Netflix has released an official trailer for Wet Hot American Summer: Ten Years Later, a sequel to their prequel Wet Hot American Summer: First Day of Camp and the original 2001 movie Wet Hot American Summer.
The sequel was confirmed by Netflix last year, and it takes place a decade after the 1981-set movie and prequel series, when the campers have a reunion to catch up.
You can read more about Ten Years Later and check out the trailer below.
Popular actor/comedian Kevin Pollak has a new web-exclusive comedy series called Vamped Out, and it has debuted on the website Babelgum today.
The series is about a documentary filmmaker who follows around a real, live vampire who’s trying to make it as an actor. Unfortunately, he can’t even land the roles of characters who are themselves vampires.
Pollak (Grumpy Old Men, The Usual Suspects) make his directorial debut on the series, and will also star as the filmmaker. Joining him is Jason Antoon (Contact, Minority Report) as the vampire subject, Samm Levine (Freaks & Geeks, Inglorious Basterds) and Seana Kofoed (Broadway’s Proof, Men in Trees).
Click on over to the other side to check out a trailer for the new web series Vamped Out, and be sure to head to Babelgum to check out the first episode now!
Inglourious Basterds Directed by Quentin Tarantino
Starring Brad Pitt, Christoph Waltz, Melanie Laurent, Diane Kruger, Daniel Bruhl, Eli Roth, Michael Fassbenderr, Til Schweiger, Samm Levine, B.J. Novak, Mike Myers
Release date: August 21, 2009
I did not discover Quentin Tarantino at the same time everyone else did, but by the time his 1997 crime drama Jackie Brown, an adaptation of Elmore Leonard’s novel Rum Punch, was released I knew who he was. I came by his movies on my own with my only knowledge of them being what I had read in magazines like Rolling Stone, Premiere, and Entertainment Weekly.
Pulp Fiction, his epic anthology of strangely believable adventures in the underworld, was the first. I rented that movie when it was first released on video but it took me all of the one-week rental period to watch it because I could not view it in the presence of my younger brother and sister. But as I watched Pulp Fiction, piece by piece every day before and after I went to school, I became captivated by what I was seeing and I began to understand why Quentin Tarantino was the talk of the town. Here was undoubtedly the most innovative and dynamic new filmmaker to emerge in a decade that had seen more than its fair share of cinematic underachievers and would see even more before the millennium came to a close. Tarantino’s films were heavily criticized for their violence but when weighed against the majority of the R-rated action fare that was coming out of Hollywood there was not much bloodshed at all. What gave the violence in Tarantino’s films its impact was its relative restraint. His films rely mostly on the integral developments of plot and character. When the violence does come, be it in a shocking gag (the accidental shooting of Marvin in Pulp Fiction) or an extended battle sequence (the House of Blue Leaves fight which takes up the majority of Kill Bill Volume 1‘s third act), it feels like a cathartic release of tension and energy. Tarantino’s own personal celluloid orgasm, if you will.