Tag: Bradley Whitford

ROSALINE – Review

(L-R): Kaitlyn Dever as Rosaline and Sean Teale as Dario in 20th Century Studios’ Rosaline, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

Hey, it’s getting pretty close to movie award season, so what better time to, as they sing in “Kiss Me Kate”, “Brush Up Your Shakespeare”. Now, don’t think that you’re doing homework, since this new film delves into one of the Bard’s classics. Yes, it can be fun even though the cast isn’t singin’ and dancin’ up a storm as in WEST SIDE STORY. Whoops, let the “cat outta’ the bag” with that last aside. Yet, it’s a different take on the tale from what’s been shown so many times before. This new “twist” builds itself around a minor character, much as with Rosencrantz and Guildenstern from HAMLET (who got their spin-off story). Oh but in this one, the title character was only mentioned, never seen in the iconic love story. Finally, we’ll get the “dirt” on the former “bae”. Now everyone will learn that before Juliet, Romeo was romancing ROSALINE.

This film begins on a balcony overlooking Verona as Romeo Montague (Kyle Allen) proclaims his adoration for…Rosaline (Kaitlyn Dever). But much like that other story, this is a forbidden romance as she is also a Capulet. The following morning her dreams of him are interrupted by her Nurse Janet (Minnie Driver) who must get her lady ready for Lunch with a potential suitor her father Adrian (Bradley Whitford) has arranged. Once again, she scares off another much-older rich dullard, annoying papa. Rosaline needs her Romero, yet when he drops the “L-bomb” (as in love) on her later that night, she’s gobsmacked into silence. This prompts a hasty exit from him, though she implores him to join her at the next day’s masquerade. Ah, but another suitor is on tap in a few hours, though this one’s much younger and easier on the eyes. Ex-soldier Dario (Sean Teale) has planned a meal as part of the cruise in his modest boat. Though she gives him a chilly reception, their banter is spirited. Still, she needs to get to shore for the party just as a raging storm erupts. Meanwhile, a masked Romeo searches in vain for Rosaline until he bumps into Juliet (Isabela Merced) and those sparks ignite. Oh, and to make matters worse, she’s Rosaline’s visiting cousin. The next day she sees Romeo on the path to her balcony. Oh oh, he’s veering off to the left…to where? Rosaline follows and catches him locking lips with…ya’ know. After her letters to him go unanswered, Rosaline makes it her mission to bust up those lovebirds. So, she’s doomed to fail….or just maybe….

Carrying the whole enterprise is the snarky, sassy comic performance from Dever which matches her terrific work in BOOKSMART. She’s the audience surrogate in the opening sequence easing us from the flowery speech of the classic play into modern slang and vernacular, though Dever can confidently “talk all fancy”. Dever’s Rosaline is a brilliant whirlwind easily trouncing all the dolts who would put her in “her place”. But there’s still a tender vulnerability to her as she realizes her ideal might not be the “real deal”. And that first love, Romero, is played with “surfer dude ‘tude” by the cluelessly comic Allen. It’s no surprise that he’s distracted by the adorable Merced as the naive starstruck Juliet, who almost floats on a cloud of desire when she speaks of her dreamy paramour. On the other hand, Teale is firmly rooted in his budding interest in Rosaline, never folding before her witty asides, though often bemused by her frantic schemes. Also hiding his amusement at her is Whitford as the irritating but somewhat proud pop. Christopher McDonald is a much-different Capulet daddy, a pompous blowhard constantly duped. Spencer Stevenson scores lotsa’ laughs as Rosaline’s utterly fabulous pal Paris, while Driver displays a flair for deadpan exasperation as the Nurse who gets little respect from the hierarchy. Also turning in funny supporting work are Nico Hiraga, the message delivery guy who seems to always be high, and Alistar Toovey as Tybalt, who never drops his sneering squint.

Generating the energetic pace running on this romp is director Karen Maine, who keeps “all the plates spinning” with skill. Wait a minute, romp? Yes, well there are a few liberties taken with the Bard’s work in the clever screenplay by Scott Neustadter and Michael H. Weber which adapts the YA novel “When You Were Mine” by Rebecca Serle. The period wardrobes are almost as gorgeous as the Italian scenery doubling for Verona. And the comedy is enhanced by the expert selection of bouncy 70s and 80s pop tunes on the soundtrack. Those familiar with the source material will watch with a knowing smile and many chuckles, while this could prove to be a great introduction for the younger set, as it’s hard to think of a more teen-friendly gateway into Shakespeare than the engaging whip-smart “firecracker” called ROSALINE.

Three Out of Four

ROSALINE is now streaming exclusively on Hulu

20th Century Studios’ ROSALINE, exclusively on Hulu. © 2022 20th Century Studios. All Rights Reserved.

TICK, TICK…BOOM! – Review

tick, tick…BOOM! (L-R) ANDREW GARFIELD as JONATHAN LARSON in tick, tick…BOOM!. Cr. MACALL POLAY/NETFLIX © 2021

2021 could be remembered as a pivotal year in the history of movie musical adaptations. Of course, this synergy has been happening since cinema began to talk (which leads to the singing and the sounds of dance) over 90 years ago. Perhaps after being cooped up for much of last year, Hollywood has enlisted Broadway to get folks back to the multiplex. IN THE HEIGHTS kicked off the Summer film cinema, while DEAR EVAN HANSON stirred up lots of discussion, but very little box office. We’ll see Steven Spielberg’s take on a true stage classic WEST SIDE STORY in a few weeks. But what can tide the film song and dance fans till then? How about a flick that combines the talents of two Tony-awarding winning titans of the last thirty or so years? Yes, it’s a musical, but it’s also a biography (perhaps an autobiography, too). So what happens when you mix Lin-Manuel-Miranda with Jonathan Larson? Well, stand back before it goes TICK, TICK…BOOM!

And that’s the title of the intimate off, off-Broadway show/review that’s the framing device for this profile of Larson (Andrew Garfield). He’s on the tiny stage with a four-piece band along with two singers (who are also good pals) Karessa (Vanessa Hudgens) and Roger (Joshua Henry) as he tells of his life just months away from his 30th birthday (a biggie). He’s paying the rent (that show came a little later) by “slingin’ hash” as a server at the trendy Moondance Cafe in the Big Apple. Oh, his home is a cramped, falling-apart, sixth-floor walk-up. Luckily he’s got big dreams as he spends his post and pre-diner time creating the songs for his big stage musical, a futuristic fantasy/romance called “Superbia”. Even better, he’s getting love and encouragement from his dancer/girlfriend Susan (Alexandra Shipp) and his childhood pal, an aspiring actor turned very successful advertising exec Michael (Robin de Jesus). Unfortunately, Jon becomes too focused on the looming date for his creation’s workshop/showcase. And he has other options that aren’t as much of a gamble. Susan’s mulling over a teaching gig in the Berkshires (so far from NYC) and hopes Jon will join her. And Michael wants to help him get into the lucrative commercial jingle biz, even though he’s in need of emotional support from his BFF. It’s a choice between “fear and love”, as some encouraging words from Mr. Sondheim fuels Jon’s passion. But will that keep him going as the bills pile up?

Garfield proves to be one of our most versatile young actors by making a very successful dive into (for him) uncharted waters: song and dance. Despite his lengthy credits, singing was not an asset, something he can now amend on his resume. He performs with confidence, but he also captures the yearning of an aspiring, almost starving artist. We can see in his intense stare, that Jon is trying to take in everything and anything that can inspire and enhance his work. It’s to such a degree that others think he’s distracted, or, as girlfriend Susan believes, composing during interactions. But Garfield also gets the euphoria of the perfect blend of words and melody, which makes his agonized staring into the white void of his Commodore personal computer (ah, the 90s) worth it. Here a former Spider-Man seems more like Plastic-Man as Jon is mentally stretched between the “love and fear”. or really “glory and security”. This superb performance sends Garfield into the stratosphere. Luckily he works ver well with his main scene partners. Shipp is an ethereal beauty as the graceful Susan, but we see her shift from adoration to frustration in dealing with Jon’s career “waffling”. The latter is even more pronounced with de Jesus as Michael who’s caught between art and commerce. Unlike Jon, he can better straddle and even separate himself from the two worlds. He knows Jon will keep trying, while his dreams were dashed by too many dismissive “thanks yous” that cut him off in mid-song. Plus he conveys the heartbreaking of wanting so badly to share his fears with a life-long “brother” who can’t spare the space in his mind. MJ Rodriguez and Ben Ross are Jon’s cheerleading “work family” at the diner. We must also praise Hudgens’s musical “chops” who electrifies in a spirited exhausting duet with Garfield, “Therapy”. A couple of TV and screen vets score in smaller roles. Judith Light is Jon’s elusive agent Rosa who surprises him with a brutal, but needed, “wake up” call. And Whitford plays the acclaimed stage legend as a song “god’ who strolls casually down from Mount Olympus to fire a revitalizing bolt of encouragement toward Jon as he starts to wander from his path (he’s the mentor we dream of).

Miranda takes to filmmaking with the same energy and confidence that he brought to “boards’ on Broadway. The story’s flow is never disrupted by the bouncing between the stage review and the flashbacks to Jon’s struggles. The scenes flow from conversation to musical numbers naturally, never feeling forced or awkward. Much credit must go to screenwriter Steven Levenson who captures the clash between worlds (art and business) while giving us a harsh glimpse into the creative “clusterf*#k” (again that blank void that must be filled). As a bonus, we get some scathing satire directed at the current state of the stage when one number is set against an ever-changing backdrop of theatre posters (with titles like” The Mediocre Musical Stage Version of the Mediocre Movie”, “Song You Already Know”, and, maybe my fave “White Couple Arguing About Marriage”). Ouch, but so deserved! As scathing as that scene is, there’s also a lovely “love letter” to “stage show-biz” in the big number “Sunday” which showcases a dizzying array of true “Broadway Legends” (“look there’s….and there’s…”). Such infectious joyous moments help offset the sense of loss we get from the real story. The tunes don’t sugarcoat the reality, instead they give more focus on the fights and friendships. So, what happens when Miranda meets Larson? It’s an explosion of cinematic delight that follows the TICK, TICK…BOOM!

3.5 Out of 4

TICK, TICK…BOOM! is now playing in select theatres and begins streaming exclusively on Netflix beginning Friday, November 19, 2021

Win Passes To The Virtual Screening Of STX Films SONGBIRD – On Demand Everywhere December 11

Four years into quarantine the virus has changed and so have we… 

In the terrifying thriller SONGBIRD, the COVID-23 virus has mutated and the world is in its fourth year of lockdown. Infected Americans are ripped from their homes and forced into quarantine camps known as Q-Zones, from which there is no escape, as a few brave souls fight back against the forces of oppression. Amid this dystopian landscape, a fearless courier, Nico (KJ Apa), who’s immune to the deadly pathogen, finds hope and love with Sara (Sofia Carson), though her lockdown prohibits them from physical contact. When Sara is believed to have become infected, Nico races desperately across the barren streets of Los Angeles in search of the only thing that can save her from imprisonment … or worse.

The first feature film to be made during COVID-19 in Los Angeles, and about the pandemic itself, SONGBIRD also stars Bradley Whitford and Demi Moore as a wealthy couple who may hold the key to Nico’s mission; Alexandra Daddario as a singer enmeshed in a messy and forbidden affair; Paul Walter Hauser as a disabled veteran whose best friend – a drone named Max – is his eyes and ears to a world that has left him behind; Craig Robinson as Nico’s boss; and Peter Stormare as the corrupt head of the city’s “sanitation” department, which seizes those infected and transports them to the Q-Zone.

Sofia Carson stars in SONGBIRD

Stars KJ Apa, Sofia Carson, Craig Robinson, Bradley Whitford, Peter Stormare, Alexandra Daddario, with Paul Walter Hauser and Demi Moore 

On Demand Everywhere December 11, WAMG has your free passes to the virtual screening.

The Virtual Screening on Wednesday, 12/9 at 7pm.

Code: http://stxtickets.com/RpbNV58424

No purchase necessary. Open to U.S. residents only.

Rated

KJ Apa stars in SONGBIRD

First Film Made During COVID-19 in Los Angeles, And About The Pandemic, SONGBIRD Trailer Is Here

Four years into quarantine the virus has changed and so have we… 

In the terrifying thriller SONGBIRD, the COVID-23 virus has mutated and the world is in its fourth year of lockdown. Infected Americans are ripped from their homes and forced into quarantine camps known as Q-Zones, from which there is no escape, as a few brave souls fight back against the forces of oppression.

KJ Apa stars in SONGBIRD

Amid this dystopian landscape, a fearless courier, Nico (KJ Apa), who’s immune to the deadly pathogen, finds hope and love with Sara (Sofia Carson), though her lockdown prohibits them from physical contact. When Sara is believed to have become infected, Nico races desperately across the barren streets of Los Angeles in search of the only thing that can save her from imprisonment … or worse.

https://www.songbird.movie/

The first feature film to be made during COVID-19 in Los Angeles, and about the pandemic itself, SONGBIRD also stars Bradley Whitford and Demi Moore as a wealthy couple who may hold the key to Nico’s mission; Alexandra Daddario as a singer enmeshed in a messy and forbidden affair; Paul Walter Hauser as a disabled veteran whose best friend – a drone named Max – is his eyes and ears to a world that has left him behind; Craig Robinson as Nico’s boss; and Peter Stormare as the corrupt head of the city’s “sanitation” department, which seizes those infected and transports them to the Q-Zone.

The film stars KJ Apa, Sofia Carson, Craig Robinson, Bradley Whitford, Peter Stormare, Alexandra Daddario, with Paul Walter Hauser and Demi Moore 

Produced by Michael Bay, Marcei A. Brown, Jason Clark, Jeanette Volturno, Adam Goodman, Andrew Sugerman, Eben Davidson, SONGBIRD is directed by Adam Mason and written by Adam Mason & Simon Boyes .

Sofia Carson stars in SONGBIRD

THE CALL OF THE WILD – Review

The new adaptation of Jack London’s 1903 adventure THE CALL OF THE WILD is a thrilling family-friendly adventure well worth seeing. The harsher aspects of London’s book have been softened, but while the new film does feel juvenile, it’s not dumbed-down, more a Classics Illustrated comic brought to eye-popping life with glorious 21st century technology. Having lived most of his life in 1890’s California with Judge Miller (Bradley Whitford) and his family, Buck (half Scotch Shepard, half St. Bernard and 100% CGI) is a spoiled and beloved pet. But he also has a price on his head for those looking to provide large dogs to prospectors headed to the Yukon trail looking to strike it rich mining for gold.  One night one of the judge’s employees dognaps Buck and takes him up North where he initially ends up pulling with a sled team for Canadian mail carriers. Perrault (Omar Sy) and Francoise (Cara Gee) who take special care of him as he initially struggles with the tough conditions. Buck soon out-alphas his arch-rival Spitz and becomes lead dog. When the dog sledding postal service is abruptly ended, Buck is sold to rich and arrogant gold-hungry Hal (Dan Stevens in full moustache-twirling mode) who along with his sister Mercedes (Karen Gillan – underused) and her husband Charles (Colin Woodell) are comically over their heads in terms of surviving in the Northern wilderness. Eventually Buck is rescued from this cruel trio by John Thornton (Harrison Ford) and the second half of the film focuses on bonding and adventures with Thornton and Buck.

The CGI in THE CALL OF THE WILD is state-of-the-art but still takes some getting used to as Buck’s face (especially his eyes) is anthropomorphized for slightly cartoonish, human-like expressions. This makes him quite the magnificent hero, achieving super-canine physical abilities and thoughts (to keep Thornton sober, he buries his whiskey bottle in the snow). The CGI is not any worse than JUNGLE BOOK, but we know dogs and the smartest dog is still a dumb animal and Buck never quite seems like a real hound, especially one facing the harsh realities of being poached and adjusting to these grim conditions. Younger audiences may not notice or mind and using a real dog would have had its limitations, but it still may be too high a hurdle for some adult viewers. Whatever your take, motion-capture actor Terry Notary deserves a shout-out for his work “playing” Buck.

Despite some misleading marketing, Harrison Ford narrates but his John Thornton takes center only in the film’s second half. Ford is his usual gruff yet pleasant growler and displays a natural ease in interacting with a costar that wasn’t really there. Sporting shabby wool sweaters and a long grey beard that suits him admirably, this is 77-year old Ford’s most endearing role in years (and he even appears shirtless!).

The cinematography by Oscar-winner Janusz Kaminski is a spectacular take on these lush, magnificent vistas in a part of the world not often shown in movies. It makes you want to hop on a plane and fly to the Yukon though keep in mind the actors on-screen likely spent most of the shoot in front of a green screen. THE CALL OF THE WILD is a beautiful film with a lot to look at. The pacing is quick (it’s a brisk 100 minutes) and like any good adventure, the interaction with the animals, unkind humans and the elements may get pretty scary for the very young. THE CALL OF THE WILD is fine old-fashioned family entertainment and highly recommended.

3 1/2 out of 4 Stars

A HAPPENING OF MONUMENTAL PROPORTIONS Arrives on DVD, Digital and On Demand October 23rs


The hilarious film, A Happening of Monumental Proportion comes to DVD, Digital and On Demand October 23 from Lionsgate. A school day is turned around as a dead body turns up on school premises! Watch what happens as the kids and school administrators decide to do everything else about the body except the right thing.

The hilarious and incredibly talented Judy Greer steps behind the camera for her directorial debut when A Happening of Monumental Proportions arrives on DVD, Digital, and On Demand October 23 from Lionsgate. Featuring an all-star cast including Common, Bradley Whitford, Anders Holm, and Allison Janney, the film takes place over the course of one day and follows a group of school administrators as they find themselves caught up in a plot of sex, lies, and dead bodies. The A Happening of Monumental Proportions DVD includes a behind-the-scenes featurette, “A Sneak Peek at A Happening of Monumental Proportions,” and will be available for the suggested retail price of $19.98.

An L.A. public school becomes a hotbed of sex, lies, and hilarity in this star-powered comedy directed by Judy Greer. It’s Career Day, and two school administrators have just made a shocking discovery: the dead body of the groundskeeper! They decide to hide the body, sparking a series of wildly comic misadventures for teachers and students on a Career Day that no one will ever forget—no matter how hard they try!

DVD SPECIAL FEATURES

  • “A Sneak Peek at A Happening of Monumental Proportions” Featurette

 

CAST

Common                                John Wick: Chapter 2, Suicide Squad, Barbershop: The Next Cut

Bradley Whitford                    Get Out, The Post, Saving Mr. Banks

Anders Holm                          TV’s “Workaholics,” The Intern, How to Be Single

with Allison Janney                 I, Tonya, The Help, TV’s “Mom”

THE DARKEST MINDS – Review

Well, we thought we were finally safe. “We” being movie audiences, in case you wondered. Just a few weeks into the new year saw the final installment of the film franchise culled from the MAZE RUNNER book series. With DIVERGENT and HUNGER concluded long ago, the scourge of movies based on young adult novels (or a series) set in a dystopian future seems to have run its course. Looks like we were wrong. With just over a month left in the Summer blockbuster season, the folks at Fox have scooped up the film rights to yet another set of YA novels (those things gobble up sections of chain bookstores like starving locusts). Here’s another group of plucky, photogenic teens (and pre-teens) ready to outsmart and fight the system run by the evil elders whose dark motives emanate from THE DARKEST MINDS.

The character voice-over narrator (if you recall ADAPTATION, you know we’re off to a shaky start) fills us in on the day that changed “everything” six years ago. Ten year-old Ruby sees a classmate convulse, crush a metal cup without touching it, and collapse, lifeless onto the school cafeteria floor. She was the first victim of the new disease known as “I.A.A.N.” (which stands for….eh, doesn’t matter), which proceeds to wipe out nearly all the children of the world. Ruby’s one of the lucky (or is she) survivors. But those who don’t perish develop “abilities’ and are rounded up by government thugs and sent to “rehabilitation” camps. This even happens to the son of President Gray (Bradley Whitford, perhaps hiding behind a big grey beard), Clancy (Patrick Gibson). When her parents suddenly don’t recognize her, Ruby is scooped up and taken to one of the camps. Six years later, Ruby (Amandla Stenberg) is taken to one of the camp’s doctors who tests her for abilities. The unusually helpful doc explains to her (and us) the different ways that I.A.A.N.affected kids via a big bright chart. The poster’s inverted pyramid (looking like the “love child” of the basic food group pyramid and Homeland Security’s threat level guide) shows four colors to code the danger levels. The bottom two, yellow and blue, can be controlled (involving telekinesis and electricity manipulation). The top two, orange and red, are most deadly. The doc is stunned to see that she’s an “orange” (who’d thunk it). Before he can give her a (literal) “killer” needle shot, she grabs his arm and unleashes her “power”, with her eyes emitting glowing orange circles (aha). Seems that Ruby’s “gift” is a combo of Obi-Wan’s old “Jedi mind trick (“These aren’t the droids…”) and Kal-El’s amnesia kiss from SUPERMAN II. Luckily Ruby is aided in her escape by a sympathetic doctor, Cate (Mandy Moore), who is is part of an underground order called “The Children’s League”. But after they leave the camp, Ruby learns of the league’s methods (she can also see somebody’s past via touch) and bolts. When she runs into a mute pre-teen electric charger named Zu (Miya Cech), Ruby follows her to a van occupied by two other teens on the run: snarky pessimistic “Chubs” (oops, I haven’t earned the right to call him that…an annoying ‘call-back” bit) Charles (Skylan Brooks) and hunky telekinetic Liam (Harris Dickinson). The foursome soon hit the road, evading “tracers”, bounty hunters including the “queen” Lady Jane (Gwendoline Christie), while trying to locate the hidden sanctuary/commune run by the famous “Slip Kid” (given that nickname after he escaped multiple captors). But is this paradise truly a safe shelter from those wishing to find and eliminate the survivors? Or perhaps, to quote Admiral Akbar (hey two Star Wars riffs), “It’s a trap!”

The cast of big screen newcomers and veterans struggle to overcome this meandering, cliche-ridden SF/ teen angst drek. Sternberg’s Ruby is a more pro-active character than her sheltered Maddy in last year’s turgid teen romance EVERYTHING, EVERYTHING, and despite the confines of the YA genre (she was in the first HUNGER GAMES) the young actress has real star power. Here’s hoping the her next role in the highly anticipated THE HATE U GIVE will better showcase her blossoming talents. Unfortunately there’s little chemistry on screen with Dickinson as Liam, who seems as though he’s being groomed as the next “heart-throb du jour”, a mix of the non-threatening Ansel Elgort and Nick Robinson (former Sternberg co-star) and the lanky physicality of Liam Hemsworth. Plus he looks somewhat silly as he uses his powers, echoing the stern concentration of Andrew Stevens in THE FURY and the lead in a high school stage production of “Dracula” (with a smidge of young Magneto). He’s a hunk and a bit of a “lunk”. And he doesn’t connect well with his verbal sparring partner, Brooks as Chubs (is that supposed to be “ha ha” funny ironic because he’s slender). He doesn’t appear to have much of a gift, aside from a “green thumb” (“A green Bell pepper is a red Bell pepper, you dips*#t!”) and a sour disposition, distrustful of everything, especially Ruby. Gibson is snarky and sinister as he channels James Spader in PRETTY IN PINK when trying to be menacing, a “frat boy” super-villain. Cech quickly assumes the adoring kid sister role to Ruby, unless she’s doing her battery charger skill (after whipping off a pair of bright yellow rubber dish washing gloves). As for the screen vets, why would Whitford follow up his role in two of last year’s most acclaimed films, GET OUT and THE POST, with one of this year’s…well? He’s smart to be absent after the first act, at least. Christie, last seen as Captain Phasma in last year’s EPISODE EIGHT, is here to don a leather jacket, snarl, and drive as though she’s trying out for the next FAST AND THE FURIOUS as tracer Lady Jane (what’s with the royal moniker). And Ms. Moore, who has a big following from her hit TV show “This is Us” squanders her time away from that in a confusing, underwritten character with unclear intentions. And to her credit, like Whitford, she too disappears for a good chunk (maybe an hour) of this nonsense.

This is most disastrous live-action feature directing debut for Jennifer Yuh Nelson, best known for helming the second and third KUNG FU PANDA movies. This flick just lurches from one limp action set piece to the next, losing any momentum with its insipid romantic sub plot, even screeching to halt in order to have a “trying on silly clothes” montage at a shuttered mall (still lotsa’ stuff there somehow) just after a big “make-over” scene (Zu has a pretty red prom dress, that just happens to fit Ruby), while some forgettable pop tunes assault the soundtrack. I shouldn’t be too hard on Nelson, since she’s burdened with a wretched , unfocused script from Chad Hodge (his feature debut, too) adapting the novel from Alexandra Bracken (wonder how close it is to her work). It does borrow generously from other YA best sellers, including a love triangle ripped right from the TWILIGHT series along with the fast escapes of the MAZE RUNNER, along with liberal doses of CARRIE, FIRESTARTER, and the X-MEN dynasty. This is most evident in the ridiculous showdown near the finale that has the feds (all with gravelly voices), many with full black stocking masks, attacking with high tech copters, sound-blasting bazookas and the dreaded “red” survivors who are on chain leashes like rabid werewolves with hoods over their heads resembling massive game falcons. And what do they do? Why they shoot fire out of their mouths, of course. Yes, teenage human flame throwers. But it’s not over then. For the last minutes we get a montage that includes a visual of one of Ruby’s powers that meshes the “Thanos snap” with the black “inky” aliens of ARRIVAL, as the producers set up an EMPIRE STRIKES BACK-style cliffhanger, promising further tales of these tortured teens. But the real suffering is that of movie audiences unfortunate to sit through this. Only THE DARKEST MINDS would subject us to a follow-up to the rock bottom of the YA novel-based movies.

0 Out of 5

Meryl Streep And Tom Hanks Headline New Trailer In Steven Spielberg’s Oscar Hopeful THE POST

Meryl Streep, Director Steven Spielberg, and Tom Hanks on the set of THE POST. Photo Credit: Niko Tavernise.

Opening during awards season on December 22  is the much anticipated THE POST from 20th Century Fox.

Steven Spielberg directs Meryl Streep and Tom Hanks in THE POST, a thrilling drama about the unlikely partnership between The Washington Post’s Katharine Graham (Streep), the first female publisher of a major American newspaper, and editor Ben Bradlee (Hanks), as they race to catch up with The New York Times to expose a massive cover-up of government secrets that spanned three decades and four U.S. Presidents. The two must overcome their differences as they risk their careers – and their very freedom – to help bring long-buried truths to light.

THE POST marks the first time Meryl Streep, Tom Hanks and Steven Spielberg have collaborated on a project. Streep has been nominated for 20 Academy Awards, winning three Oscars (THE IRON LADY, SOPHIE’S CHOICE and KRAMER VS. KRAMER), while Hanks has been nominated 5 times and garnered two back to back Oscars for PHILADELPHIA and FORREST GUMP.

In addition to directing, Spielberg produces along with Amy Pascal and Kristie Macosko Krieger. The script was written by Liz Hannah and Josh Singer, and the film features an acclaimed ensemble cast including Alison Brie, Carrie Coon, David Cross, Bruce Greenwood, Tracy Letts, Bob Odenkirk, Sarah Paulson, Jesse Plemons, Matthew Rhys, Michael Stuhlbarg, Bradley Whitford and Zach Woods.

THE POST will be released in select theaters on December 22, 2017 and in theaters everywhere on January 12, 2018. Fox’s other BIG Oscar hopeful, opening on December 20th, is THE GREATEST SHOWMAN which stars Hugh Jackman as P.T. Barnum.

Check out the official site foxmovies.com/movies/the-post

L-R: Tom Hanks (Ben Bradlee), David Cross (Howard Simons), John Rue (Gene Patterson), Bob Odenkirk (Ben Bagdikian), Jessie Mueller (Judith Martin), and Philip Casnoff (Chalmers Roberts) in Twentieth Century Fox’s THE POST. Photo Credit: Niko Tavernise.

Meryl Streep stars as Kay Graham in Twentieth Century Fox’s THE POST. Photo Credit: Niko Tavernise.

Tom Hanks (as Ben Bradlee) and Meryl Streep (as Kay Graham) star in Twentieth Century Fox’s THE POST. Photo Credit: Niko Tavernise.

Tom Hanks (as Ben Bradlee) and Meryl Streep (as Kay Graham) star in Twentieth Century Fox’s THE POST. Photo Credit: Niko Tavernise.

Meryl Streep, Tom Hanks, Alison Brie, Carrie Coon And Bruce Greenwood Starring In Steven Spielberg’s THE PAPERS

Tom Hanks (left) and Steven Spielberg in BRIDGE OF SPIES

Twentieth Century Fox and Amblin Entertainment’s riveting drama inspired by actual events, THE PAPERS, began principal photography in New York on Tuesday, May 30th. Academy Award winning director Steven Spielberg helms a powerhouse cast including Oscar winners Meryl Streep and Tom Hanks in THE PAPERS.

In June 1971 The New York Times, the Washington Post and the nation’s major newspapers took a brave stand for freedom of speech and reported on the Pentagon Papers, the massive cover-up of government secrets that spanned four decades and four US Presidents. At the time, the Post’s Katherine Graham (Streep) was still finding her footing as the country’s first female newspaper publisher, and Ben Bradlee (Hanks), the paper’s volatile, driven editor, was trying to enhance the stature of the struggling, local paper. Together, the two formed an unlikely team, as they were forced to come together and make the bold decision to support The New York Times and fight the Nixon Administration’s unprecedented attempt to restrict the first amendment.

THE PAPERS marks the first time Meryl Streep, Tom Hanks and Steven Spielberg have collaborated on a project. In addition to directing, Spielberg will also produce along with Amy Pascal and Kristie Macosko Krieger.

The script was written by Liz Hannah and Josh Singer and features an acclaimed ensemble cast including Alison Brie, Carrie Coon, David Cross, Bruce Greenwood, Tracy Letts, Bob Odenkirk, Sarah Paulson, Jesse Plemons, Matthew Rhys, Michael Stuhlbarg, Bradley Whitford and Zach Woods.

An Amblin Entertainment production, THE PAPERS will be distributed domestically by Twentieth Century Fox and will be in select theaters December 22nd, going wide January 12th, 2018. Internationally, the film will be distributed through Amblin’s deals with Universal Studios, Reliance Entertainment, eOne and other international distribution partnerships.

Free Screenings of MEGAN LEAVEY for Military Personnel at Regal Theaters on May 30th

Bleecker Street & LD Entertainment have joined forces with AT&T THANKS, Regal Cinemas and MovieTickets.com to bring the true life story, MEGAN LEAVEY, directed by Gabriela Cowperthwaite to service members ahead of the June 9, 2017 nationwide release of the film.

AT&T THANKS, Regal Cinemas and MovieTickets.com will generously sponsor over 190 screenings of the film on May 30th as part of National Military Appreciation Month at participating Regal Cinemas. Active and retired service members will be invited to attend a free screening of the film in advance through AT&T THANKS and Regal Cinemas. MovieTickets.com will facilitate ticket fulfillment.

 

Tickets will be available starting Monday, May 22, 2017 at www.att.com/thanksmilitary. For a list of participating locations, please visit www.regmovies.com/promotions/megan-leavey-screening.

 

Tyler DiNapoli, President of Marketing, Media and Research for Bleecker Street, said, “We’re proud to work with AT&T THANKS, Regal Cinemas and MovieTickets.com to honor our nation’s service members with this program. It’s a small way to give back to those, who like the real-life Megan Leavey and her service dog Rex, sacrifice so much for our country.”

 

Neil Andrews, Director, Product Marketing Management, of AT&T THANKS said, “We can never say thank you enough to the people who are defending, and have defended our freedom. We hope this small token of appreciation creates a meaningful moment for all servicemen and women and their families as well as honoring the animals that support them.”

 

“I am thrilled to welcome military services personnel to our Regal theatres, and to offer this great opportunity to show our appreciation to the families who have made sacrifices for us all,” said Steve Bunnell, Chief Content and Programming Officer at Regal Entertainment Group.

 

Greg Sica, Vice President of Business Development for MovieTickets.com, said, “We are honored to support this screening of Megan’s brave story for America’s finest heroes. As a company, MovieTickets.com is extremely proud of our military members and their contributions to protect and maintain our freedom. MEGAN LEAVEY is a film that captures their courage and we are proud to be a part of sharing that narrative along with our collaborators at AT&T and Regal.”

The film recounts Megan Leavey’s life following the death of her best friend to enlisting in the ranks of the U.S. Marine Corps. When she is assigned to clean up the K9 unit after a disciplinary hearing, she identifies with a particularly aggressive dog, Rex, and is given the chance to train him. Over the course of their service, Megan and Rex completed more than 100 missions until an IED explosion injures them, putting their fate in jeopardy. Starring Kate Mara, Ramón Rodríguez, Tom Felton, Bradley Whitford, Will Patton, Sam Keeley with Common and Edie Falco.

 

Directed by Cowperthwaite (BLACKFISH) from a screenplay by Pamela Gray and Annie Mumolo & Tim Lovestedt, MEGAN LEAVEY was produced by Mickey Liddell, Pete Shilaimon and Jennifer Monroe.