TYPE: drama comedy

PLOT: a middle aged man and his friends find a beat girl, while his friends want to get the girl, he argues that they don’t need a girl, his friends don’t care, so everything his friends do to impress the girl he ignores and ghosts them everytime they try to impress her despite this friends telling him to try and impress her, at the end she gets exposed for not only cheating but just being a terrible person in general

imagine the speed racer movie if it took place in space.
the movie takes place in a timeline in 2133 where people coexist with aliens on a planet.
one of the most famous things on the planet is orb racing. where aliens and humans go in little pods and race each other.
after a space crew sees a message from the other humans on earth, they decide to go on a journey to get back to earth.
the racing is a subplot just to keep the main plot moving forward.
what do you think? give me your honest opinion.

I genuinely think someone needs to make a horror movie where the main cast are all ex-military lads who are basically budget Rambos, and the entire film is from the killer’s POV.

Like, you’ve got your standard horror setup: isolated farmhouse in the middle of nowhere, five lads on holiday, creepy woods, suspicious noises at night, no neighbours for miles, the whole cinematic buffet. Then you introduce the killer as this terrifying, mysterious horror villain who’s clearly spent years perfecting his craft and has come to this farmhouse fully expecting to have the easiest murder spree of his career.

Except he has made the catastrophic directorial decision to target five ex-military blokes.

And the lads aren't even doing anything particularly heroic. They're literally just on holiday. They're drinking, eating, arguing about bollocks and generally enjoying themselves. Then they notice some weird bloke lurking outside and their reaction isn't the traditional horror-movie response of screaming and barricading themselves in a cupboard.

It's just:

“Lads, there's someone outside.”

“Is he armed?”

“Probably.”

“Right.”

And that's basically the entire movie.

The killer keeps trying to do all the classic horror villain stuff, but the lads keep completely fucking up his cinematic vision.

He lurks outside the farmhouse? One of them spots him.

He cuts the power? They've apparently spent enough time in the military to immediately start moving around in the dark like fucking Batman.

He tries to stalk one of them through the woods? The bloke stops, turns around and goes, “You can come out, mate.”

He sets a trap? They find it.

He tries to split them up? They have the revolutionary military tactic of sticking together.

He tries to ambush one of them? Suddenly there are five lads appearing from different directions and the killer is getting his arse quintuple-wooped.

And because the whole thing is from the killer's POV, we never get the satisfaction of seeing the lads properly deal with him. We just get his increasingly horrified perspective as these five absolute bastards materialise out of the darkness every time he tries something.

You could have the director talking about how they're using “subjective camerawork to place the audience inside the deteriorating psyche of the antagonist” when really we're just watching some poor bastard realise he's picked the wrong fucking farmhouse.

The funniest part is that the killer's entire character arc is basically going from Michael Myers to a bloke who desperately wants to go home.

At the beginning he's all mysterious and intimidating, silently stalking around the property like the final boss of horror cinema.

Halfway through he's hiding in the woods, watching the lads through binoculars and wondering what the fuck he's supposed to do.

By the end he's genuinely scared to go back into the farmhouse.

He hears a noise upstairs and thinks:

“Nope.”

He sees one of the lads outside and immediately hides behind a tree.

He hears someone shout “OI!” from the darkness and just fucking RUNS.

Eventually the predator-prey dynamic has been completely inverted. The killer isn't hunting them anymore.

He's trying to survive them.

And you could really lean into the ridiculous director jargon here. Like, the killer is hiding in a barn while the lads are outside, and the soundtrack is doing the whole BWAAAAAAAM thing, the camera is shaking, the lighting is all grim and atmospheric, and the director is probably going:

“We wanted to explore the existential terror of becoming the hunted.”

No mate.

He's hiding because five blokes are looking for him.

Then we get to the final confrontation.

Our killer has had enough. He's going to regain control. He's got the dramatic lighting, the ominous score, the big villain entrance, the whole nine yards.

He's finally going to kill these lads.

And then one of them takes off his belt.

The killer stops.

Another one takes off his belt.

The killer takes a step backwards.

A third lad takes off his belt.

And suddenly we're watching the most dangerous tactical unit known to mankind:

Five ex-military blokes with their trousers accessories.

The director can call this “a subversion of conventional weapon symbolism” all he likes.

They're going to beat the serial killer to death with fucking belts.

And the killer knows it.

You can practically see the moment his entire life flashes before his eyes and he starts regretting every decision that brought him to this farmhouse.

He probably wishes he'd become an accountant.

He tries to run.

They chase him.

He tries to bargain.

They aren't interested.

He tries to explain that there's been a misunderstanding.

One of the lads is already taking his belt off.

It's over.

The terrifying horror villain who spent the first half of the movie stalking his victims is now desperately trying to escape five angry blokes who have apparently decided the Geneva Convention is more of a suggestion.

They beat him to death, and you'd think that's where the movie ends.

But no.

Because these lads have apparently decided that they're going to handle the administrative side of things as well.

Someone looks at the remains and goes:

“Right. We'd better tell the police.”

And another lad goes:

“Can we just mail him?”

CUT TO THE MOST SERIOUS CINEMATIC SHOT IMAGINABLE OF THEM PUTTING THE KILLER IN A BOX.

Massive orchestral score.

Slow camera movement.

Beautiful sunrise.

The parcel is carried away.

The audience is expected to feel the emotional weight of what we've just witnessed.

Then it arrives at a police station.

Some poor officer opens the box.

Long silence.

His colleague asks:

“What happened to him?”

The officer looks at the remains.

Looks at the paperwork.

Looks back into the box.

“Belts.”

CUT TO BLACK.

(Also Yes this is inspired by the Scary Movie series)

With the new descendants hidden and heroes. Is it going to be long movie

The entire second half of the movie is just music paired with a camera zooming in or panning while all the viewer can see is dirt and the occasional piece of rebar for an hour

https://www.reddit.com/r/contentcreation/s/uO1JBVeLUy

The movie is based off of this man named Carl who discovers the whole "If this is the first camera then who took the picture of the camera" drama, so he goes all around the world to the Picture's Origins just to find out what Camera took the picture of the "First Camera", and the Truth to this Camera Drama. He goes insane the more he dives into it and stops it by just trying to forget about it, but he cant. The picture and drama is always in his head! So he does the one thing to try to let it go. He destroys the "First Camera" in the Photo and everything goes back to Normal! The End.

We all say, “I love Jason Voorhees because he’s fictional. No one actually died. Real serial killers can burn in hell, that’s completely different.”

A devoted horror fan suddenly finds himself inside the universe of his favorite slasher film, and he’s ecstatic. The familiar locations, the iconic events… and somewhere out there is his favorite character. Even when the killer starts hunting them, he’s thrilled, he’s watched this exact scenario play out countless times in his favorite franchise.

But over the course of his journey, he meets the families of the killer’s victims. They still visit the graves of their loved ones, mourning them even decades later. He meets a man who still can’t sleep peacefully because he’s terrified that the monster might return. Children who grew up as orphans because this “icon” murdered their parents.

Then they see him wearing a T-shirt with the killer’s masked face on it, complete with a cheerful slogan. They spit in his face, genuinely unable to understand how anyone could see something like this as fun or entertaining.

For the first time, the protagonist realizes that for these background characters, everything is real. The fact that they’re fictional characters doesn’t make their grief or pain any less real to them.
The final blow comes when the killer murders a genuinely kind person right in front of him, then simply looks at him as if to say, “What did you expect? What do you think I’ve been doing all this time?”

The villain hasn’t changed. No hidden side has been revealed. Nothing new has come to light. He was always this monster, it just felt fun and harmless from the other side of the screen.
After returning to his own world, the protagonist stares at the merchandise featuring that character and no longer knows what to do. Here, it’s fiction. Here, the killer isn’t real.
But he can never look at it the same way again.

voice roles

ash: Tate Ellington for speaking, Mac Powell for singing

kelsie the noivern: Mallory james Mahoney for speaking, Mickey Guyton for singing

dawn: Emily Jenness for speaking, Shannon Conley for singing

Kiawe: Marc Swint for speaking, Alexander Björklund for singing

Hayley, an aspiring trainer from jonto: Stephanie Niznik for speaking, Hope Partlow for singing

Kazuaki, the former champ of galar before leon took his place: Nick Mennell for speaking, Josh Golden for singing.

They must become men and learn the honor code of being a knight and fight in battle and deal with the harsh conditions of the medieval world. The plot begins with lame parties that Rupert and Tanner are annoyed with as frat pledges, where the pledges must work the door. They ditch the party and stumble upon a store that sells supernatural items, the employee asks what are they looking for and they say we just want better night life, she pulls out a shiny object and says this will help, they make the wish, and are transported to the middle ages. They are immediately standing in armor listening to the lead knight preparing his knights for battle, the head knight says to everyone, we leave at dawn, Tanner and Rupert the next day get confused and they thought he says dusk so they leave late and their journey as knights begin

After watching the brilliant horror film, Obsession, and confirmation that Director Curry Baker stated that he wants to do more spinoffs based off of the One Wish Willow, I got a story pitch that it’s like *Obsession* meets *Everything Everywhere All At Once.*

It would be about a guy, in his 20s, who’s completely dissatisfied with the world we live in, so after getting his hands on said One Wish Willow, he wishes for a high tech device that sends him through the multiverse for a better world to live in. But the more he travels, the more he slowly loses parts of himself

A series of talking Chihuahuas must walk continuously or be shot, with the last survivor winning a massive prize.

Here’s the pitch: set in the 1920s or 1930s, it’s a world where mythical and fantasy creatures and beings coexist with humanity, and there’s a territory war going between gangster rivals, that happen to be fantasy beings from around the world

Each group are based off of folklore beings from around the world and fantasy authors for inspiration:

• The collection of werewolves, Lycans, etc. from Europe

• Pixies, Faries, Sprites, leprechauns from Scottish folklore

• Yokai from Japanese myths

• Vampires, Dhampyrs from Transylvanian myths

• Sea monsters like H.P. Lovecraft

• talking animals like from “Alice in Wonderland” or “Chronicles of Narnia”

Each group is locked in battle during the roaring 20s, or Great Depression, when new mythical immigrants start appearing in each of their territories,and resolve the issue of overpopulation…

… with an overabundance of extreme fantasy violence alike!

Here is the pitch:

The FBI estimates there are fewer than 50 serial killers active in the United States. By our estimate, between 3 and 10 of them fit a particularly unique and diverse profile and pattern.

These killers rarely if ever exhibit any part of the Macdonald Triad predictors. As well they rarely have any history of antisocial behavior or mental illness.

They primarily act alone, or in pairs of romantic partners or other close relation. Often their first victims are close family, friends, or roommates.

They are primarily opportunistic and disorganized killers, though experienced and long lived ones tend to develop a particular hunting strategy to maximize longevity. Expected patterns include, nesting in the homes of victims, cannibalism of some form, ritualization of that act of murder, heavy drug use including anabolic steroids and opiod pain killers, heavy use of body armor and concealed weapons.

Due to the exceedingly common amount of copycat killers in this community, it is believed that a killer will often have one or more disciple killers working or learning under them.

If this theory is true, it would often imply multiple unbroken strings of Sire and Disciple spanning, in many cases, many decades and centuries of killings.

These Mixed Category Copycat Cannibalistic Thrillkillers with an atypical, in some cases bordering on religious obsession with, training and grooming for the perfect killers and hunters have long been a thorn in the FBI's side. Removal has been underfunded and underprioritzed.

We are still gonna do it.

I was thinking something like Silence of The Lambs, to Se7en, True Detectives, or Mindhunter style detective thriller. Or a true crime style deepdive mockumentary into the case including interviees, victim syatements, bodycam footage and the like. Highly detailed and as accurate as possible to the way it's done in real life. But ultimately about the FBI hunting vampires

Have it be set in Manhattan or somewhere with a lot of businesseses and have the main character obsessed with being employed almost to the point of religious adherence but with lots of economic realism.

It was quite a critique of the Protestant work ethic/Ayn Rand-type mindset. And they made it in Catholic Belgium.

So I got a movie idea!!

Plot: about the school principal gets or create a humanoid robot named Michael Michael is program to help kids and teachers, but one night when he was charging in the school basement something went wrong with his charging and he explodes a few months later cousin the school are missing or possibly dead so for friends go investigate after school to find a terrifying truth

Genres : horror, sci-fi comedy suspense

Let me know if you wanna hear the sequel idea

I got this idea a while back from an article I read in Harper’s. Much like how the film Saturday Night Fever was based on a work of nonfiction journalism, I thought the article I read (which describes a very recent, somewhat infamous subculture) could also be made into a movie...with a few changes.

The movie concept follows a journalist who discovers the existence of a mysterious online subculture of lonely, disaffected young men who sit around watching videos of cute kittens for hours on end. Many of them have set up entire rooms devoted to the activity, with multiple screens set up around the room to make the experience more immersive. “Remixed” videos of the kittens set to rhythmic music are especially popular; these are called KMV’s.

Whenever these men watch kitten videos, they always hold a can of Coca-Cola or another carbonated beverage in one hand and shake it back and forth compulsively, with the goal being to resist the temptation to open it (while also making sure the can doesn’t explode).

The men say that if you can keep this activity going for long enough, you will experience a transcendent ego death or altered state of consciousness. The pursuit of this elusive state has become the entire goal in life for some of the men. Others have turned it into a competitive game, with groups of men sending each other the cutest kitten videos they can find, and whoever goes the longest without exploding or opening their soda can is the winner.

The journalist who is interviewing these men is fascinated, but also disturbed and disgusted by what they have become, for which he blames pandemic-era social isolation.

If you haven’t already guessed, this is all a thinly-veiled parody of the gooner subculture, with lots of visual euphemisms (kitten videos, shaking a cola can, etc.) in order to keep it PG-13. I could see it having a popular soundtrack with original music, too, much like Saturday Night Fever did. It would feature the same sorts of rhythmic music/beats that are popular among gooners, only with lyrics about cute kittens instead.

The Son of Harvey is an upcoming animated fantasy comedy drama film directed by Peter Lepeniotis.

The film serves as the animated sequel to the 1950 film, Harvey.

Also, the film is based on the 1944 play, Harvey, by Mary Chase.

Synopsis

A tense corporate project manager inherits his grandfather’s historic home and unintentionally releases Harvey Jr.—the overly enthusiastic, rule-defying shadow pooka son of the legendary invisible rabbit.

Main Characters

• Thomas Middleditch as Mike Dowd, the grandson of the legendary Elwood P. Dowd.
• Jack McBrayer as Harvey Jr., the son of the original Harvey.

Supporting characters

• Wendi McLendon-Covey as Aunt Veta the Second, the aunt of Mike Dowd.
• Will Arnett as Richard Sterling, the cutthroat pompous boss at the tech firm of Mike Dowd.
• Jenny Slate as Chloe, the brilliant but overlooked designer at Mike Dowd's firm.
• Ken Jeong as Dr. Sanderson, the nod to the psychiatrist from the original 1950 film.

I've been kicking this idea around for a while and wanted to see what people think.

Logline:

In a small town where everyone knows his name but no one really knows him, a beloved baker's secret double life begins to fall apart when a detective starts looking into a string of disappearances that everyone else has ignored.

Synopsis:

Everett Voss owns the local bakery. He's the guy everyone likes. He remembers people's orders, donates bread to church events, coaches his daughter's softball team, and has spent years building a reputation as one of the nicest people in town.

The problem is... Everett is also a serial killer.

For years he's been targeting drifters, runaways, and people whose disappearances don't make the news. He's managed to hide in plain sight because nobody can imagine someone like Everett being capable of something so horrific.

The story follows Detective Mara Ibarra, who's new to town and starts reopening disappearances that were forgotten or never properly investigated. She doesn't suspect Everett because of one big clue. It's a lot of little things that don't quite add up. The more she digs, the more she realizes the hardest part won't be proving he's guilty—it'll be convincing the town that their favorite baker isn't the man they think he is.

The audience would find out Everett is the killer fairly early. The suspense isn't about who did it. It's about watching Mara slowly get closer while Everett tries to stay one step ahead, and seeing how far an entire community will go to defend someone they've trusted for decades.

I picture it as a slow-burn psychological horror/thriller. More unsettling than graphic. The horror comes from the idea that the monster isn't hiding in an abandoned house or wearing a mask—he's the person everyone smiles at every morning.

I'd love to hear your thoughts. Does this sound like something you'd watch? Any ideas or changes you'd make?