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Mirrors is a 2008 American supernatural horror film [3] directed by Alexandre Aja, starring Kiefer Sutherland, Paula Patton, and Amy Smart. The film was first titled Into the Mirror, but the name was later changed to Mirrors. [4] Filming began on May 1, 2007, and it was released in American theaters on August 15, 2008.
Mirrors 2 is a 2010 American supernatural horror film. It is a stand-alone sequel to the 2008 film Mirrors , not featuring any of the cast and crew from the original film. Released by 20th Century Fox in direct-to-video format, the film is written by Matt Venne and is directed by Víctor Garcia .
The program, which began in mid-2004, is a continuation of the pair's earlier program The Movie Show, which aired on SBS One from 1986 to 2004. The pair left SBS after expressing dissatisfaction with high-level decisions. The weekly half-hour program consists of film reviews and discussions as well as interviews with cast and crew members.
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Mirrors is a 1978 American horror film directed by Noel Black and starring Kitty Winn, Peter Donat, William Swetland, and Mary-Robin Redd. [ 2 ] [ 3 ] The film concentrates on a woman bedevilled by dark forces and voodoo magic, and has a tagline "There are some fools still living who don't believe in voodoo...but not for long!"
The City of Mirrors was released for publication on May 24, 2016 by Ballantine Books. [ 1 ] The film rights to the three novels were acquired in 2007 for adaptation into a film trilogy , but after 12 years of development and planning, it has been changed to a television series , premiering in January 2019.
The Online Film Critics Society (OFCS) is an international professional association of online film journalists, historians and scholars who publish their work on the World Wide Web. The organization was founded in January 1997 by Harvey S. Karten, an early online critic who discovered that membership in the New York Film Critics Circle was open ...
In a solemn season, Australia 's bold, kitschy, unapologetic artifice is a welcome respite." [50] In her review for the New York Times, Manohla Dargis wrote, "This creation story about modern Australia is a testament to movie love at its most devout, cinematic spectacle at its most extreme, and kitsch as an act of aesthetic communion." [51]