If modern technologies like video upload sites and HD video cameras small enough to fit into phones are scaring you because of the new possibilities they bring to narcissistic vanity goblins like Internet porn stars and reality TV actors, then King Kelly might be the scariest horror movie you see all year. But, if teenage-aimed movies like Project X, which glorify the most vapid and soulless aspects of party-obsessed youth culture, really get under your skin and make you mad, then King Kelly might be the funniest piece of satire you see all year. Shot entirely on iPhones and telling the story of a teenage girl who makes amateur strip videos (Louisa Krause) looking to get into the world of indie filmmaking (you know, so she can be famous), King Kelly appears to be a brutal skewering of the self-obsession and celebrity worship that’s running rampant in today’s culture. Thanks to advances in modern technology, nearly anyone can now take a shot at becoming famous (as long as they’re willing to humiliate themselves), and the effects of that seem to be a gradual poisoning of our society that’s not looking like it’s going to end anytime soon.

If you’re looking to make a talking heads movie that’s able to create big drama using little more than simple dialogue scenes, then populating your cast of characters with a bunch of sensitive, insecure creative types is probably a good strategy. And it’s exactly the strategy that first time writer-director Josh Boone has used for his debut picture, Writers. The film focuses on an unusual family that includes a critically acclaimed author (Greg Kinnear) as its patriarch, a daughter (Lily Collins) who has just published her first work, a teenaged son (Nat Wolff) who is developing his craft through journal writing, and a mother (Jennifer Connelly) who has been excommunicated from the family, probably because the guy she left the father for doesn’t have an impressive enough personal library. Each character has a struggle to go through. Kinnear hasn’t been able to get through the dissolution of his marriage, and he has found himself in a slump of depression that has not only affected his work but also turned him into the sort of creepy weirdo who hides in his ex’s bushes and peers through her windows. Collins, still processing the loss of innocence she experienced due to the infidelity in her parents’ marriage, has built a wall of acting out and defensiveness between herself and the rest of the world and may be in danger of becoming permanently bitter. Wolff is dealing with the pitfalls of being a sensitive young man in a world where thoughtlessness is a more

The bad thing about The Exorcist is that it has been so influential that we’re coming up on 40 years since its release and still we’re getting a handful of cheap knockoffs released in theaters every year. From The Devil Inside, to The Rite, to The Last Exorcism, to The Exorcism of Emily Rose, demonic possession movie after demonic possession movie is made with the same plot, the same characters, and the same tone. And every time you watch the whole thing play out, it manages to hit with slightly less impact than it did the time before. It was with great enthusiasm, then, that I watched J.T. Petty’s (The Burrowers) latest film, Hellbenders, which is finally, finally an exorcism movie that’s nothing like all of the other exorcism movies that have come before. There are no creepy little girls and wise but weary priests here. Instead, Hellbenders populates itself with foul-mouthed, hard-partying priests who seem to be more comfortable sinning than they do going to Sunday mass. You see, the conceit is this: in order for a priest who deals in exorcism to be ready to take a demon into his body and escort it to hell — by offing himself — he must always have enough sin wracked up to actually be worthy of going to the place. So, the merry band of miscreants that this film follows have checklists to make sure that they’re on top of their sinning. They curse, they steal, they blaspheme, they engage in

“Judge Dredd” started as a comic book series in 1977 and eventually became so long-lived and popular that it spawned a really bad film adaptation in 1995. Get that movie out of your head now – pretend like it never happened – because Dredd 3D is a completely new take on the character; one the values hard-hitting action over comic book camp, one that has no interest in wacky side kicks or studio mandated love interests. The story is simple: in the far future, humanity has started living in gigantic city-states the size of small countries that are densely populated and densely developed. What with so many people being piled on top of one another, poverty has run rampant, crime is ubiquitous, and street gangs rule the day. The only line of defense between innocent people and complete chaos are the Street Judges, a group of dangerous and highly trained operatives who prowl the streets on their big motorcycles while carrying their big guns, acting as judge, jury, and executioner all in one. Our story centers on a Judge who goes by the name of Dredd; he’s pretty much the most badass one.

This week on a very special episode of Reject Radio that we forgot to post earlier in the week, I name more than 5 great Stephen King film adaptations and make Robert Fure look like the fool he is, we take a look at Sorority Row, and Diane Lane looks great in a cop uniform.

The Fat Guys take on this week’s movie releases with a funky style that is all their own…

The Fat Guys return to Film School Rejects with Oscar predictions, random shenanigans and a visit from FSR Associate Editor Brian Gibson.

I’m happy to report that I won’t be getting into any fistfights with critics about Juno — at least, not with too many of them.