Prime Video has released the official trailer for the highly anticipated new animated series from Warner Bros. Animation, Bad Robot Productions, and 6th & Idaho, Batman: Caped Crusader. The series will be available to stream exclusively on Prime Video in more than 240 countries and territories worldwide beginning on Thursday, August 1.
The series stars the ensemble cast of Hamish Linklater, Jamie Chung, Diedrich Bader, Christina Ricci, Minnie Driver, Mckenna Grace, Eric Morgan Stuart, Michelle C. Bonilla, Krystal Joy Brown, John DiMaggio, Paul Scheer, Reid Scott, Tom Kenny, Jason Watkins, Gary Anthony Williams, Dan Donohue, David Krumholtz, Haley Joel Osment and Toby Stephens.
Welcome to Gotham City, where the corrupt outnumber the good, criminals run rampant and law-abiding citizens live in a constant state of fear. Forged in the fire of tragedy, wealthy socialite Bruce Wayne becomes something both more and less than human—the BATMAN. His one-man crusade attracts unexpected allies within the GCPD and City Hall, but his heroic actions spawn deadly, unforeseen ramifications.
The series is a reimagining of the Batman mythology through the visionary lens of executive producers J.J. Abrams, Matt Reeves and Bruce Timm. Based on DC characters, Batman: Caped Crusader hails from Warner Bros. Animation, Abrams’ Bad Robot Productions and Reeves’ 6th & Idaho. Along with Abrams, Reeves and Timm, Batman: Caped Crusader executive producers include Ed Brubaker, James Tucker, Daniel Pipski, Rachel Rusch Rich, and Sam Register.
Okay film fans, buy your ticket, settle into your seat, and grab the armrests as you prepare to submerge! Dive, dive, dive into the murky depths of another underwater adventure (and just hope you don’t become “Spam in the can”). This subset of the war film genre has been cruising the cinemas for well over 75 years, longer if you count the movie adaptations of Jules Verne’s Captain Nemo. The gold sub flick standard might have been the two torpedo blasts from 1958’s RUN SILENT RUN DEEP and 1961’s SF-themed VOYAGE TO THE BOTTOM OF THE SEA (which spawned a weekly TV series soon after). Things were quiet beneath the waves (well after THE INCREDIBLE MR. LIMPET scuttled the U-boat menace) until the Cold War set 1989 smash THE HUNT FOR RED OCTOBER which began a 13-year wave of ocean thrillers including CRIMSON TIDE, U-571, and K-19: THE WIDOWMAKER. After some time away, those atomic leviathons are churning up some more water-spouts in the new, post-U.S.S.R. northern oceans in HUNTER KILLER. Oh, the title designates the type of vessel, if you were wondering.
As the film begins, we’re zipping over some truly brutal snow-capped terrain. Ah, but the real story is in the Bering Straight, beneath the floating chunks of ice. A US submarine, the Tampa Bay, is silently following a Russian sub (they better be quiet since they’re in Russian territory). Without warning the Russian sub explodes. As the Tampa Bay scrambles, they realize that a missile is headed there way. The blast echoes all the way to Navy HQ in the states. CJCS Donnegan (Gary Oldman) wants an immediate rescue/investigation. RA Fisk (Common) informs him that the closest sub, the Arkansas is missing its usual Captain. However, an untested but fully cleared captain, Joe Glass, is nearby. Donnegan gives the OK, and Glass (Gerald Butler) cuts his hunting vacation short. Soon Fisk is briefed by NSA chief Norquist (Linda Cardellini) who informs him that a Navy seal team led by Bill Beaman (Toby Stephens) are parachuting into Russia to observe the meeting between President Zakarin and his main naval Admiral, Durov (Michael Gor). The Arkansas returns to the scene of the “incident”, and after evading a Russian sub, finds the remains of the Tampa Bay and the original sunken Russian sub. Video from a drone reveals that the explosion came from the inside. And just what’s that banging sound? Survivors? Glass brings aboard the nearly frozen Russian sub Captain Andropov (Michael Nyqvist) and two of his crew. Back on land, the Special Forces quartet observe more than a meeting. The images sent back to the states reveal Durov staging a coup and kidnapping Zakarin. Donnegen tells the US president that they should go to “Def-Con 4” which could lead to another world war. Fortunately, Fisk and Norquist sell her (that’s right) on another plan: the Seal Team rescues Zakarin and escapes with him via the Arkansas. But the plan hinges on whether Glass can persuade Andropov to guide them past the numerous mines that surround the naval base. Can they form an alliance and pull off this truly impossible mission before the crazed Durov lights the fuse to pulverize the planet?
Perhaps due to the confined sub set, Butler’s usual action flick swagger is thankfully subdued (not the case earlier this year, where his “mucho-macho” attitude stunk up a fairly decent “B” movie-style heist flick DEN OF THIEVES). Still, his growling, pre-mission “pep talk” (“I didn’t go to Annapolis, but I’ve done all of yer’ jobs”) is pretty grating. But he can still believably bark out commands as though he ‘s leading another 300-type charge into battle. And his glowering focus helps direct our attention from all the flashing monitors in the busy control room. In another screen-filled space, Oldman tosses away all his Churchill subtlety to give us another “angry man in command”, a star-studded bully who’s always throwing a tantrum along with insults when folks don’t see things his way (Yosemite Sam with his finger on the big red button). Much calmer (almost to the point of napping) is Common, who is far too tightly wrapped for, well, a rapper (his role in THE HATE U GIVE strikes a better balance in fewer scenes). It’s always a pleasure to see Cardellini pop up on screen (last time was just a few weeks ago as the tough artist in A SIMPLE FAVOR), though she has little to do besides sharing too many secrets and dazzling the guys with her computer skills. Stevens, so good in the Netflix reboot of “Lost in Space”, does more of that tough guy machismo as Beamen who’s a modern take on the Marvel Comics GI Sgt. Fury (minus several “howlers” and the half cigar jutting from the corner of his clenched jaw). The late Nuqvist, unfortunately, has little to do in one of his last screen roles, while Gor elicits a bit of Lugosi-like madness to his role as the power-hungry Durov.
Director Donovan Marsh checks off the list of submarine movie standards (playing all the “hits”) with workman-like proficiency. Steady-cam dashing POV through the tight, crowded corridors? Check. Multiple leaks with spraying bursts of water. Double check, augmented with sparks and sailors bounced from side to side. Plus there’s the “ping…ping’ off of sonar screens, along with countless count-downs (“20 seconds to impact…15”). In addition, we experience some solid tension as the sub navigates some narrow route while evading lotsa’ floating mines. Some of them are sound sensitive, so the crew must try to be silent (while sweating buckets, of course). Guess the mines don’t pick up on the “whirring” motors. Marsh tries to break up the undersea scenes with frequent cuts to US Navy HQ (mainly lots of arguing and staring at screens) and the quartet who can observe all of Durov’s schemes from a tower just a few hundred yards away, an unmanned tower that the bad guys either ignore or just forgot (sensors couldn’t warn of the activity). That’s not the least of the absurdities. Two different characters take bullets to the mid-section, then dive into the cold water, with little discomfort (one is up and about within minutes). These “war games” make for a bloated two hours, but the effects work is pretty solid, with CGI replacing the miniature work of most previous submarine sequences (underwater explosions are darned cool). If you’re a fan of the genre HUNTER KILLER should “float your boat”. For more discerning fans, well for undersea thrills, Mr. Curry AKA AQUAMAN will be making waves in a couple months.
“Danger, Will Robinson” and “That does not compute” will forever be associated with the 1960’s sci-fi TV show “Lost in Space,” created and produced by Irwin Allen. With their home away from home aboard the Jupiter 2, the Robinson family left Earth on October 16, 1997 on a five-and-a-half-year journey to a planet orbiting the nearest star. In the show, the family was made up of Professor John Robinson, his biochemist wife, Maureen, their children, Judy, Penny, and Will. Also on board was U.S. Space Corps Major and pilot Donald West, who is trained to fly and land the ship. But Dr. Smith, a spy, sabotages the Jupiter 2, reprograms the Robot, but is inadvertently stuck on board and the ship is thrown of course. Thus the premise of the show.
“Lost in Space” ran for three seasons from 1965 to 1968 on CBS, just about the same time “Star Trek” was on the air over on NBC. The catchy theme music was written by John Williams.
Watch the amazing new trailer for Lost in Space, a Netflix Original dramatic and modern reimagining of the classic 1960’s science fiction series.
Set 30 years in the future, colonization in space is now a reality, and the Robinson family is among those tested and selected to make a new life for themselves in a better world. But when the new colonists find themselves abruptly torn off course en route to their new home they must forge new alliances and work together to survive in a dangerous alien environment, light years from their original destination.
Lost in Space stars TOBY STEPHENS (Black Sails, Die Another Day) as John Robinson, and MOLLY PARKER (House of Cards, Deadwood) as Maureen Robinson. As the Robinson kids, TAYLOR RUSSELL (Falling Skies) is the strong-willed and confident Judy, MINA SUNDWALL (Maggie’s Plan, Freeheld) is the quick-witted and definitive middle-child Penny, and MAX JENKINS (Sense8, Betrayal) is the curious and sensitive Will Robinson. Stranded along with the Robinsons are two outsiders who find themselves thrown together by circumstance and a mutual knack for deception, the unsettlingly charismatic Dr. Smith played by PARKER POSEY (Café Society, Mascots, A Mighty Wind) and the inadvertently charming Don West, played by IGNACIO SERRICCHIO (Bones, The Wedding Ringer). The series is produced by Legendary Television and written by Matt Sazama and Burk Sharpless (Dracula Untold, The Last Witch Hunter). Zack Estrin (Prison Break) serves as showrunner.
The final season of executive producer Michael Bay’s thrilling prequel to Robert Louis Stevenson’s “Treasure Island,” the Starz hit series “Black Sails: The Complete Fourth Season” arrives on Blu-ray™ (plus Digital HD) and DVD August 29 from Lionsgate. “Black Sails” has been nominated for multiple Emmy® Awards, and won in 2014 for Outstanding Special and Visual Effects in a Supporting Role, and Outstanding Sound Editing. The show was also nominated for the 2016 GLAAD Awards for “Outstanding Drama Series.” The critically acclaimed series boasts a dynamic cast, including Toby Stephens (13 Hours: The Secret Soldiers of Benghazi), Luke Arnold (”INXS: The Michael Hutchence Story”), Toby Schmitz (“Newton’s Law”), Hannah New (Maleficent), and Jessica Parker Kennedy (“The Secret Circle”), Tom Hopper (“Merlin”) and Ray Stevenson (“Rome) as the iconic pirate “BlackBeard”.
Now you can own BLACK SAILS The Complete Fourth Season on Blu-ray. We Are Movie Geeks has four copies to give away.All you have to do is leave a comment answering this question: What is your favorite movie about pirates? (mine is YELLOWBEARD!). It’s so easy!
Good Luck!
OFFICIAL RULES:
1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.
2. WINNERS WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.
It’s war in the West Indies, and the shores of New Providence Island have never been bloodier. While Eleanor Guthrie and Woodes Rogers hold Nassau, Captain Flint sails to strike the final blow . . . and from the interior, an insurgency builds, fueled by the legend of Long John Silver. But the closer civilization comes to defeat, the more desperately, and destructively, it will fight back.
Featuring over 40 minutes of special features, including behind-the-scenes featurettes and cast/producers Q&A’s, “Black Sails: The Complete Fourth Season” will be available on Blu-ray and DVD for $59.99 and $49.98, respectively.
BLU-RAY / DVD SPECIAL FEATURES
“Inside the World of ‘Black Sails’” Featurette
“Creating the World” Featurette
“Roundtable: Women in Piracy” Featurette
“Roundtable: The Legends of Treasure Island” Featurette
The final season of executive producer Michael Bay’s thrilling prequel to Robert Louis Stevenson’s “Treasure Island,” the Starz hit series “Black Sails: The Complete Fourth Season” arrives on Blu-ray™ (plus Digital HD) and DVD August 29 from Lionsgate. “Black Sails” has been nominated for multiple Emmy® Awards, and won in 2014 for Outstanding Special and Visual Effects in a Supporting Role, and Outstanding Sound Editing. The show was also nominated for the 2016 GLAAD Awards for “Outstanding Drama Series.” The critically acclaimed series boasts a dynamic cast, including Toby Stephens (13 Hours: The Secret Soldiers of Benghazi), Luke Arnold (”INXS: The Michael Hutchence Story”), Toby Schmitz (“Newton’s Law”), Hannah New (Maleficent), and Jessica Parker Kennedy (“The Secret Circle”), Tom Hopper (“Merlin”) and Ray Stevenson (“Rome) as the iconic pirate “BlackBeard”.
It’s war in the West Indies, and the shores of New Providence Island have never been bloodier. While Eleanor Guthrie and Woodes Rogers hold Nassau, Captain Flint sails to strike the final blow . . . and from the interior, an insurgency builds, fueled by the legend of Long John Silver. But the closer civilization comes to defeat, the more desperately, and destructively, it will fight back.
Featuring over 40 minutes of special features, including behind-the-scenes featurettes and cast/producers Q&A’s, “Black Sails: The Complete Fourth Season” will be available on Blu-ray and DVD for $59.99 and $49.98, respectively.
BLU-RAY / DVD SPECIAL FEATURES
“Inside the World of ‘Black Sails’” Featurette
“Creating the World” Featurette
“Roundtable: Women in Piracy” Featurette
“Roundtable: The Legends of Treasure Island” Featurette
The following review was originally posted on June 15, 2017. THE JOURNEY opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas
Is it possible to whittle away at an “unmovable rock” in the political arena? Especially when there’s a 40 year history of bloody conflict forming an unbreakable shell around that formidable boulder? Well, how about forcing him into a trip with his enemy? That’s just what happens in this new film, in which its makers wish to be a “fly on the wall” during a remarkable day that changed the course of a country. It’s a “what if” look at a seminal time just 11 years ago when two opposing leaders try to find common ground during THE JOURNEY.
The year is 2006, and “the troubles” have rocked Ireland for over four decades. British Prime Minister Tony Blair (Toby Stephens) has organized a political conference dealing with the problems at an estate in Scotland. Unfortunately the opposing forces refuse to sit in the same room, let alone talk face to face. Then “Mother Nature” provides a opportunity. An incoming storm has forced the shut down of the local airport. The leader of the of the Democratic Unionist Party, the firebrand Protestant minister Ian Paisley (Timothy Spall) must take a plane to Glasgow in order to attend his big 50th wedding anniversary party. Luckily the Edinburgh airport is still open, but it’s 48 kilometers away. Paisley’s aides request a shuttle from Blair. But when the representatives of Northern Ireland’s Sinn Fein hear of this, former IRA leader Martin McGuinness (Colm Meaney) insists that he join Paisley, hoping to iron out their differences. Blair agrees, and lets a commander of MI-5, Harry Patterson (John Hurt), supervise the transport. A top of the line SUV, rigged with all manner of recording and transmitting devices, arrives complete with a driver named Jack (Freddie Highmore) who’s an undercover agent (getting his orders from Patterson via a Blutooth device) disguised as a “local” (complete with kilt). As they hit the highway, Martin and Jack try to prod the surly Ian into a conversation that can end the killings once and for all, since they may never get another chance.
Well, if you’re going to be part of a long road trip, it’s fortunate that three great actors are there for the ride. The most flamboyant character may be the quick-to-anger Paisley, given life and great energy by the always compelling Spall. With a ever-present sneer, or is it a scowl, Spall fully embodies the ultimate obstinate man (that immovable rock mentioned earlier). There’s no slow burn, but he shows us a slow realization that things must change and he’ll have to tone down his extreme rhetoric. But, the man at the pulpit is always on call as we witness in a funny scene at the gas pumps. Despite the guttural growl and dental prosthetics, Spall is quite effective. It helps that he’s teamed with an equally terrific sparring partner in Meaney. His Martin struggles to find the right way to get inside Ian’s head. Just when he seems to have broken through a door, Paisley congers a stronger wall. Meaney conveys the frustration and the fatigue. He’s spent most of his life fighting, and wants to put down the swords as he enters his golden years. But he’s still proud as Meaney gives us a master strategist who can bend, but refuses to break. As their driver Jack, Highmore does his best to think on his feet, struggling to follow Ian and Martin’s lead while appeasing the voice in his ear. He’s full of enthusiasm while navigating through a political minefield. Luckily the man in his ear is the much missed, late, great Hurt, who also seems weary, but is equally determined to end his long spy career with a big, big victory. Hurt is sad, but still doggedly optimistic in own of his final film performances.
For those with an interest in a history of the long conflict, this film will be an engaging look at its turning point. Luckily the producers have included lots of news footage and photos for those with a fleeting knowledge of “the troubles”. Unfortunately several scenes like the forest encounter and the walk through the docks seem contrived, only inserted so the two men can leave the van . Could the script have originally been intended for the stage? As with many translations of plays to film, the producers feel a great need to “open things up”, to make things more “cinematic”. It’s more than a bit distracting, making the hour or so airport ride feel much longer (a true pacing problem). The fine acting deserves a better showcase, but the film does give us an opportunity to see some superior work from some beloved performers, and for that, many movie goers will be happy to have embarked on THE JOURNEY.
Each summer, while the multiplexes are filled with the big spectacles and epic blockbusters, the little gems that grip us with their humor, their tragedy and their humanity, manage to find their ways into the cinemas. This year it’s THE JOURNEY, the gripping account of how two men from opposite sides of the political spectrum came together to change the course of history.
In 2006, amidst the ongoing, decades-long conflict in Northern Ireland, representatives from the two warring factions meet for negotiations. In one corner is Ian Paisley (Timothy Spall), the deeply conservative British loyalist; in the other is Martin McGuinness (Colm Meaney), a former Irish Republican Army leader who has devoted his life to the cause of Irish reunification. Opposites in every way, the two men at first seem to have little chance of ever finding common ground. But over the course of an impromptu, detour-filled car ride through the Scottish countryside, each begins to see the other less as an enemy, and more as an individual—a breakthrough that promises to at last bring peace to the troubled region.
Driven by two virtuoso central performances, THE JOURNEY is a more-relevant-than-ever reminder of how simple humanity can overcome political division. Freddie Highmore, Toby Stephens, Catherine McCormack and John Hurt co-star. (Review)
I recently spoke with the director of THE JOURNEY, award winning director Nick Hamm. Born in Belfast, Northern Ireland, Hamm directed cult-classic THE HOLE (2001), starring Thora Birch and Keira Knightley, in her feature film debut. He also helmed Lionsgate’s thriller GODSEND (2004), starring Robert DeNiro, Rebecca Romijn and Greg Kinnear.
Hamm later produced and directed the 80’s U2-centric comedy, KILLING BONO (2011) for Paramount Pictures and Northern Ireland Screen, starring Ben Barnes, Robert Sheehan and Pete Postelwaite.
During our discussion about his latest movie, the British director and I talked about the film’s mixture of tension and humor, the human story and the message of THE JOURNEY.
We Are Movie Geeks: THE JOURNEY is a good story that should be told – the type that audiences don’t see anymore. It opened in 2016 in Toronto and then Venice, and finally had its premiere at the Belfast Film Festival in May 2017. What was the crowd’s reaction and how was it received?
Nick Hamm: That was a really extraordinary event. I’ve seen it now with thousands of people watching the movie and if you’re going to see a movie like this, you really need to take it back to Northern Ireland to see what they make of it. In the end, that’s where the authenticity of the film is. It is important to us. The event was attended by nearly a thousand people and political leaders from both sides of the community came so we had politicians from Sinn Féin and politicians from the Democratic Unionist Party (DUP). It was a very emotional and momentous event because in many respects it reminded people of something that they had achieved and had risked losing.
We Are Movie Geeks: It is such an interesting script by writer Colin Bateman, one that is funny, sad, and dramatic. Tell me about lead actors Timothy Spall (Paisley) and Colm Meaney (McGuinness – who died recently in March) and the casting. Their characters became known as ”the Chuckle Brothers”. Both actors were very impressive to watch.
Nick Hamm: What underscores everything is the fact that Colin’s script is so good and when that happens, you attract really good actors. Both Tim and Colm were fantastic partners on the film. Tim had to transform himself – he’s playing a six foot five, Northern Irish politician when in reality he’s a five foot nine London actor. We did some prosthetics on his chin and a little aging on his hair, along with the false teeth. The hair and makeup was done by Polly McKay. Tim became the character of Paisley which was fascinating to watch and he’s one of those actors that totally transforms himself.
Colm is one of Ireland’s best actors. What was important was to find somebody who could give McGuinness sympathy. This is a man whose background is well documented. What do you do? You start by making him human, you give him a life and a backstory. When you put someone like Colm Meany in that role, Colm transforms himself for that. He understands the culture from where that character comes, he understands the basis of that character’s ideology and he understands how that character ticks. If you have that and you are a good actor – which he is, then you have a good combination. It was great to watch him.
We Are Movie Geeks: I was very pleased to see the late John Hurt in the film in what was one of his final roles.
Nick Hamm: We all knew that John was very sick while he was doing the film. When we offered him the movie, he wanted to work until the end and play the part. It was real tribute to have him involved as a part of the film.
We Are Movie Geeks: Irish writer Seamus Heaney, although not a political animal was an artist like yourself. He was affected by “The Troubles” when his cousin Colum was killed as a result of the war – Heaney moved from Northern Ireland to Southern Ireland after that. Has it affected you in any way and was this a partial reason why you made the film?
Nick Hamm: It hasn’t affected me personally but I knew people who were. Growing up I was in school in Northern Ireland and I knew people who had real problems. I could see it with my own eyes, the difficulties back then, and it was an intense situation. The vast portion of the people in Northern Ireland went on about their daily life unaffected by it. The real heroes were the people who got on with their daily lives in that situation.
THE JOURNEY for me shows how a unique political friendship was achieved at the personal cost of both men. Both men were vilified by their respective communities, but it was one of the most unique political friendships that I had ever witnessed. For two people who were so antagonistic towards each other, who ultimately came to respect each other, and became friends with each other, is why I made the movie and to tell their story.
We Are Movie Geeks: Despite technically being set in Scotland, and on a plane, THE JOURNEY was filmed in Northern Ireland. There’s no green screen and it was filmed on the road with your director of photography Greg Gardiner. What was the approach when you took it out of the plane and into the car?
Nick Hamm: This device protected the claustrophobia that the film so demanded while allowing a political version of a road movie to take place. We decided to not be frightened by the tyranny of the car but rather embrace it and enjoy the conceit. Greg and I had discussed and ultimately rejected the idea of green-screen or back-projection very early. We filmed on the road, creating a ‘mobile studio’; our own little cinematic microcosm
We Are Movie Geeks: There is one scene in particular, where McGuiness and Paisley let down their defenses somewhat, set inside a church and then out in the cemetery, that has real depth.
Nick Hamm: I think in the cemetery scene when Colm breaks down, everyone expects Paisley to be sympathetic and wrap his arms around him, but he rebuffs him and shows him no pity or sympathy. Every scene was like a boxing match with each character winning a round.
We Are Movie Geeks: I appreciated the sound editing and especially the score from Stephen Warbeck who first became known for the music for “Prime Suspect” and won an Academy Award for his score for Shakespeare in Love. It is a really nice score.
Nick Hamm: It was something quite new for him and he really had a go at it.
We Are Movie Geeks: Did you speak to the families and to some of the individuals involved? And what was their reaction?
Nick Hamm: I met McGuiness before he died. The whole film came together very quickly from the start.. From the script to the financing, it was out in about two and a half years. It’s been a very quick process and very rare for an independent film. I did sit with McGuiness before we started filming about his friendship with Paisley and it was fascinating to hear him speak how important the relationship was and how important it was that they maintained contact up to its logical conclusion. I did talk to Paisley’s family and to his son. We wanted to reassure them we were not riding roughshod over the history. But at the same time it was important to be creatively independent. We did not share the screenplay with them at any stage. In the end both families really loved the movie.
Plus Sinn Féin and the DUP (Democratic Unionist Party) really liked the film, which is almost unheard of, both parties liking the same thing never mind the same movie. The most important thing for us was that the story was balanced.
We Are Movie Geeks: Brexit is seemingly in the news all the time now. As a result, checkpoints could be set up again to control borders. The timing of the film and its release couldn’t be more relevant. Will it cause a major headache between Northern Ireland and Ireland? Will it hinder Ireland’s reunification?
Nick Hamm: The question needs to be asked and it’s a dreadful situation. The idea that there will be a border back in Ireland again, I don’t think anybody wants that. I know for a fact that the DUP doesn’t want that and it would be suicide for both the economy and the welfare of the people to start putting border checks back up. That border in Ireland runs through people’s fields and farms. It was never designed to be a hard border, which it was during “The Troubles”. It would be an unmitigated tragedy to go back to that.
We Are Movie Geeks: Speaking of Indie Films, what are your thoughts on how people see films? Many are leaving the cinemas in favor of watching a film at home or on the computers with the advent of Netflix and HULU, etc.
Nick Hamm: I like that at the beginning of a movie’s life that it has a public screening. I think the ways a film is distributed these days is really fascinating. I don’t distinguish between how and where a movie is watched. It’s changing so quickly, in five years-time it’ll change all again. Even the act of going to a movie theater is going to change. As long as they keep putting out these huge blockbuster films, in the cinemas is the best way to watch them. However some films work better on a smaller screen. I think screen size some people can get very worked up about.
We Are Movie Geeks: What’s your next project?
Nick Hamm: We are going to do the DeLorean story, DRIVEN. It’s through the eyes of the guy who gave him up to the FBI. We’re hoping to shoot in September in Puerto Rico. The script is from THE JOURNEY’s Colin Bateman. Jason Sudeikis, Lee Pace and Timothy Olyphant are in the picture.
Synopsis:
DRIVEN is the turbo-charged story about the FBI sting operation to entrap maverick car designer John DeLorean.
Sudeikis stars as Jim Hoffman, a con artist-turned-informer for the FBI in the war on drugs. Olyphant plays his handler, determined to snare the world-famous but enigmatic DeLorean (Pace) — desperate for cash to finance his dream of designing the ultimate car of the future — in a drug deal that would become the most lurid celebrity scandal of the 1980s.
Is it possible to whittle away at an “unmovable rock” in the political arena? Especially when there’s a 40 year history of bloody conflict forming an unbreakable shell around that formidable boulder? Well, how about forcing him into a trip with his enemy? That’s just what happens in this new film, in which its makers wish to be a “fly on the wall” during a remarkable day that changed the course of a country. It’s a “what if” look at a seminal time just 11 years ago when two opposing leaders try to find common ground during THE JOURNEY.
The year is 2006, and “the troubles” have rocked Ireland for over four decades. British Prime Minister Tony Blair (Toby Stephens) has organized a political conference dealing with the problems at an estate in Scotland. Unfortunately the opposing forces refuse to sit in the same room, let alone talk face to face. Then “Mother Nature” provides a opportunity. An incoming storm has forced the shut down of the local airport. The leader of the of the Democratic Unionist Party, the firebrand Protestant minister Ian Paisley (Timothy Spall) must take a plane to Glasgow in order to attend his big 50th wedding anniversary party. Luckily the Edinburgh airport is still open, but it’s 48 kilometers away. Paisley’s aides request a shuttle from Blair. But when the representatives of Northern Ireland’s Sinn Fein hear of this, former IRA leader Martin McGuinness (Colm Meaney) insists that he join Paisley, hoping to iron out their differences. Blair agrees, and lets a commander of MI-5, Harry Patterson (John Hurt), supervise the transport. A top of the line SUV, rigged with all manner of recording and transmitting devices, arrives complete with a driver named Jack (Freddie Highmore) who’s an undercover agent (getting his orders from Patterson via a Blutooth device) disguised as a “local” (complete with kilt). As they hit the highway, Martin and Jack try to prod the surly Ian into a conversation that can end the killings once and for all, since they may never get another chance.
Well, if you’re going to be part of a long road trip, it’s fortunate that three great actors are there for the ride. The most flamboyant character may be the quick-to-anger Paisley, given life and great energy by the always compelling Spall. With a ever-present sneer, or is it a scowl, Spall fully embodies the ultimate obstinate man (that immovable rock mentioned earlier). There’s no slow burn, but he shows us a slow realization that things must change and he’ll have to tone down his extreme rhetoric. But, the man at the pulpit is always on call as we witness in a funny scene at the gas pumps. Despite the guttural growl and dental prosthetics, Spall is quite effective. It helps that he’s teamed with an equally terrific sparring partner in Meaney. His Martin struggles to find the right way to get inside Ian’s head. Just when he seems to have broken through a door, Paisley congers a stronger wall. Meaney conveys the frustration and the fatigue. He’s spent most of his life fighting, and wants to put down the swords as he enters his golden years. But he’s still proud as Meaney gives us a master strategist who can bend, but refuses to break. As their driver Jack, Highmore does his best to think on his feet, struggling to follow Ian and Martin’s lead while appeasing the voice in his ear. He’s full of enthusiasm while navigating through a political minefield. Luckily the man in his ear is the much missed, late, great Hurt, who also seems weary, but is equally determined to end his long spy career with a big, big victory. Hurt is sad, but still doggedly optimistic in own of his final film performances.
For those with an interest in a history of the long conflict, this film will be an engaging look at its turning point. Luckily the producers have included lots of news footage and photos for those with a fleeting knowledge of “the troubles”. Unfortunately several scenes like the forest encounter and the walk through the docks seem contrived, only inserted so the two men can leave the van . Could the script have originally been intended for the stage? As with many translations of plays to film, the producers feel a great need to “open things up”, to make things more “cinematic”. It’s more than a bit distracting, making the hour or so airport ride feel much longer (a true pacing problem). The fine acting deserves a better showcase, but the film does give us an opportunity to see some superior work from some beloved performers, and for that, many movie goers will be happy to have embarked on THE JOURNEY.
Paramount Pictures and Cinemark Theatres present an exclusive 13 HOURS: THE SECRET SOLDIERS OF BENGHAZI movie event in more than 100 Cinemark Theatre locations across the U.S. for one-night-only on Thursday, January 14th.
Director Michael Bay, producer Erwin Stoff, and the real life heroes of Benghazi, Mark “Oz” Geist, Kris “Tanto” Paronto and John “Tig” Tiegen, will appear live at the Cinemark Playa Vista and XD theatre in Los Angeles for a Q&A following the 5:00 p.m. screening of the film.
The Q&A will stream live to other participating Cinemark locations, including Century, Tinseltown and Rave presented in XD at select locations, following the event screenings starting at 5:00 p.m. PT, 6:00 p.m. MT, 7:00 p.m. CT and 8:00 p.m. ET. Scott Mantz will moderate the Q&A.
Tickets are on sale now for the regular price of admission at www.Cinemark.com and participating theatre box offices.
From director Michael Bay, 13 HOURS: THE SECRET SOLDIERS OF BENGHAZI is the gripping true story of six elite ex-military operators assigned to protect the CIA who fought back against overwhelming odds when terrorists attacked a U.S. diplomatic compound on September 11, 2012. When everything went wrong, six men had the courage to do what was right.
The film is written by Chuck Hogan, based on the book 13 Hours by Mitchell Zuckoff and Members of the Annex Security Team. Produced by Erwin Stoff and Michael Bay. Starring James Badge Dale, John Krasinski, Max Martini, Pablo Schreiber, Toby Stephens, David Denman, and Dominic Fumusa.
13 HOURS: THE SECRET SOLDIERS OF BENGHAZI opens in theaters on Friday, January 15th, 2016.
A tribute to service, the world premiere of Michael Bay’s upcoming film 13 HOURS: THE SECRET SOLDIERS OF BENGHAZI will be held at AT&T Stadium in Dallas on January 12, 2016.
The night will honor the real-life heroes who lost their lives on September 11, 2012, including veteran Navy SEALs Tyrone ‘Rone’ Woods and Glen ‘Bub’ Doherty; Ambassador J. Christopher Stevens; veteran Air Force airman, Foreign Service Officer Sean Smith; along with the brave men who have shared their story of what happened that day, including veteran Marines Dave ‘D.B.’ Benton, Mark ‘Oz’ Geist and John ‘Tig’ Tiegen; veteran Army Ranger Kris ‘Tanto’ Paronto; veteran Navy SEAL Jack Silva; and their families.
As part of the evening’s salute to these courageous men and all those who serve so selflessly at home and abroad, premiere guests will be encouraged to make a $1 donation to benefit a number of important organizations, including The Shadow Warriors Project Fund of The Dallas Foundation, Fisher House Foundation, the Navy SEAL Museum, and other worthy charitable groups designated by the survivors and the families of those lost that night. Paramount Pictures will match all funds raised.
Bay and these real-life heroes will be joined by cast members James Badge Dale, John Krasinski, Max Martini, Pablo Schreiber, Toby Stephens, Dominic Fumusa, David Denman, David Costabile and Alexia Barlier.
The premiere will feature special musical performances by Chris Cornell, whose original song “Till the Sun Comes Back Around” appears in the film; patriotic rock band Madison Rising, led by Navy veteran Dave Bray; and The Band Perry.
13 HOURS: THE SECRET SOLDIERS OF BENGHAZI, directed by Michael Bay, is the gripping true story of six elite ex-military operators assigned to protect the CIA who fought back against overwhelming odds when terrorists attacked a U.S. diplomatic compound on September 11, 2012. When everything went wrong, six men had the courage to do what was right.
The film is written by Chuck Hogan, based on the book 13 Hours by Mitchell Zuckoff and Members of the Annex Security Team. Produced by Erwin Stoff and Michael Bay. Starring James Badge Dale, John Krasinski, Max Martini, Pablo Schreiber and Toby Stephens.
13 HOURS: THE SECRET SOLDIERS OF BENGHAZI opens nationwide on January 15, 2016.
