Supernatural Season 9 Episode 9 may have been the best of the season so far, as the stakes continued to rise and the CW staple bid farewell to 2013. The angels continued to wreak havoc here on Earth, capturing and torturing Castiel in a bid to get back through the pearly gates. Were they successful? Meanwhile, Supernatural Season 9 Episode 9 also showcased the return of Metatron, the real identity of the angel inside Sam, and the first name on his hit list. Who was possessing Sam? Who suffered a tragic fate. Click the photo below to watch the full episode now! Watch Supernatural Season 9 Episode 9
Supernatural Season 9 Episode 8 featured porn stars, virgins and goddesses this week, so you knew going in that it would be a good time for the Winchesters. Jensen Ackles, Jared Padalecki and an installment all about sex? CW gold. As far as the plot was concerned, Supernatural Season 9 Episode 8 centered around an investigation into the Roman goddess of hearth. Hot, in more ways than one. What were the best one-liners? Are Sam and Dean really game for becoming Born Again Virgins? And were any future story arcs teased on Tuesday night? Click below to watch the full episode now and see for yourself … Watch Supernatural Season 9 Episode 8
Supernatural returns for its ninth season on Tuesday, October 8. The first promo showed us Dean concerned over the state of his brother, expressing shock to a doctor who claims that Sam’s life is “in God’s hands.” Here, we see more footage – and unanswered questions. Can the fallen angel Ezekiel help Sam recover from the injuries he suffered after failing to complete the third trial at the end of Supernatural Season 8? What will happen when Castiel is hunted by a group of very pissed off angels? And is that a familiar face – and sight for sore eyes – making his return? Watch the Supernatural Season 9 trailer now and see: Supernatural Season 9 Preview
The long-running CW hit Supernatural is reportedly working on a spinoff. Today at Comic-Con, executive producer Bob Singer said that a backdoor pilot is being developed, though Warner Bros. and The CW have not confirmed this. Reportedly, the show will introduce a new character at some point in Season 9 who would then anchor the Supernatural spinoff , should it move forward. It’s a formula that the network is very familiar with at this point. The CW will soon debut a Vampire Diaries spinoff, The Originals , having aired a “backdoor pilot” in an April episode of The Vampire Diaries Season 4. Supernatural, starring Jared Padalecki and Jensen Ackles and an underrated staple of the network lineup since 2005, kicks off its ninth season this fall.
The first footage from The Vampire Diaries Season 5 was revealed at the end of a long series retrospective today at the show’s Comic-Con panel. In San Diego, TVD’s “big three” and executive producer Julie Plec teased a number of new developments, along with our first look at the new season. One featuring Paul Wesley (Stefan), now in full Silas mode: The Vampire Diaries Season 5 Preview The closing moments of the series-summarizing montage show the ancient, mysterious, supernatural being addressing a crowd of captivated townsfolk. Talking about the blood he’s consumed and his upcoming plans for the residents, Silas/Stefan will clearly be in rare form when we return to Mystic Falls. Also, it looks like Damon and Elena kiss. So there’s that. TVD Season 5 premieres October 10 on the CW.
See The Conjuring’s Vera Farmiga show off her supernaturals, T&A from Sarah Shahi in Bullet to the Head, and babes-behind-bars in Orange is the New Black .
When will Damon Salvatore take his next bite? When will Klaus and company take over New Orleans? When will Stephen Amell next take off his shirt? Scroll down now for the just-released CW fall premiere dates and schedule your October vacation accordingly… MONDAY, OCTOBER 7 8:00-9:00 PM Hart of Dixie 9:00-10:00 PM Beauty and the Beast WEDNESDAY , OCTOBER 9 8:00-9:00 PM Arrow 9:00-10:00 PM The Tomorrow People THURSDAY, OCTOBER 10 8:00-9:00 PM The Vampire Diaries 9:00-10:00 PM Reign TUESDAY, OCTOBER 15 8:00-9:00 PM The Originals 9:00-10:00 PM Supernatural FRIDAY, OCTOBER 25 8:00-9:00 PM The Carrie Diaries 9:00-10:00 PM America’s Next Top Model
The rare remake that likely will be enjoyed most by diehard fans of its predecessor, Evil Dead often comes off as the cinematic equivalent of a cover-band concert tribute to a supergroup’s greatest hits — albeit with a lot more gore. First-time feature helmer Fede Alvarez’s blood-soaked reprise of Sam Raimi’s franchise-spawning low-budget shocker, The Evil Dead , boasts far better production values than the penny-pinching 1981 original and conceivably could delight genre fans who have never seen the first version or its previous remakes/sequels. But it’s bound to play best with those who catch Alvarez’s many wink-wink allusions to Raimi’s pic. Working from a script he co-wrote with Rodo Sayagues, Alvarez briskly sets up his recycling of Raimi’s horror premise — five friends visit a secluded cabin in the woods where all hell breaks loose — with an aptly portentous prologue and backstory-heavy opening scenes. But Alvarez goes Raimi one better, by actually offering a logical reason why the characters don’t immediately vamoose once supernatural manifestations begin. Mia (Jane Levy), a drug-addicted young woman trying to go cold turkey, is undergoing physically and psychologically agonizing withdrawal, and her companions — including prodigal brother David (Shiloh Fernandez) and medically trained buddy Olivia (Jessica Lucas) — are loath to interrupt the recovery process. Besides, all those terrible things Mia claims to see are just hallucinations triggered by withdrawal, right? Wrong. Eric (Lou Taylor Pucci), the academically inclined member of the group, finds in the cabin a mysterious Book of the Dead filled with horrific illustrations, mysterious symbols and ample warnings not to read aloud anything that appears in its ancient pages. Unfortunately, Eric does not heed those admonitions, awakening a familiar demon for a new generation of young victims. Mia is the first to be infected by the monstrously malignant and singularly foul-mouthed bogeyman, but it doesn’t stop there, inspiring her cabin mates to damage themselves and each other in creatively gory ways. Alvarez repeatedly references plot elements and specific shots from Raimi’s original pic. Taking his cue from the original, he makes especially effective use of lenser Aaron Morton’s swooping, swirling camera movements, which suggest the POV of a rampaging poltergeist. But Alvarez’s tone is completely different, as the helmer rarely attempts to emulate the self-mocking, over-the-top campiness that distinguished the original Evil Dead from so many other cheapie creepies of the 1980s. Actor Bruce Campbell (who’s onboard here as a producer) more or less established himself as a cult figure back in the day with his inspired overplaying of Ash, the astonishingly resilient protagonist of Raimi’s original. In Alvarez’s version, Fernandez’s David serves the equivalent role, but he’s deadly serious. Indeed, the only character who even gets to crack a joke is Pucci’s Eric. Asked if he’s certain that actions described in the Book of the Dead will rid them of the troublesome spirit, the frantic fellow replies, “Am I sure? Of course not! It’s not a science book!” Levy is believably beastly as the possessed Mia, and manages the heavy lifting when her character must handle some last-act heroics. Other members of the cast do what they can with thinly written parts. For instance, it’s not really Elizabeth Blackmore’s fault that her role as David’s g.f. is so ill-defined and unimportant that some may forget she’s in the pic until she starts to make lethal use of a nail gun. The bloody mayhem is so graphic and frequent throughout Evil Dead , one cannot help suspecting that alternate takes had to be shot to ensure an R rating. The emphasis on dismemberment and disfigurement should make this must-see entertainment for gorehounds, but could literally scare off auds accustomed to less explicit, PG-13 fare. Ultimately, the new Evil Dead will rely heavily on existing fans of this unlikely franchise to make a killing in theatrical and homevid release. Those who get the inside jokes should be easy to spot: They’ll be the ones laughing when the onscreen carnage erupts most furiously. More on Evil Dead : Bruce Campbell on the ‘Dead Serious’ ‘Evil Dead’ Remake, Crowning A New Ash And ‘P-ssy Filmmaking’
The rare remake that likely will be enjoyed most by diehard fans of its predecessor, Evil Dead often comes off as the cinematic equivalent of a cover-band concert tribute to a supergroup’s greatest hits — albeit with a lot more gore. First-time feature helmer Fede Alvarez’s blood-soaked reprise of Sam Raimi’s franchise-spawning low-budget shocker, The Evil Dead , boasts far better production values than the penny-pinching 1981 original and conceivably could delight genre fans who have never seen the first version or its previous remakes/sequels. But it’s bound to play best with those who catch Alvarez’s many wink-wink allusions to Raimi’s pic. Working from a script he co-wrote with Rodo Sayagues, Alvarez briskly sets up his recycling of Raimi’s horror premise — five friends visit a secluded cabin in the woods where all hell breaks loose — with an aptly portentous prologue and backstory-heavy opening scenes. But Alvarez goes Raimi one better, by actually offering a logical reason why the characters don’t immediately vamoose once supernatural manifestations begin. Mia (Jane Levy), a drug-addicted young woman trying to go cold turkey, is undergoing physically and psychologically agonizing withdrawal, and her companions — including prodigal brother David (Shiloh Fernandez) and medically trained buddy Olivia (Jessica Lucas) — are loath to interrupt the recovery process. Besides, all those terrible things Mia claims to see are just hallucinations triggered by withdrawal, right? Wrong. Eric (Lou Taylor Pucci), the academically inclined member of the group, finds in the cabin a mysterious Book of the Dead filled with horrific illustrations, mysterious symbols and ample warnings not to read aloud anything that appears in its ancient pages. Unfortunately, Eric does not heed those admonitions, awakening a familiar demon for a new generation of young victims. Mia is the first to be infected by the monstrously malignant and singularly foul-mouthed bogeyman, but it doesn’t stop there, inspiring her cabin mates to damage themselves and each other in creatively gory ways. Alvarez repeatedly references plot elements and specific shots from Raimi’s original pic. Taking his cue from the original, he makes especially effective use of lenser Aaron Morton’s swooping, swirling camera movements, which suggest the POV of a rampaging poltergeist. But Alvarez’s tone is completely different, as the helmer rarely attempts to emulate the self-mocking, over-the-top campiness that distinguished the original Evil Dead from so many other cheapie creepies of the 1980s. Actor Bruce Campbell (who’s onboard here as a producer) more or less established himself as a cult figure back in the day with his inspired overplaying of Ash, the astonishingly resilient protagonist of Raimi’s original. In Alvarez’s version, Fernandez’s David serves the equivalent role, but he’s deadly serious. Indeed, the only character who even gets to crack a joke is Pucci’s Eric. Asked if he’s certain that actions described in the Book of the Dead will rid them of the troublesome spirit, the frantic fellow replies, “Am I sure? Of course not! It’s not a science book!” Levy is believably beastly as the possessed Mia, and manages the heavy lifting when her character must handle some last-act heroics. Other members of the cast do what they can with thinly written parts. For instance, it’s not really Elizabeth Blackmore’s fault that her role as David’s g.f. is so ill-defined and unimportant that some may forget she’s in the pic until she starts to make lethal use of a nail gun. The bloody mayhem is so graphic and frequent throughout Evil Dead , one cannot help suspecting that alternate takes had to be shot to ensure an R rating. The emphasis on dismemberment and disfigurement should make this must-see entertainment for gorehounds, but could literally scare off auds accustomed to less explicit, PG-13 fare. Ultimately, the new Evil Dead will rely heavily on existing fans of this unlikely franchise to make a killing in theatrical and homevid release. Those who get the inside jokes should be easy to spot: They’ll be the ones laughing when the onscreen carnage erupts most furiously. More on Evil Dead : Bruce Campbell on the ‘Dead Serious’ ‘Evil Dead’ Remake, Crowning A New Ash And ‘P-ssy Filmmaking’
Park Chan-wook’s reverence for Alfred Hitchcock and David Lynch shines through in his English-language debut, Stoker . It’s a tightly wound thriller with psychosexual undertones and shocking — yet artful — violence in which, it seems, no detail is accidental and the details, both visual and auditory, add up to a lavish cinematic experience. Stoker chronicles the macabre coming of age of 18-year-old India ( Mia Wasikowska ) when her father is killed on her 18th birthday and her handsome but creepy Uncle Charlie ( Matthew Goode ) comes to stay with her and her emotionally remote mother Evie ( Nicole Kidman ). On the eve of the film ‘ s March 1 U.S. opening, I spoke to Park about his vision for the film, the alterations he made to Wentworth Miller’s white-knuckle script and the film’s connection to his 2009 vampire movie Thirst, even though, despite its title, Stoker has nothing to do with the undead or the supernatural. The soft-spoken filmmaker also told me why he doesn’t want to see Spike Lee’s take on Oldboy until it’s released weighed in on the movie violence debate that erupted in the wake of the Newtown shootings. But wait, that’s not all! Preceding the interview is an exclusive featurette, courtesy of Fox Searchlight, in which Park and his cast discuss the movie. Enjoy. Click here to view the embedded video. Movieline: This is your first English-language film, and it’s set in America. I’d love to know if you wanted make any kind of a statement about American culture in Stoker . Park: Although Wentworth was obviously influenced by Shadow of a Doubt , the first American film that Hitchcock made, it’s not a commentary on American society at all. What attracted me to the script was that the story deals with the very universal idea of this family relationship. It doesn’t matter what country you’re from, you’ll be able to relate to and enjoy this film. You have said that Hitchcock — and David Lynch as well — influenced you, but the character of India’s mother, Evelyn, would be at home in a Tennessee Williams play. Was that intentional? Actually, the intention was to not evoke Tennessee Williams because the script ran the risk of being so under that influence. Of course, I am a fan of Tennessee Williams, but it’s not where I wanted to go, though I don’t want to blame Wentworth for everything. [Smiles] Lady Vengeance and, to a degree, Sympathy for Mr. Vengeance had to do with family and revenge. I feel like these themes connect your earlier work to Stoker . Would you agree? It would depend on who’s doing the interpreting. Take the vengeance theme, for example. Some people might say that this film has nothing to do with the idea of vengeance. But if you want to interpret it as a story about vengeance, you can. It lends itself to that interpretation just as well as any other. Well, without spoiling the movie, there is at least one of act of vengeance committed — more, depending on your interpretation. It’s certainly not the only theme, but it’s definitely there. You’re absolutely right. It is an entirely possible interpretation. And there you have the link to the Vengeance trilogy. But I would say that Stoker lends itself just as well to vampiric aspects and is more closely linked to Thirst . But I also wanted to focus on the coming-of-age story of a young girl, and in that sense, it’s closer to I’m A Cyborg But That’s OK. Evie’s coldness and cruelty toward India is quite memorable. Is that straight from Miller’s script or did you expand upon that in the storytelling? I actually weakened it. Take the example of Evie’s big monologue. She’s cursing her daughter — it’s a very, very cruel thing. But in the original script, the monologue ended with Evie telling India: “I can’t wait to see life tear you apart.” I wanted to add a deeper layer to Evie’s character. I wanted her to be surprised at herself for having said such a cruel thing to her own daughter. So, I worked with Nicole to add more action and dialogue. The result is that after Evie realizes the harshness of what she has just said, she tells India: “Who are you? Aren’t you supposed to love me?” And this is where we see that, underneath all of the vitriol, she’s a mother yearning for her own daughter to love her. And in that we find a very relatable and ordinary maternal figure. Have you gotten a chance to see any of Spike Lee’s remake of Oldboy ? I haven’t. I don’t have any detailed information about it, and I don’t want to find out any more than I already know. When the film comes out, I want to be surprised and stunned by the great filmmaker that Spike Lee is. The violence in your film is shocking, but it’s also integral to the story. I’d love to know your opinion of the debate here over cinema violence and whether it influences actual violence. I cannot believe that violence depicted onscreen actually causes people to act out violently. That’s oversimplifying the issue. If somebody commits a violent act after seeing violence in a movie, I think the question that needs to be asked is: would that person still have committed the act if he had not see a violent film? Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter .
