SCOOP: Amazon Prime Video bags Kantara: A Legend Chapter 1 for a staggering Rs. 110 cr; beats Netflix’s Rs. 100 cr offer

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After making a mark in cinemas, Kantara: A Legend Chapter 1 will find its way on OTT, on October 31. Prominent streaming giant Amazon Prime Video will stream the film’s original Kannada version, as well as dubbed versions in Tamil, Telugu, and Malayalam, for now. The Hindi version of the period drama will be released digitally a month later. Bollywood Hungama has learned of an interesting development that took place with regard to the digital deal. A source told Bollywood Hungama, “The makers of Kantara: A Legend Chapter – 1 asked for Rs. 125 crores for the OTT rights, considering the buzz around the film. They approached Netflix and it agreed to offer Rs. 100 crores. Meanwhile, Amazon Prime Video gave a better deal and offered Rs. 110 crores for the streaming rights. This is how the film has made its way on Prime Video.” This marks the second-highest OTT deal ever for a Kannada film. KGF - Chapter 2 (2022) still holds the top spot, with its digital rights fetching over Rs. 300 crore...
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Fear the Night review – Neil LaBute on losing streak with atrocious home invasion thriller

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The director of In the Company of Men continues his run of terrible films with this awfully acted, ungripping drama

In the most dismaying possible way, Neil LaBute has done it again. The dramatist and film-maker who gave us the 90s toxic masculinity classic In the Company of Men and the interesting and undervalued Samuel L Jackson thriller Lakeview Terrace in 2008, seems now to be going through a period of churning out exploitation content like a hack-for-hire. Last year we had the dismal revenge horror House of Darkness; now it’s this terrible home invasion thriller, with awful acting, clunking dialogue cues and drearily ungripping action and suspense sequences, along with a ChatGPT-ish title.

Maggie Q plays Tess, a military veteran who has seen action in Iraq and is now a recovering alcoholic struggling with a return to civilian life. She agrees to come to her sister’s bachelorette party (despite being out of place with all the girly types), and the bride-to-be has implausibly decreed this should take place in the big old remote house once occupied by her recently deceased parents, a place where there is – in accordance with time-honoured movie tradition – no mobile phone coverage. They all show up and find themselves under attack for a bizarrely elaborate reason. Much later, a gloomy epilogue has a misogynist sheriff disbelieve Tess’s version of events, which is not completely unreasonable of him. It could be a screenwriting way of sneakily conceding how weirdly contrived it has all been.

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