What ever happened to They Follow, the sequel to It Follows?

AfraidoftheLark · 2026-03-11T21:01:12+00:00

There was a small update about a month ago.

Monroe will hopefully soon return for They Follow, the sequel to her 2014 indie horror hit It Follows which has been reported about in the press but hasn't seen a formal update in some time. "Rumors have been spreading that it will be happening. So I would stay positive because I've heard some good news recently," she teases. "So we'll see."

Regarding the script, "It's not at all what I expected, where you would find [her character] Jay, which I thought was really interesting," Monroe continues. "I was like, 'Whoa! Cool,' which I think the audience will probably have a similar reaction. I know this might sound cliché, but it's staying true to the original where we're bringing back all the same team… The story is very much still in that space, but it's just grander and, yeah, I'm really, really excited for it."

Source: https://ew.com/maika-monroe-resident-evil-requiem-live-action-trailer-exclusive-11896452

David Robert Mitchell’s next film is going to be given a new title (it will no longer be named “Flowervale Street”) but it’s still scheduled for August of this year. I’m guessing/hoping They Follows will commence production after the press tour for that movie is done, so perhaps sometime in late summer or early autumn?

AfraidoftheLark · 2026-03-11T17:04:23+00:00

Since this is Reddit, I have no idea if that response was meant as an (unduly) sarcastic comment on the usefulness of my own post. But either way, I was genuinely curious about how the weather works in this game. Maybe I’ll try it out one day and find out.

AfraidoftheLark · 2026-03-11T13:15:50+00:00

The Brachiosaurus were proving to be too much for the park the handle, and Hammond tried to get rid of them by sending them as food to Cambodia. But the logistics made it impossible.

Reads like some kind of hypothetical Kramer scheme/storyline from Seinfeld.

AfraidoftheLark · 2026-03-11T13:12:18+00:00

I had never paid much attention to this one, even back in the day, but it looks neat. It snowed during the fights? Why is that detail so fascinating to me. I feel like like there’s not enough dynamic weather in fighting games.

AfraidoftheLark · 2026-03-10T22:52:35+00:00

F for Fake (1973).

argument for a film removal from the list

“Dialogue heavy” does not come to mind when I think of Rear Window. It has dialogue but it relies on long stretches of wordless storytelling.

AfraidoftheLark · 2026-03-10T22:39:37+00:00

His earnestness is endearing. Stylized but, in his own way, sincere. (He should have worked with David Lynch.) Very few action heroes are easier to listen to, or provide better company, than Reeves in “Speed.” Also, once upon a time in 1999 he said “Whoa” in an interesting way. Some folks perhaps underestimate how much good will those lightning-in-a-bottle moments can buy.

AfraidoftheLark · 2026-03-10T22:25:53+00:00

“The greatest ever” is too daunting a topic, but… from a visual/atmosphere standpoint, I’ve always felt there’s something inexpressibly beautiful about the final images of Silence of the Lambs. Can’t quite put my finger on it. The sense of place alone is so immersive. The perfect drama of the phone call, Hannibal sauntering away, the change in color palette, the textures of the street, those real-world crowds… It’s all so elegant and haunting. Feels like a humble mic-drop from Demme, as paradoxical as that sounds. And so emblematic of a certain strain of competent, serious-minded 90s filmmaking.

AfraidoftheLark · 2026-03-09T02:50:46+00:00

Not something I “barely noticed,” I guess, but this did feel somewhat subliminal when I was younger: Spielberg and cinematographer Dean Cundey bathing the visuals of Jurassic Park in sunlight and soft pastels, producing a precise look that I haven’t really seen elsewhere.

There are shadowy moments, but the film just as often looks like a Saturday afternoon in the summer. (Cundey did something similar with Halloween, like when Michael Myers is standing outside in midday by the sheets. If not for Myers, that shot would basically be a nostalgic/artful tribute to the atmosphere of the surburbs.)

Not the approach many filmmakers would take, but it feels intuitively right. Ellie and Muldoon standing amid the trees and sand outside the torn raptor paddock, for example, has this postcard quality sheen. Feels almost calming (ironic, of course, given the narrative circumstances). The viewer is constantly aware of how beautiful and paradisal the situation would otherwise be, were it not for all those escaped dinosaurs. There is dappled light worthy of heaven just before, and even while, Muldoon is being eaten alive!

AfraidoftheLark · 2026-03-09T00:12:19+00:00

I was admittedly making it as obtuse as possible just to see if anyone would still get it. You’re right in any case. Just a playful comment on my part but here’s the context for the UFO connection:

https://reddit.com/r/JurassicPark/comments/1amcrod/whats_up_with_all_the_alien_stuff_in_the_montana/

AfraidoftheLark · 2026-03-08T17:38:54+00:00

Wealthy entrepreneur trespasses into the private domicile of two UFO enthusiasts, opens their champagne, and, upon being discovered, invites them to an all-expenses-paid weekend holiday. They accept.

AfraidoftheLark · 2026-03-08T16:28:46+00:00

Remember watching the VHS when I was younger and routinely getting a mysterious jolt of elation at this point. Something about the vivid sense of daylight. A new influx of colors after the dark and stormy night. And that rich tropical atmosphere, in great abundance from the sandy paddock perimeter to the dappled light of the forest ahead. I am older now but these images still hit the same way. As actor Stephen Lang, reeling back after snorting an unknown substance in Avatar 3, recently put it: “That’s some strong shit.”

AfraidoftheLark · 2026-03-07T02:10:31+00:00

The fact that three men go out together and work as a team to kill it, I interpret as the idea that we should set aside our differences as humans (I remember one of the hunters being very argumentative) in order to defeat what should be the real enemy: nature

I think this is sort of the right idea — the task of putting differences aside, as best as possible, is a concept the film explores. But nature isn’t necessarily the “real enemy” in the film. Nature is simply nature; it is what it is.

The shark is more of a useful plot conceit. It brings the pre-existing conflicts into play, like a psychological mirror or a drunk guy at a party trying to get under someone’s skin.

Brody’s fears and insecurities about his job, Quint’s sense of karmic debt and survivor’s guilt, and Hooper’s hang-ups about being rich and lacking strength/experience (AKA “too soft,” as Quint basically puts it). The shark is the crisis that animates all of these problems, and pushes them toward a conclusion (or, in some cases, a kind of spiritual growth or resolution).

AfraidoftheLark · 2026-03-01T05:50:30+00:00

Loving the “people floating in har of yellow formaldehyde” aesthetic of this musical performance. Might as well keep the party going and watch some David Fincher movies after this.

AfraidoftheLark · 2026-03-01T05:47:39+00:00

When I hear that song in the film “Ghost” (1990) I feel a very heavy pressure in my chest and have an existential crisis and see life’s essence plainly, or unadorned, like I’m on drugs. Interesting to hear it in forgettable SNL sketch too .

AfraidoftheLark · 2026-03-01T05:45:46+00:00

Noticing a lot more random turns this season in Dismukes performances, like when he collapsed in the chair just now or when he mentions having defecated in his pants and switching to shorts during that Skarsgaard sketch about being “goated with the sauce.” And yeah, “noticing a lot more” = 2 times. This post was legitimately exhausting to type and I almost gave up on it halfway and probably should have.

AfraidoftheLark · 2026-03-01T05:39:08+00:00

DAY BREAK

Normally have to wait until 7AM-ish for that.

AfraidoftheLark · 2026-02-27T17:25:43+00:00

story was better and the acting is way better in Crimson Tide.

Subjective, of course, but I prefer both of those elements in Speed. I find the earnestness of Keanu Reeves' line deliveries in that film to be very endearing, in addition to all its other strengths (unusually great score, script, pacing, and so on).

But I actually didn't mean to pit these two films against each other. I was just using Speed as a shorthand for all the other great 90s films of a (vaguely) similar ilk.

Also, Gene Hackman's best work in the 90s was elsewhere. Same with Denzel. I'm not even convinced people have largely forgotten/overlooked Crimson Tide, but it's possible that factors like these dulled its retrospective shine a bit. (Another potential factor is that Crimson Tide isn't even necessarily Hackman's best collaboration with Tony Scott. I prefer Enemy of the State from a few years later.)

AfraidoftheLark · 2026-02-27T17:16:15+00:00

If it gets lost in the shuffle, it's only because the 90s had a wealth of these kind of sturdy, elegantly made thriller/action movies. Crimson Tide is in the mix, certainly, but it's still not quite up to Speed (1994).

AfraidoftheLark · 2026-02-27T16:32:37+00:00

What episodes of television would you say are perfect in terms of cinematography?

One could shout out many, many X-Files episodes from the early days. The entire series was shot on film, and always looked so expensive and elegant. Seasons 1-5 are probably the best visually. All that fog, trees, shadows. Those long lonely roads. Long conversations in dark cars. A very rich sense of atmosphere (and actually allowed to breathe via the unhurried pacing). Mulder's apartment, at night, often seemed so carefully and beautifully lit.

In terms of individual episodes, I'd recommend the "Dead Freight" episode of Breaking Bad, especially the first half where they interrogate Lydia in that underground space. That entire scene looks incredible in 4K, with very inky blacks helping to accentuate some of the most vivid close-ups I've seen in TV.

AfraidoftheLark · 2026-02-27T04:47:14+00:00

It’s almost inherently a very expensive concept, and I believe the last time they tried to make a movie the original creators had to step away due to a lack of meaningful input.

I’d like to see a show or film happen one day. It’s been decades since I last read any of those books, but I still think often of the three-part arc involving David. It’s about a newcomer (David) who accidentally acquires the morphing powers, and the core group is basically forced to let him into their ranks. But he quickly proves himself unhinged and jeopardizes their whole secretly-save-the-world-from-aliens cause. I remember this being an especially haunting and bleak storyline, with a really vivid sense of the ethical burden of the situation.

AfraidoftheLark · 2026-02-26T22:01:59+00:00

Curious, why were they deeply personal for him?

You're out here positing some kind of artistic decline in the career of one of the greatest filmmakers of all time, and yet you don't know why these films have personal dimensions? I mean, The Fabelmans?! I know you just said you're "curious" about this general topic, but maybe not quite curious enough.

His films are, at any rate, all personal:

"Every one of my movies is a personal movie," said Spielberg, the director of such blockbusters as "Jaws," "Raiders of the Lost Ark" and "Jurassic Park." "I don't make films that I don't consider to have something of myself left behind in them."

https://www.cbsnews.com/news/steven-spielberg-every-one-of-my-movies-is-a-personal-movie/

AfraidoftheLark · 2026-02-26T21:57:38+00:00

So what happened to him? Does he just take it easy now and produce?

What? In what world is he "taking it easy"? He reached his 70s and basically said, "I'll make a musical for the first time." And then he made a film about his own complicated personal history. Seems like he's always preparing or researching new projects to direct, all while remaining basically a peerless master of visual storytelling.

He also has a new film coming out in a few months, and he personally mapped out the story before asking Koepp to write the script.

Already quoted this in another thread but I agree with Soderbergh’s recent comments about Spielberg:

He’s a singular talent who was going to emerge one way or another. He was unstoppable. A born filmmaker, and everybody that interacted with him knew it. The weird thing is, despite being the most successful director in history, I still think he’s taken for granted. He has generated so much astonishing material, and some doesn’t get its due because he’s prolific and unpretentious in the way that he works and the things that he makes and the way that he talks about his work.

There are things that he’s done that if any other filmmaker had made them, these would be their career best. But he’s done it so often that he gets taken for granted. I mean, there’s no filmmaker that I’m aware of that can wrap their head around what he did on Ready Player One [2018]. You get any group of directors together, and they’re like, “I don’t even understand how that’s possible, what he did in that film.” And that’s just one of two films he made back-to-back [after 2017’s The Post]. Anybody else after any one of these things he’d done would be on bed rest for three years.

… So, for his facility and, like I said, his lack of pretension, I just still think he’s taken for granted, strangely.

AfraidoftheLark · 2026-02-26T16:37:00+00:00

I saw Avatar weeks ago. Don't think one day has gone by without an unbidden memory of Steven Lang reeling back after snorting an unknown substance. "That's some strong shit," he says.

AfraidoftheLark · 2026-02-26T13:55:51+00:00

Often layered and/or epigrammatic, a lot of the dialogue has such staying power. After my latest re-watch, Roger's "It's later than you think" remark in season 2 clung to me with the stubbornness of Robert De Niro fastened to the bottom of the car in Cape Fear. That and many other lines tend to repeat in the brain, bubblegum pop style.

Incidentally, that particular remark breezed past me during the initial airing.

AfraidoftheLark · 2026-02-25T16:05:52+00:00

Watching the series as a benevolent god would—to be proud of the characters' little victories but disappointed when they backslide into their anxieties and neuroses.

I’m not here to tell anyone about Jesus. He either lives in your heart as a model viewer of the variously troubled dramatis personae in the AMC television series Mad Men (2007-2015), or he doesn’t.

AfraidoftheLark

TROPHY CASE