We had never heard of the company or the extra, David Hughes reached out to our producer Michael Felsher, the company sent us the link and we added the extra. They were asking for a trade that never happened, instead of invoicing us for the extra, they took this route.

Fire in the Sky. Signs. The Alien Franchise. Under the Skin. Species. We're open to passionate, insightful, and spine-chilling perspectives on what makes Alien Horror films so unsettling, impactful, and unforgettable. Pitch us here: nighttidemag.com/contact #AlienHorror

hey so i think i actually just discovered my nemesis

Social and magical realism merge in Andrea Arnold’s scintillating Thames Estuary fable about the friendship between a latchkey kid and a smiling wanderer searching for home. @thethirdhan reviews Bird: lwlies.com/reviews/bird/

As an avid importer of KL discs, this obviously stings like hell. My interview with Roger Donaldson has turned up on their No Way Out disc. Not quite sure why, and not had a penny for it. Not even a disc! It's hard enough being an indie without stuff like this.

"Mister Keaton, how did you come to get the name Buster?" #houdini

There’s this "rule" in film editing: don’t show the door closing; just cut to the other side. It's meant to be a reminder to avoid unnecessary or mundane sequences. CONCLAVE ignores that entirely. Characters pause, and shuffle around between lines, as their sneakers squeak on Italian marble. They actually eat and swallow food without cuts, and stop in the middle of important dialogue just to make a Nespresso in real time. People are calling this a thriller (and I agree), but it's also a Vatican hangout movie. I couldn’t care less about the subject matter, yet I haven’t felt this engrossed in a film in a while. It's all the "fluff" that Berger includes that made everything really work for me. It has so much rich texture. One of the best of the year - and it's because you see the doors close.