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Friday, October 31, 2014

Open Forum Friday: October 31, 2014

Here's your chance to connect with the GOULISH SJF community.
Welcome to a special edition of Open Forum Friday! This week, we want to know your top Halloween flicks. Are you into he blood-spattering gore of Freddy, or does The Conjuring scare you like it does us? While you're welcome to comment on this or any movie or television thoughts you might have, here's a brief rundown of the movies released this week and Blu-rays to be released next Tuesday:

Movies
- Before I Go to Sleep
- Horns
- Nightcrawler

Blu-rays
- 22 Jump Street
- A Most Wanted Man
- The Hobbit: The Desolation of Smaug Extended Edition

Also, don't forget to listen to our weekly podcast, where we break down the major news of the week and do our giveaways.

No matter what you choose to talk about, a few ground rules: keep it nice, no ads, and no flaming.

Other than that, sound off on any movie or television thoughts you have.

Feel free to comment on any of the following:

1. What are you watching on television?
2. What's the last film you saw?
3. What would you like to see us discuss on the podcast?

These are just some of the questions, but again pick something movie or TV related.

Happy posting!
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Thursday, October 30, 2014

Birdman Review: Don't Listen to the Hype

Michael Keaton's Birdman is one part bore-fest and two parts "Why did I agree to see this?"

Warning: This review contains MAJOR SPOILERS.
In Birdman, Michael Keaton plays Riggan Thomson, a washed-up actor who once played a flying comic book hero named Birdman, but whose recent exploits have landed him on Broadway. Riggan is also trying to ignore the character bulls eye that once garnered him millions but left him emotionally empty; now, he's funding his own production of Raymond Carver’s What We Talk About When We Talk About Love and desperate to be taken seriously. His cast includes the one seeking similar Hollywood cred (Naomi Watts) and his on-again/off-again fuckbuddy (Andrea Riseborough). But when the show loses one of its actors, his pretentious replacement (Edward Norton) starts to undo Riggan's comeback, leaving his post-rehab daughter (Emma Stone) to question his intentions and sanity, while his lawyer (Zach Galifianakis) tries to keep the lights on. As he enters the final preview night, Riggan's future hangs in the balance as his doppelganger begins to speak to him, seeking to undo his already fragile psyche.

Tonally all over the place, Birdman is one of those films that only true independent moviegoers will appreciate. Its experimental style feels like an inside joke about theater, actors, and the whole Hollywood structure, while going absolutely nowhere story-wise. Birdman will make you feel like a fourth wheel, the other three being Birdman, Itself, and Them. There are serious continuity issues throughout, such as the 'quiet moments of reflection' between Stone and Norton high above the street of competing shows. They're enjoyable together, but what they're saying to each other feels not at all connected to the larger story. The same goes for Norton himself, who disappears during the third act, while Keaton waxes poetic about his failed life. Keaton - who is clearly the best of the ensemble cast which Director Alejandro González Iñárritu has assembled - carries this film with a mixture of poise and psychosis that must haunt most Hollywood actors who struggle to remain relevant after hitting it big. To Riggan, he can feel Father Time and Doctor Regret on his back, reminding him of the mistakes of his past, with Keaton channeling his best Rebecca de Mornay from Dinner for Five.

But even Birdman can't keep this wreck of a performance piece from crashing to ground, as González Iñárritu seems to change the rules of this universe whenever the moment requires it. First we think Riggan is going insane as he's seemingly able to 'Jedi' items across the room, then spreads his wings near film's end to fly gracefully over New York without anyone recognizing him, and once again confined to Earth once more once he gets locked out of the theater. When his daughter thinks he's committed suicide during the final scene, we see her suddenly realize that he can in fact fly, something two minutes before he seemed incapable of doing. The one thing that's even worth mentioning is Gravity Cinematographer Emmanuel Lubezki's fluid filming that wants desperately to be Hitchcock. In the end, those transitions worked really well for Gravity because the tension was supposed to be in real time. Here, it just gets in the way because it's spread out over three days.

Filled with an ensemble cast who barely registers a blip (Riseborough and Watts are merely deadweight here), Birdman rockets between terse Hollywood commentary, the highs of empty zany comedy, and the depressive melancholy after a night of hard partying. This isn't Scarlet Johansson's Her by a long shot; but with critics trying to elevate this one to similar starry heights, don't listen to the hype. Birdman isn't worth your time under any circumstances, drunk, stoned, or merely curious.

Birdman is rated R for language throughout, some sexual content and brief violence and has a runtime of 119 minutes.
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Tons Of New #Furiou7 Featurettes

Enjoy all of the Furious7 Featurettes below.











Continuing the global exploits in the unstoppable franchise built on speed, Vin Diesel, Paul Walker and Dwayne Johnson lead the returning cast of FAST & FURIOUS 7.

James Wan directs this chapter of the hugely successful series that also welcomes back favorites Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Chris “Ludacris” Bridges, Elsa Pataky and Lucas Black. They are joined by international action stars new to the franchise including Jason Statham, Djimon Hounsou, Tony Jaa, Ronda Rousey and Kurt Russell. Neal H. Moritz, Vin Diesel and Michael Fottrell return to produce the film written by Chris Morgan


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#TERMINATORGENISYS Uneventful Images

New images from TERMINATOR GENISYS and to be honest I am not impressed with the images at all. But I still have hope for the film.


See all the images after the Jump...







The filmmakers plan to re-create the memorable scene in the original ­Terminator when the T-800 lands at L.A.’s Griffith ­Observatory, complete with Schwarzenegger’s 36-year-old face and ripped, naked body. To achieve that, the special-effects team has created a “synthespian,” or synthetic thespian, using a body double plus scans of Schwarz­enegger’s face from the first film merged with what his face looks like now. The result: an entirely CG head of the Terminator circa 1984.
The filmmakers are counting on that technology, and the movie’s villain—a man/machine hybrid they’re keeping under wraps—to be visual game changers.

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Images Via EW

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#MALEFICENT FEATURETTE "Aurora Becoming" & Blu-ray Combo Pack Release Date

DISNEY’S GREATEST VILLAIN COMES TO LIFE IN THE WICKEDLY FUN, FANTASY ADVENTURE STARRING ACADEMY AWARD®-WINNER ANGELINA JOLIE DISNEY’S “MALEFICENT



Arrives On Disney Blu-ray™ Combo Pack, Digital HD, Disney Movies Anywhere,
DVD & On-Demand Nov. 4, 2014!



Disney’s most iconic villain “MALEFICENT” comes to life for all to own, November 4, 2014. Starring Academy Award®-winning actress Angelina Jolie (Best Supporting Actress, “Girl, Interrupted,” 2000) as Maleficent, this wickedly fun twist on the classic “Sleeping Beauty” will be made available on Disney Blu-ray™ Combo Pack, Digital HD, Disney Movies Anywhere, DVD and On-Demand platforms.

After enchanting audiences around the world and grossing more than $700 million in worldwide box office, this live-action, fantasy adventure casts a wondrous new spell on Blu-ray and Digital HD, featuring stunning high definition picture and sound, plus spellbinding, all-new bonus features, including several deleted scenes and behind-the-scenes featurettes that take viewers deeper behind the scenes of the filmmaking magic.

Join the cast and crew as they explore how Disney’s animated classic “Sleeping Beauty” was re-imagined as an innovative, live-action epic in “From Fairy Tale to Feature Film.” Discover how King Henry and Maleficent's opening battle scene was created using gigantic wire rigs and elaborate choreography in “Building an Epic Battle.” Learn how playing Aurora was a fairytale come true for actress Elle Fanning in “Aurora: Becoming A Beauty.” And find out more about the meticulous detail that went into creating Maleficent's elaborate head wraps, rings and other accessories in “Classic Couture.” Viewers can also relive the film’s journey to the screen through concept art, layered visual effects and behind the scenes footage in “Maleficent Revealed.”

“Maleficent” stars Angelina Jolie, Elle Fanning (“Super 8,” “We Bought a Zoo”), Sharlto Copley (“District 9,” “Elysium”), Sam Riley (“Control,” “On the Road”), Imelda Staunton (“Harry Potter” series), Lesley Manville (“Another Year,” “Secrets & Lies”), Juno Temple (“The Dark Knight Rises,” “Atonement”) and Brenton Thwaites (“Oculus”). It marks the directorial debut of two-time Academy Award® winner Robert Stromberg (Best Achievement in Art Direction, “Avatar,” 2010; Best Achievement in Art Direction, “Alice in Wonderland,” 2011). It was written by Linda Woolverton (“Alice in Wonderland,” “The Lion King”) and produced by Joe Roth (“Alice in Wonderland,” “Oz the Great and Powerful”).

Bonus Features:
Blu-ray Combo Pack, Digital HD/SD & Disney Movies Anywhere
• From Fairy Tale to Feature Film - Reimagining Maleficent for a new generation
• Building An Epic Battle –Creating the clash between Maleficent and King Henry’s Forces
• Classic Couture - Examine Maleficent’s spellbinding head wraps and jewelry.
• Maleficent Revealed - Explore the layers of extraordinary special effects.
• Aurora: Becoming A Beauty - Elle Fanning reveals her lifelong love of Disney’s original animated classic.
• Deleted Scenes:
o “Stefan In King's Chamber”
o “Pixie Idiots”
o “Diaval asks about the Curse”
o “Pixies Seek Asylum”
o “Suitor”
• And More!

*Digital bonus offerings will vary per retailer

DVD
• Aurora: Becoming A Beauty

Disc Specifications:
Feature Run Time: Approximately 97 minutes
Rating: Feature Film: “PG” in U.S. and Canada (CE); G in Canada (CF)
Additional Bonus Features Not Rated
Aspect Ratio: Blu-ray Feature Film = 1080p High Definition/2.40:1
DVD= Widescreen 2.40:1 / Enhanced for 16x9 Televisions
Audio: Blu-ray Feature Film = 7.1, English 2.0 Descriptive Audio, Spanish and French Dolby Digital 5.1
DVD=English, French and Spanish 5.1 Dolby Digital, English 2.0 Descriptive Audio
Languages/Subtitles: English, Spanish & French
English Captions for the Deaf and Hearing Impaired

Social Media:
Stay connected with the latest news and information about Disney’s “Maleficent”:
• “Like” us on Facebook: http://www.facebook.com/DisneyMaleficent
• Follow us on Twitter: http://www.twitter.com/Maleficent
or http://www.twitter.com/DisneyPictures
• Check out our Website and Mobile Site: http://www.disney.com/maleficent
• Visit www.Disneymoviesanywhere.com and download the DMA App at: https://itunes.apple.com/us/app/disney-movies-anywhere-watch/id766894692?mt=8

ABOUT “MALEFICENT”:
Explore the untold story of Disney’s most iconic villain in this wickedly fun twist on the classic “Sleeping Beauty.” In an unforgiving mood after a neighboring kingdom threatens her forest, Maleficent (Angelina Jolie) places an irrevocable curse on the king’s newborn daughter, the Princess Aurora. But as the child grows, Maleficent finds herself becoming fond of the girl. And as the conflict between the two realms intensifies, Maleficent realizes that Aurora may hold the key to peace in the land. Journey beyond the fairy tale in this soaring adventure that is “visually arresting, brilliantly designed” (Andrew Barker, Variety).

ABOUT DISNEY MOVIES ANYWHERE (DMA):
Disney Movies Anywhere (DMA) is a cloud-based digital movie service that offers a hassle-free way for consumers to buy, watch, and manage Disney digital content across platforms and devices via the easy-to-use DMA app or atDisneyMoviesAnywhere.com. A DMA-eligible digital title purchased from an iTunes-connected account or redeemed in DMA will be accessible in a user’s DMA and iTunes lockers. There are currently over 400 films from Disney’s rich history available through DMA for streaming and download, including Disney Branded Animation, Disney Live-Action, Pixar, and Marvel titles, along with exclusive, original content. For more information or to redeem Digital Copy codes to build your library and earn Disney Movie Rewards Points for digital purchases, visit http://www.disneymoviesanywhere.com.

ABOUT THE WALT DISNEY STUDIOS:
For 90 years, The Walt Disney Studios has been the foundation on which The Walt Disney Company was built. Today, the Studio brings quality movies, music and stage plays to consumers throughout the world. Feature films are released under the following banners: Disney, including Walt Disney Animation Studios and Pixar Animation Studios; Disneynature; Marvel Studios; Lucasfilm; and Touchstone Pictures, the banner under which live-action films from DreamWorks Studios are distributed. The Disney Music Group encompasses the Walt Disney Records and Hollywood Records labels, as well as Disney Music Publishing. The Disney Theatrical Group produces and licenses live events, including Disney on Broadway, Disney On Ice and Disney Live!

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ALASKA OFF ROAD WARRIORS Premieres NOVEMBER 30th

IT'S MAN VS. ALASKA AND THE CHANCE TO MAKE OFF ROAD HISTORY ON ALASKA OFF ROAD WARRIORS PREMIERING SUNDAY, NOVEMBER 30 AT 10 PM ET/PT ON HISTORY®

The ultimate test of man and machine vs. the wild is coming to HISTORY® with the premiere of the new competition series ALASKA OFF ROAD WARRIORS Sunday, November 30 at 10 PM ET/PT. The clock is ticking as five teams compete against each other and the harsh terrain of Alaska in the pursuit of a hefty reward and the chance to make off-road history.

ALASKA OFF ROAD WARRIORS is an intense off-road competition series where five teams of two face-off in a grueling timed race across Alaska. Racing from the Pacific Ocean to the Arctic Ocean, this is a race, a competition, an expedition and an adventure of epic proportions. From the muddy terrain to the unpredictable wilderness, these teams will travel across eight of the most dangerous and rugged trails in the world. The trails will be divided into two legs and the team with the lowest aggregated time from all the trails will be named the winner. As they race against time - and each other - the perils of their journey will not only test their trusty vehicles but the teams themselves. Which team will be the victor of this quest to find out who can navigate the extreme wilderness of Alaska? Meet the teams of ALASKA OFF ROAD WARRIORS:

Butch ”Big Dog” Evans & “Wild” Bill Coty – Despite having the skills that only 25+ years of off-road experience can develop, this veteran team plan to win by any means necessary.

Brent & Scott Leigh – These North Pole brothers believe off-roading is a way of life, not just a form of recreation. They're bold approach: Fire. Aim. Ready.

Carl Jantz & Rich Rudman – The only non-Alaskans, these ‘outsiders' from Seattle have a lot to prove but are often referred to as “MacGyver” and the “Mad Scientist.” They can make their home crafted jeep run with a paper clip.

Pete & Shey Lannigan – The Irish brother–sister team who has been at each other’s throats since childhood but have each other’s back till the bitter end.

Jason Beard & Glen “The Polack” Lucas – A former Marine and his loyal friend are the renegades of the competition but plan to put themselves on the map of hardcore off-roaders.

ALASKA OFF ROAD WARRIORS is produced for HISTORY by Original Productions. Executive producers for HISTORY are Elaine Frontain Bryant, Julian P. Hobbs and Ed de Rivaz. Executive producers for Original Productions are Philip D. Segal, Jeff Conroy, Sarah Whalen and Dolph Scott.

About HISTORY®
HISTORY®, now reaching more than 96 million homes, is the leading destination for award-winning original series and specials that connect viewers with history in an informative, immersive and entertaining manner across all platforms. he network’s all-original programming slate, including scripted event programming, features a roster of hit series including American Pickers®, American Restoration™, Ax Men™, Counting Cars™, Pawn Stars® and Swamp People® as well as HISTORY®’s first scripted series Vikings, and epic miniseries and special programming such as The Bible, The Men Who Built America and the Emmy® Award-winning Hatfields & McCoys, Gettysburg, Vietnam in HD, America The Story of Us® and 102 Minutes That Changed America. The HISTORY® website is the leading online resource for all things history, and in 2011, the United States Library of Congress selected HISTORY®’s Civil War 150 site for inclusion in the historic collection of Internet materials related to the American Civil War sesquicentennial. www.history.com.

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#Laggies Q&A WITH DIRECTOR LYNN SHELTON This Saturday In San Francisco

OPENING WEEKEND Q&A WITH DIRECTOR LYNN SHELTON.  GET YOUR TICKETS NOW.



Overeducated and underemployed, 28 year old Megan (Keira Knightley) is in the throes of a quarterlife crisis. Squarely into adulthood with no career prospects, no particular motivation to think about her future and no one to relate to, Megan is comfortable lagging a few steps behind – while her friends check off milestones and celebrate their new grown-up status. When her high-school sweetheart (Mark Webber) proposes, Megan panics and– given an unexpected opportunity to escape for a week – hides out in the home of her new friend, 16-year old Annika (Chloë Grace Moretz) and Annika’s world-weary single dad Craig (Sam Rockwell).

GET YOUR TICKETS NOW!GET YOUR TICKETS AT THE BOX OFFICE OR GO TO: AMCTHEATRES.COM/MOVIE-THEATRES/AMC-METREON-16

Director Lynn Shelton will be in attendance Saturday, November 1st for a special Q&A following the 7:25PM showing at AMC METREON101 4th St. 3rd Floor, San Francisco

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#SAW 10TH ANNIVERSARY - Q&A LIVE STREAM TONIGHT

To kick off the return of the original SAW in theaters this Halloween Weekend, Arclight Cinemas will be hosting a special Q&A with the original filmmakers and cast of the most successful Horror Franchise of all time.

TONIGHT – Thursday 10/30 @ 9:45pm PST / 12:45am EST

Join moderator, Evan Dickson from Bloody Disgusting, at the ArcLight Hollywood and reminisce with the cast about this iconic franchise. The Q&A will also be live streamed into four other Arclight locations [Beach Cities, Pasadena, Sherman Oaks, La Jolla] so get your tickets here now: lions.gt/SAWtix

For those of you not in the LA area, Watch the Q&A after the Jump...



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#AVENGERSAGEOFULTRON Extended Trailer & New Images

A Special Look at Marvel's AVENGERS: AGE OF ULTRON that aired on this weeks episode of MARVEL’S AGENTS OF S.H.I.E.L.D.



Marvel Studios presents “Avengers: Age of Ultron,” the epic follow-up to the biggest Super Hero movie of all time.

When Tony Stark tries to jumpstart a dormant peacekeeping program, things go awry and Earth’s Mightiest Heroes, including Iron Man, Captain America, Thor, The Incredible Hulk, Black Widow and Hawkeye, are put to the ultimate test as the fate of the planet hangs in the balance. As the villainous Ultron emerges, it is up to The Avengers to stop him from enacting his terrible plans, and soon uneasy alliances and unexpected action pave the way for an epic and unique global adventure.


See all the images after the Jump....











Marvel’s “Avengers: Age of Ultron” stars Robert Downey Jr., who returns as Iron Man, along with Chris Evans as Captain America, Chris Hemsworth as Thor and Mark Ruffalo as The Hulk. Together with Scarlett Johansson as Black Widow and Jeremy Renner as Hawkeye, and with the additional support of Samuel L. Jackson as Nick Fury and Cobie Smulders as Agent Maria Hill, the team must reassemble to defeat James Spader as Ultron, a terrifying technological villain hell-bent on human extinction. Along the way, they confront two mysterious and powerful newcomers, Wanda Maximoff, played by Elizabeth Olsen, and Pietro Maximoff, played by Aaron Taylor-Johnson, and meet an old friend in a new form when Paul Bettany becomes Vision. Written and directed by Joss Whedon and produced by Kevin Feige, Marvel’s “Avengers: Age of Ultron” is based on the ever-popular Marvel comic book series “The Avengers,” first published in 1963. Get set for an action-packed thrill ride when The Avengers return in Marvel’s “Avengers: Age of Ultron” on May 1, 2015.

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Trailer for #STARRYEYES. How Far Would You Go...To Be A Star?

How Far Would You Go...To Be A Star? Watch the Trailer for STARRY EYES To Find Out



Determined to make it as an actress in Hollywood, Sarah Walker spends her days working a dead-end job, enduring petty friendships and going on countless casting calls in hopes of catching her big break. After a series of strange auditions, Sarah lands the leading role in a new film from a mysterious production company. But with this opportunity comes bizarre ramifications that will transform her both mentally and physically into something beautiful... and altogether terrifying.

MPI will release STARRY EYES on iTunes / OnDemand and in theaters November 14, 2014.

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#BatmanvSuperman Dawn of Justice" - National Save the Bats Wee

Batman v. Superman: Dawn of Justice - National Save the Bats Wee

It’s National Save the Bats Week and "Batman v. Superman: Dawn of Justice" filmmakers and talent have teamed up with the Organization for Bat Conservation (http://www.savebats.org/ ) to create a special PSA. Kindly watch/read the links below.



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#EXMACHINA Teaser Trailer

To erase the line between man and machine is to obscure the line between men and gods.



Alex Garland, writer of 28 Days Later and Sunshine, makes his directorial debut with the stylish and cerebral thriller, EX MACHINA. Caleb Smith (Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company's brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be the human component in a Turing Test—charging him with evaluating the capabilities, and ultimately the consciousness, of Nathan’s latest experiment in artificial intelligence. That experiment is Ava (Alicia Vikander), a breathtaking A.I. whose emotional intelligence proves more sophisticated––and more deceptive––than the two men could have imagined.
Rated: R

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#INSIDIOUS CHAPTER 3 Wishes You A Happy Halloween. Open If You Dare

Happy Halloween from INSIDIOUS: CHAPTER 3



FOCUS FEATURES WILL RELEASE INSIDIOUS: CHAPTER 3 IN THEATERS MAY 29, 2015

The newest chapter in the terrifying horror series is written and directed by franchise co-creator Leigh Whannell. This chilling prequel, set before the haunting of the Lambert family, reveals how gifted psychic Elise Rainier (Lin Shaye) reluctantly agrees to use her ability to contact the dead in order to help a teenage girl (Stefanie Scott) who has been targeted by a dangerous supernatural entity.

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TV Recap: AMERICAN HORROR STORY FREAK SHOW "EDWARD MORDRAKE PT. 2"

TV Recap: AMERICAN HORROR STORY FREAK SHOW "EDWARD MORDRAKE PT. 2"
By: Suepafly

The Freak Show remains quiet on Halloween, with Edward Mordrake's eerie green fog accompanies his ghost around as he questions other freaks looking for the one to add to his troupe. So far he has not found the one pure freak to add to his group. He makes them all confess their sin, telling him how they came to be a part of the show. He wants their darkest moments. The woman with no legs stabbed a man she was jealous of, though he had inspired to perform. The microcephalics, Pepper and Salty, dance around innocently, not a care in the world or even notice that Mordrake is watching them. Paul sought solace in the dark, he came during the depression though. People hated his deformity, and he hated them, wanted to make them fear him, so he tattooed his body, but not his handsome face. He could have ruled the world with a different body. None of them are the one he's looking for.

Mordrake pays Elsa a visit. He wishes to see her deformity, but she's not ready to show him it yet, she needs to talk. She thinks him the man that will launch her career, but he bursts her bubble. He calls out her delusion, calling her a waste of air. She tells him to get out, thinking him a fake, but he's very real. His freaks grab hold of her, pulling her prosthetic legs from her body, as she screams that she is not one of them. She pretends to be the zoo keeper of the freaks, but she's very much one of them.


Jimmy and Maggie run out of gas. Maggie thinks it's Jimmy's way of making a move on her, and she lashes out at him, but that's not his intention at all. With the curfew in effect, Jimmy thinks that they should get off the road and hide, but Maggie knows the intentions of men. Jimmy insists that she isn't his type, but she knows that in the dark men are less picky, and doesn't believe him that pretty faces aren't his type. He tells her that she has nothing to worry about from him, she should worry more about the townies, they only tolerate them because their freakishness makes them feel better about themselves. A car approaches, and Maggie follows Jimmy into hiding.

The bratty brother is finally awake in the bus, and he wonders if he's going to die. The picnicing girl has no intention of dying there, and she doesn't think that he will either. The little boy is asleep, weak from hunger. She tries to get the brother to untie her as Twisty returns. He opens the cage, and she makes a move. She shoulders Twisty out of the way, and runs off. The brother sits and cowers with fear as she runs away.

Jimmy and Maggie navigate the shadows trying to make it back to camp. They spot the girl running for her life, with the demented clown on her trail. The pair hides, waiting and watching as the clown takes her down, knocking her out and scoops her up to return her. Jimmy follows the clown to see if he can help the girl, and Maggie has no choice but to tag along.

Elsa rights herself, trying to seduce Mordrake, but he's beyond seduction. He wants her misery only, her pair. 1932 sexual depravity hit all corners. Whatever you wanted you can have it, and Elsa found herself in the middle of it. She was a myth, the star even there. She never let her clients touch her, unlike the other whores, she dominated them on every level. In time she attracted clients and audiences. She called the watchers, she didn't know their names, only that they paid well. In the end she was nothing, she became a ghost. But that's not the worse. Mordrake wants more.

Jimmy and Maggie watch the clown as he goes back to the bus. Jimmy cautions Maggie, wants her to stay while he gets a closer look. He peers inside, and he knows that the guy is a killer. Before he can go get the cops, Twisty's spoiled sidekick Dandy knocks out Jimmy. Now it's time for the real show.

Hotel Olympia, 1932. Elsa was the top seller, but this time was different. Drunk, she shows up, and the camera's roll. The man offers her a drink. She was all alone, for the film which was off. She was utterly powerless, but even drugged it wasn't enough to dull the pain as they bound her and cut off her legs. They left her there to die, but one of her clients had fallen in love with her. He followed her everywhere, and rushed in the minute they left. She never forgave him for it. The film was passed around everywhere. She was a star, but her career was over. She had the most beautiful legs. Mordrake's other face tells him that she is the one, and Elsa is ready for him to take her, but as she begs him to take her he hesitates. He hears music.

In the woods, the show is starting, and music sounds as Twisty plays off key. Dandy announces his act. He plans to saw Tiny Tits (Maggie) in half. Jimmy awakens as the show begins, and he knocks out Dandy to save Maggie. Twisty claps an applause, and Jimmy tells everyone to run. Twisty manages to grab only Jimmy and brings him back to his bus. As he raises his scissors over Jimmy, he stops, noticing Mordrake. Mordrake wants to see the show though.

Dandy screams at his former hostages. He wants to finish his show. Maggie points them into the direction of the road, telling them to call the police as Maggie leads Dandy away. He trips over a log. She ruined his Halloween.

Mordrake tries to get Twisty to open up, but he remains silent. He wants him to remove his mask, to tell him his story. Twisty's jaw is all but gone, he's not able to do much more than make some noise. Mordrake tells him to slow, and focus so that he can understand him. It was 1943, and he was the special Chidren's clown in a traveling carnival. He loved the children, but not the freaks, they were mean. One night, two little people invite him to join them for a smoke around the fire. It burns his throat, and the teasing goes on. One of the guys accuses him of molesting the kids, they scare him, telling him that the cops are coming for him, and the poor simpleton believes and runs off. News travels quickly in the carnival circles, and he went home, but his mother had died, so he sought solace in his bus. He had the idea that he would turn trash into gold, he tried to sell his creations to a toy store, but the toy maker refused to buy them. He tried to interest one little boy in his toy, but only scared him and his mother. The Toy maker alludes that he's one of those people who do bad things to kids, and Twisty freaks out. He's not a bad person. Depressed, he tries to commit suicide, but he's so dumb he can't even do that right, and managed to only blow off his jaw with the shotgun. That's when he had a new idea. He haunted the freak show. It's a sad tale a pitiful one, but Mordrake wants more. Twisty saved the kids from the freaks. The children forgot that they loved him, and the freaks were stealing them once more. He tells Mordrake how came up with a show for the child that he took, scare the crap out of is more like it. How things happened aren't quite how he remembers them. Is the end of out twisted clown? He was nice and didn't make the child do any chores, though he did kill his mother. He even got a pretty babysitter for him, no mention of the boyfriend he killed. He believes he's good, and Mordrake's other face renders his decision. Mordrake has met many, but only Twisty has caused the demon to weep. Mordrake drives his sword into Twisty's stomach as Jimmy watches from the bus. The dead troupe claim their newest member, welcoming him into their fold. In death his jaw is restored, he's whole, and he has a new home. Jimmy hides before the ghosts can see him.

Dandy comes back to find Twisty dead. He takes up Twisty's fallen mask, and slides into his serial killer state. Sirens sound in the distance, which aren't nearly as comforting as they should be to Jimmy.

Morning has arrived. The detectives look around the scene of Twisty's and Dandy's last act. One questions Maggie asking if she ever saw the faces of her almost killers, but she didn't, the sawer had a mask. Another detective focuses on Jimmy, asking if he recognized the voices. He didn't. The detective tells Maggie that she's a hero, she got the others back to their families safely, but she insists the real hero is Jimmy. The other detective takes a more accusatory stance, acting as if Jimmy was in on the whole thing, even threatening to take him in. Jimmy isn't taking his crap though, and tells him to write his name down so he knows how to spell it when he goes to the reporters. He alludes that the real killer is them, they killed Meep and he didn't deserve to die, someone is going to pay.

Maggie and Jimmy arrive back at the show, and Elsa gives them an icy reception, thinking they've been out lollygagging all night. Being turned down by Mordrake is rubbing her the wrong way. Jimmy announces that the curfew has been lifted. Maggie tells Elsa that they caught the killer, rather Jimmy did, and that because of him the kids were saved. She gives Jimmy a kiss before leaving him, her opinion of him has changed. Jimmy may be reconsidering his type. Elsa sees that Maggie has cast a spell on Jimmy. Elsa tells him about Mordrake visiting, Jimmy knows he saw him claim his freak. People arrive at the show, and Elsa is sure that they're getting ready to drive them away, but they aren't. One of the fathers has come to thank Jimmy, he saved his son and his town. The people embrace the freaks, and Jimmy searches out Maggie's face, unsure of the reception. Elsa uses the good fortune to tell everyone about the evening's show. Dell drunkenly stumbles from his trailer to see Jimmy surrounded by the townspeople being enbraced.

Elsa and the others ready for a big show. She has news for the embittered Dot and Bette. They have a sold out show, and she's changing around the show. Dot thinks that now that there's a sold out show they'll be warming up for her, but she's doing no such thing. They're warming up for the pinheads. They were last week's big news, and that banner has been taken down. Mansfield now Richard Spencer comes stumbling in. He'd wanted to buy a ticket,but the show is sold out. He hands Elsa his card, claiming to be a talent scout, and she makes room for him.


Dandy returns home looking more a mess than normal. Dora is still not impressed by him, and she reminds him that Halloween is over. She wants him to take a tray to his mother, who is exhausted after trying to find him a better costume. When Dandy just stands there, Dora demands that he move out of her way so that she can take the tray up herself. He slashes her throat, and Dora bleeds out on the floor as Dandy sits there laughing.

Discuss this review with fellow SJF fans on Facebook and make sure to follow us at @SandwichJFilms on Twitter, and follow the author Sue Lukenbaugh on Twitter at @suepafly.

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Wednesday, October 29, 2014

First TV Spot For #AGENTCARTER

Here is the first TV spot for AGENT CARTER series, arriving in January 2015 on ABC

Years before Agent Coulson and his S.H.I.E.L.D. team swore to protect those who cannot protect themselves from threats they cannot conceive, there was Agent Peggy Carter (Hayley Atwell, Marvel’s “Captain America: The First Avenger,” Marvel’s “Captain America: The Winter Soldier”), who pledged the same oath but lived in a different time when women weren’t recognized as being as smart or as tough as their male counterparts.

But no one should ever underestimate Peggy.

It’s 1946 and peace has dealt Peggy a serious blow as she finds herself marginalized when the men return home from fighting abroad. Working for the covert SSR (Strategic Scientific Reserve), Peggy finds herself stuck doing administrative work when she would rather be back out in the field; putting her vast skills into play and taking down the bad guys. But she is also trying to navigate life as a single woman in America, in the wake of losing the love of her life, Steve Rogers – aka Captain America.

Watch the clip after the Jump...




When old acquaintance Howard Stark (Dominic Cooper, Marvel’s “Captain America: The First Avenger”) finds himself being framed for unleashing his deadliest weapons to anyone willing to pony up the cash, he contacts Peggy – the only person he can trust – to track down those responsible, dispose of the weapons and clear his name. He empowers his butler, Edwin Jarvis (James D’Arcy, “Master and Commander: The Far Side of the World”), to be at her beck and call when needed to help assist her as she investigates and tracks down those responsible for releasing these weapons of mass destruction. But Jarvis, who is a creature of habit and sticks to a rigid daily routine, is going to have to make some major life changes if he’s going to be able to keep up with Peggy.

If caught going on these secret missions for Stark, Peggy could be targeted as a traitor and spend the rest of her days in prison – or worse. And as she delves deeper into her investigation, she may find that those she works for are not who they seem, and she might even begin to question whether Stark is as innocent as he claims.

Hayley Atwell as Agent Peggy Carter
James D’Arcy as Edwin Jarvis
Chad Michael Murray as Agent Jack Thompson
Enver Gjokaj as Agent Daniel Sousa
Shea Whigham as Chief Roger Dooley.
Scripted by Christopher Markus and Stephen McFeely.
Dominic Cooper will reprise his role as Howard Stark
Kyle Bornheimer plays Agent Ray Krzeminski, who will clash with Peggy Carter (Hayley Atwell)
Lyndsy Fonseca plays aspiring actress named Angie Martinelli who befriends Peggy Carter

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First Look At #TerminatorGenisys

We’ve heard a lot of talk about how Terminator: Genisys will play with the timeline originally established by James Cameron in the first two films. Now, with Entertainment Weekly publishing the first proper looks at the new movie via its latest covers, there are also some intriguing story details to relate.


Naturally, we would caution that if you read ahead, you’re wandering into SPOILER TERRITORY, so be suitably advised.

Genisys reportedly starts in 2029, with the war between the human rebels and Skynet’s malicious machines is in full swing. Present and correct – though played now by different actors – are John Connor (Jason Clarke) and Kyle Reese (Jai Courtney) who are taking advantage of pushing back against the antagonistic artificial intelligence to send Reese to 1984 on his mission to save Sarah Connor from termination at the hands of a killer cyborg.

So far, so story as usual for the franchise. But when Reese makes it into the past, things are very different. Sarah Connor is not the same woman we met in The Terminator, played by Linda Hamilton. In an altered timeline, she’s portrayed by Emilia Clarke and is an antisocial recluse who has killer sniper skills, but little ability to interact with her fellow humans. And that’s because – twist alert! – she was orphaned at nine by a Terminator attack and has been living with an aging T-800 (Arnold Schwarzenegger) as protector since then. “Since she was nine, she has been told everything that was supposed to happen,” producer Megan Ellison tells the magazine. “But Sarah fundamentally rejects that destiny. She says, ‘That’s not what I want to do.’ It’s her decision that drives the story in a very different direction.”

And according to co-star Matt Smith, who plays a still-unnamed comrade to Connor, the plan was to honor the franchise while bringing something fresh. “It’s like going on tour again if you’re Pink Floyd – the audience always wants to hear some of the old songs. There are enough nods to the past that people will feel satisfied.”

Thor: The Dark World’s Alan Taylor directed the film, and it’ll be demanding your movie-going money on July 3 next year. Apparently one of the flesh-free Terminators appearing in the film is very happy to be in the thing – check out that grin…

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TV Review: Marvel’s Agents of S.H.I.E.L.D. “A Fractured House”

TV Review: Marvel’s Agents of S.H.I.E.L.D. “A Fractured House”
By: Brandon Wolfe

The list of things that ‘Agents of S.H.I.E.L.D.’ did right in its first season is extremely short. In fact, there’s just one thing on it: The post-‘Winter Soldier’ reveal that Agent Ward was secretly a member of HYDRA all along. Ward, up to that point, had been the blandly handsome lead agent aggravatingly bereft of any personality. He stood as a totem for the entire show: dull, stiff and generically unenjoyable. Making him a turncoat didn’t solve all the show’s problems, but it shook it up enough to remove a doldrum or two. And, being fair, a series taking its chiseled lead and turning him into a treacherous killer was gutsy in a way that ‘Agents of S.H.I.E.L.D.’ didn’t seem capable of being.



The question ever since was how ‘Agents of S.H.I.E.L.D.’ was going to screw up its lone victory. When was it going to decide to backtrack on Ward, whitewashing his crimes enough to get him back on the team and exchanging poorly written professions of affection with Skye? Refreshingly, the show finished out the first season committed to keeping Ward bad, but so far this year, his Lecter/Starling tête-à-têtes with Skye (hold the everything that was good in ‘Lambs’) have suggested that the show was sanding the edges off of Ward’s past misdeeds, presenting him as a man who lost his way and was committed to getting back on track. As the least intriguing of all possible roads to take, it seemed almost certain to be the one ‘Agents of S.H.I.E.L.D.’ would go with. Yet “A Fractured House” does the second interesting thing the show has done with Ward, two more than initially seemed possible. It intimates that the guy might be an actual psychopath. All things considered, that’s not bad.

Well, possibly. Let’s not get ahead of ourselves. Technically, the show introduces Ward’s brother, Senator Christian Ward, this week and each brother - separately, yet presented concurrently in a surprisingly well-executed sequence – indicts the other as a monster going back to childhood. It’s only because the episode ends with Ward’s escaping custody during a prison transfer by breaking free of his confines and shooting all personnel present that we assume it’s Ward that’s the lunatic. It’s easy to imagine the show backpedaling next week and saying he did what he needed to do to stop his brother, the REAL crazypants. But the possibility of the show doubling down on Ward’s dark side is certainly better than the alternative.


The main story focus this week is a HYDRA attempt to frame S.H.I.E.L.D. for an attack on the UN, using weaponized disks crafted from the alien Obelisk that make the unfortunate souls on the business end crumble into dust, an effect that reminds us of a much better show with Joss Whedon’s name attached to it. Coulson meets with Senator Ward to strike a deal to clear S.H.I.E.L.D.’s good name in exchange for custody of his incarcerated brother. Meanwhile, the rest of the team sets out after HYDRA. And I’ll say this, Adrianne Palicki as Bobbi Morse has given the cast a minor boost. It’s not that she’s written any better than anyone else, but the energy she has brought to the show thus far has been welcome. God help me, I’m going to say something else positive about ‘Agents of S.H.I.E.L.D.’: its fight sequences have really stepped up their game this year. In addition to Morse’s acrobatic baton-twirling, May gets into a scuffle with a henchman wielding a sickle on a swinging chain like a video-game miniboss that is notably well done.

Now that that’s out of the way, we can resume our regularly scheduled discussion of what doesn’t work about this show. All of its intrigue, including the introduction of yet another Big Bad (this one tatted up with those markings Coulson keeps carving into everything like a doink), still struggles to hold our interest. It’s all just stuff happening, white noise. It never feels vital or gripping or clever. Also, the show’s characters still need a lot of work, and constantly piling on new ones doesn’t fix what’s wrong with the old ones. The show is still pushing the would-be tragically doomed friendship between Fitz and Simmons like it really has something there. Fitz is sad – he’s always sad, this guy – because Simmons walked out when he needed her most (technically she was on assignment, but try explaining that to this giant child), and now her being back in the fold is also hard for him, making her choose to leave again. It’s exactly as obnoxious as it sounds. These two aren’t even a romantic couple, so I don’t know why the show is killing itself to generate so much pathos from them.

Watching the ‘Age of Ultron’ clip that was attached to this episode, with the Avengers lounging around Stark’s penthouse and competing to see if any of them can move Thor’s hammer, it occurred to me exactly what’s wrong with the ‘Agents of S.H.I.E.L.D.’ characters. There is zero sense of this sort of loose camaraderie between any of them. And they’ve been together for around 30 episodes now, as opposed to the Avengers’ bonding time of one movie. There is no personality or nuance to any of these characters, just rote, overcooked dialogue and lame one-liners. Much of that is the ocean of difference between the talent levels of the respective Whedons running each endeavor, but it’s a crucial deficiency that all the decent fight scenes in the world won’t paper over.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJFilms, and follow author Brandon Wolfe on Twitter at @BrandonTheWolfe

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Fathom Events Presents: #Rosewater: #JonStewart & #StephenColbert LIVE

Rosewater’ Live Preview Event with Jon Stewart and Stephen Colbert to Screen in Select U.S. Cinemas Exclusively on November 13

Fathom Events and Open Road Films to Give Audiences Sneak Peek at Jon Stewart’s Directorial Debut in ‘Rosewater’ Followed by Live Q&A on the Eve Before Its National Release



Fathom Events and Open Road Films are partnering to present the exclusive “Rosewater: Jon Stewart & Stephen Colbert LIVE” event, including the feature film Rosewater followed by a Live Q&A with Jon Stewart, the film’s screen writer, director and producer, interviewed by Stephen Colbert, host and executive producer of the Emmy and Peabody Award Winning series “The Colbert Report,” broadcast from New York City. Fans can join the conversation by Tweeting questions now via Twitter using the hashtag #RosewaterLive. This special event will be showcased in select cinemas nationwide for only one night on November 13 live at 7:30 p.m. ET and tape delayed to 7:30 p.m. local time in all other time zones. Rosewater is based on The New York Times best-selling memoir “Then They Came for Me: A Family’s Story of Love, Captivity, and Survival,” written by the BBC journalist Maziar Bahari, which is now available in paperback and titled after the upcoming movie. Following the exclusive Fathom Events preview on November 13, Rosewater will be in theaters nationwide on November 14.

Tickets for “Rosewater: Jon Stewart & Stephen Colbert LIVE” are available at participating theater box offices and online at www.FathomEvents.com. The event will be presented in more than 300 select movie theaters nationwide through Fathom’s Digital Broadcast Network. For a complete list of theater locations and prices, visit the Fathom Events website (theaters and participants are subject to change).

A true story, Rosewater marks the screenwriting and directorial debut of “The Daily Show” host and executive producer Jon Stewart, and stars Gael García Bernal, leading an international cast. Rosewater is produced by Scott Rudin, Stewart and Gigi Pritzker, with Lila Yacoub, Eli Bush and Chris McShane serving as executive producers.

Rosewater has a direct connection to Stewart, who since taking over as host of Comedy Central’s “The Daily Show” in 1999, has turned the nightly half-hour satirical look at newsmakers and news-coverers into not only a perennial Emmy-winning juggernaut, but also an important touchstone on the zeitgeist. Stewart and “The Daily Show” covered Bahari’s saga nightly and the journalist appeared on the show to talk about his ordeal once he was released from prison.

Rosewater follows the Tehran-born Bahari, a 42-year-old broadcast journalist with Canadian citizenship living in London. In June 2009, Bahari returned to Iran to interview Mir-Hossein Mousavi, who was the prime challenger to controversial incumbent president Mahmoud Ahmadinejad. As Moussavi’s supporters rose up to protest Ahmadinejad’s victory declaration hours before the polls closed on election day, Bahari endured great personal risk by submitting camera footage of the unfolding street riots to the BBC. Bahari was soon arrested by Revolutionary Guard police, led by a man identifying himself only as “Rosewater,” who proceeded to torture and interrogate the journalist over the next 118 days. In October 2009, with Bahari’s wife leading an international campaign from London to have her husband freed, and Western media outlets including “The Daily Show with Jon Stewart” continuing to keep the story alive, Iranian authorities released Bahari on $300,000 bail and the promise he would act as a spy for the government.

"Rosewater has been celebrated by early festival audiences as well as critics,” said Tom Ortenberg, CEO of Open Road Films. “Moviegoers have expressed incredible enthusiasm about the upcoming release of Jon Stewart's directorial debut and we are thrilled to be able to bring this special event with two icons to theaters across the country."

“Rosewater is an important story that must be told to the world,” said Fathom Events CEO John Rubey. “The chance to see it first and hear the thought-provoking insight directly from the film’s creator should not be missed.”

About Fathom Events
Fathom Events is owned by a newly formed entity called AC JV, LLC. Fathom is the recognized leader in the alternative entertainment industry, offering a variety of one-of-a-kind entertainment events in movie theaters nationwide that include live, high-definition performances of the Metropolitan Opera, the performing arts, major sporting events, music concerts, comedy series, Broadway shows, original programming featuring entertainment’s biggest stars, socially relevant documentaries with audience Q&A and much more. Additionally, Fathom events take audiences behind-the-scenes and offer unique extras – creating the ultimate entertainment experience for fans of all ages. Co-owned by the three largest movie theater circuits in the United States, AMC Entertainment Inc. (NYSE: AMC), Cinemark Holdings, Inc. (NYSE: CNK) and Regal Entertainment Group (NYSE: RGC), Fathom’s live digital broadcast network (“DBN”) is the largest cinema broadcast network in North America, bringing live events to more than 750 locations in 171 Designated Market Areas® (including all of the top 50). For more information, visit www.fathomevents.com.

About Open Road Films
Open Road Films is a dynamic, acquisition-based domestic theatrical distribution and marketing company which annually releases a diverse slate of star-driven motion pictures which has included multiple #1 releases. It was founded in 2011 by AMC Entertainment Inc. (AMC) and Regal Entertainment Group (Regal), the two largest theatrical exhibition companies in the United States. Open Road and its lenders recently extended the company's $100,000,000 credit facility through 2018.

Past releases include: The Nut Job, which opened to over $25 million at the box office as the highest ever opening for an independent animated film, The Grey starring Liam Neeson which opened #1 at the box office; End Of Watch starring Jake Gyllenhaal and Michael Peña which opened #1 at the box office; A Haunted House starring Marlon Wayans; and Side Effects directed by Steven Soderbergh and starring Rooney Mara, Jude Law, Catherine Zeta-Jones and Channing Tatum.

Current and upcoming releases include: the hit film Chef written by, directed by and starring Jon Favreau along with Sofia Vergara, Scarlett Johansson, John Leguizamo, Bobby Cannavale, Oliver Platt, Dustin Hoffman and Robert Downey, Jr.; The Fluffy Movie, a comedy concert film featuring Gabriel ‘Fluffy’ Iglesias; Nightcrawler (10/17/14), starring Jake Gyllenhaal, Rene Russo and Bill Paxton and directed by Dan Gilroy; Rosewater, written and directed by Jon Stewart (11/7/14); Little Boy, an inspirational family film from executive producers Roma Downey and Mark Burnett (2/27/15); and The Gunman (3/20/15), starring Sean Penn, Javier Bardem and Idris Elba, directed by Pierre Morel.

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A24 ACQUIRES Rights To #EXMACHINA Directed By ALEX GARLAND

A24 ACQUIRES U.S. RIGHTS TO ALEX GARLAND’S DIRECTORIAL DEBUT EX MACHINA.

THRILLER STARRING OSCAR ISAAC, DOMHNALL GLEESON, AND ALICIA VIKANDER WILL BE RELEASED April 10, 2015

A24 has acquired U.S. rights to Alex Garland’s directorial debut EX MACHINA. Garland also wrote the film, which stars a trio of rising stars—Oscar Isaac, Domhnall Gleeson, and Alicia Vikander. The film was produced by DNA’s Andrew Macdonald and Allon Reich. Scott Rudin and Eli Bush executive produced the film along with former Film4 head Tessa Ross. A24 will release the film April 10, 2015. Universal International Pictures is distributing the film internationally.

“Alex Garland is already one of the most brilliant and distinctive writers working today,” says A24. “Ex Machina marks the beginning of an exciting new step for Alex the director, and we are thrilled to help bring his provocative vision to US audiences."

Alex Garland, writer of 28 Days Later and Sunshine, makes his directorial debut with the stylish and cerebral thriller, EX MACHINA. Caleb Smith (Domhnall Gleeson), a programmer at an internet-­‐search giant, wins a competition to spend a week at the private mountain estate of the company's brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be the human component in a Turing Test—charging him with evaluating the capabilities, and ultimately the consciousness, of Nathan’s latest experiment in artificial intelligence. That experiment is Ava (Alicia Vikander), a breathtaking A.I. whose emotional intelligence proves more sophisticated, seductive––and more deceptive–– than the two men could have imagined.

WEBSITE: meet-ava.com
FACEBOOK: fb.com/ExMachinaFilm
TWITTER: twitter.com/ExMachinaMovie
INSTAGRAM: instagram.com/ExMachinaMovie

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#SERENA Starring #JenniferLawrence & #BradleyCooper

Watch the official U.S. Trailer for SERENA starring Jennifer Lawrence and Bradley Cooper!

Chideo, the first and only interactive charity network, presents the premiere of the U.S. trailer for SERENA based on the novel by American author Ron Rash, and starring Jennifer Lawrence and Bradley Cooper as newlyweds running a timber business in Depression era North Carolina.




North Carolina mountains at the end of the 1920s – George (Bradley Cooper) and Serena Pemberton (Jennifer Lawrence), love-struck newly-weds, begin to build a timber empire. Serena soon proves herself to be equal to any man: overseeing loggers, hunting rattle-snakes, even saving a man’s life in the wilderness. With power and influence now in their hands, the Pembertons refuse to let anyone stand in the way of their inflated love and ambitions. However, once Serena discovers George’s hidden past and faces an unchangeable fate of her own, the Pemberton’s passionate marriage begins to unravel leading toward a dramatic reckoning.

Magnolia Pictures will release SERENA on iTunes / VOD February 26, 2015 and in theaters March 27, 2015.

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All 8 Of The #INSURGENT 3D CHARACTER POSTERS Are Here



Yesterday, it was announced that the highly anticipated film, THE DIVERGENT SERIES: INSURGENT will be released in 3D! To help spread the word and get fans excited about this incredible news, eight brand new INSURGENT INTERACTIVE 3D CHARACTER POSTERS were revealed online every hour. And now we have all eight of the STUNNING new posters here for you, in 3D versions - including Caleb (Ansel Elgort), Tori (Maggie Q), Uriah (Keiynan Lonsdale), Max (Mekhi Phifer), Peter (Miles Teller), Christina (Zoë Kravitz) and, of course, Four (Theo James) and Tris (Shailene Woodley).

FOUR:


Check out the fierce new posters after the Jump...

CHRISTINA:


PETER:


MAX:


URIAH:


TORI:


CALEB:



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Final Trailer For THE HUNGER GAMES: MOCKINGJAY - PART 1 & Buy Advance Tickets Now!

THE HUNGER GAMES: MOCKINGJAY - PART 1 Advance Tickets On Sale Now



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Tuesday, October 28, 2014

TV Review: Gotham “Spirit of the Goat”

TV Review: Gotham “Spirit of the Goat”
By: Brandon Wolfe

Donal Logue has proven himself over a span of many years to be a talented, perfectly enjoyable actor. Playing a sarcastic crank like Harvey Bullock, Logue should be the saving grace of ‘Gotham,’ livening up the dour proceedings with a snappy line. But in “Spirit of the Goat,” Bullock takes center stage for once and it becomes more evident that the show has no idea how to use what should be a huge asset. With the material working so fiercely against him, Logue can only do so much, especially when forced to speak lines as musty as “The press is gonna have a field day” and “The whole thing’s gonna come down on us like a ton of bricks.” The series imprisons Logue in a tomb of blandness, neutralizing what should be a regular source of vibrancy.



The episode begins on a flashback to ten years ago, back when Bullock was a young cop with a bit more life behind his eyes. Pursuing a serial killer called The Goat, a lunatic who wears a black mask with horns that none-too-subtly visually evokes the eventual Batman, Bullock and his gruff, future-Bullock-esque partner Dix (Dan Hedaya from ‘Cheers’) corner the suspect in a dilapidated building. While Dix is critically injured in the encounter, Bullock manages to shoot the Goat dead, ending the killer’s spree as well as the young cop’s dewy-eyed innocence.

But then the Goat killings resume in the present day, with the new killer’s crimes containing traits of the old that were never disclosed to the public, or even, nonsensically, to any other cops besides Bullock and Dix. The targets of the new Goat are the children of Gotham’s elite 1% (which, incidentally, was also the Penguin’s desperate final plan in ‘Batman Returns,’ though I tend to doubt that this was an intentional nod). Bullock is baffled by the resurgence and in the course of his and Gordon’s investigation, actually seems to uncharacteristically care about the case. The ultimate point of “Spirit of the Goat” is for Bullock to get his groove back, to show that there’s still a human being and a decent cop buried somewhere within this calcified hunk of self-interested cynicism, but it doesn’t quite land because Bullock is such a shallow character thus far in the series. Maybe he’s not all bad, but he still doesn’t feel anywhere near enough a well-rounded person for the new shade to resonate.


Not that anyone is well-rounded on this show. Nobody talks like a human being on ‘Gotham.’ All the dialogue and character moments are frustratingly stilted. It’s the sort of processed-TV writing that one wonders how the people creating it don’t zonk out at their laptops from boredom. Our hero, Gordon, has yet to do or say a single memorable thing in six episodes. He’s like a placeholder until the real hero arrives. The most thankless role on the show has to belong to Gordon’s fiancée, Barbara. Erin Richards could be a fantastically gifted actress, but you’d never know it from what’s she is given on this show. All she is ever allowed to do is talk to Gordon melodramatically about their relationship or to her former lover, Detective Montoya, melodramatically about Gordon. These scenes are horribly tedious bordering on unwatchable. During her conversation with Gordon in this episode, Barbara emphatically begs him to let her carry half of the burden he carries and you listen to this wondering if the people who write this show have ever heard or engaged in an actual human conversation in their lives.

Here’s how incompetent ‘Gotham’ is: There’s a killer on the loose targeting the children of Gotham’s wealthiest residents. FINALLY, an organic way to work Bruce Wayne into an episode. The killer could go after him and Gordon could protect him. No more disconnected non-sequitur scenes of Bruce milling about his mansion and talking like he’s already been a detective for 32 years while Alfred looks on with concern. Bruce actually fits in with the central storyline for once. Yet the show never has the Goat storyline intersect with Bruce. He just continues milling about and pinning things to his huge Board O’ Crime. The closest thing to action with him comes when Selena Kyle sneaks into his room for reasons unknown, swipes something and abruptly leaves a few seconds later. So, keeping score, this show has TWO child characters it has no idea what to do with, but feels the need to keep around because of who we know they will become many years later. Fantastic.

The same could be said for future Riddler, Edward Nygma, who is given a boost of screentime this week. The show is still nudging us in the ribs every ten minutes or so about his fate (he annoys Bullock with riddles; Bullock says he’s good with puzzles; etc.), but he gets a protracted comedy routine this week where he awkwardly flirts with a comely records clerk named Kristen Kringle, even going so far as to smell her hair. It’s strange and not at all amusing. I always want ‘Gotham’ to lighten up a bit, but if this is its idea of funny, then maybe don’t bother.

The Penguin continues to be the only character on this show of any interest, largely by default. It’s not that the character is written any better than the others, but at least he’s not a piece of driftwood like everyone else. The show still can’t decide whether he’s a diabolical genius or a pathetic loser, but it seems to tip in the latter direction as he returns to his creepy mother (Carol Kane, frequent user of zany accents and, like Hedaya, another veteran of old sitcoms) to bellyache about how his plans have failed and for her to console him while he bathes in the tub. The show doesn’t seem to know who this Penguin is, exactly, but at least the character doesn’t feel like he’s on network-drama autopilot the way the others do. On ‘Gotham,’ you take whatever you can get.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJFilms, and follow author Brandon Wolfe on Twitter at @BrandonTheWolfe

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Marvel's "Inhumans" Coming In 2018

Marvel's Inhumans to Populate the Big Screen in 2018

The Marvel Cinematic Universe is about to get a dose of Inhumanity!

Some history on who the The Inhumans are. They are a fictional race of superhumans, created by Jack Kirby and Stan Lee. This race appears in various comic book series published by Marvel Comics and exists in that company's shared universe, known as the Marvel Universe.

The comic book series of this name has usually focused more specifically on the adventures of the Inhuman Royal Family, and many people associate the name "Inhumans" with this particular team of super-powered characters.

The Inhumans first appeared in Fantastic Four #45 (December 1965), though members Medusa and Gorgon appeared in earlier issues of that series (#36 and #44, respectively). Their home, the city of Attilan, was first mentioned years earlier, in a Tuk the Caveboy story written and drawn by Jack Kirby that appeared in Captain America Comics #1 (March 1941). The city was described as the home of a race that was evolutionarily advanced when human beings were still in the Stone Age.

Marvel’s “Inhumans” will make its way to theaters November 2, 2018!

Marvel Studios President Kevin Feige made the announcement at a special event laying out the full slate of films for Phase 3 of the Marvel Cinematic Universe at the El Capitan Theatre in Hollywood.

“November 3, 2018 will introduce dozens of characters into the Marvel Cinematic Universe," promised Feige. "We really do believe the Inhumans can be a franchise or a series of franchise unto themselves. They have dozens of powers and an amazing social structure. With our 20th movie in the Marvel Cinematic Universe, we wanted to continue to refine what that universe is about."

Is that enough of a tease for you, Faithful Ones? You’ll have to wait a while longer before we can give you any more info, but in the meantime stay tuned to Marvel.com for the latest on "Inhumans" and the rest of the Marvel Cinematic Universe as it develops!

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