The “Code: Echo” Coding Challenge initiative, inspired by the upcoming feature film EARTH TO ECHO has extended the game submission deadline to May 16, 2014.
With support from Code.org, a non-profit organization dedicated to making computer science more available in schools, Relativity created a gaming challenge for students across the country to use code to design a game. Coding is the basic concept of computer programming, and what is used to create software, apps and websites.
Since launching on April 4th, the Code: Echo site has received countless requests to extend the deadline in order for more students and classrooms to be able to participate in the coding contest. Students and teachers are encouraged to visit www.codeechomovie.com to learn about the contest, and find more information on how to participate.
Tuck, Munch and Alex are a closely bonded trio of inseparable friends, but their time together is coming to an end. Their neighborhood is being destroyed by a highway construction project that is forcing their families to move away. But just two days before they must part ways, the boys find a cryptic signal has infected their phones.
Convinced something bigger is going on and looking for one final adventure together, they set off to trace the messages to their source and discover something beyond their wildest imaginations: hiding in the darkness is a mysterious being, stranded on Earth, and wanted by the government. This launches the boys on an epic journey full of danger and wonder, one that will test the limits of their friendship and change all of their lives forever.
Based on a story by Henry Gayden & Andrew Panay with the screenplay by Henry Gayden.
Prepare for the journey of a lifetime when director Dave Green’s EARTH TO ECHO opens in theaters nationwide on July 2nd.
“The Force is what gives a Jedi his power. It’s an energy field created by all living things. It surrounds us and penetrates us. It binds the galaxy together.”
What Star Wars fans have been waiting for finally came today. The cast, along with a picture, for director J.J. Abrams’ STAR WARS: EPISODE VII was announced. Tuesday’s breaking news came via StarWars.com and it’s official Facebook page.
The latest film in the popular franchise will be in theaters December 18, 2015. In the meantime, these aren’t the Droids you’re looking for… move along.
The Star Wars team is thrilled to announce the cast of Star Wars: Episode VII.
Actors John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Domhnall Gleeson, and Max von Sydow will join the original stars of the saga, Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, and Kenny Baker in the new film.
Director J.J. Abrams says, “We are so excited to finally share the cast of Star Wars: Episode VII. It is both thrilling and surreal to watch the beloved original cast and these brilliant new performers come together to bring this world to life, once again. We start shooting in a couple of weeks, and everyone is doing their best to make the fans proud.”
STAR WARS: EPISODE VII is being directed by J.J. Abrams from a screenplay by Lawrence Kasdan and Abrams. Kathleen Kennedy, J.J. Abrams, and Bryan Burk are producing, and John Williams returns as the composer.
Back Lot Music will release the forthcoming Original Motion Picture Soundtrack to A MILLION WAYS TO DIE IN THE WEST, featuring a score by Joel McNeely and a new song written by McNeely & the film’s director, producer, co-writer and co-star, Seth MacFarlane.
Country music superstar Alan Jackson, who stands currently as one of the 10 best-selling artists across all genres since the inception of SoundScan, performs this title track from the film. The album will also feature “If You’ve Only Got a Mustache”, based on a song by Stephen Foster with additional lyrics by MacFarlane, Alec Sulkin and Wellesley Wild.
The song “A Million Ways to Die” is available digitally now, with the album release to follow on May 27 both physically and digitally. The film arrives in theaters on May 30.
Listen to the song HERE or buy the song on iTunes.
MacFarlane plays the role of the cowardly sheep farmer Albert in A MILLION WAYS TO DIE IN THE WEST. After Albert backs out of a gunfight, his fickle girlfriend leaves him for another man. When a mysterious and beautiful woman rides into town, she helps him find his courage and they begin to fall in love. But when her husband, a notorious outlaw, arrives seeking revenge, the farmer must put his newfound courage to the test.
Starring alongside MacFarlane are Oscar® winner Charlize Theron, Liam Neeson, Amanda Seyfried, Giovanni Ribisi, Sarah Silverman and Neil Patrick Harris. MacFarlane reunites many of the filmmakers behind Universal and MRC’s hit film Ted including Scott Stuber (Bluegrass Films) and Jason Clark who produce, and Wellesley Wild and Alec Sulkin who co-wrote the script.
McNeely is an Emmy® Award-winning composer and conductor with more than 100 motion picture and television credits. He maintains a busy schedule recording, producing, conducting and composing for film, television and concerts. In addition to their work together on A MILLION WAYS TO DIE IN THE WEST, McNeely recently produced and arranged MacFarlane’s new Christmas album, which will be released this fall.
He also produced and arranged MacFarlane’s first album of big band and orchestral standards, MusicIsBetterThanWords for Universal Republic Records, which received two Grammy nominations.
About McNeely’s score MacFarlane said: “I was beyond elated upon first hearing the music that Joel McNeely had composed forA MILLION WAYS TO DIE IN THE WEST. Here Joel brings us a classic, Elmer Bernstein–‐style Western score that presents itself as a key element in the overall tone of the movie.”
In terms of the soundtrack album as a whole, MacFarlane said: “The music is expertly mixed by Rich Breen, the man with the unmatched ear who sculpted the sound of MusicIsBetterThanWords, and of course our title song is sung by Alan Jackson, who, like Joel, plays it with unabashed honesty. I hope you enjoy Joel McNeely’s great score as much as I do.”
McNeely added: “Composing the music for A MILLION WAYS TO DIE IN THE WEST has been a creatively rewarding experience for me. Seth MacFarlane is a director with all of the sensibilities and ideas of a trained composer, whose insights and ideas flow through the score. I was inspired to write an original score that harkens back to the glory days of the great Westerns, one that is big, bold and thematic. There is nothing I love doing more, and it’s been a great thrill.”
20th Century Fox has released a mini-featurette on star Hugh Jackman’s character, The Wolverine, from X-MEN: DAYS OF FUTURE PAST.
Jackman gives details for the global X-Men X-Perience in this latest video. Follow along as the X-Men take over the world beginning May 10th through global premieres, live chats, and more.
The ultimate X-Men ensemble fights a war for the survival of the species across two time periods in X-MEN: DAYS OF FUTURE PAST.
The beloved characters from the original “X-Men” film trilogy join forces with their younger selves from “X-Men: First Class,” in an epic battle that must change the past – to save our future.
X-MEN: DAYS OF FUTURE PAST stars Ian McKellan, Patrick Stewart, Hugh Jackman, Michael Fassbender, James McAvoy, Jennifer Lawrence, Nicholas Hoult, Omar Sy, Peter Dinklage and Halle Berry.
From the producer who brought you THE WOMAN IN BLACK and LET ME IN comes the unnerving tale of THE QUIET ONES. Tucked away in an estate outside of London, Professor Coupland along with a team of university students conduct an “experiment” on Jane Harper, a young girl who harbors unspeakable secrets. What dark forces they uncover are more terrifying than any of them expected.
Prior to the film’s April 25th release, WAMG sat down with Jared Harris, who plays Professor Joseph Coupland, in a small roundtable to discuss horror films, fight scenes, and watching his own movies with an audience. Check it out below.
Inspired by true events, the film stars Jared Harris (Mad Men and Sherlock Homes: A Game of Shadows), Sam Claflin (The Hunger Games: Catching Fire), Olivia Cooke (Bates Motel), and is directed by John Pogue from a screenplay by Craig Rosenberg and Oren Moverman and John Pogue, and based on a screenplay by Tom de Ville.
Let’s start with your character, where did you gather inspiration from, and did you do any research on the Philip experiment?
JARED HARRIS : Yes. You know, it’s an imaginative exercise when you construct the character. In terms of the look of the character, we looked at a lot of old stuff, pictures, from the 60s, and we figured this guy, this conception of who he was, would have been concretized in the 60s. We sort of settled on Serge Gainsourg, which is the idea behind the suits, and the constant smoking, and the cigarettes. And then he fancied himself as a revolutionary, so there was a hint of Lenin in the beard. So we gave him hints of Lenin in the beard, and stuff like that. And then, in terms of – the Philip Experiment I became aware of it through John Pague, and it was very interesting up until a limited point. What was interesting was what didn’t happen, and the reason why it didn’t happen. The guy who ran that experiment was a responsible human being, and whenever anything sinister or potentially threatening happen, he ceased the sessions and send everybody home. Obviously that is not that good for a horror movie, and the writers essentially saw that experiment – liked the premise of it to prove through scientific method, that there was a different source, a human source for the supernatural, and then use that for the basis for the story. Once they started to – once they said “what if,” and they started to construct the fictional story, they pulled from a lot of different sources. So the other stuff, I looked at just as much, the group psychology experiments that were done in American universities, Stanford and stuff like that. Because there was a strong element of that in a certain point of the story where you start to think “maybe that’s what he’s doing, he’s really fucking with all of these people” and he’s studying their behavior.
When did you first meet director John Pogue?
JARED HARRIS : I met John out here, and got sent the script by Simon Oates. Read it, and then discussed it with him, and then he felt comfortable with some of the suggestions, and my thoughts on the script, and then he put me together with John Pogue. Really what it was – you know the tricky thing about the story being set in the 70s – at that time there are a lot of experiments going on in Paris, psychology departments in universities, it was a legitimate form of study. The problem is that, they seem crazy now. They are largely being discredited, and no one has those departments going in universities. So really it was trying to find a way that we could use that, but it had to seem still relevant or possible. So, we sort of shifted the goal to how he was conduct the experiment, how he was trying to activate, olivia’s character to more of a psychological approach. And it was really – the whole thing was a rewrite of the character to put the whole focus on that.
Do you feel as though your character put obsession over redemption, or was it arrogance?
JARED HARRIS : A vendetta on his part, he believed he could – he believed he was capable of saving his child, and that his wife’s overreliance and belief on a religious aspect and that he was some how he was transgressing in a sacrilegious way is what prevented him from being able to cure the child. So, in a way, he blamed her and he blamed God, it was more of a vendetta that he had been hurt so he wanted to hurt back, he wanted to even the score if you like.
What is it about the supernatural that makes for a great film?
JARED HARRIS : It’s – we don’t know – supernatural stories are normally connected to the idea of there being an afterlife because of their focus on ghosts, and devils, and demons, and sort of religious aspect like that. And we really don’t know, it goes back to our very early primal understanding or questions we would have. It’s a rationale that is adopted about – human beings are naturally disposed of trying to come up with an explanation for everything no matter how sparse the information that you have, to give you an explanation. We have come up with this explanation. It’s on some level encouraging, we don’t want to believe that once we die it’s all over, but at the same time it’s terrifying. I think the appeal of horror movies – I think we as people, as human beings we need to exercise our emotions. I think it is a safe way of exercising terror and fear, without having to risk anything significant. You are going to come out of it alive at the end. To me, it’s like taking a roller coaster ride, it’s two minutes of – it’s fun because you know it’s safe. It’s the difference of knowing being on a roller coaster ride and on a plane that drops 20,000 feet, you know?
Are you a fan of the genre? Do you have any favorites?
JARED HARRIS : Tons of them, tons of them. You know horror is interesting because it covers such a huge spectrum. If you think about it JAWS is a horror movie; Alien is a horror movie; I thought THE OTHERS was a great horror movie. ROSEMARY’S BABY, the [Roman] Polanski films… they’re all horror movies in different ways. It’s a huge, huge banner if you like them. I mean, I love them. You know JAWS. I still… when I go into the ocean, you hear that fucking music. I remember after seeing that movie – when you go into a swimming pool, you still look behind you. You know?
Do you have a favorite in those sub-genres?
JARED HARRIS : I feel that the films that stay with me are the ones that get into your head. Their sort of visceral. I don’t like violence porn. I saw HOSTEL, and I had to take about four showers after, just to get experience – it really upset me so much. I have to say it was brilliantly constructed in terms of script, the way it slowly unpacked the mystery at the heart of it, when you finally get to what it was about, it was just the most disgusting aspect of human depravity. So I take psychological horror films, that’s about my limit.
After you punched Pete Campbell on Mad Men, it was very interesting to see you and Sam get into it.
JARED HARRIS : Yeah! I got him with a right hook. I got Pete with a left I got Sam with a – actually Sam’s was a sucker punch, that was actually a topic of conversation – in the script it said – for it to be completely believable we have to get into one of those things were people are holding you back, otherwise this guy is going to be beat me up. And it is always the guy who – whenever you see these things where two people started to fight the one person who gets in the way of it gets punched, or the person who gets suckered punch, the person who is the pacifier.
Where do you think ‘The Riches’ would have gone had it stayed on air?
JARED HARRIS : Yeah during the writer’s strike. What was supposed to happen, what was explained to me I sort of start something up with Minnie Driver’s character, and take over the group through her, and he comes back, and there is sort of the big confrontation, and he fucks me up. But I was using the kid, and Minnie.
Where did you find the balance in your character, because he makes a few different emotional transitions throughout the film?
JARED HARRIS : Well, I think he was genuine in his belief that he could help her. At the same time I don’t know – once he started to get results out of her, he probably would have kept her in there for a really long time. So it’s kind of a balance between these opposing forces within your nature, within somebody’s nature. There is an altruistic reason behind it. At some point – I read a biography about Robert Oppenhimer, and in the way they were describing the Manhattan experiment, project, one of the things they were discussing was the possibility of once they set the chain reaction off, when would it stop. And there was a huge group of those scientists who thought that the chain reaction would continue until it ripped the atmosphere off the Earth and killed all life. They weren’t sure that it was going to happen, there was the possibility that it could, they still pushed the button, you know. There is a certain element, once your on a train, once your set on one of these goals, I think it’s hard to get off, but I think what happened to him was that initially he believed he could help her and cure her. But once he got these results from her, I don’t think he would have let her be on the train, I think he would let her out. And that’s a question of which things would be appropriate for the audience to see, it’s part of the structure of the story. There is also an element in the script that is still a little bit there, but there is a kind of a you quite weren’t sure if there was a fatherly thing, but there might have been a sexual attraction that he had to her as well, which was obviously a whole other lever of freaky in the script. That is what I liked about it, it was playing on a lot of different feelings, and a lot of different emotions, it was finding different ways of making you uncomfortable.
Regarding the location, and the house you filmed in, was the vibe you felt?
JARED HARRIS : The Victorian house was attached to this business center. The business center had been built in the 60s or 70s, and the whole place had been abandoned for about 50 years. To get to the Victorian house, you had to talk through this really weird sort of business center with this stinky rotting carpet. You kind of walk through – “what did they do here,” and you sort of felt it was some sort of strange scientific part where they done anal experiments. So that was actually a brilliant way of getting yourself into the mood. That went you get yourself onto the set, and open this door, suddenly you’re in this Victorian house that they had attached to the back of it. But once you’re in there, there are about 40 to 50 different people there at one time. But they did a great job in terms of production, set, dressing, art department, and stuff like that. You could find rooms to hide in.
Do you ever watch your own movies on your own with audience, especially for a movie like this.
JARED HARRIS : I’m seeing this tonight. I saw Lincoln with an audience. I saw SHERLOCK HOLMES [GAME OF SHADOWS]. I mean, it all depends. It’s difficult to go to the Cineplex, because you look like your star fucking yourself. It’s just fucking awful. I can’t do that. It’s really just embarrassing. So, that’s pretty awkward. Normally you see the reviews at premieres, and stuff like that. I’m looking forward to see it [THE QUIET ONES] with an audience.
“White meat, dark meat. All will be carved. THANKSGIVING!“
Time to revisit the days of the double feature when GRINDHOUSE (2007) plays at the Tivoli Friday and Saturday as part of the Reel Late at the Tivoli Midnight film series this weekend (May 2nd and 3rd).
THE BEAST MUST DIE with THE SPECTRE OF EDGAR ALLEN POE. OLD DRACULA with SQUIRM. THE DEVIL’S RAIN with THE GIANT SPIDER INVASION. These are just a few of the many double features I saw on the big screen back in the 1970’s (not to mention the hundreds of double and triple features I caught at the drive-ins back then) –now’s your chance to relive those days
Grindhouse was incredibly risky, and for that it paid the price of box-office disappointment. I don’t know many people who liked both PLANET TERROR and DEATHPROOF equally. Yes, they’re both exploitation pictures, but one’s a zombie movie and the other is a gear head horror flick. The real joy of seeing GRINDHOUSE — and yes, I mean the experience, not PLANET TERROR or DEATHPROOF in their separate editions — is the production values of the production and how they perfectly mimic the quality and aesthetic sensibilities of all the popcorn crunchers that were fixtures of drive-ins and urban theaters in the early to mid ’70s. If you don’t get a smile on your face seeing the multi-colored concentric circle wash of the title cards for “Prevues (sic) of Coming Attractions” and “Our Feature Presentation” then you weren’t there, and that’s going to take away some of the appeal. The trailers are hilarious — from the growling narrator over the “MACHETE” preview to the awesomely bad slasher-film era parody “THANKSGIVING” (when are they going to make that into a feature?) to the hilarious lampoon of the trailer for “DON’T…..! They even have a still montage of food from a local Tex Mex joint!
If you long for the days of the drive-in, complete with scratchy film stocks, cigarette burns, missing reels, and crackly soundtracks, GRINDHOUSE is the real deal (sort of).
The Tivoli’s located at 6350 Delmar Blvd., University City, MO. Admission is a mere $8!
QFest St. Louis continues with THE DOG at 7:00 pm Wednesday April 30th.
QFest St. Louis, the annual gay and Lesbian Film Festival presented by Cinema St. Louis, kicks off this weekend. It runs through May 1st and all films will be screened at The Tivoli Theater (6350 Delmar in The Loop, University City, MO)
QFest uses the art of contemporary gay cinema to spotlight the lives of LGBTQ people and celebrate queer culture. The 2014 event features an eclectic slate of contemporary LGBTQ-themed feature films, documentaries, and shorts. Tickets are now on sale for all shows.
THE DOG screens at 7:00pm Wednesday April 30th
John Wojtowicz took pride in being a pervert. Coming of age in the 1960s, his libido was excessive even by the libertine standards of the era, with multiple wives and lovers, both women and men. In August 1972, he attempted to rob a Brooklyn bank to finance his lover’s sex-reassignment surgery. The act resulted in a 14-hour hostage situation that was broadcast on live television. Three years later, Al Pacino portrayed him in the Oscar-nominated “Dog Day Afternoon.” Drawing on extraordinary archival footage, the film shuffles between the 1970s and the 2000s and provides a historic perspective on New York’s gay liberation movement, in which Wojtowicz played an active role. How and why the bank robbery took place is recounted in gripping detail by Wojtowicz and various eyewitnesses. The film provides an unforgettable portrait of a complex, larger-than-life man who is at once lovable, maniacal, heroic, and self-destructive.
THE DOG is directed by Allison Berg & François Keraudren and the screening is sponsored by: Show Me Bears & HiBearNation 20
John DeFore at The Hollywood Reporter says THE DOG:
“offers both a fascinating expansion of the feature film’s narrative and a picture of a sad but intriguing character”
Erik Kohn of Indiewire says:
“THE DOG derives its main strengths from its happily vulgar subject, the central narrator for the story both in flashbacks and in the later stages of his life as he looks back on his exploits.”
A Facebook event page for the screening can be found HERE
It was very sad to hear of the passing of Mike Vraney on January 2nd, he was only 56 years old. Anyone who is a true movie geek, film fan, or cinema addict owes him a debt of thanks. With Something Weird Video Vraney made available hundreds, if not thousands of hours of rare, obscure and vintage films, most of which were, well..really weird.
Consider his association with Dave Friedman and H,G. Lewis, SWV put out virtually their entire catalog of films first on VHS and then dvd. Not to mention the films of Harry Novak, Coffin Joe and his bizarre films from South America and many other rare titles that were impossible to see, not so long ago.
SWV put out hundreds of collections of nudie cutie loops, stag films, trailers for drive-in swill and compilations of highway safety and class room instructional films. If it was off the chain and out of the box Vraney would sooner or later put it out there for people like us to watch.
I especially thank him for putting out so many classic nudist films from the 50s and 60s. And the nudie cutie films of Friedman and other producers from the drive-in and grind house days.
When I was a kid growing up near St. Louis, Missouri I used to love looking at the ads in the Globe Democrat newspaper movie section. There used to be a handful of theaters that featured “Adults Only” films. The World Theater down town and the Olympic Drive-In on St. Charles Rock Road, maybe a couple of others that I cannot remember. I remember ads for Nature’s Playmates and Tobacco Roady and Space Thing. How I wished I were old enough to go see those movies. Being raised in a strict Baptist family I was told the human body is the Lord’s greatest creation, but you are not supposed to see it! Being a typical little boy naturally I wanted to see it, preferably out in the sun, where you can see everything. Thus nudism is probably my most intense fetish and I finally got to see a lot of those films thanks to Something Weird Video.
But there was a lot more product put out by SWV than just sexploitation. Some of the prize titles in my collection are SWV editions of movies like the Starman series, also known as Super Giant. Japanese films from the early 60s Evil Brain From Outer Space, Atomic Rulers of the World, Invaders From Space and Attack From Space. These titles are public domain and can be found from a variety of distributors, but SWV loaded their editions with some great features including a magazine article detailing the history of these unique films, early anime like Prince Planet and a series of homemade sci-fi movies, shot on Super 8 and featuring lots of back yards and toys on strings. Great stuff.
Probably my favorites out of many SWV editions are Monsters Crash the Pajama Party, a disc that really shows how cool a DVD can be. The title movie was an interactive midnight show with a mad scientist, a man in a gorilla suit and a bunch of over age teen agers in a haunted house. At a key moment the gorilla would run off camera, the film would stop while a guy in a gorilla suit grabbed a woman from the audience, planted there by the exhibitors and brought into the film by going behind the screen. Of course the woman in the audience had to look and be dressed reasonably close to the woman in the film, making it appear the “fourth wall” had really and truly been broken. With the title movie there are 3 commentaries, all by exhibitors who put on midnight spook shows all across the country. And that’s not all, Monsters Crash the Pajama Party is loaded with extras like ads for midnight spook shows, trailers for horror movies, early music videos (soundies) with a Halloween theme (Boogie Woogie Boogie Man is my favorite!) clips from horror movies, home movies with a horror theme and a complete feature, Bert Gordon’s Tormented, another public domain movie but nice to have on a disc that is perfect for a Halloween party. There are even instructions on how to put on your own spook show.
Another great SWV title is their sampler disc with dozens and dozens of trailers for their various titles, one of the best trailer compilations ever put together, and it used to come free if you bought an SWV DVD at Borders Books.
And there is so much more, more than I can possibly describe, see for yourself. Visit SWV’s website HERE and browse a while, I guarantee you’ll find something you’ll want to see.
So I want to say thank you and a fond farewell to Mike Vraney. A friend of mine advised me that Mike Vraney had some issues, which I won’t go into here, which made him a little hard to get along with. And he was a heavy smoker so having lung cancer was almost expected. But that does not lessen his impact on the world of movie fandom. Something Weird Video provided a valuable service, and apparently they plan to continue, according to their website.
So farewell Mike Vraney, thank you, you will be missed.
QFest St. Louis continues with MR. ANGEL at 9:30 pm Tuesday April 29th.
QFest St. Louis, the annual gay and Lesbian Film Festival presented by Cinema St. Louis, kicks off this weekend. It runs through May 1st and all films will be screened at The Tivoli Theater (6350 Delmar in The Loop, University City, MO)
QFest uses the art of contemporary gay cinema to spotlight the lives of LGBTQ people and celebrate queer culture. The 2014 event features an eclectic slate of contemporary LGBTQ-themed feature films, documentaries, and shorts. Tickets are now on sale for all shows.
MR. ANGEL screens at 9:30pm Tuesday April 29th
Shot over a period of six years, “Mr. Angel” chronicles the extraordinary life of porn pioneer, educator, and transgender activist Buck Angel. Buck was born female yet always knew he was male. He has survived addiction, homelessness, suicide, and relentless opposition to his gender expression, living his truth without compromise or apology. “Mr. Angel” explores Buck’s complexities as he overcomes incredible obstacles, seeks the spotlight, copes with the backlash, and shares his message of empowerment. The film is an inspirational story of rare perseverance by a hero who just happens to be an internationally renowned transgender porn star.
It is shown with: Mathi(eu) a 19-minute French short directed by Coralie Prosper – This narrative short tells the story of Mathilde, who always knew he was a boy. Renamed Mathieu by his parents, he dreams of being accepted by the other kids and one day having sexual-reassignment surgery.
Vincent Mancini at FILM DRUNK says MR. ANGEL is:
“A movie about a man with a vagina that kicked me right in the emotional nutsack.”
A Facebook event page for the screening can be found HERE
Coming to theaters on August 15th, Lionsgate has released new photos from THE EXPENDABLES 3.
(From left to right) Jet Li, Antonio Banderas, Glen Powell, Arnold Schwarzenegger, Kellan Lutz, Dolph Lundgren, Wesley Snipes, Ronda Rousey, Randy Couture, Victor Ortiz, Sylvester Stallone, Jason Statham on the set of THE EXPENDABLES 3. Photo Credit: Phil Bray/Lionsgate
Lee Christmas (Jason Statham, left) and Doc (Wesley Snipes, right) in THE EXPENDABLES 3. Photo Credit: Phil Bray/Lionsgate.
The third chapter of the franchise stars Sylvester Stallone (Barney Ross), Jason Statham (Lee Christmas), Antonio Banderas (Galgo), Jet Li (Yin Yang), Wesley Snipes (Doc), Dolph Lundgren (Gunnar Jensen), Kelsey Grammer (Bonaparte),Terry Crews (Hale Caesar), Randy Couture (Toll Road), Kellan Lutz (John Smilee), Ronda Rousey (Luna), Glen Powell (Thorn), Victor Ortiz (Mars), Robert Davi (Vata), with Mel Gibson (Conrad Stonebanks), with Harrison Ford (Drummer), and Arnold Schwarzenegger (Trench).
In THE EXPENDABLES 3, Barney (Stallone), Christmas (Statham) and the rest of the team come face-to-face with Conrad Stonebanks (Gibson), who years ago co-founded The Expendables with Barney. Stonebanks subsequently became a ruthless arms trader and someone who Barney was forced to kill… or so he thought. Stonebanks, who eluded death once before, now is making it his mission to end The Expendables — but Barney has other plans.
Barney decides that he has to fight old blood with new blood, and brings in a new era of Expendables team members, recruiting individuals who are younger, faster and more tech-savvy. The latest mission becomes a clash of classic old-school style versus high-tech expertise in the Expendables’ most personal battle yet.
THE EXPENDABLES 3 is written by Sylvester Stallone, Creighton Rothenberger & Katrin Benedikt and directed by Patrick Hughes.
