Visit Redbox.com to find the DVDs coming soon as well as new releases. Upcoming movies on DVD and Blu-Ray! Can't remember the. The success of that film led to the movies Elysium and Chappie, yet Blomkamp hasn't stopped making short films and commercials in between; there was the curious.

He may not have the natural ease of Al Pacino, the classical training of Anthony Hopkins, the timeless cool of Jack Nicholson, or the raw versatility of Gary Oldman. See how well critics are rating upcoming movies on DVD and Blu-Ray at Metacritic.com. Bondage / BDSM Porn DVDs. Free photo galleris! Starring: Cybill Troy, Jimmy Broadway, Marcelo, Tony Orlando, Tener Duende, Dominik Kross. Movierulz.com - Watch latest Bollywood, Hollywood, Tamil, Movierulz Telugu, Malayalam Movies Online with Movies Trailer, Wiki and Reviews at Movierulz to.

Neill Blomkamp interview: sci- fi shorts and Oats Studios From the earliest stages of his career, director Neill Blomkamp has used short films as a means of testing his ideas. The most famous example, arguably, is Alive In Joburg, a fake documentary about shunned alien visitors - a premise which formed the debut for Blomkamp's stunning feature debut, District 9. The success of that film led to the movies Elysium and Chappie, yet Blomkamp hasn't stopped making short films and commercials in between; there was the curious snippet of found- footage released by Wired Magazine in 2. There was The Hire, one instalment of a series of shorts for the German car firm BMW.

And now there's Oats Studios: a new venture dedicated to creating experimental short films. Varying in length from brief, surreal comic sketches to 2.

Oats Studios' films will be released for free on You. Miss Peregrine`S Home For Peculiar Children (2016) Video Download. Tube and Steam in hour- long collections. The first collection, simply titled Volume One, takes in an alternate universe Vietnam war, lizard- like aliens, weird experiments, dangerous- looking kitchen appliances and much more besides. A pair of promos, released in late May and early June, gave us a taste of the strange things we can expect - including some surprise cameos from Dakota Fanning and Sigourney Weaver. I'm just not interested in that.

But while some of the short films produced by Oats may be developed into feature films, much like Alive In Joburg and District 9 or Tetra Vaal and Chappie, the studio's output will also have another, more leftfield element: the potential collaboration between audience and creator. Can they give us designs for where they think some of the weird alien vehicles could go? Do they have ideas of were a sequel may go? And if there's anything in there that I like, we can incorporate that into what we're doing. As Blomkamp admits himself, there's much about Oats Studios that is still being worked out - not least how its output can fund itself so that further volumes of shorts can be made.

But based on what we've seen so far, Oats' output will certainly be fascinating to watch: futuristic, grotesque, fast- moving and thought- provoking. As the studio starts lifting the covers on Volume One, here's what Blomkamp has to say about what we can expect and his plans to the future. And as a bonus, he also explains the mystery behind the dead creature in the puddle from 2. I love what I've seen so far of Oats Volume One.

Looks great. Yeah, thank you. It's a good little teaser for the weird stuff we're working on here. How long has it been in the pipeline before you announced it? I guess we've been working for it for over two years. We're in this weird warehouse that used to belong to a company that sold kitchen appliances. So we moved here in February of 2. I think to start building things, and most of the crew came on around June, July.

So almost exactly two years. So did you start on this straight after Chappie? Yeah, exactly. It's an interesting way to go. You started on short films and commercials, but it's interesting for a director to go to making short films at what appears to be this budget level. It is. There's definitely no formula or precedent, really, for it.

But it doesn't come from a place of wanting to go back to short films. It comes from a place of wanting to be able to do what I want to do and express what I want to express without having to have brain- numbing discussions about the political studio point of view of what they think the right move is. And obviously, you can't spend tens of millions or hundreds of millions of dollars on large- scale feature films with an approach like this.

Definitely not at the beginning. So the short film result is simply like a function of the financial pressure - it's not that that's the goal. That must be tricky - especially with studios becoming more and more cautious about what they greenlight. Yeah. Think of it like this: one way that I've described Oats before is, if you look at musicians, or you look at writers and novelists, I kind of envy them massively, because they have this ability to generate this emotional work that is very close to them in a way that doesn't cost everybody tens of millions of dollars. So you can sit at a typewriter and express yourself as much as you want, and you can grab a guitar and you can come up with an album.

I've kind of described as Oats Volume One, or maybe Oats Volume One and Two as an album. It's essentially like, how do I create these smaller vignettes of ideas that I just feel like expressing, that are unconnected and untethered to discussions that I find really uncreative, about audience testing and sitting in theatres in Southern California waiting to getting your score card back. I'm just not interested in that. I am interested in the overall audience liking the piece, but I'm hoping they like the piece because I like it. You see what I mean?

There's a massive difference. So the best way of thinking about it is going down the road of trying to create. I mean, we haven't done that many pieces at the moment. We're essentially releasing three big pieces that are around the 2.

And then there's a host of more weird, comedy, borderline strange stuff that makes up another 4. But it's just expression.

A bunch of weird stuff. And then I want to see online if there's a way to interact with people who like the stuff. If there's anyone who really likes it, is there a way we can interact with them? Can they give us designs for where they think some of the weird alien vehicles could go?

Do they have ideas of were a sequel may go? And if there's anything in there that I like, we can incorporate that into what we're doing. So there's this open collaborative thing, so long as I'm ultimately the curator and in control of where I think all of the creative stuff should go. Right. So putting assets on Steam - that's where all that's going to come in? Yeah. Well, it isn't quite as defined as that. One way to think of it would be, if you take something like Spider- Man, right, the studio's going to view Spider- Man as IP. But there's millions of Spider- Man fans out there.

And if film school students or someone online makes a short film with Spider- Man, then there's a possibility that they're going to get a call to pull that down, because it's not their IP, it's not their material. Our approach is the exact opposite of that.

We're kind of opening it up as much as possible, so that if there's anyone who's interested in it, they're free to do what they want with it, and we'll also give them the assets and tools we used to make it. Just so that it doesn't feel like it's locked up in a vault somewhere. Is it not limited to film, either. It could be a videogame, I'm guessing? It could be. Everything is untested, so we're not sure if Steam is the right approach. Like, there's many layers of the discussion. One layer is the monetisation of the work that we've done in order to bring money into the company so we can make a second round of these films, and hopefully a third and a fourth and a fifth and a sixth round.

So one element is, how do you capitalise on the effort that we've put in so far? One way to do that feels like, on the platform of Steam, at least there's a payment structure to allow people to pay for things beyond just the film itself.

So on i. Tunes you can only get the film. On Steam, maybe the film is free, but you can pay for some of these other ancillary elements we have if the audience feels like paying. So I think what we're going to do right now is put everything on our You. Tube page for free. Like, all of the contact will be 1. Then we'll test on Steam whether there's any interest in some of the weirder ancillary things.

Maybe people may want, maybe they don't want them. We'll just sort of test that and see how that goes. And that whole approach is designed to see if we can make the eco- system of these shorter stranger pieces pay for themselves, if that's possible.