![]() In addition to content aggregation, in 2015, CATCHPLAY established AsiaPlay Incorporated with the ambition of becoming the leading premium content service provider for movie lovers in Asia. Today, we are the largest provider for premium movie content in Taiwan, aggregating content from Hollywood studios including Disney, Warner Bros., NBC Universal and Paramount in addition to having a wide selection of international independent films and leading local productions for distribution on major operators’ digital platforms. Today, CATCHPLAY continues to look into investment and co-production opportunities internationally and in Asia targeting particularly Chinese-speaking territories and South East Asia following our recent expansion footprints.ĬATCHPLAY started placing significant emphasis on the development of digital movie content years before the others did in Taiwan. In the same year, CATCHPLAY also provided financing and local production support to director Martin Scorsese’s passion project Silence, making it the first international production filmed entirely in Taiwan. CATCHPLAY and partners also control exclusive distribution rights to these films in Taiwan, China, Hong Kong and Macau, with The Revenant generating outstanding box office results from these territories in 2016. In early 2015, we closed a partnership deal to invest in New Regency’s three enthralling titles, namely The Revenant, Assassin’s Creed and Splinter Cell, marking the first investment of a Taiwanese company in major Hollywood productions. Both investments generated considerable box office performance in Taiwan and China respectively. In the same year, we invested in the locally produced film, Paradise in Service and co-produced 20 Once Again with CJ Entertainment for the Chinese market. The best advice for getting out of this “Room” is don’t ever go in it.In 2014, in addition to distributing the movies CATCHPLAY loves, we embarked in earnest co-production and investment projects, venturing into content creation. There’s a preview “movie” on 8mm celluloid that is properly surreal and creepy.īut the clues are more interesting than the deaths or near-death-experiences, the characters as thinly developed as they often are in such genre pictures and the resolution has a fillip meant to make us forget how drab and lifeless most of what preceded it was. The lighting and set design and decor are striking. And then weird stuff, seeing and hearing “echoes” of themselves in mid-escape, in future escape, in their death throes or what have you throws them off. ![]() They surrender their phones and set off on their hour-long quest to “free” five people who “disappeared” in the clutches of “The Inventor” long ago. “So is that a clue, or just really good ‘atmosphere?'” Kathryn Davis plays the escape room nerd, the one who keeps saying “You guys are new to this” and who refuses to take what they find themselves going through at face value, all “part of the show.” Hamza Haq is her disinterested boyfriend and Dennis Andres plays the wild card, the guy who jokingly calls himself “a plant, part of the show,” but who isn’t. Horseback riding is out, a car breakdown leaves them in a small town which has a garage, a diner and apparently, an “escape room” in a Tudor style mansion outside the town limits. The story? Disinterested, lip-glossed/phone-distracted teen ( Jeni Ross) takes a day trip to the country with Dad ( Mark Ghanimé). On a tiny budget with a tight schedule, as Hitchcock preached, a detailed shot-by-shot storyboard can ensure you get what you need for the editor to make your thriller just fly by. Pre-planning is a must for any shooting script. ![]() “No Escape Room” probably went wrong in the storyboard process. Pedestrian shot selection and editing finish off any sense of “urgency” that the story is meant to generate. Put more effort in the clues and clever ways designed to solve them (numbers written on the whirling blades of a ceiling fan, only decipherable is you can figure out what in the room might give you a strobe effect) than you do to pacing. Pay more attention to the sets in wide shot than the imperiled characters in unnerving close-ups. The best ways to botch that are failing to keep the cast’s energy up, set-up to set-up, letting them slow-walk something that by definition and design is a fast-paced “ticking clock” thriller. The puzzle-it-out clues are challenging as all get out and the house’s clockwork trapdoors, hollow walls and hidden recesses are given a workout.īut something supernatural starts to happen and…there IS no ESCAPE! “No Escape Room,” the latest horror riff on the “escape room from Hell” theme, has the building blocks of a solid genre thriller.įive people undertake a mysterious small town escape room experience.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |