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Friday, December 16, 2016

Zach Braff's #GoingInStyle Trailer & Poster

Oscar winners Morgan Freeman (“Million Dollar Baby”), Michael Caine (“The Cider House Rules,” “Hannah and Her Sisters”) and Alan Arkin (“Little Miss Sunshine”) team up as lifelong buddies Willie, Joe and Al, who decide to buck retirement and step off the straight-and-narrow for the first time in their lives when their pension fund becomes a corporate casualty, in director Zach Braff’s comedy “Going in Style.”



Desperate to pay the bills and come through for their loved ones, the three risk it all by embarking on a daring bid to knock off the very bank that absconded with their money.

The film also stars two-time Oscar nominee Ann-Margret (“Tommy,” “Carnal Knowledge”) as Annie, a grocery cashier who’s been checking Al out in more ways than one. Joey King (“Wish I Was Here”) stars as Joe’s whip-smart granddaughter, Brooklyn; with Oscar nominee Matt Dillon (“Crash”) as FBI Agent Hamer; and Christopher Lloyd (“Back to the Future” trilogy) as the guys’ lodge buddy, Milton. John Ortiz (“Silver Linings Playbook”) also stars as Jesus, a man of unspecified credentials who agrees to show the guys the ropes, and Peter Serafinowicz (“Guardians of the Galaxy”) as Joe’s former son-in-law, Murphy, whose pot clinic connections may finally prove useful.

Zach Braff (“Garden State”) directs from a screenplay by Theodore Melfi (“St. Vincent”).

“Going in Style” is produced by Donald De Line (“The Italian Job”). The executive producers are Toby Emmerich, Samuel J. Brown, Michael Disco, Andrew Haas, Jonathan McCoy, Tony Bill, who was a producer on the 1979 film “Going in Style,” and Bruce Berman.

The creative filmmaking team includes Emmy-nominated director of photography Rodney Charters (“24”); production designer Anne Ross (“Lost in Translation”); editor Myron Kerstein (Braff’s “Garden State” and “Wish I Was Here”); costume designer Gary Jones (“New Year’s Eve”); and composer Rob Simonsen (“Foxcatcher,” “Wish I was Here”).

“Going in Style” is scheduled for release on April 7, 2017.

New Line Cinema presents, in association with Village Roadshow Pictures, a De Line Pictures Production, a Zach Braff Film: “Going in Style.” It will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.

#GoingInStyle
Facebook: facebook.com/goinginstylemovie
Instagram: instagram.com/goinginstylemovie
Twitter: twitter.com/goinginstyle

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New Release Date For MY COUSIN RACHEL Now In Theaters July 14th

My Cousin Rachel is an upcoming American-British film written and directed by Roger Michell. It is based upon the 1951 novel of the same name by Daphne du Maurier. It stars Rachel Weisz, Sam Claflin, Iain Glen and Holliday Grainger.

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#SnatchedMovie Green & Red Band Trailer

Make plans this Mother’s Day weekend, to see Amy Schumer & Goldie Hawn get SNATCHED.



Watch the red band trailer after the Jump...



SITE: Snatched.Movie
FACEBOOK:https://www.facebook.com/SnatchedMovie
TWITTER: https://twitter.com/Snatched_Movie
INSTAGRAM:https://www.instagram.com/SnatchedMovie/
HASHTAG: #SnatchedMovie

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Movie Review: #CollateralBeauty

The wholly unethical Collateral Beauty is a manipulative affront to common decency.

WARNING: Massive Spoilers Ahead
Review by Matt Cummings

If you've ever lost a child or experienced the tragic death of someone, Collateral Beauty is supposed to offer a cathartic means for release and reflection. Unfortunately, it also tries to play with our emotions while manipulating its lead through wholly unethical means, only to learn that angels like money too. And for that ultimate of movie sins, it earns my pick as one of the worst movies of the year.

Having endured the death of his 7 year old daughter due to brain cancer, Howard (Will Smith) is now a broken man. His ad agency, one of the most respected in New York, is on the brink of being sold, while Howard writes angry letters to Death, Time, and Love. He mails them, hops on his bike, and then proceeds to his job, only to build complex domino structures while his partners (Kate Winslet, Michael Pena, and Edward Norton) helplessly look on. They are not only worried about Howard himself, but that his insistence on not selling the company will deny all of his employees a chance to keep their jobs. It's here that Howard's "friends" conspire to take the company away from him by hiring actors (Helen Mirren, Jacob Lattimore, Keira Knightley) to play the roles which Howard has begun his hateful correspondence. The plan goes off without a hitch, leading Howard to attend grief sessions chaired by Madeleine (Naomie Harris), a fellow survivor. The results will reveal the true nature of loss, reuniting some while forcing others to consider their own mortality.

Collateral Beauty is an unfathomably terrible movie. Forget about all the undeveloped and unnecessary subplots, like Winslet's too-late biological clock, Pena's recurring and now terminal disease, and Norton's estranged daughter who harbors deep resentment at his infidelity. It's manipulative and deceptive in the extreme. It pits Howard's unimaginable loss against the needs of his so-called friends as they seek to sell his share of the company just so they can make a buck (and perhaps sleep better knowing their employees can stick around). And here's how they do it: they hire a nice old lady who's also a PI to videotape the meetings with Death, Love, and Time, then CGI them out to make Howard look like he's talking to himself. Yep, that's it. Howard's friends are terrible people, displaying their true colors as immensely unlikable people.

And then there's the way Beauty handles Pena's terminal illness. He's barely given any screen time which translates into too few moments for us to process his mortality with him. His presence is more for weighing on the sadness without giving it the emotional heft that it needs. Instead, he tells Death that his wife was "prepared for it" and that she knew all along. And that's it for him: no funeral, no chance for his friends to react. And no moment for the Three Horseman (who end up really being angels) to consider granting him a miracle. Nope, it is time's inevitable march forward, apparently waiting for no man. It's a hollow series of scenes, because Smith's loss is given much more time by Writer Allan Loeb. Why he felt the need to heap on the misery is beyond me, because it cheapens both struggles.

All Director David Frankel wants to do is to make his actors look gorgeous as they ball through the all-glamour-no-substance script. Harris is an up-and-comer - from the Bond films to Moonlight - and perhaps she's the best thing about Collateral Beauty, playing Howard's wife and keeping the secret until a pivotal moment in the third act. That moment comes off as more of a plot device than a powerful moment of reunification. Smith does his best to keep this ship moving forward, managing to play grieving father with a level of intensity that I've not seen from him. But the film treats his character with such disdain, like he's a pawn to be moved out of the way so the enemy can charge towards the victory tape. We're meant to love this guy for his loss, but it comes out feeling like we need a shower because everyone else is so bad. Beauty has Oscar Bait written all over it, and its overt efforts to gain attention through such immoral means is disgusting.

Mirren is always star quality, but the usually-independent Norton is out of place, as is Winslet. Neither offer any heft to their roles, and Loeb's character choices throughout might make you wish you had been told a more realistic version of this film than the schmaltz-y trailers. Knightley's team of angels never give us any idea of their powers until the hastily-constructed ending, where they actually accept cash from the partners after the job is completed. There's no donation and no givebacks, which leads me to wonder if angels do in fact need cash. Then I realize I don't care, because this movie is immorally bad.

Collateral Beauty is one of those films that probably suffered multiple script re-writes and some very questionable editing, but its core plot problems remain. Like a field that's been sowed with salt, the creative team seemed to forget about actually treating these characters with care, which will leave audiences to potentially hate their experience once the tears dry up and they really think about what they saw. Collateral Beauty does nothing to strengthen our nation's worry that things are about to change for the (much) worse, portraying people who will screw their friend over just to sell their company. It's a nasty and terrible assumption, all surrounded by pretty faces and Christmas decorations. Well played. Now I need a shower.

Collateral Beauty is rated PG-13 for thematic elements and brief strong language and has a runtime of 97 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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Thursday, December 15, 2016

Movie Review: @RogueOneMovie

Gareth Edwards' sci-fi epic pulls at our Star Wars heartstrings.

Review by Matt Cummings

If the idea of seeing one Star Wars movie every year until time's end was your version of a wet dream, get in line. However, I wouldn't blame you if all the recent news about troubles on the set of Rogue One: A Star Wars Story might have dulled your anticipation. Not to worry: this is a terrific entry into the film franchise, solidly establishing itself above the prequels with a memorable collection of nods, tips-of-the-helmet, and incredible space sequences that should relieve everyone's concerns that characters outside the Skywalker timeline weren't worthy of our attention or hard-earned cash.

As the hand of The Galactic Empire continues to sweep across the galaxy, the Rebellion learns of a new weapons project, code-named The Death Star, a space station that can destroy entire planets. They also learn that its chief builder Galen Erso (Mads Mikkelson) might be sympathetic towards its destruction, having watched his wife die at the hands of Krennic (Ben Mendlesohn) before being dragged back to the Empire. What Krennic doesn't know is that Galen's daughter Jyn Erso (Felicity Jones) survived and has been recruited by The Rebellion to learn of The Death Star's weakness. Caught in the middle of an escalating war, Jyn recruits a ragtag team to secure the plans including a spiritual blind monk (Donnie Yen), his partner Blaze Malbus (Wen Jiang), the Rebel leader Cassian Andor (Diego Luna) and his droid K-2SO (Alan Tudyk). Together, they will encounter the deadly hand of The Empire, its top enforcer, and a growing universe of rebellious sympathizers who realize that The Empire and its newest weapon must be stopped at all costs.

Rogue One is a mostly rousing success, based partly on the risks it takes to blur the lines between Rebellion and Empire. Andor and the others have committed unspeakable crimes in the name of ending The Empire's reign; in so doing, they've become as cutthroat as their enemy, as evidenced in one of the first scenes with Andor. But we also learn more about the political situation within the Star Wars universe, that a costly war is raging without Jedis to protect those caught in the middle. It's here that Erso and her team exist, and that moment of realization is important to the events that eventually transpire, particularly as we near the end. People will die in the struggle for freedom, and Rogue One doesn't shy away from that.

As much as Lucasfilm 2.0 wants you to think Rogue One is a standalone tale, it rests very nicely between Episode III: Revenge of the Sith and Episode IV: A New Hope. Again, it helps that our characters are somewhat normal people, filled with a particular skillset but largely unemployed by The Rebellion, who sees some of them - including Saw Gerrera (Forest Whitaker) - as dangerous extremists who could kill the growing pushback by planets eager for their freedom. That's all we need to know about this space-based Dirty Dozen, because their job isn't to win our hearts but perform a job. But there's so much more to things than just that.

Rogue One is incredibly reverential to the original, going so far as to digitally animate nearly a half-dozen familiar characters, each with varying degrees of success. The last time we saw this play out was in Captain America: Civil War, and to be honest it's done much better there than here. But it's a minor point, because each fits quite well into the story, serving as more than plot devices but as important players in each of their respective jobs. Through one of them, we learn a lot about Imperial politics - without the minutia prevalent in the prequels - and the effort they're already making to secure their power as The Death Star comes online. One character seems ready to take his rightful place at the top, while another is scheming to deny him. That's the Empire as it's laid out in the Extended Universe of books and videos, and it's done with a polish that reminds us of the acumen behind its director.

Say what you want about 2014's Godzilla (I loved it), but Director Gareth Edwards shines as Rogue One's quarterback, directing his high-powered offense so gracefully at many points and then stunningly brutal in others. People will die either defending the Empire or supporting the Rebellion, and Edwards takes the gloves off to show a universe at war, sometimes within itself. Add The Death Star (which Edwards presents as both a pleasant moonrise and a harbinger of death) as well as characters like Darth Vader and you can't help but want to hug this man for getting them so right. He makes Vader the enforcer, redeeming the smudge which George Lucas branded him with in Sith. He's a menacing figure once again whose entrance is an homage to Steven Spielberg's Indiana Jones. Edwards and Writers Chris Weitz and Tony Gilroy get Vader, as does the new Lucasfilm headed by Kathleen Kennedy. But they also appreciate this universe from a design standpoint, outfitting new breeds of Stormtroopers in a great first scene and giving us more background behind Yavin 4. They introduce us to more worlds in the first 10 minutes than from any other movie period, a welcome respite from the continual sand dunes of Tatoonie. Rogue One

Rogue One isn't without its problems. There's no crawl and no John Williams theme, decisions that keep it from entering the vaunted trinity of original films. It's a little slow in the second act, and some of the interests behind Krennic's motives aren't as clear as they could have been. It's also clear that Rogue One was re-shot/re-edited, as evidenced by scenes in the trailer looking completely different (or not included at all) from the final product. I hope these alternate editions eventually make their way onto the home release, only to see where Disney's concerns were centered. I also would be very interested to have heard Composer Alexandre Desplat's score compared to the one provided by Michael Giacchino, who took over after the film was re-shot. For now, Giacchino's score is solidly rendered to fit between Revenge of the Sith and A New Hope, but also fails to bring anything new to the table. These are all minor complaints for a film that sets its sights very high and mostly achieves its goals. If you (like I) wondered whether there was enough interest (or story) in this extended universe, the answer is an emphatic yes, with attention to big outdoor set pieces, fallen Jedi temples, and that Death Star almost playing the devil incarnate. And although we all know how it ends, Rogue One force-chokes us until the very end.

Jones elevates her Hollywood street cred by imbuing Erso with a care-less attitude, which becomes sharply focused after she learns that Galen is alive. A holographic moment with her father leaves her devastated, and Jones suddenly becomes the sympathetic hero we remember in Han Solo. Luna also gains our appreciation as Andor develops from moralistically gray into a true hero, pushing Yen to deliver perhaps the best performance of his career. I've always loved Mendelsohn and with Krennic he's beyond the typical baddie until of course he meets up with Vader. Rogue One plays almost like a mix of Star Wars' greatest hits while developing great new villains like Krennic for us to hate. On the other end, K2SO makes the perfect snide droid comments - like an even snippier C3PO - taking some of the emotional heft off at just the right times. But more importantly, the film forces us to take a side, demanding we get our skin into the game to fight for something important. Considering the new political climate that's about to begin in our country, a story about a war in a galaxy far, far away feels more relevant than ever.

Rogue One: A Star Wars Story pulls at our childhood love for droids, evil masters, beautifully princesses, and planet killers by taking us deeper and wider into this universe than we've ever seen. It encourages us to give a damn about something, to fight for that thing which we hold dear, and to be prepared for the sacrifices that inevitably come with the job. Rogue One is a fantastic entry in the franchise, and one that should be seen on the biggest screen you can muster. We're not quite ready to vault it into the holy trinity, but its message of hope against all odds serves as proof that a non-Skywalker based story can work so very well when the right people take it under its wing. We know this part of the story is done, but with promises of an ever-expanding universe, my faith that this franchise has turned back to its core greatness fills me with nothing but joy. It's about damn time.

Rogue One: A Star Wars Story is rated PG-13 for extended sequences of sci-fi violence and action 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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New Poster & Images From LIFE #SearchForLife

LIFE tells the story of the six-member crew of the International Space Station that is on the cutting edge of one of the most important discoveries in human history: the first evidence of extraterrestrial life on Mars. As the crew begins to conduct research, their methods end up having unintended consequences and the life form proves more intelligent than anyone ever expected.

See all the images after the Jump...





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Lin-Manuel Miranda To Work On "Vivo" Animated Film

Lin-Manuel Miranda already has enough on his schedule to keep seven people busy, but he's long since proven he can handle spinning a few creative plates at once. And this latest project is actually an old plan coming back to life. He'll work on an animated movie called Vivo for Sony Pictures Animation.

And this one could be a little easier in terms of workload, because a lot of his creative chores have been done. Vivo, which focuses – or did, in its previous incarnation – on a capuchin monkey with adventure in his heart who travels from Havana to Miami to fulfill his destiny, was set up at DreamWorks Animation about six years ago. That was during Miranda's acclaim for his pre-Hamilton musical In The Heights, but as so often seems to happen, it couldn't quite get moving.

So now the movie, which already has 11 songs from Miranda in place, will get a new script from his Heights collaborator Quiara Alegría Hudes and Kirk De Micco is on board to direct. And it won't hit screens until December 2020, so Vivo has time to develop.

Which means that Miranda's schedule now has something else on it, in addition to acting in Mary Poppins Returns, helping to produce the live-action Little Mermaid working with Patrick Rothfuss on the movie and TV adaptations of the latter's Kingkiller Chronicle books, try to get a new movie of In The Heights on its feet and developing a potential original Disney animated movie. Oh, and checking in with touring productions of Hamilton while also quietly working on a second volume of the Mixtape of covers and tunes inspired by the show.

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IMAGES FROM THE Boston Premiere of #PATRIOTSDAY

An account of the Boston Marathon bombing, PATRIOTS DAY is the powerful story of a community’s courage in the face of adversity.


Check out photos from last night’s Boston Premiere of PATRIOTS DAY at the Wang Theater after the Jump...











Attendees included director/writer Peter Berg; actor Mark Wahlberg; and producers Scott Stuber, Hutch Parker, Dylan Clark, Dorothy Aufiero, John Logan Pierson and Michael Radutzky

Additional attendees included U.S. Senator Elizabeth Warren, former Red Sox player David Ortiz, actress Eliza Dushku and real heroes Former Boston Police Commissioner Ed Davis, Boston Police Commissioner Billy Evans, Sgt. Jeff Pugliese, FBI Special Agent Richard DesLauriers, Danny Meng, survivors Jessica Kensky and Patrick Downes

Academy® & Grammy® Award-winners Trent Reznor and Atticus Ross (The Social Network, The Girl with the Dragon Tattoo, Gone Girl) will compose the score for the film.

In the aftermath of an unspeakable attack, Police Sergeant Tommy Saunders (Mark Wahlberg) joins courageous survivors, first responders and investigators in a race against the clock to hunt down the bombers before they strike again. Weaving together the stories of Special Agent Richard Deslauriers (Kevin Bacon), Police Commissioner Ed Davis (John Goodman), Sergeant Jeffrey Pugliese (J.K. Simmons) and nurse Carol Saunders (Michelle Monaghan) this visceral and unflinching chronicle captures the suspense of one of the most sophisticated manhunts in law enforcement history and celebrates the strength of the people of Boston.


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DreamWorks #Trollhunters Featurette

From the limitless imagination of acclaimed filmmaker Guillermo del Toro comes a tale of two worlds set to collide in the epic saga DreamWorks Trollhunters, which follows ordinary teenager Jim Lake Jr. who inadvertently discovers an extraordinary secret civilization of mighty trolls beneath his small town of Arcadia. In celebration of this must-see series coming to Netflix on Friday, December 23rd. featurette!



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Enter For A Chance To Win Passes To An Advance Screening For MONSTER CALLS In Houston

Enter for a chance to see A MONSTER CALLS on January 5 at 7:00 PM in Houston.


A visually spectacular drama from director J.A. Bayona (The Impossible). 12-year-old Conor (Lewis MacDougall), dealing with his mother’s (Felicity Jones) illness, a less-than-sympathetic grandmother (Sigourney Weaver), and bullying classmates, finds a most unlikely ally when a Monster appears at his bedroom window. Ancient, wild, and relentless, the Monster guides Conor on a journey of courage, faith, and truth. Toby Kebbell plays Conor’s father, and Liam Neeson stars in performance-capture and voiceover as the nocturnally visiting Monster of the title.



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-

www.AMonsterCallsFilm.com
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Twitter- https://twitter.com/amonstercalls
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#AMonsterCalls

Release date-January 6

No purchase necessary

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 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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AMERICAN PASTORAL On Digital HD January 27 & On Blu-ray (Digital HD), DVD On February 7

In Ewan McGregor’s directorial debut, the Pulitzer Prize-winning novel, AMERICAN PASTORAL, arrives on Digital HD January 27 and on Blu-ray (plus Digital HD), DVD and On Demand February 7 from Lionsgate Home Entertainment.

The Pulitzer Prize-winning novel, American Pastoral, comes to Blu-ray (plus Digital HD), DVD and On Demand in Ewan McGregor’s directorial debut February 7 from Lionsgate. The engrossing story of the downfall of an American family will be available on Digital HD January 27. American Pastoral’s all-star cast includes Ewan McGregor (Trainspotting), Academy Award® winner Jennifer Connelly (Best Supporting Actress, A Beautiful Mind, 2001), Dakota Fanning (The Twilight Saga), Emmy® winner Uzo Aduba (TV’s “Orange Is the New Black”) and David Strathairn (Good Night, and Good Luck) with screenplay by John Romano (The Lincoln Lawyer). The American Pastoral home entertainment release special features include audio commentary by Ewan McGregor, a discussion with the cast about their characters and a behind-the-scenes look at the making of the film. American Pastoral will be available on Blu-ray Combo Pack and DVD for the suggested retail price of $24.99 and $19.98, respectively.

Ewan McGregor directs and stars alongside Jennifer Connelly and Dakota Fanning in this acclaimed film adapted from Philip Roth’s Pulitzer Prize-winning novel. Seymour “Swede” Levov (Ewan McGregor), a once-legendary high school athlete, is a successful businessman married to a former beauty queen, Dawn (Jennifer Connelly). When Swede and Dawn’s daughter (Dakota Fanning) disappears after being accused of a violent crime, Swede’s perfect life is broken forever and he is left to make sense out of the chaos.

BLU-RAY/ DVD/ DIGITAL HD SPECIAL FEATURES
· Audio Commentary by Ewan McGregor
· “American Pastoral: Adapting an American Classic” Featurette
· “Making the American Dream” Featurette

For Artwork: www.lionsgatepublicity.com/home-entertainment/americanpastoral/
Trailer: https://youtu.be/X0ZekVo2-Do
Facebook: https://www.facebook.com/AmericanPastoral/
Twitter: @AmPastoralMovie

PROGRAM INFORMATION
Year of Production: 2016
Title Copyright: American Pastoral TM & © 2016 Lakeshore Entertainment Productions LLC and Lions Gate Films Inc. All Rights Reserved.
Type: Theatrical Release
Rating: R for some strong sexual material, language and brief violent images
Genre: Drama, Crime
Closed Captioned: NA
Subtitles: Spanish and English SDH
Feature Run Time: 108 minutes
BD Format: 1080p High Definition 16x9 Widescreen (2.40:1)
DVD Format: 16x9 Widescreen (2.40:1)
BD Audio: English 5.1 DTS-HD Master AudioTM, Spanish 5.1 Dolby Digital
DVD Audio: English 5.1 Dolby Digital, Spanish 5.1 Dolby Digital

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New Poster For Smurfs: The Lost Village

Joining the already announced Demi Lovato as Smurfette, Rainn Wilson as Gargamel and Mandy Patinkin as Papa Smurf will be: triple Emmy nominee Jack McBrayer (30 Rock, Wreck-It Ralph) as the sweet, awkward and honest-to-a-fault Clumsy, who's forever trying his best and missing the mark; Danny Pudi (Community) as book smart and geek proud Brainy, who's long on knowledge, but short on inter-Smurf-onal skills; and Joe Manganiello (True Blood, Magic Mike) as the strong and super-positive Hefty, a loyal dynamo struggling with his hero complex.

Smurfs: The Lost Village, hitting theaters March 31, 2017.


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Wednesday, December 14, 2016

Trailer For NBC’s New Series, ‘TAKEN’ Based On The Movie Franchise

A young Bryan Mills must fight to overcome personal tragedy and exact revenge on those responsible on Taken, premiering Monday, February 27 at 10/9c on NBC.



From Executive Producer Luc Besson ("Taken," "The Fifth Element") comes a thrilling new addition to his iconic blockbuster action-film franchise. This new, modern-day, edge-of-your-seat thriller follows the origin story of younger, hungrier, former Green Beret Bryan Mills (Clive Standen, "Vikings") as he deals with a personal tragedy that shakes his world. As he fights to overcome the incident and exact revenge, Mills is pulled into a career as a deadly CIA operative, a job that awakens his very particular, and very dangerous, set of skills.

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Sebastian Stan Joins Margot Robbie In "I, Tonya"

Put together by Margot Robbie as one of the projects from her production company, Tonya Harding pic I, Tonya is now aiming to shoot soon, with Craig Gillespie in the director's seat. And they've found someone for a key role in the story: Sebastian Stan will be Harding's ex-husband Jeff Gillooly.

Initially viewed as a plucky underdog who'd escaped grinding poverty to rise to the top of the figure-skating world, Harding famously went full Seagal on her closest rival at a championships in Detroit. Her husband of the time, Gillooly hired Shane Stant to attack Nancy Kerrigan with a police baton, leaving her with a badly bruised, but not broken leg.

Riffing on baseball’s 'Shot Heard Around The World', tabloid types immediately dubbed the incident 'The Whack Heard Round The World'. It’d all been captured on camera, leaving Harding disgraced and eventually banned. Kerrigan recovered in time to compete in the 1994 Olympics. Gillooly got two years in prison for racketeering, as he was judged to be the driving force in the hobbling plot.

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#ROGUEONE A STAR WARS STORY London Special Screening Photos

Enjoy photos from the special screening of ROGUE ONE: A STAR WARS STORY at Tate Modern in London.


See all the images after the Jump...















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Their Back. #DespicableMe3 Trailer

The team who brought you Despicable Me and the biggest animated hits of 2013 and 2015, Despicable Me 2 and Minions, returns to continue the adventures of Gru, Lucy, their adorable daughters—Margo, Edith and Agnes—and the Minions. Despicable Me 3, directed by Pierre Coffin and Kyle Balda, co-directed by Eric Guillon, and written by Cinco Paul & Ken Daurio, will be released in theaters on June 30, 2017.



The animated film is produced by Illumination’s Chris Meledandri and Janet Healy, and executive produced by Chris Renaud.

Joining Steve Carell and Kristen Wiig in Despicable Me 3 is Emmy, Tony and Grammy Award winner Trey Parker, co-creator of Comedy Central’s global phenomenon South Park and the Broadway smash The Book of Mormon. Parker voices the role of villain Balthazar Bratt, a former child star who’s grown up to become obsessed with the character he played in the ‘80s, and proves to be Gru’s most formidable nemesis to date.

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Christopher Nolan #DUNKIRK Trailer Has Arrived

From filmmaker Christopher Nolan (“Interstellar,” “Inception,” “The Dark Knight” Trilogy) comes the epic action thriller DUNKIRK, in theaters July 21, 2017.

Warner Bros. Pictures’ Dunkirk, which Christopher Nolan is directing from his own original screenplay, has cast a crop of newcomers who include Fionn Whitehead (ITV’s “Him”), Jack Lowden (’71), Aneurin Barnard (Citadel), and One Direction singer/songwriter Harry Styles. Recent Oscar winner Mark Rylance (Bridge of Spies), Kenneth Branagh (Valkyrie), Cillian Murphy (Inception), James D’Arcy (Cloud Atlas) and Tom Hardy (The Revenant) will be the more experienced members of what is said will be a largely young/unknown ensemble cast.



Dunkirk opens as hundreds of thousands of British and Allied troops are surrounded by enemy forces. Trapped on the beach with their backs to the sea they face an impossible situation as the enemy closes in.

The large scale film will be shot on a combination of IMAX 65mm and 65mm large format film photography for maximum image quality and high impact immersion. Shooting will utilize many of the real locations of true-life events, which form the background for the story. Nolan will also produce the film with his longtime producing partner Emma Thomas.

Warner Bros. Pictures is distributing Dunkirk worldwide and has slated the film for a July 21, 2017 release. The film will be released theatrically on IMAX, 70mm, 35mm and all other screens.

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Enter For A Chance To Win Passes To See SING In Albuquerque

Enter for a chance to see SING on December 19 at 7:00 PM in Albuquerque.


Set in a world like ours but entirely inhabited by animals, Sing stars Buster Moon (Academy Award® winner Matthew McConaughey), a dapper Koala who presides over a once-grand theater that has fallen on hard times. Buster is an eternal optimist—okay, maybe a bit of a scoundrel—who loves his theater above all and will do anything to preserve it. Now facing the crumbling of his life’s ambition, he has one final chance to restore his fading jewel to its former glory by producing the world’s greatest singing competition.

Illumination has captivated audiences all over the world with the beloved hits Despicable Me, Dr. Seuss’ The Lorax, Despicable Me 2 and Minions, now the second-highest-grossing animated movie in history. Following the release of The Secret Life of Pets in summer 2016, Illumination presents Sing at the holidays. Matthew McConaughey, Reese Witherspoon, Seth MacFarlane, Scarlett Johansson, John C. Reilly, Taron Egerton and Tori Kelly star in an animated feature about finding the shining star that lives inside all of us.



See how to enter after the Jump...

Five lead contestants emerge: A mouse (Seth MacFarlane) who croons as smoothly as he cons, a timid teenage elephant (Tori Kelly) with an enormous case of stage fright, an overtaxed mother (Academy Award® winner Reese Witherspoon) run ragged tending a litter of 25 piglets, a young gangster gorilla (Taron Egerton) looking to break free of his family’s felonies, and a punk-rock porcupine (Scarlett Johansson) struggling to shed her arrogant boyfriend and go solo. Each animal arrives under Buster’s marquee believing that this is their shot to change the course of their life.

Featuring more than 85 hit songs, Sing is written and directed by Garth Jennings (Son of Rambow, The Hitchhiker's Guide to the Galaxy) and produced by Chris Meledandri and Janet Healy. Released by Universal Pictures, Sing arrives in theaters for the holiday season on December 21, 2016.

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Email us at screenings@sandwichjohnfilms.com
Subject-SING Albuquerque
Name and email address

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Release date- December 21

No purchase necessary

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 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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