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Argentine helmer Natalia Smirnoff, director of “Puzzle,” a 2010 Berlin main Competition contender, and “Lock Charmer,” selected for the 2014 Sundance Festival, is attached to direct international co-production project “Mamá (Im)perfecta” (“(Im)perfect Mom.”)

The project teams Colombian production outfits Laberinto Producciones and Ganas Producciones with Argentina’s Tarea Fina and Canada’s Fait Divers Media.

In development and scheduled for a May 2025 shoot, “(Im)perfect Mom” is inspired by Penguin Random House bestseller “Drunk Mom: A Memoir,” by Polish-born writer Jowita Bydlowska.

The story follows Jo, a 42-year-old woman, a successful photographer who gives birth to her first child. In the midst of the trance of motherhood, breastfeeding and the sensing changes in her body, she celebrates with her husband and friends the event, the most important of her life.

But despite the happiness of having become a mother, from that first sip of alcohol, an addiction awakens in her...

Crazy has always tapped a main vein in horror films; if it didn’t we would be stuck watching films of people being pranked or wronged, who laugh it off and become dentists instead (with all due respect to Corbin Bernsen). Now, of particular interest to me is when the sins of the flesh meet that fracture of the mind; where the lascivious and the lurid tangle in sweaty, blood stained sheets. And 1982 coughed up a doozy (in character and content) with Night Warning, a tale of a very protective aunt who doesn’t want to see her nephew leave the nest.

Also known as Butcher, Baker, Nightmare Maker (a cool title, but neither relate to the story at all), Night Warning was distributed by Comworld Pictures in early ’82 (but didn’t go wide until early ’83) and garnered some good reviews while passing by audiences. Why? Because it was just...

[Guest author Christopher Lombardo of Really Awful Movies celebrates Canada Day by looking back at three backwoods Canadian horror films.] In the ’70s, Canadian tax loopholes spurred growth in domestic horror films, providing a more reliable low-cost means of recouping one’s investment in a frequently fickle business. A few, like Martin Scorsese’s favorite The Changeling, were critical darlings, while the bulk of them were regarded as cheap government-funded trash. A prominent Canadian critic famously called Cronenberg’s Shivers “an atrocity, a disgrace to everyone connected with it” in a jeremiad titled “You Should Know How Bad This Film Is. After All, You Paid for It.”

Luckily, for those of us invested in such things artistically if not financially (unless you count our tax dollars), we got gems such as Happy Birthday to Me, My Bloody Valentine, Black Christmas (1974), and many others.

The “tax shelter” era, in addition to straight-ahead slashers, also gave us lesser-known films that exposed class divisions—punishing urban interlopers who lacked the necessary survival skills to thrive in the wilderness.

It's been a rough week for the entertainment industry, with several beloved icons passing away in just a few short days, such as Angus Scrimm, David Bowie, David Margulies and, just yesterday, Alan Rickman. Today, ABC News has confirmed the passing of another beloved entertainer, The Life and Times of Grizzly Adams star Dan Haggerty, who passed away early this morning at the age of 74. The actor's manager confirmed his client's passing, after a long battle with cancer.

Dan Haggerty was born Gene Jajonski on November 19, 1941, in Pound, Wisconsin, raised by a family who ran a wildlife animal attraction. During his childhood, he helped raise wild animals such as a black bear that performed tricks, before moving to Southern California to pursue acting. While pursuing his acting career, he was also a bodybuilder on Muscle Beach in Venice, California, which lead to his first film role in 1964's Muscle Beach Party.