The Hurricane Heist Trailer Blew Up the Internet Over the Weekend. This is CRAZY.

“It pretty much looks like Ocean’s 11 meets Twister meets od’ing on cocaine.”

That was a quote in the MAXIM article about the trailer for The Hurricane Heist, and yeah, that pretty much sums up how people are reacting to it.

A few days ago I posted the trailer and wrote a brief word about how surreal it all was.

As if it weren’t surreal enough to simply see a trailer for The Hurricane Heist, now I’m watching how in only the first few days the entire Internet has somehow collectively lost their minds over it. Good or bad, happy or angry, positive or negative (oh trust me, there’s a lot of negative, haha), people DEFINITELY have an opinion on this first look of our insane opus.

It all started as an exclusive on Collider:

Exclusive “The Hurricane Heist” Trailer Teases a Bonkers, Action-Packed Thriller

But man oh man OH MAN did it spread… Soon after almost every other geek/movie website picked it up. It suddenly appeared on the front page of IMDB. It got splashed all over YouTube. And my personal favorites are the slew of REACTION VIDEOS that people put up on YouTube giving their first impressions of the TRAILER. Haha, these are so incredible. The general concensus seems to be something like this:

“This is utterly ridiculous! What the hell am I watching?”
“…I’m so there.”

“This movie looks completely absurd! Who comes up with this garbage?”
“…I have to see it.”

“This looks so asinine! Who in their right mind would go see this?”
“…I’ll be there opening weekend.”

“What is this shit? Hard Rain meets Sharknado? I’m losing brain cells watching this.”
“…Must see it in a crowded theater.”

Honestly, I don’t care if you like it or hate it. While there seems to be a lot of like, there’s also a LOT of hate. Hey, fine by me. As long as you’re not indifferent. If you’re going to see it in order to enjoy yourself, I guarantee you will have a blast. If you’re going to hate-watch it in order to make fun of every single frame, I also guarantee you’ll have a blast.

Either way, just go see it.

Thank you Internet. All this initial fervent reaction from our very first trailer is putting whipped cream on top of the already-mind-boggling sundae building in my brain.

Here is a partial rundown of a few of the websites, followed by some YouTube reaction videos. Trust me when I say I’m not only posting the positive reactions. I’m posting the “I’m skipping this garbage” links as well. They’re almost more fun! Enjoy a sampling of my world.

Here’s a few of the reaction videos to the trailer. These are pretty damn funny.

Trust me when I say this is WEIRD AS SHIT for me. Yet, I admit I’m enjoying the hell out of the bonkers reaction the trailer is getting. Let’s hope everyone is this passionate about it when it comes out on March 9!

We’ll just have to wait and see…

And hey, if you want, feel free to let me know your thoughts on the trailer. I’m curious to hear from all opinions.



A Quick Word About The Hurricane Heist – in Theaters March 9, 2018.

I’ll cut to the chase… After a long and insane career in this whackadoodle business they call Hollywood, my first credited big budget film is finally coming out on March 9. It was originally called Category 5, and has now been renamed The Hurricane Heist. A name, I’ll admit, I did not like at first. But it’s since grown on me. It’s simple and to the point. You know what you’re going to get. A heist… during a hurricane. Bingo.

The original poster.

The updated original poster.

Seeing my name in the credits and on the new posters is a weird feeling, I’ll admit. Although, I did not do this alone. No freakin’ way. Nothing in this business is ever done alone. Hell, none of this would have even happened if it weren’t for two incredible producers and two of my favorite people, Howard and Karen Baldwin. They believed in me. They believed that this crazy horror writer could come along and dive into this big budget disaster flick, and give it its just due. I’ll be forever grateful for that. I came along after other amazing people had already put their spin on the material. Yet, I was the last screenwriter on the project so hopefully you’ll see my own stamp on the final product. In the end you’ll see screenplay credit by the writer before me, Scott Windhauser, and myself. And trust me when I say you definitely Rob Cohen’s signature on every single aspect of this film. This is his baby.

The French Version of the poster, simply called Hurricane.

Now, I mentioned that this is my first credited big budget film. While this may be the case, this is far and away not my first rodeo. Those who know me are very aware of my history. I’ve sold movies. I’ve sold TV shows. I’ve written published comic books and graphic novels. I’ve written and co-directed video games. I’ve written episodes. I’ve written radio plays. I’ve had a career so eclectic and bizarre, I went from paying my dues working as an assistant to Michael Shamberg at Jersey Films back in the day… to a place where Jamie Lee Curtis was quoted in TV Guide saying that I was personally partially responsible for her return to TV. Hell, I feel like I’ve done pretty much everything you can do in this business EXCEPT have a final credit on a big budget film. So if there are people out there that still think these things just happen overnight, they are heartily mistaken. There are years of history that lead up to almost all pivotal moments.

The Korean version of the poster.

In the near future, I’m going to write a longthy blog post that explains what it’s like to be a successful “unsuccessful” writer in Hollywood. This is someone that may be successful in his craft, in his business, and amongst his peers, and yet the outside world thinks you’re “unsuccessful” solely because they don’t see your credits. Trust me, this business is FAR beyond just credits. Stay tuned for that upcoing post because I feel that my speaking about that topic is a long time coming.

The Official U.S. Poster.

For now, I just wanted to give those around me a little “coming out party” for my first, big budget, credited movie. Technically, the “coming out party” was a few nights ago on EXTRA when they unveiled the world premiere of the US trailer, but this is my own little self version.

Enjoy all the posters, and now please enjoy the first official trailer for our little opus. If you DIDN’T think they were going to use Scorpions – Rock You Like A Hurricane, you’d be wrong… dead wrong. Now all you all have to do it go see it IN THEATERS everywhere on March 9, 2018.

10/31/17 – OCTOBER HORROR MOVIE PICK #31 – The Omen (1976).

Happy Halloween! As usual, I always save a few special movies in the vault so I can use them as my Halloween selection each year. This year I bring you a true horror masterpiece, The Omen. Along with The Exorcist, The Omen helped bring so much satanic imagery to the forefront of the masses that it’s weird to think how commonplace it is now. Even though “666” and its numerical connection to the Devil had been around, this is the movie that really made it known to the entire world. The Omen threw audiences into a frenzy back in the 70’s, and it still packs just as much of a punch now as it did then. The Omen is about an American Ambassador living in England who, after a growing series of bizarre deaths, begins to suspect that his (secretly) adopted son is the Antichrist. Before long everyone gets into the mix – priests, satan worshippers, evil devil dogs, you name it. For an Academy Award winning film (for Jerry Goldsmith’s absolutely iconic music) starring the legendary Gregory Peck, you’d think this would be some kind of softball studio picture that wouldn’t push boundaries. If you thought that, you’d be wrong. This movie has plenty of shocking violence from violent impalings to freaky beheadings, plus the visuals and subject matter is not of the everyday variety. Not to ruin anything, but let’s just say the discovery of the boy’s “mother” is, well, truly messed up, to say the least. And every scene is hammered that much more into your brain because of Goldsmith’s pounding music that accentuates everything. There’s a reason The Omen is iconic. It’s just so damn well done. And in today’s day and age, it really helps that a key aspect of the Antichrist is that he must grow up wealthy in the world of politics. Yep, the Antichrist is in politics. That pretty much says it all. What’s more horrifying than that. I’ll leave it there for now.

Well my lovelies, that does it for 2017’s October Horror Picks. I’ve had a great season as always, and I plan on having an entire November filled with watching nothing but romantic comedies… HA! Just kidding, horror never goes away. It’s a constant. Have a great November and beyond, and see you in 2018!

10/30/17 – OCTOBER HORROR MOVIE PICK #30 – The Beyond (1981).

It’s Halloween Eve. Time for some Lucio Fulci. Although, this ain’t just any old Fulci. This is Fulci at his absolute finest. The Beyond is a creepy masterpiece. If you care about horror in the least and haven’t seen this film, make it your next viewing. It’s such a trippy, brain-explosion of a movie. The Beyond opens with an amazing sequence that takes place in 1927 Louisiana. A artist boarded at a hotel is accused of being a practitioner of the dark arts, is brutally crucified by an angry mob, and is covered in some kind of molten rock that seals him in stone to the caverns below the hotel. Well, fast forward to 1981 where a woman inherits the old hotel and decides to refurbish it and reopen it. Only problem is that pesky crucified rock man is still below, and everything starts to go wrong. Come to find out, all of this is because this hotel is buried over one of the entrances to Hell itself. Yep, another Hell movie! I was so excited to write about As Above So Below yesterday because of it being a Hell movie, but that one is so softball compared to this mind-melter. The Beyond is utterly bonkers. The combination of incredible Frizzi music, the over-the-top extreme gore that Fulci is known for, and all the off-putting imagery and cringe-worthy visuals that Fulci has decided Hell is capable of make for a slam dunk of a mental beatdown. Speaking of the gore and imagery, it would take far more paragraphs to list it all, but man oh man… If the description of the opening scene wasn’t enough, then how about a woman’s head being slammed onto a spike forcing her eye to pop out (Fulci LOVES his disgusting eye gags, as there are a couple more in this film alone), or tarantulas ripping open a man’s face in extreme close up views, or even a woman entire face being slowly melted away by acid while her daughter watches. And yet, that’s just the tip of the iceberg. This is Fulci. This is extreme. And to this day, I still claim it has one of the most haunting final images in a film, ever. I get shivers even thinking about it now. If you love Hell movies like me, and are ready for the Fulci experience of disturbing images and extreme gore, The Beyond will make your head spin… in a good way. Enjoy.

10/29/17 – OCTOBER HORROR MOVIE PICK #29 – As Above So Below.

I know, I know, you’re done with found-footage movies. Trust me, for the most part I am too. I’m glad the trend is slowing down, but even when these movies were at their peak and new found-footage flicks came out constantly, every once in a while one stuck out to me. That was the case here. I dug As Above So Below. To some it may be goofy and ridiculous, but for those of us horror fans who love adventure/treasure hunt movies, filled with historical clues, this is the scary flick for you. It also helps that I’m fascinated with any movie that deals specifically with the religious ideas of Hell. I can’t help myself… I LOVE Hell movies. That must be my religious upbringing coming out. As Above So Below is about a female professor who has dedicated her life to following the whereabouts of Nicholas Flemel and discovering the fabled Philosopher’s Stone. Through a series of circumstances they discover that it’s buried beneath the catacombs of Paris. Thus begins the downward trek into adventure, filled with claustrophobic sequences, a million skeletons, and possibly a journey into Hell itself. Like most found footage films, the first half is definitely dedicated to the setup while the second half is where things really get going. And when they get going, they really get going. I won’t ruin anything for you, but there are some seriously creepy moments later on where the use of the first person camera is used to a great extent. Although, I can’t dismiss the opening of this film either. The scenes that take place in Iran are fascinating. Yes, some of it may be a little cheesy, but I found myself all in. The lead actress reminds me a lot of Daisy Ridley and she does a great job. In the end, if you enjoy puzzles, history, and have a bizarre fascination with all things Hell like me, there’s no way you won’t enjoy this film. Be prepared for some great jump scares as well for good measure.

10/28/17 – OCTOBER HORROR MOVIE PICK #28 – 1922.

Earlier this week I posted about Gerald’s Game, one of the two new Netflix-exclusive Stephen King film adaptations. Today, I’m so happy to write about the other one,1922. 1922 is the type of film that, much like Gerald’s Game, feels far more appropriate watching at home. It’s a subtle, slow-paced, period piece that is more concerned with atmosphere and mood than jump scares and flashy setpieces. If you enjoy this type of dramatic methodical build, then this movie is definitely for you. 1922 is about a simple farmer living a simple farming life out in the cornfields of Nebraska. All he cares about is his land and his boy. His wife has other plans that include a divorce and a move to the city. When his wife inherits 100 acres of land, she plans to sell it, move, and take their son. But there’s no way this farmer can lose everything he’s known, so his only solution is to kill her. As we all know from past stories, things can only go downhill from here. Yet, because it’s Stephen King, the threats are not the typical “cops are on your tail” scenario (although there is a bit of that), but rather here the threats are far more sinister. Let’s just say if you have a fear of rats, stay far, FAR away from this baby. There are rats aplenty. Other than all the creepy rat moments, one of the biggest things I can recommend about this film is the central performance. I’ve always loved Thomas Jane. He’s always been one of those actors that I just love to watch on screen, and yet not always sure why. This movie sealed the “why”. Here, he’s incredible. He’s also practically unrecognizable. In fact, it took me about 10 minutes into the film before I actually realized that was him. His performance as the basic farmer that “listened to the other man inside him” keeps you enthralled every second. I love period horror movies, and I’m so glad to see Netflix helping the cause. 1922 is a nice, slow-paced, VERY slow burn of a dramatic horror film, and if this, mixed with a period piece, is your speed, you’ll love this film.

10/27/17 – OCTOBER HORROR MOVIE PICK #27 – Last House of the Left (1972).

Mixing it up again. Yesterday was a PG-13 flick everyone can enjoy. Today… not so much. Wes Craven’s very first film, Last House on the Left, is for the truly hardcore horror crowd only. In fact, I feel like I need to label this one with a completely unnecessary, but obligatory, warning. Those in the horror circles obviously know this movie. Those that aren’t, well, this is not an easy movie to stomach. It’s nihilistic to the extreme. It’s full of horrific violence, manipulation and rape. It’s really difficult to watch, but there’s a reason it’s considered a classic. There’s a reason I’m putting it on this list. And there’s a reason I recommend it to specific people. It’s because Craven did something totally different and original with this film. It sticks with you. Because of the constant juxtaposition between the extreme subject matter, and the way in which the film treats it, the result is unlike anything you’ve ever seen before. Last House on the Left is about two young girls heading to a rock show, but along the way they get abducted by a family of sadistic criminals that subject the girls to a series of disgusting and degrading acts. Yes, these acts will totally repel you, but the thing is, this type of revenge film requires these acts to be horrific so that when the criminals finally get their comeuppance, it’s all the more satisfying. It’s very much along the lines of other 70’s exploitation revenge flicks like I Spit on Your Grave (although Last House came out first), but this one has a twist. The twist is that aforementioned juxaposition. See, the material is sick and disgusting and soulless. Yet, the film itself plays almost like a wacky 70’s sitcom. One second it’s awful. The next second it’s filled with wacky music and cuts away to a few over-the-top zany characters that just happen to be the police. Every time the police is shown they’re bumbling like the Keystone Cops. Then when we go back to the criminals and the women, we’re right back in Hell. It’s constantly off-putting, but the result is something larger than its parts. You can tell Craven was actually trying to say something with the extreme subject matter and how it was treated. And by the time the turn-the-tables 3rd act comes along, you’ve never rooted for characters more in your life. The 3rd act twist is what this movie is usually remembered for, and it’s for good reason. It’s NOT where you expect this film to go, and yet you’re SO in when it does. This film is filled with awfulness, but it’s so much more than just a shock value film. For those of you that dare, it’s an experience that will definitely make you think and ponder what Craven was trying to say. I have my thoughts, but I’ll let you conjure your thoughts and feelings on your own.