some big ones. For starters, while I liked Kiernan Shipka on Chilling Adventures of Sabrina, I found myself very disappointed with her performance here, a problem given that she was supposed to be the main character. She acquitted herself well enough with the scares and as the "straight man" to the humor, but this film was built around Jamie's relationship with her mother, and while Holt carried her side of that story well enough, Shipka fell flat and couldn't get me interested in the character. What's more, the writing missed some very interesting and incisive directions that it could've gone in, tying Jamie's shock at her mother's awful behavior as a teenager to the jokes poking fun at the political incorrectness of the '80s and using both to craft a broader theme about how our memories of the past are all too often colored by selective nostalgia that glosses over the uncomfortable sides of the things we love. It's a dramatic throughline that was practically right there, waiting to be tapped, and yet the film barely even seems to think about how two of its primary elements might connect to one another. Finally, the reveal of the killer's identity was telegraphed almost from the moment we're introduced to one particular character, and the film did nothing to play around with it, resulting in a flat, uninteresting villain with a motive that's been done many times before and often better.

The Bottom Line

Totally Killer is goofy to a fault, seeming to actively avoid finding any deeper meaning in what it's saying in favor of delivering a sugar rush of '80s nostalgia. On that front, it delivered exactly what it set out to, a mix of retro aesthetics, lots of funny jokes, and a performance by Olivia Holt that ought to be a stepping stone to bigger and better things. If you wanna have some fun, check it out, though I do wish it got a bit meatier than it wound up being.

#totally killer #2023 #2023 movies #horror #horror movies #comedy #comedy movies #horror comedy #olivia holt #kiernan shipka #slasher #slasher movies #time travel #julie bowen #liana liberato #lochlyn munro #randall park

[moviesandmania]

TOTALLY KILLER (2023) Comedy horror slasher soon on Prime - red band trailer!

Totally Killer is a 2023 comedy horror slasher film about a teenage girl who goes back in time thirty-five years to stop a serial killer. Directed by Nahnatchka Khan from a screenplay co-written by Jen D’Angelo, David Matalon and Sasha Perl-Raver from a story by David Matalon and Sasha Perl-Raver. Produced by Jason Blum, Greg Gilreath, Adam Hendricks and Adan Orozco. The Divide/Conquer-Blumhouse…

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#2023 #Charlie Gillespie #comedy horror slasher #Kiernan Shipka #Liana Liberato #Lochlyn Munro #movie film #Nahnatchka Khan #Olivia Holt #red band trailer #Totally Killer #Troy Leigh-Anne Johnson

[deadlinecom]

[encychrono25]

Joyeux anniversaire à Salvatore ADAMO, 80 ans,

né le 1er novembre 1943 à Comiso en Sicile.

Chanteur auteur-compositeur italo - belge, (il acquiert la double nationalité italo-belge au début de l'année 2019).

Sa filmographie....

1967 : Les Arnaud de Léo Joannon : André Arnaud

1969 : L'Ardoise de Claude Bernard-Aubert : Philippe

1970 : L'Île au coquelicot (1970) de Salvatore Adamo et Eddy Matalon : Emmanuel

2003 : Laisse tes mains sur mes hanches (2003) de Chantal Lauby : lui-même

2006-2008 : Melting-pot café de Jean-Pierre Goossens : lui-même

2012 : Lili David de Christophe Barraud : lui-même

2017 : Les Chamois : lui-même

🎞🎞 Sa biographie, sa filmographie.....

https://fr.wikipedia.org/wiki/Salvatore_Adamo

-

[themovieblogonline]

Totally Killer Review: A Time-Travel Slasher Extravaganza

Totally Killer, directed by Nahnatchka Khan and crafted from the imaginative minds of screenwriters David Matalon, Sasha Perl-Raver, and Jen D'Angelo, is an enthralling, suspenseful, and shockingly wholesome film that seamlessly melds elements of thriller, horror, and time-travel genres. Set against the backdrop of 1987, this film takes audiences on a roller-coaster ride through time, weaving a tale of suspense, nostalgia, and the unbreakable bond between a mother and daughter. https://www.youtube.com/watch?v=vNm3VPPKEQI The Good: At its core, Totally Killer revolves around a haunting premise: after witnessing her mother’s friends fall victim to the Sweet Sixteen Killer on Halloween night, Jamie, portrayed with exceptional depth by Kiernan Shipka, embarks on a journey back in time to 1987. This daring venture thrusts her into a race against time, forcing her to confront the killer before he can unleash his reign of terror, all while attempting to find her way back to her own timeline. One of the film's strongest points is its impeccable casting. Kiernan Shipka delivers a stellar performance as Jamie, capturing the character’s determination, vulnerability, and resilience with remarkable finesse. Julie Bowen, as Pam, the adult version of Jamie's mother, exudes a mix of strength and vulnerability, anchoring the film emotionally. The seamless transition between Olivia Holt and Bowen as the teenage and adult Pam, respectively, adds a layer of authenticity to their shared role, highlighting the subtle nuances of their performances. The screenplay, crafted by Matalon, Perl-Raver, and D'Angelo, masterfully navigates the complexities of time travel. The narrative is meticulously woven, incorporating intricate details and clever plot twists that keep the audience on the edge of their seats. The dialogues are sharp, poignant, and laden with underlying tension, adding depth to the characters and their relationships. To be honest, it's hard to find another film that traverses the subject of time travel as beautifully as this movie does. It's extremely similar in tone to Christopher Landon's Freaky - a movie that's most definitely a slasher at heart, but is also filled to the brim with wholesome vibes. It's quite random, sure, but can we please see a crossover with this and Happy Death Day and Freaky? Director Nahnatchka Khan deserves accolades for her exceptional vision and execution. She skillfully captures the essence of the 1980s, immersing the audience in a vibrant world of neon lights, retro fashion, and iconic music. The meticulous attention to period-specific details lends authenticity to the film, invoking a sense of nostalgia for viewers who lived through that era while providing younger audiences with a captivating glimpse into the past. The film's cinematography, helmed by Judd Overton, is visually striking. The juxtaposition of eerie, dimly lit scenes with the neon-drenched landscapes of 1987 creates a visually dynamic experience. The use of suspenseful camera angles and innovative visual effects intensifies the film's overall impact, heightening the sense of dread and anticipation. Additionally, the film's score, composed by Michael Andrews, perfectly complements the on-screen action. The haunting melodies and pulse-pounding beats enhance the atmosphere, eliciting a range of emotions from the audience. From heart-pounding chase sequences to poignant moments of introspection, the music serves as a powerful narrative tool, elevating the film to greater heights. Totally Killer is not merely a thrilling time-travel escapade; it delves deep into the themes of family, love, and the resilience of the human spirit. Through Jamie and Pam’s poignant relationship, the film explores the lengths a mother and daughter would go to protect each other, even across the barriers of time. This emotional core adds a layer of depth to the narrative, resonating with audiences on a profound level. The Bad: However, the film is not without its minor flaws. At certain points, the pacing feels slightly uneven, with moments of intense action giving way to slower, contemplative scenes. While these moments contribute to character development, a tighter grip on pacing could have elevated the film's overall intensity. Overall: Totally Killer stands as a testament to the power of compelling storytelling and exceptional filmmaking. Its gripping plot, stellar performances, meticulous attention to detail, wholesome undertones, and emotional resonance make it a standout entry in the time-travel subgenre. The film's ability to transport audiences to a different era while unraveling a riveting mystery is a testament to the talent and creativity of its creators. It's also a great film to watch if you want to be put in a great mood, even with all the killings on-screen. This is sure to be a sleeper hit, so make sure to go check it out right away. Read the full article

[greensparty]

The Eric and Mike Show segment with Squid

Between 1992 and 1995, I co-wrote, co-produced, and co-hosted a cable access TV show, The Eric and Mike Show, which aired on Bedford Cable Access in Bedford, MA. It was my friend Mike and I doing comedy skits, having local guests and local bands on. Now a clip from that show has actually surfaced on the internet for the first time (to my knowledge).

To back up: I was raised on SNL, MTV, David Letterman, The Ben Stiller Show, and Rolling Stone magazine. All of those influenced me immensely. As a teen, I thought it would be cool to produce a TV show. Mike and I approached the cable access station and discussed what it would take to get a TV show. Mike and I came up with some skits. Along with our director Andrew, we shot the show (on VHS) and edited it (on cuts-only VCRs). We had local guests on and local musicians as well. I was super ambitious and watching the show now, it’s better than I sometimes thought it was.

In Summer of 1994, while taking a Summer course as Boston University, I frequented Guitar Center on Comm Ave. I soon befriended employee Scott Palmer, who told me about his funk-rock band Squid he was the bassist for. He gave me their CD and I invited them to be on the show. In Sept. 1994, Andrew and I sent to The Rat. We filmed an interview with them and their performance. The segment aired on our Oct. 24, 1994 episode. In this clip, there is an intro from Mike and I, my interview with the band and then the bands performances (with closing credits over the second song). It was a time before every band having a website or a social media handle, so when I ask where fans can hear about their upcoming shows, they actually gave a mailing address and phone number to be added to their mailing list!?!

I didn’t keep up with Squid after that year. Sometime in the early 00s when I was living in NYC, my Mom gave me a letter that was sent to her house. It was from the Palmer family informing me that Scott Palmer had passed away and a memorial scholarship they were setting up. Bummer! Sometime in the early 2010s when I moved back to Boston, I was in touch with Scott Matalon about his production company Metropolitan Pictures. But it wasn’t until last year when I saw Scott in the Chet’s Last Call documentary that I realized he was the singer for Squid, who I interviewed on my cable access TV show in 1994. We had a good laugh about it when we reconnected. I converted from VHS to digital, the Squid segment from The Eric and Mike Show and he has shared it on YouTube. Enjoy!

#the eric and mike show #squid #boston rock #cable access #1994 #films i worked on #tv shows i worked on #the rathskeller #the rat #scott matalon #metropolitan pictures

[claudiobaglionicantastorie]

Nel 1971 esce il 33 giri OLTRE LA COLLINA di MIA MARTINI. Baglioni è autore di cinque pezzi, nell’incisione dei quali si sente anche la sua voce.

Gesù caro fratello – il titolo originale era Gesù è mio fratello– di Oremus – Baglioni – Coggio – si tratta della versione in italiano del pezzo in romanesco che poi comparirà nel disco Solo del 1977 – Lacrime di marzo – versione al femminile del pezzo cantato da Baglioni – Testamento (Au voleur), che è la versione italiana di una canzone francese con testo di Baglioni e musica di J. Musy e L. Matalon, Amore… amore… un corno! e Oltre la collina… di Baglioni – Coggio. Tutti i brani sono stati arrangiati da Tony Mimms escluso “Amore… amore… un corno” che è stato affidato a Ruggero Cini.

MIA MARTINI

OLTRE LA COLLINA...

Interprete: Mia Martini

Etichetta: RCA

Catalogo: PSL 10516

Data di pubblicazione: Novembre 1971

Matrici: AKAY 26238 / AKAY 26239

Supporto:vinile 33 giri

Tipo audio: Stereo

Dimensioni: 30 cm.

Facciate: 2

Note: Oremus è lo pseudonimo di Franco Fabiano Tosi / Copertina apribile a libretto con all'interno i testi delle canzoni e fotografie dell'artista - Sul retro di copertina il testo di "Oltre la collina" - Fotografie di Lucky - / Assistente musicale: Gianni Oddi / Registrato negli studi RCA di Roma da Leandro Leandri e Enzo Martella / Distribuito da RCA Italiana

BRANI

Lato A

TESORO MA È VERO

Autori: Antonello De Sanctis, Piero Pintucci Musicisti: Tony Mimms (direzione orchestra) Edizioni: RCA

PADRE DAVVERO...

Autori: Antonello De Sanctis, Piero Pintucci Musicisti: I Cantori Moderni di Alessandroni (coro) , Piero Pintucci (direzione orchestra) Edizioni: RCA/R

GESÙ È MIO FRATELLO

Autori: Claudio Baglioni, Antonio Coggio, Oremus Musicisti: Tony Mimms (direzione orchestra) Edizioni: RCA/R

PRIGIONIERO (STOP, I DON'T WANNA HEAR IT ANY MORE - Melanie Safka)

Autori: Bruno Lauzi, Mia Martini, Melanie Safka Musicisti: Tony Mimms (direzione orchestra) Edizioni: Aromando

NEL ROSA (INTO WHITE - Cat Stevens)

Autori: Mia Martini, Cat Stevens Musicisti: Tony Mimms (direzione orchestra) Edizioni: Aromando

OSSESSIONI (TAKING OFF - Nina Hart)

Autori: Antonello De Sanctis, Nina Hart Musicisti: Tony Mimms (direzione orchestra) Edizioni: RCA

Lato B

THE LION SLEEPS TONIGHT (THE LION SLEEPS TONIGHT - Tokens)

Autori: Luigi Creatore, Hugo Peretti, George David Weiss Musicisti: Tony Mimms (direzione orchestra) , The Four Kents (coro) Edizioni: Aromando

LA VERGINE E IL MARE (TOUS LES AMANTS SONT DES MARINS - Claire Laurence)

Autori: Antonello De Sanctis, Laurence Matalon, Jean Musy Musicisti: Tony Mimms (direzione orchestra) Edizioni: Amico

LACRIME DI MARZO

Autori: Claudio Baglioni, Antonio Coggio Musicisti: Tony Mimms (direzione orchestra) Edizioni: AdD

TESTAMENTO (AU VOLEUR - Claire Laurence)

Autori: Claudio Baglioni, Laurence Matalon, Jean Musy Musicisti: Tony Mimms (direzione orchestra) Edizioni: Amico

AMORE...AMORE...UN CORNO!

Autori: Claudio Baglioni, Antonio Coggio Musicisti: Ruggero Cini (direzione orchestra) , I Cantori Moderni di Alessandroni (coro) Edizioni: RCA/R

OLTRE LA COLLINA...

Autori: Claudio Baglioni, Tony Mimms Musicisti: Tony Mimms (direzione orchestra) Edizioni: RCA

PRODUTTORE

Alberigo Crocetta

Antonio Coggio

[fearsmagazine]

Prime Video and Blumhouse Announce TOTALLY KILLER

The slasher-comedy horror film stars Kiernan Shipka, Olivia Holt, Julie Bowen, and Randall Park.

Julian Ungano/Jake Cloobeck/Theo & Juliet/Storm Santos

Prime Video and Blumhouse Television announced the upcoming slasher-comedy horror film Totally Killer, from Amazon Studios and Blumhouse. The film will star Kiernan Shipka (Chilling Adventures of Sabrina, Mad Men), Olivia Holt (Cruel Summer), Julie Bowen (Modern Family, Life of the Party), and Randall Park (Always Be My Maybe, Fresh off the Boat). Nahnatchka Khan (Always Be My Maybe, Young Rock, Don Wong) is directing, and Jen D’Angelo penned the screenplay based on an original script by David Matalon and Sasha Perl-Raver. Principal photography begins today in Vancouver.

The film follows Jamie (Shipka) whose mom, Pam (Bowen) is terrorized by the resurgence of the Sweet Sixteen Killer—a masked maniac that slaughtered a group of teenage girls in the ‘80s. With the help of her friend Amelia (Kelcey Mawema), she travels back in time to 1987 and teams up with the teen version of her mom (Holt) to try and stop the killer.

The cast of newcomers and established actors portraying characters in the film include Lochlyn Munro (“Adult Blake”), Charlie Gillespie (“Teen Blake”), Stephi Chin-Salvo (“Marisa Song”), Anna Diaz (“Heather Hernandez”), Jeremy Monn-Djasgnar (“Teen Randy Finkle”), Troy Leigh-Anne Johnson (“Teen Lauren”), Ella Choi (“Teen Kara Molnar”), Kelcey Mawema (“Amelia”), Liana Liberato (“Tiffany Clark”), Nathaniel Appiah (“Teen Doug Summers”), and Jonathan Potts (“Adult Chris Dubusage”).

The news comes on the heels of the announcement that Prime Video and Blumhouse acquired worldwide rights for the horror-drama and Sundance Grand Jury Prize winner Nanny from first-time feature writer/director Nikyatu Jusu. Additionally, the two companies have released eight films in the past two years as a part of their “Welcome to the Blumhouse” series, including: Bingo Hell, Black as Night, Madres, The Manor, Black Box, Evil Eye, Nocturne, and The Lie.

“The idea of a horror-comedy time travel movie is, I’m gonna be honest, something I never thought of in my life. So when I was approached by the amazing creatives at Blumhouse and Amazon about Totally Killer, it was just so unique and exciting I had to be involved. And then add this incredible cast on top of that? Everybody get readyyyyyyy,” said director Nahnatchka Khan.

“We thought this genre mash-up of slasher/comedy with a twist of time travel was just so fun, and Nahnatchka Khan is perfect to direct,” said Chris McCumber, president of Blumhouse Television.    

“With Nahnatchka’s vision and the exciting cast led by Kiernan Shipka and Olivia Holt, we are confident Totally Killer will resonate with our audience around the world,” said Julie Rapaport, head of movies at Amazon Studios. “We could not be more thrilled to watch this story come to life and to continue our longstanding collaboration with the incredible team at Blumhouse.”

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In theaters June 4, 2020 (USA)

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T Magazine Spain, November 2019.

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