Category: Science Fiction Movies
Taglines: A new funny film about love. With a bit of time travel.
The night after another unsatisfactory New Year party, Tim’s father (Bill Nighy) tells his son that the men in his family have always had the ability to travel through time. Tim can’t change history, but he can change what happens and has happened in his own life—so he decides to make his world a better place… by getting a girlfriend. Sadly, that turns out not to be as easy as you might think.
Moving from the Cornwall coast to London to train as a lawyer, Tim finally meets the beautiful but insecure Mary (Rachel McAdams). They fall in love, then an unfortunate time-travel incident means he’s never met her at all. So they meet for the first time again—and again—but finally, after a lot of cunning time-traveling, he wins her heart.
Tim then uses his power to create the perfect romantic proposal, to save his wedding from the worst best-man speeches, to save his best friend from professional disaster and to get his pregnant wife to the hospital in time for the birth of their daughter, despite a nasty traffic jam outside Abbey Road.
But as his unusual life progresses, Tim finds out that his unique gift can’t save him from the sorrows and ups and downs that affect all families, everywhere. There are great limits to what time travel can achieve, and it can be dangerous too. About Time is a comedy about love and time travel, which discovers that, in the end, making the most of life may not need time travel at all.
Love, Family and Time Travel
The genesis for About Time ignited from a conversation that Curtis had with a friend about what they would do if they were told that they had only 24 hours left to live. “We both decided that we’d want a very normal day at home with the family, doing the things you normally do,” recalls Curtis. “I thought it was an interesting observation, and the next step was how I would be able to incorporate this into a movie. It would have to be about someone who could manipulate their final day or manipulate their life in some way to enable them to come to that conclusion. That’s when I thought about time travel.”
Curtis says that About Time is an evolution for him, as his early work very much focuses upon the relationships among friends. He shares: “Four Weddings is, in many ways, as much a film about friendship as it is about love. There were a lot of friendships in Love Actually as well.” Naturally, Curtis’ interest in human dynamics evolved as he grew older. “With my mum and dad passing away within the last five years, and with my children all growing up, I am a family man most of all. This film has as much to do with a brother and sister, a father and mother as it has to do with love. And, of course, when two people fall in love, they are finally going to turn into a mother and a father, and you see that happening during the course of the film.”
The comedy reunites Curtis with Working Title producers Tim Bevan and Eric Fellner, for the eleventh time in 25 years. Remembers Bevan: “We did our first film together in 1983 called The Tall Guy. All of Richard’s films have a lot of familiarities, but are always breaking new ground. The authenticity of a Richard film is that it will make you laugh, cry and think. About Time returns to the ‘Curtisian’ world in the same vein as Love Actually, Notting Hill and Four Weddings and a Funeral, but this feels more grown-up and more reflective. He set out to make a movie to reflect on the good and bad things in life and to make you appreciate what’s in front of you.”
Although Fellner finds it difficult to believe that they’ve spent a quarter of a century creating work together, he’s similarly impressed by his longtime friend’s evolution as a filmmaker. He notes: “Richard never settles for good. He pushes himself as an artist to best his previous work, and audiences respect that drive. His stories are so deeply personal, so intimate that it’s impossible not to be drawn into them. I appreciate that he finds humor in the pathos of our everyday experiences and makes the humdrum extraordinary.”
While love and family were integral in the creation of Curtis’ vision, the time-travel aspect would make scripting a very calculated endeavour. Curtis was careful to make sure rules were in place for Tim and his Dad as they travel through time, so as to make the film’s concept less fantasy and more endearing. So, what exactly are those rules? The first is that time travel may not happen before a man in this family is 21. The second is that one must go into a small dark place—such as a cupboard, closet or wardrobe—clench his fists and think of the specific time, date, place and address of where he wants to go. The third is that he can only go to an event in his own past that he can remember; he can’t go into the future or way back into history. The fourth? Every decision he makes will have ramifications on his future.
Producer Nicky Kentish Barnes adds that she admired the unorthodox narrative put forth by the film’s writer/director. She says: “About Time is very autobiographical, in a sense; it’s bits of Richard’s life all put together in a beautiful and well-crafted story. The story is very emotional; we had grown men crying on reading the script. It is a slight, sort-of-magic realism with the time-travel aspect, but it adds to the emotional content, rather than feeling that it’s taking you out of the story.”
With the shooting script locked, Curtis and his producers set about the exciting task of finding a young couple who could give voice to his words, along with a set of family and friends to populate this unique world.
Feeling Loved Up: Casting About Time
From the start, the producers and casting director FIONA WEIR knew performer Domhnall Gleeson would be ideal for the role of the time-traveling Tim Lake. However, he did quite shock them upon introduction.
In the midst of filming Anna Karenina, Gleeson arrived at a meeting with Curtis, sporting a head of long hair and bushy beard. Laughs Curtis of the meeting: “At first, Domhnall was very difficult to cast. He turned up with this enormous orange beard, and he looked like a 35-year-old Russian autocrat. It was hard for me to imagine what he actually even looked like, but in the end it was an easy decision. He has a lot of the qualities I most love in an actor and actually has them as a human being. He has doubt, high spirits and optimism, and he is very funny.”
His rugged exterior aside, producers were keen on the Irish actor joining the production as their lead. Compliments Bevan: “Domhnall is a brilliant young actor and has the ability to be extremely dramatic and very funny, which is a very unusual combination.” The producer didn’t mind that his lead, heretofore best known for his pivotal role in the Harry Potter series, was an unorthodox choice. Bevan continues, “It’s refreshing to see a new face playing a lead in a Richard Curtis film—a different face and not a posh boy—he gives the film a whole different feel.”
The minute About Time begins, audiences see Tim as a normal guy. He’s a slightly confused, but very likeable hero, who is going through his life with the same level of confidence the majority of ordinary people can muster. “You love Tim’s character from the beginning,” reflects Kentish Barnes. “You want him to succeed when he meets the love of his life.”
When Gleeson first read the script, he laughed aloud, which he took as quite the promising sign. Reflects the performer: “It was sweet relief reading the script. It had so much to say about a way of living your life that I found valuable and beautiful. That was Richard’s introduction to the film for me, and that was what I tried to keep close to my heart while we filmed.”
With Gleeson on board the production, filmmakers moved forward in casting the role of Mary, the young American woman with whom Tim falls in love, marries and starts a family. Because of Rachel McAdams’ busy schedule, the filmmakers weren’t certain she would be able to join the production. Little did they know, however, that she adored the script.
Curtis was thrilled that an actress of McAdams’ caliber had signed onto the film. He muses: “Rachel is someone, who every time I’ve seen her in a film, I have melted with this sense of comfort and love. We were certainly lucky to get her.”
Bevan agrees that McAdams was absolutely perfect for the role, commending: “Rachel has that great girl-next-door quality. She has the beauty, the humor and the wit, but she also has the ability as an actress to make whomever she is playing against look equally as great.”
McAdams recalls what drew her to the part: “I enjoyed the script immensely and loved what it was about. It was quite moving with a very simple, but so meaningful moral of the story, and I loved all the characters. I knew that signing onto a Richard Curtis film was just a good package deal; he does these things so well. He is very generous with his spirit and brings so much of himself to the project.”
The performer appreciated that the expatriate was as complex as her on-screen love, sharing, “Mary’s got this funny mix of confidence and total insecurity. But then she meets Tim, and she just blossoms. He ushers her in the direction she was meant to go in, and the puzzle pieces fit, finally.”
For the seasoned young performer, working with Gleeson was a surprising joy. She enthuses: “It’s been wonderful to watch Domhnall transform from the younger Tim to the older Tim. He has this endless energy for physical comedy, and his comedic timing is impeccable. He always seems to find humor. Domhnall is so grounded, so rooted in the character, and he makes everything matter.”
Her leading man, Gleeson, returns the kind words: “Rachel brings this gorgeous honesty to her character. She’s very funny, and she brings something that is pure and uncomplicated in the best possible sense. It was joyous being on set with her all the time.”
In casting the role of Tim’s Dad, filmmakers turned to a veteran of Curtis’ films: much-feted performer Bill Nighy, first introduced in a Curtis role as a washed-up rocker in Love Actually. “Tim’s Dad is a strange synthesis of a lot of people I’ve met,” explains Curtis. “There’s a lot of my feeling about my father in the role, and it was a fun idea to have Bill play the part. To cast a friend you actually love in that part was a great pleasure.”
Directed by: Richard Curtis
Starring: Rachel McAdams, Bill Nighy, Margot Robbie, Domhnall Gleeson, Lydia Wilson, Vanessa Kirby
Screenplay by: Richard Curtis
Production Design by: John Paul Kelly
Cinematography by: John Guleserian
Film Editing by: Mark Day
Costume Design by: Verity Hawkes
Set Decoration by: Liz Griffiths
Music by: Nick Laird-Clowes
MPAA Rating: R for language and some sexual content.
Studio: Universal Pictures
Release Date: November 8, 2013
Taglines: Remember who the enemy is.
The film begins as Katniss Everdeen (Jennifer Lawrence) has returned home safe after winning the 74th Annual Hunger Games along with fellow tribute Peeta Mellark (Josh Hutcherson). Winning means that they must turn around and leave their family and close friends, embarking on a Victor’s Tour of the districts. Along the way Katniss senses that a rebellion is simmering, but the Capitol is still very much in control as President Snow (Donald Sutherland) prepares the 75th Annual Hunger Games, The Quarter Quell – a competition that could change Panem forever.
The Hunger Games: Catching Fire is anAmerican science fiction adventure film based on Suzanne Collins’ dystopian novel, Catching Fire, the second installment in The Hunger Games trilogy. The film is the sequel to The Hunger Games, and the second installment in The Hunger Games film series, produced by Nina Jacobson and Jon Kilik and distributed by Lionsgate. Francis Lawrence directed the film, with a screenplay by Simon Beaufoy and Michael Arndt. Francis Lawrence took over from Gary Ross as director. Adding to the existing cast, the supporting cast was filled out with Philip Seymour Hoffman, Jeffrey Wright, Sam Claflin, Lynn Cohen, Jena Malone, Amanda Plummer, Alan Ritchson, and Meta Golding.
The plot of Catching Fire takes place one year after the previous installment; Katniss Everdeen has now returned home safely after winning the 74th Annual Hunger Games along with fellow tribute Peeta Mellark. Throughout the story, Katniss senses that a rebellion, against the oppressive Capitol, is simmering through the districts. Filming began on September 10, 2012, in Atlanta, Georgia, before moving to Hawaii.
About the Story
One year after the 74th Hunger Games, Katniss Everdeen and Peeta Mellark return home to District 12. After a hunt in the woods with her friend Gale Hawthorne, Katniss is visited at her home by President Snow. He tells her that her decisions in the arena have triggered rebellions, especially in District 8, and also warns her to use the upcoming Victory Tour to show Panem that her acts of rebellion in the arena were just to show love towards Peeta. She reluctantly accepts.
During the first visit in the Victory Tour, which is held in District 11, an old man holds up the three-fingered sign that’s occasionally used in District 12 to show respect and admiration for someone. Peacekeepers interpreted this as an act of rebellion, and dragged the man to the front of the stage in the square and shoot him dead with a pistol, much to the horror, shock and dismay of Katniss. Haymitch angrily tells her “you never get off this train” which means that Katniss and Peeta are mentors for the District 12 tributes and act as a “distraction” to the districts so that the people of Panem will forget “what the real problem is.”
Katniss, Peeta, Effie and Haymitch return home and Katniss quickly goes to Gale. They both devise a plan to run away, but fail. The Capitol sends Peacekeepers to District 12 to crack down on the citizens. The new head Peacekeeper, Romulus Thread, whips Gale after Gale attacked Romulus to stop him from killing an old woman. Haymitch convinces Thread to leave Katniss, Peeta and Gale alone as they are loved ones to the country. While Katniss is watching TV with her family, she, Peeta and Haymitch learn that the previous victors from each district will be selected for the 3rd Quarter Quell. At the reaping, Effie draws Katniss and Haymitch’s names, but Peeta volunteers to take Haymitch’s place.
The victors from each district visit President Snow’s palace for a royal dinner party. While having a dance, Katniss meets new head Gamemaker Plutarch Heavensbee. After the dinner party, the victors are sent to the training center and a hotel. Haymitch warns Katniss that the tributes are furious at being returned to the games and advises a reluctant Katniss to make allies. During the interviews with Caesar Flickerman, Katniss wears a wedding dress, but her stylist Cinna rigs it to transform into the representation of a mockingjay. President Snow witnesses this and sends Peacekeepers out to kill Cinna before Katniss is elevated into the arena.
Katniss and Peeta make alliances with the District 4 tributes, Finnick Odair and Mags, a few minutes into the games. Finnick saves Katniss by throwing a trident into a male from District 5 who was trying to kill Katniss. While the group is trudging through the jungle, Peeta accidentally hits his machete against the force field, electrocuting him and stopping his heart. Finnick resuscitates him.
Before going to sleep, Katniss notices a poison fog coming for them at a fast pace, and the group flees. When Peeta is incapacitated by the fog, Mags walks into it, sacrificing herself and allowing Finnick and Katniss to carry Peeta to safety. After fleeing from a group of wild and extremely ferocious mandrills, Katniss, Peeta and Finnick escape to a beach where they ally with Wiress and Beetee from District 3, and Johanna Mason from 7.
Wiress is in shock from a blood storm and repeatedly says “Tick-Tock.” Katniss realizes that the arena is set up like a clock, with disasters occurring every hour and lightning striking at midnight. The group is then attacked by the Career pack in which Wiress is killed in the fight but Katniss and Johanna kill two of the Careers, sending the surviving Careers back into the jungle. Beetee devises a plan to electrocute the last two Careers by combining a spool of wire and lightning, sending Katniss and Johanna to help prepare the trap.
The women are ambushed by the remaining Careers; Johanna attacks them, incapacitates Katniss and slits the tracker out of her arm before disappearing. Shaken by Johanna’s assault, Katniss returns to the tree and finds Beetee knocked out next to a metal tipped spear wrapped with the wire. Katniss is now suspicious of potential secret foes and attempts to kill Finnick, but he reminds her to ‘remember who the real enemy is,’ as Haymitch had advised her prior to the games. Seeing that the lightning is about to strike, Katniss attaches the remaining wire to an arrow and shoots it into the force field just as the lightning hits, taking down the dome’s force field as well as the Capitol’s surveillance.
The Hunger Games: Catching Fire
Directed by: Francis Lawrence
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Sam Claflin, Woody Harrelson, Elizabeth Banks, Lenny Kravitz, Jena Malone, Amanda Plummer
Screenplay by: Simon Beaufoy
Production Design by: Philip Messina
Cinematography by: Jo Willems
Film Editing by: Alan Edward Bell
Costume Design by: Trish Summerville
Set Decoration by: Larry Dias
Music by: James Newton Howard
MPAA Rating: PG-13 for intense sequences of violence and action, some frightening images, thematic elements, a suggestive situation and language.
Studio: Lionsgate Films
Release Date: November 22, 2013
Taglines: The search for life is about to end.
On the last day of the first manned mission to Mars, a crew member of Tantalus Base believes he has made an astounding discovery – fossilized evidence of bacterial life. Unwilling to let the relief crew claim all the glory, he disobeys orders to pack up and goes out on an unauthorized expedition to collect further samples. But a routine excavation turns to disaster when the porous ground collapses and he falls into a deep crevice and near certain death. His devastated colleagues attempt to recover his body. However, when another vanishes they start to suspect that the life-form they have discovered is not yet dead. As the group begins to fall apart it seems their only hope is the imminent arrival of the relief ship Aurora…
About the Production
It was pulp sci-fi author Sydney J. Bounds’s short story, The Animators, which provided the basis for what would become The Last Days on Mars. First published in 1975 in the anthology Tales of Terror from Outer Space, the story of a group of astronauts exploring the Martian surface fascinated screenwriter Clive Dawson, who brought the project to producer Michael Kuhn at Qwerty Films. “It was very succinctly written and felt like a film treatment,” says producer Andrea Cornwell. “It’s sparse and atmospheric, and put the focus not on spaceships but on the human psyche.”
In the process of adapting the story, Dawson focused on expanding the mission’s crew and decided to lead the story not with Brunel, the group’s captain, as in the original story, but rather with senior systems engineer Vincent Campbell. “It’s about a chain of events put into play on the very last day of one of the first missions to Mars,” summarizes Cornwell. “What is unusual is rather than looking at their arrival on Mars, the story is about a group of people that had been together a long time and looking at the disintegration of the group psychology.”
For Vincent, explains director Ruairí Robinson, what happens on the planet plays into the deepest of his fears. “He has a fear of losing himself that becomes manifest in facing something that literally threatens to take over,” he says. “That’s what first attracted me to the script: to place a character into a situation where they have to face the very thing they’re terrified of in the worst way possible.”
And it was this notion that attracted actor Liev Schreiber, who found the idea of Vincent’s claustrophobia and anxiety immediately appealing. Says Schreiber: “One of the things we started talking about when I became involved was ‘how do you articulate that claustrophobia?’ ‘How do you express something as complex as his sort of anxiety?’”
All the elements were aligned, he says. “Being trapped, in a space station, in close quarters, in spacesuits… all of it contributed to this oppressive, suffocating thing that was really interesting to explore.”
In fact, it harked back to some of the most interesting science-fiction horror storytelling on the big screen. The touchpoints within the subgenre were films like Alien, The Invasion of the Bodysnatchers and The Thing. “When we started this there hadn’t been a movie in that key in years,” says Robinson, “Or certainly not a good one, anyway.”
But the influences went beyond science fiction too, he adds. “There are elements of Sergio Leone’s Westerns in there – a New Frontiers vibe. And for me, United 93 was a touchstone in terms of the tone of the acting and how to deal with emotion without resorting to cheap tugging at the heartstrings.”
For Olivia Williams, who plays Kim, the film’s character notes were instantly relatable and not at all confined to sci-fi genre setting. “That David Bowie-like image of the man floating around in the tin can is so powerful, but if you don’t give a toss about who that man is then you might as well not bother. When I read the script, the sweet scene of Vincent sitting with Lane and talking about Earth won me over. It could be two people sitting on a park bench on the top of Primrose Hill. It has a timeless, placeless quality.”
And as the title suggests, the story takes place on this crew’s final few days on the surface of Mars, something that was crucial to completing the sense of desperation that is bubbling under the surface for all of these characters, as they realize their mission’s aim – to find life on Mars – may well be left unresolved. They’re also, says Cornwell, blasé about the environment they’re in: “They’ve already got over the ‘wow, we’re on Mars’ phase.”
“There’s a sort of Treasure of the Sierra Madre quest for gold thing too,” expands Robinson, “where the protocol goes out of the window once they see this prize that they’ll get their name on if they’re the first ones to find it. Everyone starts bickering and fighting each other and putting all their training aside, and that’s when they start making mistakes. All those things come back to haunt them, in the form of death.”
Goran Kostic, who plays Marko, agrees: “They all want to be the first to make the discovery and they’re desperate to do it as the end of the mission approaches. They’re prepared to take a one-way ticket if the chance is there for their names to make history. But none of them knows what’s ahead.”
Mars is what is killing them. “The walls are closing in,” says Cornwell, “and humans aren’t built to survive like this. Our characters’ personal journeys mirror the themes of the film. Mars is vast, but there’s nowhere to hide. And that almost makes it a counter-Western: there’s no town over the hill to run to.”
The Red Planet has played a part in countless science fiction stories, with the proximity of Earth’s nearest neighbor, and the uncertainty about what might lurk in its red depths having inspired writers and filmmakers for more than a century. In fact, perhaps the most famous Martian story, HG Wells’s The War of the Worlds, was first published in 1898. “It didn’t occur to us that we were stepping into a genre of its own,” relates Cornwell.
In the end, it was Ruairí Robinson’s unique pitch for the project – United 93 in space – that won him the job and crystallized The Last Days on Mars’s unique place in the pantheon of Martian moviemaking. Says Cornwell: “In a way you want to forget it’s a sci-fi movie and focus on those characters and their individual motivations, so when this massive event comes into their lives, you believe how they react to it.”
A successful commercials and short film director and animator, Robinson was Oscar-nominated for his 2001 short Fifty Percent Grey. One of his most recent short, Blinky TM, is the story of a young boy and his unsettlingly cutesy housekeeper robot. “You only need to watch that film to know Ruairí has everything,” enthuses Williams. “He created such empathy for a robot and it was also deftly observant of modern life and human relationships.”
With an animation background, Robinson approaches every scene with a strong visual sense. “He storyboarded the film in extreme detail,” says Romola Garai, who plays Lane, “and he knew exactly how he wanted to block each scene. We shot in continuous takes, with a roving camera, where every time we did the scene we did it in its entirety, and you could appear in the shot at any time.”
This was a boon for the actors, who were afforded an opportunity to breathe and delve into their characters in each moment. “Ruairí’s strength is in combining a strong visual sense with a real grasp of character,” says Schreiber. “He’s the kind of director who likes to figure things out on his feet, and so we’ll suit up, get on set and start trying things. There’s a lot of improvisation and finding the scene as we play it.”
Kostic was impressed with Robinson’s desire to hear the ideas of the cast and crew. “He’s very open to ideas into what we’re trying to achieve. We see him as another member of the mission’s crew, there with us, feeding us information, listening and learning. The openness, and the idea of trust, is very important.”
For Robinson, allowing his cast to build fully rounded performances in their own time was essential to selling the story’s genre aspects. “It’s not a straight horror film,” he shares. “There are no cheap shocks. The fear is of mounting dread more than anything else, and so hopefully it’ll be emotional.”
The science fiction setting, which includes plenty of sequences set on the surface of Mars, makes it an ambitious undertaking for a film of its cost. But, says Schreiber, it’s in the stories utilization of its budgetary limitations that it sets itself apart. “What I found so fascinating about the script was how sparse it was,” he says. “Today, with CGI and spectacle and all of that, it almost feels like the genre has become a party for effects and production design, and forgetting the basic sense of suspense and withholding.” The Last Days on Mars does the opposite, he insists.
“It’s incredibly ambitious for the budget,” confirms Robinson, “which makes it quite challenging, and means you’ve got to work harder to achieve what you want. But, I think, if I’ve done my job, it has converged in a decent way and hopefully it’ll achieve the desired effect.”
The Last Days on Mars
Directed by: Ruairi Robinson
Starring: Liev Schreiber, Romola Garai, Elias Koteas, Olivia Williams, Johnny Harris, Goran Kostić, Tom Cullen, Yusra Warsama
Screenplay by: Clive Dawson
Production Design by: Jon Henson
Cinematography by: Robbie Ryan
Film Editing by: Peter Lambert
Set Decoration by: Robert Wischhusen-Hayes
Music by: Max Richter
MPAA Rating: R for violence and language,
Studio: Magnolia Pictures
Release Date: December 6, 2013
Taglines: An epic mission becomes a deadly crisis.
The world watches in awe as the Roebling Clipper is launched into space. Using state-of-the-art scalar engines to fly around the Moon and back in just hours, the maiden voyage of the first-ever trans-lunar passenger ship is about to make history. Among those on board: First Lady Simone Mathany, space-exploration entrepreneur Steve Roebling, Dr. Denise Balaban, pilot Fiona Henslaw, and a very lucky lottery winner. But while en route, a massive solar flare sparks a cosmic-ray burst that accelerates Aurora’s engine and blows the ship away from Earth’s orbit.
Now out of control, it’s hurtling straight for the sun. At Mission Control, along with the desperate President Thomas Mathany, an increasingly anxious team of experts puts a plan into motion – an interception by a shuttle attached to the International Space Station. When that ends in disaster, the Aurora only picks up speed. Now being pulled toward the sun at three percent of the speed of light, it’s only a matter of hours before it burns. With that, the scalar engine will trigger cosmic ray bursts, and a giant electromagnetic pulse storm that will blow Earth back into the Stone Age. Now, preparing for the inevitable seems the last – and only – terrifying option.
About the Story
A privately owned spaceship with passengers, among them the president’s wife, is on its maiden flight around the Moon and back to Earth. When a massive solar storm blows the rocket off course, the ship moves forward out of control on a direct path toward the Sun, and eventually burns up. The Quantum scalar drive powering the ship, which is engineered to withstand extreme temperatures, survives solar impact and puts the Sun into a hyperactive phase, causing massive bursts of radiation that have a devastating effect on Earth. The second half of the movie depicts these effects and peoples’ struggles to find shelter and survive.
It is revealed that the US military has copied and militarized the Quantum scalar drive, and built a spaceship powered by Nuclear Pulse Propulsion to propel the weapon into orbit. The creator of the scalar drive teams up with a NASA astronaut to reconfigure the weapon so as to counteract the effects of the first one as it drops into the Sun. The Sun cools down and the Earth is saved from destruction.
The film contains a number of scientific inaccuracies. The quantum scalar drive and the nuclear pulse propulsion system are, while not presently in existence, reasonable devices used in a science-fiction setting. But having the spacecraft make an external whooshing sound as it passes in airless space is not. The ship, while out of control and not under power, makes a slingshot orbit of the moon.
In the absence of thrust the passengers of the craft would be weightless; they are shown as feeling a nine-gravity force during this orbit, when in reality they would share the orbit of the ship and feel no gravitational effects at all. Furthermore, while light-speed is mentioned within the dialogue of the film, the delay in radio contact between the Earth and lunar orbit, some two and a half seconds, does not occur, conversation between the two being continuous.
The lag which would occur between Earth and a ship nearing the Sun, which would approach sixteen minutes, is also not featured. Whether the radiation from the sun, both of heat and short wave radiation, and which increases with approach in an inverse square ratio, would be tolerated by the ship is not explained.
Directed by: Michael Robison
Starring: David James Elliott, Anthony Lemke, Natalie Brown, Alex Weiner, Mylene Robic
Production Design by: Sylvain Gingras
Cinematography by: Michel St. Martin
Film Editing by: Jean Beaudoin
Music by: James Gelfand
Art Direction by: Camille Parent
MPAA Rating: None.
Studio: Gaiam Vivendi Entertainment and Sonar Entertainment
Release Date: October 15, 2013
Thousands of years ago, a race of beings known as Dark Elves tried to send the universe into darkness by using a weapon known as the Aether. Warriors from Asgard stop them but their leader Malekith escapes to wait for another opportunity. The warriors find the Aether and since it cannot be destroyed, they try to hide it. In the present day, Jane Foster awaits the return of Thor although it has been two years since they last saw once another.
In the meantime, Thor has been trying to bring peace to the nine realms. Jane discovers an anomaly similar to the one that brought Thor to Earth. She goes to investigate, finds a wormhole, and is sucked into it. Back on Asgard, Thor wishes to return to Earth but his father, Odin refuses to let him. Thor learns from Heimdall, who can see into all of the realms, that Jane disappeared. Thor then returns to Earth just as Jane reappears. However, when some policemen try to arrest her, an unknown energy repulses them.
Marvel’s Thor: The Dark World continues the big-screen adventures of Thor, the Mighty Avenger, as he battles to save Earth and all the Nine Realms from a shadowy enemy that predates the universe itself. In the aftermath of Marvel’s Thor and Marvel’s The Avengers, Thor fights to restore order across the cosmos… but an ancient race led by the vengeful Malekith returns to plunge the universe back into darkness. Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster and force him to sacrifice everything to save us all.
About the Story
Eons ago, Bor, father of Odin, clashes with the Dark Elf Malekith, who seeks to destroy the universe using a weapon known as the Aether. After conquering Malekith’s forces, including enhanced warriors called the Kursed, on their home world of Svartalfheim, Bor safeguards the Aether within a stone column. Unbeknownst to Bor, Malekith, his lieutenant Algrim, and a handful of Dark Elves escape into suspended animation.
In present-day Asgard, Loki stands imprisoned for his war crimes on Earth. Meanwhile, Thor, alongside warriors Fandral, Volstagg, and Sif repel marauders on Vanaheim, home of their comrade Hogun; it is the final battle in a war to pacify the Nine Realms following the reconstruction of Bifröst, the “Rainbow Bridge” between realms, which had been destroyed two years earlier. The Asgardians soon learn that the Convergence, a rare alignment of the Nine Realms, is imminent; as the event approaches, portals linking the worlds appear at random.
In London, astrophysicist Dr. Jane Foster and her intern Darcy Lewis travel to an abandoned factory where such portals have appeared, disrupting the laws of physics around them. Separating from the group, Jane is teleported to another world, where she is infected by the Aether. Heimdall alerts Thor that Jane has moved beyond his near omniscient sight, leading Thor to Earth. When Thor finds Jane, she inadvertently releases an unearthly force, and Thor returns with her to Asgard. Odin, recognizing the Aether, warns that the Aether will not only kill Jane, but that its return heralds a catastrophic prophecy.
Malekith, awakened by the Aether’s release, turns Algrim into a Kursed and attacks Asgard. During the battle, Malekith and Algrim search for Jane, sensing that she contains the Aether. Thor’s mother Frigga is killed protecting Jane, and Malekith and Algrim are forced to flee without Jane. Despite Odin’s orders not to leave Asgard, Thor reluctantly enlists the help of Loki, who knows of a secret portal to Svartalfheim, where they will use Jane to lure and confront Malekith, away from Asgard. In return, Thor promises Loki vengeance on Malekith for killing their mother. With Volstagg and Sif stalling Asgardian soldiers and Fandral assisting their escape, Thor, Loki, and Jane head to Svartalfheim.
There, Loki tricks Malekith into drawing the Aether out of Jane, but Thor’s attempt to destroy the exposed substance fails. Malekith merges with the Aether and leaves in his ship as Loki is fatally wounded while killing Algrim. Thor, cradling Loki in his arms, promises to tell their father of his sacrifice. Afterwards, Thor and Jane discover another portal in a nearby cave and reunite in London with Darcy and Jane’s mentor Dr. Erik Selvig — who was briefly institutionalized due to the mental trauma he suffered during Loki’s attack on Earth. They learn that Malekith plans to destroy the universe and restore the Dark Elves to dominance by unleashing the Aether at the center of the Convergence in Greenwich. Thor battles Malekith through various portals and across multiple worlds until one portal separates them, leaving Malekith unopposed on Earth. Thor returns in time to help his mortal comrades use their scientific equipment to transport Malekith to Svartalfheim, where he is crushed by his own damaged ship.
Thor returns to Asgard, where he declines Odin’s offer to take the throne and tells Odin of Loki’s sacrifice. As he leaves, Odin’s form transforms to that of a grinning Loki.
In a mid-credits scene, Volstagg and Sif visit the Collector and entrust the Aether to his care, commenting that, with the Tesseract already in Asgard, having two Infinity Stones so close together would be dangerous. As they leave, the Collector remarks, “One down, five to go.” In a post-credits scene, Jane and Thor reunite on Earth while somewhere in London a frost monster from Jotunheim, accidentally transported to Earth during the final battle, continues to run amok.
Thor: The Dark World
Directed by: Alan Taylor
Starring: Chris Hemsworth, Natalie Portman, Ray Stevenson, Kat Dennings, Anthony Hopkins, Stellan Skarsgård
Screenplay by: Christopher Yost, Christopher Markus
Production Design by: Charles Wood
Cinematography by: Kramer Morgenthau
Film Editing by: Dan Lebental, Wyatt Smith
Costume Design by: Wendy Partridge
Set Decoration by: John Bush
Music by: Brian Tyler
MPAA Rating: PG-13 for sequences of intense sci-fi action and violence, and some suggestive content.
Studio: Walt Disney Pictures
Release Date: November 8, 2013
Taglines: The future must be won.
Ender’s Game is an American science fiction action film based on the novel of the same name by Orson Scott Card. Written and directed by Gavin Hood, the film stars Asa Butterfield as Andrew “Ender” Wiggin, an unusually gifted child who is sent to an advanced military academy in outer space to prepare for a future alien invasion. The supporting cast includes Harrison Ford, Hailee Steinfeld, Viola Davis, Abigail Breslin, and Ben Kingsley.
In the future, humanity is preparing to launch an attack on the homeworld of an alien race called the Formics who had attacked Earth fifty years earlier and killed millions. Gifted children are trained to become commanders of a new fleet for this attack.
Cadet Andrew “Ender” Wiggin draws the attention of Colonel Hyrum Graff and Major Gwen Anderson by his aptitude in simulated space combat. They order the removal of his monitor, signifying the end of the cadet program. Ender is beaten up by Stilson, a student he defeated in the combat sim, but Ender fights back and severely injures him. Ender confesses his grief to his older sister Valentine, but is harassed further by their older brother Peter. Graff arrives to announce Ender’s entrance into Battle School. Graff places Ender with other cadets his age, but treats him as extraordinary, ostracizing him from the others.
Among other studies, the cadets are placed in squads and perform training games in a zero gravity “Battle Room”. Ender quickly adapts to the games, devising new strategies older students have not yet seen. Graff reassigns Ender to Salamander Army, led by Commander Bonzo Madrid. Bonzo is resentful of the new addition and prevents Ender from training. Another cadet, Petra Arkanian, takes Ender and trains him privately. In one match, Ender goes against Bonzo’s orders and working with Petra, achieves a key victory for his army.
Meanwhile, Ender plays a computerized “mind game” set in a fantasy world aimed to present difficult choices to the player. In one situation, Ender creates a solution to overcome an unsolvable problem. Later, he encounters a Formic in the game, and then a simulated image of Valentine entering the ruins of a castle. Inside, he finds another image of Valentine but as he nears, it turns into an image of Peter before the game ends.
Graff promotes Ender to his own squad, made from other students that have gained Ender’s trust. They are put in increasingly difficult battles. In one match against two other teams including Bonzo’s squad, Ender devises a novel strategy of sacrificing part of his team to achieve a goal, impressing Graff. Bonzo accosts Ender in the bathroom after the match, but Ender fights back and mortally harms him. Distraught over this, Ender prepares to quit Battle School, but Graff has Valentine speak to him and convince him to continue.
Graff takes Ender to humanity’s forward base on a former Formic planet near their homeworld. There, Ender meets Mazer Rackham, who explains how he spotted the shared-mind nature of the Formics to stop the attack fifty years prior. Ender finds that his former squad members are also here to help him train in computerized simulations of large fleet combat; Rackham puts special emphasis on the fleet’s Molecular Detachment (MD) Device that is capable of disintegrating matter.[note 1] Ender’s training is rigorous and Anderson expresses concern they are pushing Ender too fast, but Graff notes they have run out of time to replace Ender.
Ender’s final test is monitored by several of the fleet commanders. As the simulation starts, Ender finds his fleet over the Formic homeworld and vastly outnumbered. He orders most of his fleet to sacrifice themselves to protect the MD long enough to fire on the homeworld. The simulation ends, and Ender believes the test is over, but the commanders restart the video screens, showing that the destruction of the Formic homeworld was real and Ender had been controlling the real fleet this time. Despite Graff’s assurance he will be known as a hero, Ender is furious as everyone will remember him as a killer.
As Ender struggles with his emotions, he recognizes one of the Formic structures nearby similar to the ruined castle from the game, and believing they were trying to communicate with him, races out towards it. He follows the path set by the game, and encounters a dying Formic queen who has been protecting another queen egg. As the movie concludes, Ender writes in a letter to Valentine that he is heading to deep space with the egg, determined to colonize a new Formic world with it.
Directed by: Gavin Hood
Starring: Harrison Ford, Abigail Breslin, Hailee Steinfeld, Asa Butterfield, Ben Kingsley, Viola Davis
Screenplay by: Gavin Hood
Production Design by: Sean Haworth, Ben Procter
Cinematography by: Donald McAlpine
Film Editing by: Lee Smith, Zach Staenberg
Costume Design by: Christine Bieselin Clark
Set Decoration by: Peter Lando
Music by: Steve Jablonsky
MPAA Rating: PG-13 for some violence, sci-fi action and thematic material.
Studio: Summit Entertainment, Lionsgate Films
Release Date: November 1, 2013
Taglines: If you never make a choice, anything is possible.
A young boy stands on a station platform. The train is about to leave. Should he go with his mother or stay with his father? An infinity of possibilities rise from this decision. As long as he doesn’t choose, anything is possible. Every life deserves to be lived.
The film tells the life story of Nemo Nobody, a 118 year-old man who is the last mortal on Earth after the human race has achieved quasi-immortality. Nemo, memory fading, refers to his three main loves and to his parents’ divorce and subsequent hardships endured at three critical junctions in his life: at age nine, fifteen, and thirty-four. Alternate life paths branching out from each of those critical junctions are examined. The speculative narrative often changes course with the flick of a different possible decision at each of those ages. The film uses nonlinear narrative and the many-worlds interpretation style.
Mr. Nobody is a science fiction drama film. It was written and directed by Jaco Van Dormael, produced by Philippe Godeau, and starred Jared Leto, Sarah Polley, Diane Kruger, Linh Dan Pham, Rhys Ifans, Natasha Little, Toby Regbo and Juno Temple.
Mr. Nobody had its world premiere at the 66th Venice International Film Festival where it received the Golden Osella and the Biografilm Lancia Award. Critical response was generally strong and the film was nominated for seven Magritte Awards, winning six, including Best Film and Best Director for Van Dormael. The film was mostly funded through European financiers and was released in Belgium on January 13, 2010. Since its original release, Mr. Nobody has become a cult film, noted for its philosophy and cinematography, personal characters and Pierre Van Dormael’s soundtrack.
Directed by: Jaco Van Dormael
Starring: Jared Leto, Sarah Polley, Diane Kruger, Linh Dan Pham, Rhys Ifans, Clare Stone
Screenplay by: Jaco Van Dormael
Production Design by: Sylvie Olivé
Cinematography by: Christophe Beaucarne
Film Editing by: Susan Shipton, Matyas Veress
Costume Design by: Ulla Gothe
Set Decoration by: Regine Constant
Music by: Pierre van Dormael
MPAA Rating: None.
Studio: Magnolia Pictures
Release Date: November 1, 2013
Taglines: Don’t let go.
Dr. Ryan Stone (Sandra Bullock) is a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalsky (George Clooney) in command of his last flight before retiring. But on a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone – tethered to nothing but each other and spiraling out into the blackness.
Gravity is a science fiction thriller film directed, co-written, co-produced and co-edited by Alfonso Cuarón. It stars Sandra Bullock and George Clooney as astronauts, and sees them stranded in space after the mid-orbit destruction of their space shuttle and their subsequent attempt to return to Earth.
Cuarón wrote the screenplay with his son Jonás and attempted to develop the film at Universal Pictures. The rights were sold to Warner Bros. Pictures, where the project eventually found traction. David Heyman, who previously worked with Cuarón on Harry Potter and the Prisoner of Azkaban, produced the film with him. Gravity was produced entirely in the UK, where the British visual effects company Framestore spent more than three years creating most of the film’s visual effects, which comprise over 80 of its 91 minutes.
Gravity opened the 70th Venice International Film Festival in August 2013 and had its North American premiere three days later at the Telluride Film Festival. It was released to cinemas in the United States and Canada on October 4, 2013. The film was met with universal acclaim from critics and audiences; both groups praised Emmanuel Lubezki’s cinematography, Steven Price’s musical score, Cuarón’s direction, Bullock’s performance and Framestore’s visual effects. It has grossed more than US$716 million worldwide, making it the eighth highest-grossing film of 2013.
At the 86th Academy Awards, Gravity received a leading ten nominations (tying American Hustle), and won seven, the most for the ceremony, including: Best Director for Cuarón, Best Cinematography for Lubezki, Best Visual Effects, and Best Original Score for Price. The film was also awarded six BAFTA Awards, including Outstanding British Film and Best Director, the Golden Globe Award for Best Director, and seven Critics Choice Awards.
About the Story
Dr. Ryan Stone (Sandra Bullock) is a biomedical engineer aboard the NASA space shuttle Explorer for her first space mission, the STS-157 program. Veteran astronaut Matt Kowalski (George Clooney) is commanding his final expedition. During a spacewalk to service the Hubble Space Telescope and Stone’s upgrades to the Telescope, Mission Control in Houston warns the team about a Russian missile strike on a defunct satellite, which has inadvertently caused a chain reaction forming a cloud of debris in space. Mission Control orders that the mission be aborted and the shuttle begin re-entry immediately to leave because the debris is speeding towards the telescope. Communication with Mission Control is lost shortly after.
High-speed debris from the Russian satellite strikes the Explorer and Hubble, detaching Stone from the shuttle and leaving her tumbling through space. Kowalski, using a manned maneuvering unit (MMU), soon recovers Stone and they make their way back to the Explorer. They discover that it has suffered catastrophic damage and the rest of the crew is dead. They use the MMU to make their way to the International Space Station (ISS), which is in orbit only about 1,450 km (900 mi) away. Kowalski estimates they have 90 minutes before the debris field completes an orbit and threatens them again.
En route to the ISS, the two discuss Stone’s home life and the death of her young daughter. As they approach the substantially damaged but still operational ISS, they see its crew has evacuated in one of its two Soyuz modules. The parachute of the remaining Soyuz has deployed, rendering the capsule useless for returning to Earth. Kowalski suggests using it to travel to the nearby Chinese space station Tiangong, 100 km (60 mi) away, in order to board a Chinese module to return safely to Earth.
Out of air and maneuvering power, the two try to grab onto the ISS as they fly by. Stone’s leg gets entangled in Soyuz’s parachute cords and she grabs a strap on Kowalski’s suit. Despite Stone’s protests, Kowalski detaches himself from the tether to save her from drifting away with him, and she is pulled back towards the ISS while Kowalski floats away to a certain death. He continues to support her until he is out of communications reach.
Stone enters the ISS via an airlock. She cannot re-establish communication with Kowalski and concludes that she is the sole survivor. A fire breaks out, forcing her to rush to the Soyuz. As she maneuvers the capsule away from the ISS, the tangled parachute tethers prevent it from separating from the station. She spacewalks to release the cables, succeeding just as the debris field completes its orbit and destroys the station. Stone aligns the Soyuz with Tiangong but discovers that its engine has no fuel.
After a poignant radio communication with a foreign-speaking fisherman on Earth, Stone resigns herself to being stranded and shuts down the cabin’s oxygen supply to commit suicide. As she begins to lose consciousness, Kowalski enters the capsule. Scolding her for giving up, he tells her to rig the Soyuz’s landing rockets to propel the capsule toward Tiangong. Stone then realizes that Kowalski’s reappearance was not real, but has nonetheless given her the strength of will to carry on. She restores the flow of oxygen and uses the landing rockets to navigate toward Tiangong, which is rapidly deorbiting.
Starring: Sandra Bullock, George Clooney, Ed Harris, Eric Michels, Basher Savage, Amy Warren
Screenplay by: Alfonso Cuarón, Jonás Cuarón
Production Design by: Andy Nicholson
Cinematography by: Emmanuel Lubezki
Film Editing by: Alfonso Cuarón, Mark Sanger
Costume Design by: Jany Temime
Set Decoration by: Rosie Goodwin, Joanne Woollard
Music by: Steven Price
MPAA Rating: PG-13 for intense perilous sequences, some disturbing images and brief strong language.
Taglines: Rule the dark.
The infamous Riddick has been left for dead on a sun-scorched planet that appears to be lifeless. Soon, however, he finds himself fighting for survival against alien predators lethal than any human he’s encountered. The only way off is for Riddick to activate an emergency beacon and alert mercenaries who rapidly descend to the planet in search of bounty.
The first ship to arrive carries a new breed of merc, more lethal and violent, while the second is captained by a man whose pursuit of Riddick is more personal. With time running out and a storm on the horizon that no one could survive, his hunters won’t leave the planet without Riddick’s head as their trophy.
Riddick, the latest chapter of the saga that began with 2000’s hit sci-fi film Pitch Black and 2004’s The Chronicles of Riddick reunites writer / director David Twohy (A Perfect Getaway, The Fugitive) and star Vin Diesel (the Fast and Furious franchise, xXx). Diesel reprises his role as the antihero Riddick, a dangerous, escaped convict wanted by every bounty hunter in the known galaxy.
Riddick is a British-American science fiction thriller film, the third installment in the Riddick film series. Produced by and starring Vin Diesel as the title character, Riddick is written and directed by David Twohy, who previously wrote and directed the first two installments, Pitch Black (2000) and The Chronicles of Riddick (2004). The film was released on September 4, 2013, in the UK and Ireland, and September 6, 2013, in the United States. It was shown in both conventional and IMAX Digital theaters.
About the Story
Nine years after the events of Pitch Black, Riddick has become increasingly uneasy in his role as Lord Marshall of the Necromonger fleet. His refusal to swear into the Necromonger faith has caused dissent among his subjects and assassination attempts by his subordinate commanders.
Riddick strikes a deal with Commander Vaako; the location of Furya and a ship to take him there, in exchange for Vaako becoming the next Lord Marshall. Led by Vaako’s aide, Krone, Riddick and a group of Necromongers arrive on a desolate planet. Recognizing that it is not Furya, Riddick kills most of his escort when they attempt to assassinate him. In the chaos, Krone causes a landslide and buries Riddick alive.
Emerging from the rubble with a fractured leg, Riddick manages to reset and splint his broken leg and fend off native predators: vulture-like flying animals, packs of jackal-like beasts and swarms of venomous, scorpion-like water dwelling creatures called Mud Demons. Needing time to heal, Riddick hides himself within some abandoned ruins. Riddick later sees a vast savanna beyond some rocky cliffs, but the only passage through is guarded by Mud Demons, which inhabit several muddy pools.
As he builds an immunity to the Mud Demon’s venom, Riddick improvises melee weapons, while raising and training an orphaned jackal-beast pup. The two eventually succeed in defeating the Mud Demons and reach the savannah. Riddick soon realizes a massive series of approaching storms are unleashing countless more of the Demons, who must keep their skin wet at all times to survive. Needing to get off-world, Riddick activates an emergency beacon in an empty mercenary station, which broadcasts his identity and presence on the planet.
Two ships promptly arrive in answer to the beacon; the first a group of bushwhacker bounty hunters led by a violent and unstable man named Santana, and another better-equipped team of professional mercenaries led by a man who is not initially identified but is named Boss Johns. Riddick has left them a blood message vowing death to every merc unless they leave one of their ships and depart the planet on the other.
Rubio, Nunez and Falco are killed during the first night, forcing a reluctant Santana to cooperate with Johns. Riddick later manages to steal power nodes from each of the teams’ ships and then approaches Johns and Santana to strike a deal for their return. However, the conversation turns out to be an ambush. Johns’ second-in-command, Dahl, shoots Riddick with powerful tranquilizers. In an effort to defend his master, Riddick’s alien jackal brutally attacks Santana, but is shot multiple times in the throat.
Back at the Merc Station, Johns interrogates Riddick about the final fate of his son, William J. Johns (the mercenary from Pitch Black). When the storms finally reach the station, large numbers of Mud Demons emerge from the muddy ground, and besiege the station, killing Lockspur and Moss. Johns agrees to release Riddick in order to locate the hidden power cells. Santana stops him and attempts to kill Riddick, who is worth twice as much dead as he is alive. Riddick instead beheads Santana thus keeping his earlier promise to kill the merc and avenge the death of his pet.
They then fight their way to the ship which houses the hover bikes with Vargas being killed. Johns, Santana’s man Diaz, and Riddick leave the ship together on hover bikes on a mission to retrieve the power nodes. During their journey, Diaz knocks Johns’ bike over the side, causing him to crash. He is then picked up by Riddick.
After they reached the power nodes, Riddick reveals to Johns about his son’s addiction to morphine and a spineless attempt by his son to utilize a child as ‘bait’ for the hostile animals on the world they were stranded on ten years prior. With both of them distracted, Diaz attempts to kill Riddick and Johns. Riddick fights and kills him, but not before unintentionally damaging the only working hover bike (Diaz had already disabled the other one).
Riddick and Boss Johns fend off a seemingly endless horde of Demons while running back to the station. Riddick is severely wounded. Johns takes both nodes and abandons Riddick. After treating his wound, Riddick begins to fight a futile battle against the advancing Demons. Just when it seems he is about to be killed, Johns arrives in one of the ships and shoots the creatures while Dahl descends to rescue Riddick.
Directed by: David Twohy
Starring: Vin Diesel, Jordi Mollà, Matthew Nable, Katee Sackhoff, Dave Bautista
Screenplay by: David Twohy, Jim Wheat, Ken Wheat
Production Design by: Joseph C. Nemec
Cinematography by: David Eggby
Film Editing by: Tracy Adams
Costume Design by: Simonetta Mariano
Set Decoration by: Daniel Carpentier, David Laramy
Music by: Graeme Revell
MPAA Rating: R for strong violence, language and some sexual content / nudity.
Studio: Universal Pictures
Release Date: September 6, 2013
Taglines: If the suit fits, waste it.
It’s been 20 years since the corporations took over the world’s governments. Their thirst for power and profits led to the corporate wars, a fierce global battle that laid waste to society as we know it. Born from the ash, the Council of Nine rose as a new law and order for this dark age. To avenge the corporations’ reckless destruction, the Council issues death warrants for all white collar criminals. Their hunter’s – the Bounty Killer.
From amateur savage to graceful assassin, the Bounty Killer’S now compete for body count, fame and a fat stack of cash. They’re ending the plague of corporate greed by exterminating the self serving CEO and providing the survivors of the apocalypse with retribution. These are the new heroes. This is the age of the Bounty Killer.
Directed by: Henry Saine
Starring: Matthew Marsden, Kristanna Loken, Christian Pitre, Barak Hardley, Abraham Benrubi
Screenplay by: Jason Dodson, Colin Ebeling, Henry Saine
Cinematography by: David Conley
Film Editing by: Henry Saine
Costume Design by: Dan Selon
Set Decoration by: Stewart W. Calhoun
Art Direction by: Jason Zev Cohen
Music by: Michael Tavera
MPAA Rating: R for strong bloody violence, language and some sexuality / nudity.
Studio: ARC Entertainment
Release Date: September 6, 2013