Tag: Penelope Ann Miller

Here’s the New Trailer for ADVERSE starring Thomas Nicholas, Lou Diamond Phillips, and Mickey Rourke – On Demand and Digital and DVD March 9th

Lionsgate will release ADVERSE on Digital, On Demand and DVD on March 9th.  The film will also be in theaters on February 12th through Black Jellybean Productions.

Check out this thrilling trailer:

Thomas Nicholas (“Red Band Society”) and Mickey Rourke (The Wrestler) star in this gritty, intense urban thriller about one man’s quest for revenge. Struggling to make ends meet, rideshare driver Ethan (Nicholas) learns his sister Mia is deep in debt to a sleazy drug dealer. When Mia goes missing, Ethan discovers that crime boss Kaden (Rourke) is behind the act, and to get close to him Ethan takes a job as Kaden’s driver. One by one Ethan hunts down members of Kaden’s crew to wreak bloody vengeance as he prepares to confront Kaden himself.

The stellar cast also includes Lou Diamond Phillips, Sean Astin, and Penelope Ann Miller.

AMERICAN DRESSER – Review

Review by Matthew Lowery

In 1986, Vietnam veteran turned filmmaker Oliver Stone brought us the war film Platoon based on his wartime experiences. Among its cast was Tom Berenger as Sgt. Barnes, who has been driven crazy from the shellshock of the conflict. In addition to Charlie Sheen and Willem Dafoe, the film also featured early appearances from Johnny Depp and Keith David. Even 30 plus years after release, the film still holds up and is a classic Vietnam war film. I bring this up because American Dresser features both Berenger and David who happen to have served in Vietnam. I’m not entirely sure if this was just a coincidence, but I wouldn’t be surprised if it was somewhat intentional. Also, given that this film concerns two guys driving through the continental US on motorcycles, it feels like Easy Rider. Honestly, the fact that this reminded me of better movies is not promising.

Berenger plays John Moore, whose wife (Gina Gershon in flashbacks) recently died of cancer. At his wife’s funeral, his daughters are unhappy that he’s there, and there’s clearly some tension going on. At the same time, Moore meets up with his former sergeant Charlie (Keith David), who’s recovering from a motorcycle accident. After finding a letter amongst some old belongings, Moore decides to take his bike all the way to Oregon. Charlie decides to tag along, and they soon meet a drifter named Willy (writer-director Carmine Cangialosi) who soon joins them. From there, it becomes a cross-country odyssey as they ride off to Oregon for some seemingly unknown purpose. Along the way, we meet characters like former biker King (Bruce Dern) and widow Vera (Penelope Ann Miller). Some other highlights include going to a party, having a run-in with the law, and learning more about each other.

Probably the best thing I can say about this movie is that it has a truly amazing cast. Between Oscar nominees Tom Berenger and Bruce Dern, you’ve also got character actors like Keith David and Jeff Fahey. While Dern, Gershon, Miller, and Fahey don’t have much screen time, they do shine and make the most of it. Berenger and David do a great job as the two leads, and they have fantastic chemistry with one another. The two really come off as old friends wanting to spend one last ride together despite their major life changes. Honestly, the acting is so good that it’s a shame the material isn’t all that great. While I’m not familiar with Cangialosi’s prior work, you can certainly tell this is a first-timer. His acting is pretty stiff and flat, and his direction is average at best.

The best way I can describe this movie is that it’s about average, nothing special but not awful. It’s got some great actors doing what they do best, but the script and the direction are flat and lifeless. At around 90 minutes, it won’t take up too much of your time if you have nothing better to do. This honestly feels like a direct-to-video movie that happens to have actors who are way too good for this. Overall, American Dresser takes elements from other and much better movies and doesn’t do much with it.

Rating: 2-1/2 out of 5 stars

THE BIRTH OF A NATION – Review

birthofanation

A flawed masterpiece, writer-director-star Nate Parker’s THE BIRTH OF A NATION is based on the true tale of Nat Turner, a bible-thumping, visionary slave who led a bloody uprising in Virginia in 1831. As a child, Nat was bound for more than picking cotton. With the encouragement of his owner’s nurturing wife (Penelope Ann Miller), Nat studied the Bible, which leads to him growing up (played by Parker) as one of the few educated slaves on the struggling plantation run by Samuel Turner (Armie Hammer). Samuel rents Nat out to other plantation owners to preach, earning a name as someone who can keep slaves mollified despite their abuse. Nat crosses a line by baptizing a white man which leads to a whipping and the epiphany that he can no longer stand by while blacks are mistreated.  He and a band of fellow slaves ambush and murder over 50 white folks – not just slaveholders but also their wives and families. Though they were eventually killed or captured, herds of white men took unholy retribution by roaming the land lynching blacks left and right, some 200 in all. Slavery would continue for several decades after Turner’s revolt, but slaveholders could never again be certain their ‘property’ would not someday turn on them. It’s a shocking story, one I’m surprised has never been tackled before, and so impressive the feats of directing, writing, cinematography, and historical research that conspire to bring us THE BIRTH OF A NATION that the film’s weaknesses are that much more frustrating.

The film’s biggest flaw is that Nate Parker’s performance as Turner is not up to the material. Nat Turner is a such a complex and mythic character that it’s a shame Parker didn’t cast someone with stronger acting chops. Nat Turner needs to be the slow burn of a lit fuse, which would make the carnage more natural. Instead Parker plays him as a passionate preacher (there is a lot of scripture in this film), but with emotions always at the same level – humble and benign, which makes the introduction of bloody axe-murders and decapitations a bit jarring. It would have helped for contrast if someone other than the bland Armie Hammer had been cast as Samuel Turner (think Warren Oates in DRUM – now that was a colorful mastah!). Aja Naomi King as Nat’s wife Cherry doesn’t make much of an impression while the scene stealer in THE BIRTH OF A NATION is Jackie Earl Haley as slave hunter Raymond Cobb. He’s hardly a shaded villain, but Haley hits the right hateful notes and I wish his role had been bigger.

Where Nate Parker really shines is in his ambitious, swing-for-the-fences direction of THE BIRTH OF A NATION. One long shot that just takes your breath away begins with the close-up of a butterfly, then slowly pulls back to reveal unspeakable horror. The film’s final image makes you want to stand up in your seat and cheer. A young boy quickly morphs ahead several decades and what he’s doing and represents ends the film on the highest of high notes. It’s an astonishing debut. Parker loads his film with heavy-handed symbolism, religious dreams, and Christ imagery, all driven by Henry Jackman’s appropriately grandiose score, bold moves that work in terms of mythologizing Turner. It’s too bad that THE BIRTH OF A NATION isn’t more consistent in its potency. The BRAVEHEART-inspired battle sequence is lackluster and not as cathartic as it should be and seems to end just as it begins. Despite some weaknesses, I highly recommend THE BIRTH OF A NATION. Whether you think Nat Turner a hero, a religious fanatic, a villain, or all of the above, his story is an important one and Nate Parker tells it brilliantly.

4 1/2 of 5 Stars

birthposter

Win Passes To the Advance Screening Of THE BIRTH OF A NATION In St. Louis

poster-b0450ec3-87fc-42a5-9442-8f9962bbb976

Set against the antebellum South, THE BIRTH OF A NATION follows Nat Turner (Nate Parker), a literate slave and preacher, whose financially strained owner, Samuel Turner (Armie Hammer), accepts an offer to use Nat’s preaching to subdue unruly slaves. As he witnesses countless atrocities – against himself and his fellow slaves – Nat orchestrates an uprising in the hopes of leading his people to freedom.

Starring Nate Parker, Armie Hammer, Mark Boone Junior, Aja Naomi King, Gabrielle Union, Roger Guenveur Smith, Dwight Henry, Penelope Ann Miller and Jackie Earle Haley, THE BIRTH OF A NATION opens in St. Louis on October 7th.

WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of THE BIRTH OF A NATION on OCTOBER 3 at 7PM in the St. Louis area.

Answer the following:

While a number of revered films have explored the contours of slavery, from 12 YEARS A SLAVE to GLORY, AMISTAD and LINCOLN, Nate Parker’s motivation is to renew the past and to seek illumination from it, rather than turn the same blind eye that kept people in the dark for so long.

Which one of the films listed above was a Best Picture winner?

Which film was awarded a Best Actor win?

Which film garnered an Oscar for Best Actor in a Supporting Role?

TO ENTER, ADD YOUR NAME, ANSWERS, AND EMAIL IN OUR COMMENTS SECTION BELOW.

OFFICIAL RULES:

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

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

Rated R.

foxsearchlight.com/thebirthofanation

Photo by Jahi Chikwendiu. © 2016 Twentieth Century Fox Film Corporation All Rights Reserved
Photo by Jahi Chikwendiu. © 2016 Twentieth Century Fox Film Corporation All Rights Reserved

THE BIRTH OF NATION Trailer Debuts – Directed By And Stars Nate Parker

poster-4e014cbb-cdc0-4d3e-9feb-fa540f66b0b4

Fox Searchlight Pictures has released the first trailer for director Nate Parker’s THE BIRTH OF A NATION.

Set against the antebellum South, THE BIRTH OF A NATION follows Nat Turner, a literate slave and preacher, whose financially strained owner, Samuel Turner, accepts an offer to use Nat’s preaching to subdue unruly slaves. As he witnesses countless atrocities – against himself and his fellow slaves – Nat orchestrates an uprising in the hopes of leading his people to freedom.

In his Sundance Film Festival review, The Hollywood Reporter’s Todd McCarthy says the film, “offers up more than enough in terms of intelligence, insight, historical research and religious nuance to not at all be considered a missed opportunity. Far more of the essentials made it into the film than not; its makers’ dedication and minute attention are constantly felt, and the subject matter is still rare enough onscreen as to be welcome and needed, as it will be the next time and the time after that.”

The drama is also written and produced by the film’s star Nate Parker.

In March, Mitch Neuhauser, Managing Director of CinemaCon announced that Parker would receive the “CinemaCon® Breakthrough Director of the Year Award”. CinemaCon, the official convention of The National Association of Theatre Owners (NATO) was held April 11–14, 2016 at Caesars Palace in Las Vegas.

“Following its Grand Jury Prize and Audience Award at the 2016 Sundance film festival, Nate Parker’s ‘The Birth of a Nation’ will surely bring movie-going audiences to their feet when it is released October 7th,” noted Neuhauser. “A pure labor of love and a film that shows the true passion necessary to craft it, we are honored to present such an outstanding filmmaker with this years ‘CinemaCon Breakthrough Director of the Year Award.’”

Parker first received critical attention in 2007 for his role in “The Great Debaters” receiving an NAACP Image Award nomination for Best Supporting Actor. He followed that up with such critically acclaimed films as “The Secret Life of Bees,” for which he received a Best Supporting Actor NAACP Image Award nomination, “Red Tails,” “Arbitrage,” and “Red Hook Summer.” He has also appeared in “Pride,” “Dirty,” “Felon,” “1968 Tunnel Rats,” and “Ain’t Them Bodies Saints,” among many others. Most recently Parker received his third NAACP Image Award nomination for his performance in “Beyond the Lights.” In addition to his feature film credits Parker has written and directed multiple shorts including “#AmeriCan,” which won the Black Reel Award for Outstanding Independent Short and has appeared onstage in “American Voices” at the Broad Street Theater.

THE BIRTH OF A NATION’s cast includes Armie Hammer, Penelope Ann Miller, Jackie Earle Haley, Mark Boone Jr., Colman Domingo, Aunjanue Ellis, Dwight Henry, Aja Naomi King, Esther Scott, Roger Guenveur Smith and Gabrielle Union. The score is from composer Henry Jackman.

First Photos From SAVING LINCOLN

Films about the Great Emancipator have seemingly become all the rage as of late. The R rated ABRAHAM LINCOLN: VAMPIRE HUNTER hit theaters in June to a dismal box office reception, Steven Spielberg’s LINCOLN will be released November 9 with Daniel Day-Lewis playing the 16th President and Terrence Malick’s film about Lincoln, THE GREEN BLADE RISES, was recently announced.

Not to be lost in the fray, check out these new photos from the upcoming movie SAVING LINCOLN. Directed by Salvador Litvak and starring Tom Amandes, Lea Coco, Penelope Ann Miller, and Bruce Davison, SAVING LINCOLN tells a unique tale in a unique way: using actual Civil War era photographs as locations, the film explores Lincoln’s fiery trial as Commander-in-Chief through the eyes of his closest friend and protector – U.S. Marshal Ward Hill Lamon. Production on the film wrapped July 12th.

In the process, SAVING LINCOLN officially introduces a new cinematic style to the industry: CineCollage. Developed by director Salvador Litvak, the new filmmaking technique allowed a sprawling period piece to be made on an indie budget (a full description of CineCollage is included below). While various types of layered images have been used in other films, this is the first time CineCollage, or “cinematic collage,” will be employed for every scene in a feature film, and the first time that the technique has been branded in an official capacity.

About the production process, Litvak said: “We had a huge story to tell, and we were determined to tell it. During our research, we dug into the enormous trove of Civil War photography in the Library of Congress, and I visualized scenes taking place in those locations. In the wake of movies like ‘Sin City’ and ‘300,’ I realized we could use the photos to replace physical sets. Of course, the process was far more complex and time-consuming than I imagined, but thanks to an extremely creative and passionate team, we were able to make SAVING LINCOLN a reality. Further possibilities for CineCollage are unlimited, particularly for subjects that can exploit well-photographed periods and locations.”

Based on detailed research by Litvak and writing partner Nina Davidovich Litvak, SAVING LINCOLN follows Abraham Lincoln’s journey from country lawyer to conflicted Commander-in-Chief, as recounted by his self-appointed bodyguard, Marshal Lamon. Lamon halted many attempts on President Lincoln’s life, but he was not present at Ford’s Theater the night Lincoln was shot. To understand why, one must hear his tale. SAVING LINCOLN stars Tom Amandes (as President Lincoln), Lea Coco (as Ward Hill Lamon), Penelope Ann Miller (as Mary Todd Lincoln), Creed Bratton (as Senator Charles Sumner), Saidah Arrika Ekulona (as Elizabeth Keckly), and Bruce Davison (as William H. Seward).

CineCollage, by definition, uses existing images as a backdrop to create a cinematic collage. The process combines off-the-shelf visual effects tools with techniques borrowed from theater, animation, and photography. A typical scene contains live-action elements – including principal actors, tiled layers of extras, furniture and props – all shot on a green screen stage, as well as multiple layers of location and architectural elements culled from period photography. The layers are composited together to create a stylized look that works hand in hand with the story’s narrative structure: in this case, Marshal Lamon’s very personal recollection of his friend, Abraham Lincoln.

SAVING LINCOLN is directed by Salvador Litvak, written by Nina Davidovich Litvak and Salvador Litvak, produced by Reuben Lim, and executive produced by Horatio C. Kemeny. The film stars Tom Amandes, Lea Coco, Penelope Ann Miller, Creed Bratton, Saidah Arrika Ekulona, and Bruce Davison, with songs performed by American roots-rocker Dave Alvin.

Film’s official site: http://www.savinglincoln.com/

“Like” on Facebook: http://www.facebook.com/SavingLincoln

Follow the stories of US Marshal Ward Hill Lamon at twitter.com/savinglincoln

THE ARTIST (2011) – The Review

So far this holiday season we moviegoers have seen Martin Scorsese’s magical tribute to cinema’s infancy, HUGO. In that film he uses all the 3D CGI modern movie marvels to recreate the ” flickers” of the early twentieth century. And now from French director Michel Hazanavcius comes his loving homage to old Hollywood, THE ARTIST. But this film differs from HUGO in that it attempts to completely emulate those golden classics. No 3D or CGI used here. Or color. Or sound (there’s a great musical score, but no spoken dialogue-just title cards). You may think that this is just a gimmick, while some movie fans may roll their eyes at having to read the film. Ah, but it’s no gimmick and the title cards do not make viewing the film a chore. On the contrary, I believe this enhances the whole movie experience. It helps to immerse you into this quiet, stylized, alternate universe. If this is your introduction to the wonders of silent cinema, then you are a lucky film fan with many more wonders to explore.

Well, let’s first get back to THE ARTIST. It begins in 1925 at the big premiere of matinee idol George Valentin’s (Jean Dujardin) new big screen action epic. Outside the theatre as George talks to the press, a young flapper film fan, Peppy Miller (Berenice Bejo) accidentally gets past the barriers and is photographed with the screen star. Back at this home, George’s unhappy wife (Penelope Ann Miller) is not amused by the newspaper photos of him with his fan. The next morning, with the paper in hand, Peppy, joins the hopeful actors at the extras casting station inside Kinograph Studios. Peppy and George are re-united as she lands a bit part in his new movie. The two’s paths will cross many times over the next few years. Her star is on the rise as she becomes Kinograph’s new screen sweetheart. George’s star is on a different course. The head of the studio (John Goodman) tells him that sound is the future of motion pictures. George laughs this off as a fad and refuses to join in on the “all-talking” craze. He decides to swim against the tide and produce (and write, star, and direct) his next screen all-silent saga. Can George somehow get his career back on track and perhaps team up with Peppy once again?

Most film fans will recognize that set-up as a riff on A STAR IS BORN (at least three big screen versions) with the “talkies” panic subplot of SINGING IN THE RAIN tossed in. Like a great dish, it’s what the master chief does with these familiar ingredients. And write/director Hazanavcius is quite the cook. I’ve enjoyed his two OSS 117 sixties spy spoofs (OSS 117 : CAIRO, NEST OF SPIES and OSS 117- LOST IN RIO) with star Dujardin, but here he really goes beyond these parodies. He’s really given us characters that we’re emotionally invested in while not ignoring the comedy. Dujardin is not the buffoon-ish secret agent, but a very complex actor who’s at once child-like, gentle, egotistical, romantic, and in the depths of despair. He also really looks like a classic screen star (Valentin resembles Douglas Fairbanks, Sr. with more than a touch of the sound-adverse Charles Chaplin) and has an infectious grin. He may be the happiest movie Frenchman on screen since Maurice Chevalier. Bejo has great energy as the big, bright-eyed beauty who truly enjoys every aspect of her back lot adventures. She and Dujardin have terrific chemistry just by the way they look at one another. Miller goes from being an awe-struck fan of Valentin to his screen equal and eventually his protector. These two get great assistance from the several American-born stars. Goodman’s wonderful as the big, blustery poppa bear of a studio boss (a combination perhaps of Louis Mayer, Jack Warner, and Harry Cohn) who tries to project a hard-nosed business exterior, but really loves his staple of stars almost like his children. James Cromwell is also a nurturing fatherly figure as Valentin’s devoted, loyal chauffeur. Besides his work with the human actors , Dujardin also has a special screen bond with a gifted canine performer, a scruffy terrier that is his constant companion. Havzanavcius makes excellent use of the old Hollywood locations and glorious vintage automobiles. The gorgeous black and white cinematography gives the actors a glowing, silver sheen like the movie icons of the golden age. Now, the movie’s not completely silent . There’s a musical score that ranges from a bouncy, comedy theme to a big, brassy jazz number to a great Bernard Herriman piece from a another movie classic. I hate to sound like a film Grinch and say that the film could’ve trimmed eight or ten minutes of Valentin’s downward spiral, because the movie’s strengths far outweigh this minor quibble. For want of a better word, THE ARTIST is charming. Completely, disarmingly charming. This may be the best present we’ve gotten from France since Lady Liberty.

Overall Rating: 5 out of 5 Stars

Review: FLIPPED

I couldn’t have thought of a better way to spend a weekday afternoon than at the screening for the new Rob Reiner film, FLIPPED. I thought back over past delightful hours spent in the company of other Rob Reiner films; WHEN HARRY MET SALLY, A FEW GOOD MEN, and an all time favorite, STAND BY ME. Then as the opening credits rolled and I saw, much to my delight, that the cast included many favorite actors, namely Anthony Edwards, from “ER,” John Mahoney, from “Fraser,” and Aidan Quinn from MICHAEL COLLINS, I was glad to think that I wouldn’t be let down by such a noteworthy cast.

*Heads-up: this is a spoiler-filled review*

The film is a coming of age story for the two main characters, Bryce (played by Callan McAuliffe) and Juli (played by Madeline Carroll). Somewhat in the vein of STAND BY ME. The action starts when Bryce moves in across the street from Juli at the beginning of second grade. Juli is completely taken by this handsome little boy, and Bryce can’t wait to escape from her company, and so the conflict begins. Juli is convinced that Bryce will be her first kiss. Bryce has other thoughts; to avoid her at all costs. He goes to many lengths to thwart her. Even to pretending to like her archenemy, Sherry. The story is told first from Juli’s point of view and then the same set of events is re-told from Bryce’s. This form of storytelling is interesting the first go round, but tedious as the film continues to unfold. The majority of the action takes place when the characters are in seventh grade. So girl likes boy and girl continues to like boy until he behaves so hateful toward her and her family that it turns her off. And guess what? No, you will never guess. Ok, I know you know; once the girl loses interest the boy is interested. What a new twist!! (Said with extreme sarcasm, in case you didn’t get it.) And, this contains a spoiler; the boy wins back the girl.

The film has a lot of faults. As a viewer you never really care or like the characters. The characters are one dimensional. Bryce’s father is intolerant. His grandfather doesn’t speak to Bryce, but he offers to help Juli with her yard work and yet no one asks why. Juli’s mother is thrilled at an invitation by Bryce’s family that is ten years in coming. Why would she want this? Even though you are hearing the story from Juli and Bryce’s points of view, you never get to know these characters. Juli is in love with Bryce, why? She is a deep thinker, an individual and Bryce is superficial, just a pretty face who doesn’t want to appear different from his classmates. He goes along with what others say whether he agrees or not. But once again, we don’t know why. The conflict between the families is further shown when one day Bryce’s father looks out their front window and complains about the disarray of Juli’s family’s home. Then Bryce’s grandfather (played by John Mahoney) explains that the neighbors are renting the house and supporting a mentally retarded uncle. Not sure why this story line was introduced as it was unnecessary and disrespectful.

The film was a total bore. I couldn’t wait for FLIPPED to end. To say that I was disappointed would be an understatement. Stay at home, watch an old Rob Reiner film (cough THE PRINCESS BRIDE cough) and hope that the next one out will be better.

1/2 out of 5 *****