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Friday, August 12, 2016

Mr. Church Trailer Starring @eddiemurphy

Mr. Church is set primarily in 1970s Los Angeles starring Eddie Murphy and Britt Robertson. The story is based on the life of writer Susan McMartin. The film co-stars Natascha McElhone, Xavier Samuel, Lincoln Melcher, Lucy Fry, Christian Madsen, Mckenna Grace, Lincoln Melcher and Thom Barry.



The film debuted on April 22, 2016 at the Tribeca Film Festival.

The film is scheduled to be released on September 16, 2016, by Cinelou Releasing.

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WAR ON EVERYONE Trailer Starring Alexander Skarsgård & Michael Peña

Award-winning writer-director of THE GUARD & CALVARY, John Michael McDonagh crosses the globe for his much-anticipated third film, a jet-black action comedy starring Alexander Skarsgård, Michael Peña and Theo James.



In Albuquerque, New Mexico, Terry Monroe (Skarsgård) and Bob Bolaño (Peña) are two corrupt cops who set out to blackmail and frame every criminal unfortunate enough to cross their path. Things take a sinister turn, however, when they try to intimidate someone who is more dangerous than they are. Or is he?

Known for his distinctively witty sensibility and confrontational humour, McDonagh previously wrote and directed the acclaimed drama Calvary, starring Brendan Gleeson, and offbeat comedy The Guard, also starring Gleeson alongside Don Cheadle, which became a worldwide sleeper hit.

WAR ON EVERYONE stars Alexander Skarsgård (Tarzan, Melancholia, True Blood), Michael Peña (Ant-Man, Fury, End of Watch) and Theo James (Insurgent, Divergent). Joining in supporting roles are Tessa Thompson (Selma, Dear White People), Malcolm Barrett (The Hurt Locker, My Best Friend’s Girl), Caleb Landry Jones (X Men: First Class), Paul Reiser (Concussion, Whiplash), Stephanie Sigman (Spectre, Miss Bala) and David Wilmot (The Guard, Calvary, ‘71).


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PASSENGERS First Look At Jennifer Lawrence & Chris Pratt

EW got thierhands on these photos from Sony Pictures’ PASSENGERS, starring Jennifer Lawrence and Chris Pratt, directed by “The Imitation Game” helmer, Morten Tyldum.

See all the images after the Jump...



Scripted by Jon Spaihts (“Doctor Strange”) and to be directed by Morten Tyldum
The story revolves around a spacecraft transporting human cargo to a distant colony planet that malfunctions causing one passenger to prematurely thaw from a cryogenic slumber nearly a century before anyone else. Afraid that he might die alone, he awakens a second passenger, a beautiful woman marking the beginning of what becomes a unique love story.

PASSENGERS arrives Dec. 21, 2016.

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Enter For A Chance To Win Tickets To See HANDS OF STONE In PHOENIX

Enter for a chance to see HANDS OF STONE on August 23rd at 7:00 PM in PHOENIX.



HANDS OF STONE follows the life of Roberto Duran (Edgar Ramirez), the Panamanian fighter who made his professional debut in 1968 as a 16 year-old and retired in 2002 at the age of 50. In June 1980, he defeated Sugar Ray Leonard (Usher Raymond) to capture the WBC welterweight title, but shocked the boxing world by returning to his corner in their November rematch, famously saying the words “no mas” (no more.)



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Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast
CLICK HERE TO ENTER-

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NO PURCHASE NECESSARY

Rating: R for language throughout, and some sexuality/nudity
Opens: Friday, August 26th nationwide

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 your belongings and person 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. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability.

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Superman Sequel Is Still Alive

Looks like Superman is alive! Shocking, we know. But though his story seemed to be sidelined in service to building the Justice League, it appears Warner Bros. is still very much committed to giving Henry Cavill's Supes another stand-alone film.

The Wrap's sources are telling the site that despite a relative silence over plans to create a Superman-focused sequel to Man Of Steel (Batman V Superman was originally in development as such, but evolved into the super-slugfest instead), the wheels are very much still in motion. Superman is, apparently, still a high priority for the studio, with talk of getting the character "right", which seems a little late given he's already been in two big movies.

Nothing has been said of what this film might entail, or when it might arrive, though amidst all the confirmed titles, there are a couple of unnamed movies lurking on Warners and DC's schedule for October 2018 and November 2019, so perhaps Superman's new adventure could find a home in that second spot, once Batman (assuming the Ben Affleck co-written/directed/starring film is ready in time) has had his stand-alone fun.

With Suicide Squad now out, the DC universe next welcomes Wonder Woman's first solo adventure, featuring Gal Gadot and the origin of her Amazonian warrior in June 2017, with Superman back alongside Bats and joined by the other heroes in the first Justice League, which lands November the same year.

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Enter For A Chance To Win Passes To See DON'T BREATHE In PHOENIX

Enter for a chance to see DON'T BREATHE on August 23rd at 7:30 PM in PHOENIX.

DON'T BREATHE is a horror thriller film directed by Fede Alvarez and written by Alvarez and Rodo Sayagues. The film stars Jane Levy, Dylan Minnette, Daniel Zovatto, and Stephen Lang.


Rocky, a teenage delinquent living with neglectful parents, promises her younger sister to move away with her. Looking for the right amount of cash to run away with in order to do so, her boyfriend, Money, convinces her to break into the home of a blind man who supposedly has a safe in the basement. Breaking in the middle of the night with her friend Alex, they discover the blind man is not as helpless as he seems.

See how to enter after the Jump...


Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast


CLICK HERE TO ENTER-


NO RECORDING

Rating: R for terror, violence, disturbing content, and language including sexual references
Opens: Friday, August 26th nationwide

NO PURCHASE NECESSARY

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 your belongings and person 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. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability.

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Enter For A Chance To Win Passes To See DON'T BREATHE In Las Vegas

Enter for a chance to see DON'T BREATHE on August 23rd at 7:30 PM in Las Vegas.

DON'T BREATHE is a horror thriller film directed by Fede Alvarez and written by Alvarez and Rodo Sayagues. The film stars Jane Levy, Dylan Minnette, Daniel Zovatto, and Stephen Lang.


Rocky, a teenage delinquent living with neglectful parents, promises her younger sister to move away with her. Looking for the right amount of cash to run away with in order to do so, her boyfriend, Money, convinces her to break into the home of a blind man who supposedly has a safe in the basement. Breaking in the middle of the night with her friend Alex, they discover the blind man is not as helpless as he seems.

See how to enter after the Jump...


Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast


CLICK HERE TO ENTER-

NO RECORDING

Rating: R for terror, violence, disturbing content, and language including sexual references
Opens: Friday, August 26th nationwide

NO PURCHASE NECESSARY

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 your belongings and person 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. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability.

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Movie Review: #FlorenceFosterJenkins

Florence Foster Jenkins demands your laughter, then punishes you for even thinking about it.

Review by Matt Cummings

To be fair and completely honest, the period dramedy Florence Foster Jenkins wasn't exactly on my list of summer-must-sees; and to its credit, the film is well cast, proficiently acted and directed, and looks terrific. But the final effect is missing something, and I think I have the answer.

For New York patron of the arts Florence Foster Jenkins (Meryl Streep), life for the 1940's socialite is filled with music and lavish gatherings. But Florence hides two important secrets: she contracted syphilis from her first husband, and as a result she cannot hear herself too well. She also desires to be an opera singer, but is blissfully unaware that she can't sing. I mean she's awful, dreadful, even comical according to some. But her husband St Clair (Hugh Grant) dutifully supports her anyways by hiring a pianist Cosme (Simon Helberg), who is also unaware of her issue until she begins to belt out one disaster after another. Florence also doesn't realize that St Clair has a rowdy girlfriend (Rebecca Ferguson), and that he dashes out at night while her illness has left her bald and quite physically damaged. As her desire to perform in public grows (but her singing fails to improve), Cosme and St Clair struggle to keep Florence grounded, even though she books an evening at the venerable Carnegie Hall. Unaware of the impending wave of negative criticism she's about to unleash against herself, Florence Foster Jenkins steps onto the stage determined to live out her life's ambition, even if it kills her.

At first glance, one might assume that FFJ is all about a self-delusional woman whose incredible wealth allowed her to live a life that many would consider overly privileged. But the film directed by Steven Frears attempts to make Jenkins both a comic figure and a tragic lesson about the vanity that can sometimes upend people in their pursuit of dreams they have no business attempting. While I'm not one to squash someone's dreams, the sheer lunacy of singing in public when one simply cannot is a recipe for a disastrous end. And sadly, that's what happened: Jenkins, upon learning for the first time about her performance, suffered a heart attack two days later and died a month after that. It's a devastating ending to a story that seemed so prime for a feel-good moment; but FFJ too suffers from a serious shortfall that ultimately upends our appreciation and empathy for her.

Simply put, Florence Foster Jenkins fails because of Meryl Streep. I know that's hard to fathom, especially considering her amazing talent. But throughout the movie, one thing is clear: Streep is the star and therefore Frears has his camera centered on her. She's a force to be reckoned with, perhaps the best Hollywood has to offer. But that reputation forces creative teams to overly center their stories around her; and just like the disappointing rocker Ricki and The Flash, any (and all) potentially interesting side stories are brushed aside in favor of granting her center stage in nearly every shot. Her painful singing goes on for what feels like an eternity, and appears far too often. That forces nearly all the other stories to the side: we never learn if the high-voiced Cosme is gay (although lots of his mannerisms seem to spell it out), and Ferguson is so badly utilized that we never learn why St Clair has shacked up with her in the first place. I can't imagine it's due entirely to his sexless marriage, but it's clear that the creative team might not have a clue either.

Streep also seems like someone going through the motions of another overt Oscar run. Sure, her various quirks and lavish dress make her a perfect figure for her time, and Streep does get to the heart of Jenkins vis a vis tender looks or a regal reply that reminds you of her elevated station. But Streep is supporting a character who frankly I found myself pitying, not loving for her tenacity. Just because Kobe has money doesn't mean he should rap, and Jenkins is no different. That realization makes you feel uncomfortable, especially if you read of her demise after the harsh criticisms by The New York Post. That won't make you leave feeling good, nor will St Clair's marital infidelity. He's not the strong loving type until near the end when Ferguson's Kathleen dumps him. We can only support Cosme here, a young man thrust into an incredible situation that demanded every ounce of his patience. Heldberg does a fine job here, although my concerns about his backstory still hold him back from a Supporting Oscar nom. Grant's chances might not figure any better, because his role as philanderer is hard to get behind. Spend more time with that, and perhaps the real Grant comes to play.

There's also something problematic in crafting a story around a delusional character (see Suicide Squad). How can we fall in love with someone who isn't going to be a great (or even decent) signer, and who dies based on a sharp-tongued reviewer with no idea what she was trying to accomplish? Writer Nicholas Martin never gets to that point, choosing a more historically-accurate tale rather than breaking down the reasons behind it. Minus the approaching train wreck at Carnegie, there's no tension here; and without any chance of transforming herself, the story of Jenkins is almost a cautious one. The movie becomes a demand for our sympathy, forcing us to at once laugh at her incredible mediocrity and then feel bad for doing so when others begin to mock her. That's not an inspirational story to tell, although it's a historically accurate one. Credit the team for not finding a way to re-write this story for maximum Oscar effect.

Beyond that, the film is beautifully shot, and the CGI that re-creates New York is expertly handled. DP Danny Cohen - who shot The Danish Girl, Les Miserables, and Room - bathes every scene in warm colors and sharp accouterments. His stylized eye lends a heightened sense of reality to this story, and both he and Frears serve as mostly proficient tellers of this tragic comedy.

The marketing department behind Florence Foster Jenkins wants you to think this is some sort of comedic yuck-fest complete with Helberg's wide-eyed reactions somehow keeping this story afloat. But in a time when helicopter parents are (rightly) being scolded themselves for demanding everyone receive a medal for participation no matter the effort, Florence Foster Jenkins attempts to legitimize that argument by propping up this well-intentioned woman's tragic story for an obvious Oscar run. It's an effort that at once wants you to laugh at Jenkins, then scolds you for even thinking about it. That's not a winning formula, and perhaps a stronger indication of just how someone's idea of "inspirational" can actually seem relevant in our overly-negative time.

Florence Foster Jenkins is rated PG-13 for brief suggestive material and has a runtime of 110 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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Movie Review: #Anthropoid

Anthropoid is both a great character drama and a violent, bloody siege film.

Review by Matt Cummings

Among the chief complaints I have about Hollywood is their desire to modify a historical tale to make it either more pleasing or more dramatic. Adding new characters, or even changing the ending is like telling us the sky is really red or that Captain Kirk wears a blue shirt. Luckily, Director Sean Ellis's drama Anthropoid falls into none of the pitfalls of other Hollywood demands, turning in at once a great character drama and a terse action siege pic.

As the shadow of WWII sweeps over Europe, resistance cells throughout the continent struggle to keep Hitler's armies at bay. For agents Kubis (Cillain Murphy) and Gabcik (Jamie Dornan), the war has taken on new importance: they've been sent back to their home of Czechoslovakia to assassinate none other than SS General Reinhard Heydrich, the architect behind the Final Solution. The job will be difficult, especially since the resistance there has been reduced to a few men including Jan Zelenka-Hajský (Toby Jones). Faced with limited intelligence, Kubis and Gabcik make a bold move to assassinate Heydrich, touching off a fierce hunt by the Nazis and a bloody ending that could change the face of the war in Europe.

Anthropoid is a slow-burning assassination film, no doubt. There's lots of long stares and Director Ellis lays on the browns as both Dornan and Murphy are called upon to do the heavy dramatic lifting. For the most part, both do amazingly well with the material by Ellis and Anthony Ferwin. Murphy is an SJF fave, existing as one of the best (and perhaps least appreciated) character actors in the business. Here, he plays the dour but focused Kubis complete with piercing looks and absolutely solid acting chops. He really imbues Kubis with an 'all or nothing' mentality, especially when it's revealed that he's made no plans for escape. This plan will work or he will die. Dornan has been much maligned for his passive 50 Shades of Grey, but here he turns in a superior performance, granting Gabcik with both a sense of humanity and a hero's will that's tested early and often. The best part is that Dornan fails several times before the siege begins before becoming that hero in the last bloody 15 minutes. Like any successful film, Anthropoid needs its leads to come through and Dornan and Murphy certainly do that.

Anthropoid is the first film I've seen from Ellis, but he certainly doesn't disappoint. I appreciate much of what he does here, although it's safe to say that audiences might not think of the same for the first hour. When a broken teacup is the most action that happens as our team preps for the assassination, one might wonder if they've made a big mistake taking a chance on what's really a niche drama. But that's the beauty of Anthropoid, and the reality of spycraft: researching travel routes, prepping the location, making friends with the locals, all which leads up to the event. And when that happens, Ellis moves quickly into an even better war siege picture. He loves the handheld as the Nazis bombard a church where the conspirators are holed up, resulting in some of the most realistic close-quarters action we've seen this year. But he also succeeds at painting 1940's Prague in earthy and dreary tones, sending a strong message that both the human and action parts of this story deserve the same attention.

Some critics have complained that Anthropoid suffers from a lackluster start, an opinion I do not share especially when one considers Ellis' strategy. In building his story up slowly, Ellis reels us in for the final act, deepening the impact of what ultimately takes place. For Kubris and Gabcik, there's no escape, and Ellis boldly tells us a story of humans struggling for their freedom rather than succumbing to one that declares that all heroes survive, behind fiercely patriotic music and The Power Walk. That reality is either going to play very well with those who complain about Hollywood's 'happy ending' ultimatums or divide audiences who claim today's world feels unshakably similar to Anthropoid. Either way, this film is perfect for the independent cinema, an important film about the true cost of freedom and those individuals who get caught up in its defense.

Anthropoid shows us that great historically accurate stories can be as effective as those "based on a true story," and that independent film is still an effective conduit in which tell this relatively unknown tale. Filled with terrific performances and a stunning siege shootout, don't be surprised if its uncompromising ending leaves you a bit depressed. Others might find Anthropoid's early character development a little slow; but once it gets going you'll find yourself ready to join the resistance.

Anthropoid is rated R for violence and some disturbing images and has a runtime of 120 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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Movie Review: Sausage Party

Raunchy cartoon isn’t much of a party.

Review by Brandon Wolfe

The creative union of Seth Rogen and Evan Goldberg has produced a litany of contemporary comedic gems, from the instant-classic Superbad to the headline-making lightning rod (yet still curiously overlooked) The Interview. The duo may have ridden Judd Apatow’s coattails to success, but they’ve both done as much to mold the last decade’s comedy scene in their image as their mentor has. The Rogen/Goldberg enterprise hasn’t been flawless in its consistency (the recent The Night Before and Neighbors 2 being underwhelming showings), but these guys have proven time and again that they know funny, and even their misses contain no shortage of micro-hits.

This is what makes Sausage Party, the pair’s hard-R initial foray into animation, so perplexing. It’s an unqualified miss, a movie every inch as miscalculated and groan-inducing as it sounded in description and looked to be in previews. Any hope that Rogen and Goldberg knew what they were doing here, that they surely found a way to silk purse what seemed to be an obvious sow’s ear, is dashed fairly quickly. Sausage Party is precisely the movie you thought it would be, riddled as it is with facepalm food puns and filthy humor. It’s comedy botulism.


Essentially a ribald, foodstuff variation on Toy Story, the film opens with a sweeping musical number that introduces us to the edible denizens of Shopwell’s supermarket, a bustling, multicultural community that is home to Frank (Seth Rogen), a sausage living in a package with nine roommates, including Carl (Jonah Hill at his Jonah-Hilliest) and misshapen runt Barry (Michael Cera). Frank’s package is neighbored--in a curiously unrefrigerated display--by a pack of buns housing his love interest Brenda (Kristen Wiig), and the two of them share a dream of being “chosen” by the gods and entering the Great Beyond, the realm outside of Shopwell’s sliding doors.

That dream is shattered when a jar of honey mustard (Danny McBride) is returned to the store, bearing awful news of the gruesome, digestive horrors that actually await the food products in the outside world. After an apocalyptic shopping cart disaster displaces them from their packages, Frank and Brenda have to navigate the labyrinthine Shopwell’s world, teaming up with Woody Allen-ish Sammy Bagel Jr. (Edward Norton) and his archrival Vash (David Krumholtz), a Middle Eastern-accented lavash, as they are pursued by their vengeful nemesis, a literal douche (Nick Kroll speaking gym-bro).

If the name “Sammy Bagel Jr.” and the concept of a douchey douche are inherently funny to you, then congratulations on your recent fifth-grade graduation. Sausage Party has exactly two modes: anthropomorphic food makes cornball food jokes straight out of a bad TV commercial and then anthropmophoric food swears and talks about sex acts. The film is so awash in truly painful food gags that it’s almost as though Rogen and Goldberg were gunning for anti-comedy. Sausage Party plays exactly as if it were ghost-written by a playground. It’s the sort of thing you’d laugh your ass off while high as a kite and then immediately discard once you fell back to earth. Perhaps Rogen and Goldberg never came back down.


Sausage Party, with its hyper-filthy content and clumsy stabs at satire, seems to fancy itself a sibling to 1999’s South Park: Bigger, Longer and Uncut, but that film’s humor was truly inspired within its foxhole of wanton perversity and incisive in its cultural takedowns. Sausage Party is a movie that expects you to laugh when it names a stereotypically gay Twinkie “Twink.” There are inartful overtures toward such hot buttons as religious faith and cultural acceptance, but nothing that feels especially profound or witty. The film is so preoccupied with barn-door-broad racial stereotypes (Salma Hayek as a taco, Bill Hader doing Native American shtick as a bottle of booze named Firewater AND Mexican shtick as a bottle of tequila) that it would almost count as an act of bravery in the era of Twitter outrage if any of it were at all funny.

It just feels so incredibly lazy, as if Rogen and Goldberg were getting off on the idea that they’ve become such industry titans that they could even get something this indefensibly stupid financed, produced and released. Any notion that they were Trojan-Horsing something genuinely brilliant and incendiary under the cover of insipid juvenilia is in vain. The film does go to a few places in its final stretch—involving bath salts, human casualties and a go-for-broke food orgy--that does inch toward the subversiveness it clearly thinks is in play from the get-go, but none of it wipes away the bad taste from the typhoon of hackiness that has preceded it. Sausage Party is a grossly unappetizing feast whipped up by two guys who should know their way around the kitchen much better.

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



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Thursday, August 11, 2016

New Trailer For #ROGUEONE A STAR WARS STORY

Lucasfilm’s Rogue One, which takes place before the events of Star Wars: A New Hope, tells the story of unlikely heroes who have united to steal plans to the dreaded Death Star.



The cast includes Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Jiang Wen, Mads Mikkelsen, Alan Tudyk, Riz Ahmed, and Forest Whitaker. "Rogue One" is directed by Gareth Edwards, produced by Kathleen Kennedy, Allison Shearmur, and Simon Emanuel, executive produced by John Knoll and Jason McGatlin, and co-produced by John Swartz and Kiri Hart.

ROGUE ONE: A STAR WARS STORY Sizzle Reel-

"Rogue One: A Star Wars Story" opens in theaters December 16, 2016!

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New Poster For MASTERMINDS

Relativity Studios has just released a BRAND NEW Poster for their upcoming film, MASTERMINDS! In this action comedy inspired by true events, directed by Jared Hess (Napoleon Dynamite; Nacho Libre), David Ghantt (Zach Galifianakis) discovers the true meaning of adventure far beyond his wildest dreams. Along with a group of half-brained criminals led by Steve Chambers (Owen Wilson) and an absurdly faulted heist plan, David manages the impossible and makes off with $17 million in cash...only problem is he foolishly hands the money over to this wild group of double crossers and has been set up to take the fall.

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New Poster & Clip From #JackReacherMovie

The new film, a sequel to 2012’s “JACK REACHER,” is based on author Lee Child’s 18th book in the bestselling Jack Reacher series, Never Go Back. The film is written by Richard Wenk (“THE EXPENDABLES 2,” “THE EQUALIZER”), Marshall Herskovitz (“LOVE AND OTHER DRUGS,” “THE LAST SAMURAI”) & Zwick.





“JACK REACHER: NEVER GO BACK” also stars Cobie Smulders (“How I Met Your Mother,” “AVENGERS: AGE OF ULTRON”), Danika Yarosh (“Heroes Reborn,” “ hameless”), Austin Hebert (“Bonnie and Clyde”), Patrick Heusinger (“QUANTUM BREAK,” “GIRLFRIEND’S GUIDE TO DIVORCE”), Aldis Hodge (“STRAIGHT OUTTA COMPTON,” “A GOOD DAY TO DIE HARD”), and Holt McCallany (“Blue Bloods,” “GANGSTER SQUAD”).

Tom Cruise is a global cultural icon who has made an immeasurable impact on cinema by creating some of the most memorable characters of all time in legendary films such as “TOP GUN,” “JERRY MAGUIRE,” “RISKY BUSINESS,” “MINORITY REPORT,” “INTERVIEW WITH THE VAMPIRE,” “A FEW GOOD MEN,” “THE FIRM,” “RAIN MAN,” “ OLLATERAL,” “THE LAST SAMURAI,” “EDGE OF TOMORROW,” “THE COLOR OF MONEY,” and the “MISSION: IMPOSSIBLE” franchise among many others.

A consummate filmmaker involved in all aspects of film production, Cruise has achieved extraordinary success as an actor, producer, and philanthropist in a career spanning over three decades. A three-time Academy Award® nominee and three-time Golden Globe Award winner his films have earned over eight billion dollars in worldwide box office alone— an incomparable accomplishment.

About Paramount Pictures Corporation

Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIAB, VIA), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Television, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About Skydance Media

Skydance is a diversified media company founded by David Ellison in 2010 to create elevated, event-level entertainment for global audiences. The Company brings to life stories of immersive worlds across platforms, including feature film, television, gaming and digital. Among Skydance Media’s commercially and critically successful feature films are Mission: Impossible – Rogue Nation, Terminator Genisys, World War Z, Jack Reacher, G.I. Joe: Retaliation, Mission: Impossible – Ghost Protocol, Star Trek Into Darkness and True Grit. Its 2015 feature films, Mission: Impossible – Rogue Nation and Terminator Genisys, together grossed over $1 billion at the worldwide box office. Skydance’s future feature film slate includes Star Trek Beyond, Jack Reacher: Never Go Back and Geostorm. The Company’s current television series are the Emmy-nominated Grace and Frankie on Netflix and the Emmy-winning Manhattan on WGN America.

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YOGA HOSERS Clip "BABE, I LOVE YOU"

15-year-old yoga-nuts Colleen Collette and Colleen McKenzie love their smart phones and hate their after school job at Manitoban convenience store Eh-2-Zed. But when an ancient evil rises from beneath Canada’s crust and threatens their big invitation to a Grade 12 party, the Colleens join forces with the legendary man-hunter from Montreal named Guy Lapointe to fight for their lives with all seven Chakras, one Warrior Pose at a time.




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A24's MOONLIGHT Trailer & Opening Announcement

MOONLIGHT is the tender, heartbreaking story of a young man's struggle to find himself, told across three defining chapters in his life as he experiences the ecstasy, pain, and beauty of falling in love, while grappling with his own sexuality.



Anchored by astonishing performances and the singular vision of filmmaker Barry Jenkins, MOONLIGHT is a groundbreaking exploration of masculinity-a sensual, intoxicating piece of cinema that uncovers deep truths about the moments that define us, the people who shape us most, and the ache of love that can last a lifetime.

The film is an Official Selection at Toronto International Film Festival and the New York Film Festival.

Opening Theatrically in New York and Los Angeles on October 21st

Starring Naomie Harris, André Holland, Mahershala Ali, Janelle Monáe, Trevante Rhodes, Alex R. Hibbert, Jaden Piner, Ashton Sanders, Jharrel Jerome
Written by Barry Jenkins
Directed by Barry Jenkins

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Enter For A Chance To Win Passes To See MECHANIC RESURRECTION In Las Vegas

Enter for a chance to see MECHANIC RESURRECTION on August 24th at 7:00 PM in Las Vegas.


Arthur Bishop [Jason Statham] returns as the Mechanic in the sequel to the 2011 action thriller. When the deceitful actions of a cunning but beautiful woman [Jessica Alba] force him to return to the life he left behind, Bishop’s life is once again in danger as he has to complete an impossible list of assassinations of the most dangerous men in the world.



See how to enter after the Jump...

Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast


CLICK HERE TO ENTER-
In theaters August 26, 2016

NO RECORDING

NO PURCHASE NECESSARY

#MECHANICRESURRECTION


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 your belongings and person 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. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability.

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Enter For A Chance To Win Passes To See MECHANIC RESURRECTION In PHOENIX

Enter for a chance to see MECHANIC RESURRECTION on August 24th at 7:00 PM in PHOENIX.


Arthur Bishop [Jason Statham] returns as the Mechanic in the sequel to the 2011 action thriller. When the deceitful actions of a cunning but beautiful woman [Jessica Alba] force him to return to the life he left behind, Bishop’s life is once again in danger as he has to complete an impossible list of assassinations of the most dangerous men in the world.



See how to enter after the Jump...

Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast

CLICK HERE TO ENTER-
In theaters August 26, 2016

NO RECORDING

NO PURCHASE NECESSARY

#MECHANICRESURRECTION


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 your belongings and person 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. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability.

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#COMPLETEUNKNOWN Trailer & Poster

Amazon Studios and IFC Films will release COMPLETE UNKNOWN in theaters August 26th

A mysterious woman with a remarkable past revisits a former lover, complicating the settled life he has built for himself and his wife in Complete Unknown, an unsettling exploration of identity from acclaimed filmmaker Joshua Marston (Maria Full of Grace, The Forgiveness of Blood).



Directed by Joshua Marston
Starring Rachel Weisz, Michael Shannon, Kathy Bates, Danny Glover, Michael Chernus and Azita Ghanizada

A mysterious woman with a remarkable past revisits a former lover, complicating the settled life he has built for himself and his wife in Complete Unknown, an unsettling exploration of identity from acclaimed filmmaker Joshua Marston (Maria Full of Grace, The Forgiveness of Blood).

As Tom (Michael Shannon) celebrates his birthday with a group of close friends in Brooklyn, he is startled to see a woman from his distant past at the party. Jenny - or Alice (Rachel Weisz), as she now calls herself - first denies even knowing Tom, but as the evening progresses, she reveals a shocking secret. After disappearing from Tom's life 20 years earlier, she began to reinvent herself every few years, taking on a new name, a new career and a new life each time. After giving Tom a glimpse of what life could be like if he lets go of the safety and security he has so carefully created, Alice asks him to make a choice that will change everything.


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Star Wars The Force Awakens / 3D Collectors Edition Available Nov 15th

Star Wars The Force Awakens / 3D Collectors Edition Available This Fall OWN THE 3D COLLECTOR'S EDITION THIS FALL.



Fans can fully immerse themselves in "The Force Awakens" through breathtaking 3D, new bonus features and collectible packaging!

This fall, Star Wars fans around the world, will experience a galaxy far, far away—up close and in eye-popping 3D—through the highly anticipated "Star Wars: The Force Awakens" 3D Collector's Edition, rolling out beginning Oct. 31 and arriving in the United States and Canada on Nov 15.

For the first time—and just in time for the holidays—viewers can bring home Lucasfilm's "Star Wars: The Force Awakens" in 3D, encased in stunning, collectible packaging. The exclusive four-disc 3D Collector's Edition contains the original theatrical release on Blu-ray 3D™, Blu-ray™, Digital HD and DVD, along with originally released bonus features and brand-new bonus material, including additional deleted scenes, behind-the-scenes conversations with cast and crew and revealing, never-before released audio commentary by director J.J. Abrams.

Star Wars The Force Awakens film clip available here:
YouTube:https://youtu.be/WdKH-g1IYMs

The attached content is licensed to you solely for publicity/editorial purposes to promote our film on and within media channels that you own. This license is limited, fully revocable and non-transferable. We hereby retain all rights in the attached content, including but not limited to all rights to claim and monetize such content in any and all media throughout the universe.
©Disney. All rights reserved

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Wednesday, August 10, 2016

Soundtrack Review: 'Suicide Squad'

Suicide Squad: Original Motion Picture Score is big, brash, and doesn't care what you think. And that's awesome.


Review by Matt Cummings

With DC's Suicide Squad taking home the most box office receipts for an August release, it's no wonder that its score from Steven Price might be one of many reasons for the film's success. Driven by a litany of epic moments, Suicide Squad: Original Motion Picture Score announces to the world that it's here, not going anywhere, and that you'd better get used to it. And we're OK with that as it becomes our new favorite superhero score of the year.

Having already locked up a collection of dangerous metahumans including Harley Quinn (Margot Robbie), Deadshot (Will Smith), Captain Boomerang (Jai Courtney), Killer Croc (Adewale Akinnuoye-Agbaje), and Diablo (Jay Hernandez), the shadowy government agent Amanda Waller (Viola Davis) hatches a plan to use them as disposable weapons. The deal: serve on an elite team she's putting together and see your sentence reduced. Adding bombs in their skulls to keep them in line, Waller also hires Colonel Rick Flag (Joel Kinnaman) to lead them, who's also being manipulated by Waller. You see, Flag has entered into a relationship with archaeologist June Moone (Cara Delevingne) aka Enchantress, a horrific witch who can instantaneously travel anywhere using dark magic grown through 6,000 years of immortality. Not only is Waller planning to send the Squad to hotspots all over the world, she is keenly worried about battling the next Superman with metahuman assets. While she assembles the Squad, other forces are also at work to derail them, including none other than The Joker (Jared Leto), whose love for Harley has corrupted her into a violent psychopath. But when Waller's plan backfires and Enchantress goes AWOL in distant Midway City, Waller calls on The Suicide Squad to defeat the witch and save a human asset with knowledge that can help them. That won't be easy, as the Squad has plans of their own to escape and kill as many people in the process. The result will test their humanity and ability to play nice with others, while Flag and his team wonder if The Squad is more dangerous than the creature they've been sent to defeat.

Composer Price, who won the Oscar in 2014 for Gravity, adopts the free spirit of the DC comic to bring us a big and brash score that thumbs its nose at anyone who thinks that sort of music is overplayed in today's films. Utilizing a wide variety of sounds including violins that drive the beat to choir interludes, Price assembles his own kick-ass squad of sound. It's unclear how much organic sounds he's using here, but it's clear that he has an excellent hold on what a film like this needs. If you've seen Squad, you know a score like Gravity just wouldn't work; so here he pushes all the chips to the center and produces a continuous cacophony of drum beats, fabulous voices, and even the occasional sound effect to heighten the already dark mood. There's a whopping 30 tracks here, most of which resonate with the Price's theme for the Squad.

From the opening track Task Force X, Price sets the tone for the album, starting with foreboding violins, then a piano, and finally a drum kit/electric guitar. He wastes no time in previewing most of the sounds he'll eventually use, before launching into the dark and chaotic Arkham Asylum, which gives the location a great theme of its own. From there, you'll be treated to a very solid set of both tender ballad moments before heading back into the darker realms (Track 3's I'm Going to Figure This Out) with portions of Hans Zimmer's BvS score mixed in here. That little move is a smart one, because it binds those two words together, in a way that I've not seen since Jerry Goldsmith borrowed elements of the Star Trek TOS for his magnificent run of feature films.

It would be impossible to discuss each track, especially the set of 8 bonus ones that come with the digital download. There's nothing cheap or chintzy involved with the bonus tracks, making me wonder why they couldn't have added a second disc to the brick and mortar release (maybe cost?). But I love the diversity of music that Price creates, some of which will remind you of Danny Elfman's original Batman run. I also can't provide a best-of list because so many of these are strong, but look at track 4 (I Want to Assemble a Task Force) and Task Force X Activated. These and the ones I've mentioned represent just a fraction of what Price delivers.

Just like this year's Neon Demon, Price doesn't skimp on the amount of quality full-length tracks; very few of them feel like transition markers that populate most scores these days. Take a piece like That's How I Cut and Run: it's got a great fast pace to it that matches the gunwork by Deadshot as he takes down Enchrantress' demon horde, mixing up both the arrangement about halfway through the track and again incorporating Zimmer's main theme. I'd love to see Price become more of a mainstream name, as his work on 2014's Fury is also memorable. Here, he adds a new layer to that Zimmer melody, slowing it down a bit while incorporating entirely new music around it. Some might complain that Price uses too many of these electronic sounds, but I think that directly benefits the film's rather bitter tone. This isn't an uplifting film at all, and I think Price and Director-Writer David Ayer understand that, even though critics have slayed this film. There shouldn't be any complaints about the score, and again you might be better off buying the digital copy if you want the 8 bonus tracks, which I recommend as well.

When a composer takes big risks like Price does here, success is not always guaranteed. But Suicide Squad: Original Motion Picture Score makes for a big, bold, and beautiful experience; and just like the movie it doesn't care what you think. Add yet another winner from WaterTower Music that's ready for your earbuds or 7.1 surround setup. In a year filled with so many great scores, Price's brooding and pounding soundscapes will no doubt find a place among the top efforts of 2016. It certainly reminds us that relatively unknown composers like Price are out there waiting to get the credit they deserve, and that scores need not be done in an assembly line commanded by a small number of composers.

Suicide Squad: Original Motion Picture Score is now available on CD and digital download.

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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Tuesday, August 9, 2016

Luke Cage Trailer Has Finally Arrived

In this Marvel live action series, a street-fighting ex-con battles crime on the streets of New York as the Super Hero, Luke Cage.



Having met Mike Colter's troubled Luke in Jessica Jones, here we get a deep dive into his world instead of just seeing him intersect with hers. As the ex-con fights crime and navigates the tricky street politics of New York's Harlem, we also explore his back story, including the experiment that both saved his life but left him forever changed.

We also get to meet some of the people who will impact Luke's life both positively and negatively, including barber shop owner and Harlem legend Pop (Frankie Faison), villain Cornell "Cottonmouth" Stokes (Mahershala Ali), ambitious politician Mariah Dillard (Alfre Woodard), quick-witted cop Misty Knight (Simone Missick) and bad sort shades (Theo Rossi). Oh, and of course Luke's path will again cross with that of Defenders stalwart Claire Temple (Rosario Dawson), who fills in a little of her own family story.

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BAD SANTA 2 Red Band Trailer

Let Academy Award®-winner Billy Bob Thornton stuff your stocking with a naughty new red band trailer from BAD SANTA 2 -- in theaters November 23!




BAD SANTA 2 returns Academy Award®-winner BILLY BOB THORNTON to the screen as America's favorite anti-hero, Willie Soke. Fueled by cheap whiskey, greed and hatred, Willie teams up once again with his angry little sidekick, Marcus (TONY COX), to knock off a Chicago charity on Christmas Eve. Along for the ride is 'the kid' - chubby and cheery Thurman Merman (BRETT KELLY), a 250-pound ray of sunshine who brings out Willie's sliver of humanity.

Mommy issues arise when the pair are joined by Academy Award®, Golden Globe and Emmy-winner KATHY BATES, as Willie's horror story of a mother, Sunny Soke. A super butch super bitch, Sunny raises the bar for the gang's ambitions, while somehow lowering the standards of criminal behavior. Willie is further burdened by lusting after the curvaceous and prim Diane, played by Emmy Award-nominee CHRISTINA HENDRICKS, the charity director with a heart of gold and libido of steel.

You better watch out: BAD SANTA 2 is coming to town.

MARK WATERS directs BAD SANTA 2 from a screenplay by Johnny Rosenthal and Shauna Cross, based on characters by Glenn Ficarra & John Requa. GEYER KOSINSKI and ANDREW GUNN produce. Executive producers are Zanne Devine, David Thwaites, Gabriel Hammond, Daniel Hammond, Mark Waters, Jessica Tuchinsky, Adam Fields, and Doug Ellin. The film is a BROAD GREEN PICTURES and MIRAMAX® release. In theaters November 23, 2016.

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First Clip From #WhatIsMorgan

Paul Giamatti, Anya Taylor-Joy, and Kate Mara star in the chilling first clip from MORGAN.

A corporate troubleshooter (Kate Mara) is sent to a remote, top-secret location, where she is to investigate and evaluate a terrifying accident. She learns the event was triggered by a seemingly innocent “human,” who presents a mystery of both infinite promise and incalculable danger.



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KUBO XV SNEAKERS Up For Auction

AUCTION OF NIKE’S JORDAN BRAND COLLECTIBLE KUBO XV SNEAKERS TO BENEFIT MATTHEW McCONAUGHEY’S just keep livin FOUNDATION

eBay auction features over 200 pairs of the highly anticipated sneakers, with 10 pairs each signed by McConaughey and Tinker Hatfield

Famed NIKE designer Tinker Hatfield ‘s much-anticipated new Kubo XV sneaker celebrates the epic new adventure movie from acclaimed animation studio LAIKA, Kubo and the Two Strings, to be released nationwide by Focus Features on August 19th. 220 pairs of the limited-edition Kubo XV have been put up for auction on eBay for users to bid on, with all proceeds from the auctions – directly accessible at www.kuboxv.com – going to the just keep livin Foundation (www.jklivinfoundation.org).

10 of those pairs will be personally signed by Academy Award winner Matthew McConaughey, who stars in Kubo and the Two Strings as an insect samurai, Beetle. Another 10 pairs will be signed by Mr. Hatfield. The sale is being managed by Auction Cause, a premiere online auction management agency. The auctions run through August 18th, the eve of the movie’s release.

Matthew and Camila McConaughey’s just keep livin Foundation is dedicated to empowering high school students by providing them with the tools to lead active lives and make healthy choices for a better future. The foundation implements after-school fitness and wellness programs in 29 inner city high schools/sites. The programs encourage students to make positive life choices that improve their physical and mental health through exercise, teamwork, gratitude, nutrition, and community service. Participating students have a safe place to enhance their lives with fitness coaches and health experts. The results have been incredible. Participants get in shape and gain confidence while also improving their grades, attendance and behavior.

Mr. McConaughey stated, “I am proud to be able to tie together two projects that mean a lot to me: my charity, the just keep livin Foundation, and my newest film, Kubo and the Two Strings. We are auctioning off pairs of Kubo-branded Air Jordans to benefit JKL and empower the kids involved to reach for a better future.”

Only 1000 pairs of the KUBO XV were created. Building upon a tradition which began seven years ago, the Kubo XV follows in the footsteps of specially designed sneakers for each of the three previous LAIKA movies: Coraline, The Boxtrolls, and ParaNorman. Mr. Hatfield designed shoes inspired by the films; the latter proved to be a particularly popular shoe, and each new issue has become a collector’s item.

Kubo and the Two Strings, MPAA-rated “PG,” stars, in voiceover, Charlize Theron, Art Parkinson, Ralph Fiennes, George Takei, Cary-Hiroyuki Tagawa, Brenda Vaccaro, Rooney Mara, and Mr. McConaughey . The movie is directed by Travis Knight.

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RESIDENT EVIL: THE FINAL CHAPTER Trailer & New Poster

The teaser trailer and poster for RESIDENT EVIL: THE FINAL CHAPTER has arrived.



Picking up immediately after the events in Resident Evil: Retribution, Alice (Milla Jovovich) is the only survivor of what was meant to be humanity’s final stand against the undead. Now, she must return to where the nightmare began – The Hive in Raccoon City, where the Umbrella Corporation is gathering its forces for a final strike against the only remaining survivors of the apocalypse.

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Enter For A Chance To Win Passes To See WAR DOGS In Minnesota

Enter for a chance to see WAR DOGS on August 15th at 7:30 PM in Minnesota.


Based on a true story, the film follows two friends in their early 20s (Hill and Teller) living in Miami during the Iraq War who exploit a little-known government initiative that allows small businesses to bid on U.S. Military contracts. Starting small, they begin raking in big money and are living the high life. But the pair gets in over their heads when they land a $300 million deal to arm the Afghan Military—a deal that puts them in business with some very shady people, not the least of which turns out to be the U.S. Government.



See how to enter after the Jump...

Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast
CLICK HERETO ENTER-

Rating: R for language throughout, drug use, and some sexual references.

Opens: Friday, August 19th nationwide

NO RECORDING

NO PURCHASE NECESSARY

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 your belongings and person 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. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability.

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Monday, August 8, 2016

Jimmy Smits Will Return In Rogue One

While the team behind Rogue One: A Star Wars Story might prefer to keep all the movie's secrets under wraps until release, there's no accounting for eagle-eyed folk pausing trailers and sizzle reels to find details. Such as Jimmy Smits reprising his role as Bail Organa – Princess Leia's adoptive father – in the film.

Jokingly confronted with the screen grab while appearing on US morning chat show The Talk (we'll embed the video at the bottom, but it might suffer from geolocking outside the States), Smits looked shocked that anyone would have spotted the brief glimpse, but then demurred (probably worried about Disney activating the poison pill in his leg if he says too much), before confirmed through humour, talking about "cameos" and "small parts."

So while we don't know what Senator Organa will be doing in the film, it might not be that much. Still, it could represent some more screen time for a man who appeared in Attack Of The Clones, Revenge Of The Sith and in animated form in both Clone Wars and Rebels.

In related trailer (and screen grabbing) news, the new teaser for Rogue One will reportedly make an appearance on Thursday, launching on TV during the Olympic coverage and likely to be online around the same time.

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Source-Empire
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Disney's #Moana Olympic TV

Here is a new extended Olympics TV spot for Disney's Moana

Disney's Moana, starring Dwayne Johnson and Auli'i Cravalho, opens in theatres in 3D this Thanksgiving.



Three thousand years ago, the greatest sailors in the world voyaged across the vast Pacific, discovering the many islands of Oceania. But then, for a millennium, their voyages stopped – and no one knows why. From Walt Disney Animation Studios comes “Moana,” a sweeping, CG-animated feature film about an adventurous teenager who sails out on a daring mission to save her people. During her journey, Moana (voice of Auliʻi Cravalho) meets the mighty demigod Maui (voice of Dwayne Johnson), who guides her in her quest to become a master wayfinder. Together, they sail across the open ocean on an action-packed voyage, encountering enormous monsters and impossible odds, and along the way, Moana fulfills the ancient quest of her ancestors and discovers the one thing she’s always sought: her own identity. Directed by the renowned filmmaking team of Ron Clements and John Musker (“The Little Mermaid,” “Aladdin,” “The Princess & the Frog”) and produced by Osnat Shurer (“Lifted,” “One Man Band”), “Moana” sails into U.S. theaters on Nov. 23, 2016.

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Sunday, August 7, 2016

Blu-ray Review: #TheBoss

Although it looks and sounds good, The Boss can't sustain the big laughs with a predictable plot.

Review by Matt Cummings

It wasn't too long ago that we were singing the praises of Actress Melissa McCarthy's parody Spy, a raunchy ride that actually gave her a story on which to scaffold her amazing comedic talents. Unfortunately, that moment now seems far away, as The Boss returns to McCarthy's tried (and failed) schtick of solid comedic moments filled with a ton of garbage that barely keeps our interests.

The Movie - 3/5
Michelle Darnell (McCarthy) is rude, rich, and doesn't care what anyone thinks of her. Announcing "I'm the 47th richest woman in America!", Darnell dons a professional coif and an insanely high turtleneck as she encourages an arena of hungry guests to become rich. But her success has come at a price, betraying her former mentor Ida (Kathy Bates) and business partner/ex-lover Renault (Peter Dinklage) along the way. There's a reason for Michelle's take-no-prisoners attitude: she was returned several times to an orphanage by a series of foster families. This has resulted in Darnell treating everyone around her like dryer lint, including assistant Claire (Kristen Bell). But when she's convicted of insider trading, she loses everything and must bunk at Claire's paltry apartment. But Darnell won't give up, and soon embarks on a new business to sell Claire's delicious brownies, Girl Scout style. As Renault seeks to take over the business, Michelle must decide if she can turn over a new leaf and treat Claire as a friend, or if a childhood filled with rejection is too tall of a hill to climb.

The Boss is directed by McCarthy's husband Ben Falcone, who also shot the awful Tammy; Darnell isn't that reprehensible, but she's not exactly what we expected either. Foul-mouthed (almost unnecessarily, and that says a lot coming from me) and sexually repressed, McCarthy isn't as appealing when her fish-out-of-water character is so unlikable. She does don the wig and high (really high) turtleneck sweater quite well, mixing tough arrogance with charm. There's some enjoyable displays of McCarthy's physical comedy, getting ejected off a sofa bed, and tumbling down a flight of stairs.

But a lot of this doesn't work. The climax which sees Darnell lock swords with Renault was probably a great idea at the writing table, but it's not edited very well and McCarthy doesn't look convincing battling someone 1/3 of her height. Bell - who I'd love to see in more projects - is good enough here as the straight-(wo)man, eventually getting into the fray by allowing Darnell to grope her breasts as she prepares for a date with her co-worker (the towering and too hairy Taylor Labine). The groping scene goes on way too long (watch This is 40 to see a far more effective version), essentially chewing up screen time. In fact, the 99-minute runtime includes several elongated sequences that left our smallish test audience fairly quiet.

Dinklage is ill-used, to the point that he disappears for a good 30 minutes. But when he's there, his strange accent, pony-tail hair, and silly mannerisms instantly work. I would have love to have seen more of him and less of Bell, who isn't awful but can only hold on so long against McCarthy's potty-mouthed wackiness. It's the same issue I had with Dinklage in Pixels and for exactly the same reasons.

But the worst part of The Boss is its decision not to better develop how the manner of Darnell's upbringing almost destroys her humanity. Why Falcone and McCarthy chose such low-hanging fruit is a problem we didn't see in Spy. That movie worked because they gave Susan Cooper a voice and reason for wanting to be a spy. Here, Darnell is just a crass businesswoman with no layers beyond that. When she eventually realizes that she wants close emotional relationships, it feels entirely forced. Such sentimentality is only used when Falcone thinks it's to his advantage, reminding me of Darnell's rather cutthroat character. Add emotion here, followed by hugs, and the eventual quip.

The Video - 4/5
If there's one thing that The Boss does absolutely right, it's the very good MGEG-4/AVC transfer. The digital image is clear and beautifully colored, never resulting in an over-saturated signal. The movie is generally bathed in warm hues, which makes the contrast even more noticeable. Clothing - like Darnell's turtlenecks - reveal stitching and wrinkles quite well, while sets like Claire's apartment look authentic. Facial features like Bell's stringy hair and McCarthy's overly-stylized coiffure - are displayed in excellent form. Pores and flesh tones in general look lifelike. Outdoor shots too ring with great color and fine detail. Black levels are solid, elegantly transitioning into shadows, which you'll notice in a dimly lit restaurant scene. And just like most Universal releases, this print contains no compression, alias, or banding. Even if the film doesn't satisfy from a comedic perspective, Universal proves once again that their commitment to the home release isn't bordered by strong box office receipts.

The Audio - 4/5
Universal's release for The Boss offers a DTS-HD Master Audio 5.1 track that's functional and at times a bit boisterous. The real strength of the track lies in its forward speakers, delivering clear and strong dialogue in the center channel, which is simply a bumped-up track of the master file. You can hear music and sound effects there as well, but Universal has all but pushed those down and bumped up the dialogue. The track comes more alive when the music plays, echoing from all four speakers, pushing the LFE with tons of thumping. You'll notice it mostly during Darnell's convention. There, one would have hoped the surrounds would have played a greater role, but there they also seem to pull back. Everything works here, although the overall effect could be greater. You probably won't even mind the inconsistency if you're listening to it on a soundbar, and depending on where you sit relative to your surrounds, you might not even notice the issue.

The Supplements - 3/5
Although it contains several supplements, including deleted and alternate scenes, a gag reel, and several featurettes The Boss is missing a commentary track, something that I believe is essential to a good home release. It's not that I need more proof as to why the director thinks McCarthy is a great comedian, but it's the only chance a director has to place a stamp on their work. So when something doesn't work - like this entire film - it's even harder to understand where the creative team lost their way. The release also includes two versions (theatrical - 1:38:48 and Unrated Version - 1:44:14) of the film , but as I mentioned above the new footage doesn't help. At least everything here is presented in HD:
  • Alternate Ending (2:00)
  • Deleted Scenes (14:10 ): Scenes include Convention Center Opening, White Sox, Claire Gets Hired at Her New Job, Claire Plays Chess with Rachel, Darnell Enterprises Building Lobby, Walking to Dandelion Meeting, Hallway Prior to Dandelion Meeting, Michelle Plays Chess with Rachel, Michelle Visits Tito, and Helipad Epilogue.
    Extended/Alternate Scenes (16:15): Bed Flip Scene Alternate, Carrot Top, They Do Look Moist, Kendo, Michelle Returns the Key, Security Guard - Extended, and Breaking Into Renault's - Extended.
  • Gag Reel (3:54)
  • Michelle Darnell - Original Sketch (7:25): If you want to see where McCarthy got the idea for the character, check out this recording from the Groundlings Theater. It's one of two very enlightening features here.
  • Origin Story (7:16): The other great featurette centers on how members of the cast and crew originally met at Groundlings Theater and how that set the stage for the film's creation. It includes a mix of original footage along with cast and crew interviews.
  • Peter Dinklage Gets to the Point (8:41): The character of Renault takes center stage as Peter Dinklage discusses how he brought his style to the role.
  • Everybody Loves Kristen Bell (6:50): The cast and crew carry on about how awesome Kristen Bell is to work with.

  • Our evaluation copy arrived as a Blu-ray/DVD Combo with a voucher for a UV/iTunes digital copy. There is no interior artwork, but the slipcase is nice enough. At the time of this posting, we were unaware of any special packaging.

    The Bottom Line - 3/5
    Hidden somewhere deep inside The Boss is a good dramedy of family and how the choices we make can sometimes pile up on themselves. Sadly, this raunch-fest ruins any chance for that story to emerge, opting for the low-hanging fruit of blowjobs, bad breath, fondling, and odd midget sexuality. The home release shows off Universal's commitment to treat even comedies with the same love they do for much bigger-budgeted fare. But at its core, The Boss just isn't worth the price of purchase. This is not Spy, and you're advised to buy that one if you haven't yet. Much like Darnell's brownies, The Boss is packaged, shipped, and ultimately forgotten.

    The Boss is Rated R for sexual content, language and brief drug use and has a runtime of 99 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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    Enter For A Chance To Win Passes To See MECHANIC RESURRECTION In Houston

    Enter for a chance to see MECHANIC RESURRECTION on August 24th at 7:00 PM in Houston.


    Arthur Bishop [Jason Statham] returns as the Mechanic in the sequel to the 2011 action thriller. When the deceitful actions of a cunning but beautiful woman [Jessica Alba] force him to return to the life he left behind, Bishop’s life is once again in danger as he has to complete an impossible list of assassinations of the most dangerous men in the world.



    See how to enter after the Jump...

    Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast

    CLICK HERE TO ENTER-

    In theaters August 26, 2016

    NO RECORDING

    NO PURCHASE NECESSARY

    #MECHANICRESURRECTION


    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 your belongings and person 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. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability.

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