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BEETLEJUICE BEETLEJUICE – Review

“It’s showtime!”…well more like HBO and Max eventually after this brand spankin’ (careful) new sequel to a much-beloved iconic 1980s cinema classic enjoys a healthy stint at the ole’ multiplex. Yup, it’s now been 36 years since that original comedy/fantasy firmly announced the quirky storytelling style of a former animator (though he’d keep a hand in the medium) after hinting at what to come with that “big adventure” with a much-missed movie hero. But can he, along with a new movie generation and fans of the “first”, really “go home” again (and the “great beyond”)? Now all it’ll take is a theatre ticket, along with proclaiming the main character’s name three times, though to be safe the formal title only repeats it twice with BEETLJUICE BEETLEJUICE. Now what’s that “sniff” sulfur smell…?l

After an airborne trek over scenic Winter River, meshed with that bouncy Danny Elfman circus-style march, we meet up with the all-grown heroine of the first flick, Lydia Dietz (Winona Ryder). She’s “tapping” into her past by hosting a reality TV show called “Ghost House” complete with that night-time spooky green photography. The crew has to stop the tape when she’s distracted by an audience member clad in familiar white and black stripes. Nah, it couldn’t be him. Luckily her producer/ beau Rory (Justin Theroux) is there to help and hand her her phone which is blowing up with calls from her stepmom. The duo rushes off to an art gallery hosting her latest “installation”. Delia (Catherine O’Hara) delivers the news of the big family tragedy. They’ll have to return to their old home, but first, they’ve got to convince Lydia’s estranged daughter from a previous marriage Astrid (Jenna Ortega) to join them. The “double-team” of mom and grandmom get her to head away from her boarding school, but not before Lydia sees those stripes again. Down below (way down), that ole’ demonic “fashionista”, Beetlejuice (Michael Keaton) is a bored “pencil-pusher” managing a team of “shrunken-head” office drones. Ah, but something shakes things up. In the aftermath of a “janitorial accident” his first wife Delores (Monica Bellucci), a “soul-sucker”, has been “re-assembled” and is on her way for a deadly reunion. This also attracts the attention of the head of “afterlife security”, former movie cop Wolf Jackson (Willem Dafoe). Meanwhile, up above, things are also getting wild as Rory proposes to Lydia at the memorial, insisting that they be married in two days, on Halloween at midnight. The announcement prompts Astrid to dash away into town where she runs into Jeremy (Arthur Conti) a brooding hunky heartthrob. But all is not what it seems as the Dietz family will have to call on that “bio-exorcist” to survive the holiday and put the spirits and “ghosties” back in their place.

After so many years of terrific dramatic roles, I had almost forgotten about Keaton’s formidable comedy “chops”. Well, here’s a big reminder as he truly delivers, not losing a bit of the gravelly delivery nor the superb mugging beneath the makeup. Here he scores by delving into a seminal character from the “first phase” of his career, much as he did by donning the cowl and cape in last year’s ill-fated THE FLASH. Part of that could apply to Ms. Ryder who turns her adored Lydia into a woman of wit and action, returning to the site and source of her teen nightmares, building on her recent resurgence in “Stranger Things”. Speaking of Netflix, kudos for casting the delightfully deadpan “Wednesday” herself, Ortega, as the youngest of the Dietz line. I was getting a bit of a flashback in her early school scenes, but Astrid is more openly passionate over her skepticism of her family’s “gift”. And then there’s the comedic force of nature that is Ms. O’Hara as Delia who mixes her daffy artist spirit with caustic unfiltered wit, verbally giving the others a swift “kick in the past”. Most deserving of such treatment is the movie’s real comedy “find”, the droll devious pompous twit Rory given a snarky sneer (and “man-bun”) by the hilarious Theroux who regurgitates trendy psycho-babble in order to seem hip (you can almost hear Astrid’s eye-rolling). Dafoe appears to be having a blast as the campy action movie star who thinks that he’s the star of another noisy crime thriller while boasting about doing his own stunts (which got him his new gig). Bellucci is sinister and sultry as the seductive stitched-together (a Burton mix of his animated Sally and Corpse Bride with a touch of his Catwoman) siren, while Conti is the teen dream hiding a secret behind his soulful eyes. Another member of the Burton troupe has a nice cameo while newcomer Burn Gorman makes the most of his scant screen time as the verbose and slightly buzzed Father Daman.

Oops, I left the screeching black cat “out of the bag” by revealing that Tim Burton is back behind the camera for his first feature flick in five years. And it could be his most “Burton-y” ever. Perhaps it’s because he’s not adapting a classic kid flick, or a stage musical, or a “loose” biography. I’d go so far as to say this is his best feature film since ED WOOD (which is now 30 years old). He keeps the action zipping along at a brisk pace, but still allows us to savor some striking visuals. At times he seems as giddy as a kid in a candy store since he eschews CGI (used for a bit of touch-up, smoothing, and enhancement) in favor of practical effects (prosthetics, puppetry, and actual shape-shifting sets). It all adds to the lived-in, grungy quality of the afterlife and the wonky world of Winter River. It’s truly a sweet dessert for the eyes, though it veers on gluttony since the story is overstuffed with homage (yes, there’s music but not another Calypso classic) and subplots. There may be enough story for two or more flicks, so you can almost feel as though you’re getting more “bang” (and “boo”) for that ticket price. After a Broadway stage show and a Saturday morning cartoon series (when the TV broadcast networks did that on weekends), the world of the “Juice still feels like the coolest undead underworld place to hang out, even though the surprise of the 88′ original isn’t quite there. Speaking of ‘toons, we even get a nifty flashback told with stop motion figures. So, the off-kilter quirks of Burton, the practical “on-set” VFX, and the comic wizardry of Keaton (not to mention again that Elfman score) add up to a most welcome, though too many years in the making, nostalgic sequel romp, so nice they named him twice, BEETLEJUICE BEETLEJUICE. Now everybody board the Sooouulll Train…

3.5 Out of 4

BEETLEJUICE BEETLEJUICE is now playing in theatres everywhere

BEETLEJUICE BEETLEJUICE Premieres At The Venice Film Festival And Early Reviews Are Ecstatic About Tim Burton Sequel

BEETLEJUICE BEETLEJUICE was the opening film at this year’s Venice Film Festival and the sequel had a four minute standing ovation.

“There are so few opportunities to be in something that you can say is 100% original and unique,” said Keaton, who joked about his character’s evolution.

“I think my character has matured,” Keaton said. “As suave and sensitive as he was in the first, I think he’s even more so in this one.”

The early reviews are raving about the movie.

Deadline writes: “Beetlejuice Beetlejuice is not clunky. Yes, there are plenty of animation joins that haven’t been smoothed over by CGI. Some of the props look like tat Burton bought in a flea market. But it also has a proper plot, full of twists and turns; a terrific cameo characters supporting the impeccable main cast; a meticulous spoof Italian horror film in the middle of it all; and a climactic musical number in which key cast members mime to Richard Harris’ 1968 pop hit “Macarthur Park” while dancing around a giant cake with icing the exact green of snot. A ghost-driven dance to Harry Belafonte’s “Day-O” in the first Beetlejuice was hilarious because it was just so ludicrous. This, however, is a proper showpiece.”

BBC’s review states: “As unwieldy as Beetlejuice Beetlejuice is, though, this gleefully zany farce is still one of Burton’s most enjoyable films, and a welcome return to his own brand of oddball creepiness after the Disney dud that was his 2019 live-action Dumbo remake. He reunites with some old friends in front of and behind the camera, and he throws in some musical numbers, animated segments and Italian film pastiches, so you can tell that he was having great fun when he was making it. Viewers will have great fun, too.”

The Hollywood Reporter (THR) says: “The zippy pacing, buoyant energy and steady stream of laugh-out-loud moments hint at the joy Burton appears to have found in revisiting this world, and for anyone who loved the first movie, it’s contagious. That applies also to the actors, all of whom warm to the dizzying lunacy. The double-barrel title might suggest this is Keaton’s show, and he gets an ample share of antic opportunities — looking as moldy and slobby as ever and crawling with cockroaches — but he never crowds out anyone else in the strong ensemble.”

THR is also reporting that the film, “is already tracking to open as high as $80 million at the domestic box office when it drops in theaters on Sept. 6.” The 1988 classic was a box office success, grossing a total of $74,849,333 worldwide.

BEETLEJUICE BEETLEJUICE is premiering at the festival out of competition.

Keaton returns to his iconic role alongside Oscar nominee Winona Ryder (Stranger Things, Little Women) as Lydia Deetz and two-time Emmy winner Catherine O’Hara (Schitt$ Creek, The Nightmare Before Christmas) as Delia Deetz, with new cast members Justin Theroux (Star Wars: Episode VIII – The Last Jedi, The Leftovers), Monica Bellucci (Spectre, The Matrix films), Arthur Conti (House of the Dragon) in his feature film debut, with Emmy nominee Jenna Ortega (Wednesday, Scream VI) as Lydia’s daughter, Astrid, and Oscar nominee Willem Dafoe (Poor Things, At Eternity’s Gate).

After an unexpected family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia’s life is turned upside down when her rebellious teenage daughter, Astrid, discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened. With trouble brewing in both realms, it’s only a matter of time until someone says Beetlejuice’s name three times and the mischievous demon returns to unleash his very own brand of mayhem.

Burton, a genre unto himself, directs from a screenplay by Alfred Gough & Miles Millar (Wednesday), story by Gough & Millar and Seth Grahame-Smith (The LEGO® Batman Movie), based on characters created by Michael McDowell & Larry Wilson. The film’s producers are Marc Toberoff, Dede Gardner, Jeremy Kleiner, Tommy Harper and Burton, with Sara Desmond, Katterli Frauenfelder, Gough, Millar, Brad Pitt, Larry Wilson, Laurence Senelick, Pete Chiappetta, Andrew Lary, Anthony Tittanegro, Grahame-Smith and David Katzenberg executive producing.

Burton’s creatives behind the scenes includes director of photography Haris Zambarloukos (Meg 2: The Trench, Murder on the Orient Express); such previous and frequent collaborators as production designer Mark Scruton (Wednesday), editor Jay Prychidny (Wednesday), Oscar-winning costume designer Colleen Atwood (Alice in Wonderland, Sweeney Todd: The Demon Barber of Fleet Street, Sleepy Hollow), Oscar-winning creature effects and special makeup FX creative supervisor Neal Scanlan (Sweeney Todd: The Demon Barber of Fleet Street, Charlie and the Chocolate Factory) and Oscar-nominated composer Danny Elfman (Big Fish, The Nightmare Before Christmas, Batman); and Oscar-winning hair and makeup designer Christine Blundell (Topsy-Turvy).

A Warner Bros. Pictures presentation, Beetlejuice Beetlejuice will be released only in theaters and IMAX on September 6, 2024 nationwide, and internationally beginning 4 September 2024. It will be distributed worldwide by Warner Bros. Pictures.

New BEETLEJUICE BEETLEJUICE Trailer And Character Posters Are Here

Beetlejuice is back! Oscar-nominated, singular creative visionary Tim Burton and Oscar nominee and star Michael Keaton reunite for Beetlejuice Beetlejuice, the long-awaited sequel to Burton’s award-winning Beetlejuice. Check out the new trailer that just dropped today and see the film in theaters on September 6.

Keaton returns to his iconic role alongside Oscar nominee Winona Ryder (Stranger Things, Little Women) as Lydia Deetz and two-time Emmy winner Catherine O’Hara (Schitt$ Creek, Corpse Bride) as Delia Deetz, with new cast members Justin Theroux (Star Wars: Episode VIII – The Last Jedi, The Leftovers), Monica Bellucci (Spectre, The Matrix films), Arthur Conti (House of the Dragon) in his feature film debut, with Emmy nominee Jenna Ortega (Wednesday, Scream VI) as Lydia’s daughter, Astrid, and Oscar nominee Willem Dafoe (Poor Things, At Eternity’s Gate).

Beetlejuice is back! After an unexpected family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia’s life is turned upside down when her rebellious teenage daughter, Astrid, discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened. With trouble brewing in both realms, it’s only a matter of time until someone says Beetlejuice’s name three times and the mischievous demon returns to unleash his very own brand of mayhem.

BEETLEJUICE BEETLEJUICE Copyright: © 2024 Warner Bros. Entertainment Inc. All Rights Reserved. Photo Credit: Courtesy of Warner Bros. Pictures Caption: (L-r) WINONA RYDER as Lydia and MICHAEL KEATON as Beetlejuice in Warner Bros. Pictures’ comedy, “BEETLEJUICE BEETLEJUICE,” a Warner Bros. Pictures release.

BEETLEJUICE BEETLEJUICE Teaser Stars Michael Keaton, Winona Ryder And Jenna Ortega

Beetlejuice is back! Oscar-nominated, singular creative visionary Tim Burton and Oscar nominee and star Michael Keaton reunite for BEETLEJUICE BEETLEJUICE, the long-awaited sequel to Burton’s award-winning Beetlejuice.

Keaton returns to his iconic role alongside Oscar nominee Winona Ryder (Stranger Things, Little Women) as Lydia Deetz and two-time Emmy winner Catherine O’Hara (Schitt$ Creek, Corpse Bride) as Delia Deetz, with new cast members Justin Theroux (Star Wars: Episode VIII – The Last Jedi, The Leftovers), Monica Bellucci (Spectre, The Matrix films), Arthur Conti (House of the Dragon) in his feature film debut, with Emmy nominee Jenna Ortega (Wednesday, Scream VI) as Lydia’s daughter, Astrid, and Oscar nominee Willem Dafoe (Poor Things, At Eternity’s Gate).

(L-r) CATHERINE O’HARA as Delia, JENNA ORTEGA as Astrid, WINONA RYDER as Lydia and JUSTIN THEROUX as Rory in Warner Bros. Pictures’ comedy, “BEETLEJUICE BEETLEJUICE,” a Warner Bros. Pictures release. PHOTO CREDIT: Parisa Taghizadeh

MAFIA MAMMA – Review

Hmmm, now this is a strange bit of film release synergy. Now the big studio-wide release this weekend is RENFIELD which can be called a horror/comedy hybrid (though it’s also an action thriller satire). The other small studio (an “indy”, to be sure) flick also blends comedy with another very popular genre, crime. To be more specific it’s a crime-family comedy, hence the use of that “reviled” (to some) word. Oh, and there’s a “gender-switch” as a woman takes the seat at the head of the table for the “sit-down”. Hey, if there can be a godfather, then why not a MAFIA MAMMA?

The story kicks into high gear “across the pond” in the “old country”, Italy, soon after a gun battle that produces lots of casualties for both warring factions. This prompts a long-distance phone call from the Balbano family “advisor” Bianca (Monica Bellucci) to a relative in the States, harried working mom Kristin (Toni Collette). This contributes to her stress-filled week. The male execs are hostile to her marketing ideas, she’s sending her only son off to college, and she catches her “man-child” rock star wannabe hubby Paul (Tim Daish) with a really enthusiastic “fan”. Bianca is insistent that Kristin hops on a plane to attend her grandfather’s funeral. After a bit of nudging from her lawyer pal Jenny (Sophis Nomvete), Kristin is in Italy enjoying a “meet cute” with hunky Lorenzo (Giulio Corso). It’s cut short when her new “bodyguards” rush her to the church for the memorial. And then the coffin’s processional is attacked by a hit squad from the rival Romano family. Luckily Kristin’s crew makes it back to the family villa where Bianca insists that Kristin meet with the Romano “head”, since the late elder Balbano, via a DVD will, has given his title to his only granddaughter, much to the ire of hotheaded cousin Fabrizio (Eduardo Scarpetta), who wants to run the “family business”. Kristin wants none of this, but the sooner she can broker peace, the sooner she can get with Lorenzo. This leads to a couple of attempts on her life as this unexpected “getaway” turns into a gang war that may just spill over into the States and threaten her boy. Maybe with Bianca’s consul, Kristin can bring honor to her tarnished legacy.

Over the last few decades, Toni Collette has firmly established herself as one of the most accomplished character actors in film. She commands the screen in drama and horror, but she’s had little chance to headline a comedy. The role of Kristen provides that with a great deal of slapstick and screwball. Unfortunately, she can’t make the poorly written script’s heroine work as she flits about like a frenzied teen in much of the first hour, popping her eyes wildly and gesturing frantically and sounding like a manic “figgerygibbit”. Kristin is more of a comedy construct than a believable mature career woman as she spews out the wrong thing in every setting, funerals, gunbattles, dates, wherever. As a grounded counterpart, Bellucci exudes a sultry earthy sexiness recalling Sophia and Gina, though she only pops in to put Kristin on the right track. Nomvete is the sassy rom-com stereotype there to push Kristin to “Go, gurlfriend!!”, and brings some needed energy. Daish is the dim hubby dragging Kristin down making it easier for her to “hook up” with Corso amongst others. And Scarpetta struts and swaggers as the always aggressive Fabrizio, who just loves to scream in his enemy’s faces during the showdowns.

Wow, this is a long way from the “sparkly” teen vamps of TWILIGHT. Yes, it’s the same Catherine Hardwicke, who’s trying her hand at screwball saucy comedy. And due to the lackluster, meandering script, it’s a “swing and a miss”. Mind you, it’s not that the “genre mash-up” doesn’t work. Way back in 1935 Edward G Robinson had some fun with his gangster persona in A SLIGHT CASE OF MURDER. And in the post-GODFATHER (Kristin’s never watched it…hilarious) it’s worked with MARRIED TO THE MOB and the ANALYZE flicks, but this strained farce isn’t even up to the level of 1998’s MAFIA! (from part of the ZAZ team). The story never seems to follow through on anything, as it tosses out different motivations and agendas. It veers into the area of a “woman’s awakening” as the put-upon Kristin finds her “calling” in the vineyard (yes, she stomps grapes ala Lucy) and then funnels low-cost meds for seniors (really). And though much of the shootouts are bloodless (lots of grazing), there’s a very graphic set piece where Kristin is threatened with sexual assaults before a Tarantino-esque gorefest with lots of eye trauma (and do we need to see a barfed-on cell phone). Plus there is a suggested blossoming romance between the female leads that is tossed aside (perhaps that’s why all the men, aside from Kristin’s son, are dullards or braying bullies). Maybe it’s just a way to reveal Bianca’s silly secret to be exploited in the big last act face-off. Sure, the locations are gorgeous, and the food looks delicious, but it doesn’t soften the sound of the jokes falling flat on those ancient cobblestones. Collette and Bellucci are deserving of a much better screen pairing. With apologies to Abba, MAFIA MAMMA, oh mamma mia! Or as the characters respond to an enemy’s name in unison in a lousy running (literal) gag: ptewy!!

One Half Out of Four

MAFIA MAMMA is now playing in select theatres

MEMORY – Review

*Liam Neeson stars as “Alex Lewis” in director Martin Campbell’s MEMORY, an Open Road Films / Briarcliff Entertainment release. Credit: Rico Torres | Open Road Films / Briarcliff Entertainment*

Adapting an old comic line: of all the Liam Neeson action/revenge/rescue movies MEMORY is the most … recent. Neeson plays Alex Lewis, a hit man with scruples (again), seeking retirement (again) from his craft. But he’s forced into one more job (again) that goes awry (again) putting the target on his back (again). One of the reasons for his attempt to quit is awareness that the same dementia that has already deprived his brother of all awareness is starting that downward spiral for him. The complication that drives this tired plot is his refusal to whack a child, and his anger at those who did.

Guy Pearce supports the effort as FBI agent Vincent Serra, frustrated by constraints from his superiors that keep him from shutting down the human trafficking ring he’s been pursuing here and in Mexico. Coincidentally, when Neeson starts writing reminders on his arm in moments of clarity, anticipating lapses, it’s reminiscent of Pearce doing the same on his body for similar reasons in MEMENTO. Pearce must have had pleasant flashbacks to that excellent movie when reading this script. Presumably, that kept him from realizing how convoluted and predictable it was.

If you haven’t seen more than one of Neeson’s last half-dozen or so action flicks, you might still find this one engaging. The Alzheimer’s theme is relatively new but not exactly unique among crime dramas here and abroad. In fact, this one is apparently based on a Belgian film from 2003, THE MEMORY OF A KILLER (De Zaak Alzheimer), which I haven’t seen. In this incarnation, symptomatic episodes tend to occur in relatively benign moments but other films have been more daring, with their protagonists going blank during a fight or other dangerous situation.

The cast is full of stock types doing stock things on both sides of the law. What suspense exists is propped up by some ambiguity about who are the good guys, and whose strings are being pulled by the bad ones. Monica Bellucci sleepwalks through her rich, powerful villainess turn as an El Paso real estate magnate named Davana Sealman. Director Martin Campbell does no favors for his cast or audience with a slow pace in mostly dark settings that make it seem much longer than its 114-minute running time. The sex and violence elements are minimally graphic for its R-rating, adding to the dullness of the product.

At the risk of stating the obvious too obviously, MEMORY is eminently forgettable, if not regrettable.

MEMORY opens Friday, Apr. 29, in theaters.

RATING: 1 out of 4 stars

NEKROTRONIC – Review

Review by Marc Butterfield

From Guerrila Films and Hopscotch Features, directed by Kiah Roache-Turner, debuted in 2018 Canada during the Toronto International Film Festival.

This is a B movie by even the most generous standards, but like it’s predecessor, WYRMWOOD, it’s a great one, depending upon how much you like these kinds of movies. While WYRMWOOD took on the zombie apocalypse (or A zombie apocalypse, anyway), NEKROTRONIC takes on demons, demonic possession, and the dangers of cell phone life. Movies out of Australia always seem to have a better sense of humor about these things than the stock American films (with Zombieland being a notable exception). The cast handles their roles with appropriate amounts of gravity and incredulity. The plot, in a nutshell, is about Howard North, a sewage maintenance worker who by chance finds out his true identity in the middle of an attempt by demons to gain dominion over the world by means of the Internet and cell phone games. The CEO of the company, played by Monica Bellucci, is ruthless in this overseeing.

Howard and his mate, Rang, rather by accident, come across a father/daughters team of necromancers who rescue them, setting of a chain of events that will forever alter Howard and Rangs future.

From here on out, the movies has a nice amalgamation of story elements from Ghostbusters, Blade, and maybe even a little of the old classic, Tron. Howard starts out pretty laid back, then maybe a little freaked out, while Rang is as clueless from one end of this story to the other. The sisters here, played by Tess Haubrich and Caroline Ford, offer great interactions, being menacing and encouraging, as well as a little flirty and tough, and are not just pretty distractions, at times being more important to the story than Howard himself. Together, the four of them prove to be formidable, if somewhat bumbling. The demons, who enter the bodies of people by various means, mostly cell phone, which means their host bodies are always nearby and nearly an inexhaustible resource, and once inhabited, are pretty gross and awful.

The movie is hilarious, fun, action packed, and full of gross, splashy, gooey moments; in other words, fantastic. I know that it’s been out a while, but it’s a great watch that viewers of schlocky horror movies can’t resist, with enough sci-fi elements that it can pull in from both genres. With a bag of chips and some beer, it’s an awesome weekend watch!

NEKROTRONIC is coming to select theaters and digital HD on August 9, 2019.

3 out of 4 stars

Order here: https://itunes.apple.com/ca/movie/nekrotronic/id1474305380

Watch The Trailer For NEKROTRONIC Starring Monica Bellucci And David Wenham – Invading Theaters And Digital HD August 9

“NEKROTRONIC feels like Quentin Tarantino had been watching a lot of Edgar Wright and Wachowski movies, and then decided to make a Ghostbusters film. [It] is one wild, funny, gory combo.” – Nerdist

Howard North, a down on his luck sewage worker, gets dragged into a global conflict between the Nekromancers, a family of badass demon hunters, and Finnegan (Monica Bellucci) – an evil demon who absorbs people’s souls to increase her power. When Howard finds out the truth behind Finnegan’s past and her dark plans for the future, he teams up with his new friends to discover he is the ultimate Nekromancer, the only one with the power to defeat her and save the world.

Starring Ben O’Toole (Hacksaw Ridge, The Water Diviner), Caroline Ford (Amazon’s Carnival Row, TV’s Once Upon a Time),Tess Haubrich (The Wolverine, Alien: Covenant), Epine Bob Savea, David Wenham (The Lord of theRings: The Two Towers and Return of the King, 300), check out the crazy trailer.

Directed by Kiah Roache-Turner (Wyrmwood: Road of the Dead) and written by Kiah Roache-Turner, Tristan Roache-Turner (Wyrmwood: Road of the Dead), this really looks like campy good time, with all the tropes of a fun horror flick for a Saturday night.

NEKROTRONIC is coming to select theaters and digital HD on August 9, 2019 from Momentum Pictures.

007 Fans – Celebrate SPECTRE With James Bond Night At BASSO St. Louis

Calling all 007, James Bond Fans in the St. Louis area – come celebrate SPECTRE with a special BOND NIGHT AT BASSO.

Stop by for your chance to win free promotional items from the film and passes to the advance screening. One lucky Grand Prize winner will also receive a complimentary one night stay in the James Bond Suite at THE CHESHIRE. Themed BOND drinks specials will be featured.

Attendees are encouraged to dress in their best James Bond Inspired Tuxedo Attire.

WHEN: Friday, October 30^th – 8:00PM-11:00PM

WHERE: BASSO at The Cheshire – 7036 Clayton Ave, St. Louis, MO 63117

http://www.basso-stl.com/news/75-james-bond-007-spectre-release-party-at-basso

A cryptic message from the past sends James Bond on a rogue mission to Mexico City and eventually Rome, where he meets Lucia (Monica Bellucci), the beautiful and forbidden widow of an infamous criminal. Bond infiltrates a secret meeting and uncovers the existence of the sinister organisation known as SPECTRE.

Meanwhile back in London, Max Denbigh (Andrew Scott), the new head of the Centre for National Security, questions Bond’s actions and challenges the relevance of MI6, led by M (Ralph Fiennes). Bond covertly enlists Moneypenny (Naomie Harris) and Q (Ben Whishaw) to help him seek out Madeleine Swann (Léa Seydoux), the daughter of his old nemesis Mr White (Jesper Christensen), who may hold the clue to untangling the web of SPECTRE. As the daughter of an assassin, she understands Bond in a way most others cannot.

As Bond ventures towards the heart of SPECTRE, he learns of a chilling connection between himself and the enemy he seeks, played by Christoph Waltz.

SPECTRE opens in theatres on November 6, 2015.

Visit the official site: www.007.com

Get your tickets now for the epic finale. http://bit.ly/SpectreTix

Daniel Craig And Christoph Waltz Star In Final SPECTRE Trailer

In the final trailer, 007 infiltrates a secret meeting and uncovers the existence of the sinister organization known as SPECTRE.

Sam Mendes returns to direct SPECTRE, with Daniel Craig reprising his role as 007 for the fourth time.

As Bond ventures towards the heart of SPECTRE, he learns of a chilling connection between himself and the enemy he seeks, played by Christoph Waltz.

SPECTRE is produced by Michael G. Wilson and Barbara Broccoli. The screenplay is by John Logan and Neal Purvis & Robert Wade and Jez Butterworth, with a story by John Logan and Neal Purvis & Robert Wade.

Sam Smith’s “Writing’s On The Wall,” is the theme song for SPECTRE. The previous Bond theme song, SKYFALL, was performed by Adele, and was honored with the Academy Award and Golden Globe Award for Best Original Song.

Released in the UK on October 26, and in the US on November 6, 2015.

http://www.007.com/

This film has been rated PG-13 by the Motion Picture Association of America for Intense Sequences of Action and Violence, Some Disturbing Images, Sensuality and Language.

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