Rob Reiner’s son Nick charged with murder of parents

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Nick Reiner, 32, charged after Rob Reiner and wife Michele Singer Reiner found dead at Los Angeles home on Sunday Nick Reiner has been charged with two counts of first-degree murder in the killing of his parents, the acclaimed actor and director Rob Reiner and the photographer Michele Singer Reiner, authorities announced on Tuesday. The 32-year-old, who is being held without bail, has been in custody since Sunday evening, hours after his sister reportedly discovered the couple’s bodies in their Los Angeles home. Police said on Sunday the couple had suffered fatal stab wounds. Continue reading... from Film | The Guardian https://ift.tt/Jf51Tu8 via IFTTT
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Home Sweet Home: Where Evil Lives review – fresh take on pregnant-woman-in-peril horror

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Unfolding in what looks like a single take, Thomas Sieben sends his protagonist into a house that’s haunted by historical trauma

When Maria (Nilam Farooq) shows up 37 weeks pregnant at the attractive but remote country home of her husband Viktor (David Kross), you sense immediately that no good can come of this. If a character is pregnant in a film, it’s about even odds that said pregnancy will function as a way to increase their vulnerability – though not all films take this as far as this nifty little low-budget horror movie from talented German director Thomas Sieben, which combines the haunted house subgenre with pregnant-woman-in-peril to nicely nerve-jangling effect.

Occult horror always needs a starting point, a first evil from which the later ghosties and bumps in the night derive. Some films take as their inciting incident a broader historical crime or atrocity and it’s into this category Home Sweet Home falls. The Herero and Nama genocide, conducted by imperial German forces against indigenous people in what is now Namibia, was the first genocide of the 20th century, and is the basis for subsequent terrors visited upon our heavily pregnant heroine. Paying a price for the actions of previous generations is a big theme in German horror, but by looking to an earlier period than the horrors of the Nazi regime, Sieben reminds us that genocidal white supremacism was not invented in the 1930s.

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