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Saturday, June 21, 2014

Batman Solo Film Coming in 2019?

We've got the rundown that Batman will return with a solo project.

With the first Batman/Superman film given a title earlier this month, DC and Warner Bros surprised many people when an outlet leaked what appeared to be a very ambitious schedule of superhero films lasting through 2018. Films like a Flash/Green Lantern team up and a Shazam origin story are planned to join the ranks of pre-planned films like Sandman. News also broke recently of Jason Momoa signing on to play Aquaman, who could appear in Dawn of Justice.

For many, the lack of a standalone Batman film wasn't surprising, as CHristopher Nolan's Batman series is arguably the best interpretation of the Caped Crusader. But don't be so sure that DC/WB think so. According to Latino Review, the companies are planning another film with a 2019 release, with the working title of The Batman.

On paper, this announcement seems to make sense, as Batman actor Ben Affleck will write, direct, and star in his next film Live By Night, which will begin shooting during summer 2015. With a final release date of October 7, 2016 that means Affleck's schedule will be freed up for a significant period so that he can shoot a Batman sequel.

With such an ambitious production schedule on WB's part, it seems unlikely that a Batman sequel could be made any time before 2017 - if that schedule should fall on hard times, we could see the movie delayed until 2020. Still the idea of DC/WB thinking ahead is smart and shows that their slumber after The Avengers was time well spent.

What do you think of this latest rumor? Is 2019 too long to wait for another Batman movie? What villain do you want to see Ben Affleck take on as the Dark Knight?

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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Friday, June 20, 2014

Win Tickets To An Advance Screening For #TRANSFORMERS: AGE OF EXTINCTION In #Sacramento

Hey TRANSFORMERS fans, ready for this #TRANSFORMERSTHURSDAY clue?


The tickets will be handed out this weekend.

Head out to select local Chevrolet dealerships to get your hands on some TRANSFORMERS: AGE OF EXTINCTION advance screening passes! The first 50 customers to each location can receive a pass.

Participating locations include:

KUNI CHEVROLET
2341 Fulton Ave.
Sacramento, Ca 95825

PERFORMANCE CHEVROLET
4811 Madison
Sacramento, Ca 95841

FOLSOM CHEVROLET
12655 Auto Mall Circle
Folsom, Ca 95630

TRANSFORMERS: AGE OF EXTINCTION is the fourth film in director Michael Bay’s global blockbuster franchise. Mark Wahlberg, Stanley Tucci, Li Bingbing , Kelsey Grammer, Sophia Myles, T. J. Miller, Nicola Peltz, Jack Reynor and Titus Welliver star. The film begins after an epic battle that left a great city torn, but with the world saved. As humanity picks up the pieces, a shadowy group reveals itself in an attempt to control the direction of history… while an ancient, powerful new menace sets Earth in its crosshairs.

With help from a new cast of humans, Optimus Prime (voiced by Peter Cullen) and the Autobots rise to meet their most fearsome challenge yet. In an incredible adventure, they are swept up in a war of good and evil, ultimately leading to a climactic battle across the world.

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Star Wars Episode 8 Being Directed By...

Check out the surprising director announcement...and no, it's not JJ Abrams. For awhile now, we've known that Star Trek reboot-er JJ Abrams was in charge of bringing the next films to theaters. Under his leadership, we've seen images of the cast and tantilizing set pieces. But it was always assumed that he would be directing Episodes 7-9.

Not so.

According to multiple sources including Deadline, it's been announced that writer and director Rian Johnson (Looper) will not only be taking over as director AND writer for Episode 8. There's also rumors spreading that Johnson will be doing the same with Episode 9. While TheWrap is known for their accuracy, we're not ready to call that deal done yet. He has been plugged to pen the final installment, but it's the directorial duties that have yet to be finalized.

This would place Johnson at the head of one of the most iconic film series in history, with Lawrence Kasdan (rumored to be in charge on the spin-off Boba Fett film) and Gareth Edwards and Josh Trank who are set to direct another spin-off.

But it's the news of Abrams' departure that has many scratching their heads. True, it's clear that Disney is moving from more established directors to newer (and cheaper) talent, but everyone had thought that Abrams would lead the charge, much like Kevin Feige over at Marvel is heading their production aparatus, which includes films all the way to 2028.

Could this announcement be tied to the growing PR issues over at Marvel, where we've seen a problematic Ant-Man production affecting its director? Only time will tell.

What do you think about Johnson's hiring? Is a team of directors a better fit for this franchise, or would you rather see one mind going forward? Sound off in our comments section

Star Wars: Episode VII opens in U.S. theaters on December 18th, 2015.

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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New International Clip for Dawn of the Planet of the Apes

Check out the new International trailer from Fox after the jump.

Check out the clip courtesy of Total Film:

https://www.youtube.com/watch?v=Itnj-k0TRB

A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth's dominant species.

DAWN OF THE PLANET OF THE APES Official Socials
http://www.dawnofapes.com/
https://www.facebook.com/ApesMovies
https://twitter.com/ApesMovies
http://instagram.com/apesmovies
http://www.youtube.com/ApesMovies
https://plus.google.com/+ApesMovies/posts
http://apesmovies.tumblr.com/

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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DAVE BOYLE'S "MAN FROM RENO" WINS LOS ANGELES FILM FEST

The film wins BEST NARRATIVE FEATURE AWARD. Filmmaker Dave Boyle's cross-cultural mystery MAN FROM RENO received the Best Narrative Feature Award today at the 2014 Los Angeles Film Festival. The film follows a Japanese crime novelist (Ayako Fujitani) as she investigates a murder in San Francisco. MAN FROM RENO was produced by Ko Mori of Eleven Arts Inc and written by Dave Boyle, Joel Clark, and Michael Lerman. The film also stars veteran actor Pepe Serna (SCARFACE) and popular Japanese film & television star Kazuki Kitamura (THE RAID 2). Making its world premiere at this year's LA Film Festival, MAN FROM RENO received high praises from festival attendees and critics alike this week and became one of the festival favorites selling out both screenings.

Director Dave Boyle's reaction: "It's an incredible honor and a wonderful surprise to receive this award. The LA Film Fest experience has been so wonderful, and I didn't think it could get any better. I want to thank Doug Jones, Maggie Mackay and David Ansen for championing the film and the hard work of many people. I can't thank our cast and crew enough for believing in this project. It's an amazing feeling to see their work on the film honored this way, and a treat to receive the award from a jury of filmmakers whose work I admire so much."

Producer Ko Mori adds: "I still can't believe that we won the best narrative film at Los Angeles film Festival. I'm so honored. An independent film like ours is always not easy to be recognized to wide audience so this is so encouraging. Great work from the director Dave Boyle and the whole team! I'd like to thank LAFF to have given us this opportunity."

In 2011, the company opened a Japan branch (Eleven Arts Japan), and recently completed a Japanese-language homage to Charlie Chaplin's Limelight entitled Uzumasa Limelight (produced by Mori, directed by Ken Ochiai), which will be released in Japan on June 8, 2014.

Discuss this story with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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See the Trailer for #Frank

Watch the Magnolia Pictures trailer starring Michael Fassbender after the jump. Watch the trailer for FRANK starring Michael Fassbender, Domhnall Gleeson, Maggie Gyllenhaal and Scoot McNairy, exclusively on Apple Trailers:

http://trailers.apple.com/trailers/magnolia/frank/

Magnolia Pictures will release FRANK in select theaters August 15, 2014.

Directed by Lenny Abrahamson

Starring Domhnall Gleeson, Maggie Gyllenhaal, Scoot McNairy and Michael Fassbender

FRANK is an offbeat comedy about a wannabe musician who finds himself out of his depth when he joins an avant-garde pop band led by the enigmatic Frank - a musical genius who hides himself inside a large fake head.

For more info:

Official Site: http://www.magpictures.com/frank/

Official Facebook: https://www.facebook.com/frankmovie

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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Check Out the Trailer for #RAGNAROK

Check out the Magnolia Pictures release after the jump.


Magnet Releasing will release RAGNAROK on iTunes/OnDemand and in select theaters August 15, 2014.

Directed by Mikkel Brænne Sandemose (COLD PREY – THE BEGINNING)

Written by John Kåre Raake

Starring Sofia Helin, Pål Sverre Hagen (KON-TIKI)

Archeologist Sigurd Svendsen (Pål Sverre Hagen) has for years been obsessed with the Oseberg Viking ship. The only inscription found on the ship is the enigmatic ´man knows little` written in runes. Sigurd is sure that the Oseberg ship contains the answer to the mystery of Ragnarok, the end of days in Norse mythology. When his friend Allan finds similar runes on a stone from the north of Norway, Sigurd becomes convinced that the runes are in fact a treasure map. Together they mount an expedition group and their adventure leads to “No man’s Land” between Norway and Russia, which has been deserted for decades. Here Sigurd learns the true meaning of the runes – a secret more terrifying than he could possibly imagine.

Follow on Twitter ~ http://twitter.com/MagnoliaPics http://twitter.com/MagnetReleasing Connect on Facebook ~ http://www.facebook.com/magnoliapictures http://www.facebook.com/magnetreleasing Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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Thursday, June 19, 2014

Think Like a Man Too Review: Funny Moments Ruined By Its Conscience

Think Like a Man Too squanders its many assets and gets too serious at the end.

If I could blame two movies for ruining everything, it would be The Lord of the Rings series and The Hangover - each changed their genres instantly and forever, raising expectations for everything that came afterwards. So, when a distributive of these films come out, all we can do is shake our head and wonder what could have been. Such was our experience with Think Like a Man Too, a film that lays no new ground and suffers from a pang of conscience midway through the third act.

As the crew gather for a wedding in Las Vegas, we see several relationships started in the original now at key junctions. Couple Lauren (Taraji P. Henson) and Dominic (Michael Ealy) have received enticing job offers far away from LA, while fiancees Michael (Terrance Jenkins) and Kristen (Gabrielle Union) must deal with Michael's overly protective mother (Jennifer Lewis), who doesn't like Kristen in the least. Meanwhile the pint-sized Cedric (Kevin Hart) is seeing his marriage on the rocks, necessitating a wild Vegas weekend as Michael's best man. As plans for the guys and ladies begin to unravel, each relationship will be tested before all of them land up in jail.

Think doesn't require a lot of it, existing merely to entertain, to keep us laughing long enough so that its awfully serious third act feels like a completely different movie. When that moment arrives, all of the positive energy it had built escapes like a popped balloon, replaced with marriage declarations and sobbing ladies who look to their men to pick up the pieces. We have been very happy to see women take control in 2014, but Think doesn't do it enough, placing their sex in the more traditional role of waiting for things to come to them. We know this series isn't about high-end entertainment, but neither was The Hangover and that one set that standards to which Think doesn't aspire. Hart and team are funny, but characters Zeke (Romany Malco) and Candance (Regina Hall) just seem to be there to take up space. We love the chemistry between Hart, Henson, Ealy, and Union and think a comedy with a smaller cast might have produced richer rewards. Why a film would suddenly lets its own conscience overtake what was a hilarious comedy and replace it with such a serious third act is beyond us.

Director Tim Story and Writers Keith Merryman and David A. Newmandoes know how to tell a wild comedy, and for the most part they do, getting our characters into one scrape and then another. There's funny references to other movies, including a nice one of Entrourage star Jerry Ferrera who makes up part of the white side of the posse. But for the most part, he and Gary Owen are there for window dressing, ready to show just how apparently white we white people are. This is by no means a negative, as they get into the silliness as well, but there's just too many people on screen for us to view them as anything other than comedic vehicles ready for the next skit. Again, this isn't an awful movie, and if you're a fan of this sort of ensemble comedy, then you might yourself in perfect company.

Think Like a Man Too is nothing more than a crude copy of The Hangover, existing merely to entertain and to squander its many assets along the way. And while there are a lot of funny scenes early on, things get too serious later as if we were watching two different pictures. If you're set on seeing something new and funny this weekend, make sure you've enjoyed Neighbors and 22 Jump Street before taking a chance with Think Like a Man Too. Better yet, save your money and wait for it arrive on Netflix - we think you'll thank us later.

Think Like a Man Too is rated PG-13 for crude sexual content including references, partial nudity, language and drug material and has a runtime of 106 minutes.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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Jersey Boys Review: I Don't Get It

The emotionally hollow Jersey Boys loses our attention early and never gains it back.

As a child of the 1980's, my world was filled with Duran Duran, Van Halen, and Rush. Part of the allure was the life these rock heroes led, and wanting to know more about them fueled my appreciation for their music.  And yet all of their stories would be far more entertaining to see than the happily pleasant but emotionally unfulfilling Jersey Boys.

Based on the Broadway production, Jersey follows the rise of Frankie Valli and The Four Seasons. Frankie (John Lloyd Young), Nick Massi (Michael Lomenda) and Tommy (Vincent Piazza) are mobster troublemakers whose desire to sing their way out of New Jersey leads them to fortune and fame. Mob boss Gyp DeCarlo (Christopher Walken) sees greatness in Frankie, and soon others join the bandwagon. With the arrival of songwriter Bob Gaudio (Erich Bergen), The Four Seasons begin their meteoric rise with a string of hits that pepper the 1960's. But Tommy's gambling soon destroys the group, forcing Frankie to go on an extended tour to dig the band out of a crushing debt. As such a committment wrecks his home life, Frankie must deal with immeasurable tragedy, while living his dream as a singer.

Jersey tries its best to cash in on the fond memories of its mostly elderly audience without realizing that most of them probably won't pay to see this film. For those of us with zero connection to the time, the film has plot holes big enough to drive The Beatles through. The story lacks a cohesive narrative, never getting too deep into the pressures of writing and touring. Oh sure, there's mentions of it throughout but no time to dig down into its real effect, sans a couple of scenes of Frankie and his drunk wife Mary (Renée Marino) having it out before Frankie departs. His daughter Francine's death is never fully explained, again assuming that the audience has all the facts but are waiting to see it played out. Biopic Oscar winners like Lincoln succeeded due to its tightly historical scope, limiting itself to just 3 months. Such a wide-reaching story like Jersey Boys suffers under its own weight in deciding which parts to highlight. The result is one song after another with no care given to the human elements behind them. Sure, our characters interact with the camera, helping to provide some markers for our disjointed roadmap, but these only set up the scenes, and the mostly green acting troupe doesn't have the dramatic chops to cut through such terse material.

Jersey feels emotionally hollow, as Eastwood and his horde of writers (4 more in total) seem disinterested in wrapping our tale in any sort of historical context. Instead, it jumps through eras like a circus act, content on making the next fiery hoop so they can reach the next and the expected applause of their fans. It would have been insightful to see the band deal with the pop wave of the 1980's, the arrival of The Beatles in 1961, and growth and fall of Disco. Imagine learning what the band thought of Jimi Hendrix's flamboyant style, or The Beatles ushering in Sgt Pepper's Lonely Hearts Club Band. But that's not why we're here, as Eastwood scrubs out any historical context in favor of ditties that sound only merely decent. Unlike the film adaption of Les Miserables, our singers here stepped into the studio to re-record their tracks, leaving a staleness to each song. That's too bad, considering the tremendous response Les Mis received by recording live. The result is that we're no more convinced why The Four Seasons were so important than when we started, leaving us to wonder how this band warranted big-screen treatment. Honestly, pick up a copy of VH1's usually solid Behind the Music, and we promise you'll learn more about them.

At 134 minutes, Jersey still has so little to say, particularly during the last 25 years leading up to The Four Seasons's induction into The Rock and Roll Hall of Fame. We're suddenly rushed from 1975-ish (and given few clues as to time periods throughout the film) to Cleveland as the band performs together for the first time in decades. But we think 50-year-olds and older will be entertained, much like they were when they saw The Four Seasons live during their youth. For the rest of us, the experience is merely tedious as we jump to the next big hit.

It will be difficult - if near impossible - for Jersey Boys to find an audience. Those who are old enough to pay will probably wait to see it on home video, and few Summer moviegoers are going to pay this any attention. For such an important period as the 1960's represents, Jersey Boys fails utterly to keep our attention.

Jersey Boys is rated R for language throughout and has a runtime of 134 minutes.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.

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The Rover Review: Why Can't Dystopian People Be a Little Nicer?

The gritty post-apocalyptic The Rover frustrates us at almost every turn.

What would the world look like if all the dystopian talk in Hollywood films actually happened? The Rover tries to give us a glimpse of one man's journey, but its minimalist style drains a lot of needed color from what could have been Oscar glory.


The Rover tells the story of a world gone mad, 10 years after an economic collapse in Australia. There, American dollars are preferred, gas and food are scarce, and killing appears to be the preferred way of doing things. Enter the scraggly-bearded Eric (Guy Pearce), whose car is stolen by three thugs after a shooting leaves the fourth thug Rey (Robert Pattinson) critically injured. As Eric pursues the trio to get his car back, he comes into contact with half-wit Rey, who knows where his compatriots have stolen off. Rather than take the truck which Rey's friends have left behind, Eric strangely resolves to get his car back, creating a trail of blood and bodies that sets the stage for a violent showdown with Rey caught in the crossfire.

Gritty and dystopian as they come, The Rover makes no excuses for its content, correctly surmising that people will abandon duty, honor, and basic humanity when sustained hardship arises. From the moment our story begins - and the flies climb up Eric's nose with no effort to shoo them away - we know this story isn't going to coddle us. And while it makes good on its violent promise, there is an inherently defective nature to this film that eats away at any progress or good will it attempts to build.

Our main issue with the film is its utter lack of backstory: what caused the economic collapse, what has Eric been doing for the past 10 years, and why does he choose to empty the very personal contents of his trunk into such a random spot? Without these and many other questions answered, a growing lack of narrative clarity results in a torrential amount of questions as one emerges from the theater. Director/Co-Writer David Michôd incorporates many elements of Mad Max to high precision, displaying depravity and desolation as few can. Eric's world is pushed to the edge, and his single-minded desire to get his car back just goes to show how desperate people can become when their entire existence is taken from them. In many ways, Michôd and Co-Writer Joel Edgerton redefine the genre, unafraid to introduce even a moment of hope or levity into the film. But it still comes down to story, and The Rover is missing a lot of it. Rather than celebrating some of the best performances of the year, we're left with a Film 101 candidate on poor editing.

Pearce is an engaging actor who can sell a scene merely by looking at the camera - his laser-sharp glances tell you of a man driven over the edge with nothing to lose, a symbol of a world that's gone off the deep end. Pattinson demonstrates that he can have a successful dramatic career post-Twilight, provided he can secure similarly juicy roles. Everyone else is window dressing, offering no deeper character elements than their oddly endowed physical features. Sadly, we soon become desensitized to such randomness, as Michôd parades them past us rather than taking a moment for us to become associated. This lack of sincerity makes their deaths feel empty and meaningless, which might be the point of the film after all. What does work for us is the most bizarre score we've heard in 2014 - Composer Antony Partos's stinging elements resonate throughout the picture, setting an immediate and unapologetic tone.

The Rover gets so many things right except the important ones, its lack of a cohesive story raising more questions than it answers. Never have we seen such powerful performances sprinkled with such a bare minimum of detail or backstory. It could have been an unqualified Oscar candidate, redefining the gritty drama genre; instead, its frustratingly minimalist narrative only serves to lessen the environment and its hauntingly bizarre soundtrack. The Rover is rated R for language and some bloody violence and has a runtime of 102 minutes.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.

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Win Tickets To An Advance Screening For #BEGINAGAIN In #Sacramento

Win Tickets To An Advance For BEGIN AGAIN On Tuesday, June 24th at 7:00 PM in Sacramento at Century Stadium 14.


The latest film from writer-director John Carney (ONCE), BEGIN AGAIN is a soul-stirring comedy about what happens when lost souls meet and make beautiful music together. Gretta (Keira Knightley) and her long-time boyfriend Dave (Adam Levine) are college sweethearts and songwriting partners who decamp for New York when he lands a deal with a major label. But the trappings of his new-found fame soon tempt Dave to stray, and a reeling, lovelorn Gretta is left on her own. Her world takes a turn for the better when Dan (Mark Ruffalo), a disgraced record-label exec, stumbles upon her performing on an East Village stage and is immediately captivated by her raw talent. From this chance encounter emerges an enchanting portrait of a mutually transformative collaboration, set to the soundtrack of a summer in New York City. BEGIN AGAIN is produced by Anthony Bregman, Tobin Armbrust and Judd Apatow.


Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and screenings. Also make sure to subscribe and download our podcast.



See how to win tickets after the Jump...

Go to GOFOBO & enter code SAND30FU

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device

Please Leave A Comment-
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Our #TransformersThursday Giveaway Continues! Win Tickets To See An Advance Screening in San Francisco

Hey TRANSFORMERS fans, ready for this #TRANSFORMERSTHURSDAY clue?


The tickets will be handed out this weekend.

Head out to select local Chevrolet dealerships to get your hands on some TRANSFORMERS: AGE OF EXTINCTION advance screening passes! The first 50 customers to each location can receive a pass.

Participating locations include:
STEWART CHEVROLET
780 Serramonte Blvd.
Colma, Ca 94014

FH DAILEY CHEVROLET
800 Davis St.
San Leandro, Ca 94577

NOVATO CHEVROLET
7123 Redwood Blvd.
Novato, Ca 94945

CONCORD CHEVROLET
1330 Concord Ave.
Concord, Ca 94520

DUBLIN CHEVROLET
4200 John Monego Court
Dublin, CA 94568

TRANSFORMERS: AGE OF EXTINCTION is the fourth film in director Michael Bay’s global blockbuster franchise. Mark Wahlberg, Stanley Tucci, Li Bingbing , Kelsey Grammer, Sophia Myles, T. J. Miller, Nicola Peltz, Jack Reynor and Titus Welliver star. The film begins after an epic battle that left a great city torn, but with the world saved. As humanity picks up the pieces, a shadowy group reveals itself in an attempt to control the direction of history… while an ancient, powerful new menace sets Earth in its crosshairs.

With help from a new cast of humans, Optimus Prime (voiced by Peter Cullen) and the Autobots rise to meet their most fearsome challenge yet. In an incredible adventure, they are swept up in a war of good and evil, ultimately leading to a climactic battle across the world.

Please Leave A Comment-
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Our #TransformersThursday Giveaway Continues! Win Tickets To See An Advance Screening in SACRAMENTO!

Our Transformers Thursday giveaway continues.  Learn where you need to be to score your passes to the film.

Today's giveaway-
5 pairs of first-come, first serve passes
2 sets of TRANSFORMERS mini posters

Win Tickets To An Advance For TRANSFORMERS: AGE OF EXTINCTION On Wednesday June 25, 2014 at 7:00 PM in Sacramento.


TRANSFORMERS: AGE OF EXTINCTION is the fourth film in director Michael Bay’s global blockbuster franchise. Mark Wahlberg, Stanley Tucci, Li Bingbing , Kelsey Grammer, Sophia Myles, T. J. Miller, Nicola Peltz, Jack Reynor and Titus Welliver star. The film begins after an epic battle that left a great city torn, but with the world saved. As humanity picks up the pieces, a shadowy group reveals itself in an attempt to control the direction of history… while an ancient, powerful new menace sets Earth in its crosshairs.


With help from a new cast of humans, Optimus Prime (voiced by Peter Cullen) and the Autobots rise to meet their most fearsome challenge yet. In an incredible adventure, they are swept up in a war of good and evil, ultimately leading to a climactic battle across the world.


Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and screenings. Also make sure to subscribe and download our podcast.



See how to win tickets after the Jump...

For the Transformers Thursday scavenger hunt, all you have to do is make sure you're following us on Facebook and Twitter.  For today's giveaway make sure to follow Matt on Twitter and wait for his special message on where to meet him.


DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device

Please Leave A Comment-

Read more...

Win Tickets To An Advance Screening For #BEGINAGAIN In #SanFrancisco

Win Tickets To An Advance For BEGIN AGAIN On Tuesday, July 8th at 7:00 PM in San Francisco.


The latest film from writer-director John Carney (ONCE), BEGIN AGAIN is a soul-stirring comedy about what happens when lost souls meet and make beautiful music together. Gretta (Keira Knightley) and her long-time boyfriend Dave (Adam Levine) are college sweethearts and songwriting partners who decamp for New York when he lands a deal with a major label. But the trappings of his new-found fame soon tempt Dave to stray, and a reeling, lovelorn Gretta is left on her own. Her world takes a turn for the better when Dan (Mark Ruffalo), a disgraced record-label exec, stumbles upon her performing on an East Village stage and is immediately captivated by her raw talent. From this chance encounter emerges an enchanting portrait of a mutually transformative collaboration, set to the soundtrack of a summer in New York City. BEGIN AGAIN is produced by Anthony Bregman, Tobin Armbrust and Judd Apatow.


Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and screenings. Also make sure to subscribe and download our podcast.



See how to win tickets after the Jump...

Go to GOFOBO & enter code SANDP9P8

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device

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New Clip From #GOTHAM "Villains"

Here is a new clip from the upcoming show Gotham. It's all about the villains.



“Gotham” is an origin story of the great DC Comics super villains and vigilantes, revealing an entirely new chapter that has never been told. From executive producer/writer Bruno Heller (“The Mentalist,” “Rome”), “Gotham” follows one cop’s rise through a dangerously corrupt city teetering on the edge of evil and chronicles the birth of one of the most popular super heroes of our time.

Growing up in Gotham City’s surrounding suburbs, James Gordon (Ben McKenzie, “Southland,” “The O.C.”) romanticized the city as a glamorous and exciting metropolis where his late father once served as a successful district attorney. Now, two weeks into his new job as a Gotham City detective and engaged to his beloved fiancée, Barbara Kean (Erin Richards, Open Grave, “Breaking In”), Gordon is living his dream – even as he hopes to restore the city back to the pure version he remembers it was as a kid.

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Wednesday, June 18, 2014

Exclusive Interview With Jean Brassard From #FaultInOurStars

We had the chance to interview Jean Brassard from the film Fault in our Stars.


We talk sad films, realistic romance and Dom Perignon with Fault in Our Stars actor Jean Brassard.

What’s the saddest film you’ve ever seen?

Now there’s a big question to start with! I’d have to say in the last few decades, Brokeback Mountain and Sophie’s Choice. But also, another great adaptation is the movie Waterland, adapted from Graham Swift’s novel. Haunting and heartbreaking.

Some describe this film as not so much a sad movie as one of hope. Would you agree?

I think it’s a movie about inner strength and connection between people. About being able to deal with the present no matter what the present how hard it can be. That is true of all the characters in the movie to me, allowing oneself to experience the gamut of emotions that it sometimes mean. And to share with the ones you love. And it has a great dose of defiance as well. That’s what dreamers do, don’t they, defy? So I guess that’s closer to hope, yes.

If you were to compare The Fault in Our Stars to another film, what would it be?

I’d pick Brokeback Mountain again. The impossible love, the fate of the characters which is really in the style of tragedy since their circumstances are determined by social morals in one case and by the too quick passage of time in the other; in both the absolute finality of death.

The target audience are teenagers, of course, but do you believe it will also have an impact on others?

The movie touches people who love, who dream, who live with ideals, who are young, who remember their first love regardless of circumstances, who have children, who wish they would have had children, who have suffered grief or are dealing with it in the present and those who are romantic. And all those folks should see it with a friend, spouse or partner,

You’ve only a small part in the movie, but you get to say one of the most treasured lines in it (and the book). Were you aware how special that line was when you were doing it? Did you perfect it over and over?

I loved the lines I was handed right away. Between talking about what Dom Perignon said after he discovered champagne, “Come quickly, he said, I’m tasting the star!” to the one that seems to be having a life of it’s own now “We’ve bottled all the stars for you tonight, my young friends!” I felt privileged to say them. I didn’t perfect them over and over; I learned them and let them float about inside until I got to be with those two beautiful young people who I had the pleasure to serve in that scene. They made the lines real for me, gave a reason to say them.

Because this is a movie essentially for a younger generation, how important do you think the internet has been in the marketing of the movie?

Huge. Most of the folks involved in the production of this film are quite young actually and are all very savvy with social media and such, starting with John Green, the author.

Film reviewers tend to be very harsh on sweet romantic dramas – whether it’s a film like this or something from Nicholas Sparks. Do you believe critics can make or break a movie?

I think it is something that the internet with its multitude of opinions is rapidly changing. Sure the reviewers have some influence but not as much. Nowadays, people are more likely to follow what their friends are saying and recommending on FB or Twitter and such than anything else. And I believe that each piece of art finds its audienc.

Finally, Shailene Woodley is amazing in the movie. Did you get a glimpse of that brilliance working with her?

What impressed me the most with Shailene is how unassuming she is, friendly, relaxed and and so at ease with herself, the camera and everyone around on the set. She can go in and out very freely between takes and breaks and remain herself and dig into her character in a way that seems effortless. It was clear to me on set and it is more than obvious on the screen: she is a faultless star.

Thank you for your questions.

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Win Tickets To An Advance Screening For OBVIOUS CHILD In Sacramento

Win Tickets To An Advance For OBVIOUS CHILD on Monday, June 23rd at 7:00PM United Artists Laguna Village.

For aspiring comedian Donna Stern, everyday life as a female twenty-something provides ample material for her incredibly relatable brand of humor. On stage, Donna is unapologetically herself, joking about topics as intimate as her sex life and as crude as her day-old underwear. But when Donna gets dumped, loses her job, and finds herself pregnant just in time for Valentine’s Day, she has to navigate the murky waters of independent adulthood for the first time. As she grapples with an uncertain financial future, an unwanted pregnancy, and a surprising new suitor, Donna begins to discover that the most terrifying thing about adulthood isn’t facing it all on her own.


It's allowing herself to accept the support and love of others. And be truly vulnerable. Never failing to find the comedy and humanity in each awkward situation she encounters, Donna finds out along the way what it means to be as brave in life as she is on stage. Anchored by a breakout performance from Jenny Slate, OBVIOUS CHILD is a winning discovery, packed tight with raw, energetic comedy and moments of poignant human honesty. Writer/Director Gillian Robespierre handles the topic of Donna's unwanted pregnancy with a refreshing matter-of-factness rarely seen onscreen. And with Donna, Slate and Robespierre have crafted a character for the ages – a female audiences will recognize, cheer for, and love.


OBVIOUS CHILD will be in theaters in June 2014!

Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and screenings. Also make sure to subscribe and download our podcast.



See how to win tickets after the Jump...

Go to GOFOBO & enter code SANDVXGF

Keep up with the latest here: http://obviouschildmovie.tumblr.com/
Facebook: https://www.facebook.com/ObviousChild
Twitter: https://twitter.com/ObviousChildMov
Instagram: @obviouschildmovie

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device

OBVIOUS CHILD will be in theaters in June 2014!

CAST: Jenny Slate, Jake Lacy, Gaby Hoffmann, David Cross, Gabe Liedman & Richard Kind

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Kevin Durand Joins @HistoryVikings Season 3

HISTORY® Announces Additional Casting for Season Three of Hit Drama Series.

Lothaire Bluteau, Kevin Durand and Morgane Polanski Join Previously Announced Ben Robson

HISTORY announced today new casting for season three of its hit scripted series VIKINGS, including Lothaire Bluteau (The Tudors) as Emperor Charles of France, a powerful man who views battling the Vikings as spiritual and earthly; Kevin Durand (The Strain) as The Wanderer, a mysterious man who is not what he seems; and Morgane Polanski (The Ghost) as Princess Gisla, the elegant, self-possessed daughter of Emperor Charles and his most trusted advisor. They join previously announced Ben Robson (Dracula: The Dark Prince) who will play Kalf, Lagertha’s trusted second in command.

Travis Fimmel (Warcraft) leads the stellar cast as Ragnar, along with Katheryn Winnick as Lagertha, an Earl and fierce shield maiden; Clive Standen as Rollo, Ragnar’s impulsive brother; Alexander Ludwig as Bjorn, the intelligent and bold warrior son of Ragnar; George Blagden as Athelstan, a young and not-so-innocent monk; Jessalyn Gilsig as Siggy, beautiful wife of the late Earl Haraldson; Linus Roache as Ecbert, King of Wessex, a man of strength, knowledge and undisguised ambition; Gustaf Skarsgard as Floki, a ship builder who designs the new generation of Vikings ships and Alyssa Sutherland as Princess Aslaug, Ragnar’s new wife.

VIKINGS centers on Ragnar Lothbrok, a restless warrior and family man who longs to find and conquer new lands across the seas and claim the spoils as his own. The series portrays life in the Dark Ages, a world ruled by raiders and explorers, through the eyes of Viking society.

VIKINGS is created and written by Michael Hirst, one of the premier historical story-tellers in the industry (Academy-Award winning film Elizabeth; and the Emmy® and Golden Globe® nominated series The Tudors). Michael serves as Executive Producer along with Morgan O’Sullivan of World 2000 (The Count of Monte Cristo, The Tudors), Sheila Hockin (The Tudors, The Borgias), John Weber of Take 5 Productions (The Tudors, The Borgias), Sherry Marsh, Alan Gasmer and James Flynn (The Tudors, The Borgias). Dirk Hoogstra and Julian P. Hobbs are the Executives in Charge of Production for HISTORY.

VIKINGS is an international Irish/Canadian co-production being co-produced by World 2000 and Take 5 Productions. MGM Television brought the series to the network and brings VIKINGS to global audiences, serving as the worldwide distributor outside of Ireland and Canada. HISTORY broadcasts domestically in the U.S. VIKINGS is produced in association with Shaw Media, and the series also airs on HISTORY in Canada.

About HISTORY®
HISTORY®, now reaching more than 98 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. The 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®, Swamp People® and The Legend of Shelby the Swamp Man as well as HISTORY®’s first scripted series Vikings, and epic miniseries and special programming such as The Bible and the Emmy® Award-winning Hatfields & McCoys, Men Who Built America, 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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A HAUNTED HOUSE 2 On BLU-RAY COMBO PACK DVD & DIGITAL HD WITH ULTRAVIOLET On August 12th

MARLON WAYANS AND CEDRIC THE ENTERTAINER RETURN IN THE SIDE-SPLITTINGLY SCARY COMEDY A HAUNTED HOUSE 2.

BRING HOME THE BLU-RAY™ COMBO PACK INCLUDING BLU-RAY™, DVD & DIGITAL HD WITH ULTRAVIOLET™ AUGUST 12, 2014

The horror-movie genre gets a hilarious makeover when Marlon Wayans (Scary Movie series, White Chicks) and Cedric the Entertainer (Madagascar, The Original Kings of Comedy) star in A Haunted House 2, the outrageous supernatural comedy coming to Blu-ray™ Combo Pack including Blu-ray™, DVD, & DIGITAL HD with UltraViolet™ on August 12, 2014, from Universal Studios Home Entertainment. The sequel to the box-office hit A Haunted House, A Haunted House 2 conjures up an otherworldly combination of bone-chilling suspense and no-holds-barred comedy for a raunchy and hysterically funny out-of-body experience.

Having overcome the demons of his past, Malcolm (Marlon Wayans) is ready to start over with his new girlfriend Megan (Jaime Pressly) and her two adorable kids, Wyatt (Steele Stebbins) and Becky (Ashley Rickards). When their house is plagued by a rash of bizarre paranormal events, Malcolm turns for help to his buddy Miguel (Gabriel Iglesias) and exorcist Father Williams (Cedric the Entertainer) in an attempt to drive the evil spirits from his home. But it turns out it’s not just the house that’s haunted…

A Haunted House 2 will be available on Blu-ray™, DVD and Digital HD with UltraViolet™.
· Blu-ray™ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
· DVD offers the flexibility and convenience of playing movies in more places, both at home and away.
· DIGITAL HD with UltraViolet™ lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download movies to watch on iPad®, iPhone®, Android™, smart TVs, connected Blu-ray™ players, game consoles, and more.

BONUS FEATURES (BLU-RAY™ and DVD):
· Deleted and Extended Scenes
· Feature Commentary with Actor/Co-Writer/Producer Marlon Wayans, Director Michael Tiddes and Co-Writer/Producer Rick Alvarez

TECHNICAL INFORMATION - Blu-ray™:
Street Date: August 12, 2014
Copyright: 2014 Universal Studios. All Rights Reserved.
Selection Numbers: 61129739
Running Time: 1 Hour, 27 Minutes
Layers: Dual Layer
Aspect Ratio: Widescreen 1.85:1
Rating: R
Technical Info: DTS-HD Master Audio 5.1
Subtitles: English SDH, French, and Spanish


TECHNICAL INFORMATION - DVD:
Street Date: August 12, 2014
Copyright: 2014 Universal Studios. All Rights Reserved.
Selection Numbers: 61129740
Running Time: 1 Hour, 27 Minutes
Layers: Dual Layer
Aspect Ratio: Anamorphic Widescreen 1.85:1
Rating: R
Technical Info: Dolby Digital 5.1
Subtitles: English SDH, French and Spanish

About Universal Studios Home Entertainment
Universal Studios Home Entertainment is a unit of Universal Pictures, a division of Universal Studios (www.universalstudios.com). Universal Studios is a part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment television networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks, and a suite of leading Internet-based businesses. NBCUniversal is a subsidiary of Comcast Corporation.

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Bourne Legacy Sequel Release Date Pushed To 2016

Universal Pictures’ UNTITLED NEXT BOURNE CHAPTER will move from August 14, 2015, to Friday, July 15, 2016.

About UNTITLED NEXT BOURNE CHAPTER
Blockbuster action director Justin Lin (Fast & Furious series) will direct the fifth installment of Universal Pictures’ BOURNE franchise, inspired by the series created by Robert Ludlum. Jeremy Renner returns as Aaron Cross for this chapter and Frank Marshall once again produces, alongside Jeffrey Weiner and Ben Smith for Captivate Entertainment. Lin will also produce for his Perfect Storm Entertainment.

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Updated: Image Of Cast From #STRAIGHTOUTTACOMPTON

Universal Pictures will release STRAIGHT OUTTA COMPTON on Friday, August 14, 2015.

In the mid-1980s, the streets of Compton, California, were some of the most dangerous in the country. When five young men translated their experiences growing up into brutally honest music that rebelled against abusive authority, they gave an explosive voice to a silenced generation. Following the meteoric rise and fall of N.W.A., STRAIGHT OUTTA COMPTON tells the astonishing story of how these youngsters revolutionized music and pop culture forever the moment they told the world the truth about life in the hood and ignited a cultural war.

Starring O’Shea Jackson Jr., Corey Hawkins and Jason Mitchell as Ice Cube, Dr. Dre and Eazy-E, STRAIGHT OUTTA COMPTON is directed by F. Gary Gray (Friday, Set It Off, The Italian Job). The drama is produced by original N.W.A. members Ice Cube and Dr. Dre, who are joined by fellow producers Matt Alvarez and Tomica Woods-Wright. Will Packer serves as executive producer of the film alongside Gray.

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THE AMAZING SPIDER-MAN 2 On Blu-ray™ 3D Combo Pack, Blu-ray Combo Pack, DVD & Digital HD On Aug. 19th

The $700+ Million Dollar Worldwide Box Office Smash Swings Onto Blu-ray™ 3D Combo Pack, Blu-ray Combo Pack, DVD & Digital HD This August

Get It Early on Digital HD Aug. 5 & on Blu-ray 3D, Blu-ray & DVD Aug. 19.

The Amazing Spider-Man 2 Review: Over-Stuffed And Rushed-

Directed by Marc Webb, Produced by Avi Arad & Matt Tolmach &

Starring Andrew Garfield, Emma Stone, Jamie Foxx & Dane DeHaan, With Paul Giamatti & Sally Field

Blu-ray Loaded with More Than 100 Minutes of Electrifying Bonus Materials, Featuring Filmmaker Commentary & 13 Deleted Scenes,Including an Additional Scene where Peter meets his Father.


The world’s most popular web-slinger returns when THE AMAZING SPIDER-MAN 2™ arrives on 3-disc Blu-ray™ 3D Combo Pack, 2-disc Blu-ray Combo Pack and DVD Aug. 19 from Sony Pictures Home Entertainment. Andrew Garfield and Emma Stone reprise their iconic roles as Peter Parker and Gwen Stacy, who face their most dangerous adversaries yet. In THE AMAZING SPIDER-MAN 2™, Peter Parker finds there’s no feeling quite like swinging between skyscrapers, embracing his role as New York City’s hero and spending time with Gwen. But being Spider-Man comes at a price: only Spider-Man can protect his fellow New Yorkers from the formidable villains that threaten the city. With the emergence of Electro (Academy Award® winner Jamie Foxx, Best Actor,Ray, 2004), Spider-Man faces his greatest battle yet.

Marc Webb returns to direct THE AMAZING SPIDER-MAN 2™, which also stars Dane DeHaan as Harry Osborn (a.k.a The Green Goblin) with Academy Award® nominee Paul Giamatti (Best Supporting Actor,Cinderella Man, 2006) as Aleksei Sytsevich (a.k.a. The Rhino), and two-time Academy Award® winner Sally Field (Best Actress: Norma Rae, 1979; Places in the Heart, 1984) as Aunt May.

Fans will be excited to explore the Blu-ray exclusive bonus features, which include the six-part, behind-the-scenes documentary, “The Wages of Heroism: Making The Amazing Spider-Man 2,” which includes more than 100 minutes of immersive featurettes detailing the heroic efforts needed to bring the film to life. Exclusively available on Blu-ray are nine all-new deleted scenes with commentary by Marc Webb, including the scene “Peter Meets His Father.” Both the Blu-ray and DVD versions of THE AMAZING SPIDER-MAN 2™ include a Filmmaker Commentary, four deleted scenes and Alicia Keys’ “It’s On Again” music video.


Synopsis:
It’s great to be Spider-Man (Andrew Garfield). For Peter Parker, there’s no feeling quite like swinging between skyscrapers, embracing being the hero, and spending time with Gwen (Emma Stone). But being Spider-Man comes at a price:only Spider-Man can protect his fellow New Yorkers from the formidable villains that threaten the city. With the emergence of Electro (Jamie Foxx), Peter must confront a foe far more powerful than he. And as his old friend, Harry Osborn (Dane DeHaan), returns, Peter comes to realize that all of his enemies have one thing in common: Oscorp.
THE AMAZING SPIDER-MAN 2™ is directed by Marc Webb from a screen story by Alex Kurtzman & Roberto Orci & Jeff Pinkner and James Vanderbilt, a screenplay by Alex Kurtzman & Roberto Orci & Jeff Pinkner and based on the Marvel Comic Book by Stan Lee and Steve Ditko. E. Bennett Walsh, Stan Lee, Alex Kurtzman and Roberto Orci serve as executive producers with Avi Arad and Matt Tolmach as producers.

Blu-ray & DVD Bonus Features Include:
§ 4 All-New Deleted Scenes with Commentary by Marc Webb
§ Filmmaker Commentary
§ Alicia Keys “It’s On Again” music video

Exclusively Available on Blu-ray:
§ 9 Additional Deleted Scenes with Commentary by Marc Webb, including “Peter Meets His Father”
§ “The Wages of Heroism: Making The Amazing Spider-Man 2,” featuring revealing, in-depth segments including:
o “Lessons Learned: Development and Direction” – Filmmakers and cast discuss their approach to the sequel and their efforts to make it the best Spider-Man yet.
o “Heart of the City: Shooting in New York” – A behind-the-scenes look at the film’s unprecedented access to New York City during production.
o “Triple Threat: Attack of the Villains” – An inside look at the development of Spider-Man’s fearsome foes, Electro, the Green Goblin and Rhino.
o “A More Dangerous World: Transforming Electro and the Green Goblin” – From make-up to costuming, see what it took to transform Jamie Foxx and Dane DeHaan into their fearsome alter-egos.
o “A Bolt From the Blue: Visual Effects” – Sony Pictures Imageworks artists and animators show how they created the gravity defying, web-slinging and pumped-up action in the new film.
o “Spidey Gets His Groove Back: Music and Editing” – Learn how the film’s soundtrack and score came together in this behind-the-scenes look at jam sessions with Composer Hans Zimmer and the team of master musicians he assembled, including Pharrell Williams, Johnny Marr, Michael Einziger and more.

Exclusive to the DVD:
§ New Public Service Announcement for the Worldwide Orphans Foundation (WWO), featuring Andrew Garfield & WWO CEO Dr. Jane Aronson

THE AMAZING SPIDER-MAN 2™ has a run time of about 142 minutes & is rated PG-13 for sequences of sci-fi action/violence.

Visit Sony Home Entertainment on the Web at www.SonyPictures.com.

“Academy Award®” is the registered trademark of the Academy of Motion Picture Arts and Sciences.

SONY PICTURES HOME ENTERTAINMENT
Sony Pictures Home Entertainment (SPHE) is a Sony Pictures Entertainment (SPE) company. Sony Pictures Entertainment (SPE) is a subsidiary of Sony Entertainment Inc., a subsidiary of Tokyo-based Sony Corporation. SPE's global operations encompass motion picture production, acquisition and distribution; television production, acquisition and distribution; television networks; digital content creation and distribution; operation of studio facilities; and development of new entertainment products, services and technologies. For additional information, go to http://www.sonypictures.com.

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TV Review: Fargo “Morton’s Fork” By: Brandon Wolfe

TV Review: Fargo “Morton’s Fork”
By: Brandon Wolfe

Malvo on the loose is what ‘Fargo’ boils down to in its final hour. His resurgence sends a shockwave of fear through the entire town of Bemidji. Like Michael Myers in the ‘Halloween’ movies, he’s an unstoppable killing machine set loose on a small town that isn’t prepared to deal with things like him. All that’s missing is for Donald Pleasance to pop up and frantically tell Molly and Gus that evil has descended upon them. But Malvo’s return also means that old scores must be settled. While some, like the front desk clerk at the police station, are petrified that he’ll pop up out of the ether at a moment’s notice, there are others that have unfinished business with this monster that they set out to tie off.



That Malvo does get taken down is not a huge surprise, I suppose. He is the show’s central villain, after all, and this is the finale. It is, however, a mild surprise that he CAN be taken down. He has seemed so otherworldly in his competence and his sheer commitment to evildoing that the show had started to hint that perhaps he was a supernatural force, possibly even the devil himself. Even in this episode, Molly puts forth the theory that Malvo is “maybe not even a man.” But Malvo is indeed mortal, and the real surprise of “Morton’s Fork” comes with the identities of the parties who wind up exposing that mortality. It’s Lester who springs the trap that sends Malvo scurrying back to his lair with a bloody, fractured leg, the student besting the master at his own game. But when Malvo is finally put down for good, it isn’t Molly who does it, as many might have guessed. Nor is it Agents Budge and Pepper, the disgraced FBI duo itching for vengeance against Malvo, but who prove no match for him. It’s cowardly old Gus, whom fate tips off to Malvo’s location with the heavily symbolic signpost of a wolf in the road. Gus lies in wait for Malvo to return and when he does, Gus reveals that he has solved the predatorial riddle that Malvo posed to him long ago before putting a series of bullets into the man. And he was indeed just a man, even if it took an unusually large amount of bullets to officially prove it.

“Morton’s Fork” is a satisfying finale, but like the ‘Breaking Bad’ finale, it’s perhaps satisfying in a bit too clockwork of a fashion. Everything happens that needs to happen, we get our catharses, but for a show that kept us guessing from week to week, it’s hard to shake the feeling that ‘Fargo’ could have surprised us a bit more in its denouement. Malvo is dead, Lester’s crimes are brought to light, Gus gets his heroic redemption, Molly gets her family and her new position as chief of police and all is right with the world. It works, but it feels a little too neat and tidy for a show that always seemed refreshingly difficult to pin down. Plus it’s hard to grasp why the Budge and Pepper characters were given the prominence that they were afforded in this final batch of episodes, considering they don’t really do or affect anything and suffer the same fate that befalls all cops assigned to guard the house of a killer’s target in works of fiction. I can only assume that executive producer Noah Hawley is simply a big Key and Peele fan.

But looking at it another way, “Morton’s Fork’s” happy ending does register as a surprise of sorts. Given how bleak ‘Fargo’ had been up to this point, an ending where Malvo wins and leaves more devastation in his wake didn’t seem out of order. Like the finale of ‘True Detective’, another show that wallowed in gloom and doom, ‘Fargo’ lets some light in during its final moments, finding a note of optimism to oppose the ugly world it had previously presented us. Similar to the film upon which it’s loosely based, the show opts to champion decency and goodness in a universe that increasingly seemed to have little use for those things. When Bob Odenkirk’s Bill reveals to Molly that he can no longer stomach the nastier aspects of his job – a nice, humanizing moment for the character that directly calls to mind the Coens’ ‘No Country For Old Men’, a film that this series seemed to take as much inspiration from as it did from ‘Fargo’ – Molly reassures him that goodness still exists in people. The Malvos and Lesters of the world don’t erase that, they just occasionally obscure it.

‘Fargo’ was a true shock this spring. There was no reason to expect anything from a TV adaptation of an almost 20-year-old film, especially a film as heralded as that one. It seemed like a pointless trade on name recognition, interesting only for the actors it had managed to attract. But the series was a true original, brilliantly written, perfectly acted and constantly compelling. It will be interesting to see how the show will proceed from here. Hawley has stated that the series would adopt an anthology approach for subsequent seasons, and would focus on a new set of characters and circumstances next year. ‘True Detective’ is also using this method, but that show has it a bit easier. Its only obligation is that it needs to center around detectives. It could otherwise take any form or setting that it chooses. ‘Fargo’ on the other hand is essentially locked into crime and quirkiness in snowy Minnesota. That’s a narrow set of parameters. But ‘Fargo’ already bucked the odds once. There’s no reason to doubt it again.

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

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Tuesday, June 17, 2014

TV Review: 24: Live Another Day “6:00 PM – 7:00 PM”

TV Review: 24: Live Another Day “6:00 PM – 7:00 PM”
By: Brandon Wolfe

One of ‘24’s’ most harrowing moments occurred in the third season, when terrorist mastermind Stephen Saunders ordered the death of CTU higher-up Ryan Chappelle. Instructed to present Chappelle’s body by the end of the hour under the threat of further biological attacks on the public, Jack spent every second he had left hunting down any lead he could before being forced to escort Chappelle to the rendezvous point and execute him. It was raw, disturbing and powerful, and all these years later, it still stands as one of the show’s most memorable moments. So it’s not surprising that ‘24’ would try to recreate that moment. ‘24’ recreates every moment. It keeps its favored handful of tropes on a repeat cycle at all times. Really, the only surprise is that it took so long for them to pull this move out again.



It’s President Heller who finds himself in Chappelle’s shoes this time, having been ordered to surrender himself to Margot Al-Harazi by 7:00 to be executed. Heller, who is feeling useless and feeble due to his early onset of Alzheimer’s, is more than willing to capitulate to Margot’s demands and requests that Jack and Mark Boudreau assist him in getting to Wembley Stadium to meet his fate without alerting either the Secret Service or Audrey to what’s going on. Jack has strong reservations about playing a role in this. He places too much value in the Office of the Presidency, to say nothing of Heller as a man, to allow it to be throttled by the whims of a terrorist. But Jack is also very big on self-sacrifice, so he can understand Heller’s side of it and agrees to take the President to the stadium while Boudreau runs interference. It’s a frankly ridiculous plan. While the threat of drone attacks against London is extremely dire, the repercussions of allowing a terrorist to assassinate a sitting U.S. President on foreign soil would arguably have farther-reaching consequences. And though ‘24’ likes to have its characters parrot the “we don’t negotiate with terrorists” company line, that maxim is never upheld, for the show sees far more dramatic value in its heroes’ willingness to make the ultimate sacrifice than it does with them exhibiting steely resolve in the face of a threat.

While one might initially suspect that Heller has some ulterior plan to draw Margot out and use Jack to nab her, that quickly falls by the wayside as Heller’s actions and demeanor become far too elegiac for him to be up to anything other than serving himself up on a platter. And on any other show, when Heller is successfully annihilated by a missile strike, it would be a shocking moment, but this is ‘24’, a show that kills off major characters only slightly less frequently than it takes commercial breaks. We have no doubt that Heller will be killed as promised. It would have been more shocking if he’d survived. Yet it should be noted that the moment does land with an appropriate amount of gravity, in spite of how silly and contrived the circumstances that led to it had been. Much of this is a credit to William Devane, who sells the weight of Heller’s sacrifice like the old pro that he is. Devane has been an asset to ‘24’ because he is an actor who is positively brimming with personality on a show that doesn’t really have much use for the stuff. ‘24’ likes its characters to be icy exposition dispensers, but Devane couldn’t help but add some color into his character, to the show’s great benefit.

The Heller material is the meat of “6:00 PM – 7:00 PM” and the other bits of business don’t add up to a whole lot. We’re still slogging through that Steve Navarro subplot, where the CIA station head is attempting to tie up the loose end of Jordan Reed, who has been shot by the hitman dispatched to take care of him. Reed - a computer analyst, mind you - somehow manages to get the upper hand against the trained killer and survives, leaving Navarro scrambling to clean up the mess. This entire subplot is dead weight, concerning characters we barely know and don’t care about over a matter of no consequence to us, and it stands as yet more evidence that ‘24’ doesn’t really know what to do with itself when Jack isn’t around. The show always thinks it needs to include filler like this to give them something to cut to whenever Jack is commuting between places. I’d rather watch Jack’s commute.

The other plot thread this week is with Morgan’s efforts to have the doctors treating Simone Al-Harazi revive the patient for questioning, in spite of the fact that she’s in an induced coma awaiting major surgery. When verbal implorations don’t work, Morgan opts to pull the signature Bauer move of pointing a gun at the doctor and forcing him to revive Simone, regardless of the risk doing so may pose to her life (as Jack puts it in a brusque-even-for-him way, “Wake the bitch up.”). Again, this is ‘24’ playing its greatest hits. Its only slight variation is giving this old chestnut to a character other than Jack himself. The show has been grooming Morgan into becoming something of a She-Bauer (it pulled the same trick in its original run with the Renee Walker character) and providing her with such a classic bit of misuse of force helps to solidify it. Morgan is the new Jack.

“6:00 PM – 7:00 PM” is the 200th episode of ‘24’, a milestone that’s at once shocking and not at all shocking. Using basic math, it’s simply the number 24 multiplied by eight and then adding these ‘Live Another Day’ episodes to that total. Also, this is a show that debuted in 2001, which might as well be an entire lifetime ago; it’s been plugging away for a good long while. So the numbers make sense when you parse them out like that, yet it’s still a little astonishing that the show has managed to climb to such a peak. It was once almost impossible to imagine that a show with such a limiting gimmick and concept could manage to get past two or three seasons. There are some who would argue, not without good reason, that maybe it shouldn’t have exceeded that point. Yet ‘24’ endures, its formula so calcified that it’s become its own institution. Like the James Bond series, you know the beats by heart, but you hum along all the same. There was a time, back when the show was a regular yearly grind, when this grew frustrating, but ‘Live Another Day’ has proven that the old Jack Bauer song-and-dance still has its pleasures with the benefit of some distance. It’s hard to imagine ‘24’ hitting anywhere near another milestone like this, but here’s to hoping it has another day or two left to live.

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

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TV Recap: Game of Thrones "The Children"

TV Recap: Game of Thrones S04E10: The Children
By: Sue

It’s the finale already, and I’m just not sure anyone is ready for this. There is so much aftermath to be dealt with still, Tyrion and the battle at the wall are certainly on top! Let’s begin!



Jon Snow marches out beyond the wall. Jon allows the wildlings to surround him, raising his hands in surrender as he goes to speak with Mance. They notice he’s wearing a black cloak again, and in his best batman voice he tells Mance that he’s come to negotiate with them. It’s a disappointment that he’s a crow once more, Mance tells him. He was always loyal to the night’s watch, Jon explains, he did what half-hand told him too. Mance asks about Ygritte, if he was enough to turn her, he wasn’t. Jon tells Mance that she put three arrows into him when he left, and she died. They drink to her. Mance is impressed with the crow’s efforts, they speak of their fallen, Mance’s Giant, and Jon’s friend Grenn, and drink to them. Jon tells Mance to go back, to stop this war. Mance knows that Jon doesn’t have nearly as many men as he’s boasting to have. Mance is completely honest with Jon. They aren’t there to conquerer, but to hide behind it. Winter is coming. Mance offers him his own bargain. Jon can return and open the gates, and there will be no bloodshed, or Mance can come and kill every last one of them. Mance figures out that Jon came to kill Mance. He wonders if Jon is capable of the deed after he just offered Jon peace. A horn is sounded, it isn’t the crows though, they don’t have enough men. A large force heads towards the wildlings, they come from both sides, and slaughter the group. Mance can only watch in shock as his men fall around him. He orders them to stand down, his people have bled enough. Leading the group is Stannis Baratheon. Well, surprise, surprise, he finally shows up. Mance throws his weapons to the ground before Stannis, and Stannis makes his introduction. Stannis wishes Mance to kneel, but wildlings do not kneel. Mance and his men are taken away. Davos asks what the Night’s Watch is doing in a Wildling camp, and Jon tells him he came to discuss terms with the King Beyond the Wall. Davos reminds Jon that he is speaking to the one true king. Jon addresses Stannis, and introduces himself properly. Stannis knows that his father Ned was an honorable man, and asks what he should do with Mance. Mance took Jon prisoner once, and he treated him well, he suggests that he take Mance prisoner, and listen to what he has to say. Stannis agrees with Jon. Jon has one further suggestion, to burn the dead, all of them.

The Maester looks over the Mountain’s wounds, he’s been poisoned by the Viper’s blade. He’s been poisoned by the venom of the Manticor, they don’t know a whole lot about the venom. The Maester thinks that the Mountain is too far gone, but his assistant has other thoughts. He isn’t a Maester, grand or otherwise. Cersei dismisses the Grand Maester, and allows his assistant to do what he can to save the Mountain. He warns that the process may change him. It will not weaken him, so Cersei is on board.



Cersei goes to see her father about her betrothal. She does not wish to marry Loras, but he is adamant that she will. Her role in the future of the Lannister’s is pivotal, now more than ever. Jaime cannot inherit land, Tyrion is about to die, so Cersei is all they have left. Cersei doesn’t want to listen to anymore of Tywin’s tales of times he’s won. When he came to the rescue them at the Battle of Blackwater, she was about to kill Tommen, to ensure he didn’t suffer a worse fate. She is willing to go the distance for her family, but she will not let outside forces tear them down. She knows that Marery will do just that, that she and Tywin will tear apart Tommen for control. She warns Tywin, that if she is forced to, she will out her own secret, that her children are products of incest. Her father never believed the rumors, he was too consumed by the idea of them without actually seeing them. Tywin claims to not believe, but Cersei knows that he does as she smugly walks away.

Cersei goes to see her next victim. She goes to see Jaime. He asks if she’s happy about her latest victory, telling her that she doesn’t get to chose her family. Cersei thinks that she does. She still hold a grudge towards Tyrion, blaming him for his birth, and their mother’s subsequent death, so she is very happy with the outcome. But she’s come to tell Jaime that she chooses him. Jaime cannot believe his ears. She kisses him and tells him that she told their father. She doesn’t want to speak of Tywin anymore. She knows that people will talk, but she no longer cares, and Jaime takes her on the table.

Daenerys has quite the impressive number of titles now as she is announced to Fennesz, a former slave and tutor. He taught the children of his master many things of history, including her own. He tells her that when she took the city, the children begged him not to leave, but he and his master thought it best if he did. Since then he has been homeless. The Khalessi has provided barracks and mess halls for those freed, but it is not for him. The young pray on the old. Dany vows for the unsully to make them safe, but that is not what he wants. Even if they are safe, then he still has no place, he wishes to be sold back to his master. Dany cannot understand how he would want to be owned by a goat. Fennesz thinks her rule is good for the young, but for the old, it is too much change. She did not take the city to force them into anything more than freedom. She tells him he is allowed to sign a contract, for no more than a year. Fennesz thanks her. Barristan tells her that the masters will take advantage of this, they will use her mercy to enslave the people once more. Another man approaches with a bundle in his arms, she allows him to approach. He does not understand her words, Missandei translates for him. He tells his queen that the black one came from the sky. He opens up the bundle, it is the charred bones of his three year old daughter. Drogon has not been spotted since. She tells Grey Worm to meet her in the catacombs. Dany brings her two other dragons below to the catacombs. Like obedient children they head below, and they find the meat that has been planted for them, but they do not see the danger as they eat. Chains have been prepared for them. As they feast, Dany chains her children. With the collars in place she walks away, and only then do they see what has happened. They see their mother leave them, and they squall like toddlers. Dany closes them inside. That has to be the biggest mistake yet.

Maester Aemon survived the battle on the wall. He says a few words over the fallen brothers. Their watch has ended. He prepares the funeral pyres. Jon is among those watching, as well as Stannis and his men. All of the bodies are burned. Melisandre looks at Jon through the fires. Tormund asks why their blind man patched him up. Jon tells him that it is the Maester’s job to patch up all men, friend or foe. Tormund wonders what his fate will be, presumably torture before death. He will not be tortured, but Jon does not know what will be done in truth. Tormund asks if he is king, but Jon says that they have no king on the wall. He has been a wildling too long Tormund muses, he will not be a kneeler again. Jon tells him that they will burn their dead, and asks if they have any words, but the dead cannot hear, so they have no words. Tormund asks if Jon loved Ygritte, because she loved him. She never spoke the words, only those of wanting to kill him, and that said it more than anything else. He tells him that she belongs in the North, the real North. Jon understands him. He takes Ygritte’s body out in the woods, and builds a proper burial pyre for her, and he lets her go.

Hodor, Jojen, Meera, and Bran press ahead through the snow. Meera asks if he would like to rest, scared that they aren’t going to make it, but they already have. On the top of the next hill lies a great Godwood. The sun shines beautifully upon it. The small group is nearly there, when something grabs Jojen from beneath the snow. Meera makes a leap towards him, trying desperately to save him from the skeletal hands that hold him. Hodor panicks, and Bran tells him to help them. Meera manages to free Jojen, but the skeletons rise all around them. Meera fights them off, one crawls up Bran’s body, but Summer takes care of it. Hodor is overwhelmed, and Bran finally wargs and takes him over. Hodor throws off his two, and helps Meera with the rest. Jojen calls out to Bran to save himself, as more of the skeletons rise from behind him. Meera and Hodor destroy all save for one, which viciously stabs Jojen in the gut repeatedly. The pair of skeletons coming towards Bran are blasted by some sort of lightening balls. And a girlish figure calls to Bran and the others to come with her, or perish along with Jojen. Meera hesitates, but Jojen tells her to leave him. She slits his throat mercifully as more of the skeletons rise. Hodor grabs Bran and they follow the being to safety. Jojen’s body is blasted, as they run to the safety of the cave beneath the tree. Only a little further and they would have all lived, The skeletons cannot follow. The beings were called the Children by the first men, but they are much older than that, and she beckons them to follow her. “He” awaits them. Hodor is hesitant, he lies Bran down upon the floor before a large throne. Bran crawls his way forward. It is the three eyed raven, but now it is a man. Jojen knew what would happen if he brought them here, he knew from the start and still he brought them. Bran has come to him at last, though the hour is late. Jojen died so Bran could find what he had lost. He will never walk again, but he will fly.

Brienne and Podrick wake to find their horses gone. Podrick thinks it may have been thieves. Brienne is not pleased at all, its still thirty miles to the Eyrie. She crests a hill and spots Arya practicing with Needle. She warns the Hound that his business can wait, that there are people coming. Brienne asks if they are close to the gate, and it’s only ten more miles. Arya asks if she’s a knight, she is not, but she knows how to use the sword. Ayra asks for the swords name. She asks who taught her to fight. Her father did, and although he didn’t want to teach her to fight either, Brienne kept fighting the boys and losing, so he finally taught her. Brienne greets the Hound. Podrick recognizes him instantly, and once she hears his name, she recognizes Arya. She tells Arya that she swore to her mother that she would bring her home. Arya asks her why she didn’t save her mother. She was tasked with taking Jaime back to Kings Landing. The Hound thinks that Brienne has come for the bounty on his head. She hasn’t, but she’s still carries Lannister gold. Brienne tells them the sword came from Jaime, which does nothing to quell the Hound’s fears. Brienne speaks of her vows, but Arya doesn’t care about her vows. The Hound makes it clear that Arya is not coming with her. Brienne tries to appeal to her again. The Hound tells her that there is no safety, and if she doesn’t know that by now then she’s the wrong one to watch over her. Brienne doesn’t believe that’s what he’s doing, but that’s exactly what he’s been doing. Brienne draws her sword on the Hound, and the two engage in quite the fight. Brienne brings the Hound to his knees, but she doesn’t want to kill him. The Hound is no knight, so he fights a little dirty. He grabs her sword, and butts it against her, bringing her down. She fights back like a girl, hitting him between the legs. The two begin brawling, its awful and vicious. Brienne manages to throw the Hound down the hill. She calls for Arya, but she cannot find her. Arya has disappeared, she slipped away as Podrick watched Brienne. Arya looks below where the Hound has fallen. She climbs down to him. He’s bloody and broken. He tells her that the big bitch saved her, but she tells him that she doesn’t need saving. The Hound knows that he is finally done. He cannot believe that he will be killed by a woman. He tells Arya to go on, to find Brienne, that she’ll help her. He doesn’t think Arya will last a day without her. Arya tells him that she’ll last longer than him. He’s ready to die, he tells her to do as she’s promised him that she would to take his name off her list, to kill him. He taunts her that he killed the butcher’s boy, how he begged for mercy, how he bled all over his horse. The Hound tells her about Sansa, how he should have taken her pretty sister and raped her, then he’d have atleast one happy memory. Still Arya does not move. The Hound asks if he has to beg her, asking her to do it. He quivers, begging her to kill him. Arya finally rises, and comes to him. She takes his gold, but not his life. She leaves him there, as he shouts for her to kill him. That has to be the saddest thing ever, and I will miss Rory McCann, he was an excellent Hound.

Tyrion awaits for his own death in his cell. It’s only a matter of time, and he wishes they would hurry up with it. Jaime arrives to spring Tyrion from his cell. Tyrion asks who’s helping him. Varys is, he has more friends than he thought. Jaime tells him to go to the locked door and knock twice and Varys will open it, and get him to safety. Tyrion and Jaime embrace for the last time, and say goodbye. Tyrion thanks him for his life, as he heads away. All Tyrion has to do is go up the stairs, to safety, instead he goes through a trap door and heads to the Hand’s tower. He finds Shae in his father’s bed. The heartbreak is all over Tyrion’s face. Shae grabs a knife from the table nearby, and Tyrion springs on her. He gets the knife away from her and as she slaps at him and tries to hurt him he strangles the life out of her with her own necklace. She really was just a whore, and he loved her. This betrayal cuts deeper than that of his sister’s. Tyrion removes the crossbow from the wall, and pays his father a little visit on the crapper. He asked who released him, but he already knows that it was Jaime. He wishes to speak in his chambers. Although he’s always wished Tyrion’s death, he has always fought for life, and Tywin claims to actually respect that. He tells Tyrion that he would never have let them take his head, he’s a Lannister after all. Tyrion asks about Shae, tells him that he killed her with his own hands. Tywin tells him that it doesn’t matter, that she was a whore. Tyrion raises the bow once more, and still Tywin doesn’t think he’ll kill his father in the privy. Tyrion damns his soul, knowing that Tywin knew that he didn’t poison Joffery. He wants to know why he sentenced him all the same. Tywin wants to go down and talk in his chambers, but Tyrion can’t go back there, Shae’s body is there. Tywin makes the mistake of calling her a whore again, and Tyrion shoots him in the chest. Tywin cannot believe that his son actually did it, as Tyrion loads another bolt. Tywin denounces him, but Tyrion has always been his son. He shoots him one last time, and walks to Varys room. Varys asks what he’s done. He loads Tyrion into a box, one like his former master was kept in, and asks for Tyrion to trust him. The crate is loaded onto a ship, and Varys takes a final look at King’s Landing, before heading aboard the ship himself. Varys will ride with his crate to distant shores.

Arya rides upon her horse alone. It’s all very Neverending Story Atreyu. She rushes towards a ship being loaded, and speaks to the captain. She wishes to go North to the wall. He tells her that she doesn’t want to go there, there is nothing there. She tells him that she can pay, and she’s willing to work as well. He isn’t going North though, the ship is headed home to Braavos, and he doesn’t want her money. She has something else, the coin from Jaqen H’ghar she speaks the words “Valar Morghulis.” He gives her a cabin, and they set sail. Arya is finally headed to Braavos, and with that we end our season.

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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