Netflix has doubled its budget to €500 million ($571 million) for German-language productions between 2021 and 2023 and has revealed a raft of new projects.
On Tuesday, the Netflix German-language team presented a selection of 19 productions, including previously announced projects, at the Content Remote Show. The shows are from Germany, Austria and Switzerland.
New series include eight-parter “Achtsam Morden” (working title), based on the book of the same name by Karsten Dusse, which topped the Spiegel bestseller list for over nine months and is now being filmed for Netflix by Constantin Film, Jan Ehlert and Nina Viktoria Philipp. Writers Miriam Rechel and Chris Geletneky tell the story of top lawyer Björn Diemel, who to save his marriage, finds a new work-life balance with the help of a mindfulness seminar and accidentally becomes a murderer in the process.
Another book adaptation, also produced by Constantin Television, is thriller series “Liebes Kind” (working title). Based on the novel by Romy Hausmann,...
On Tuesday, the Netflix German-language team presented a selection of 19 productions, including previously announced projects, at the Content Remote Show. The shows are from Germany, Austria and Switzerland.
New series include eight-parter “Achtsam Morden” (working title), based on the book of the same name by Karsten Dusse, which topped the Spiegel bestseller list for over nine months and is now being filmed for Netflix by Constantin Film, Jan Ehlert and Nina Viktoria Philipp. Writers Miriam Rechel and Chris Geletneky tell the story of top lawyer Björn Diemel, who to save his marriage, finds a new work-life balance with the help of a mindfulness seminar and accidentally becomes a murderer in the process.
Another book adaptation, also produced by Constantin Television, is thriller series “Liebes Kind” (working title). Based on the novel by Romy Hausmann,...
- 2/8/2022
- by Naman Ramachandran
- Variety Film + TV
Sometimes you almost think they don’t want you to watch. I’m not sure a more generic title could be conjured up than Revenge! (1971), an ABC TV movie that sounds like it should sit next to nacho chips and beer on the discount supermarket shelf. But, of course, it’s the ingredients that count, and with a stellar cast and a taut script by Psycho screenwriter Joseph Stefano, Revenge! has enough flavor to entertain the more discerning palette.
Originally airing on November 6th, this ABC Movie of the Weekend was up against NBC’s Saturday Night at the Movies and CBS’s Mary Tyler Moore Show / The New Dick Van Dyke Show, but won out again. Revenge! may be a generic title, but ABC’s brand is strong.
Open your faux TV Guide to page 32 for all the saucy details:
Revenge! (Saturday, 8:30pm, ABC)
A crazed woman believes...
Originally airing on November 6th, this ABC Movie of the Weekend was up against NBC’s Saturday Night at the Movies and CBS’s Mary Tyler Moore Show / The New Dick Van Dyke Show, but won out again. Revenge! may be a generic title, but ABC’s brand is strong.
Open your faux TV Guide to page 32 for all the saucy details:
Revenge! (Saturday, 8:30pm, ABC)
A crazed woman believes...
- 8/13/2017
- by Scott Drebit
- DailyDead
Known as the King of the Gimmicks, producer/director William Castle will surely be remembered for such B staples as House on Haunted Hill (1959), The Tingler (also ’59) and 13 Ghosts (1960), cheap but fun pictures with added pleasure for the moviegoer by the use of ingenious devices such as Emergo, Percepto, and Illusion-o. It’s only fitting that he ended his career as co-writer/producer of Jeannot Szwarc’s Bug (1975), a nature gone amok flick that becomes a Weird-o halfway through to detail a descent into madness.
Distributed by Paramount Pictures in June, Bug didn’t make much of a dent in the summer box office, bringing in a little over $3.6 million and infuriating critics. Richard Eder of The New York Times called it “sick, and literally sickening.” Some people just can’t handle arson prone killer cockroaches, I guess. Never mind them, because the rest of us get to revel in...
Distributed by Paramount Pictures in June, Bug didn’t make much of a dent in the summer box office, bringing in a little over $3.6 million and infuriating critics. Richard Eder of The New York Times called it “sick, and literally sickening.” Some people just can’t handle arson prone killer cockroaches, I guess. Never mind them, because the rest of us get to revel in...
- 7/8/2017
- by Scott Drebit
- DailyDead
Homage in film can be a tricky proposition. Hew too close to the original, and you’re just making copies with no new toner; veer too far away and folks will wonder why you bothered. Joe Dante’s Piranha (1978) is that perfect beast then - a Jaws “rip-off” that bows to its source while winking at the audience, and yet still manages to be a wholly separate, wildly entertaining ride.
Released by Roger Corman’s New World Pictures in North America in early August (capitalizing on Jaws’ still undulating waves), Piranha was that rare New World phenomenon: It made some good coin ($16 million worldwide against a $600,000 budget) And was well received by critics. Steven Spielberg himself was so won over by Dante’s take and talent that it led to collaborations on Twilight Zone: The Movie, Gremlins, and other projects. Piranha proves that you can hug someone, slap a “Kick Me” sign on their back,...
Released by Roger Corman’s New World Pictures in North America in early August (capitalizing on Jaws’ still undulating waves), Piranha was that rare New World phenomenon: It made some good coin ($16 million worldwide against a $600,000 budget) And was well received by critics. Steven Spielberg himself was so won over by Dante’s take and talent that it led to collaborations on Twilight Zone: The Movie, Gremlins, and other projects. Piranha proves that you can hug someone, slap a “Kick Me” sign on their back,...
- 6/24/2017
- by Scott Drebit
- DailyDead
Warning: if you’re not a Kate Jackson fan, today’s column may not work in your favor. Plus, we probably shouldn’t hang out. I first fell in love with Ms. Jackson (if you’re nasty) when I was six. At the time, she was starring on Charlie’s Angels, along with Farrah Blah-Blah and Jaclyn What’s Her Name, but I think maybe I liked Kate best. Her long black hair, radiant smile, and raspy sing song drawl mesmerized me for the remainder of that show’s run. But for fans of horror, Kate worked with Dan Curtis on Dark Shadows, before landing one of the leads in Satan’s School for Girls (1973), producer Aaron Spelling’s venture into one of the ‘70s greatest capitalist ventures, Satanic Panic. It’s a fun romp; and spoiler alert - Kate is great in it. (She’s just the most, don’t you think?...
- 2/12/2017
- by Scott Drebit
- DailyDead
Retro-active: The Best Articles From Cinema Retro's Archives
Bradford Dillman: A Compulsively Watchable Actor
By Harvey Chartrand
In a career that has spanned 43 years, Bradford Dillman accumulated more than 500 film and TV credits. The slim, handsome and patrician Dillman may have been the busiest actor in Hollywood during the late sixties and early seventies, working non-stop for years. In 1971 alone, Dillman starred in seven full-length feature films. And this protean output doesn’t include guest appearances on six TV shows that same year.
Yale-educated Dillman first drew good notices in the early 1950s on the Broadway stage and in live TV shows, such as Climax and Kraft Television Theatre. After making theatrical history playing Edmund Tyrone in the first-ever production of Eugene O’Neill’s Long Day’s Journey into Night in 1956, Dillman landed the role of blueblood psychopath Artie Straus in the crime-and-punishment thriller Compulsion (1959), for which he...
Bradford Dillman: A Compulsively Watchable Actor
By Harvey Chartrand
In a career that has spanned 43 years, Bradford Dillman accumulated more than 500 film and TV credits. The slim, handsome and patrician Dillman may have been the busiest actor in Hollywood during the late sixties and early seventies, working non-stop for years. In 1971 alone, Dillman starred in seven full-length feature films. And this protean output doesn’t include guest appearances on six TV shows that same year.
Yale-educated Dillman first drew good notices in the early 1950s on the Broadway stage and in live TV shows, such as Climax and Kraft Television Theatre. After making theatrical history playing Edmund Tyrone in the first-ever production of Eugene O’Neill’s Long Day’s Journey into Night in 1956, Dillman landed the role of blueblood psychopath Artie Straus in the crime-and-punishment thriller Compulsion (1959), for which he...
- 3/31/2012
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
This week we'll be treated to a big advertising campaign for "Spy Kids: All the Time in the World in 4D." I have not seen the film, but I have experienced the process.
Yes, the Scratch-n-Sniff card is back, this time advertised as Aromascope. We have come a long way since Odorama and Smell-o-Vision. Well, maybe not that long a way.
It was May 1981 in Cannes. I had just left Le Petit Carlton, the legendary bistro on a back street behind the old Palais. Rainer Werner Fassbinder and his posse were gathered inside, looking as discontented as usual. I planned to walk down the Rue d'Antibes to the Hotel Splendid. After a block or two I found myself accosted by a press agent. He asked me if I was coming to the midnight screening of "Polyester."
"Polly who?" I asked. In France you never realize they're speaking English.
"The new John Waters film!
Yes, the Scratch-n-Sniff card is back, this time advertised as Aromascope. We have come a long way since Odorama and Smell-o-Vision. Well, maybe not that long a way.
It was May 1981 in Cannes. I had just left Le Petit Carlton, the legendary bistro on a back street behind the old Palais. Rainer Werner Fassbinder and his posse were gathered inside, looking as discontented as usual. I planned to walk down the Rue d'Antibes to the Hotel Splendid. After a block or two I found myself accosted by a press agent. He asked me if I was coming to the midnight screening of "Polyester."
"Polly who?" I asked. In France you never realize they're speaking English.
"The new John Waters film!
- 8/11/2011
- by Roger Ebert
- blogs.suntimes.com/ebert
For many fans, independent horror filmmaking seems like a relatively new concept. So you may be surprised to find out the maverick spirit that fuels our beloved genre has been burning for almost 100 years now, since the 1912 version of Dr. Jekyll & Mr. Hyde was produced by the independently-run production house Thanhouser Company.
Since then, we’ve enjoyed countless films that bucked the studio system tradition and gave us bold, refreshing explorations of some of our greatest fears and introduced us to some pioneers in the entertainment industry. In honor of these achievements, we here at Dread Central are taking the entire month of March to celebrate all things indie horror.
To kick things off, over the next five days we’d like to take you on a historical journey through the last 100 years of indie horror by taking a look at 25 milestones that helped define the horror genre and, in many cases,...
Since then, we’ve enjoyed countless films that bucked the studio system tradition and gave us bold, refreshing explorations of some of our greatest fears and introduced us to some pioneers in the entertainment industry. In honor of these achievements, we here at Dread Central are taking the entire month of March to celebrate all things indie horror.
To kick things off, over the next five days we’d like to take you on a historical journey through the last 100 years of indie horror by taking a look at 25 milestones that helped define the horror genre and, in many cases,...
- 3/7/2011
- by thehorrorchick
- DreadCentral.com
If anyone has known me for many years, they’ll know that I’m an avid Joe Dante lover. And who can deny that love? From Gremlins to Matinee, to The Howling and The ‘Burbs, nobody has done a better job in contemporary Hollywood genre films and also had a critical following as well. Shout Factory! Has just released his first breakthrough hit, a Roger Corman produced horror comedy that many have passed over as a Jaws ripoff. The film is Piranha.
It’s more than just a simple ripoff. Even Corman himself has said that they couldn’t just use another big sea fish, so instead he opted for the smaller and still deadly piranha. Plus the deaths could be more gruesome and in the year 1978 and the slasher boom about to hit, gratuitous gore was the in thing. But Piranha has something more than many of the ‘animals...
It’s more than just a simple ripoff. Even Corman himself has said that they couldn’t just use another big sea fish, so instead he opted for the smaller and still deadly piranha. Plus the deaths could be more gruesome and in the year 1978 and the slasher boom about to hit, gratuitous gore was the in thing. But Piranha has something more than many of the ‘animals...
- 8/6/2010
- by James McCormick
- CriterionCast
When I was but a wee bonny lass, I was eating toast in the kitchen of my Southern Illinois home, and I accidentally mixed my peanut butter with my Nutella. “Oh no!” I cried. This was, to my child’s mind, an absolute tragedy. Nothing was worse than that disgusting food mixture that happens sometimes on a plate. My mother, however, encouraged me to eat it anyway. I grudgingly forced the toast with the two spreads into my mouth, and what did I discover? Why I found that my deep passion for peanut butter and Nutella as exclusive spreads was increased exponentially (I actually have no idea what this word really means) when they were combined.
It turns out that watching two “Nature Hates You” movies back-to-back is a lot like this. You go into them thinking, “These two movies are completely rad, and their radness cannot possibly be outdone!
It turns out that watching two “Nature Hates You” movies back-to-back is a lot like this. You go into them thinking, “These two movies are completely rad, and their radness cannot possibly be outdone!
- 4/29/2010
- by Melissa Yearian
- FusedFilm
For me, horror movies will always be fondly, profoundly linked to the sweet, wonderful and wide eyed rapture of my late-night trash TV-drenched childhood. Those bygone, misspent hours when I’d subject myself to every manner of sublime cinema, splitting open fantastic and macabre realities that potentially could and in some cases did, exist. One of the too-many-to-count strange shockers that left a major, destiny altering impact on me was veteran small screen director Sutton Roley’s obscure Sci-Fi tinged skin crawler Chosen Survivors, a movie whose chilly, nihilistic, future-shock premise hooked my Twilight Zone weaned sensibilities while also managing to exploit my acute fear of bedroom invading bats.
Before we proceed, let me explain a bit about that fear…
See, there was this one time when I was no more than 8, I was reading a particularly upsetting issue of Marvel comics’ groundbreaking Tomb Of Dracula series, alone, in my...
Before we proceed, let me explain a bit about that fear…
See, there was this one time when I was no more than 8, I was reading a particularly upsetting issue of Marvel comics’ groundbreaking Tomb Of Dracula series, alone, in my...
- 6/24/2009
- by no-reply@fangoria.com (Chris Alexander)
- Fangoria
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