Tag: MGM Studios

CHALLENGERS – Review

This weekend brings a unique hybrid, a mixing of genres that has happened in the past but is somewhat rare. Perhaps it’s because one of the genres is the sports movie, more specifically tennis. Yes, there have been a couple of prominent films within the last couple of years, though they were “inspired by true stories”, mainly the Oscar-winning KING RICHARD and the humorous, but “for reals”, BATTLE OF THE SEXES. This new flick is pure fiction, though gleaned from recent players, and it’s also (the other genre) a dramatic love story. Oh, and this is the big selling point for the studio, it’s a true “love triangle”, as two male tennis “hotshots” share a passion for the game and the same woman. So, in the sport and the romance, these two are truly motivated CHALLENGERS.

In the film’s opening moments, we get a few short “flashes” of the big “showdown” of the “racketeers”. Then suddenly the story shifts back to a few days prior at the somewhat “minor” tennis tournament sponsored by a chain of retail automobile tire stores, not in Forest Hills, but in New Rochelle New York (being a classic TV fan I wondered if the venue was near Rob and Laura Petrie’s old house). That’s the destination for fading tennis ace Art Donaldson (Mike Faist). Yes, he’s had a rough last few months as he just can’t get “in the groove”. His wife/trainer/agent Tashi (Zendaya) knows this and believes her hubby can begin the climb back to the top with this smaller tourney (less pressure and press). Also arriving for the event is tennis “outsider” Patrick Zweig (Josh O’Connor) who tries to charm his way into a nearby motel because his cards are maxed out. He also believes this gig could be his ticket back into the “big time” if he can “hype up” a match with his former partner/pal now rival Art. And soon we’re flashing much further back to when those two were doubles partners at a big tennis bout for college-aged athletes. Art and Patrick have their fans, but all eyes there are on the court “phenom” Tashi. The fellas also are “caught in her wake”. And somehow she drops in at their messy hotel room for a few beers and some “sexy time”. Eventually, Tashi and Patrick become a “power couple” until a devastating injury sidelines her. Art then swoops in for some TLC which leads to marriage and a sweet baby girl (now an adorable toddler). But with Patrick back in their lives will Tashi return to her former “bad boy”? When Patrick and Art finally face off in the big match much more than the trophy and prize money are at stake…

As the driving force in the story (and the film itself, as a producer) Zendaya gives Tashi a commanding “take charge” persona, knowing the exact words needed to say to the two pros to achieve her goals. Unfortunately, this costs much of Tashi’s humanity after seeing her as the vibrant almost ethereal muse in the earliest flashback. But Zendaya conveys Tashi’s heartbreak as she must turn her back on playing in the sport she dearly adores, which perhaps fuels those ambitions for Art. Faist, terrific in WEST SIDE STORY and the little-seen PINBALL: THE MAN WHO SAVED THE GAME, is the more passive of the trio, though he gives us a hint of his own aggression nature in the montage of his career downturn. Faist also shows us Art’s slow dissolution in his downcast eyes as he hands his future tennis glory over to his wife. This is also in contrast to that early scene in which he has a pure love for the court and its fabulous princess, or is she the queen? Well, the slithering “snake” in their Eden might be O’Connor has the desperately opportunistic Patrick. The “gravy train” has almost passed him by, and we see that he’s running to hop about the back of its caboose. While Art is headed toward “the rocks”, Patrick is trying to avoid crashing again. This is best shown by O’Connor as he tries to use his considerable charm and charisma to grab a motel room and to schmooze info, and a prized spot, from the event staff. He’s also compelling in his early days as he shows us that his affection for Art nearly matches his desire for Tashi (and he wonders what might have been with her). This is quite a talented trio in this film.

They’re guided by director Luca Guadagnino (BONES AND ALL), who indeed gets their best work. It’s just a shame that his storytelling choices thwart the performances, making their motivations as confusing as the timelines, which is needlessly convoluted (the tennis match appears to be quite a marathon. The tennis is shot fairly well, although the CGI tennis balls rocketing towards the camera grows stale (I image it in 3D), and his “homage’ to Hitchcock’s STRANGERS ON A TRAIN (Tashi stares straight ahead while everyone’s following the ball). But that’s not as intolerable and just plain annoying as the decision to disrupt scenes with a thumbing techno-pop score so loud that the dialogue is nearly incomprehensible. Really, you don’t want us to hear your actors? After this audio assault, we’re visually “drenched” by the long lingering shots of the players dripping sweat directly into the camera lens. The film’s marketers are highlighting the big hotel room tryst with the trio, but it occurs briefly in the first third of the film. Granted, there’s a raw “naughty” energy to it, that’s never matched by the remaining ninety or so minutes. There could be a compelling movie about these characters whose lives and careers are so interconnected, but Guadgnino just sabotages all the pacing and drama to go into “artsy-distraction” (I so wanted to use the rhyming “f” word there). In trying to delve into the world of this trio and of the grittier side of the sport, moviegoers will be truly challenged by the messy mechanics of CHALLENGERS.

2 out of 4

CHALLENGERS is now playing in theatres everywhere

A GOOD PERSON – Review

Florence Pugh (left) as Allison and Morgan Freeman (right) as Daniel in A GOOD PERSON, directed by Zach Braff, a Metro Goldwyn Mayer Pictures film. Credit: Jeong Park / Metro Goldwyn Mayer Pictures © 2023 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

Now that we’re a few days into Spring and the temps are rising and the sun’s breaking through, it’s easy to forget that for many it’s always dark, cold, and gloomy no matter what’s displayed on the calendar. Just as the movie theatres are slipping into escapist blockbusters a new drama isn’t waiting for the somber. late in the year, “award time”. It is worth seeking out as it’s a showcase for two acclaimed actors. One is a “star on the rise”, gaining a reputation for compelling work over several genres. The other is a screen veteran, an Oscar winner who has achieved iconic status over the last five decades. The story that brings them together poses an interesting and very complex question: can someone whose act of carelessness resulted in a fatality, ever possibly be thought of as A GOOD PERSON?

When we meet Allison (Florence Pugh). her future looks bright and shiny. The twenty-something is a pharmaceutical rep and a pianist/lounge singer (a “side hustle”). But she’s most excited about her upcoming nuptials to the adoring Nathan (Chinaza Uche). Soon after their engagement party, she’s driving Nathan’s sister Molly and her hubby Jesse to her wedding gown fitting. While maneuvering through construction zones on the busy highway Ally glances down at her phone, when a backhoe lurches into her lane leading to tragedy. When she awakes, Ally’s in a hospital bed with her single mom Diane (Molly Shannon) hovering over her. Before she can stop him, an over-eager state trooper bursts into the room and drops a bombshell on Ally: she’s the only survivor of the accident. Across town, Nathan and Molly’s retired policeman widowed papa Daniel (Morgan Freeman) gets the same news as he’s dropping his granddaughter Ryan (Celeste O’Connor) off at her high school. Cut to several months later as Ally now lives with her mom (the engagement crumbled) who implores her to get off the couch and get a job as they battle over Ally’s increasing reliance on prescription painkillers. When her docs “cut her off”, Ally becomes desperate to “score”. Meanwhile, Daniel is so frustrated as the caregiver to the angry rebellious Ryan that he’s about to “fall off the wagon”. When Ally finally hits “rock bottom”, she asks Diane to contact her dad about paying for a rehab facility. As he’s completely MIA, Ally bicycles to a local church to attend an addiction support meeting. Inside she’s stunned to see….Daniel, who begs her to stay. Could this chance reunion lead to defeating their inner demons and be part of the healing process, or perhaps a friendship?

After being universally praised in last year’s flawed fantasy flick DON’T WORRY DARLING, Ms. Pugh (I’m not calling her Miss Flo, as a leaked phone video call revealed during that PR mess). proves how her considerable talents can take flight with much better material. Ally is a complex, troubled figure but never a victim, as Pugh shows how her physical and emotional scars are slow to heal. We see her in the depths whether literally wrestling with her Mom over “Oxy” or degrading herself at a neighborhood pub with a cruel former classmate (a very good Alex Wolff), but Pugh conveys this as her much-needed “wake-up” call, though her heavy-lidded eyes show us that she’s not out of the fog quite yet. With her new support team, Ally goes past the “survivor” role to real maturity and self-reliance. A big part of that is her initially hesitant relationship with Daniel, and could Pugh ask for a more compelling scene partner than the forever fantastic Freeman? After dropping in for cameos in too many forgettable action flicks, it’s great to see him sink his teeth into this “meaty meal” of a man, reminding us of his deserved regard amongst his acting peers. Freeman does bring some humor to the grizzled ex-cop, especially in dealing with a modern team (loved his “crate” gag), but Daniel has his own challenges as he tries to push through the ever-closing walls of regret and remorse. Like Ally, he must contend with the damage he’s inflicted on others, particularly his son Nathan. Uche is superb as the young man whose grief over the loss of his sister is acerbated by the horrors of his past, still bearing the never-healed cruelty of his father. But he shows how his healing may start with the ending or at least ease the rift. Speaking of parent/sibling squabbles, how great is it to see the comedy powerhouse Shannon flexing her dramatic muscles as Ally’s often flighty (Her “Etsy” plan is hilarious), but steely strong mother Diane? Often wearing her “work duds” (company logo shirt and khakis), she goes from “walking on eggshells” to firmly giving her kin a “kick in the keister”. Kudos also to O’Connor as the often exasperating furious Ryan and Zoe Lister-Jones as the support group’s compassionate but tough (she has a keen BS radar) Simona AKA “Mama”.

It seems logical that this impressive stellar cast would be brought together by another actor, as Zach Braff steps behind the camera to guide them through his screenplay. Making expert use of the New Jersey locations, Braff captures the gritty working-class spirit of the area’s neighborhoods. Though a brutal accident puts the story in motion, he prefers to treat it as bursts or snippets of a waking nightmare for Ally, effectively illustrating how the brain reacts to such intense trauma. Plus he allows the characters to frustrate us, to let their interactions get ugly and often “messy”, as they sometimes fall into old destructive patterns. Save for a convoluted near-catastrophe in the city which brings most of the characters careening together (and violence threatens), Braff avoids the melodrama, opting to show how time can really heal (perhaps the third act is too reliant on montages). He’s made a solid foundation, but it’s the ensemble led by the inspired pairing of Pugh and Freeman that is the real strength of A GOOD PERSON.

3.5 Out of 4

A GOOD PERSON is now playing in select theatres.

THREE THOUSAND YEARS OF LONGING – Review

220413_TTYOL_g011.0437853_RC Idris Elba stars as The Djinn and Tilda Swinton as Alithea Binnie in director George Miller’s film THREE THOUSAND YEARS OF LONGING A Metro Goldwyn Mayer Pictures film Photo credit: Courtesy of Metro Goldwyn Mayer Pictures Inc. © 2022 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved

As the seasons march toward Fall, many begin to lapse into the doldrums, since the excitement of exotic getaways is set aside. Perhaps a bit of magic will perk them up, or as with this new film, a whole lot of magic. Well, one of its two central characters is a magical creature of myth, one that’s not unfamiliar to the movie audiences though really a touchstone of the fantasy sitcom “fad” of the 1960s. Now that really began in the “stars” with Ray Walston’s “Uncle Martin” AKA “My Favorite Martian”, followed by Elizabeth Montgomery’s spellcasting Samantha Stevens in “Bewitched”. And then there was Jeannie, of “I Dream of…”, played by the still dazzling (she reached 91 only days ago) Barbara Eden, an all-powerful but sweet sorceress residing in an ornate, rather small bottle. Now these beings are now populating TV again, though now they are called by their original monikers, Djinns (mentioned but not seen in “Ms. Marvel” and a temporary resident of the house in “What We Do in the Shadows”). And this film’s character is closer to those ancient tales, not as whimsical as Eden, or Robin Williams and Will Smith, nor the intimidating Rex Ingram of the 1940 THE THIEF OF BAGDAD, with a pinch of Burl Ives in THE BRASS BOTTLE. But a new element is added as he tells us of his THREE THOUSAND YEARS OF LONGING.

We’re first introduced to the human half of the aforementioned central duo by the narration of celebrated scholar Alithea Binnie (Tilda Swinton) as she travels on a plane bound for modern-day Istanbul. She’s a featured speaker there at a storytelling conference. At the airport, she’s taken aback when an unusual-looking driver tries to grab her bag and usher her away. Luckily her escorts spot her and the cabbie vanishes. After a stop at the plush hotel, she’s off to her first lecture. Her talk is cut short when she spots another odd person in strange garb in the audience, popping up in different seats…and glowing. She faints and is whisked away, and after a check-up returns to her room. After her rest, one of her hosts treats her to a bit of shopping, gifting her an odd-looking, somewhat battered tiny ceramic bottle. Using her electric toothbrush to loosen the cap, Alithea is knocked backward by a burst of energy and mist. Opening her eyes, she sees a large, almost gigantic man in the room’s main space. He introduces himself as a Djinn (Idris Elba), the legendary magic creature of mythology, imploring her to let him grant her three wishes in order for him to ascend into the Djinn realm. Well-knowing the devious Djinns of fables, she’s hesitant and inquires about his past. The Djinn details his love of Sheba, his imprisonment by the aides of Solomon, his release many years later during a familial power struggle in a kingdom, and his time a few hundred years ago with a woman seeking ultimate knowledge. Is Alithea convinced that the Djinn has no trickery up his sleeves of her hotel bathrobe? And just what would be the wishes of a brilliant twenty-first-century woman?

Though many characters flit in about them, either in the “now” in “long-ago tales”, much of the story centers on the two leads conversing. Happily, we’re treated to the interplay of one of the movies’ most compelling duos. As with most of her roles, Swinton brings her sharpened intelligence to the “scholar” while still throwing in a bit of the “off-kilter” wit of her Wes Anderson efforts. Alithea takes some time to get “her footing” as the strange occurrences and images she sees upon her arrival have her questioning her senses. That culminates in her shock at finding that her “stories” are rooted in history. But she quickly hones her focus, curious about what this entity has to say, while never ignoring her logic and giving in to the “gift” (she’s wary of the Djinn’s “wishing cons”). As that truly larger-than-life being, Elba is at his most compelling and enigmatic. He’s ecstatic to be released into this era’s world, but he tempers his frustration over Alithea’s hesitancy. From the sadness in his eyes, we see that he’s eager to leave this realm, though he’s more than ready to share his long, tales of love and avarice. He’s often annoyed at these mortals, but he’s tethered to their desires. It helps that there’s no CGI or elaborate prosthetic makeup (and no body paint) to obscure him, only some interesting frayed pointed ears and his dark eyes under his bald brow. I should single out one supporting cast member in the most riveting “back story”, namely Ece Yuksel as Guiten the “genius” who prefers to learn rather than escape her prison of marriage (and punish her abusive husband).

And let’s give a big “welcome back” to one of the world’s great filmmakers who has dazzled us for five decades and has been MIA since the spectacular MAD MAX: FURY ROAD over seven years ago, George Miller. His keen visual sense hasn’t dulled in the least, as he uses state-of-the-art CGI wizardry to bring several ancient civilizations back to vibrant life. He also makes the magic of Djinn’s life feel both real and dream-like with several imaginative creations (Solomon’s musical device that sprouts extra appendages is remarkable). Plus the oversize Djinn in the first scenes almost bursts through the spacious hotel suite realistically. The “flashbacks” are so full of sensory wonders that make the modern times sequences feel a bit flat as the story stumbles in the final act. Miller co-write the screenplay with his daughter Augusta Gore adapting the short story by A. S. Byatt, which loses much of its narrative power as it takes a turn toward romance and today’s political landscape, feeling a tad “heavy-handed”. Still, this doesn’t lessen the “adult fairy tale” feel of the Djinn’s wondrous history and the superb pairing of Swinton and Elba. They and the gifted Mr. Miller are the true magical ingredients of THREE THOUSAND YEARS OF LONGING.

2.5 Out of 5


THREE THOUSAND YEARS OF LONGING is now playing in select theatres

DOG- Review

DOG_10803_RC Channing Tatum stars as Briggs and Lulu the Belgian Malinois in DOG A Metro Goldwyn Mayer Pictures film Photo credit: Hilary Bronwyn Gayle/SMPSP © 2022 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved

One of the major new movie releases this week poses a follow-up to the old chestnut about the friendship between a boy and his dog. So, does that extend into manhood? And would they be great “travel’ bros’ as in a buddy “road trip” adventure? Well, one of the silver screen’s “hunkiest” (maybe magical) leading men aims to explore that as he does double duty in front of and behind the camera. It’s a kibble-flavored popcorn flick as movie-goers embark on a hero’s journey alongside a lovable but difficult DOG.


The film’s title refers to Lulu (played by a trio of Belgian Malinois), a military canine trained to go into battle in the Middle East. A montage during the opening credits shows her as a puppy, then put into training, and eventually becoming a member of an elite Army Ranger unit. Unfortunately, she’s wounded, earning a purple heart, and so traumatized that she cannot follow commands, even from her handler, Sgt. Rodriguez, who’s also injured. As is his GI brother Briggs (Channing Tatum), who is working as a “sandwich artisan” at a gas stop while he hopes to get the “all clear” to return to duty (the docs say yes, but his captain hesitates). One snowy day at his Oregon home, Briggs gets the call from his cap to join in a “wake” for the now deceased Rodriguez. Cornering his CO at the end of the night, Briggs is given a mission that could be his way back “in”. The family Rodriguez wants Lulu to attend the funeral service in five days. Since she won’t fly, Briggs will need to transport her there in his old beat-up 1984 Ford Bronco. Not an easy task as Lulu is a “broken beast’, much like Briggs (he’s also dealing with PTSD). Ah, but once the trip is over, Briggs will return Lulu to the base to be “terminated” and he’ll be back with his unit. Surely nothing will go wrong on this trek. And Briggs won’t bond with Lulu, will he?

So yes, this is basically a two-person excursion, with Tatum ably doing most of the “heavy lifting” on his broad shoulders. We know from his fairly long list of rom-coms, and of course, those MM’s, that he’s got an undeniable (and a bit undefinable) charm and charisma which can carry him through the most absurdist situations, though an early sequence of him failing to “score” in a Portland bar with the local ladies feels a bit forced. But he’s also got a chance to stretch his dramatic wings as he deals with loss and regret (it’s not till the tale’s midpoint that we’re informed of his estranged wife and child). Plus there’s the added frustration that bubbles to the surface when trying to return to his former life as his mind and body fail him. Oh, there are a few other terrific two-legged actors too, particularly Ethan Suplee, the father (of two kids and of Lulu’s brother) who provides a bit of needed wisdom to Briggs. Ditto for an unlikely couple living “off the grid’ played by the unlikely paired Jane Adams and Kevin Nash, who’s like the burly big brother of Briggs. Oh, and we’ve got to talk about Lulu and the three canine actors that make us believe that this cuddly pup with the big sad brown eyes can unleash (sorry) chaos at any moment.

As I mentioned earlier, this is the directing debut of Tatum, who is ably aided by co-director Reid Carolin (who co-wrote the script with Brett Rodriguez), a daunting task since it’s been nearly five years since his last starring role (LUCKY LOGAN way back in 2017). The duo does their best to reign in the shifting tone of the often disjointed story. A chase through the woods suddenly takes a dark turn into PULP FICTION territory, while a con-artist caper as Briggs and Lulu pose as a blind vet and his service dog in order to get a swanky compted suite skirts the borders of bad taste. The comedy and sincere service dramatic plot butt heads with the film shifting gears too quickly almost inflicting whiplash. The film’s biggest issue may be its confusing marketing. The trailers and even the poster promise a zany slapstick comedy, but the “cute guy and his dog” are facing the same obstacles that many of those returning vets are dealing with. It is great to see Mr. Tatum on-screen again, but let’s hope his future films will be more focused (and the PR more forthcoming) than DOG.

2 Out of 4

DOG is now playing in theatres everywhere

CANDYMAN (2021) – Review

Michael Hargrove as Sherman Fields in Candyman, directed by Nia DaCosta.

Hey, is this the end of August and near the end of Summer), or is it October, around mid-Fall? Just wondering since this is the third weekend in a row with the release of a new horror flick to theatres. Hmm, maybe the studios are getting a bit of a “head start” in case our health situation goes ‘sideways” (as if that thought’s not scary enough). Last week’s release was an original idea, while the 8/13 premiere was a sequel to a flick from five years previous. Now the roots for this week’s big shocker go back nearly thirty years, but it’s not really a reboot, remake, or a “re-imagining”. The marketeers are dubbing this a “spiritual sequel” as it harkens back to that 1992 original and ignores its sequels (much as the 2018 HALLOWEEN only references the 1978 classic). And with the recent social injustice movements, today might just be primed for a return of the CANDYMAN. But only say the title once, just to be safe.

Hmmm, a chiller that begins with a puppet show? Oh yes, as paper-cut silhouettes, moved by sticks, play out the story of research student Helen Lyle’s fateful encounter with Cabrini Green’s (the notorious low-rent housing complex in the “Windy City”) avenging spirit, the Candyman. The murdered wraith from the late 1800s eviscerated lots of folks with his hook for a right hand when they repeated his name five times while staring into a reflective surface. After the “recap” (and a brief 1977 sequence at “the Green”), the story shifts to the modern-day as Troy (Nathan Stewart-Jarrett) and his new boyfriend attend a dinner party at the swanky Chicago apartment of his art gallery manager sister Brianna (Teyonah Parris) and her beau, up-and-coming fine artist Anthony (Yahya Abdul-Mateen II). Over drinks, Troy tells the tale of the Candyman as Brianna scoffs. However, Anthony is curious as the “urban legend” sparks his imagination (he’d gone “dry” preparing new pieces for a fast-approaching gallery showcase). Later he sneaks into the remaining row houses of Cabrini (The towers had been torn down to make space for the trendy gentrified neighborhood long ago) and runs into former resident Burke (Colman Domingo), who runs a nearby laundromat. He tells Anthony of his time there and of a different Candyman. But on his way home the artist is surprisingly stung by an errant bee. Anthony thinks nothing of the nasty welt as he hurriedly prepares his new pieces. He displays the mirrored door at the opening with a paper handout explaining it (basically challenging patrons to repeat “Candyman” five times). Of course, someone takes the dare, and…the local news is soon filled with reports of gruesome bloody killings. Has Anthony helped bring the hooked monster into the new century? Could the two be somehow connected? And why is that bee sting looking so gnarly?

The award-winning cast aids in adding to the film’s tension-filled dark “vibe”. Mateen, so good in the HBO “Watchmen” sequel, expertly balances the complex character shifts in Anthony. He shows us how the artist’s struggle for a defining work is swept away by his all-consuming need to know all about the “silly fairy tale”. And he’s not afraid to show the awful side of Anthony’s persona as too many drinks unleash his verbally abusive id (mostly directed at art rivals). We’re rooting for him, even as he changes mentally and physically while falling deeper into the supernatural “rabbit hole”. It’s a plunge that can’t be slowed by the love of Brianna, played with grit and “street smarts” by the engaging Parris (part of the superb “Wandavision”). She shows Brianna’s devotion to Anthony even as she tries in vain to halt his obsessions. Those are fueled by Burke played with a sinister zeal by Domingo (“Fear the Walking Dead”)., who seems horrified by his own past, but delighted to pass on the nightmares to Anthony. Kudos also to Stewart-Jarrett who’s having a great time as the catty Troy, and Rebecca Spence who happily spews venom as a castigating art critic (ain’t they the worst).

Director Nia DaCosta, fresh off the heart-breaking family drama LITTLE WOODS, proves her talents by entering the horror genre and mixing a familiar horror icon with the current social and political clime. Yet, the film feels a tad sluggish and very disjointed (I have expected to see the “scene missing” title card from GRINDHOUSE). The discoverer of a gory slaying is abruptly seen in bed (quite a narrative jump). Perhaps that can be traced to the screenplay DaCosta contributed to along with producer Jordan Peele and Win Rosenfeld (using the original characters from Clive Barker and Bernard Rose). Though I never saw the original I could pick up (after a bit of research) the notion that they were playing to the 1992 film’s rabid fans, even using actress Virginia Madsen’s vocal track (and a nice final VFX sequence), the twists are often predictable (another bullying scene in a deserted high school bathroom), and social norms and logic (beyond the usual “suspension of disbelief”) feel ignored (Brianna would certainly insist that Anthony see a doctor, as his bandages pop on and off). Some of the digs at the pretentious “modern art world” are nice, as is the use of those stick paper puppets (watch them during the end credits), but many horror fans will find that this re-visiting more sour than sweet as they consume the brightly re-packaged CANDYMAN. “Talk about your childhood wishes (and nightmares).”

2 Out of 4

CANDYMAN opens in theatres everywhere on August 27, 2021

FLAG DAY – Review

FlagDay_FilmStills_081_R Sean Penn stars as John Vogel in FLAG DAY A Metro Goldwyn Mayer Pictures film Photo credit: Courtesy of Metro Goldwyn Mayer Pictures Inc. © 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

With Labor Day less than a couple of weeks away, it’s only natural that the studios would release a family flick around a holiday, though not this particular one. No, it’s from a couple of months ago, though the exact date differs in other countries. Ah, but that word “family” is the constant, and not in the overused “blanket” term mumbled by the cast of F9. No, this is for real, an autobiographical “coming of age” drama that rips away the hazy nostalgia that obscures the truth about growing up with a parent, who, despite all odds, refuses to grow up. That’s the case of this tale’s heroine, whose ner do well daddy proudly proclaimed that he was born on FLAG DAY.

The film begins very near the end of the story’s main relationship. Law-enforcement officers “saddle up” in the mid-1990s during a wild highway pursuit. Just as they surround a speeding SUV, we’re taken to a conversation between a US marshall and twenty-something Jennifer Vogel (Dylan Penn), who learns of her father’s skill as a counterfeiter. Her mind then drifts back to hazy mid-seventies Summer days as she, along with kid brother Nick and mother Patty (Katheryn Winnick), are awaiting a brief visit from father John Vogel (Sean Penn). After a short interlude filled with horseplay and laughter, Papa John would be on the move. Eventually, they became a complete family again, but violent arguments (usually about money) split the parents up. But since Mom wasn’t the “fun one”, the kids wanted to be with their daddy “full time”. But after a few months, John sent them back to his ex as he evaded the law (yet another of his houses burned down), creditors (including some “leg-breaker” outlaw-types), and heartsick girlfriends. Soon Mama remarried, but after stepdad got too “handsy”, teenage Jennifer ran away to rejoin her father, who bragged of his business prospects. When she learns of his real job as a groundskeeper at a tiny airport, the two split (after John’s arrest for an inept bank hold-up). Jennifer reunites with Mom and Nick before becoming a journalism student at a Minnesota college. Her investigating skills land her a job reporting for the local free newspaper (some call it a “hippie rag”). Then Daddy shows up, out of the blue. He boasts of his ownership of a small print shop. As usual, Jennifer learns the hard way, that “Papa John” just can’t tell the truth, or keep on the “straight and narrow”.

The film’s strength is definitely in the real-life father-daughter dynamic of the two leads. Though she’s only had roles on TV and film, Dylan Penn has a compelling star charisma as the camera adoringly frames her (she is a stunning beauty). Ms. Penn convincingly ages from 16 to nearly 30, while handling drastic changes in makeup (a punk/goth style in high school) and fashions (that Lois Lane reporter-look). Her Jennifer also changes emotionally from vulnerable, but tough-talking teen to probing, smart investigator (though a “gotcha” interview feels clunky). Ms. Penn also works well with the rest of the cast, but her best moments are with her “old man”, the two-time Oscar winner. We’ve seen a bit of the twitchy “hustler’ character in some of Sean Penn’s earlier roles (THE FALCON AND THE SNOWMAN and CARLITO’S WAY spring to mind), but there’s a much darker tragic edge to John Vogel. We see the twinkle in his eyes as he relates to his kids by going to their level, whether he’s helping little Jennifer “drive” or as he gleefully takes an “aqua-car” into the lake on his birthday/holiday. But then that spark is dimmed as we see the “gears working’ as Vogel must come up with a new set of lies and excuses when he’s cornered. Penn still projects some charm as we see how pathetic John’s spiraling life has lead him (he actually believes his B.S.). Winnick is terrific as the frustrated matriarch who struggles to keep her family together while ignoring the pleas for help from her siblings. Mr. Penn has also lined up several acting vets for small supporting roles. Josh Brolin is solid as the understanding but stern Uncle Beck. Eddie Marsan is slick and sinister as he tries to intimidate the inquisitive Jennifer. And Norbert Leo Butz oozes evil as the slimy, creepy stepfather.

Oh, I forgot to mention that Mr. Penn is doing “double duty” as the film’s director (he’s made several features, but hasn’t cast himself till now). He does a very good job of capturing the hazy golden glow of childhood memory in the story’s early sequences, expertly evoking the feels of the still wild and wooly seventies. Ultimately his work is undone by the meandering, often unfocused script by Jez Butterworth whose screenplay adapts Ms. Vogel’s memoir. The plot’s construction, beginning with the tragic conclusion, dilutes some of the story’s surprises. And at times, this film doesn’t know if it wants to be Jennifer’s story or the saga of John. The end result lurches between the somewhat cliche struggles of Ms. V and the funny, but very sad adventures of Mr. V. That whole idea that living with an impish Peter Pan “man-child’ is hammered home with a numbing frequency. And in repeating this, some of the characters are given short shrift with brother Nick almost an afterthought in many sequences. Despite the strong work of the Penns, this father/daughter fable never soars. It’s one FLAG DAY just fails to inspire. And certainly not worthy of celebration.

2.5 Out of 4

FLAG DAY opens in theatres everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas on August 27, 2021

RESPECT – Review

R_25682_R (l-r.) Hailey Kilgore stars as Carolyn Franklin, Jennifer Hudson as Aretha Franklin and Saycon Sengbloh as Erma Franklin in RESPECT, A Metro Goldwyn Mayer Pictures film Photo credit: Quantrell D. Colbert

As Summer’s season of movie escapism draws to a close, the Fall and Winter awards season gets a bit of an early start as a new film in one of Oscar’s favorite genre “hybrids” is released. On Friday we get a new entry in the “musical biography” line of award ‘”showcases”. Yes, playing a popular singer/performer has proven to be quite a “gold gatherer” for many actors and actresses. Most recently Rami Malek took the big trophy for “channeling” Freddie Mercury in 2018’s BOHEMIAN RHAPSODY and the following year it was Renee Zellweger in the title role of JUDY, as in Ms. Garland. Of course, the years have seen several tune-filled biopics take home the “gold’ from James Cagney’s George M. Cohen, that YANKEE DOODLE DANDY to Jamie Foxx as RAY Charles. So will the Academy face, and embrace, the music as the story of the “Queen of Soul”, Miss Aretha Franklin, is dramatized in RESPECT?

The film of her story begins fairly early. We’re introduced to little “Ree-Ree” (Skye Dakota Turner) at around age five, as her father, Baptist minister C.L. Franklin (Forrest Whitaker” wakes her from bedtime to sing for the adults at an “after church” boozy social.. Of course, she wows the crowd there as she does in front of Daddy’s congregation. But things aren’t harmonious at home as Ree-Ree happily spends weekends away with her mom, Barbara (Audra McDonald), the ex Mrs. Franklin. When tragedy strikes, the tot’s spirit is almost crushed until music rescues her. As a teen, Aretha (Jennifer Hudson) continues to sing at Daddy’s church, but he has bigger plans for her (aside from helping raise funds for her pal MLK). The two travel to New York, where he negotiates a contract with John Hammond (Tate Donovan) at Columbia records. While Aretha struggles to find her voice (Hammond assigns her pop standards and remakes of other singers’ hits), she reconnects with a suave “bad boy” from Detroit, Ted White (Marlon Wayans) who offers to be her new manager. This angers Daddy, but she takes a chance on Ted when Columbia drops her. Luckily he gets her a deal with Jerry Wexler (Marc Maron) at Atlantic Records, who gives her full creative control, though he suggests she travel to Alabama to record a new jazz/blues tune with the talented studio musicians at Muscle Shoals. The collaboration on “I Never Loved a Man” clicks, though Ted’s ego and fiery temper erupt, as he begins abusing his star (and now wife and mother of his son). Thus begins a tumultuous trek to super-stardom as Aretha tries to free herself from the emotional tug-of-war between Ted and the reverend while attempting to drown her inner darkness with booze and live concerts. Will her musical talents grant her peace and serenity?

As you’ve probably guessed from the marketing barrage, this biopic is meant as a showcase for its star, Hudson, in the hopes that it will rocket her back onto the movie “A-list”. It seems that, after winning a much-deserved Oscar in 2009 for DREAMGIRLS, Hollywood has had problems finding the perfect film “fit” for her. Well, after several small roles in some “indies”, and a stint in Broadway’s revival of the musical “The Color Purple”, Hudson has honed her acting skills and commands the screen as she recreates Franklin’s dynamic stage presence. Off-stage, things don’t go quite as smooth or as silky as her rich singing voice. The Franklin character seems to bounce from buoyant to broken with little reason. Hudson handles the big emotions well, but is often overshadowed by the men vying to control “the Queen”. That’s certainly true of the confrontations with the Reverend, played with intensity and passion by Whitaker, who can fill up several big tents with his “semonizin'”. Then there’s her “arch-enemy”, Ted who has a smooth, devilish charm thanks to the surprising Wayans (who was a delight in the recent ON THE ROCKS). We see him as a master of seduction, denying his gifts to Aretha to keep him on her mind. These early bits of affection make his dive into the “dark side” especially disturbing, as Ted displays his violent hair-trigger temper, that kicks in despite his wife’s “tiptoeing on eggshells” around him. Ah, but there is one “good guy’ in this story. That’s Maron as Wexler, whose endearing blunt proclamations jolt life in the often turgid tale. Who wouldn’t want a fellow like that in your corner to cut through the BS? Some of the even smaller roles stand out. McDonald brings warmth and dignity to Ree-Ree’s adored mama. Titus Burgess also scores as the sympathetic and straightforward James Cleveland. And though she’s only got a couple of scenes, Mary J, Blige is in full diva mode as the haughty Dinah Washington who steers Franklin to greatness.

Introducing a new generation to the wonders of Ms. Franklin’s artistry is quite commendable, but you know what that “road to Hell” is paved with? The script seems to roll out every “rags to riches”, “stardom suffering” cliche we’ve seen in so many better musical biographies. Plus they were done superbly in so many efforts. The abusive, controlling spouse was more compelling in WHAT’S LOVE GOT TO DO WITH IT. The “booze battles” and “on stage collapse’ just reminds us of the superior COAL MINER’S DAUGHTER. Perhaps they’re so glaring is because they seem rushed. Even at nearly 145 minutes, the life and career of the Queen, only taking us to 1972 (she passed in 2018), feels like a quick highlight “reel”. A TV miniseries might have been better suited, though the one from last year on cable with Cynthia Erivo had its fumbles. I had seen the first couple of hours and was surprised how the big-time feature movie sugar-coated much of the story, Ted’s shady former business is hinted at here, while the TV version had him in full “love-broker” (from the 1982 classic NIGHT SHIFT) mode (it’s teased with some bloody crumbled currency). And usually, I decry the overuse of smoking, int his film we merely see Hudson holding a cigarette, while the real Aretha had to later fight lung cancer. I will say that the recreation of the era’s fashions is done well, though we never see Hudson in some of Franklin’s more, “out there” outfits (during the end credit montage we see when she went blonde). I did find Ted’s ill-fitting fedoras a bit much. And the film does start to spark in a couple of scenes that try to illustrate the “creative process”. The first is with Muscle Shoals, and later we see Franklin and her two sisters working out the title tune in the pre-dawn hours (much to Ted’s annoyance). But soon we rushed through more life and career milestones, though new children seem to pop up after a record album montage that denotes time passage, almost as an afterthought. The songs (many are just presented as “snippets” and segments) are compelling, but the pedestrian direction from TV vet Liesl Tommy never injects that energy into the often overwrought (Aretha verbally blasts everyone in sight, family and staff, during some downtime at home) life story. Aretha Franklin will forever deserve our admiration and RESPECT. This film, well not so much. You’re better off downloading a greatest hits compilation,

2 Out of 4

RESPECT opens in theatres everywhere on 8/13/2021

MGM Studios Celebrates 90 Years of Filmmaking

Metro-Goldwyn-Mayer 90th Anniversary Kicks off Celebration

MGM has announced a yearlong global campaign to honor the studio’s storied 90-year legacy. Founded in 1924 when theater magnate Marcus Loew bought and merged Metro Pictures Corp. with Goldwyn Pictures and Louis B. Mayer Productions, MGM and its legendary roaring lion logo signify the golden era of Hollywood to film lovers around the world.

Since its inception, the company has led the industry in creating some of Hollywood’s greatest stars and is home to over 175 Academy Award-winning films, including 14 Best Pictures.

“What a supreme honor it is to preside over a company with such an unparalleled legacy.  It’s remarkable to have this opportunity to reflect on MGM’s amazing achievements in film history while also looking ahead to  MGM’s  bright and promising future,” said Gary Barber, Chairman and Chief Executive Officer.

The celebration of 90 extraordinary years kicked off, as the MGM icon, Leo the Lion, was immortalized with a paw print ceremony at the world famous  TCL Chinese Theater in Hollywood, cementing his place in Hollywood history. Sylvester Stallone, writer and star of Rocky (1976), one of MGM’s most iconic and enduring characters, was also on hand to commemorate the special occasion.

Watch it HERE.

Metro-Goldwyn-Mayer 90th Anniversary Kicks off Celebration

Metro-Goldwyn-Mayer 90th Anniversary Kicks off Celebration

MGM has also unveiled a special 90th anniversary trailer which includes a tapestry of iconic images and scenes from films in MGM’s library, evoking a deep emotional connection and celebrating the company’s extensive contributions to the entertainment world.

Additionally, several of MGM’s signature films including Rocky, Rain Man, Fargo, RoboCop and The Good, The Bad and The Ugly, have been meticulously restored in 4K resolution (four times the clarity of HD) and will be presented on Blu-ray™ for a beautiful, high-definition home viewing experience. These re-releases will be issued through MGM’s home entertainment partner, Twentieth Century Fox Home Entertainment, and are now available for pre-order on Amazon.

Other initiatives to mark the company’s 90th anniversary include:

  • MGM will complement its already vast collection of films currently available on Blu-ray™ by releasing new titles across all genres throughout the year. Upcoming titles for release include In the Heat of the Night, A Chorus Line, and The Birdcage.
  • MGM has created a one-of-a-kind collector’s book and bonus video disc companion commemorating 90 amazing years, featuring interviews from award-winning filmmakers, directors, and actors discussing the significance of their contributions to MGM’s legacy. The book and video highlight the evolution and history of the legendary studio and provide an extensive look into the studio’s golden years, classics, iconic franchises and much more. Interviews include Sylvester Stallone on Rocky, Clint Eastwood on The Good, The Bad and The Ugly, Susan Sarandon and Geena Davis on Thelma and Louise, and Walter Mirisch on The Pink Panther. The bonus disc will also be available accompanying select DVD offerings.
  • Fans can also relive their favorite film moments at www.mgm90th.com, a unique Tumblr website and the first Tumblr integration to feature a studio’s full library. The MGM 90th Tumblr site’s dynamic design encourages fans to explore and immerse themselves into rich content celebrating 90 years of MGM filmmaking.  As fans integrate socially with the yearlong celebration, the Tumblr site will serve as an active aggregator showcasing all of the current sharing and postings.   This fresh approach to syndicating content to fans allows a seamless integration appealing to all ages within Tumblr’s rapidly growing platform and beyond.

https://www.facebook.com/mgm

https://twitter.com/MGM_Studios

http://instagram.com/mgm90th

mgm-90th-logo

SKYFALL – The Review

What’s the one word that really brings a smile to the face of a movie studio executive? Well aside from “profit” that word would probably be “franchise”. That’s a film property that spawns countless sequels and lucrative merchandising. Well SKYFALL celebrates 50 years of the greatest. longest-running film franchise of them all (we’ll see if Harry Potter or “Star Wars” can go five decades): James Bond 007. 1962 saw the release of the first ‘Cubby Broccoli/Harry Saltzman produced feature adaptation based on Ian Fleming’s popular novel ( there was a live US TV version of “Casino Royale” with Barry Nelson as “Jimmy” Bond broadcast in 1954): DR. NO. The series quickly become the main jewel in studio United Artists’ crown. As several pop-culture scholars have stated, the 60’s were the three B’s: Beatles, Batman, and Bond. While the lads from Liverpool broke up by the end of the decade and the Caped Crusader went into a decades long hibernation (the comic books continued, though). the Bond movie series endured, past other spies he inspired on the big screen (James Coburn as Derek Flint, Dean Martin as Matt Helm, etc.) and small (” The Man From UNCLE”, “Get Smart”). And the Bonds films survived the recasting of the hero. Daniel Craig is the sixth 007 over the course of 22 “official” films ( the 1967 CASINO ROYALE and the 1983 NEVER SAY NEVER AGAIN are not part of the UA/Broccoli family canon). And after a four-year break ( thanks to some financial struggles with MGM/UA), the gentleman spy is back for this, Bond mission 23. But the times have changed so much in 50 years. Is he past his prime? Should he put away the Walter PPK? Well to quote one of the many advertising tag lines, “He’s got a license to kill…and thrill!”. And Mr. Bond’s newest exploit may be the most thrilling yet!

As SKYFALL begins, we’re thrown right into the conclusion of Bond’s (Craig) dangerous new mission. He and a co-agent, Eve (Naomie Harris) must retrieve a top-secret hard drive. But things do not go as hoped and 007 is missing. Things are also not going well for his superior M (Judi Dench) back in London. After several foreign agents’ identities are compromised, she’s pressured by her boss, Gareth Mallory (Ralph Fiennes) to retire. Then an attack on MI6 headquarters prompts the MIA Bond to return. But his time away has left the master spy terribly out of shape. He’ll need to be in top form to speed across the globe in order to eliminate the cyber-terrorist known as Silva (Javier Bardem). Along the way, Bond may face his greatest challenge fighting Silva’s considerable forces and confronting his own past.

For this film Craig is called on to do more than be a clothes “horse”, throw a punch, or draw his weapon. Although he’s superb at all those tasks. We get a Bond that really runs a full range of emotions: angry, arrogant, fearful, unsure, even melancholy. This life as taken a toll on more than just his battered body. Craig is compelling every second he’s on screen whether his piercing blue are zeroed in on an enemy agent or a belligerent beaurocrat. The working over he got in CASINO ROYALE is merely a warm-up for what he must endure here (Craig’s Bond may be the most abused spy ever). And about those action scenes, Craig is one guy you wouldn’t want to meet in a dark alley (as opposed to a couple Bond actors I won’t name). No wonder some characters in the films refer to him as a “blunt instrument”. But in SKYFALL Craig shows us his very human heart.

The say that a hero’s only as good as his villain and Bardem is spellbinding as the enigmatic Silva, who shares a bit of Bond’s background along with a vendetta against M. We don’t meet him till nearly the half way mark but Silva puts a surprising spin on the 007/master villain first meeting/interrogation scene that’s a staple of this franchise. Their conversation (as Bond is tied to a chair) will have longtime fans buzzing. Bardem is a complex monster, equal parts menacing and pathetic. On the heroes’ side, Fiennes is the proper politico blowhard that doubts Bond initially. He later proves himself. It’s great to see veteran actor Albert Finney who is also wonderful as a tough old duffer who possess a key to Bond’s past. Part of Bond’s support team is re-introduced here with Ben Whishaw as Q, the dispenser (and often inventor) of spy-tech. Bond’s leery of Q’s youth, but the “brute” and the “geek” are soon working side by side. Speaking of side by side, Harris (as Eve) has a wonderful partnership (and some playful flirting) with Craig. A different fliteration occurs between Bond and possible lover/informant Severine (Berenice Marlohe). Yes, she’s alluring but also more than a bit tragic. You know that she’ll be haunting Bond’s dreams for some time. These actresses are great, but the most meaningful relationship may be the one between 007 and his boss M (Dench). They start at odds, but this wears away to mutual respect, and eventually a mother/son devotion and affection. This is Dench’s seventh outing as Bond (counting the four Pierce Brosnan films) and her finest work in the series. There’s been a tradition of “Bond girls”, women who dominate each outing like Ursula Andress in DR. NO or Halle Barry in DIE ANOTHER DIE. In a way, the “girl” here is Dench. They make a wonderful couple who have a true emotional connection well beyond the romantic. Oh, and did I say that this M may be tougher than all the previous M’s combined.

For this adventure, the caretakers of the Bond films have entrusted this entry to an Oscar winning director: Sam Mendes (AMERICAN BEAUTY). There have been many skilled artists directing Bond since Terence Young helmed the first two, DR. NO and the cold war classic FROM RUSSIA WITH LOVE, and there’s been a few “journeyman” film makers, but few have created such artistic images for a big popcorn flick. From the start we see a starkly lit hallway with Craig’s unmistakeable silouhette bursting from the shadows. Later a sequence of a tuxedo-clad 007 drifting across the waters via canoe to a bright casino is a lush, painterly image. But Mendes’s cameras are there to catch every gasp-inducing frame of some of the best stunt work to grace the series. Luckily the Coen Brother’s gifted cinematographer Roger Deakins highlights the different sequences, whether it’s the neon glow of Hong Kong or the crowded, grimey London “tube” at rush hour. Thomas Newman contributes an expert score that adds a dash of the classic Monty Norman theme just at the right moment. In the tradition of title theme songs, Adele sings (and co-writes) the tune that works well with some great film graphic images. It’s not quite the pop anthems that Paul McCartney’s “Live and Let Die” and Carly Simon’s “Nobody Does it Better” from THE SPY WHO LOVED ME, but it does evoke the jazzy stylings of Shirley Bassey (most notably GOLDFINGER). Happily the producers have included many nods and winks to earlier Bond flicks for longtime fans. You might say that the overall excellance of this new adventure is the ultimate thank-you to Bond fans of all-ages worldwide. Is this the best Bond? Well my first theatre-going experiences are of seeing that dapper Scotsman named Sean, so he’ll always be my image of the super-cool spy. But this is certainly the best Bond of the last four decades. And SKYFALL is one of the best films of the year. I hoist my vodka martini (shaken..aw you know!) to you, Mr. Bond! Here’s to 50 more years of unmatched screen thrills!

5 Out of 5 Stars

MGM And Sony Pictures Entertainment Partner On THE GIRL WITH THE DRAGON TATTOO & 21 JUMP STREET

LOS ANGELES, CA (May 2011)- MGM will become a financial partner on the upcoming Sony Pictures Entertainment film The Girl with the Dragon Tattoo, it was announced by MGM Co-Chairmen and Chief Executive Officers Gary Barber and Roger Birnbaum and Sony Pictures Chairman and CEO Michael Lynton and Co-Chairman Amy Pascal. Sony will handle marketing and distribution, while MGM will handle select international television licensing for the film.

The Girl with the Dragon Tattoo is part of the recently announced agreement between Sony and MGM to explore co-financing opportunities on future motion pictures produced by each of the respective studios for the next five years. They have most recently partnered on the highly anticipated Bond 23, set for worldwide release on November 9, 2012.

The Girl with the Dragon Tattoo, which will be released on December 21, 2011, is the first film in the three-picture adaptation of Stieg Larsson’s literary blockbuster The Millennium Trilogy. Directed by David Fincher and starring Daniel Craig and Rooney Mara, the film is based on the first novel in the trilogy, which altogether have sold more than 50 million copies in 46 countries and become a worldwide phenomenon. The screenplay is by Steven Zaillian.

MGM will also become a financial partner on the upcoming Sony Pictures Entertainment film 21 Jump Street, as was announced by MGM Co-Chairmen and Chief Executive Officers Gary Barber and Roger Birnbaum and Sony Pictures Chairman and CEO Michael Lynton and Co-Chairman Amy Pascal. Sony will handle marketing and distribution, while MGM will handle select international television licensing for the title.

21 Jump Street is part of the recently announced agreement between Sony and MGM to explore co-financing opportunities on future motion pictures produced by each of the respective studios for the next five years.

21 Jump Street is based on the television series, which focused on young cops with youthful appearances who work undercover in high schools and colleges. The film is being directed by Phil Lord and Christopher Miller, from a screenplay by Michael Bacall based on a treatment from Hill and Bacall. Neal H. Moritz will produce the film with Stephen J. Cannell, who will receive posthumous credit. The film is set to be released on March 16, 2012.

In recent years, the two studios have collaborated on numerous films, including Casino Royale, Quantum of Solace, 21, Yours, Mine and Ours, The Pink Panther, and the summer tent pole Kevin James comedy Zookeeper, which opens nationwide on July 8, 2011.

ABOUT METRO-GOLDWYN-MAYER STUDIOS INC.
Metro-Goldwyn-Mayer Studios Inc. is actively engaged in the worldwide production and distribution of motion pictures, television programming, home video, interactive media, music, and licensed merchandise. The company owns the world’s largest library of modern films, comprising around 4,100 titles. Operating units include Metro-Goldwyn-Mayer Studios Inc., Metro-Goldwyn-Mayer Pictures Inc., United Artists Films Inc., MGM Television Entertainment Inc., MGM Networks Inc., MGM Distribution Co., MGM International Television Distribution Inc., Metro-Goldwyn-Mayer Home Entertainment LLC, MGM ON STAGE, MGM Music, MGM Consumer Products and MGM Interactive. In addition, MGM has ownership interests in domestic and international TV channels reaching over 130 countries. For more information, visit www.mgm.com.

ABOUT SONY PICTURES TELEVISION
Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in more than 140 countries