Don’t Breathe meets The Perfect Host in the latest trailer for Monster Party, written and directed by Chris von Hoffmann (Drifter). When a group of thieves targets a group of rich yuppies they consider marks they get way more than they bargained for. The attendees of a swanky dinner feast are all addicts—but no one says what, exactly, they’re addicted to. Could it be… murder most foul?
We just got word this weekend that Monster Party has been acquired by RLJE Films for Blu-ray/DVD distribution; look for it to hit online and brick-and-mortar retailers on December 18th. Give the synopsis a look-see below.
Synopsis: Three thieves plan a daring heist at a mansion dinner party. When their plan goes horribly wrong, the thieves realize the dinner guests are not as innocent as they seem, and their simple cash grab becomes a violent and desperate battle to survive.
Monster Party stars Julian McMahon (Nip/Tuck), Robin Tunney (The Craft, The Mentalist), Sam Strike (Leatherface), Erin Moriarty (Blood Father), Lance Reddick (John Wick), Brandon Micheal Hall (Search Party), Virginia Gardner (Halloween) and Diego Boneta (Scream Queens).
What do you think of the trailer for Monster Party? Are you excited to check it out when it drops on Blu-ray/DVD on December 18th? Sound off in the comments below or on Facebook, Twitter, and/or Instagram!
Some actors just seem like they’re destined to play the villain and Julian McMahon continues to use his leading man good looks to turn some pretty despicable characters into charismatic baddies you almost end up rooting for. In Monster Party directed by Chris von Hoffman (Drifter), McMahon is the head of the Dawson family – an elite family putting on a bizarre dinner party where every guest seems to be hiding something. As three thieves masquerading as caterers plan to rob the Dawson mansion, they slowly find out everyone in attendance is in recovery from a very unique addiction.
Monster Party is stacking up to be one of the more original releases as we come to the end of the year and speaking with McMahon he seemed to be proud of the ensemble work in the film. There’s also a healthy helping of blood and guts served up for dessert. We talked about the fun of playing a diabolical patriarch, McMahon’s favorite genre roles from Charmed to Dr. Doom in Fantastic Four, and what’s coming up in season 2 of Marvel’s Runaways.
The story follows three thieves who plan a daring heist posing as waiters at a fancy Malibu mansion dinner party in hopes of paying off an urgent debt. When their plan goes horribly wrong, the trio realizes the dinner guests are not as innocent as they seem and their simple cash grab becomes a violent and desperate battle to get out of the house alive.
DC: Can you talk a little about the addiction that this group of elite dinner companions are going through without giving too much away?
JM: I think you’d liken it to any kind of addictive qualities whether it’s alcohol or drugs or food or whatever it is. With this particular family and this particular group, actually, it seems to be something that they flourish with and they’re just burying their demons when they can’t express themselves that way. Their demons are probably a little stronger and more overt and powerful than their lives without them.
DC: It seems like each character has a very dark history. Did you think up any backstory for your character, Patrick? It really feels like you and Robin Tunney have had some pretty crazy nights in the past.
JM: Yeah, definitely. When the movie opens and you’ve got Patrick getting into his slippers and going to the window, we had that scripted a little bit differently. What I really wanted to get out of that was that because of him keeping this, let’s call it a demon, keeping that kind of thing inside of him kind of put him in this place where he’s fearful and hermity…like he almost couldn’t get up for the day. Everything in his life had become dark because he had to shut that door based on this kind of addiction and his inability to connect with it.
DC: Getting both you and Robin Tunney as the head of the family really adds a lot of acting weight to the movie. You both really seemed to be having fun playing off of each other and I think this is the first time you’ve worked together, right?
JM: It’s the first time we worked together and, I got to tell ya, when I met her she’s such an adorable lady and she just brought it. The two of us were just, like, okay we’re going for it. I love her work in this. It’s so kind of simple, scary, she just brought a fantastic tone to it. It was really a pleasure to mix what I thought I could bring as Patrick and to bring those two together.
DC: There’s something about the setup of a dinner party that allows the characters to get away with more than they normally could in another situation. Everyone is so polite that the kids planning on robbing everyone don’t realize how strange the evening is getting. Was the setup before the twist happens more fun to play because of the secret society aspect or did you enjoy acting in the third act more when everything goes off the rails?
JM: You know, they were both kind of fun. And the thing is, what we just discussed kind of fed into the whole first act. Here’s this bunch of nutty people who are holding back from what they really want to being doing with their lives on pretty much a daily basis and it just created this kind of fantastic level of tension. I love that kitchen scene with Robin and myself…and then that whole speech that she has before we head into the dining room. The connection with Lance [Reddick] and his control over everybody and my disdain for his tonality in the way he treats people. Then things just go awry and the leashes come off and it’s just a free-for-all.
So they’re both really fun aspects to play because, as you see in the bit where all the guests come into the house, Robin’s character is very effusive and Patrick is more like what the hell are we all doing here? He holds a level of animosity that we don’t quite understand until we start to dig into the last part of the movie.
DC: I remember reviewing Chris Hoffman’s first film Drifter that’s pretty underrated. Did you take a look at that film before taking on the role of Patrick?
JM: Yeah for sure, in fact, it’s one of the reasons I signed on because I had read the script and I took a look at that film and then I met with Chris. It was those three elements that made me want to work with him. I think he’s an extraordinarily talented young filmmaker and this is just a part of the beginning of his journey.
DC: I don’t want to give you homework by any means, but Chris also mentioned that he was influenced by the cult classic Society when writing this film which should get horror fans more excited for Monster Party. Are you a fan of that film or of the horror genre in general?
JM: Oh, I am absolutely a fan of the horror genre and I didn’t know that film until he brought it up to me because we talked about his influences and I was interested in what he was influenced by in the writing of this and the production of it. All that stuff, we delved into before we started shooting.
DC: Out of all the genre roles you’ve played from Charmed to Runaways to Monster Party, do you have a favorite? I was definitely a fan of Zachariah in Dirk Gently’s Holistic Detective Agency.
JM: Oh yeah! Wasn’t he cool? I loved that show. Yeah, you know, they’re all so, when you put the list out there like that, it’s all really about having fun for me as an actor and as a character. What can you inject that’s maybe a little bit different than what you did last time? I’m a big comic book guy so I loved playing Doctor Doom, it was like a dream come true. I love horror movies, I frickin’ LOVE horror movies. So, to be in one that I think is shot so well and delivered so well and so unique and kind of a shifting of the space of the genre is just so cool. Nip/Tuck for me was a great show in a lot of different ways. And Charmed, the show was great but also the character I played was one of the funnest characters I’ve played. They’ve all got their own advantages based on what it is you can sink your teeth into as a performer.
DC: I’m definitely curious to see what’s going to happen with Jonah’s storyline in Season 2 of Runaways. That looks like it’s been a blast to work on as well.
JM: Yeah, first of all, that first season I really enjoyed but the second season? Oh man, you’re in for a treat. They shot some stuff on 70mm, the DP was really trying to mix it up as far as the photographic side of things. Jonah and the connection with the parents and with the kids, it really kind of takes off. It was an absolute pleasure, I love working with all those guys, all the kids and the parents and the writers and creators. It was great but that character, we really delved into him pretty deep and I’m excited to see, particularly once we start getting into it. The first couple of episodes are great, obviously, but when we get to three, four, five it starts to get really dark and really deep. It’s really cool.
Monster Party is now available nationally in theaters, VOD and Digital HD from RLJE Films.
Monster Party might be Chris von Hoffmann’s second feature, but he’s a seasoned director, having released his first short film in 2004. Von Hoffmann’s first feature, Drifter, established him as a horror / exploitation director that genre fans should keep a keen eye on. Monster Party delivers on his earlier promise, and then some.
The story of three teenagers whose attempted heist at a fancy Malibu dinner party goes horribly wrong, Monster Party is clever and dreamlike, with plenty of gore. The film explores the literal and symbolic violence between economic classes.
We are very excited to present this interview with von Hoffmann in which we discuss the art of casting, unconventional pacing, and subverting audience expectations.
Dread Central: Your article in Movie Maker about the shooting of your previous film, Drifter, made it sound kind of like a nightmare. Did shooting go a bit more smoothly for Monster Party?
Chris von Hoffmann: No, I mean — Monster Party was definitely a really tough shoot as well, for a lot of different reasons. I think your first movie — I mean, with my first movie Drifter, 75% of what I was having to do on that movie was not even creative, so it kind of makes your head explode at a certain point. With Monster Party, all I was doing was writing and directing it. But there are also a lot of other additional things, because it was like a 17-day schedule, and then you have, you know, my first time with a 45, 50 person crew and a lot of producers on set, an ensemble cast, kind of a complex structure. All these different things. I think every movie is always a mini little nightmare in a way, you know? I think it’s always good to just sort of go through that process because it just trains you so much for the future. But I think everyone kind of pushed themselves hardcore on Monster Party, so I think in a way it was sort of beneficial, but yeah, it was definitely a big thing to adapt to as my first professional movie.
DC: The cast was pretty close to perfect. Everybody was just really at home in their roles. Can you tell me a little bit about the casting process?
CH: Yeah. I always think like, I used to be an actor. I was an actor for six years in high school and after high school in New York City and did a lot of theater. So I definitely had a lot of respect for what actors do, and performance is always number one for me. I feel like a lot of filmmakers kind of neglect performance, kind of focus on everything around the performance. The technicalities of things. So I always think casting is like 85% of what makes a movie. I think that’s the biggest thing I get most psychotically stubborn about in pre-production, just really wanting to make sure, because this was an ensemble cast, and it’s so driven by the performances, so I want to make sure it was kind of like a puzzle and if one piece doesn’t quite organically fit, the whole film is going to feel lopsided. So I really needed to make sure that everyone was going to — even down to a small, small role, everybody had to fit on screen organically, and I knew what kind of tone I was going for, the kind of faces I felt were going to work on screen to match the tone I was going for. So I kind of knew within 10, 20 seconds of seeing someone’s audition or meeting someone if they were going to be right for the role, sort of like a gut thing. But it was definitely just an exciting experience meeting with all these different actors. Even actors that didn’t end up in the movie. There were no egos, just really wonderful people who went all the way with it.
DC: What was it like working with some of the veteran character actors like Lance Reddick and Robin Tunney?
CH: It’s wonderful. I mean, Lance Reddick was like — I’m friends with his manager and he’s at the same management that I’m at. I met him for the first time in February of last year. He was one of the first people who came on to the movie, and he was just such a delightful person. No ego. We talked for four hours about everything, about tons of stuff, and talked about what the story represented and all that. Then Robin was such an unbelievable blessing. I remember vividly when I first saw The Craft, and I always loved how, you know, End of Days and Vertical Limit, she’s always had such a unique presence on screen, and she really was an absolute blessing. She came on five or six days before the movie started to shoot, so she was really prepared to help the film and support me and support the story as best she could, and kind of just went all the way with it and knew exactly what I was going for. Julian McMahon was terrific and he was just such a humble, delightful person. He cared so much about the material and had such great ideas, and everyone was there to — I was really impressed and happy with all the veteran actors that were just there because they believed in the material because they knew this was my first “big movie.” It was not a huge movie, but it was a big movie for me. And they — I was really just happy that they were very, very supportive and encouraging and listened and really believed in what we were doing.
DC: The film’s trailer seems to give a lot away. But when you watch the movie, there are really a lot of surprises. Did you set out to subvert expectations or did that happen more or less organically when you were writing the script?
CH: Yeah, I really like movies that have sort of a rollercoaster hybrid feel where it’s just sort of a mash-up of everything you could possibly want inside of a movie experience. I kind of thought that was interesting with that trailer that they put together because it was a very sort of simple nuts and bolts portrayal of what the story is. I always like movies that when you see a trailer versus when you see the movie, there’s so much more to the movie that you weren’t expecting, and I always find that kind of exciting. They really left out a lot that’s in the movie from the trailer. And I just — yeah, I think just writing, I don’t know, we’re in such a televisual age with everybody being so obsessed with binging and short attention spans, when you’re making a feature film — my goal is to really try to get feature films to work like a televisual structure where it’s constantly escalating on top of itself, and it’s like you’re almost like binging three hours of TV, kind of just wanting to keep on escalating more and more and more. I hate films that aggressively move sideways. They have this power, but they’re not quite going all the way. They’re kind of still staying one note. I just like movies that keep on piling on top of each other, like a video game or something, because I think that’s sort of the — I just think in the age we’re living in, that’s sort of the way that I like to tell stories. I just kind of get bored easily. I want to keep on, you know, making a left turn, making a right turn, just keep on escalating.
DC: Even though there is a little bit of gore at the beginning, we’re pretty well into the film before stuff really hits the fan. But then it’s pretty relentless. What attracted you to structuring your film with a bit of a slow build?
CH: Yeah, I mean, that was probably the trickiest thing, because I remember, over Christmas in 2016, I was like, ripping my hair out trying to figure out what the opening was going to be because I knew, I was like — well should it be an opening kill? But I kept on thinking to myself, I mean, it’s not like a tradition, this is one of the few horror stories that can’t quite be faithful to that kind of opening kill setpiece because if you do that it completely contradicts everything that happens later on with the twist. The first kill has to be a plot point. So that was kind of a tricky structure to decipher, but I think a lot of films, I don’t know, so many horror films just give everything away immediately, and I don’t think they have much faith in the characters or the story or the performances or the writing of it. I feel like they just need to have all this violence happening immediately. I love horror movies, and I love violence in horror movies, but also I like exploring everything in one movie, and I don’t immediately get to death instantly. I just really like to explore other elements that build up to it.
DC: Were you afraid you might lose some people along the way?
CH: Yeah, certainly in the beginning. In the beginning of rough cutting, definitely. It was definitely a trick. But I don’t know, people seemed to go with it, especially now. I think they expect that it’s a slow burn build up, but they still, I don’t know, I think it’s because they have sort of a mysterious kind of feel where it keeps on, like, there’s so many things being set up that you don’t — you sort just want to see how it pays off. And I think that’s why people seem to be interested in where it’s going.
DC: What made you want to make a movie that’s so overtly about class and economic conflict? I thought that was a really interesting premise.
CH: I love making stories that have some sort of societal statement underneath it, really representing my viewpoint on the world and hopefully other people’s viewpoints on the world, and making bold statements about something without ham-fisting it. But I really, really want something underneath there to hit you in the face a little bit. And I think — I’ve always been fascinated by just juggling all these different statements about the world, and point of views on the world, and putting them in a blender and just machine-gunning it onto the screen and just seeing how it lays out for people. And also I kind of grew up between these two different worlds, and my father was slightly upper-class, and my mother’s side was much more blue collar. So I guess being in-between those two I have a way of seeing both sides, and I’ve always been curious about smashing them together under very bizarre circumstances and just seeing how that plays out. But yeah, I definitely feel like it was a perfect opportunity to be like a pig in shit about all the societal statements, and just reflecting our generation as much as possible on the screen.
DC: Which directors do you think have influenced your work the most?
CH: I mean, I sort of divide it into two different groups of people. I think the older directors, like Martin Scorsese, Paul Verhoeven, Abel Ferrara, Tony Scott, Brian De Palma, William Friedkin, I’d say probably. Some of the new directors, definitely people like Adam Wingard, Steve McQueen, Nicolas Winding Refn to an extent. Some of them might be making different films, but I think the intention that all those different directors have is what I love. All those directors really try to make the most cinematic experience they could possibly make with their material and just turn everything up to 11. Those are the kind of directors that I really respond to. I mean, I love people like Nicole Holofcener and Joe Swanberg and much more subtle mumblecore films as well, but I think as far as the people who truly influence me stylistically is those directors.
DC: What’s next for you?
CH: We’re in post-production on this anthology feature film that I wrote and directed a segment of. Radio Silence executive produced it. They produced V/H/S and Southbound. It’s all about phobias. And I’m just in hardcore development of four different features. One of them has a producer attached and is moving forward pretty well. I’m sort of in the middle of a bunch of stuff.
Monster Party is now available nationally in theaters, VOD and Digital HD from RLJE Films.
There is nothing worse than horror movies that spend too much time setting up the premise. You already know these kids will be fighting for their lives, so having to watch 30 minutes of them debating whether to go to the mansion with the creepy people can be annoying if you don’t care about the characters. Monster Party suffers from this exact problem, as we spend too much time setting up annoying and unlikeable characters and we skip over much of the gory fun.
We are introduced to a trio of robbers who target rich homes in Southern California. There’s Iris (Virginia Gardner), who is pregnant with the child of Dodge (Brandon Micheal Hall), and Casper (Sam Strike) whose dad has a gambling problem. That is it. Director Chris von Hoffmann wants us to care for these kids, yet the above information is the only thing we get to know about these characters we are supposed to sympathize with.
In one of the many similarities to Don’t Breathe, one of our robbers is forced to go on one last job to escape a terrible situation at home. Casper must now come up with a big amount of cash to pay some dangerous thugs who are threatening his dad. Luckily for him, Iris is scheduled to work as a server at a dinner party for a filthy rich family. Of course, they will get more than they bargained for.
The trailer and even the film’s synopsis are quick to spoil what’s going on with the dinner party guests, but just in case I will not say anything about it. Suffice to say, blood will be shed, and our young robbers will have to fight their way out of the house.
The performances are solid. Gardner, in particular, makes for a good old-fashioned horror heroine, and Lance Reddick manages to be menacing while also a comforting and calming presence. The main trio has some scenes with great chemistry, and you can see the fear in their eyes once everything starts going down.
The biggest gripe with the film is its lack of resources, which become too apparent once the bloodshed begins. The film’s glacial pace wouldn’t be a big problem if the characters were interesting – they are not – or if the film had some fun and inventive kills. Unfortunately, after waiting for more than 40 minutes for the “monster” part of the title to begin, the film’s budget restriction kicks in.
While von Hoffmann doesn’t shy away from blood splatter, all the deaths happen off-camera, either cutting away to someone else’s reaction, or just moving the camera to another room of the house and hear a faint scream before moving on. This wouldn’t be a problem if the film found a way around it, or if it was intentional, but it is easy to see the only reason for it was the lack of a bigger budget.
Monster Party has a morbid energy that keeps you interested despite all of its problems. Unfortunately, this is a horror film without interesting characters or satisfying kills which makes for a very dull experience. Do not accept this party invitation.
Desperate times call for desperate measures. With his father owing thousands to a violent loan shark, Casper (Sam strike) and his fellow thief friends Dodge (Brandon Michael Hall) and Iris (Virginia Gardner) need to make a big score. Opportunity strikes when Iris scores a job catering a rich family’s mansion in Malibu. The Dawson Family, […]
The setting of a horror movie plays a very large role in determining whether or not the audience is going to buy into the scares. There’s a reason why so many entries in the genre take place at a creepy cabin in the middle of the woods, at a summer camp, in a hospital/asylum, or in any of the other various location tropes that we’ve come to know and love over the years. It’s because they immediately set a tone where we understand the associated inherent risks. In a forest, you can trip and fall. In an asylum, you can get locked into a room against your will. These are the concerns that a horror film’s setting can impart upon viewers, which is why it’s so important to put your characters in a place where audiences fear for their lives.
One such setting is a creepy mansion. At first glance, what terrors can it offer? After all, it’s just an oversized house! Sure, it’s got bedrooms that you count in double digits and certainly more than 1.5 bathrooms but quantity doesn’t necessarily necessitate quality. But once you dig into the possibilities associated with a mansion versus a house, you realize that the amount of terrors increases exponentially. What becomes an easy-to-remember floor plan quickly becomes a maze. Hallways are longer and have more doors on either side, making for even more places where a killer can hide. The basement, always a creepy setting, becomes larger and more treacherous. Even the grounds outside take on a more sinister feel as help is all the farther away.
In RLJE’s Monster Party, “Three thieves plan a daring heist posing as waiters at a fancy Malibu mansion dinner party in hopes of paying off an urgent debt. When their plan goes horribly wrong, the trio realizes the dinner guests are not as innocent as they seem and their simple cash grab becomes a violent and desperate battle to get out of the house alive.”
Written and directed by Chris von Hoffmann, Monster Party stars Julian McMahon, Robin Tunney, Sam Strike, Erin Moriarty, Lance Reddick, Brandon Michael Hall, Diego Boneta, and Virginia Gardner.
The film hits limited theaters and VOD platforms today, so we wanted to help celebrate the release by highlighting some of our favorite horror movie mansions that you certainly wouldn’t want to mess with!
Based on the actual Winchester Mansion, this place is, quite literally, a maze of epic proportions. Meant to hold the ghosts of all those killed by Winchester weapons, this location is reportedly one of the most haunted buildings on the planet. If that doesn’t dissuade you from wanting to see it, you can always book a tour.
House on Haunted Hill
If Steven Price’s deadly tricks don’t get ya, the darkness that infects the very heart and soul of this mansion certainly will! What makes this particular mansion so interesting is that we barely get to see its opulence. Rather, the main focus of the film is the creepy and atmospheric basement, which is packed to the brim with sadistic medical equipment, all meant to help “rehabilitate” the patients of the Vannacutt Psychiatric Institute for the Criminally Insane. Still, what can beat that wonderful oceanside view?
What better place to study sleep disorders than a creepy mansion, right Liam Neeson? You absolutely moron…
When a mansion has the ability to reconfigure itself so as to disorient and, yes, attack its inhabitants, you know that you’re in for a very unpleasant ride. So let’s agree that once there’s even the slightest inkling of something feeling a little “off”, we’ll all get the hell out of there…posthaste.
The Rocky Horror Picture Show
Taking a break from houses that will kill you (well, at least kinda), the biggest issue with Dr. Frankenfurter’s mansion isn’t the risk of death, it’s the near-certainty that you’re not going to get a good night’s rest! Seriously, keep it down out there! Or at least Time Warp me back to about 11 pm so I can get a solid eight hours of sleep!
Alright, alright, let’s get back to people being in peril, shall we? And what better place to go than the disorienting, maddening, ever-shifting house from 2001’s Thirteen Ghosts? Not only is the house able to slice people in half but its ghostly inhabitants are certainly not happy to have new tenants. Plus, who wants to have to suffer ghosts performing a massive, loud ritual? Rah Digga certainly doesn’t, which is why she quit.
Got any other horror mansions we should avoid? Let us know in the comments!
This October, we’ve been spoiled with a resurgence in horror at all levels and the imminent return of Samhain. This week, however, the VOD rental options are vastly fewer. Fear not, there’s still some good, disgusting fun to be had in the world of streaming. We’ve got a Creepy Pasta tale, a new entry into desktop storytelling, an artsy possession film and the return of dinner party horror.
Here’s every new horror release available to rent this week on demand!
Slenderman (10/30, multiple VOD platforms and available for pre-order here)
Earlier this year the studio behind Slenderman curiously decided to push the film into direct competition with giant shark thriller The Meg. This left many of us at a horror crossroads that weekend. For those of us that saw The Meg instead, this will offer a great opportunity to check out Slenderman for ourselves, despite the negative reviews. That’s how horror movies work, right? You hear something in the distance and feel the need to check it out. Even though every instinct is telling you Jason Voorhees is about to shove an ice pick into your face hole. You still go.
Searching (10/30, multiple VOD platforms and available for pre-order here)
Sure, it’s definitely more thriller than horror, but this week it’s slim pickings! Plus, the parallels to horror films Unfriended and Ratter are hard to ignore. For anyone out there looking for more desktop thrills, which is a strangely satisfying sub-genre when done well; Searching might be your best choice this week. The film stars John Cho as a father whose 16-year-old daughter goes missing, prompting him to investigate her laptop in a race to find her.
Welcome to Mercy (11/2, available on multiple VOD platforms)
This one easily takes the “best chance to scare the shit out of you this week” award. The trailer features a well made possession film with creative camera angles and a stylish presentation. Why do I feel like Patrick Bateman in American Psycho when I say that sentence out loud? I’ll definitely be checking out Welcome to Mercy this week. Now, feed me a stray cat.
Monster Party (11/2, available on multiple VOD platforms)
InMonster Party, we’re mixing a bit of “wrong place, wrong time” horror with a serial killer cult featuring Deb from Empire Records(Robin Tunney)! I’m already in. Not to mention what is sure to be another interesting role for Lance Reddick (The Guest).
Dinner party horror almost always leads to a good time. Would You Rather, You’re Next, The Perfect Host and The Invitation all come to mind initially. Keep in mind I’m not including dinner scenes like Texas Chainsaw Massacre and Greta’s death scene in A Nightmare on Elm Street 5: The Dream Child. Here’s hopingMonster Party can add another fun entry to the list. No matter what dinner party you find yourself at, just remember to keep a watch out for this guy:
That’s all folks! Next week features quite a bit more VOD horror to sink your teeth into. See you then! What will you be watching this week?
On November 2, RLJE Films will be releasing their new horror/thriller Monster Party in theaters, VOD, and Digital HD but we’re here to give you a sneak peek with an exclusive clip!
In the clip, a confrontation between two obviously sinister people takes place, with one thinking he’s the leader of the “ship” while the other sees that he needs to make things 100% clear as to where the hierarchy lies.
“Three thieves plan a daring heist posing as waiters at a fancy Malibu mansion dinner party in hopes of paying off an urgent debt. When their plan goes horribly wrong, the trio realizes the dinner guests are not as innocent as they seem and their simple cash grab becomes a violent and desperate battle to get out of the house alive.”
Written and directed by Chris von Hoffmann, Monster Party stars Julian McMahon, Robin Tunney, Sam Strike, Erin Moriarty, Lance Reddick, Brandon Michael Hall, Diego Boneta, and Virginia Gardner.
Yesterday we revealed that Chris von Hoffmann’s Monster Party will be hitting theatres this November 2nd via RLJE Films, and now we have for you the official trailer and poster for the upcoming film. Check out the goods below and let us know if you’ll be heading out to catch this one or not? From the Press […]