Academy Award winner Nicolas Cage in the supernatural thriller “Pay The Ghost” based on the bestselling short story of the same title by Tim Lebbon, a horror and dark fantasy writer, about a doting father on a desperate search whose son mysteriously disappears during Halloween.


Directed by Uli Edel, whose work in “Baader Meinhof Complex” earned him an Oscar-nomination and from a script by Daniel Kay who wrote the horror flick hit “Timber Falls,”  “Pay The Ghost” follows Mike Cole (Cage) and his son during the Halloween festivities in New York City until his son suddenly and mysteriously disappeared from his side.  A year after, disturbing images of his son appear and Mike reunites with estranged wife Kristen (Sarah Wayne Callies) to discover what the images are trying to convey.  Going as far as the city’s underground world to uncover clues to their son’s whereabouts in the city, they soon come across a dangerous spirit and terrifying ancient secrets.

Unraveling the  mystery behind their son’s disappearance, they come to realize that time is of the essence to bring him back after being revealed that a vicious vengeful ghost had taken their son along with other children every Halloween.


Author Lebbon is enthusiastic on his first foray into adapting his story on film, “It’s fantastic news, and I’m very excited about the whole thing. I’ve had lots of projects optioned, probably 15 or more, but this is the first that’s ever made it all the way to being filmed. As is normal with these things it was a long, convoluted process. Following the initial option several years ago, when I was sent the script to read, I’ve had very little else to do with it. Other production companies became involved, rewrites happened, then Nicolas Cage signed on and everything started moving very quickly. So I’m as keen as anyone to see the finished product!”


“I love the charm of the old horror films, like the old Hammer horror films, Exorcist, The Sixth Sense, The Shining. So it’s really an honest expression for me because my mandate is drama and horror and if we can do both in one movie then we’re in to something.  Ellen Burstyn really showed the importance of dramatic acting to make the supernatural more real, because of her incredibly authentic performance in the Exorcist, we believe the extraordinary circumstances that are happening. And that’s sort of what I want to try to model in Pay The Ghost,” Cage admits.

See the trailer below:


                “Pay The Ghost” opens September 16 in cinemas from Pioneer Films.



Amplifying and transcending every rule in the action genre, the latest ultra-stylized action film “Hitman: Agent 47” introduces the latest assassin-hero to root for with Rupert Friend in the titular character along with Hannah Ware and Zachary Quinto.

Friend, known to worldwide audience in the Emmy- winning Showtime series “Homeland” as Peter Quinn dons the suit of Agent 47, the titular elite assassin based on the popular video game of the same name.  A complete reboot, “Hitman: Agent 47” brings together an iconic anti-hero, an empowered and surprising female protagonist, and a seemingly unstoppable antagonist, in a thrilling story spanning the globe.  Friend’s Agent 47 has unexpected character shadings that transcend his profession as an elite assassin who remains a fiercely independent figure that moves in the shadows and has incredible tools and weaponry at his disposal.  But 47’s defining quality is not his martial skills, but his humanity.

The titular character’s impact on, and importance to, the legions of fans who’ve followed his exploits across several media, did not go unnoticed by producer Adrian Askarieh, who initially came up with the idea of bringing Agent 47 and the Hitman video game franchise to the big screen. “With this all-new film, we’ve stayed true to the character and his world, while expanding that world in a very real and grounded way,” he explains.  “We employ a gritty style that brings 47 into the ‘real world,’ if you will.”

“Hitman: Agent 47” is directed by Aleksander Bach, a noted commercials director making his feature film debut, from a screenplay by Skip Woods (“The A-Team”) and Michael Finch (“Predators”) and a story by Woods.

Friend, Quinto, Ware and the rest of the cast and crew certainly put their trust in director Aleksander Bach, whom Quinto says “has a real vision, and he gets the emotional component of the story, as well as the incredible action and visuals.”  Adds Friend:  “Ale has a real sense of the soul of the action.  With him, it’s never just about flashy visuals.”

Bach landed the assignment – his feature directorial debut – after submitting a sizzle reel that outlined his vision for the movie.  “We were already impressed with Ale’s commercial work, and were eager to talk with him about directing the film,” remembers producer Charles Gordon.  “And then this terrific reel he prepared sealed the deal.  It focused not just on action, but on the characters and emotion.  It was quite a selling tool.  We all immediately said, “Let’s go with this guy!”

Also, according to producer Alex Young, the reel was “exactly what we had hoped for, and once production began Ale proved to be a masterful storyteller as well as a great visual stylist.”  Bach’s vision for the film’s visuals encompasses a merging of what he calls “the slick and the gritty.”  The “slick” defines the film’s spectacular action set pieces, including helicopters flying into buildings, visceral car chases and exploding jet engines.  He says the “grittiness” stems from experiencing the strength in the characters – “when the guys are fighting, they’re really fighting,” he elaborates.  “Audiences will really feel it – like you’re in the middle of the battle.”

From 20th Century Fox to be distributed by Warner Bros, “Hitman: Agent 47” hits theatres nationwide August 19.



Pop culture phenomenon “Attack on Titan” is set to invade Philippine big screens on August 12 with a live action film, based on the successful manga and anime, Shingeki no Kyojin.

The manga is created by comics creator Hajime Isayama. Selling over million volumes in Japan, it was an instant hit when it debuted in 2011. The story is about the last bastion of humanity defending itself from mindless, naked giants who exist to eat people.

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To protect the people, the elite team known as the Survey Corps, also known as the Scouting Legion, has spent decades perfecting and learning to use an elaborate system of pulleys, called the “Maneuver Gear.” It allows them to fling themselves through their villages from rooftop to rooftop and target the giant zombies’ weak spots.

The popularity of “Attack on Titan” grew when its anime adaptation premiered in April 2013.  The TV series added jaw-dropping action sequences and immortalized terrifying horror on the small screen.

While the rest of the world might think “Attack on Titan” is based on the Japanese monster genre, kaiju, the series was actually inspired by the works of 19th Century Spanish painter Francisco Goya.

Goya’s series of paintings used eerie images of mythological giants as symbolic representations of the atrocities of war. To pay homage to Goya, both the manga and the anime based their art on Goya’s paintings—“Saturn devouring his son” and “The Colossus,” the latter though is attributed to one of Goya’s assistants by historians. These artworks highlighted humanity at its most brutal during the French invasion of Spain in the 1800s.

Aside from reflecting Goya’s themes of injustice and war in his story, Hajime also opted to use the word “Titan,” Goya’s usual subjects, for the English title of his work. Instead of the literal translation of Shingeki no Kyojin, “Advancing Giants,” it became “Attack on Titan.”

The “Attack on Titan” craze has also reached Philippine shores with comics specialty shops and bookstores carrying both the English and Filipino versions of the manga. In addition to a manga and anime series, Attack on Titan has also made its way into video games.

Filipino moviegoers will be able to see “Attack on Titan” in just a few days when it opens in theaters on August 12 from Pioneer Films.


            Part two will be shown just a few weeks later on September.


“Absolutely Anything” goes far out in the realm of outer space, where an Intergalactic Council, composed of a nasty bunch of alien creatures, intercept the Voyager space probe and look down on planet Earth. These cackling creatures have an appetite for destruction and believe that Earth and its inhabitants should be destroyed – and so, the fate of the world hangs in the balance.

But before earth’s absolute destruction, these aliens have to follow what the Intergalactic Law states – that the inhabitants of any planet must be given the chance to prove themselves. One person or being is to be selected at random and granted exceptional powers. How they respond will dictate the planet’s future. They eventually pick Neil Clarke (Simon Pegg), an unassuming teacher from North London, England, becomes that person who doesn’t have an idea that the world’s fate now depends on him.

Director Terry Jones explains how the film opens. “Aliens intercept the Pioneer spacecraft as it’s leaving the solar system and decide to assess planet Earth and its inhabitants.”

The other non-humans in the movie are, of course, the council of aliens who reside in deep space and decide on mankind’s future. Their individual designs came via production designer Jim Acheson and his team.   “He was so great,” says Terry Jones of Acheson, “the way he and his visual artist envisioned them and brought the aliens to life. There is Janet, voiced by Michael Palin, while John Cleese’s alien is like a stern housemaster. Then I play Kylie. I don’t know what Kylie is.

“But then also there’s Maureen, a little short alien who falls off his chair and jumps around, and Terry Gilliam did that. Eric voiced the Salubrious Gat. I didn’t write them consciously for each of the actors but they seem to fit pretty well. There is the headmaster, John; the nice one Mike; Maureen is the grotesque one, and Kylie is the scientific one. I guess that’s how you might consider them.”

The nastiest alien, played by Gilliam, is a tiny little chap, while the chief alien, played by Cleese, is the biggest. “They all sit on the same-sized chairs so there is a problem with scale, which we purposely develop,” Acheson says. “They are really ugly, nasty creatures and we also wanted to play with the idea that these aliens came from different galaxies.

“Absolutely Anything” opens this August 12 from Axinite Digicinema in theatres nationwide. 

Perfect Timing for Writer-Director Gilles Paquet-Brenner on his DARK PLACES

When French director Gilles Paquet-Brenner decided to follow his modest Holocaust drama Sarah’s Key with an adaptation of a nourish American novel he liked, no one took much notice.

And then Gillian Flynn followed Dark Places with Gone Girl, which became a literary sensation and David Fincher’s next A-list project, and suddenly Paquet-Brenner’s movie was a lot more visible.

“I actually optioned the book way before Gone Girl was even written,” he explains over the phone from Paris. “It was just this little dark thriller that nobody had any interest in, and then all of a sudden it became a hot property.”

Dark Places stars Charlize Theron as Libby Day, a troubled woman who’s spent decades failing to get over the trauma of surviving her family’s murder. Drawn into a new investigation of the case, she learns more than she ever wanted to about the night of the massacre – and doesn’t handle it especially well.

“What’s interesting about Libby is that the audience for most of the movie will have very conflicted feelings toward her,” Paquet-Brenner says. “Some will hate her; some will understand where she’s coming from. But I think in the end she grows on you, and that was the idea. 

“Charlize and I definitely made a choice not to beg for likability, because we thought it would be really contrary to the essence of the character. We gambled that people would like her at the end of the movie, which is the only thing that matters. ”

Dark Places also has the advantage of opening while people are still buzzing about Theron’s amazing turn as Furiosa in Mad Max: Fury Road. This is not lost on Paquet-Brenner.

“Charlize always has this real attraction to the unsympathetic, difficult characters,” he says. “Maybe it has to do with how she looks, maybe [once] it was because she needed to prove herself – though now she doesn’t, she’s an Oscar-winning actress. But it’s interesting that those two movies are [arriving] just a couple of months apart. It feels like she’s back in that territory where people love her because she addresses these complex, dark, twisted characters.

“I also know it’s a bit by chance, because when I met her for the first time, she was just back from shooting Mad Max in Namibia, and now it’s two years later and the two movies are out,” he laughs. 

Paquet-Brenner says a climactic action sequence in Dark Places also reaped the benefits of Theron’s Fury Road stunt training. 

“I was amazed by how good she was in that,” he says. “I mean, I’ve been working with guys who are less skilled than her. She was just so strong in those action scenes, so comfortable.”

DARK PLACES written and directed by Gilles Paquet-Brenner from the novel by Gillian Flynn, with Charlize Theron, Nicholas Hoult, Chloë Grace Moretz and Christina Hendricks.


DARK PLACES is released and distributed by CAPTIVE CINEMA.

Charlize Theron and Gillian Flynn Talk DARK PLACES and Good Book-to-Film Adaptations.

Adapted from the novel by Gillian Flynn (Gone Girl), the dramatic thriller Dark Places follows Libby Day (Charlize Theron), mother and two sisters were brutally murdered when she was only seven years old. Now 25 years later and broke, Libby agrees to appear at a gathering of true crime aficionados to help them re-examine the crime by revisiting the most tragic moment of her life.

Academy Award winner Charlize Theron and author Gillian Flynn talked about why dark female characters are so interesting, being truthful to the embodiment of a full woman, the importance of turning up at the box office for female-driven films, the fascination with true crime, and what makes a good book-to-film adaptation.

Charlize, why are you seemingly attracted to stories with dark, angry women?

CHARLIZE THERON: It’s really interesting when you get to play a woman that is layered and conflicted, and has certain human attributes that might not be that attractive, which is part of the human condition. But somehow, because we haven’t seen enough of it in cinema, it sticks out like a sore thumb and people comment on it. At the end of the day, they’re really not compartmentalized characteristics. They’re really just a part of a full human being, and especially a woman. It’s only, I feel like, in the last decade that we’ve seen women who are even more conflicted than men resurface and people are talking about it because there has been such a lack of it. So, I can’t say that I’m attracted to angry, dark people. I think what I’m attracted to are characters that, to me, feel very truthful to the embodiment of a full woman. I think it’s just refreshing to see women like Gillian Flynn write women like that. And to have been given the opportunity to play those women in the last 10 years, it feels authentic and real. That’s all I can say.

Were you able to relate to this woman’s tragic life experience, having had your own tragic life experience?

THERON: There really are no similarities. The circumstances of this tragedy have absolutely nothing in common with the tragedy that happened in my life. What I believe people can relate to is that we all come from this family structure that we don’t get to choose, necessarily. I’ve yet to meet somebody that doesn’t have some form of skeletons in their closet from the family life that they lived. I think there is something very relatable in the idea that you hit a certain age, later in your life, where you realize you have to pick up the rug and see what’s underneath it and deal with stuff. I think it’s a very easy assumption to make that, because I had a tragic event happen in my life, that was why I wanted to make this story. That couldn’t be further from the truth.

Gillian, as a writer, what inspires you to create these very complex but strong female characters?

GILLIAN FLYNN: I certainly never sit down and think, “Gosh, I’m going to create this very multi-layered woman.” Although I will say, when I first started writing and I wrote Sharp Objects, my first book, I was writing it with a little bit of a sense of a vacuum of interesting female characters, and particularly female anti-heroes. Men can play all of these dark and screwed up roles and they’re called anti-heroes. And women do it and they’re a bitch, period. There’s not anything after that. But, we can be all those things and more. When we first started shopping it around, we got turned down by quite a few places that said, “Women will not want to read about a woman that they don’t like, and men definitely will not want to read about a woman who’s bad.” I was like, “What era is that?” For me, Libby’s darkness came from a very specific place. To write her any other way made no sense. I tried to do that. In the first draft, I was like, “I’m not going to write another dark female narrator.” The Libby that I created was just ridiculous. She was just like, “We’re going to solve this murder! Let’s go!” She was really optimistic and like a Jazzercise instructor. It was ludicrous. So, I just erased her and started over with the opening of the book, and then I really had her. People focus on the darker female characters in my books, but for every one of those, I can also show you an equally screwed up man that no one ever comments about, or a nicer woman that no one comments about. I don’t feel like that’s my specialty.


What can we do, as audience members, to ensure that there continue to be female-driven films?

THERON: It’s very simple, go see them. People always say to me, “What’s wrong with Hollywood? They don’t want to make female-driven movies.” And that’s not where the problem lies. It lies with us, in society. When we make these movies, nobody goes to see them. It’s a social issue, really, more than it is a Hollywood issue. It is a business, at the end of the day. They make movies that they find there’s an audience for. I do think there’s been an incredible shift, especially in this last couple of years. I can definitely tell you that there was a definitive moment in my career where the more I started exploring these darker, fucked up characters, the more people were emotionally tapping into them because there was just something really authentic within them. I remember doing a film (Young Adult) with Jason Reitman, which is probably the most despicable character I’ve ever played. And I remember that, after every screening, people would come up to me and whisper, “I know that character,” or “I am that character.” I think there is an element, when you make a film, that is a bit like holding up a mirror to society. And I think good filmmaking is when you really hold the mirror up truthfully, and you don’t angle it and you don’t hide things with smoke and mirrors. I think women are starting to be represented that way, and I think people are responding to it. It’s fun to watch women do that stuff. When I started out, I wanted to be Jack Nicholson in The Shining, and I wanted to be Robert DeNiro inTaxi Driver. I was like, “Where are those roles for women?”

FLYNN: No one watches Taxi Driver and says, “Oh, it’s a male-oriented film.” No one looks at nine-tenths of the films out there that are headlined by men and say, “It’s a male-oriented film.” I think it’s up to us, societally, to say, “It’s not a women’s story. It’s a story that has a woman in it.” There’s nothing that can drive me from zero to crazy faster than a man who comes up to me and says, “You know, I don’t normally read books by women, but I really liked Gone Girl.” Could you ever approach a man and be like, “I don’t normally talk to men”?

Do you understand the fascination with true crime and how it almost reaches a celebrity level?

FLYNN: My interest in Dark Places was that strange community that comes together around a murder. I watch those shows and read those books, all the time, and wonder, “Why am I attracted to these kinds of stories?” It’s not a new thing. The newspaper industry was built on the penny dreadfuls. We’ve been fascinated with murders for a long time. Part of it is that it gives us a vocabulary to talk about families, husbands and wives, money issues, and society issues. Those ones that we get attracted to do tend to have those angles to it that we can grab onto. That was my interest in it, particularly with someone like Libby, who becomes famous because of a tragedy, and then weirdly becomes identified with that forever.

Gillian, has seeing adaptations of your books affected how you write?

FLYNN: Hopefully not. I’ve not started the next book yet. Don’t tell my publisher. That’s off the record. I think writing a book with film in mind is a way to write a really bad books. You can usually tell those books that are packaged to become films. I think that will be one of those voice on my shoulder that I’ll be battling a little. Now I’ve confessed too much! With my next book, I’ll fight that urge to make it seem commercial or filmable. You don’t necessarily read Dark Places and say, “What an easy thing to film.”

Do you ever learn anything new or unexpected about your characters that you didn’t see when you were writing them, but that you see in the film adaptation?

FLYNN: Oh, always. That’s the fun of it for me. I don’t care how dramatically faithful a movie is to the book, or whether the character looks just like it’s described in the book, as long as the spirit of the book is there. To me, one of the funnest things is seeing Charlize take on Libby, and watching her take and the different ways she interprets things. A movie should be considered a companion piece to a book, as opposed to a straight adaptation of the book. I go into it as they should be two very different things. We’ve all seen movies that are slavishly accurate to the book that don’t become good movies because of it. A movie has to become its own thing. For me, writing is a lonely thing. You’re just by yourself, all the time. To get to see (director) Gilles [Paquet-Brenner]’s take on all of these different scenes is the fun of it. A movie is such a huge, big collaboration. It’s so different from a novel. I love seeing all of the different tones that everyone brings to the film. I’ve been lucky that I’ve had two adaptations that I’ve been super happy and thrilled about. Talk to me when a bad one happens, I guess.

Charlize, this is your second movie this summer with Nicholas Hoult, having also done Mad Max: Fury Road together. What is your working relationship like?


THERON: He’s just a really great guy, and he’s incredibly talented. We joked on Fury Road that we were stuck in the same environment, that entire film, but we didn’t really have that much to do [together]. We just really liked each other. He makes making movies fun. There’s something about him that I thoroughly enjoy. I enjoy working with people who make the experience a great one. And he’s stupidly talented. I feel that way about him today. I would do every movie with him. He was the first person that I talked to Gilles about. This was one of the first scripts that I read when I came back from Namibia, and I was like, “It would be amazing, if we could make this with Nick.” I think he was such a great asset to have. He’s so great in the film. He’s just great. He’s really talented. He’s the emotional drive in Fury Road.

DARK PLACES is released and distributed by CAPTIVE CINEMA.



A heart-stopping, thought-provoking psychological thriller, “The Gift” is from producers Jason Blum and Rebecca Yeldham (“Insidious,” “Paranormal Activity”) and actor, writer, producer and first-time director Joel Edgerton (“The Great Gatsby,” “Zero Dark Thirty,” “Warrior”) with co-stars Jason Bateman and Rebecca Hall.  “The Gift” opens benignly enough, focusing on a couple ostensibly at the apex of professional and personal success as they effortlessly climb the professional ladder and comfortably settles into their dream home, until a chance encounter with someone from the past.

In “The Gift,” Simon (Bateman) and Robyn (Hall) are a young married couple whose life is going just as planned until a chance encounter with an acquaintance from Simon’s high school that sends their world into a harrowing tailspin. Simon doesn’t recognize Gordo (Edgerton) at first, but after a series of uninvited encounters and mysterious gifts prove troubling, a horrifying secret from the past is uncovered after more than 20 years. As Robyn learns the unsettling truth about what happened between Simon and Gordo, she starts to question: how well do we really know the people closest to us, and are past bygones ever really bygones?

“It starts as a story that seems very simple, without malice,” producer Rebecca Yeldham says, “but then dread and discomfort creep in incrementally, making the audience increasingly nervous about what’s going to transpire.”

“There’s no easy way out,” says Rebecca Hall, who plays ‘Robyn,’ “There’s no easy sort of good guys, bad guys or victims.”  “Everyone presents versions of themselves,” Hall continues, “that vary to degrees, that shift according to who they’re talking to or what they want to put across.

“Things really bend and go sideways in a very realistic way,” says Jason  Bateman, who plays ‘Simon,’ “and you wind up questioning who is the villain and who is the victim, whether certain characters deserved what they got or not.”

The thing I find really interesting about Robyn is that she knows her husband has a secret, and she goes on a mission to find out what it is.” “Joel is such a strong writer and storyteller. I loved the script; I felt compelled to get involved with the project,” says Yeldham.  “It’s not a straight horror movie,” Blum adds, “like what you’re used to. It’s a very original script, very tight. I loved it; I thought it read like a novel.”

“A nice couple opens the door a little bit to a stranger,” Edgerton explains, “who then wreaks havoc on their life. That’s how we start, but that’s definitely not where we end.  “It’s a very well-written script,” says cinematographer Eduard Grau, “all the characters kind of change and all the characters affect each other in a weird way that we all find kind of common and personal.”

                “The Gift” opens August 19 in cinemas nationwide from OctoArts Films International.


Bughuul is back and scarier the second time around in “Sinister 2” wherein a newly separated mother of twins, Courtney, played by Shannyn Sossamon has no idea that she has resettled her family to a place where murder has occurred.  Through her twins, Dylan and Zach, Bughuul becomes even more powerful, stealing children’s souls and compelling them to make the kill films.

Bughuul is back as the twisted visionary behind the nightmarish kill films, with the slayings caught on camera by the victims’ children whose souls he has conscripted. While expanding the mythology, scribes Derrickson and Cargill also sought consistency by setting the story in another isolated home where horrible murder has occurred.

Unlike Ethan Hawke’s character of Ellison in “Sinister,” Shannyn Sossamon’s character of Courtney in “Sinister 2” follows a mother struggling the demons that she’s fighting, “That’s another inventive departure from the first movie,” said producer Blum who also produced the highly profitable “Paranormal Activity,” “The Purge,” “Insidious,” “Sinister” and “Ouija” franchises which have grossed more than $1.4 billion worldwide.

“So in the new movie, children play much bigger roles; their point of view is much more significant than it was in Sinister,” added Blum.

Sossamon reflects, “The drama of what this mom is going through – I’m a mom myself – felt very real. I’d done a couple of horror films and really didn’t ever want to do another because they’re draining, but this script was very good.

Sossamon elaborates, “Courtney is experiencing her own horror in a bad marriage. She’s protective of her two boys, and makes the decision to save herself and them by going on the run from Clint, the abusive husband and father.

“The character from the first film, So & So, is someone Courtney doesn’t know at all – much less that he has become driven to solve the Bughuul mystery. When his findings lead him to the abandoned house in which we are hiding, his instinct is to protect them from what they’re running from. All the while, he is trying to solve and deal with this horror that he can’t quite say out loud.”

The actress reveals, “Courtney wonders if she can trust him because that’s a big part of who she is. The scariest parts for me on this movie were the scenes with the ex-husband. I struggled with those in pre-production when we finally filmed the scenes.”

“Sinister 2” opens August 26 in cinemas nationwide from Pioneer Films.


The latest trailer for the much-awaited movie animation of all time, “Peanuts Movie” has just been released from Blue Sky and 20th Century Fox:

“Peanuts” creator Charles Schulz once described himself as “born to draw comic strips.” A Minneapolis native, he was just two days old when an uncle nicknamed him “Sparky,” after the horse Spark Plug from the “Barney Google” comic strip. Throughout his youth, he and his father shared a Sunday-morning ritual of reading the funnies. After serving in the army during World War II, Schulz got his first big break in 1947 when he sold a cartoon feature called “Li’l Folks” to the St. Paul Pioneer Press. In 1950, Schulz met with United Feature Syndicate, and on Oct. 2 of that year, “Peanuts,” so named by the syndicate, debuted in seven newspapers. Schulz died in Santa Rosa, Calif., Feb. 12, 2000 – just hours before his last original strip was to appear in Sunday papers.

Charles Schulz drew the most popular and influential comic strip of all time, which was read everyday by 355 million people in 75 countries. In addition to the famous strip, Peanuts holiday television specials such as “It’s The Great Pumpkin, Charlie Brown” have won Emmy’s and continue to be among the highest rated prime time TV specials.

Craig Schulz, President, Charles M. Schulz Creative Associates, commented, “We have been working on this project for years. We finally felt the time was right and the technology is where we need it to be to create this film. I am thrilled we will be partnering with Blue Sky/Fox to create a Peanuts movie that is true to the strip and will continue the legacy in honor of my father.”

A Blue Sky animation and 20th Century Fox presentation, “Snoopy and Charlie Brown The Peanuts Movie” will open January 8, 2016 in theatres nationwide in the Philippines.


POSTER _aug5 opens_

The final trailer reveal of the most powerful superhero “Fantastic Four” has just been released by 20th Century Fox:

In the concluding series of the movie’s series of trailer releases, it shows Reed Richards during his younger years inventing a teleportation machine. Much later in the trailer, the young group of brilliant minds that includes Miles Teller, Kate Mara, Michael B. Jordan and Jamie Bell who play respectively, Reed Richards, Johnny Storm, Sue Storm and Benjamin “Ben” Grimm are soon transformed into superheroes along with Toby Kebbell as their nemesis Dr. Doom.

                “Fantastic Four” opens very soon in cinemas nationwide this August 5 from 20th Century Fox to be distributed by Warner Bros.