Be one of the first to see Amazon Studios’ latest film, RED, WHITE & ROYAL BLUE.
Click the link below for your chance to attend the advance screening on Wednesday, August 9th, 7pm, at the Alamo Drafthouse St. Louis in the City Foundry.
Based on the New York Times best seller, the film will premiere globally on August 11, exclusively on Prime Video.
These seats are first-come first-served, so we encourage guests to arrive early. Everyone that attends will go home with a special gift.
Alex Claremont-Diaz (Taylor Zakhar Perez), the son of the first woman President of the United States (Uma Thurman), and Britain’s Prince Henry (Nicholas Galitzine) have a lot in common: stunning good looks, undeniable charisma, international popularity… and a total disdain for each other. Separated by an ocean, their long-running feud hasn’t really been an issue, until a disastrous – and very public – altercation at a royal event becomes tabloid fodder driving a potential wedge in U.S./British relations at the worst possible time. Going into damage control mode, their powerful families and respective handlers force the two rivals into a staged “truce.” But as Alex and Henry’s icy relationship unexpectedly begins to thaw into a tentative friendship, the friction that existed between them sparks something deeper than they ever expected.
Based on Casey McQuiston’s critically acclaimed New York Times bestseller, Red, White & Royal Blue marks the feature film writing and directing debut of Tony Award-winning playwright Matthew López (The Inheritance).
Credit: Jonathan Prime/Prime VideoUma Thurman as President Ellen Claremont and Sharon D. Clark as the British prime ministerRW&RB
From New Line Cinema, Dwayne Johnson stars in the action adventure.
The first-ever feature film to explore the story of the DC Super Hero comes to the big screen under the direction of Jaume Collet-Serra (“Jungle Cruise”). Nearly 5,000 years after he was bestowed with the almighty powers of the ancient gods—and imprisoned just as quickly—Black Adam (Johnson) is freed from his earthly tomb, ready to unleash his unique form of justice on the modern world.
Johnson stars alongside Aldis Hodge (“City on a Hill,” “One Night in Miami”) as Hawkman, Noah Centineo (“To All the Boys I’ve Loved Before”) as Atom Smasher, Sarah Shahi (“Sex/Life,” “Rush Hour 3”) as Adrianna, Marwan Kenzari (“Murder on the Orient Express,” “The Mummy”) as Ishmael, Quintessa Swindell (“Voyagers,” “Trinkets”) as Cyclone, Bodhi Sabongui (“A Million Little Things”) as Amon, and Pierce Brosnan (the “Mamma Mia!” and James Bond franchises) as Dr. Fate.
The film marks the first big-screen, live-action appearance of the Justice Society of America, the legendary DC superhero team. Previously fans of the CW show “Smallville” saw the team in the episode “Absolute Justice”. Clark Kent/Superman met up with JSA members Doctor Fate, Stargirl and Hawkman.
In an interview with Entertainment Weekly, director Jaume Collet-Serra says of Hawkman.
Hodge’s Hawkman is one of the JSA’s high-flying heroes. The golden-winged warrior has long been a DC staple, and he’s popped up before in live-action TV series like Smallville and the Arrowverse shows. But Hodge’s version is the first to make it to live-action film, and Collet-Serra says he wanted to craft a Hawkman who felt both impossibly strong and agile. “He’s not just a man with wings,” the director explains. “He’s like a fighting beast.”
Collet-Serra adds that he and the costume design team worked to build an avian look that felt new but still honored the character’s decades-long history, and Hodge trained for months to prepare for the extensive wirework required to soar through the air.
Collet-Serra directed from a screenplay by Adam Sztykiel and Rory Haines & Sohrab Noshirvani, screen story by Adam Sztykiel and Rory Haines & Sohrab Noshirvani, based on characters from DC. Black Adam was created by Bill Parker and C.C. Beck. The film’s producers were Beau Flynn, Dwayne Johnson, Hiram Garcia and Dany Garcia, with Richard Brener, Walter Hamada, Dave Neustadter, Chris Pan, Eric McLeod, Geoff Johns and Scott Sheldon.
“Black Adam” smashes into theaters and IMAX internationally beginning 19 October 2022 and in North America on October 21, 2022. It will be distributed worldwide by Warner Bros. Pictures.
After coming together last year for the action movie mega hit, EXPENDABLES 2, Sylvester Stallone, Arnold Schwarzenegger and Bruce Willis are hoping to take 2013 by divide and conquer. As we have seen, THE LAST STAND may have brought Arnold back to the top of his game although not the top of the box office charts, and there’s no doubt A GOOD DAY TO DIE HARD will fare better financially later in February, but for now we haveBULLET TO THE HEAD, Sly’s team-up with seasoned action movie legend Walter Hill (THE DRIVER, THE WARRIORS).
Adapted from the French graphic novel Du Plomb Dans La Tete by Alexis Nolent, BULLET TO THE HEAD is a sleazy, straight-up action flick that doesn’t dare subvert or exceed one’s expectations. Stallone strolls through the carnage as a mean, no-nonsense grumpy old man who is roped into doing some honest-to-goodness heroics after he’s double-crossed by the mob. Seeking revenge, he pairs up with a tech-savvy cop, forming an unlikely alliance to bring the criminals to justice. BULLET TO THE HEAD finds itself adrift in a post-Sin City world of gritty violence and watered-down noir. While the film never aspires to be more than a grim schlock-fest, Hill’s script which was co-written with Oscar nominee Alessandro Camon (THE MESSENGER) is a mess of hard-boiled dialogue and incomprehensible plotting about a West African crime boss extorting their way into lucrative real estate deals, and unseemly conspiracies that go ‘all the way up to Washington’.
Most disappointing is the odd-couple dynamic of Stallone’s hitman Jimmy Bobo and Sung Kang’s Detective Kwon. Considering that Hill helped create the buddy cop genre with the likes of 48 HOURS and RED HEAT, the relationship between the leads is surprisingly stilted, and their continuous banter is excruciating. After much face smashing, the two renegades eventually catch wind of a local conspiracy involving government contracts, converted condos and Christian Slater, who makes a short but fun cameo as a local sleazeball with a few zingers of his own. As is required in this sort of nuts-and-bolts material, all the characters wind up at an abandoned power plant, where the big showdown goes down with bullets and battleaxes and some more jokes from the peanut gallery.
But the film has an ace up its sleeve, its an under-utilized Jason Momoa as the unscrupulous hitman hot on the tail of our heroes. Momoa cuts a mean figure, hulking and glaring in some of the film’s better scenes of wanton destruction. It’s a cat-and-mouse relationship that builds towards a final showdown, one that may make or break the film if you’re the kind of viewer who desires such match-ups. Stallone versus Momoa, one-on-one, a passing of the action movie torch sort of way that, despite the title on the poster, isn’t played out with pistols. No, they’re going to fight to the death with axes. Axes!
We’re clearly in EXPENDABLES territory here yet Hill ruins the action sequences by throwing the camera around, substituting chaos for clarity, or that the director litters his film with film burn transitions, crash-zooms and a barbecued blues-rock soundtrack that could be the work of any journeyman filmmaker, not the latest from a cult icon. Perhaps the game got rough for Hill, too, for after years of finding style and humor in genre films, he has grown cynical. From the hackneyed, humorless script to the over-baked direction, BULLET TO THE HEAD’s every shortcoming is on full display. It is not fun enough, daring enough, committed or irreverent enough to be anything but a bland retread, a lazy stopgap between bigger and brighter projects. Rather expendable, really.
