In conjunction with Warner Bros. Home Video, we’re giving away a five (5) copies of SCOOBY-DOO! THE MYSTERY BEGINS on DVD.
Contest ends at 11:59pm EST on Wednesday, September, 30th.
CLOSED! THANKS FOR ENTERING!
Official Rules
No member of Quick Stop Entertainment or their immediate families may enter.
No Purchase necessary to win.
Must be 18 years of age or older to enter.
One entry per day, per person.
All submitted entries must be received by 11:59pm EST on September, 30th.
The winner must allow 4-6 weeks after notification of win to receive the product.
Antichrist will remind horror buffs right off the bat of Nicolas Roeg’s Don’t Look Now. Both begin with the death of a child due to the inattention of parents, significantly in the case of Antichrist after the child witnesses uncomprehendingly the Primal Scene, though as the wife says later, “Freud is dead.” In von Trier’s thick imagery, death and orgasm are united. The rest of the movie profiles how that death haunts the surviving parents, with both supernatural and psychological elements. 
At first He seems like the epitome of the compassionate husband, a rational man seeking to cure his wife and save their marriage. His approach to therapy, though, could be viewed as reductive as the Bay Watch Philosophy, which dictates that in every episode, someone with a phobia is encouraged to “face their fear.” The Bay Watch School of Therapy erases phobias through confrontation; von Trier’s existential humanism is less serene. 
Her contempt comes to the foreground in the forrest when she begins to speak frankly to him about his various foibles, such as his distance from She and Nick “last summer.” But he learns strange things about her, too. For one thing, she was hobbling her son with the wrong shoes, a fact that shows up in an autopsy report he at first refuses to look at. Her weird mistreatment of her son anticipates her Misery style ball and chaining of He. She also keeps something called a Gynocide scrapbook. Also, the book she was writing becomes increasing erratic in its handwriting (one of two or three subtle allusions to the films of Stanley Kubrick). She also begins to say “crazy” things, though there is the possibility of a terrible truth to them. She asserts that “human nature is evil,” that “women do not control their own bodies, nature does,” that a “crying woman is a scheming woman,” that “nature is satan’s church.” She also speaks the enigmatic “when the Three Beggars arrive someone must die,” which may refer to the three small statues that Nick knocks down on his way to the window, or to the three animal visitations that He sees. In response, He says that she has betrayed her own thesis that she has been working on for so long, and he also tells her somewhat less convincingly that “good and evil have nothing to do with therapy.”
What made the comedy of Spinal Tap and A Mighty Wind work so well was the actual musicianship of its principal trio, who’ve decided to take center stage as themselves for 
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Though often viewed as a lesser light when compared with the juggernaut that is Mary Poppins, I’m quite fond of Disney’s 70’s, post-Walt stab at recapturing some of that magic – 
One of the films that I’ve been anticipating a high-def release for is Robert Altman’s 
Long before he had to scream over the bombastic production of the US Hell’s Kitchen and Kitchen Nightmares, Gordon Ramsay was more straightforward, less caricatured, and more helpful with struggling restaurants in the original UK 
After a disastrous, catastrophically bungled second season fumble, 
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How do you know Halloween is fast approaching – at least by studio standards? The Halloween DVDs are already coming out. Disney has repackaged their previously available 
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The previous iterations with a hoot, and I’m glad that Sony is continuing to release some offbeat catalogue titles from the vaults under their “Martini Movies” banner. The latest batch includes a young Michael Douglas in 
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I didn’t start watching The Office until this summer. I’m really late to this party.
CHRISTOPHER STIPP: I apologize to you in advance. In doing research on this, trying to figure out how this compares to previous works I looked at your resume and it was like a scene out of SNEAKERS when they open a file and there’s nothing in it”¦
ACKER: It was really fun. I came from architecture school, so I have a strong design background as well as study in sculpture and painting and things like that. That’s why I love the animation medium because it combines all my interests together into one thing. When you see the film, I think you will see that the architecture influence on it. It’s really about world making and there is a sense of reality to this world and like the real world it’s pushed, it’s a little different. The industrial revolution was allowed to progress for 300 years and never got to digital. Always stayed in this analog space. So for me, that’s the fun stuff.
It’s just trusting the process and trusting the artist. You can’t do it all yourself. Empower and educate them in a way so they can make the right choices and solutions and understanding what the core idea is and the aesthetic that we are going with.  I think a lot of that is that I spent a lot of time as a teacher, as well. Design classes and 3D classes and it’s really about educating and empowering and playing to people’s strengths, lifting them up and giving them the best crib space and environment. So, I try to do that. As an artist myself, no artist likes to be told what to do. No one wants to paint by numbers. You are just trying to give them the creative space and give them the right direction and let them solve it. You are always going to get the best work that way. So, yea, for me it was difficult and challenging but I was always respectful to the artist to try and keep us all on the same playing field. Anyone could come in and see the film and offer criticism or suggestions. Because that’s how I did the short. I showed it to so many people and always solicited opinions and advice because you never know who is going to have a great idea. Everyone has a valid opinion.
It really is an Oppeheimer/Geppeto tale at the heart of it all. It’s about the scientist who was blinded by the pursuit of technology to create something that turned the wrong way. It ended up destroying the world and as sort of the lack act that he did as the world was collapsing was to create new creatures that was the opposite of that represent all the hope and humanity and they are vessels for soul and he sends them out after all the humans fall apart as the way of making up for the sins of his past. Much like Oppenheimer after inventing the bomb was full of regret. He knew what the thing was that he was doing, but it was that blind pursuit of technology. It’s an incredible thing, but yet a horrific thing that he made. It changed the landscape of the world. So that’s what’s at the core but the story of the rag dolls is them looking back and figuring out their father was the one who brought the world down. What does that make them and will they make the same mistake that the humans made or will they create a new world in the ashes of that.
CHRISTOPHER STIPP: Thank you for talking to me. I am a huge fan of your work, from the early work to the work you’ve done in the last year. How did you become involved in this picture?
BECKMAMBETOV: Has to be delicate because we are directors too. It’s kind of unique. Two directors for a movie. That’s why we were trying to be very delicate.
BECKMAMBETOV: Yes, it’s the theme of the movie. What is soul for us? Can we transfer our soul to a machine? We really trust this machine and but people can make a mistake. And the moment you push a button, you stop the process. We take a picture and then we don’t remember because we know it’s there. It’s very dangerous because it can be broken, you can lose it, and we are losing. We are losing abilities. By Googling everyday, you don’t have to learn. Because you can Google all day long and our skills, our abilities to create everyday. And we make these machines and transfer our intellectual abilities, to remember, but there is no soul. And one day the star of the movie can try and explain this. I hope it will be not so soon.
PATTON OSWALT: Hi Chris.
OSWALT: It was the act of him coming to me to do the movie that gave me confidence that I could do it. He had written such a good script. He’s such a good writer. His instincts to be there for that meant a lot to me that he thought I could pull this off. It just gave me confidence.
CS: What kind of insecurities? You’ve got, not to put you over, but as I was getting prepared I didn’t realize how rich of a resume you now have.
OSWALT: Exactly. We had no idea. We didn’t know if we would have money to complete it let alone get distribution. I looked at it like this was just something I wanted to do for myself. The rest was secondary.
CHRISTOPHER STIPP: I love this movie. And it seems to be a real hit with those that have come in contact with it and I wanted to start off by talking about how close the grittiness feel the way the film looks like THE WRESTLER. It has that, I don’t want to say, dirty quality, but it’s so close to reality. Can you talk about that?
I don’t know if you are a fan of his stand up. He’s not a sports fan but understands the psychology of obsession. There’s not that big a difference is what the Giants did on 4th and goal vs. ranting about the comic book equivalent. From what I can tell Patton is a big comic book-phile, not a sports guy. I didn’t have him read for the part. I just hired him. It was something of a leap of faith. He’s such an intelligent guy. When I first met with him we had a long conversation about 70’s movies and people have different reactions to the script and people read it and think it’s a comedy. And it could have been.
SIEGEL: Sports radio is where the movie starts. Listening to sports radio, I used to listen to WFAN religiously and I still listen to sports radio but not religiously as I did back then and when you listen to it you hear these callers and you got to know them because they would call every night. And then you couldn’t help but wonder what their lives were like and where they were living. Most of those guys were the guys that populated the movies that I loved. The guys you would hear, Murray from Regal Park, or Joe from Flushing, calling on the FAN. Probably the kind of guys that wouldn’t hang out in the bar on Mean Street. They are just regular guys from outer burrow New York. So the movie is definitely a fusion of my level of listening to the radio, listening to sports radio but also these kinds of character studies that I got into when I was probably a teen-ager. It’s definitely a personal movie for me.