Reality+ isn’t just our name, it’s our genre. We are proud to operate as an elevated genre production company. For us that means writing within the confines of a budget to tell high-concept stories that focus on character and narrative.
The realities that we create are the same ones just outside your door… with a few genre elements pressing in and slowly breaking through… Reality+. Whether that reality has ghosts, world-wide government conspiracies, werewolves, or near-future technology it is all treated with respect and integrated into stories that pull you in as we introduce audiences to their new reality.
As a classically trained writer, Christopher’s work is literate, gothic, epic, and filled with observed human characters (even if those characters happen to be supernatural and straight out of your nightmares). With influences ranging from the Greeks, classical theatre, world mythology and fairy tales, E. A. Poe, Sara Ruhl, Connie Willis, Iain M Banks, Takashi Miike, Devin Townsend, Jennifer Phang, comics, all the great 80’s genre films, to the newest playwrights and film-makers across the world, Christopher’s writing matches his voracious input and lives up to his varied influences and inspirations.
Within is a one-room, low-budget elevated-genre exorcism horror movie.
KITTY ST. MICHAEL is one third of an all-girl evangelical teen-aged exorcist group, who are a Youtube sensation and part of their father’s crusade. She has the tables turned on her when she is possessed by an unknown entity and locked in the family’s patented “Exorcise Room” where they perform their exorcisms and broadcast to the internet.
A different take on the traditional exorcism picture: Instead of an innocent at the mercy of a greater, evil power, ‘Within’ sees Kitty as a full human who must embrace her dark-side in order to leave the Exorcise Room and become a fully functional adult.
COLE, a trans man and reformed fundamentalist Christian, knows he was born to be a father. After he is refused adoption a final time, he finds his long lost sister, LILITH, hiding in the family's cabin, pregnant, and being pursued by a Satanic cult who want her baby. Cole knows he will risk everything to protect her, but when she starts to exhibit strange powers and lethal habits, does Cole need to protect Lilith? Or does he need to protect the world from Lilith? A new twist on the cabin in the woods horror pic.
Koré will have none of it. Not from you, her school, society, and certainly none of it from your so-called God. She is alone. Except GREYSON, her boyfriend. The problem is that his father, MACMILLAN, is a Senator and under contract with ASMODEUS, one of the Princes of Hell. When his father’s contract is up, he sells his own son to gain more time on Earth.
Koré’s not having it. At Greyson’s grave she threatens Hell itself to get him back, which summons MARLENE, a spirit whose eternal punishment is to guide souls through Hell. She’s there to be Koré’s guide …who Koré promptly ditches after Marlene opens the portal to Hell for her. Koré needs no one.
Hell is an interconnected series of cityscapes from mythology and human-time on Earth each one ruled over by a different Prince of Hell. And Koré must make her way across all of them to get to Asmodeus’ realm to get Greyson back …even if it means taking on Satan himself. A thoroughly modern retelling of Dante's Inferno with a kick-ass goth chic at the center.
MR BROWN AND MR BLUE ARE DEAD
Blending Shakespeare, Tom Stoppard, Luigi Pirandello, and Quentin Tarantino? “Impossible,” you cry! That’s music to writer/director Christopher Morrison’s ears.
Allow us to introduce you to:
“Mr. Brown and Mr. Blue are Dead” the newest script from this bold filmmaker who’s last movie gave us the first solo-character film in history with a female lead: “The Bellwether”.
A satire not just on “Reservoir Dogs” but on the American image of filmed-manliness,
“Mr. Brown and Mr. Blue are Dead” intersects with the famous film we all know from the eponymous pair of minor characters’ POV.
Can Mr. Brown and Mr. Blue deal with the fact that they’re not dead but are still trapped in their original, hyper-violent, restrictive narrative? Or can they transcend themselves and find a new way to exist? A funny and poignant re-imagining of what and who we celebrate in American film.
(Announcement Coming Soon)