Shutter Movie Trailer : Wood Shutter Blinds : Metal Drapery
Shutter Movie Trailer
- A trailer or preview is an advertisement for a feature film that will be exhibited in the future at a cinema, on whose screen they are shown. The term "trailer" comes from their having originally been shown at the end of a feature film screening.
- a mechanical device on a camera that opens and closes to control the time of a photographic exposure
- Close (a business)
- a hinged blind for a window
- Close the shutters of (a window or building)
- close with shutters; "We shuttered the window to keep the house cool"
shutter movie trailer - Let Me
Let Me In [Blu-ray]
From Matt Reeves – the director of Cloverfield – comes the new vampire classic that critics are calling “chillingly real” (Scott Bowles, USA Today), “one of the best horror films of the year” (Cinematical) and “a haunting, touching and unforgettable thriller” (Pete Hammond, Boxoffice Magazine). In bleak New Mexico, a lonely, bullied boy, Owen (Kodi Smit-McPhee of The Road), forms a unique bond with his mysterious new neighbor, Abby (Chloe Grace Moretz of Kick-Ass), who moves from town to town with the man who appears to be her father (Oscar® Nominee Richard Jenkins of The Visitor). Trapped in the mind and body of a child, however, Abby is forced to hide a horrific secret of bloodthirsty survival. But in a world of both tenderness and terror, how can you invite in the one friend who may unleash the ultimate nightmare?
Based on the Swedish novel, Let the Right One In, “Let Me In is a dark and violent love story, a beautiful piece of cinema and a respectful rendering of my novel for which I am grateful.” (John Ajvide Lindqvist, author)
Let Me In blends the innocent face of Chloe Grace Moretz (Kick-Ass) with the darkness of vampirism. A young boy named Owen (Kodi Smit-McPhee, The Road) has troubles at home (his parents are divorcing) and at school (bullies pick on him mercilessly). But when a mysterious girl named Abby (Moretz) moves in next door, Owen hopes he's found a friend, even though she smells a little strange. Unfortunately, his new friend needs blood to live, and the man who seems to be her father (Richard Jenkins, Six Feet Under) goes out to drain local residents to feed her. But even as Owen starts to suspect something is wrong, having a real friend might just matter more. Because the Swedish film adaptation of the novel Let the Right One In (on which Let Me In is based) was surprisingly popular and critically acclaimed, it's going to be hard for Let Me In to avoid comparisons. Surprisingly, it retains much of the flavor and spirit of the original. It's not as understated--this is an American movie, after all--and some of the creepiness is lost along with that subtlety. Despite that, Let Me In has its own spookiness and the performances (including Elias Koteas, Zodiac, as a local policeman) are strong. Directed by Matt Reeves (Cloverfield). --Bret Fetzer
4 stars. (possible spoilers) this was an incredibly funny gorefest! i liked this better than shaun of the dead. woody harrelson killed it (pun intended!). the rest of the cast was good, great zombie makeup. all around enjoyable. i even liked the atypical zombie movie ending. some good trailers before this one too.... 2012-this was a new trailer. at this point they've shown the entire movie & i can save my money & need for xanax! but i still might have to go see john cusack :) legion-this looks really good. i like paul bettany & dennis quaid. plus it comes out a week before my bday, so this might be my bday movie next year. shutter island-i've seen this trailer too many times. just release the freaking movie already! at first i wanted to see this, but now i'm not so sure. nightmare on elm street-totally pissed about this one. the wes crave/robert englund version is a classic. also the very 1st horror movie i ever saw which made me love horror movies ever since. jackie earle haley was great in little children & i think he'll make a good freddy, but thus was one they shouldn't have touched. and from the snippet in the trailer, they've made freddy look like a reglar burn victim. that's just creepy to me, freddy should look like a monster-not a regular person who had a terrible burn injury. maybe that's just me? new moon-the trailer with the volturi. micheal sheen & dakota fanning look really great & menacing. but again, i feel like the trailer has given away all the good parts. i also think this will be the best movie even though i don't think it was the best book. i think it has more to do with chris weitz directing than anything. i feel like there was another trailer i'm forgetting. i'll edit if it comes to mind.
week twenty-six of fifty-two
week twenty-six out of fifty-two Well my weeks been fine, a few ups and downs and a fall out but I feel pretty fresh. I helped out at my friends little sisters birthday party yesterday and did magic tricks for them which was fun. Their only 6 so they didn't have a clue even though the tricks were obvious and crappy, haha. I fell over on my bum and really really hurt my coccyx's, so I had to missed the annual cycling competition me and my dad do, which is annoying. Me and my photography teachers went into this Rape Seed Field and took some photo's, it was bloody freezing but blue skies so we got some nice shots. Their so much fun to be around! We took some ghosty slow shutter speed photo's, portraits and landscapes and then headed back to their flat where we sat and had an Indian and watched Britians Got Talent. Mum couldn't pick me up til later because she was tidying my brothers flat, so we ended up going on YouTube and watching trailers for horror movies - which resulted in me and Louise me terrified to open the door! When mum and Duncan arrived we all talked about ghosts. Super freaky! Taken with a Nikon D3000 with a 50mm
shutter movie trailer
Abandoned by her father as a child, the independent twenty-one-year-old Alice is accustomed to men being unpredictable, but Jack Chase is something else. Just moments after surprising her with a rare family ring, he’s suddenly kidnapped by two thugs and driven into darkness. It is then that Alice is confronted by a sharply dressed stranger who calls himself White Rabbit, and who promises to know more about Jack than she. Where Alice follows him is through the liquid glass of an ornate mirror. Where she lands is Wonderland, an outlandish underground city of twisted towers and parapets, staircases conceived in a Dali dream, and an otherworldly purple horizon. Soon, the word’s out that Wonderland has its most prized captive. It seems Alice has the ring that controls the looking glass—the key to the power of the Queen of Hearts. It was mad folly for her son Jack to give it to a girl he barely knew. But Jack had his reasons. Discovering them is up to Alice.
Writer-director Nick Willing, who turned The Wizard of Oz on its ear with 2007's Tin Man, takes a similar approach to another childhood classic with Alice, one of the more visually striking and offbeat live-action adaptations of Lewis Carroll's fantasy stories. Willing's Alice (Caterina Scorsone) is a grown woman--and a karate instructor to boot--whose lack of luck in love seems to have finally taken a turn toward the positive with Jack (Philip Winchester). Their idyll is shattered when Jack is abducted, and Alice's search for him leads her to Wonderland--the one visited by Carroll's Alice a century ago, but now overrun by gloom and vice and anachronistic machinery, and lorded over by a Queen of Hearts (Kathy Bates) who kidnaps people from the "real" world to harvest their emotions. Willing's Alice looks impressive, with its richly saturated colors and CGI environment that suggests a world with one foot in Carroll's absurd realm and the other in a futuristic dystopia, and he's abetted by a terrific supporting cast, including Matt Frewer (as the White Knight), Harry Dean Stanton (Caterpillar), Tim Curry (Dodo), and Primeval's Andrew Lee Potts as a sort of glam-rock Mad Hatter. But his script can't match the level of imagination in his direction--Scorsone, a likable actress, is left to wander passively to each scenario--which renders the project another exercise in style over substance. The sole extra is a lightweight commentary track by Willing and Scorsone that is more conversational than informative. --Paul Gaita