The secret to life will be discovered in homes everywhere when the uplifting and hope-filled film The Secret: Dare to Dream arrives Friday, July 31 on Premium Video on Demand. The feel-good romantic drama starring Katie Holmes, Josh Lucas, and Jerry O’Connell explores hope and gratitude in one’s darkest days, and reminds us that it’s never too late to believe again.
Based on the groundbreaking best-selling book about the law of attraction by Rhonda Byrne, The Secret: Dare to Dream follows Miranda (Katie Holmes), a young widow trying to make ends meet while raising her three children and dating her boyfriend (Jerry O’Connell). A devastating storm brings an enormous challenge and a mysterious man, Bray (Josh Lucas), into Miranda’s life. Bray reignites the family’s spirit but, unbeknownst to Miranda, also holds an important secret — one that will change everything. With its timeless messages of hope, compassion, and gratitude, The Secret: Dare to Dream is an inspiring and heartwarming film that shows how positive thoughts can transform our lives.
WAMG is giving away 2 free downloads of the book.
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The Secret: Dare to Dream will be available to rent for $19.99 through On Demand platforms such as Apple TV, Amazon Prime Video, VUDU and cable providers starting Friday July 31.
Okay cinema, you’ve been taunting us with films concerning things we can’t enjoy because of the pandemic (aside from actually seeing flicks in our favorite chain multiplex, although a smattering have reopened mostly with older movies). A couple of days ago it was renting an online getaway home, before that, it was road trips and movies set in faraway lands. Now, it’s the concert experience. This somewhat new release isn’t about a touring rock n’ roll band or a hard-partying country crooner (they’ve been doing a variation of the movies’ solution with drive-in concerts and simulcasts). We’re entering the world of classical music, with a profile of a celebrated pianist, so an indoor venue, a hall or auditorium, is preferred for the acoustics and intimacy. Oh, playing the “keyboard virtuoso’ is an actor that garnered lots of press and praise earlier this year for returning to the role that made him world-famous several decades ago. But he still wants to show us his versatility as a man who struggles to combine LIFE WITH MUSIC.
At the start of this story, we’re sitting right on the bench in a packed concert hall next to world-famous classical pianist Henry Cole (Patrick Stewart). The audience is in awe, but Henry is suffering for his art. Concluding his complex final piece, he bolts from the stage and heads out the stage door into the alley. As Henry doffs his jacket and loosens his tie, the door flings open to reveal his agent/manager Paul (Giancarlo Esposito). It’s the start of Henry’s comeback/final tour after he took time out to mourn the death of his wife, and Paul reminds him that he “owes” the audience an encore number. But this unexpected panic attack precludes that. Still, Henry has to “meet the press” who grill him over the lack of an encore. As Henry fumbles for an answer, he notices a late arrival, New Yorker music critic Helen Morrison (Katie Holmes). As the reporters drift away, she timidly inquires about a further interview, part of a profile for the magazine. He declines but later finds that her words occupy his thoughts. To his surprise, she shows up at his appearance days later at Steinway Hall. When his “performance panic’ kicks in, she joins him at the piano for an impromptu duet. Helen proves to be a calming influence, so he happily agrees to the interview. At another concert, Henry is overwhelmed and refuses to resume after the intermission. A frazzled Paul is ecstatic to see Helen who talks Henry “down”. The two then become inseparable as she joins him on the road and at his home in the forests of upper New York state. After some “downtime” Henry decides to continue with his farewell tour which will conclude with a highly publicized London concert, set to be live-streamed around the globe. But will tragedy prevent Henry from taking that final bow?
The film is carried by the “out of the box” casting of Stewart as Henry. Whether he’s leading Starfleet officers or mutants into battle, the actor effortlessly projects strength and confidence, even as he reads Shakespeare sonnets on the internet. This role demands that he show a more timid, vulnerable side, one we’ve not really seen since his acclaimed (perhaps) final turn as Xavier in LOGAN. As he views the music notes on a page of sheet music they seem to smother him, his panic is palpable as we can almost smell the “flop-sweat”. Henry’s certainly emotionally wounded but we also see him begin to heal, his grimace slowly cracks into a grin. This leads to the revealing of his gentle nature, as when Henry shares his gifts with a young fan. Stewart draws us in with his commanding presence and serene vocal style. This helps bring out a subtle, restrained performance by Holmes who’s most believable as the soothing balm to Henry’s ills. She may be the “good cop” to Esposito’s, well maybe not bad cop, but definitely a taskmaster. He deftly ” keeps lots of plates spinning” as he gently nudges Henry out of his ‘comfort zone’, believing in his talents, but trying to satisfy and placate all the forces dependent on “the talent”. He truly cares about Henry, as we see his mind scrambling to say the right words and encouragement to bring a great career to a spectacular finale.
First-time feature director Claude Lalonde keeps the story from screenwriter Louis Godbout flowing at a leisurely pace, giving us a real insider’s view of the classical music concert world. They both deal with the tale’s unconventional romance, namely the “age thing”, with restraint (after Henry expresses his concerns, Helen replies, “You got a thing against young people?”) and the complex friendship/ business partnership between Henry and Paul. Unfortunately, though, much of the Henry/Helen scenes consist of long walking montages with voiceovers of her spouting “touch-feely” platitudes. Speaking of, the characters, particularly Henry, spend long swathes of the running time strolling, watching other pedestrians, and staring at their surroundings. Some of which are lovely though, especially a side trip to Sils-Maria in the Swiss Alps. Ultimately those scenes are confusing as we realize that the story is doing “fast-forward” time- jumps with little purpose. The momentum of the plot is thrown off, much as with the many close-ups of Helen looking at Henry with bright-eyed, smiling admiration. Fans of the classic composers and of the superb Stewart will find much to enjoy, but LIFE WITH MUSIC wrecks its tempo when away from the keyboard.
2 out of 4
LIFE WITH MUSIC is available as a Digital Download on most streaming platforms and apps such as iTunes, Amazon, and Google.
With Steven Soderbergh in the director’s seat, LOGAN LUCKY is a smart heist film with plenty of laughs and surprises along the way. The story follows the Logan siblings; Jimmy (Channing Tatum), whose football career was ended by a bad knee, Clyde (Adam Driver), who tends bar at the Duct Tape Lounge with his one arm, the other having been blown off in Iraq, and sexy sister Mellie (Riley Keough), who cuts hair in a down-scale salon. The Logans are a working-class family known for a history of bad luck. After being canned from his job repairing sinkholes under the Charlotte Motor Speedway, Jimmy gets the idea to pull of an elaborate heist. With his knowledge of a series of pneumatic underground tubes that connect the Speedway’s concession and souvenir stands to a large vault filled with cash, Jimmy sees the perfect opportunity to steal it all during a NASCAR race, thus ending the Logan curse. Jimmy’s foremost incentive is his love for his daughter Sadie (Farrah Mackenzie), since his ex, Bobby Jo (Katie Holmes) and her wealthy car-salesman husband Moody (David Denman) intend a move across state lines that would threaten his custody access. To pull off the heist, he enlists the help of Clyde and Mellie along with safe cracker/explosives expert Joe Bang (a white-haired, tattooed Daniel Craig – billed as “Introducing Daniel Craig”) and Joe’s two idiot brothers, Sam (Brian Gleeson) and Fish Bang (Jack Quaid). The only hitch is that Joe is currently in prison, so on top of devising the plan to nab the cash, they’ll need to figure out a way to bust him out and then bust him back in without anyone noticing.
Soderbergh (directing his first film since BEHIND THE CANDELABRA) and writer Rebecca Blunt (a rumored Soderbergh pseudonym) understand the best part of a heist movie is following the intricacies of the crime’s moving parts as it goes down. Soderbergh is no stranger to the caper genre, having directed OCEANS 11 and its sequels, but in those the heist’s structure took a back seat to the star power of the cast. Here, everything seems real and precise, with the timing of explosions (including a gummy bear bomb), the distracting of track security, a staged prison riot, even the building of coffin-like boxes for the breakout, all detailed believably.
With LOGAN LUCKY, Soderbergh gives us a cartoonish portrayal of the rural American lifestyle – dusty highways, John Denver songs, mis-spelled tattoos, rubber-burning car chases, camouflage pants, child beauty pageants, toilet-seat tossing and apple-bobbing at the county fair – all that’s missing is a cameo from Burt Reynolds. The characters may be simple-minded, but the script is not, and most are treated with respect and good fun, not just the object of ridicule.
The great strength of LOGAN LUCKY is its cast and characters. Channing Tatum, in almost every scene, is a natural in this role, counting on others to think he’s as dumb as he looks while actually a step ahead. Daniel Craig is a revelation, stealing every scene he’s in. Who knew the screen’s toughest 007 would be this good at comedy? He deserves to be remembered next awards season. Driver and Keough are also terrific as brother and sister while the main cast is supported by an impressive group of actors (the casting director should get an award). Hilary Swank, who doesn’t show up until near the end, takes charge as a determined FBI agent investigating the heist. Dwight Yokum is spot-on slimy as the A-Hole prison warden, and I didn’t recognize Seth McFarlane as Brit Max Chilblain, a pompous energy drink mogul/NASCAR sponsor. Katherine Waterston has just one sweet scene as a possible love interest for Jimmy, an old flame now a doctor who he encounters on a gas station parking lot. Katie Holmes as Bobby Jo shows us a side to her I’ve never seen while Brian Gleeson and Jack Quaid as the younger Bang brothers up the redneck hilarity several notches when they’re on screen. Sebastian Stan’s role as a hotshot driver is a strong but small one which leads me to my only complaint about LOGAN LUCKY; these characters are such a blast to be with that I wish the film had been longer. The action is tight and the comedy loose in LOGAN LUCKY, one of the best films of the year.
Director Steven Soderbergh and the folks from MAGIC MIKE are back at it with the new comedy LOGAN LUCKY starring Channing Tatum, Adam Driver, Seth MacFarlane, Riley Keough, Katie Holmes, Katherine Waterson, Dwight Yoakam, Sebastian Stan, Brian Gleeson, Jack Quaid, with Hilary Swank and introducing Daniel Craig as Joe Bang. Trying to reverse a family curse, brothers Jimmy (Channing Tatum) and Clyde Logan (Adam Driver) set out to execute an elaborate robbery during the legendary Coca-Cola 600 race at Charlotte Motor Speedway.
LOGAN LUCKY opens everywhere August 18th.
You can win Run of Engagement passes to see LOGAN LUCKY! Just leave a comment below and we’ll send ten of you passes good for two people. Good Luck!
Director Steven Soderbergh and the folks from MAGIC MIKE are back at it with the new comedy LOGAN LUCKY.
Starring Channing Tatum, Adam Driver, Seth MacFarlane, Riley Keough, Katie Holmes, Katherine Waterson, Dwight Yoakam, Sebastian Stan, Brian Gleeson, Jack Quaid, with Hilary Swank and introducing Daniel Craig as Joe Bang, check out the trailer now.
I love the huge cast, especially the retro poster, and can’t wait to see what Soderbergh does with this modern day version of the 1970’s genre – has the feeling of SMOKEY AND THE BANDIT for this generation.
Trying to reverse a family curse, brothers Jimmy (Channing Tatum) and Clyde Logan (Adam Driver) set out to execute an elaborate robbery during the legendary Coca-Cola 600 race at Charlotte Motor Speedway.
Fingerprint Releasing & Bleecker Street will release LOGAN LUCKY in theaters everywhere August 18, 2017.
(l-r) Channing Tatum stars as Jimmy Logan, Riley Keough as Mellie Logan and Adam Driver as Clyde Logan in Steven Soderbergh’s LOGAN LUCKY, a Fingerprint Releasing and Bleecker Street release. Credit: Michael Tacket / Fingerprint Releasing | Bleecker Street
Two powerful performances dominate the new film TOUCHED WITH FIRE, which examines the sometimes blurry line between genius and madness. Carla (Katie Holmes, who also co-produced) and Marco (Luke Kirby, seen recently on TVs RECTIFY) are two creative and restless poets who are also bi-polar. They each display an almost obsessive need to write and perform their verse at local poetry bars. After a chance meeting attending group therapy in the mental ward of a hospital, the two find in each other a kindred spirit with a common bond—the burning need to create.
Though not really a film version of the book TOUCHED WITH FIRE, the film is informed by the basic themes of that work. Published in 1993, and subtitled “Manic-Depressive Illness and the Artistic Temperament,” TOUCHED WITH FIRE was written by Dr. Kay Redfield Jamison, a clinical psychologist and Professor of Psychiatry at Johns Hopkins University. Much of her work shows incredible insight into the condition of manic-depressive behavior (she herself suffered from the disorder, which she details in her other books), and TOUCHED WITH FIRE contains several case studies of famous artists, writers, and other creative people—including Lord Byron, one of the great Romantic poets.
Around these themes, writer-director Paul Dalio has made a thoughtful, touching, and beautifully acted film that asks many questions with no easy answers. What is the relationship between artistic expression and some types of dementia? Can we have true art without the influence of at least some sort of non-normal perception of reality? How responsible are creative people to live a life of normalcy, with the responsibilities of jobs, homes, and families? Almost mirroring the highs and lows of typical bi-polar behavior, the film tells the story from both sides. We see the “manic” exuberance of two people falling in love amid fantastical elements in lovely, visually wonderful scenes at the mental hospital. Later, we witness the depression and dark moods as the realities of parental pressure and the stress of a committed relationship deepen. Holmes is a naturally gifted actress who totally loses herself in the role of Carla. Wearing little makeup, with an almost haggard expression from her terminal sleeplessness, Holmes rides the mood swings of Carla with great depth and passion. From the scene of her first interaction with her mother (Christine Lahti in fine support), when Carla chokingly asks, “When did it start? What caused it?” we are rooting for her to find the answers we know she never will. Kirby is equally impressive, whether he’s spouting the most intellectual yet paranoid rap poetry we’ve ever heard, or trying to fight through his illness for the sake of Carla.
After the highs, when we come to the lows of the love story, the film raises its central question: Is manic-depressive behavior a gift, to be set free and nurtured, or is it an illness, to be medicated and controlled? TOUCHED WITH FIRE seems to see the value in both points of view, and even presents the notion that both may be necessary in some form in order to create lasting works of art. And as both an adult romantic drama, and as a study of the effects of bi-polar behavior on artistic expression, TOUCHED WITH FIRE succeeds admirably.
4 of 5 Stars
TOUCHED WITH FIRE opens February 19th in St. Louis exclusively at Landmark’s The Tivoli Theater
TOUCHED WITH FIRE screens Thursday, November 12th at 7pm at The Tivoli Theater as part of The St. Louis International Film Festival. Ticket information can be foundHERE
Two powerful performances dominate the new film TOUCHED WITH FIRE, which examines the sometimes blurry line between genius and madness. Carla (Katie Holmes, who also co-produced) and Marco (Luke Kirby, seen recently on TVs RECTIFY) are two creative and restless poets who are also bi-polar. They each display an almost obsessive need to write and perform their verse at local poetry bars. After a chance meeting attending group therapy in the mental ward of a hospital, the two find in each other a kindred spirit with a common bond—the burning need to create.
Though not really a film version of the book TOUCHED WITH FIRE, the film is informed by the basic themes of that work. Published in 1993, and subtitled “Manic-Depressive Illness and the Artistic Temperament,” TOUCHED WITH FIRE was written by Dr. Kay Redfield Jamison, a clinical psychologist and Professor of Psychiatry at Johns Hopkins University. Much of her work shows incredible insight into the condition of manic-depressive behavior (she herself suffered from the disorder, which she details in her other books), and TOUCHED WITH FIRE contains several case studies of famous artists, writers, and other creative people—including Lord Byron, one of the great Romantic poets.
Around these themes, writer-director Paul Dalio has made a thoughtful, touching, and beautifully acted film that asks many questions with no easy answers. What is the relationship between artistic expression and some types of dementia? Can we have true art without the influence of at least some sort of non-normal perception of reality? How responsible are creative people to live a life of normalcy, with the responsibilities of jobs, homes, and families? Almost mirroring the highs and lows of typical bi-polar behavior, the film tells the story from both sides. We see the “manic” exuberance of two people falling in love amid fantastical elements in lovely, visually wonderful scenes at the mental hospital. Later, we witness the depression and dark moods as the realities of parental pressure and the stress of a committed relationship deepen. Holmes is a naturally gifted actress who totally loses herself in the role of Carla. Wearing little makeup, with an almost haggard expression from her terminal sleeplessness, Holmes rides the mood swings of Carla with great depth and passion. From the scene of her first interaction with her mother (Christine Lahti in fine support), when Carla chokingly asks, “When did it start? What caused it?” we are rooting for her to find the answers we know she never will. Kirby is equally impressive, whether he’s spouting the most intellectual yet paranoid rap poetry we’ve ever heard, or trying to fight through his illness for the sake of Carla.
After the highs, when we come to the lows of the love story, the film raises its central question: Is manic-depressive behavior a gift, to be set free and nurtured, or is it an illness, to be medicated and controlled? TOUCHED WITH FIRE seems to see the value in both points of view, and even presents the notion that both may be necessary in some form in order to create lasting works of art. And as both an adult romantic drama, and as a study of the effects of bi-polar behavior on artistic expression, TOUCHED WITH FIRE succeeds admirably.
Roadside Attractions has acquired U.S. rights to Paul Dalio’s debut feature TOUCHED WITH FIRE (formerly titled MANIA DAYS) starring Katie Holmes.
A critical and audience favorite at this year’s SXSW Film Festival, TOUCHED WITH FIRE “boasts Katie Holmes’ best performance in years,” according to the Huffington Post, and is the story of two bipolar poets whose art is fueled by their emotional extremes.
When they meet in a psychiatric hospital their romance brings out all the beauty and darkness of their condition until they have to choose between sanity and love.
Holmes and Luke Kirby (TAKE THIS WALTZ) star, and are joined by Griffin Dunne, Christine Lahti and Bruce Altman. The film is looking to be released in early 2016.
Drawing inspiration from his own life experience and journey with bipolar disorder, Paul Dalio wrote, directed, edited and scored TOUCHED WITH FIRE. The film is produced by Jeremy Alter and Kristina Nikolova Dalio, who also served as the film’s co-cinematographer.
Spike Lee joined the project as Executive Producer after serving as Dalio’s professor at NYU Film School.
“TOUCHED WITH FIRE is a striking debut with fantastic performances. Paul has clearly put his heart and soul into this project and audiences will connect with it. We’re thrilled to be releasing,” says Roadside Attractions co-president Howard Cohen.
“I’m grateful that Roadside has put their faith in my film. They are an extraordinary company and their passion for the film and strong vision for its release were immediately clear. I know they will give this film a chance to have its greatest possible impact,” says Paul Dalio.
“Roadside Attractions has an impeccable history as an innovative distributor and caretaker of both its films and filmmakers. We are very excited to be partnering with them in bringing Paul’s unique vision to the screen,” added Jeremy Alter on behalf of the producers.
The deal was negotiated by Laura Lewis and Nick Ogiony at CAA and Craig Emanuel at Loeb & Loeb on behalf of the filmmakers and Howard Cohen on behalf of Roadside Attractions. International rights are being shopped at Cannes.
Only a week after the sufferings of EFFIE GRAY, another “inspired by true events” drama set in the world of art (specifically paintings) makes its way to the multiplex. The two are quite different, though, with this new film set more than nearly 150 years after that romance gone sour. But this recent release has several flashback scenes some sixty years in the past, during the Second World War. And much of the dramatic highlights take place, not in lush estates, but in boardrooms and courtrooms. So, it’s a WWII thriller and a legal showdown pitting a plucky, feisty mature lady represented by an overwhelmed young lawyer versus an uncaring, unfeeling bureaucracy. Now with Helen Mirren as the lady and Ryan Reynolds as her aide, you know we’re in for a meaty drama indeed as they seek the return of that most celebrated Austrian artwork, the WOMAN IN GOLD.
Maria Altman (Mirren) is a widow well past her retirement age, who still runs a small clothing shop in LA in 1998. Newspaper articles about a special display of Gustav Klimt’s work spurs her memories of growing up in a wealthy affluent household in 1930’s Vienna. After a family funeral service, she speaks with a distant relative, Mrs. Schoenberg (Frances Fisher) and inquires about her lawyer son. Randol (Reynolds) who has just joined a big, prestigious law firm, after his own private practice folded. He and his wife Pam (Katie Holmes) are anxious about the new gig, but after getting pressure from mom, he agrees to meet with Maria. He’s stunned when she informs him that Klimt’s most famous work, “The Woman in Gold”, is a portrait of her beloved aunt. It was taken from their family home during the Nazi occupation. And since she’s the last living relative, can she get the pieces (along with some others) back from the Austrian government? Luckily Randol convinces his new boss (Charles Dance) to take on the case (the work is worth well over a 100 million dollars). But both Randol and Maria will have to go to Austria to get their case heard. She’s reluctant, but they make the trek and are greeted by a helpful magazine reporter, Hubertus (Daniel Bruhl), who guides them to the old records and files. The government officials dismiss the two, and all seems to be lost. Time passes, and Randol’s stop at a LA chain bookstore reminds him of an obscure court decision. There’s still a chance if he can convince Maria to take up the fight once more, a fight that will eventually send them to the United States Supreme Court.
GOLD is essential viewing for fans of the always compelling Mirren. As with many recent roles, her Maria will not suffer fools. When we meet her, she’s feisty and witty, with retorts that cut to the quick, particularly in her first encounters with Randol (this young man will not dissuade her). It’s when she must return to her homeland and confront the ghosts, that Mirren shows us Maria’s vulnerability. She’s haunted as each familiar street and building dredges up painful memories and traumas. But she keeps going, trying to quelch her thirst for justice. When she’s thwarted in the old country, it’s Randol that must now be the inspiration and rekindle that flame. Reynolds is definitely out of his comfort zone in this role. Although an attempt is made to “de-hunk-ify” him via makeup, wardrobe, and hair styling, often his leading man charisma and charm break through. Still, he acquits himself well in this change of pace character, especially as Randol embraces his heritage including the horrors his family endured. Bruhl also makes an impression as another seeker of truth, perhaps trying to compensate for the sins of his countrymen. Holmes is a warm supporter for Reynolds, as she tries to be his “rock’ back in the states. There’s more outstanding work from Tatiana Maslany, best known for her lead role on TV’s “Orphan Black”, as Mariah in the late 1930’s who makes some very tough decisions along with Max Irons as her opera singer hubby Fritz. Maslany compliments Mirren nicely, bringing another aspect of Maria’s life. Dance is a superbly intimidating boss, while Elizabeth McGovern and Jonathan Price bring the right amount of gravitas to their very different judicial roles.
Director Simon Curtis makes a confident transition from his many TV projects to this feature film. He gets wonderful performances from this great cast and never lets the audiences get mired in legal minutia, thanks mainly to the screenplay by Alexi Kaye Campbell. The location cinematography of Austria is lovely, but never detracts from the horrors of occupation in the many flashback sequences. And the art is stunning, also, with a glimpse of Klimt applying the colors to the film’s title painting. We’ve seen several recent films concerning the Nazi occupation, but these scenes still pack a wallop as several of Maria’s neighbors seem to delight in aiding the invaders. Yes WOMAN IN GOLD concerns a celebrated work of art, but it’s also about two inspiring lives also worthy of celebration.
Here’s a first look at the brand new trailer for WOMAN IN GOLD.
Directed by Simon Curtis and written by Alexi Kaye Campbell, the film stars Helen Mirren, Tatiana Maslany, Ryan Reynolds, Daniel Brühl, Katie Holmes, Charles Dance and Max Irons.
WOMAN IN GOLD is the remarkable true story of one woman’s journey to reclaim her heritage and seek justice for what happened to her family.
Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann, starts her journey to retrieve family possessions seized by the Nazis, among them Klimt’s famous painting ‘The Lady in Gold’.
Together with her inexperienced but plucky young lawyer Randy Schoenberg, she embarks upon a major battle which takes them all the way to the heart of the Austrian establishment and the U.S. Supreme Court, and forces her to confront difficult truths about the past along the way.
From The Weinstein Company, WOMAN IN GOLD will open in theaters on April 3, 2015.
