Shia LaBeouf must seek treatment as part of bail terms after alleged attack

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The actor, long open about his struggle with sobriety, was also ordered to undergo drug testing and pay $100,000 bond Shia LaBeouf on Thursday was ordered to enroll in substance abuse treatment, undergo a drug testing program and pay a $100,000 bond as conditions of his release from custody after the actor allegedly battered and hurled homophobic slurs at two men at a New Orleans bar. The requirements imposed on LaBeouf, 39, by New Orleans judge Simone Levine came after the Transformer film franchise star was initially allowed to leave jail without being required to pay a bond in the hours after his 17 February arrest on two counts of misdemeanor battery. Continue reading... from Film | The Guardian https://ift.tt/zFeitfP 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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