Month: June 2015
Taglines: It’s starting again.
Only a few weeks after Annie Barlow exterminated the plague that was the Judas Killer, we meet June Abbott, a woman whose carefully constructed life in Los Angeles is beginning to unravel due to lucid nightmares so awful they disturb her waking life.
When Special Agent Terrence Ballard, the FBI agent assigned to wrap up the case of the newly deceased Judas Killer, shows up at June’s door, he brings with him some terrifying news – there is a Judas copycat killer on the loose in her neighborhood! In the course of his investigation, Ballard shows June a picture of the copycat killer’s victim, and she is stunned to see that it’s the same woman she saw brutally murdered in her nightmares.
A series of hauntings begin to torment June, growing in frequency and ferocity over time. Now, not only does she see murder victims, but her dreams put herself in the role of the murderer. June fears that the spirit of the
Judas Killer is the architect of some greater plan in which she must now play a part. June struggles to maintain her grip on sanity as she plunges into her own investigation of these events. No matter the result, the truth will be horrifying; either there is true evil inside of her, or someone, or something, is determined to destroy her.
The Pact 2 is an American horror film written and directed by Nicholas McCarthy and starring Caity Lotz and Casper Van Dien. The film was made following the success of McCarthy’s short film of the same name which premiered at the 2012 Sundance Film Festival. It had its nationwide theatrical release on September 5 and received positive reviews from critics.
The Pact 2 Review
FBI agent Ballard (Patrick Fischler), who’s recently wrapped up the case of the prolific “Judas Killer,” reveals that June’s mother was one of his original victims and now Ballard believes that the copycat murderer who decapitated Ford is targeting June. As her terrifying visions of Ford’s death intensify, strange noises and ghostly late-night visitations indicate that June’s LA home may be infested with an evil presence.
The reappearance of Annie Barlow (Lotz), the young woman who previously dispatched the Judas Killer in self-defense, contributes to June’s growing suspicion that Ballard’s theory may actually be correct, as she senses a threatening presence closing in on her that neither the FBI agent nor Daniel can protect her from.
Connecting the two films with the premise that the malevolent spirit of the Judas Killer is now inspiring and informing the murder spree of his imitator represents a fairly weak link that grows even more tentative as the action progresses. Co-scripters and directors Dallas Hallam and Patrick Horvath never seem quite sure which horror subgenre the film should favor, as the supernatural elements demonstrate little synergy with the serial-killer procedural plotting.
While the filmmakers adequately manage the production’s undemanding technical requirements, the constantly shifting tone emerges as an insurmountable contradiction. Saddled with this stylistic inconsistency, the castmembers fail to distinguish themselves in almost any regard. Luddington sulks her way through most of the movie, rarely demonstrating a level of terror equal to the horrors thrust upon her.
Although Lotz’s arrival midway through initially raises the interest level somewhat, she doesn’t stick around long enough to maintain it, while both Foster’s and Fischler’s plodding performances only create more drag on the increasingly conflicted plot. The film’s lower-budget production styling doesn’t compare well with the quality of similar recent releases, leaving the distinct impression of counterproductive cost-cutting.
The Pact 2
Directed by: Dallas Richard Hallam, Patrick Horvath
Starring: Caity Lotz, Scott Michael Foster, Camilla Luddington, Amy Pietz, Patrick Fischler, Alexandra Ryan
Screenplay by: Dallas Richard Hallam, Patrick Horvath
Production Design by: Helen Harwell
Cinematography by: Carmen Cabana
Film Editing by: Saul Herckis
Costume Design by: Molly Grundman
Music by: Carl Sondrol
MPAA Rating: None.
Studio: IFC Films
Release Date: September 5, 2014
With his unique vision, writer / director Ned Benson ambitiously captures a complete picture of a relationship in the beautifully relatable portrait of love, empathy and truth that is The Disappearance of Eleanor Rigby. Once happily married, Conor (James McAvoy) and Eleanor (Jessica Chastain) suddenly find themselves as strangers longing to understand each other in the wake of tragedy.
The film explores the couple’s story as they try to reclaim the life and love they once knew and pick up the pieces of a past that may be too far gone. Screened for the first time at the 2014 Cannes Film Festival, Benson’s latest version of their story combines his previous two films – titled HIM and HER – uniting their perspectives and taking a further look into the subjectivity of relationships.
The Disappearance of Eleanor Rigby is the collective title of three films written and directed by Ned Benson. The films star Jessica Chastain and James McAvoy, and is Benson’s first feature film project. The Disappearance of Eleanor Rigby is broken into three films, Him, Her and Them. Him and Her were screened at the 2013 Toronto International Film Festival as a “work in progress”. Them premiered in the Un Certain Regard section of the 2014 Cannes Film Festival. Them premiered in the United States on September 12, 2014, while Him and Her will be released together as a double feature on October 10, 2014 in select art house cinemas.
About the Film
All three films follow the same time period, but are told from the differing perspectives of Connor Ludlow (James McAvoy) and Eleanor Rigby (Jessica Chastain), a young married couple living in New York. Him looks at their relationship from Connor’s angle, while Her follows Eleanor’s. Connor works in his restaurant while his wife Eleanor returns to college for further education. During the course of their daily lives, the couple encounters a life changing event that threatens the stability of their marriage.
Connor Ludlow meet Elanor Rigby for the first time, and quickly falls for her. Connor ask her on a date, resulting the couple running from the restaurant, due to the higher bills. Years later, The couple got married, and have a son. But their son later died, due to an illness, which prompt Rigby to commit suicide, by drowning herself on the water, however she was saved by a Lifeguard, resulting her in a hospital.
After hearing the news, Connor runs to the hospital to picked Rigby, but he found Rigby have left after being picked by her parents. During the course of their daily lives, the couple encounters a life changing event that threatens the stability of their marriage. Resulting Rigby to leave Connor. Connor search for her through the entire city of New York, but unnable to found her. Connor the successfully found Rigby in her campus.
Rigby left the campus, which prompr Connor to chase her, but this however fails, since their son’s death. Connor angrily leaves Rigby alone, but Rigby chases him, after Connor got hit by cab-driver.
Sometimes after continuing on their daily lives, Rigby visit Connor in his own bar. The couple begin to circling around the city, to found “Someplace good” that Rigby mentions. The two begin to have sex, but Connor interuputed Rigby, that he was having an affair, Rigby however ignore this. Connor was disappointed that Rigby does not wanted to repair their relationship.
Connor then visit his fathers bar, asking him for a loan, but his father refuse, instead wanted Connor to take-over his restaurant. Connor was hesitate by the offer, but his father tell him to “take your time”.
When clearing their own apartment, Rigby found Connor falls asleep, unexpectedly wake him. She apologize to Connor for “Disappearing”. She also ask what her son look like when he died. Connor replies that he was “very much like you”. She then ask Connor if they will found “someplace good”. The two begin to have sex. In the next morning, Rigby left Connor, without saying goodbye.
Some moments later, Rigby decided to take a vacation in Paris. Before departing, her father tells her that she was nearly drowned, when she was young, and glad that she was “okay”, when she landed in his feet. Rigby departed to Paris until next summer.
Years later, Connor successfully taking over his father restaurant. While walking on the park Rigby was also walking in the park, unnotice to found Connor was also there. In Him, Connor looks behind to find Rigby was behind her. While in Her, Rigby found Connor, and call his name, wondering if it’s really him. In Them, The two walks off without noticing each other.
The Disappearance of Eleanor Rigby
Directed by: Ned Benson
Starring: James McAvoy, Jessica Chastain, Viola Davis, Bill Hader, Isabelle Huppert, Nina Arianda, William Hurt
Screenplay by: Ned Benson
Cinematography by: Christopher Blauvelt
Music by: Son Lux
MPAA Rating: R for language.
Studio: The Weinstein Company
Release Date: September 12, 2014
Taglines: You don’t know what you’ve got ’til it’s…
Directed by David Fincher and based upon the global bestseller by Gillian Flynn, Gone Girl unearths the secrets at the heart of a modern marriage. On the occasion of his fifth wedding anniversary, Nick Dunne (Ben Affleck) reports that his beautiful wife, Amy (Rosamund Pike), has gone missing. Under pressure from the police and a growing media frenzy, Nick’s portrait of a blissful union begins to crumble. Soon his lies, deceits and strange behavior have everyone asking the same dark question: Did Nick Dunne kill his wife?
Gone Girl is an American mystery film directed by David Fincher and adapted by Gillian Flynn from her 2012 novel of the same name. It stars Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, and Carrie Coon. The film had its world premiere on opening night of the 52nd New York Film Festival on September 26, 2014. It had its nationwide theatrical release on October 3 and received positive reviews from critics, who praised Fincher’s direction, Flynn’s script, score by Reznor and Ross, as well as the lead performances.
About the Production
“It’s a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters. And if all of us are play-acting, there can be no such thing as a soul mate. ..” ― Gillian Flynn, Gone Girl
From the tour de force thriller that became a bestselling must read comes David Fincher’s screen version of Gone Girl, a wild ride through our modern media culture and down into the deep, dark fault lines of an American marriage – in all its unreliable promises, inescapable deceits and pitch-black comedy.
The couple at the center of the story – former New York writer Nick Dunne and his formerly “cool girl” wife Amy, now trying to make ends meet in the mid-recession Midwest – have all the sinuous outer contours of contemporary marital bliss. But on the occasion of their 5th wedding anniversary, Amy goes missing — and those contours crack into a maze of fissures. Nick becomes the prime suspect, shrouded in a fog of suspicious behavior. Amy becomes the vaunted object of a media frenzy as the search for her, dead or alive, plays out before the eyes of a world thirsting for revelations.
Just as Nick and Amy personified the quintessential romantic match, Amy’s disappearance has all the markings of an emblematic domestic American crime. But her vanishing becomes a kind of hall of mirrors in which tantalizing and savage secrets lead to tantalizing and savage secrets. The events that unfold are thick with shocks and complications, but the questions that remain are what cut, with razorsharp precision, to the bone: Who is Nick? Who is Amy? Who are any of us in marriages — and a society — built on a precarious base of projected images and disguises?
Adapting The Phenomenon to the Screen
Upon its 2012 publication, Gillian Flynn’s novel Gone Girl became that rare entity: a massively popular, nail-biting summer bestseller that was also the talk of the literary world. The book was lauded not only for relentless suspense, but also for its narrative ingenuity and willingness to plumb the murkiest depths of human behavior, grappling with the jagged lines between marriage and possession, public and private life, the lure of artifice and the glare of truth. Even in the crime fiction genre it stood out for its fusing of two stunningly unreliable, dueling narrators – the two halves of a torn marriage – who manipulate each other, tangling the reader in their webs of deceit.
The novel was a visceral, cinematic experience but filled with pitfalls for a screen adaptation. So strong were the voices in the book it seemed unlikely anyone could ever adapt it as well as its author. Fortunately, Flynn was up for taking on the daunting task and produced a screenplay that boiled the essence of her deftly plotted but deeply interior novel down into a skin-tight structure.
Then a synergy occurred between Flynn and David Fincher. The pairing of Flynn’s merciless insights with Fincher’s atmospheric storytelling made a potent mix with the drippingly dark humor of the story – and its skew on marriage, celebrity and the way we mold and remold our life stories.
“It was as if David interpreted what Gillian wrote and then that interpretation was put back through Gillian again on the page,” says Ben Affleck. “And during that process there was even more wit added, there was more sardonic stuff, and there were so many salient observations. It really fits into David’s work and has that distinctive combination of being at once funny and enlivening.”
Though she was already enmeshed in the fabric of the story, Flynn had her work cut out for her. “The novel has a rather complicated and intertwining plot—and it’s not easy to streamline because the pieces are so linked together—so my biggest concern was respecting the plot while making sure the film didn’t become all engine,” she explain of the adaptation. “I wanted to make sure to find room for the nuances, the relationships and the characters the dark humor and odd moments—because that’s where the creepy, toxic heart of the story lives.”
She’d always seen Fincher as a potential accomplice. “Even as I was writing the novel, there were certain scenes I pictured him filming—I could see them through his lens,” Flynn comments. “I knew he’d bring a great sense of place and I knew he’d capture the suspense and claustrophobia of the story. Everyone knows Fincher can do dread. But what I have always loved about his films is his dark bursts of humor. Gone Girl, for all its nastiness, has moments of humor, too, and I knew he’d bring those to the screen. I felt, too, that he wouldn’t turn Gone Girl into a rigid whodunnit, but would find room to explore what the story is really about, which is this marriage.”
“I loved working with Gillian,” says Fincher. “She is so hardworking, so diligent. She’s not one of these people that deflects or defends or obfuscates for any reason. She’ll slaughter her darlings. I have so much respect not only for her work ethic but also for the way she writes… as a popcorn eating, leaning-forward-in-the-2nd-row audience member. “
Fincher used the story’s nascent humor as a kind of dark marinade to soak into the visuals and performances. “People laugh in movies when they see something that is true,” says Fincher. “That’s what brings them out of their shells in the dark. If you then get the right people to carry the drama — and you encourage them to find what’s human about it all – that’s how you breathe life into it.”
For now though, Fincher believes the less said about the film’s plot perhaps the better. “I think this movie is best enjoyed walking in cold,” he says. “People love watching a movie where they don’t know where it’s going to go next. They go to the movies to be surprised.”
Facades And Interiors: The Gone Girl Landscape
The physical world of Gone Girl mirrors the internal states of its characters – or perhaps vice versa – with its portrait of a recession-era America full of comforting facades that, upon closer inspection, are fraying at the seams. The result is a kind of noir Americana, a darkly hypnotic angle on displaced American dreams. Fincher crafted this world of both strangeness and intimacy with a team he has relied on repeatedly including cinematographer Jeff Cronenworth, production designer Donald Graham Burt, costume designer Trish Summerville and editor Kirk Baxter.
Cronenworth has certainly gone down dark roads before with Fincher. Through a series of films including Fight Club, The Social Network and The Girl With The Dragon Tattoo the pair have forged a distinctive visual style that conjures potent atmospheres out of restraint. Driven by subtleties and details, their work on Gone Girl takes their aesthetic for the first time into the suburban Midwest. This film’s regionalism echoes the work of influential American street photographer Joel Sternfeld — who found both human beauty and ironic humor in modern, manmade landscapes.
The material itself helped to focus the approach. “Once I read Gillian’s script and started getting into David’s head and started to live vicariously through these characters and the mental chess games they play with each other and the emotional roller coaster they are on, the question became how can the visuals support this deep, dark journey?” explains Cronenworth. “We felt an obligation to visually immerse the audience in the fullest possible way into Gillian’s world.”
As for how camera and lighting become complicit in creating doubt and suspicion in a film where faux facades proliferate, Cronenworth says: “You look for ways to take a traditional, mundane small town and a couple’s impersonal home and subtly transform them into something mysterious.”
Filming took place in Cape Girardeau, a quaint Missouri River town a little over 100 miles outside St. Louis, which stands in for Nick’s downturned hometown of Carthage. Donald Burt notes that the location offered a lot of advantages. “Everything about Cape Girardeau was right – from its mix of different levels of economics and period architectures from the 60s, 70s and 80s to its sprawling malls to having the river right there as an anchor,” says the designer. “The people there were also so kind and so helpful. It shone a light on their remarkable generosity.”
Cronenworth was equally intrigued by the contours of Cape Girardeau in creating Carthage. “Carthage is much like many one-time prosperous towns across America where a highway came in and a few big box stores went up and suddenly the economic opportunities have moved down the road,” he describes. “I saw Carthage as a kind of a dusty old wedding gown that’s been kept in the closet. It still has a natural beauty and allure to it – but it hasn’t really been taken out and used for years.”
Practical locations were commandeered to hone in on this portrait. Burt explains, “With David it’s always about restraint but also finding things that are just a little bit off center. The idea is both ‘let’s keep it simple’ and yet ‘let’s keep it complex.’ We also make a concerted effort to constantly question ourselves; David often asks ‘do you think the characters would be in this place?’ And we explore things in that way, always through the characters.”
Adds Cronenworth: “I think David and Don and I all feel that the less we make obvious fingerprints, the more people are immersed in the atmosphere.”
Perhaps the most essential location was the Dunnes’ home, a rented McMansion in an affluent subdivision. Though shiny and new, shadows prevail within. “The Dunne’s house was all about taking a normal, ordinary domestic situation and turning it into an isolated fortress with the blinds drawn down,” Cronenworth explains. “From small details comes that sense of disenchantment.”
Burt and his team took a lot of care finding just the right house. “The house wasn’t too grand, yet it was large enough that two people could feel there was both closeness and at the same time a kind of separateness — the unspoken ‘don’t enter my space, I won’t enter yours.’ We wanted it to feel vacuous yet have layers,” the designer says. “It evoked the feeling of a McMansion without being disturbingly vulgar. We liked that it had classical elements, so that some of the wood in the Carthage house echoes their more historical townhome in New York but in a skewed way. It’s as if the house yearns to be traditional… but the hardware and the light fixtures and the vinyl windows give it away.”
The production lucked out in finding Desi’s lavish lakehouse nearby. “We found this spectacular home by a Frank Lloyd Wright student and it was just perfect. It felt remote but it spoke to money and yet it had a certain kind of prison quality,” Burt says.
One of the film’s literally darkest scenes takes place in an abandoned Missouri mall that has become a kind of mecca of the disenfranchised. Those sequences were shot in Los Angeles, using an abandoned Montgomery Ward store for the exteriors and the vast Hawthorne Mall for the interiors. “We dressed it with all this broken drywall and old dilapidated planters that you find in malls. We actually did a lot research on abandoned malls, because there are a lot across America,” says Burt. “There’s an apocalyptic feel – like there’s another, darker world underneath what you see in Carthage.”
For Cronenworth, it was a favorite location because of its challenges. “The scale was daunting in that you can see down 3 floors and 300 feet in each direction – and we wanted it all lit mostly with flashlights and bonfires,” he says. “It was one of the film’s most interesting photographic challenges. We wanted the scene to embrace that kind of catacombs feeling.”
Both men have found their work with Fincher deepening. Says Cronenworth: “I would say the main thing that has changed over the years is our ability to sleep a little more comfortably at night. We’re more decisive and efficient, which makes things just a little easier. But one thing that has stayed the same is that I go away every day on his films feeling like I’ve learned something.”
Burt has a similar take on their long-lived collaboration. “I’d like to think there’s a shorthand when you work with somebody enough – but I truly try to approach each project as a completely fresh experience, and this one was,” he says. “What strikes me most about David’s films is that there are so many elements that only hit you peripherally on first viewing, then later really sink in. It’s so often not the element that’s right in front of your face that is key and that is his unique artistry.”
The Sound of Gone
For the music that provides a surging undertow to Gone Girl, David Fincher returned again to work with Trent Reznor and Atticus Ross, who in addition to collaborating on Nine Inch Nails’ albums, together composed the scores for The Social Network and The Girl With The Dragon Tattoo. They have become valued partners in producing scores as atmospheric and assaultive as Fincher’s direction.
Reznor notes that the way they work with Fincher is something more instinctive and unstructured than conventional composition – and that these altered means lead to a different kind of result. “We’ve learned working with David over the last couple of films to deploy a strategy that, really by chance, became the right way to do things,” Reznor explains. “It all starts with spending as much time as we can trying to extract from David the role he envisions the music playing in the film.”
On Gone Girl that meant starting with the film’s time and place amidst economic and social transitions. “We talked about the promise of the Midwest and what’s happened to that part of the American Dream, with all these foreclosed mega-mansions and downtowns that are being abandoned. We talked about the idea that this is a story about people presenting themselves to the world as they wish they could really be, at the same time that things around them are curdling,” Reznor says. “From that came the discussion of what palette of sounds, what instrumentation, what colors on the easel could create that. We wanted the sound to be distressed – where everything feels a little beaten up.”
A typically, Reznor and Ross compose conceptually long before they ever see reels of the film, continuously honing the score as the final film comes together. It’s a time-consuming, creatively daunting process, but one that can lead down unexpected alleys. “We work almost subconsciously based often just on textures and swatches,” Reznor delineates. “After a few weeks of working this way, we’ll turn in some music to see if what we are doing is resonating with what is in David’s head. It probably takes about 30 times as long to work in this way but it’s what feels right.”
The kick-off point for the music was the kind of softly benign strains you might hear whilst on a spa massage table. “We thought, what if we start with something almost grotesquely sweet and then reveal what’s under that surface,” Reznor says. “We incorporated spa-like moments, but then explored how to make them turn unpleasant, to peel off the layers so you feel the unraveling.”
Reznor continues: “In terms of the palette of sounds what’s unique on this one is that we used a more organic, less synthetic soundscape. We didn’t want it to feel too slick so we used a lot of interesting homemade equipment. There are moments where the rhythm is just me tapping on a wooden box so it feels repetitive but drifts around a bit like a human heartbeat.”
As for why he and Ross keep coming back to work with Fincher, Reznor says: “We’ve had such magical, inspirational and artistically rewarding experiences with him that it spoils you,” he says. “You realize how rare it is for really great films to pop up.”
Ultimately, over time, the music became a uniting thread weaving through all the other elements. “There was a moment when we turned in a batch of material and we got that sense of excitement from David and Kirk that we’d zeroed in on something that helped inspire them to tie the whole movie together. It’s like that moment when you’re recording and it coalesces into a true album and no longer just a collection of songs.”
Directed by: David Fincher
Starring: Ben Affleck, Rosamund Pike, Neil Patrick Harris, Carrie Coon, Kim Dickens, Lisa Banes, Missi Pyle, Casey Wilson, Sela Ward
Screenplay by: Gillian Flynn
Production Design by: Donald Graham Burt
Cinematography by: Jeff Cronenweth
Film Editing by: Kirk Baxter
Costume Design by: Trish Summerville
Set Decoration by: Douglas A. Mowat, Gena Vazquez
Music by: Trent Reznor, Atticus Ross
MPAA Rating: R for a scene of bloody violence, some strong sexual content / nudity, and language.
Studio: 20th Century Fox
Release Date: October 3, 2014
Taglines: Before The Conjuring, there was Annabelle.
John Form has found the perfect gift for his expectant wife, Mia – a beautiful, rare vintage doll in a pure white wedding dress. But Mia’s delight with Annabelle doesn’t last long. On one horrific night, their home is invaded by members of a satanic cult, who violently attack the couple. Spilled blood and terror are not all they leave behind. The cultists have conjured an entity so malevolent that nothing they did will compare to the sinister conduit to the damned that is now… Annabelle.
New Line Cinema’s supernatural thriller “Annabelle” begins before the evil was unleashed. She terrified you in “The Conjuring,” but this is where it all began for Annabelle. Capable of unspeakable evil, the actual doll exists locked up in an occult museum in Connecticut — visited only by a priest who blesses her twice a month.
Annabelle is an American supernatural horror film directed by John R. Leonetti, produced by James Wan, and written by Gary Dauberman. It is both a prequel to and spin-off of The Conjuring. The film stars Annabelle Wallis, Ward Horton, and Alfre Woodard. The film was released worldwide on October 3, 2014. Annabelle premiered at the TCL Chinese Theatre in Hollywood, Los Angeles, on September 29, 2014.
About the Story
The film starts with the same opening scene from The Conjuring, in 1968, in which two young women and a young man are telling Ed and Lorraine Warren about their experiences with a doll called Annabelle they believe to be haunted.
In 1967, John and Mia Form are expecting their first child. John gives her a doll that she has been trying to find. Mia loves it and puts it with the rest of her doll collection, saying that she “fits right in”. At night, Mia hears a murder occurring at their neighbours, the Higgins’, and is attacked by a woman holding the doll and a male accomplice. John and the police arrive and kill the man while the woman kills herself. She leaves a bloody symbol drawn on the wall and a drop of her blood falls on the face of the doll in her arms. A news report shows that the assailants were Annabelle Higgins and her boyfriend. They had murdered her parents and are said to have been part of a satanic cult.
Thinking the doll is involved with the mysterious happenings, Mia asks John to throw it away. Later, Mia gives birth to a healthy baby girl named Lea. The family moves into a new apartment. Mia unpacks her dolls and finds the one which they had thought discarded, now known as Annabelle.
As expected, more strange activity plagues Mia and her new baby. She contacts the detective, who informs her of Annabelle and her boyfriend’s history in a cult that seeks to summon a demon by claiming a soul. Mia goes to a bookstore run by a woman named Evelyn and determines from a book that the presence haunting her wants Lea’s soul. The couple contacts their church’s priest, Father Perez, who takes the doll with him to church.
The ghost of Annabelle attacks him with a demonic-looking creature, and the doll disappears. Evelyn tells Mia that she had a daughter named Ruby that was around Mia’s age when she died in a car accident caused by Evelyn. She was so distraught and guilt-ridden that she attempted suicide. However, she claims to have heard Ruby’s voice telling her it wasn’t her time.
Perez warns John that it was indeed Annabelle’s spirit that caused his injuries, and that she will take a soul that night. John rushes to warn Mia. In the apartment, the demonic presence pushes Evelyn out of the apartment and taunts Mia. Mia attempts to kill Annabelle and the demon then asks for Mia’s soul instead. John and Evelyn break open the door to find Mia ready to jump out the window with Annabelle in her hands. John saves Mia; Evelyn takes hold of Annabelle and decides to make the sacrifice, knowing this is the way she can atone for Ruby’s death. She jumps out of the window and is shown at the bottom of the apartment building, dead next to Annabelle. Lea is then found safe and sound in her crib.
Six months later, the Forms have moved on and have not seen Annabelle since then. Elsewhere, the mother of one of the girls in the opening scene purchases Annabelle as a gift for her child. The ending text states that the real Annabelle doll resides in a case in Ed and Lorraine Warren’s museum and that it is blessed by a priest twice a month to keep the public safe from the evil that still resides in the doll.
Directed by: John R. Leonetti
Starring: Annabelle Wallis, Ward Horton, Alfre Woodard, Eric Ladin, Kerry O’Malley, Shiloh Nelson
Screenplay: Gary Dauberman
Cinematography by: James Kniest
Film Editing by: Tom Elkins
Costume Design by: Janet Ingram
Set Decoration by: Lia Roldan
Music by: Joseph Bishara
MPAA Rating: R for intense sequences of disturbing violence and terror.
Studio:: New Line Cinema
Release Date: October 3, 2014
Taglines: The End of the World has only just begun.
Left Behind follows Rayford Steele (Nicolas Cage) who is piloting a commercial airliner just hours after the Rapture when millions of people around the globe simply vanish. Thirty thousand feet over the Atlantic, Rayford is faced with a damaged plane, terrified passengers, and a desperate desire to get back to his family. On the ground, his daughter, Chloe Steele (Cassi Thomson) is among those left behind, forced to navigate a world of madness as she searches for her lost mother and brother.
Left Behind is an American apocalyptic thriller film directed by Vic Armstrong and written by Paul LaLonde and John Patus. The film is based on the novel of the same name written by Tim LaHaye and Jerry B. Jenkins, and is a reboot of Left Behind: The Movie. The film was released on October 3, 2014 and was panned by critics.
About the Story
University of Central Arkansas student Chloe Steele has flown in from college to surprise her father, pilot Rayford Steele, for his birthday party. Her mother Irene Steele quickly calls to inform her, however, that her father cannot make it. While at the airport waiting for him, Chloe meets up with investigative reporter Cameron “Buck” Williams.
Rayford shows up on his way to a flight and apologizes to Chloe for missing her birthday party, insisting he was called in to pilot a flight to London at the last minute. He also assures Chloe things are fine between himself and his wife, who recently had become an active believing Christian, much to Chloe’s disgust.
Chloe suspects things are not fine between her father and mother – she had seen him flirting with flight attendant Hattie Durham and notices he has removed his wedding ring. Her suspicions soon are confirmed when an airport worker hands Chloe two hard-to-get theater tickets in London that Rayford had ordered, indicating his trip to London and possible extramarital fling was planned all along.
Chloe brushes off another one of her mother’s preachings about Christianity and takes her brother to the mall. While there, her brother suddenly vanishes, leaving only his clothes behind. Chloe is shocked and notices this same thing has happened to numerous others at the mall. Mayhem breaks loose as shoppers begin looting the stores. A driver-less car plows through the mall windows, and a small plane without a pilot crashes in the mall parking lot. Chloe sees television reports of children and some adults disappearing, as worldwide panic sets in.
On Rayford’s flight, the same strange event has occurred – several people, including his co-pilot Chris Smith, Kimmy, one of the flight attendants, and all the children on board, have simply disappeared, leaving their clothing and personal effects behind. The remaining passengers panic and demand answers. Rayford does his best to reassure the passengers he will pass on information once he has any. Rayford has difficulty getting radio or satellite phone contact with anyone on the ground, until he is finally informed that people have disappeared everywhere and the world is in uproar. Soon a pilot-less jet approaches directly into Rayford’s flight path. He narrowly avoids a midair collision but the jet damages Rayford’s fuel line. He decides his only option is to return to New York and hope his fuel holds out.
On the ground, Chloe hears her father’s Mayday call on her cell phone and assumes his plane has crashed. She later finds her mother’s jewelry left behind in the shower, as she has also disappeared. Chloe makes her way to New Hope Church to discover the family pastor Bruce Barnes who explains God has taken his believers to heaven, and the rest have to face the end of days. The pastor explains he was not taken because he didn’t really believe what he had preached. Rayford comes to the same conclusion by examining his copilot and stewardess’ personal effects. He tells Hattie the truth about his wife. She is initially upset as she didn’t know he was married, but Rayford convinces her to be brave and to help calm the passengers down until they can safely land.
Directed by: Vic Armstrong
Starring: Nicolas Cage, Cassi Thomson, Chad Michael Murray, Lea Thompson, Nicky Whelan, Martin Klebba, Jordin Sparks, Stephanie Honoré, Laura Cayouette, Ashton Leigh
Screenplay by: Paul LaLonde, John Patus
Production Design by: Stephen Altman
Cinematography by: Jack N. Green
Film Editing by: Michael J. Duthie
Set Decoration by: Barbara Haberecht
Art Direction by: Jeremy Woolsey
Music by: Jack Lenz
MPAA Rating: PG-13 for some thematic elements, violence/peril and brief drug content.
Studio: Samuel Goldwyn Films
Release Date: October 3, 2014
Taglines: Miracles are made by people who refuse to stop believing.
They were known simply as “The Lost Boys.”Orphaned by the brutal Civil war in Sudan that began in 1983, these young victims traveled as many as a thousand miles on foot in search of safety. Fifteen years later, a humanitarian effort would bring 3600 lost boys and girls to America. In “The Good Lie,” Philippe Falardeau, (writer and director of the Oscar®- nominated Foreign Language film “Monsieur Lazhar”) brings the story of their survival and triumph to life. Sudanese actors Arnold Oceng, Ger Duany, Emmanuel Jal, and newcomer Nyakuoth Weil, many of whom were also children of war, star alongside Academy Award® winner Reese Witherspoon and Corey Stoll.
The Good Lie is an American drama film written by Margaret Nagle, and directed by Philippe Falardeau. Filmed in Atlanta, Georgia, and South Africa, the film stars Reese Witherspoon, Arnold Oceng, Ger Duany, Emmanual Jal, Corey Stoll, and Sarah Baker. The film, which is based on real-life events, features Witherspoon as a brash American woman who helps four young Sudanese refugees (known as Lost Boys of Sudan) after they win a lottery for relocation to the United States. It was screened in the Special Presentations section of the 2014 Toronto International Film Festival before being released on October 3, 2014.
The Good Lie
Directed by: Philippe Falardeau
Starring: Reese Witherspoon, Corey Stoll, Sarah Baker, Emmanuel Jal, Arnold Oceng, Lindsey Garrett, Kuoth Wiel
Screenplay by: Margaret Nagle
Production Design by: Aaron Osborne
Cinematography by: Ronald Plante
Film Editing by: Richard Comeau
Costume Design by: Suttirat Anne Larlarb
Set Decoration by: Melinda Launspach, Melinda Sanders
Music by: Martin Leon
MPAA Rating: PG-13 for thematic elements, some violence, brief strong language and drug use.
Studio: Warner Bros. Pictures
Release Date: October 3, 2014
Each night, when Ben falls asleep, his Crayons jump into their magical Crayon Box that transports them to their home in Color City, a world of dazzling hues, soaring fantasy and the whimsy of childhood. This land is fed by an enchanted rainbow and waterfall that provides the City and its citizens with color.
When YELLOW, our timid heroine, is accidentally left behind in Ben’s room, she inadvertently awakens two Unfinished Drawings: KING SCRAWL, a huge, powerful, mute monster — and GNAT, Scrawl’s motor-mouthed, overactive sidekick. In search of color for themselves, they follow Yellow to Color City, causing panic and concern. If Scrawl and Gnat can claim the waterfall for themselves, Color City will fade, and along with it, our lovable crayon characters will disappear.
It’s up to Yellow and a motley crew of Crayons, bodacious and brave, BLUE, meticulous, fussy GREEN, satirical RED, pessimistic BLACK and overanxious WHITE to save the day. Meeting with fantastical creatures and fun adventures along the way, Yellow discovers she has more courage and strength than she knew and learns to believe in herself and to count on the support of her friends. Replete with valuable life lessons, this enchanting story will entertain and inspire in a stunningly rendered and utterly unique animated world.
About the Production
The Hero of Color City is an original production by Exodus Film Group. Founded in 2001 by John D. Eraklis and Delbert Whetter, the Venice, CA based company started out doing VFX and work for hire engagements while searching for original IP to produce.
The Hero of Color City was brought to John by his college friend Mick McCormick. John and Mick were good friends in the theater department at the University of Rhode Island. Mick hounded John to read a script written by his brother about a box of crayons that came to life.
The script sat on the shelf unread for several months but Micks persistence finally convinced John to read the draft. To his pleasant surprise, it was fun and well-written with great characters and witty dialogue and a heartfelt message about the power of a child’s imagination.
It was about this time that John had partnered with seasoned animation veteran Max Howard on the animated feature, Igor. Max shared John’s enthusiasm for the film but felt it could use the benefit of some additional writers. After several different teams of writers, John felt the script was strong enough to begin to approach distributors. It was around this time that Magnolia began making waves in the motion picture distribution space with its groundbreaking day-and-date release model by releasing content in theaters and on VOD/home video simultaneously.
Considering The Hero of Color City is geared to a very young audience, Magnolia’s day-and-date release model was particularly appealing. Many of these younger kids aren’t ready to sit through a feature length film in the theaters and, even if they do, they want to watch the film again almost immediately. Exodus knew that by partnering with Magnolia they could allow parents to access the film on multiple platforms almost immediately.
John brought the project to Tom Quinn and Eamonn Bowles in Cannes of 2006 and they jumped onboard. It was on the flight home from that Cannes that John overheard a young actress talking to a fellow passenger and thought “that’s our Yellow!” It was Christina Ricci. Soon after arriving back in Los Angeles, she accepted the role.
After a false start with production in 2008, the film resumed in earnest in the fall of 2012. Exodus had partnered with an up and coming Indian based animation studio called Toonz. Although this was to be their first US theatrical feature, Toonz had demonstrated the ability to deliver high quality animation. This, coupled with the addition of animation veteran Frank Gladstone as director, assured the look of the film would be of the highest caliber for a movie geared towards a younger audience.
The next challenge would be the music. Original songs and score play and integral part in animation and The Hero of Color City is no exception. John’s close friend and world-renowned composer Basil Poledouris had passed away, leaving a void in the production. It was at this time that Exodus reached out to Basil’s daughter, Zoë Poledouris-Roché, and her husband Angel Roché Jr. Zoe had been working with her father since she was a child. At the age of 9, one of her melodies was featured in the film Conan the Barbarian. However this would be the first time that Zoë and Angel would be entrusted with a theatrical feature. They rose to the challenge, and the score and original songs for this film are nothing short of fantastic.
In keeping with Exodus’ tradition of partnering with philanthropic organizations and missions in connection with its animated films, John joined with Sheila Michail Morovati, founder of the Crayon Collection, to promote and raise awareness of the Crayon Collection’s global initiative to repurpose and donate gently used crayons to elementary schools and organizations that help children in need.
Owen Wilson and Jessica Capshaw, supporters of the Crayon Collection, lent their voices to characters in the film and appear in a special PSA that Exodus / Toonz produced to benefit the charity that will appear at the end of the film and in marketing initiatives, with the hopes of raising national awareness and to further expand the program across the country.
The Hero of Color City
Directed by: Frank Gladstone
Starring: Christina Ricci, Owen Wilson, Rosie Perez, Elizabeth Daily, Jessica Capshaw, Tara Strong
Screenplay by: Jess Kedward, J.P. McCormick
Production Design by: Philip A. Cruden
Animation Department; Erin Humiston
Editorial Department: Josh Gladstone
Music Department: Erik Brena
Music by: Zoë Poledouris, Angel Roché Jr.
MPAA Rating: G for all audiences.
Studio: Magnolia Pictures
Release Date: October 3, 2014
Taglines: What do you see when you look at me?
In The Equalizer, Denzel Washington plays McCall, a former black ops commando who has faked his death to live a quiet life in Boston. When he comes out of his self-imposed retirement to rescue a young girl, Teri (Chloe Moretz), he finds himself face to face with ultra-violent Russian gangsters. As he serves vengeance against those who brutalize the helpless, McCall’s desire for justice is reawakened. If someone has a problem, the odds are stacked against them, and they have nowhere else to turn, McCall will help. He is The Equalizer.
The Equalizer is an American thriller film directed by Antoine Fuqua and written by Richard Wenk, based on the television series of the same name. The film stars Denzel Washington, Marton Csokas, Chloë Grace Moretz, David Harbour, Melissa Leo, Haley Bennett, and Bill Pullman.
Principal photography began in June 2013 on location and took place in different cities of Massachusetts. This was the first film to have Village Roadshow Pictures co-finance the deal with Sony Pictures Entertainment since Saving Silverman in 2001. The film was premiered at 2014 Toronto International Film Festival on September 7, 2014, and released worldwide on September 26.
About the Story
Robert McCall (Denzel Washington) is a retired black ops government operative who lives in Boston, Massachusetts and works at a Home Mart hardware store, where he befriends many of his co-workers and also tries to help a security guard trainee named Ralphie pass his qualification exam. McCall has promised his recently deceased wife that he’d leave his old life behind, but is compelled to act after his teenage friend Teri (Chloë Grace Moretz) whose real name is Alina, was seen being mistreated by her pimp. Alina’s life was destroyed at the age of five or six when she was a victim of sex trafficking by the Russian Mafia and then became their sex slave and forced into prostitution.
Robert vows to save her after she is hospitalized after being brutally beaten by her pimp, Slavi (David Meunier). McCall enters a restaurant owned by the Russian mob and tries to convince Slavi to release Alina by paying him $9800, but Slavi refuses. McCall pretends to walk away, but turns back and takes out Slavi and his men with their own weapons, removing the footage from all the security cameras.
In retaliation, Vladimir Pushkin (Vladimir Kulich) sends his enforcer Teddy (Marton Csokas) to Boston to find and eliminate the culprit. Meanwhile, Ralph withdraws his application for being a security guard at Home Mart to help out his mother at his family restaurant, which was set on fire by corrupt policemen as an act of extortion. McCall confronts the corrupt policemen and forces them to pay back all the money they have gotten through extortion. Ralph passes his test and becomes a security guard at Home Mart.
Teddy determines McCall is the culprit; surprised by his skills, Teddy tries to capture him to use those skills instead of killing him. McCall, however, outsmarts his pursuers and escapes, while completing more acts of vigilantism. McCall visits fellow retired operatives Susan Plummer (Melissa Leo) and Brian Plummer (Bill Pullman) in Virginia, who help him acquire intelligence on Pushkin’s activities. It is revealed that Teddy is ex-Spetnaz, and that his real name is Nikolai. After McCall leaves, Susan remarks to Brian that McCall was not actually looking for help, but was actually asking for permission.
McCall then captures Frank Masters (David Harbour), a corrupt Boston policeman who has been aiding Teddy, by trapping him in his car and threatening to flood the vehicle with carbon monoxide. Frank relents and helps McCall destroy one of Pushkin’s money laundering operations in Boston. Later, McCall confronts Teddy at dinner; McCall pledges to bring Pushkin’s empire down, and soon destroys a container ship used by Pushkin to smuggle goods. Unsatisfied with Teddy’s lack of progress and his increasing monetary losses, Pushkin warns Teddy he can either kill McCall or not come home to Moscow.
In retaliation, Teddy and his men attack Home Mart and take Ralph and the workers of Home Mart hostage, threatening to kill them if he does not surrender. McCall enters the store and disables most of the lighting, tells Ralph to get the hostages to safety, and then kills Teddy’s henchmen one by one. After a struggle between McCall and one of Teddy’s men, Ralph comes back to help McCall, but is shot in the leg. McCall tells Ralph to turn on the electricity after an exact time of 40 seconds. McCall sets up a number of chemicals in a microwave; the electricity turns it on, causing an explosion that kills the last of Teddy’s men. McCall finally kills Teddy with a nail gun.
Directed by: Scott Frank
Starring: Denzel Washington, Marton Csokas, Chloë Grace Moretz, David Harbour, Haley Bennett, Bill Pullman, Melissa Leo
Screenplay by: Richard Wenk
Production Design by: Naomi Shohan
Cinematography by: Mauro Fiore
Film Editing by: John Refoua
Costume Design by: David C. Robinson
Set Decoration by: Leslie E. Rollins
Music by: Harry Gregson-Williams
Studio: for strong bloody violence and language throughout, including some sexual references.
Studio: Sony Pictures
Release Date: September 26, 2014
Taglines: A little money changes everything.
Young American couple Tom and Anna Reed (James Franco and Kate Hudson) fall into severe debt while renovating Anna’s family home in London. As the couple faces the loss of their dream to have a house and start a family, they discover that the tenant in the apartment below them has been murdered and he left behind a stash of cash—$400,000 worth. Though initially hesitant, Tom and Anna decide that the plan is simple: all they have to do is quietly take the money and use only what’s necessary to get them out of debt. But when they start spending the money and can’t seem to stop, they find themselves the target of a deadly adversary—the thief who stole it—and that’s when very bad things start happening to good people.
Good People is an American drama thriller film directed by Henrik Ruben Genz and written by Kelly Masterson, based on a 2008 novel of same name written by Marcus Sakey. The film stars James Franco, Kate Hudson, Omar Sy, Tom Wilkinson and Sam Spruell. The film’s shooting began on 1 June 2013 at Shepperton Studios and also filmed in London. Franco and Hudson were spotted filming a scene in London on 2 July. The film was released in select theaters and on demand on 26 September 2014.
Good People Review
Despite the proverbial suggestion of the title, bad things mostly happen to less-than-upstanding citizens in “Good People,” a capable crime caper that nonetheless disappoints, considering the flavorful talent involved. With off-kilter Danish genre specialist Henrik Ruben Genz (“Terribly Happy”) making his English-language debut from a script by “Before the Devil Knows You’re Dead” writer Kelly Masterson, it’d be reasonable to expect a few more blackened twists in the tale of a hard-up Yank couple (James Franco and Kate Hudson) dragged into the Cockney underworld after pocketing a stash of dirty money from their deceased tenant. Both stars are in agreeable if uncharacteristically muted form, doing little to distinguish Genz’s pic from any amount of formula-following filler in the same B-movie ballpark; commercially, “VOD People” is the more apt moniker for this multi-platform release.
If nothing else, “Good People” serves as a relatively novel entry in Franco’s wilfully unpredictable filmography: There’s a tendency among critics to refer to his more eccentric characterizations as feats of performance art, yet the affably weak-willed, plaid-clad everyman he plays here seems further outside his wheelhouse than most roles he takes on. The last time we saw Franco in this kind of pulpy programmer — last year’s Jason Statham vehicle “Homefront” — he was on methed-up, reptilian villain duty, and he’s having visibly less fun as the ostensible hero here. Still, with his affectations on hold, he projects the imperfect, fidgety decency of a John Garfield — not a bad match for material that at least nods to transplanted James M. Cain-style noir before taking off on an absurd action tangent.
In fact, Masterson’s screenplay is based on a 2008 novel by Chicago-based author Marcus Sakey, who specializes in blue-collar crime narratives set in and around his hometown. For reasons of funding, presumably, the film relocates the narrative to London, with Franco and Hudson as Windy City emigres Tom and Anna Wright, trying their luck in the British capital’s oversubscribed property development racket.
The switch should work well enough, placing this ordinary pair even further out of their element when the chips are down, but is incompletely imagined: The London criminal world here isn’t even recognizable from the Cockney cartoons of Guy Ritchie. Only a tonier accent separates Tom Wilkinson’s dogged vice detective from a stock Hollywood gumshoe; a wood-paneled fleabag motel that serves as a temporary sanctuary to the couple feels more New Mexico than New Cross.
Quite why the Wrights, seeking a fresh start after losing everything in the U.S. economic crisis, chose to do so in one of the world’s most expensive cities is one of the film’s deeper mysteries. In a token nod to realism, they’re at least paying the price: Construction manager Tom has romantic dreams of renovating a derelict family property outside the city center, but it’s proving a financial sinkhole, while broody schoolteacher Anna requires IVF treatment that is beyond the couple’s means. Threatened with eviction from their South London apartment, they receive a dubious gift from the gods when their shady sublet tenant Ben (Francis Magee) is found dead downstairs, with £220,000 in cash secreted in his studio.
Desperately reasoning that money is only made bad by those in possession of it, they hide the loot from suspicious cop Halden (Wilkinson, coasting through), who’s on the trail of the cross-Channel drug ring double-crossed by Ben. It’s not long before Tom and Anna are pinpointed by deranged Limey gangster Jack (Sam Spruell) and an urbane Parisian dealer (“The Intouchables” star Omar Sy) who goes by the unprepossessing name of Genghis Khan.
The ensuing cat-and-mouse chase is swiftly paced but markedly short on surprises, culminating in an inevitable showdown at Tom’s rickety building site that plays like an especially grisly round of “Home Alone” for grown-ups. Between this and Antoine Fuqua’s simultaneously released “The Equalizer,” DIY power tools appear to be the good guys’ new weapons of choice — a down-home solution one might count as a marginal victory for the gun control lobby. “Guns are for pussies,” spits Hudson, in by far her feistiest moment of the film.
Tangy dialogue is in generally short supply, with the regional idiom barely in evidence. Sy gets the script’s most amusingly odd riff, channeling his historical namesake as he muses on his expanding criminal empire, but the charismatic Frenchman is otherwise given little to do but pick his teeth with sinister poise. Anna Friel is even more egregiously wasted in a throwaway best-friend role, though the film isn’t particularly beholden to its leads either. Franco and Hudson (a more inquisitive, empathic dramatic actress than is generally recognized) have a comfortable, unfussy chemistry together, and make some effort to probe the moral ambiguities of the script. They can’t, however, do much to enliven characters whose most distinctive quirk is their icky shared euphemism for sex — “sushi night,” incidentally.
Working outside his native tongue, Genz’s taste for semi-absurdist deadpan comedy doesn’t get much of an airing here. He does, on the other hand, bring a modicum of frowzy visual panache to proceedings, with an assist from Danish d.p. Jorgen Johansson’s rainy-day lensing and the tinnily thin, peelingly papered walls of Kave Quinn’s production design. In a film already experiencing some transatlantic identity issues, the helmer’s imprint of Scandi-noir style hardly feels out of place.
Directed by: Henrik Ruben Genz
Starring: James Franco, Kate Hudson, Tom Wilkinson, Anna Friel, Omar Sy, Diarmaid Murtagh, Diana Hardcastle, Oliver Dimsdale
Screenplay by: Kelly Masterson, Marcus Sakey
Production Design by: Kave Quinn
Cinematography by: Jørgen Johansson
Film Editing by: Paul Tothill
Costume Design by: Keith Madden
Set Decoration by: Niamh Coulter
Music by: Neil Davidge
MPAA Rating: R for bloody violence and language.
Studio: Millennium Entertainment
Release Date: September 26, 2014
Taglines: Before love. After sex.
A no-strings-attached, online hook-up turns into a morning-after disaster for twenty-something New Yorkers Megan (Analeigh Tipton) and Alec (Miles Teller). When a paralyzing blizzard hits the city trapping them in Alec’s cramped Brooklyn apartment, they are forced to get to know each other far beyond the confines of a typical one-night stand. Marking the directorial debut of Max Nichols, Two Night Stand is a sexy, romantic comedy about finding love in the digital age.
Months after graduating from college Megan is unemployed, unattached and unable to get off the couch. Heartbroken by the collapse of her wedding engagement, she considers internet romance with limited interest. But following a chance encounter with her ex (Josh Salatin) and his new girlfriend (Kellyn Lindsay) – and egged on by her roommate Faiza (Jessica Szohr) and her boyfriend Cedric (Scott Mescudi, aka Kid Cudi) – Megan boldly propositions Alec, a cute and funny guy she meets online, inviting herself to his apartment for her first ever one-night-stand. After a calamitously unromantic morning after, she tries to make a discreet exit only to discover that the city has been pulverized by a record-breaking snowfall that shows no sign of letting up.
Unable to leave the building, she sheepishly takes shelter with an equally mortified Alec. Forced to spend another day and night together, Megan and Alec’s first real face-to-face conversation veers from banter to bickering and back, as the provocative chemistry that lit up their online introduction quickly reignites. While rating each other’s erotic IQs, they realize they have a unique opportunity for a hands-on learning experience that inevitably leads them to a very adult snow day.
Two Night Stand is a romantic comedy film directed by Max Nichols and written by Mark Hammer. The film stars Miles Teller, Analeigh Tipton, Jessica Szohr, Leven Rambin and Scott Mescudi. On November 10, 2013 it was announced that there were two offers for the rights of the film in the US. Entertainment One acquired the rights to distribute the film in the US on November 21, 2013, for a release in 2014.
About the Story
Megan is unemployed and single, and one day she joins a dating website. After a bouncer refuses to let her into a club on the grounds that she is too young, she meets her ex, Chris, and decides to have a one night stand with one of the men she saw on the website, Alec. The next morning, they are less than cordial to each other, but Megan can’t leave because of a blizzard. Forced to spend more time together, the two end up telling each other what they did wrong the previous night, convinced that they will never see each other again, and Megan suggests that they “try again”.
Afterwards, Megan discovers a closet full of women’s clothes, and pictures of Alec with a girl. She finds out that Alec’s girlfriend, Daisy, had written a note to him, saying that she wanted to break up, but hadn’t given it to him, but he had found it accidentally. Alec wanted to have something to rub in her face when she broke up with him, and so he had joined the dating website. Angry, Megan leaves. When Daisy returns, she finds a note that Megan had scribbled, and she and Alec exchange the notes that they had found, and they break up.
At a New Year’s Eve party, Megan is arrested because the same note was found in Alec’s neighbor’s apartment, which the two had broken into earlier. Alec pays bail, but Megan refuses to see him or even leave the holding cell. Later, when her roommate comes to pay bail, Alec apologizes, saying that he didn’t know her last name and that this was the only way he thought he could see her again.
The film follows two people who meet online and are forced to extend their one-night stand because of a snowstorm. Perhaps surprisingly the plot would eventually mirror a natural disaster the production faced once it became time to shoot.
“The script was one out of a hundred where I thought, ‘I have to do this movie,’” said Nichols, a veteran director of music videos and son of Oscar-winning director Mike Nichols and novelist Annabel Davis-Goff. “I was intrigued from the very premise. The characters are smart and funny, but the story digs much deeper…It reminded me of coming-of-age stories from my youth.”
Nichols read the script, which appeared on the Blacklist in December, 2011, and pitched his vision of the story to producers Beau Flynn, Ruben Fleischer and Adam Yoelin. “I was shooting a Willie Nelson video in Austin, TX in May 2012 and got a call that I [was on board],” said Nichols. “We immediately started casting the film and were lucky to have a lot of talented actors and actresses who were interested, but there was something about Analeigh [Tipton’s] ‘Megan’ that caught my attention.”
Nichols said it was “essential” that her character’s ‘date’ Alec understand that “he’s never met a girl like her and can’t let her go.” Miles Teller joined the cast soon afterward as Alec and the rest of casting was completed in late summer.
About Analeigh Tipton
Watch for the brunette who drops robe in a room decorated with kitten posters in the trailer for Glenn Ficarra and John Requa’s new dysfunctional relationship comedy Crazy, Stupid, Love. She’s 22-year-old newcomer Analeigh Tipton, a luminous screwball presence in the star-crossed ensemble cast that includes Steve Carell, Ryan Gosling, Emma Stone, Julianne Moore, and Kevin Bacon who plays a gangly teenage babysitter awkwardly enamored with Carell’s character while also being the object of his 13-year-old son’s affections.
Growing up, Tipton was a competitive figure skater, and spent much of her youth shuttling between her family’s home inFolsom, California, and various training facilities out west, including the Olympic center in Salt Lake City, but her pairs dreams were quickly dashed when she shot up to five feet nine inches tall at the age of 16. Nevertheless, another path to international fame opened up when she was spotted on MySpace by a scout for America’s Next Top Model.
She appeared on 2008’s Cycle 11 of the reality-competition show for aspiring CoverGirls, where she may have learned a thing or two about outsize personalities during her time spent “smizing” (that’s smiling with your eyes) while suspended in couture from a ship’s rigging before she was eliminated after flubbing a commercial try.
Ford signed Tipton anyway, but her fledgling career didn’t exactly begin with a bang. “The life of a working model in L.A. kind of sucks,” she says. “I was doing a lot of Internet T-shirt modeling—chin down–type things for hours on end.” But after scoring a walk-on role opposite Seth Rogen—as a character originally dubbed “Hot Girl”—in Michel Gondry’s The Green Hornet, Tipton landed her spot in Crazy, Stupid, Love.
She will also star this fall in talky cult satirist of East Coast ennui Whit Stillman’s upcoming Violet Wister’s Damsels In Distress, the director’s first feature film since 1998’s The Last Days Of Disco, in which she plays a transfer student who is taken under the wing of a type-A coed (played by Greta Gerwig) who believes that Diorissimo perfume and intellectual conversation will empower young women against the epidemic of male stupidity. Tipton and Gerwig, who is five years older, graduated from the same single-sex Catholic high school in Sacramento County. Unsurprisingly, the women had to memorize pages and pages of very precise dialogue. “Whit would stop the camera, if I added so much as an ‘um,’ ” Tipton says. Not bad for a girl who once failed to deliver an “easy, breezy, beautiful” line correctly.
Two Night Stand
Directed by: Max Nichols
Starring: Miles Teller, Analeigh Tipton, Jessica Szohr, Leven Rambin, Scott Mescudi, Kellyn Lindsay, Josh Salatin
Screenplay by: Mark Hammer
Production Design by: Molly Hughes
Cinematography by; Bobby Bukowski
Film Editing by: Matt Garner
Costume Design by: Amy Roth
Set Decoration by: Michael B. Lewis
Art Direction by: Nicole Eckenroad
Music by: Matthew de Luca
MPAA Rating: R for sexual material, language and some drug use.
Studio: eOne Entertainment
Release Dat: September 26, 2014