Natalie O’Connor was looking for a very specific type of car for production on Apple TV+’s “The Enfield Poltergeist.” A painstaking recreation of the most documented paranormal activity ever (and the inspiration for “The Conjuring 2”), the show needed a stand-in for the red E-Type Jaguar driven by lead investigator Maurice Grosse.
“We couldn’t find one anywhere, but we eventually got sent an option,” O’Connor told IndieWire. “And then we actually figured out that it was his real car.”
On a different show, that story would be charming in its serendipity. But for “The Enfield Poltergeist,” the kismet has a creepy sense of inevitability in keeping with the events that plagued the Hodgson family from 1977 to 1979, resulting in hundreds of hours of recordings capturing things that went bump in the night and disembodied voices.
Those recordings are at the heart of the Apple TV+ four-part limited series,...
“We couldn’t find one anywhere, but we eventually got sent an option,” O’Connor told IndieWire. “And then we actually figured out that it was his real car.”
On a different show, that story would be charming in its serendipity. But for “The Enfield Poltergeist,” the kismet has a creepy sense of inevitability in keeping with the events that plagued the Hodgson family from 1977 to 1979, resulting in hundreds of hours of recordings capturing things that went bump in the night and disembodied voices.
Those recordings are at the heart of the Apple TV+ four-part limited series,...
- 10/28/2023
- by Mark Peikert
- Indiewire
Dramatizing the lives of beloved writers is always problematic, because the act of writing itself is so inherently un-dramatic. Nonetheless, writer-director William Nunez’s “The Laureate” manages to eke . Well-acted, nicely crafted and a handsome period piece within modest means, this isn’t the most novel, memorable or intellectually deep enterprise of its type. But it will satisfy viewers looking for a slightly racier variation on “Downton Abbey” terrain. Gravitas Ventures is opening it on a couple dozen U.S. screens Jan. 21.
A framing device here is a notorious 1929 incident in which more than one participant in a domestic ménage leaped from a fourth-floor London window. After an ambiguous introduction of that event, as well as Graves’ serious Ptsd from WWI service, we rewind a bit earlier to the Oxfordshire home dubbed “World’s End” he shared with feminist painter-illustrator wife Nancy Nicholson (Laura Haddock) and their young daughter Catherine...
A framing device here is a notorious 1929 incident in which more than one participant in a domestic ménage leaped from a fourth-floor London window. After an ambiguous introduction of that event, as well as Graves’ serious Ptsd from WWI service, we rewind a bit earlier to the Oxfordshire home dubbed “World’s End” he shared with feminist painter-illustrator wife Nancy Nicholson (Laura Haddock) and their young daughter Catherine...
- 1/19/2022
- by Dennis Harvey
- Variety Film + TV
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