Thomas, and Marc Toberoff serving as executive producers.
#HILARY DUFF METAMORPHOSIS MOVIE#
The movie also stars Dane DiLiegro as the Predator.The movie is written by Patrick Aison and produced by John Davis, Jhane Myers, and Marty Ewing, with Lawrence Gordon, Ben Rosenblatt, James E. The prey she stalks, and ultimately confronts, turns out to be a highly evolved alien predator with a technically advanced arsenal, resulting in a vicious and terrifying showdown between the two adversaries.The movie features a cast comprised almost entirely of Native and First Nation's talent, including Amber Midthunder, Dakota Beavers, Stormee Kipp, Michelle Thrush, and Julian Black Antelope. She has been raised in the shadow of some of the most legendary hunters who roam the Great Plains, so when danger threatens her camp, she sets out to protect her people. Set in the Comanche Nation 300 years ago, Prey is the story of a young woman, Naru, a fierce and highly skilled warrior. Whether or not she'll be able to parlay this into a career that stretches beyond the normal shelflife of a teen/tween starlet remains to be seen.Ĭheck out the thrilling, action-packed new trailer for Prey, the newest entry in the Predator franchise. Still, despite the recyclable nature of the material, it does showcase Duff as a singer with potential. In fact little burbles of electronic whoosh are liberally strewn throughout the album's 12 legitimate tracks, as well at the added bonus track "Why Not." Metamorphosis isn't bad, it's just disposable, like much of its equally minded competition. While the bulk of the tracks float along to that crisp and clean pop sheen, a few toss in "ragged" rock guitar elements such as "Workin' It Out," but the electro pop gloss is never far behind.
To wit, several of the tracks come with music courtesy of Lavigne's hitmakers The Matrix ("So Yesterday", "Where Did I Go Right?", and "The Math") and as can be expected, they're like bubblegum ice cream: smooth and sweet at first listen, but the flavor eventually wears off, leaving somewhat generic pop anthems that will most likely be forgotten by the aforementioned throngs of young girl worshippers as they age along with Duff. Duff's voice is sure and positive, sounding not a tad unlike some of her contemporaries (early Britney, mellow Avril, etc.). over) produced with that Top 40 gloss that makes for great radio fodder, which is exactly what her debut platter serves up (okay, technically speaking this is her second album, the first being the 2002 Christmas album Santa Claus Lane). The music backing her rather mature vocal swoon is slick and well (i.e. Hilary Duff, who appeared on the musical scene in 2003 after a burgeoning movie career and a successful stint on the Disney Channel show Lizzie McGuire, comes off like a squeaky clean, more youthful version of Britney Spears. But from a pure musical standpoint most female pop stars are just that: pop stars, specifically with a short shelf life. This all makes for intriguing sociological examinations, for sure.
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