Christian Bale – Page 2 – We Are Movie Geeks

Win Passes To The St. Louis Advance Screening Of VICE – Stars Christian Bale, Amy Adams And Tyler Perry

VICE explores the epic story about how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.

Opening in theaters on Christmas Day, VICE stars Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Jesse Plemons, Alison Pill, Lily Rabe, Tyler Perry, Justin Kirk, LisaGay Hamilton, Shea Whigham and Eddie Marsan and is directed by Adam McKay.

Enter for your chance to win two free passes to the St. Louis advance screening of VICE. The theatrical sneak preview will be on December 20 at 7pm.

Add you name and email in our comments section below.

NO PURCHASE REQUIRED. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.

WEBSITE: https://www.vice.movie/

MOWGLI: LEGEND OF THE JUNGLE – Review

As the year draws to a close, the march of live-action “re-imaginings” of classic kids’ animated feature films marches on. Well, technically it’s mostly CGI (or motion-capture) mixed with a bit of “live” reality. For the last few weeks the internet has been doing somersaults over the teaser/trailer for the “live” new version of THE LION KING (again, all in the computer since no baboon is going to lift a lion cub over a cliff). Disney Studios got the ball rolling a few years ago with CINDERELLA and THE JUNGLE BOOK, though they nixed most of the songs made famous in the 1950 and 1967 cartoons. What most film fans forgot was that the Rudyard Kipling classic was first a true live action flick in 1940 making its young star Sabu a fantasy adventure film icon. Since that book has long been in the public domain it’s natural that other studios and filmmakers would want to retell the tale. Waiting two years after the Jon Favreau helmed box office smash, Warner Brothers and Netflix have decided that Andy Serkis should present his take on the lad growing up amongst the beasts. And since Serkis is a celebrated motion capture actor (Gollum in the LORD OF THE RINGS and HOBBIT trilogies along with Caesar, the super-smart chimp in the recent PLANET OF THE APES trilogy), the SFX animals would have a very distinctive look and style of movement. So, just how will these “untamed” supporting players work alongside the “real-life” human lad known as MOWGLI: LEGEND OF THE JUNGLE?

The breathy hissing of the giant immortal snake Kaa (voice of Cate Blanchett), establishes the setting of the story, deep in the jungles of India. It’s a tragic beginning as a human couple are mercilessly slaughtered by the savage tiger Shere Kahn (vo: Benedict Cumberbatch) as their infant son watches just out of sight. Luckily an ebony-hued panther named Bagheera (vo: Christian Bale) scoops up the baby and delivers him to a nearby wolf pack. The wolf mother Nisha (vo: Naomie Harris) and father Akela (vo: Peter Mullan)agree to raise the boy as one of their own. Unfortunately one of Khan’s lackeys, a hyena named Tabaqui (Tom Hollander) sniffs the “man scent” and reports to his master. Khan tells the wolf family that he will shred and devour the lad soon when he’s away from the pack. But he somehow evades the tiger and quickly matures into a young pre-teen boy, now named Mowgli (Rohan Chand) who is able to keep up with his wolf “brothers”.He’ll need to if he wishes to be part of the “hunters”. To that end, he’s trained by Bagheera and the lumbering taskmaster bear Baloo (vo: Andy Serkis). But the menace of Shere Kahn still lurks, now aided by a swarm of monkeys, though much of Mowgli’s thoughts are now occupied by the strange sight just beyond the trees and foliage, a “man village”. But even more dangers arise there, since the frightened residents, including the lovely Messua (Freida Pinto), have hired a “great white hunter” named Lockwood (Matthew Rhys) to track down and kill a “man-eating” tiger. Will Mowgli be able to hide from him while protecting his family and friends (and avoid Khan)?

Leading the main trio of “on camera” talent is the engaging expressive Chand as the “boy raised by wolves”. His take on Mowgli is more concerned with staying alive (and two steps ahead of Khan) than with frolicking with new jungle pals, although he does make a real ally with a traumatized elephant. Plus he seems more torn between his animal instincts and his human traits, wanting to keep up with the pack by racing on all fours rather than running on his two feet (which would be much faster). And much like Christopher Lambert’s take on Tarzan, he shows the price for living his “double life” with a multitude of scratches, scars and scrapes. In the film’s final act, Mowgli meets his deadly adversary in Rhys as the sinister, cold-hearted “hired gun” Lockwood who would decimate the boy’s home just for a few coins and trophies of his “skill”. Rhys is a dead-eyed menace while Pinto embodies the more caring side of humanity via her gentle kindness, tempting Mowgli to leave his pack. As for his CGI co-stars, Bale is a stern fatherly mentor as Bagheera, who won’t allow his affection for the boy to get in the way of his strict training. And, in a switch from the more famous versions of the tale, Baloo is just as tough on Mowgli (there’s no lazy river floating or singing of the “bare necessities” with this old furry fellow). Serkis makes him a grumpy old drill sergeant with no patience for the boy’s frivolity, a true master of “tough love”. That toughness is essential when Khan “comes a’ calling”. Cumberbatch makes the tiger a true sadistic thug, a feline kingpin ruling the land with tooth and oh so sharp nail, eager to avenge his old wounds (we see several shots of a closed, lame paw). It’s easy to see why so many, like the hyena and the monkeys, serve him. But he can’t intimate the serpent sublime Kaa who is sinister and seductive thanks to the subtle vocal stylings of Blanchett, who’s both playful and unpredictable with Mowgli.

Director Sekis, thanks to the screenplay from Callie Kloves, delivers a much darker take on the classic story, one better suited for the grade school crowd (maybe 10 or so) than the toddler set. There’s little time for skipping and dancing in this often deadly world (and in a big departure there’s no massive orangutan King Louie to tempt the boy with any ape antics). The tone is established early since our first images of the title hero are as a baby literally covered in his mother’s blood (and there’s more of that flowing throughout the flick). Unfortunately the lighter films do loom large over the film, though Sekis does move the story through those familiar beats with a confident pace. What often distracts is the design choice for the lad’s jungle cohorts. They’re close to the real thing until the unusual shape of their heads (perhaps to make them more expressive) and the human-like eyes, showing so much white they have an other-worldly “vibe”. Maybe the thought was to show us more emotion, but it’s off-putting along with their “bouncy’ movement that gives them a weightlessness. The look of Baloo works, with his hairless exposed forehead showing off his many “worry” wrinkles. Still, the color palette of the backdrops really works, going from lush cool green to the blazing yellows bouncing off the rocks, recalling the terrific abstract designs from 1976 “Mowgli’s Brothers” TV special from the great Chuck Jones. You won’t forget that free-wheeling 67 animated lark (reportedly the last one supervised by Walt himself), but the family (aside from the wee ones) should find lots of thrills and spills with the new spin on MOWGLI: LEGEND OF THE JUNGLE.

3.5 Out of 5

MOWGLI: LEGEND OF THE JUNGLE opens in select theatres and is now streaming on Netflix

Check Out The New Trailer For MOWGLI Starring Christian Bale, Cate Blanchett, Benedict Cumberbatch And Freida Pinto

From the creator of Gollum (LOTR series) and Caesar (PLANET OF THE PAES) comes a new telling of the story of MOWGLI. See Andy Serkis and an incredible cast bring the jungle to new life October 19, 2018 in theaters.

Motion capture and live action are blended for MOWGLI, a new, big screen, 3D adaptation of Rudyard Kipling’s classic The Jungle Book.

Walt Disney Studios released the animated musical classic in 1967 and a retelling of it with a live version in 2016.

This version follows the upbringing of the human child Mowgli, raised by a wolf pack in the jungles of India. As he learns the often harsh rules of the jungle, under the tutelage of a bear named Baloo and a panther named Bagheera, Mowgli becomes accepted by the animals of the jungle as one of their own. All but one: the fearsome tiger Shere Khan. But there may be greater dangers lurking in the jungle, as Mowgli comes face to face with his human origins.

The actors performing the roles of the story’s central animal characters are: Oscar winner Christian Bale (“The Fighter,” the “Dark Knight” Trilogy) as the cunning panther, Bagheera; Oscar winner Cate Blanchett (“Blue Jasmine,” “The Aviator”) as the sinister snake, Kaa; Oscar nominee Benedict Cumberbatch (“The Imitation Game,” “Avengers: Infinity War”) as the fearsome tiger, Shere Khan; Oscar nominee Naomie Harris (“Moonlight,” “Skyfall”) as Nisha, the female wolf, who adopts the baby Mowgli as one of her cubs; and Andy Serkis (the “Planet of the Apes” trilogy, “Star Wars: The Last Jedi”) as the wise bear, Baloo. On the human side, Matthew Rhys (“The Post”) is Lockwood; Freida Pinto (“Knight of Cups”) is Messua; and young actor Rohan Chand (“The Hundred-Foot Journey,” “Bad Words”) will play Mowgli, the boy raised by wolves.

Rounding out the cast are Peter Mullan (“Tommy’s Honour”), as the leader of the wolf pack, Akela; Jack Reynor (“Transformers: Age of Extinction”), as Mowgli’s brother Wolf; Eddie Marsan (TV’s “Ray Donovan”), as Nisha’s mate, Vihaan; and Tom Hollander (“Breathe”) as the scavenging hyena, Tabaqui.

“Mowgli” is produced by Steve Kloves (“Fantastic Beasts and Where to Find Them”), Jonathan Cavendish (“Breathe,” performance capture producer on “Godzilla”), and David Barron (the “Harry Potter” films), with Nikki Penny serving as executive producer. The screenplay is by Kloves’ daughter, Callie Kloves.

Serkis’s creative filmmaking team includes director of photography Michael Seresin (“War for the Planet of the Apes”), production designer Gary Freeman (“Tomb Raider”) and editors Mark Sanger (Oscar winner, “Gravity”), Alex Marquez (“Snowden”) and Jeremiah O’Driscoll (“Flight”). The music is composed by Nitin Sawhney (“Breathe”).

Visit the official site: mowglimovie.com

twitter.com/MowgliMovie

HOSTILES – Review

A timely account of the plight of Native Americans told through the eyes of a white guy who hates them, HOSTILES is a soft-headed frontier epic that never sparks to life. Despite a promising cast and concept, HOSTILES will have viewers begging to be taken to greener pastures long before its 134-minute duration concludes.

In 1840, Captain Joseph Blocker (Christian Bale) is given the order to escort Yellow Hawk (Wes Studi), a dying Cheyenne war chief, from New Mexico to Montana to be buried on sacred tribal lands. Still harboring a grudge against Yellow Hawk for leading past attacks in which his men were slaughtered, Blocker has spent his life fighting Indians and is renowned for having collected more than his share of scalps. Soon after Blocker and his select group of soldiers begin their journey with Yellow Hawk and his family, they come across a burned-down ranch where they discover Rosalie Quaid (Rosamund Pike) clutching a dead baby. She’s been in shock since her husband and two other daughters were massacred by a band of bloodthirsty Comanche. When they later cross paths with that same gang, Rosalie avenges herself by emptying a revolver into the body of a Comanche. As the group continues their trek, the whites and the Indians begin to bond. The Indian women give Rosalie some clothes to wear and Metz (Rory Cochrane), one of Blocker’s oldest friends, asks for forgiveness from Yellow Hawk for past atrocities he committed against his people. While stopped at a military post, Blocker and his party hear a commander’s wife (Robyn Malcolm) condemn the government and military officials for orchestrating the stealing of Native American lands. As the journey continues, Blocker finds himself gaining respect for Yellow Hawk and falling for Rosalie.

There is nothing overwhelmingly bad about HOSTILES (aside from Rosamund Pike’s performance), but there’s also nothing that inspires the viewer to sit up and take notice. Director Scott Cooper’s film is bogged down by a grim and solemn tone that makes its predictable story interminable. Here’s another blandly-written story of the white man learning wisdom and insight from those who look different. The film wants to present the Cheyenne in a good light, yet for all its sentiments to wax poetic about them tells us precious little about their culture and their way of life. Wes Studi as Yellow Hawk certainly exudes the proper noble presence but he and the other the Indians are props for a dry history lesson about white man problems. In fairness, HOSTILES doesn’t dwell on the themes of bigotry, genocide, and oppression as much as I expected (WIND RIVER, a contemporary story, actually handles some of these issues better). Coopers script pays lip service to these matters but his film concentrates more on artful images punctuated by pseudo-profound monologues more often than on action and the many emotional scenes seem more sappy than genuine.

HOSTILES squanders a good cast. This is the sour, humorless Christian Bale we get in movies like OUT OF THE FURNACE and he isn’t much fun to spend 134 minutes with. Worse is Rosamund Pike, way overplaying the grief. A scene where she’s wailing in agony while unsuccessfully clawing at the ground with her hands to bury her kids (until one of the soldiers hands her a shovel, which she can’t handle much better) is so embarrassingly over-the-top, she seems more deranged than anguished. Jesse Plemmons, Rory Cochrane, and Bill Camp are among the fine actors that are part of this journey. They’re all good but nobody stands out while Ben Foster employs his usual tics to play yet another twitchy villain. Even current hotshot Timothee Calamet makes little impression in a small role as a doomed youngster along for the ride (though I hear he’s good in CALL ME BY ME NAME!). HOSTILES is an underwhelming western that just leaves you wondering why it wasn’t better.

2 of 5 Stars

Win Passes To The St. Louis Screening Of HOSTILES Starring Christian Bale

Set in 1892, HOSTILES tells the story of a legendary Army Captain (Christian Bale), who after stern resistance, reluctantly agrees to escort a dying Cheyenne war chief (Wes Studi) and his family back to tribal lands. Making the harrowing and perilous journey from Fort Berringer, an isolated Army outpost in New Mexico, to the grasslands of Montana, the former rivals encounter a young widow (Rosamund Pike), whose family was murdered on the plains. Together, they must join forces to overcome the punishing landscape, hostile Comanche and vicious outliers that they encounter along the way. Hostiles is directed by Scott Cooper (Black Mass, Out of the Furnace, Crazy Heart) and produced by John Lesher (Black Mass, Birdman, Fury) and Ken Kao (The Nice Guys, Knight of Cups). The film stars: Christian Bale (The Big Short, American Hustle, The Dark Knight) Rosamund Pike (Gone Girl, Jack Reacher), Wes Studi (Avatar, Heat, Geronimo), Adam Beach (Suicide Squad, Flags of Our Fathers), Ben Foster (Hell or High Water, 3:10 to Yuma), Q’orianka Kilcher (Unnatural), Tanaya Beatty (Twilight), Jonathan Majors (Do Not Disturb), Rory Cochrane (Black Mass, Argo), Jesse Plemons (Black Mass, Bridge of Spies), Timothée Chalamet (Love the Coopers, Interstellar), Paul Anderson (The Revenant, Sherlock Holmes: A Game of Shadows), Ryan Bingham (Crazy Heart), David Midthunder (Comanche Moon), John Benjamin Hickey (Get on Up, Pitch Perfect), Stephen Lang (Avatar, The Nut Job), Bill Camp (12 years a Slave, Birdman).

For the chance to win TWO (2) seats to the advance screening of HOSTILES on January 17 at 7:00 pm in St. Louis, leave a message with your email address in the comments section below.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.

THE DARK KNIGHT Midnights This Weekend at The Tivoli

“You either die a hero or you live long enough to see yourself become the villain.”

In 2008, Christopher Nolan did something no other Batman film director could ever do – he made a darker film than Tim Burton. Burton’s over-the-top, circus-like direction in his two Batman films, while albeit dark, isn’t anywhere near as dark and gritty as THE DARK KNIGHT.

Let’s start with the Joker first off. Heath Ledger outclassed Nicholson in this role (see CHINATOWN at the Tivoli Wednesday night for quintessential Jack). This isn’t the prim and proper Joker that Nicholson displayed – this Joker is a force of nature that plays by absolutely no rules except his own twisted moral code. He cares more about chaos and mayhem more than he would ever care about money or fame. He lives off the fear of the populace. Nicholson’s obsession with the Batman had more to do with him creating the Joker, versus a twisted and depraved fascination with Batman being the symbol of hope for a doomed city. Turning the Joker into a bona fide terrorist fit the post-911 world. Nicholson’s Joker was more preoccupied with settling personal vendettas than being a terrorist, which means that his Joker isn’t near as fascinating.

Likewise, Two-Face in this film, as played by Aaron Eckhart, is more in line with Nicholson’s Joker this time around. His existence in this film is purely about personal vendettas, though he’s largely overshadowed by the Joker. Harvey Dent in the film was a good idea to move Batman’s story along, but Two-Face was not the star attraction of THE DARK KNIGHT.

All the stars here seemed to know what was at stake with THE DARK KNIGHT, so they give it their all. Even with Heath Ledger out of the equation, the performances are fine. Michael Caine and Morgan Freeman really do take advantage of their supporting roles in the film, and use the limited screen time they have to make an impact. Christian Bale did another fine job as the freewheeling playboy as well.Too bad the next and final Nolan Batman, THE DARK KNIGHT RISES (2012) failed to live up to this one.

A Facebook invite for this event can be found HERE

https://www.facebook.com/events/747266605436256/

THE PROMISE – Review

(l-r) Charlotte Le Bon as Ana, Oscar Isaac as Michael, and Christian Bale as Chris, in THE PROMISE. Photo by Jose Haro. Courtesy of Open Road ©

The Armenian genocide during World War I is the backdrop for THE PROMISE, tale of war and love starring Oscar Isaac, Charlotte Le Bon and Christian Bale.

A hundred years on, many people still know little about this early 20th century genocide in the waning days of Turkey’s Ottoman Empire, an event the Turkish government still refuses to acknowledge. It has been said that the world has so thoroughly forgotten the Armenian genocide only a few years afterward, that it encouraged Hitler to undertake his own genocide. But some Armenians did survive and the genocide is getting renewed attention after a century.

In director Terry George’s lush historical drama, Oscar Isaac plays Michael, a young Armenian man, the son of the local pharmacist, from a small village who travels to Constantinople to fulfill his life-long ambition to attend medical school. His pharmacist father is respected but poor, and the son becomes engaged to the daughter of a wealthy villager, using the dowry to pay for his education. The young couple barely know each other but the young man is confident they will learn to love each other.

Leaving his fiancée behind, the young Armenian arrives in the big, cosmopolitan city of Constantinople, where he stays with a wealthy uncle and his family. Michael meets another medical student who is the son of a powerful Turkish official. His new friend introduces him to American journalist Chris (Welsh actor Christian Bale, once again sporting an American accent) and Chris’ Paris-raised Armenian girlfriend, a beauty named Ana (Charlotte Le Bon). Michael is smitten immediately, and while he grapples with his promise to the girl back home, war breaks out, disrupting all their lives.

Like in Germany a few decades later or Rwanda more recently, what seems to be a peaceful integration of different peoples suddenly gives way to a government persecution and open prejudice. In this case, the Muslim Turks who rule the Ottoman Empire turn on the Christian Armenian minority, subjecting them to a campaign of “ethnic cleansing” by removing them villages, followed by secret mass killings.

It is an appalling historical moment, the first genocide of the 20th century, and an event that needs to be better known. One of the most chilling scenes in the film is when an Ottoman official denies that fighting is taking place between Turkish troops and Armenian resisters. “There is no war,” he coolly claims.

The acting is strong in this historical drama but the personal story has a familiar feel. This romantic triangle, or maybe that should be a square or double triangle since four people are involved, for the provides the dramatic arc for a little history lesson in what happened to the Armenian people, in the style of HOTEL RWANDA. The film is beautifully shot, packed with period details and sweeping vistas, with Spain and Malta standing in for Turkey. It is a worthy subject, one that deserves the careful attention is gets in this historical drama, but the personal dramatic arc sometimes loses focus as the director concentrates on fitting in as many historical touch points as possible.

THE PROMISE is not a perfect drama but certainly is a worthwhile film for shining a spotlight on a too long forgotten shameful chapter in history.

Rating: 3 1/2 out of 5 stars

KNIGHT OF CUPS – The Review

KNIGHT OF CUPS isn’t a reference to that grey knight in the cave in INDIANA JONES AND THE LAST CRUSADE. Though I bet there’s a great backstory to that old guy. In fact, the title refers to the tarot card which often signifies someone who is a bringer of ideas but is also constantly bored and in need of stimulation. It doesn’t take long to see why Terrence Malick has named his newest film this, and that sentiment extends past just the main character. Even fans of the director might feel the acclaimed and talented director slipping from his position as King of Wands – a mature man who is decisive and passionate.

Usually, Malick has always balanced his stories with the visuals. They worked alongside one another – enhancing one another and adding extra layers of complexity. Through spectacular landscapes and spotlighting the mundane, Malick has explored the overwhelming beauty of life, if we only just stop to look at. And in contrast with these small wonders of the world, he shows characters dealing with the fragility of life. In THE THIN RED LINE, you have soldiers facing possible death and their own destructive mission. In THE NEW WORLD, you have an entire civilization on the brink of elimination from English settlers. In BADLANDS, you have two killers dealing with the morality of their own actions while heading down an uncertain path.

THE TREE OF LIFE explored these same existential dilemmas. However, Malick didn’t just narrow his focus on one family and their internal joys and woes. He looked at all of existence. He examined the weight of the world that rests on us all, whether we are aware of it or not. He seemingly shows through his “birth of the universe” sequence that this weight stems from our history; the history of our fathers; the history of our culture; the history of the planet’s evolutionary cycle.

It seems that TREE OF LIFE reinvigorated the director, for better or for worse. Malick has taken the success of that film and has abandoned his usual cycle of about one film every decade and has pumped out two films (and possibly another right around the corner) in five year’s time. That being said, both the films that have followed have tried to capture the magic of TREE while missing the point of that film. It wasn’t just the visuals that caused many critics (this one included) to praise the film as one of the best of 2011. It was the balance of the emotional story and the visuals that made his earlier work so successful. TO THE WONDER and KNIGHT OF CUPS have forgotten one-half of this winning equation.

The life of a Hollywood screenwriter is more luxurious than I ever imagined. Well, at least according to KNIGHT OF CUPS. Christian Bale’s character of Rick shuffles through this glittery and glamorous world of models, parties, mansions, and strip clubs all without a care in the – actually, he has all the the cares and inner turmoil in the world. Never once do we see him sitting at a desk actually writing or exploring his craft (even a few scenes of him on a soundstage never really amount to much). He lives only in the superficial dream world of LA. Characters float through his life in almost as dizzying of a fashion as “artistic images” are shoehorned in. The most egregious are the scenes of him wandering on a beach.

It’s almost ironic that Malick – an artist in every sense of the word – centers his story around someone who works in the arts and yet chooses not to dive into what it means to be one. Christian Bale does his best acting stoned and spouting a cryptic voice-over. He commits to it, projecting a character who questions his lifestyle. However, it’s hard to sympathize with someone struggling with the lifestyle of the rich and famous.

There’s an internet video that made the rounds a couple years back called “Drinking Out of Cups.” Aside from the similarities in the name, both feature half-baked ramblings that grasp at ideas and characters and locations in an attempt to reach something sublime. However, the main difference between KNIGHT OF CUPS and “Drinking Out of Cups” is that the latter was apparently a recording of a man talking under the influence of a hallucinogen while flipping through channels – this KNIGHT might have benefitted from sitting at the same table as the village idiot if only for the fact that it wouldn’t treat itself so seriously. Malick has presented us with something so profoundly empty twice in a row now, that I’m starting to question what the cards say about his future.

OVERALL RATING: 2 out of 5

KNIGHT OF CUPS is now playing in limited release

Christian Bale Is On A Quest In KNIGHT OF CUPS Poster

Check out the official US poster for KNIGHT OF CUPS.

The 7th film from director Terrence Malick (The Thin Red Line, Tree of Life), KNIGHT OF CUPS (the title refers to the Tarot card depicting a romantic adventurer guided by his emotions) offers both a vision of modern life and an intensely personal experience of memory, family, and love.

Opening on March 4, watch the trailer below.

KNIGHT OF CUPS follows writer Rick (Christian Bale, The Fighter, American Hustle) on an odyssey through the playgrounds of Los Angeles and Las Vegas as he undertakes a search for love and self. Even as he moves through a desire-laden landscape of mansions, resorts, beaches and clubs, Rick grapples over complicated relationships with his brother (Wes Bentley) and father (Brian Dennehy). His quest to break the spell of his disenchantment takes him on a series of adventures with six alluring women: rebellious Della (Imogen Poots); his physician ex-wife, Nancy (Cate Blanchett); a serene model Helen (Freida Pinto); a woman he wronged in the past Elizabeth (Natalie Portman); a spirited, playful stripper Karen (Teresa Palmer); and an innocent Isabel (Isabel Lucas), who helps him see a way forward.

Rick moves in a daze through a strange and overwhelming dreamscape — but can he wake up to the beauty, humanity and rhythms of life around him? The deeper he searches, the more the journey becomes his destination.

KNIGHT OF CUPS is produced by Nicolas Gonda, Sarah Green and Ken Kao. Prominent crew includes cinematographer Emmanuel Lubezki (Gravity, Birdman), production designer Jack Fisk, costume designer Jacqueline West, and composer Hanan Townshend (To The Wonder). The film’s ensemble cast also includes Antonio Banderas, Cherry Jones and Armin Mueller-Stahl.

Visit the film’s official site: theknightofcupsmovie.com

www.instagram.com/KnightofCupsMov

www.facebook.com/knightofcupsmov

twitter.com/knightofcupsmov

Check Out The Two New Clips From Terrence Malick’s KNIGHTS OF CUPS

Broad Green Pictures has released two brief clips, more like seconds, from KNIGHT OF CUPS.

The never-before-seen footage was created by filmmaker Terrence Malick and his team.

The film opens in cinemas on March 4.

KNIGHT OF CUPS follows writer Rick (Christian Bale, The Fighter, American Hustle) on an odyssey through the playgrounds of Los Angeles and Las Vegas as he undertakes a search for love and self.

Even as he moves through a desire-laden landscape of mansions, resorts, beaches and clubs, Rick grapples over complicated relationships with his brother (Wes Bentley) and father (Brian Dennehy). His quest to break the spell of his disenchantment takes him on a series of adventures with six alluring women: rebellious Della (Imogen Poots); his physician ex-wife, Nancy (Cate Blanchett); a serene model Helen (Freida Pinto); a woman he wronged in the past Elizabeth (Natalie Portman); a spirited, playful stripper Karen (Teresa Palmer); and an innocent Isabel (Isabel Lucas), who helps him see a way forward.

Visit the official site: www.theknightofcupsmovie.com

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