Tag Archives: Blumhouse

Firestarter (Keith Thomas, 2022)

During filming of The Thing in 1981, Universal offered John Carpenter the gig to direct a movie version of Stephen King’s novel Firestarter, about a pyrokinetic girl on the run from a secret government agency with her also super-powered father. After The Thing underperformed financially, Universal dropped Carpenter, replacing him with Mark L. Lester for the perhaps overly faithful 1984 adaptation that King reportedly hated.

Carpenter got his own swing at King for another studio with Christine. And four decades on, he’s now involved with a new take on the one that got away. His score for the 2022 Firestarter, co-written with Cody Carpenter and Daniel Davies, is by far the best part of director Keith Thomas’ adaptation of a text that no one can quite seem to crack…

Full review for SciFiNow

Isa Mazzei and Daniel Goldhaber on Blumhouse’s ‘Cam’ and being sex-work positive

A multiple prize-winner at this year’s prestigious Fantasia Festival, the Blumhouse-produced Cam, now available on Netflix UK, is one of 2018’s most interesting horror films for numerous reasons.

First of all, the film, set in the world of webcam shows, is among the most sex work-positive fiction features to date from any genre, and a crucial pop culture asset in a time when sex workers worldwide are under threat, thanks to livelihood-threatening legislation from various governments.

Secondly, Cam is one of the few films with sex work at its centre that’s actually written by a former sex worker. Debut screenwriter and producer Isa Mazzei had a similar camming career to that of the film’s protagonist, Alice (online alias Lola, played by the spellbinding Madeline Brewer of The Handmaid’s Tale).

Thirdly, although the film is directed by Daniel Goldhaber (his debut feature), it is credited as ‘A film by Isa Mazzei and Daniel Goldhaber’. Despite taking on specific roles (Mazzei is the sole screenwriter), the pair are adamant Cam is a 100 per cent joint vision, making it a particularly fascinating case study in a climate where who gets to tell what stories is under more scrutiny than ever.

Cam follows Alice, who makes a living as a camgirl on a popular chatroom site, but withholds sharing the details of her career with her mother (Melora Walters) – until she cracks the top 50 ranking of the platform’s performers. Around the time she does, she suddenly finds she’s been locked out of her account. Someone else is broadcasting from it, though: a doppelgänger of Alice/Lola, who veers into content that goes beyond the rules Alice had set for herself. In a bitter twist, the imposter Lola’s shows help her channel become one of the most popular on the site. With the exception of a fan who seems strangely attuned to what’s going on, no one seems able to help Alice stop Lola, forcing her down a path of creative and eventually violent improvisations.

While they were in London for the film’s UK premiere at the BFI London Film Festival, we sat down with Mazzei and Goldhaber for a fascinating, extensive conversation concerning, among other things, what their film says about our relationship to technology, making such a sex work-positive movie, working with Blumhouse and their thoughts on Jason Blum’s recent comments about women in horror filmmaking, the curious influence of documentarian Frederick Wiseman on the film’s storytelling, working with star Madeline Brewer and how to successfully collaborate with people to empower underrepresented voices, creating a new cinematic language to tell their horror tale, and their unique partnership that dismisses traditional notions of auteur theory…

Full interview for VODzilla.co