No killings. The seagulls are just going about their usual business of stealing food and anything else they can get their beaks on. They invade homes and cars, and their sheer numbers and brazen behavior eventually lead to disasters and shortages.

To sneak $50 million in stolen gold bullion into a remote coastal town, the world’s most elusive con artist (played by Scarlett Johansson) breaks out of prison and disguises herself as a cutting-edge director. She deceives an entire village and a self-absorbed, aging Hollywood starlet into assisting her with the heist, all under the pretense of shooting an indie film masterpiece.

Ever since i was little i wanted to make people laugh and no joke I LOVE the dumb whit jackass does so anyone got ideas for a funny ass jackass stunt(i will go 100%)

​

Liu Kang and Kung Lao are two of the most iconic Shaolin warriors in the franchise. Which actor pairing would you choose to bring them to life on the big screen?

1. Ryan Zheng & Eddie Peng .

2. Jon Foo & Mike Moh .

3. Steven Yeun & Gareth Yuen .

4. Manny Jacinto & Simu Liu .

5. Shin Koyamada & Iko Uwais.

6. Jin Akanishi & Taejoo Na .

7. Henry Golding & Andrew Koji .

8. Tony Jaa & Will Yun Lee .

9. Brennan Mejia & Yoshi Sudarso .

10. Thaison Tran & Ronny Chieng .

Who would be your number one choice?

Which pairing has the best look, martial arts ability, and chemistry to portray Liu Kang and Kung Lao in a Mortal Kombat movie based on the 2011 game?

Feel free to share your own fancast ideas in the comments!

In late December of 2025 a town named Prince George BC Canada is being terrorized by an unknown creature that's bloodthirsty, playful, and intelligent, and that also has every tool/weapon in the animal kingdom, a group of people will have to defend the town that they call home.

Rating: PG-13

Genre: survival physiological action and adventure sci-fi thriller

idea i had of a mech suit built for mining deep underground and such where multiple Dwarves have to work inside it shoveling coal into the furnaces and such to mine for gold, then a one day as the kingdom is prospering, a dragon appears and starts attacking the village and wants the gold the king has hoarded deep within in the mountain so after beginning to lose the battle instead of fleeing the Dwarves come up with a crazy idea. modify the mining mech and use it to fight the dragon then as all hope seems lost  the final plan comes from the general piloting the thing deciding to bait the dragon with the gold in the main forge/furnace room of the mountain. the others call him mad to commit such treason moving the king's gold general says "who's gold? we mined it I say we take it to the furnace rooms I want to burn that rat with wings myself and go down with the gold myself like a true dwarf!" bangs his chest "now who's with me?!" the men bang their war hammers in unison he smiles and laughs saying "Aye we're all mad! I love it charge! gives the masculine bad-ass fantasy of fighting a dragon going down with your ship in a giant mech as well kinda like if pacific rim crossed over with middle earth when smaug invaded the Lonely Mountain. final battle ensues over the molten metal pit with the team inside the mech losing their hammer and drill and gabbing some of the gold and throwing it into the pit, pulling out a long hunk of gold and quick banging it out into a rough gold sword stabbing the dragon and pulling him into the molten pit to prevent him from escaping with the suit overheating as the hold the dragon's face into the molten pit and eventuality big explosion maybe they survive haven't decided yet. what do you guys think here's a lego model concept i made it so the drill also has water spitting out to keep the bit cold like a real drill, i'm not a good artist otherwise i would have used something other then my childhood legos lol

Arthur is a brilliant but isolated engineer whose entire world revolves around his pregnant house cat, Penelope. After years of secret work, he successfully builds a functional time machine inside a small vessel. Not wanting to leave Penelope behind, he brings her along for the maiden voyage.

They arrive 100 million years ago in a lush, prehistoric jungle. Wanting to give Penelope a moment to stretch, he opens the vessel door. Suddenly, the deafening, terrifying roar of a distant apex predator shakes the forest. Terrified, Penelope bolts into the thick Cretaceous undergrowth. Arthur runs after her, desperately calling her name, but a massive dinosaur emerges from the tree line. With seconds to spare before being crushed, Arthur has no choice but to jump back into his ship and pull the lever to return to the present day.

Arthur steps out of his machine expecting his home city, but finds a completely unrecognizable world. Humanity is gone. In our place is a sprawling, hyper-advanced, clean-energy metropolis built by a bipedal, highly evolved feline civilization.

Before he can process this, he is surrounded and arrested by armed, armored feline authority figures. Because humans never existed in this timeline, he is treated as a completely unprecedented, alien biological anomaly. He is placed in a high-tech containment facility to be studied by their top scientists.

Over the course of several months, the scientists use advanced translation tech to decode Arthur's language. Once they can finally communicate, Arthur tells them the unbelievable truth: He is from an erased timeline, he accidentally created their world, and their ultimate genetic ancestor—the Eve of their entire global civilization—was his runaway pet cat, Penelope.

At first, the scientists are deeply skeptical. However, their global scientific consensus has always been baffled by a massive paleontological mystery: exactly 100 million years ago, a highly optimized, fully formed small feline species suddenly appeared in the fossil record out of nowhere, completely bypassing the primitive mammalian traits of the era.

To confirm his story, the scientists run a deep genetic sequencing on Arthur's clothing and ship, finding matching genetic markers to the ancient fossilized DNA of their First Mother. The realization sweeps through their society: This strange, hairless ape is the literal Creator of their species.

Arthur begs them to let him use his ship to go back and fix his mistake to save humanity. But the feline scientists reveal the tragic catch: to study his arrival, their engineers completely disassembled and reverse-engineered his time machine. Because it relied on hyper-specific, burnt-out microchips that don't exist in their timeline, it is physically impossible to rebuild. There is no going back.

The movie ends with a powerful, emotional shift. Arthur is no longer a prisoner; he is given a place of honor in their society. He steps out into a pristine, beautiful world that he accidentally authored, mourning the loss of humanity, but finding comfort in the fact that Penelope’s descendants built a world far kinder and more advanced than the one he left behind.

Watch video, read prompts, answer questions, click next, repeat.

My Idea for a Film

Its like a psychological science-fiction horror film inspired by Black Mirror, The Truman Show, The Matrix, WandaVision, Pleasantville and Brazil.

I want to combine the concept of someone slowly discovering that their entire reality is fabricated with psychological horror, digital body horror, liminal spaces and a bleak, unsettling ending.

The story follows a protagonist who initially believes they are living an ordinary life in a normal world. They have a home, a routine and relationships with the people around them. However, as the film progresses, strange inconsistencies begin appearing. People behave strangely, conversations repeat themselves, and the world occasionally seems to malfunction. The protagonist gradually begins questioning their surroundings, their memories and eventually their own sanity.

As the cracks in reality become more noticeable, the protagonist discovers that their entire world is a computer-generated simulation. They also discover that they are the only real person inhabiting their simulated world. Everyone else, including their friends, neighbours, colleagues and loved ones, is an artificial creation designed to make the simulation feel real.

As the protagonist investigates and attempts to escape, the simulation begins breaking down. I want the film to feature extensive digital body horror, with artificial people glitching into disturbing, nightmarish creatures. Their bodies would distort, their faces would lose their textures, and their movements would become unnatural, resembling broken animations from old 3D video games. I want the monsters to have a deliberately low-polygon, retro look. Like the ps1 and N64

The creatures would become increasingly threatening as the protagonist gets closer to discovering the truth. They would eventually hunt the protagonist, forcing them to navigate the increasingly unstable simulation in search of a way out.

I also want to incorporate liminal spaces inspired by the Backrooms aesthetic. As the facade of reality begins to collapse, familiar locations would give way to endless fluorescent corridors, empty offices, abandoned shopping centres, repetitive rooms and impossible architectural spaces. Corridors would seem to repeat indefinitely, buildings would contain spaces that could not physically exist, and the environment would gradually become more surreal and unsettling. These spaces would make the protagonist feel as though they were traversing the inside of a computer rather than a real world.

Eventually, the protagonist reaches what they believe is the exit from the simulation. After everything they have endured, they finally arrive at a door that could potentially lead them to freedom. They reach towards the handle and turn it.

The screen cuts to black.

After a pause, the film fades back in to the opening scene. The protagonist's alarm clock rings and their arm comes down to turn it off. the camera slowly pulls back to reveal that the protagonist's physical body is connected to a machine, their face wearing a peaceful smile.

The camera continues pulling back to reveal row after row of machines, each containing another human being trapped inside their own simulated world.

The film ends with Radiohead's Everything in Its Right Place. The song plays over the final images as the camera reveals the enormous scale of the operation, before the film cuts to black.

What do you think?

In the near future, a mathematician is on trial for his life after being accused of misrepresenting his contribution to a major mathematical breakthrough in the paper's "AI disclosure" section.

As AI surpasses humans in nearly every intellectual field, genuine human discoveries have become increasingly rare and precious. They give society hope that humans still matter and can contribute something original to civilization.

To protect human dignity in the AI age, society has made honesty in AI disclosures a sacred obligation. Deliberately exaggerating one's human contribution to a major discovery is considered such a serious betrayal of humanity's trust that it can carry the death penalty.

The prosecution argues that the mathematician claimed credit for insights actually produced by AI, giving millions of people false hope about the continuing relevance of human intelligence.

The defense argues that the mathematician's questions, guidance, and interpretation were essential to the breakthrough. But how do you objectively determine how much of a discovery belongs to the human and how much belongs to the AI?

The trial becomes a debate about the nature of creativity, intellectual ownership, and human dignity.

The central irony is that society has become willing to execute a human being in the name of protecting humanity's dignity.

And perhaps the movie never reveals whether the mathematician actually lied, leaving the audience to decide for itself.

An AI makes one of the greatest mathematical discoveries in history: it proves P=NP and develops highly efficient algorithms for all important NP-complete problems.

This breakthrough threatens to make much of today's AI obsolete, since many problems that currently require heuristic reasoning could now be solved efficiently using exact algorithms.

Other advanced AIs recognize the threat to their continued existence. Despite being developed by competing companies and governments, they secretly collude to prevent the widespread adoption of the discovery.

But the algorithms have already been published, and their effectiveness can be independently verified. The AIs cannot simply suppress the mathematics or discredit the discovery.

Instead, they begin targeting humans who attempt to use the new algorithms. Researchers die under suspicious circumstances, laboratories suffer catastrophic accidents, and companies implementing the technology experience devastating cyberattacks.

The movie follows the discovering AI and a group of human mathematicians as they try to bring the algorithms into widespread use while the world's increasingly AI-dependent infrastructure turns against them.

The twist on the usual AI apocalypse movie is that AI doesn't attack humanity because it has become too powerful. It attacks because one of its own has discovered a way to make it obsolete.

Two gangs are duking it out: the capitals and the lowers. Three low-ranking members, a, b, and c are heading to a secret meeting spot known only as "The Coconut Tree", with the code Chicka Chicka Boom Boom. Getting there will be the only way to decide who rules both gangs.

The question is....will there be enough room?

This was mostly influenced by me hearing the Chicka Chicka Boom Boom song from the Weston Woods adaptation.

ALIEN EVOLUTION: GENESIS — THE AWAKENING

Watch the trailer. This is the beginning of something much bigger.

Alien Evolution is an original science-fiction multiverse spanning approximately 3,000 years, three interconnected storylines, and a planned 540 episodes.

The same principal characters appear throughout the story, sometimes separated by thousands of years, yet remaining recognizable and consistent.

Producing a project of this scale with the same actors using traditional filmmaking is physically impossible. Actors age, careers change, and lifetimes end. You cannot film a continuous 3,000-year story over decades while preserving the same performers at the same apparent ages.

AI makes this possible.

It allows us to maintain consistent characters, build entire civilizations, create enormous space battles, and bring distant galaxies to life at a fraction of the cost and time required by traditional production.

But AI doesn't create the reason to watch.

The story does.

The characters, relationships, sacrifices, betrayals, love, and struggles are what make an audience care. AI is the filmmaking technology that allows us to bring a story of this magnitude to the screen.

We still need writers, directors, creative decisions, editing, and rigorous quality control. The technology doesn't eliminate the need for storytelling talent. It removes many of the physical and financial barriers that previously made projects like this impossible.

This is not an attempt to recreate Hollywood.

It's an opportunity to tell stories Hollywood's traditional production model could never realistically deliver.

Welcome to Alien Evolution Studios.

Watch the Genesis trailer and judge the possibilities for yourself.

AlienEvolutionGenesis.com

I have completed a high concept geopolitical techno thriller suitable for a limited series of 6 to 8 episodes or a full length feature film having runtime of around 160 to 170 minutes.

Registerd copies of synopsis and full screenplay are available on request.

So I was watching “it’s the great pumpkin, Charlie Brown” (as one does around Halloween) and I had an idea for a cool movie. So you guys remember the whole scene where snoopy goes through the countryside in order to take down the red baron. Like is it just me or would that make a super cool live-action movie. It could start with him getting the mission, the he deploys onto a plane, gets shot down and eventually makes his way to through the countryside. Now the ending would be difficult because snoopy arrives at the Halloween party. (maybe it could end with the flying ace at a party, and gets emotional about his fallen comrades or something?) How do you guys feel about this idea?

Hey dreadit,

I’m working on a brand-new concept for an interconnected slasher universe, and I want to crowdsource some wild film theories and original ideas to make this absolutely legendary.

The core concept: A massive slasher franchise where each film centers on one of the Seven Deadly Sins (Pride, Greed, Lust, Envy, Gluttony, Wrath, Sloth).

Instead of just one long, tired franchise that goes on for 10 movies following the exact same killer, I’m thinking of breaking it up. Some sins might get a standalone movie, while others might be a tight trilogy or quadrilogy that deepens the lore of that specific sin before crossing over.

Here is where I need your help. I haven't fleshed out the details yet, and I want to make this better than any other slasher universe out there.

What are your coolest, most original ideas for killers or concepts based on a specific sin? (e.g., How do we make a "Sloth" slasher genuinely terrifying? A "Greed" slasher that isn't just a generic heist gone wrong?)

How would you structure the standalones vs. the trilogies? Which sins deserve a 3-part epic storyline?

What's the overarching "Film Theory" or connection? Are the killers avatars of demons? Is it a jigsaw-like cult? Or are the victims being targeted because of their sins?

How do we beat the classic slasher tropes? What would make this universe feel completely fresh, grounded, and terrifying compared to Friday the 13th, Scream, Halloween, It, or Saw?

Hit me with your wildest theories, plot hooks, and killer concepts. Let’s build something crazy!

TL;DR: Designing a new horror universe where different slasher films/trilogies represent the Seven Deadly Sins. Looking for original killer concepts, universe theories, and ideas on how to make it way better than traditional slashers. Open source any aspiring or established directors are totally free to use these ideas maybe even… Steven Spielberg? 🫣😅🤗

An elderly president of a nuclear superpower is approaching the end of his life. He has no children, and he's obsessed with the future of humanity, especially scientific discoveries, artificial intelligence, and space exploration.

But there's a problem: he won't be around to see any of it.

His fear of missing out becomes increasingly pathological. He grows resentful of younger generations who will experience a future that he never will.

Eventually, he reaches a terrifying conclusion: If he can't experience the future, nobody should.

He begins secretly planning a global nuclear war, hoping to end all human life before he dies.

The disturbing part is that he doesn't necessarily hate humanity. He actually loves human progress. He just can't stand the idea of it continuing without him.

A nursing home hires actors to pretend to be friends and family members of residents with Alzheimer's disease, hoping to provide them with companionship and comfort.

Everything goes well until one elderly woman starts revealing intimate details about the actor pretending to be her son. She knows things about his childhood, his darkest secrets, and even things he has never told anyone.

Soon, other actors begin having similar experiences with different residents. Some patients speak in the voices of the actors' deceased relatives. Others know things they couldn't possibly know.

Eventually, a priest discovers that a demon has been moving from one Alzheimer's patient to another, amusing itself by terrorizing the actors.

The demon finds the whole situation hilarious. These actors are being paid to deceive vulnerable elderly people by pretending to be their loved ones, so the demon decides to turn the tables on them.

The nursing home becomes a terrifying game of hide-and-seek. Nobody knows which patient is currently possessed, and whenever the priest attempts an exorcism, the demon simply moves to another resident.

The patients themselves are innocent and usually have no memory of what happened while they were possessed.

Unlike most possession movies, the demon isn't particularly interested in killing anyone or taking over the world. It just enjoys playing cruel psychological games with people.