Broad Green Pictures has closed the rights to Entering Hades, a project based on John Leake’s true crime novel. Storyscape Entertainment’s Bob Cooper (Amistad, John Tucker Must Die) and Richard Saperstein (Se7en, Hancock, 1408) have teamed up with Conor McCaughan (Assassin’s Creed, Slow West) and Daniel Emmerson (Assassin’s Creed) of Academy Award nominee Michael Fassbender’s DMC Film to produce the film. Alexander Dinelaris (Birdman, The Revenant), who recently celebrated an Academy Award win for his work on Birdman, is rewriting the screenplay with Fassbender eyed to star. Bill Wheeler wrote the original script.
Entering Hades is the true story of Jack Unterweger, a celebrated Austrian journalist and best-selling author who led a double life investigating murders by day and killing by night – amassing a body count of 11 people across multiple continents.
“With Bob and Richard’s vision and Michael’s keen ability to bring captivating characters to the big screen, we are confident that Entering Hades will be an entertaining thriller that draws a big audience,” said Gabriel and Daniel Hammond, CEO and Chief Creative Officer of Broad Green Pictures.
Cooper and Saperstein added, “This is exactly the kind of elevated commercial material that we are looking to produce through our deal with Broad Green. Michael Fassbender is one of today’s most talented actors and we are thrilled to be in partnership with him, as well as Conor and Daniel, to bring this extraordinary story to the screen.”
Entering Hades is the first project announced by Broad Green Pictures and Storyscape Entertainment since inking a first-look deal late last year to produce feature films on behalf of the studio.
Mister Smith Entertainment will handle international sales.
Almost entirely shot in the woods, our lead character Ann has only her vehicle and two small camps on a lake. Screenwriter David Ebeltoft’s immensely effective script, utilizes intermittent flashbacks to show us how Ann came to be on her own. Once traveling with her husband and infant daughter, the audience must allow themselves to be with Ann in the present in order to feel emotionally connected. She is smart and resilient. She has learned that practicality is the only way to survive. Her newly gained skills sometimes fumble, adding to the realism factor. The minute she allows her emotions to control her path, things are bound to go awry. When Ann stumbles upon Chris and his step-daughter Olivia, her motherly instinct may be her undoing. Two mindsets are at play; Stay put or keep moving. Which would you choose? Blackhurst’s use of nudity is never without purpose. There is no glamour factor here, which is much appreciated in the genre in general. Lucy Walters‘ lead performance is breathtaking. It’s not until the very end that we discover what happened to Ann’s daughter. That particular scene, which we know from the very beginning we’ve been building up to, is one of the most gut-wrenching I’ve seen on film. Maybe it’s the new Mommy hormones, maybe it’s Ebeltoft specifically crafted script, or maybe it’s the perfect storm of the two. I don’t think I have ever wept while watching a horror film until now. In a “what would you do?” scenario from hell, HERE ALONE tears your heart out and challenges how you think you’d react in a doomsday situation. When you’re down to your last bullet, it’s life or death.
You must be logged in to post a comment.