Category: Lionsgate Films
Taglines: Fire burns brighter in the darkness.
Katniss Everdeen finds herself in District 13 after she literally shatters the Games forever. Under the leadership of President Coin and the advice of her trusted friends, Katniss spreads her wings as she fights to save Peeta and a nation moved by her courage.
Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she’s made it out of the bloody arena alive, she’s still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for the unrest? Katniss. And what’s worse, President Snow has made it clear that no one else is safe either. Not Katniss’s family, not her friends, not the people of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins’s groundbreaking The Hunger Games trilogy promises to be one of the most talked about movies of the year.
The Hunger Games: Mockingjay – Part 1 is an American science fiction adventure film directed by Francis Lawrence with a screenplay by Peter Craig and Danny Strong. It is the first of two cinematic parts based on the novel Mockingjay, the final book in The Hunger Games trilogy, written by Suzanne Collins, and the third installment in The Hunger Games film series, produced by Nina Jacobson and Jon Kilik and distributed by Lionsgate Films.
Our Leader The Mockingjay
The Hunger Games: Mockingjay – Part 1 is the highly-anticipated third installment of the blockbuster phenomenon that blazed across movie screens around the globe. The story now accelerates to new, exhilarating levels as the futuristic chronicle of Katniss Everdeen enters into a new realm. The Games may have been obliterated for good, but the fight to survive is about to intensify. Faced with the most daunting odds – and watched by the eyes of a hopeful nation – Katniss must put into motion courage, strength and empowerment against the all-powerful Capitol. This is the moment when she realizes she has no choice but to open her wings and fully embody the Mockingjay symbol. If only to save Peeta, she must become a leader.
The story begins again as Katniss has just been rescued from the destruction of the Quarter Quell. She awakens in a shocking world she didn’t even know existed: the deep, dark underground of supposedly annihilated District 13. She quickly learns of the devastating reality she must face: District 12 has been turned to rubble; and Peeta is being held, manipulated and brainwashed by President Snow in The Capitol. At the same time, Katniss’s eyes are opened to a secret rebellion rapidly spreading from District 13 throughout all of Panem – a rebellion that will place her at the center of a daring plot to hack into The Capitol and turn the tables on President Snow.
The Hunger Games: Mockingjay – Part 1 dives further into the fabric of Panem and into the story’s most powerful emotions as Katniss and the nation enter a harrowing but transformative time. Explains returning director Francis Lawrence: “Emotionally, Katniss is like a foreigner in a strange land as this story begins. This is the time when she realizes she can’t stand by and do nothing. There has been too much deception and the people Katniss loves are in danger. She will do whatever it takes to keep them safe.”
The director continues: “The stakes have always been high in The Hunger Games but now the entire world opens up. The Games themselves are gone, but threat of oppression now permeates all of Panem. This chapter gave us a chance to reveal entirely new locations with amazing action sequences. It’s a gigantic movie.”
In her third and most poignant turn as Katniss, Academy Award winner Jennifer Lawrence relished the chance to portray the character at this heightened juncture as she emerges from distress to take her first steps into leadership. “I was excited for Katniss to come into her own as a leader, but she’s still a very reluctant hero,” Lawrence observes. “In the first movie she wanted to save her family. In the second, she tried to save her friends and herself. Now, she starts to realize the impact she has on the wider world and that she has a choice to lead this battle for what is right.”
That choice does not come easily for Katniss, who recoils at nearly every element of her new life: the militaristic order of District 13, the pressure to perform on cue, and the heart-wrenching reality of war. Katniss remains hopeful that becoming the Mockingjay might truly change things. “As an actor, the challenge was having Katniss wake up in a brand new environment, where she has to rebuild herself from nothing. Katniss has not only left behind her old life as a District 12 victor, she has entered a world unlike any other. Says Lawrence: “She has to get used to a new way of life in District 13. Everything is deeply unfamiliar and it’s all underground, so she can’t even go outside or hunt.”
Lawrence continues about approaching Katniss: “She felt almost like an entirely different character because she is so stripped down and feeling so empty. It’s something that truly does happen to people after traumatic events like she’s been through. Katniss still has the same core, but she’s in a completely different place inside and out.”
As Katniss takes on the public role of the Mockingjay, she is asked by President Coin [Julianne Moore] to appear in a series of “propos” – viral propaganda videos that District 13 uses to communicate with and inspire rebels across Panem.
“She goes into the propos feeling like a pawn, like the Mockingjay is just a symbol she’s not connected to or passionate about,” Lawrence says. “The whole idea of the propos is to get people fired up, to band together – so Katniss faking at being something that she’s not doesn’t work. It’s only when she sees the human cost in District 8 that a true spark is ignited. The more she sees, the more it becomes a personal fight for her.”
Lawrence was thrilled to have the opportunity to work with Julianne Moore in the role of President Coin. “When I heard she was going to play Coin, it was the most exciting, unbelievable news in the world. I think Julianne is one of the greatest actresses of all time, just absolutely phenomenal. She was even more impressive in person. She is such a sweet family woman and also hilarious. Working with her was a dream come true.”
While Lawrence and Moore got along, their characters have a cool tension between them. “Their relationship is complicated. They share similar ideals, but with all she’s been through, Katniss feels she cannot fully trust her,” Lawrence comments. “President Coin can see how important Katniss is to leading this rebellion, but she also doesn’t believe Katniss can actually do it. She’s still suffering from post-traumatic stress and President Coin is skeptical that using Katniss is something that she can actually control.”
Also rewarding to Lawrence was the chance for deeper interaction with Liam Hemsworth as Gale, who remains Katniss’s devoted friend and strongest link to her past. “Katniss and Gale have such a rich history,” she acknowledges. “There are so many complexities to it because before Katniss went into the Games, Gale was the only person who really understood her. Following the games, she and Peeta had this experience together that no one else, including Gale, could ever understand. She and Gale are in a very interesting place and it was nice to explore more of that.”
For Francis, one of the highlights of the entire Hunger Games series has been watching Jennifer take Katniss through a vast range of experiences, each one internalized into a character who is now thick with many layers. “It’s incredibly complex to track somebody who is going through so much emotionally,” he says. “Katniss has incurred a lot of damage, and now here she is trying to figure out where she stands in the world, whether or not she trusts the people in District 13, and whether she wants the responsibility of becoming a part of the rebellion. Jen has done the most amazing job with every nuance.”
In thinking about Katniss and reflecting on one of her favorite scenes, producer Nina Jacobson notes: “When Katniss goes to District 8 and says, ‘If we burn, you burn with us,’ for the first time she sees the impact that she has on people. Those moments – where Katniss owns what and who she is – really give me the chills.”
Jacobson says the films biggest astonishment may be how emotionally resonant it is – not just because the story is entering a time of war, with all its accompanying sorrow for the lost and hopes for the future, but because it is also a time when Katniss must change faster than ever. “It’s a very tense and powerful story and the emotions on screen are surprisingly deep,” concludes the producer. “It takes you to places you will not expect to be taken. It’s provocative, thoughtful and up to the last minutes of the film, the way it unfolds is shocking.”
“The Hunger Games: Mockingjay – Part 1 is such a fantastic epic,” she summarizes. “This part of the story is important to tell — about how powerful a person’s voice can be. It is always easier to follow the person in front of you, but I think we all have a Mockingjay in us. We all have the ability to make a stand and do the right thing.”
District 13 vs. The Capitol
The Hunger Games: Mockingjay – Part 1 reveals for the first time the most covert place in all of Panem: secretive District 13, where Panem’s rebels have carved out their own rigidly ordered society miles underground.
District 13 and The Capitol are mirror opposites in every way. The Capitol is sensationalist spectacles, over-the-top garish hues and gleaming lights. District 13 is steeped in shades of gray, claustrophobia, conformity and the stark reality of what’s happening in the Districts. While The Capitol has been living high on the hog off the people, District 13 has been biding its time, preparing for the day when they would finally take a stand.
Up until now, only The Capitol knew about District 13, having carved out a non-aggression treaty that allowed it to exist so long as it stayed underground. As rumblings of war begin in earnest, District 13 and The Capitol are pitted against each other in a battle of images designed to win support – and key to it all is the ultimate District 13 symbol and foe of The Capitol: the Mockingjay.
Francis notes that the history of District 13 makes it unique even in dystopian Panem. “What we discover is that 13 was bombed in the Dark Days 75 years earlier. It was a graphite mine with old nuclear facilities. There were survivors, and instead of giving up, they moved underground and created an alternative civilization outside The Capitol, hidden from view. They’ve created a very ordered, militarized civilization, where people are trained as soldiers from a very early age. All this time, they’ve been waiting for a rebellion to start so they could take back The Capitol.”
Creating this clash of two cultures – and dueling visions for the future of Panem – was one of the biggest and most exhilarating tasks of the film. “There’s really nothing in this movie that you’ve seen before of Panem,” notes producer Jon Kilik. “You’re immersed into District 13 – the one place no one outside has seen, the place no one except The Capitol even knew still existed. It’s a whole new journey for the audience. We’ve been through jungles and plagues in the Games but now to be living miles underground, things are even more intense and it puts an even greater pressure on the characters. It was also an incredible design challenge, and the result is a tribute to the skills of Francis Lawrence and our production designer Phil Messina.”
Katniss might not much like District 13, but she is their long-awaited ideal of a people’s hero, someone who isn’t in it for glory but is motivated by her own pure sense of right and wrong. “She is a simple girl from the lowest of the Districts, so the message of District 13 is that if she can stand up to The Capitol, anybody can do it,” Francis explains. “That’s why they want to use her in the propos. The hope is that if she stirs enough people up and all the Districts begin to unify; they could actually defeat The Capitol.
The Unseen Panem: Design
Bringing District 13 to life – and giving audiences glimpses into the turmoil catching like fire across Panem was one of the most intriguing tasks faced by Francis and his design team, headed by production designer Phil Messina, who also designed The Hunger Games and Catching Fire. The two envisioned taking the scale of the third film beyond anything they had done while relying largely on real locations rather than digital ones. In addition to shooting on soundstages in Atlanta the production went further afield to luxury chateaus and apartment complexes in Paris.
Messina began by turning Suzanne Collins’ flights of imagination into a detailed vision of District 13. He illustrated a series of shadowy, claustrophobic, bunker-style sets for this brave new world amid the rubble. A combination of factory locations and intricate soundstage sets produced the final results. “Our inspiration for the design came from 1960s and 1970s nuclear facilities,” he explains. “The idea is that District 13 has developed as a kind of closed-loop society. They have been completely cut off from The Capitol, so they’ve been adding on new technology on top of old technology. You will see analog push buttons next to high tech – and that mix was very intentional on our part.”
The set designs for District 13 were as desolate as the designs for The Capitol were lavish, transporting the actors into this very raw, austere reality. Says Julianne Moore: “It was rendered so incredibly beautifully. It made me think of what you imagine East Germany was like before the wall came down – very militaristic, really grey with people waiting for the moment of change.”
The underground city is laid out as a kind of multi-level maze that culminates in President Coin’s Command Center. “The Command Center is the brains of the entire operation where all the systems like water, oxygen and power are controlled. We organized it like a military hierarchy where above it all, Coin is at her post kind of overlooking everything,” Messina explains.
Another highlight of District 13’s design is purloined hovercrafts. “We liked the idea that the rebel hovercrafts would be an older generation of The Capitol hovercrafts, maybe something they had stolen previously. We had already seen a Capitol hovercraft previously so it was fun to generate something that was its antecedent and has a lot more texture,” says Messina. “The aesthetic was taken from WWII Russian planes, as well as some submarines and helicopters for cockpit configurations.”
The hovercrafts were hung off of huge cranes to simulate flight. “When we first started designing pieces of the hovercraft, we thought how much fun it would be to fly. It took a lot of calculations to make sure the crane would be safe. The Atlanta special effects department built a steel structure that they were confident about. It had to be rehung at different places and it was a huge pain,” laughs Messina, “but it really paid off with some fantastic footage that looks like a real craft landing from the inside.”
The idea was to use as many practical locations as possible. “Our practical locations give the movie a sense of scope and at the same time a groundedness so that it feels like it readily could be our future,” says Nina Jacobson. “If you tried to do that purely through digital magic you couldn’t get that sense of authenticity we wanted, where you see a real hovercraft land and your characters get out of it and interact with a real environment.” The actors also loved the sense of immersion. “Using locations that were so grounded in a sense of reality only made things that much more truthful,” says Ali.
The Hunger Games: Mockingjay – Part 1 also hones in on the other Districts as unrest grows. “We wanted to show the consequences of Katniss joining the rebellion and how the propos start to inspire people in different Districts. So you see the lumber District start to rebel by propelling up trees and then you see the hydroelectric dam getting blown up in an extraordinary sequence. I think like you’re really able to see things in the Districts we haven’t seen before but in a way that is always connected to Katniss,” Jacobson comments.
The Hunger Games: Mockingjay Part 1
Directed by: Francis Lawrence
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Julianne Moore, Philip Seymour Hoffman, Jeffrey Wright, Stanley Tucci, Donald Sutherland, Robert Knepper
Screenplay by: Danny Strong, Peter Craig
Production Design by: Philip Messina
Cinematography by: Jo Willems
Film Editing by: Alan Edward Bell, Mark Yoshikawa
Costume Design by: Kurt and Bart
Set Decoration by: Emmanuel Delis, Mark Rosinski
Music by: James Newton Howard
MPAA Rating: PG-13 for intense sequences of violence and action, some disturbing images and thematic material.
Studio: Lionsgate Films
Release Date: November 21, 2014
Taglines: The dead are back for life.
From the mastermind producer of Paranormal Activity and Insidious comes the ghostly tale of Jessabelle. Returning to her childhood home in Louisiana to recuperate from a horrific car accident, Jessabelle (Sarah Snook of Sleeping Beauty) comes face to face with a long-tormented spirit that has been seeking her return — and has no intention of letting her escape.
Jessabelle is an American supernatural horror film directed by Kevin Greutert and written by Ben Garant. The film stars Sarah Snook, Mark Webber, Joelle Carter, David Andrews, Amber Stevens and Ana de la Reguera. The film was released on November 7, 2014.
Greutert was approached to direct Jessabelle a year after the release of Saw 3D and after reading through the script, Greutert agreed to direct. Filming was initially meant to take place in Louisiana, where the film is set, but was forced to move to Wilmington, North Carolina after no appropriate filming location could be located. Greutert edited the film on his own and initially the film was slated to release on January 10, 2014, The film was later pushed back to an August 29 release date before it was given a limited theatrical and video-on-demand release on November 7.
About the Story
Jessie Laurent, short for Jessabelle, is moving into her fiancé’s house. They have a car accident, killing the fiancé, causing Jessie to have a miscarriage and leaving her unable to walk. The hospital arranges for Jesse’s Dad, whom she hasn’t seen for years, to pick her up. Back at her Dad’s house in St. Francis, Louisiana, Jessie is given her mother’s room on the main floor, allowing her to move around in her wheelchair. Jessie’s mother died when she was a baby. That night she briefly sees a ghost woman in her bedroom.
Exploring the house, Jessie finds some video tapes in a box. She plays one marked “For Jessabelle Happy birthday I Love You”, and is happily surprised to see her mother, seven months pregnant in March 1988, has recorded a message to her to be seen on her 18th birthday (now 6 years past). On the video, her mother gives her a reading using tarot cards. The reading says that Jessie has never left St. Francis and that she has a close connection to water, causing Jessie to laugh that her mother is terrible at tarot readings. Her mother reads that Jessie is not alone, that there is a presence in the house with her, a female who wants her out of the house. Jessie’s dad shows up and destroys the tape and tells her to stop snooping around the house. Jessie does not tell him about the other two tapes.
That night Jessie has a dream that her mother kisses her then sends her on a journey through the house, where she sees men performing voodoo on her, then sees a badly burnt black man making voodoo symbols on the floor. Jessie awakens in a panic to see the ghost woman, around her age, rolling towards her in a wheelchair. The ghost woman reaches out to Jessie, who screams as the figure disappears.
When her Dad goes out, Jessie watches the next tape, from April 1988. On it her mother says she spoke to her friend Moses, from a church that her Dad disapproves of, about the reading. Her mother tells Jessie that Moses believes the presence in the house is her inner demon. Her mother then gives her another reading, revealing a very horrible death.
When Jessie she falls asleep in a bath, the bath turns to blood. The ghost woman, now clearly visible with slightly dark skin, is sitting in the bath with her, reaching for the bracelet (originally her mother’s) on Jessie’s wrist. The ghost attacks her and her Dad bursts in, hearing Jessie’s screams – everything is normal, it appears to have been a hallucination. Her Dad finds the two tapes and tries to burn them, but gets locked in his shed and is burned to death.
At his funeral, Jessie meets her old friend Preston (Marc Webber). She then sees a hallucination of the burnt black man from her nightmare and she faints. She comes to at home, where Preston has brought her. She shows him the tapes and tells him about her nightmares. After he leaves, she watches a happy tape that her loving parents filmed months prior to the pregancy with Jessie. Jessie then watches the third tape that her Mom recorded to her, and is stunned when her mother’s tarot reading says that Jessabelle is already dead. The ghost woman then begins attacking Jessie, leading to her discovery of a fourth tape, which she does not watch.
Directed By: Kevin Greutert
Starring: Sarah Snook, Mark Webber, David Andrews, Joelle Carter, Ana de la Reguera, Larisa Oleynik, Chris Ellis, Fran Bennett, Amber Stevens
Screenplay by: Robert Ben Garant
Production Design by: Jade Healy
Cinematography by: Michael Fimognari
Film Editing by: Kevin Greutert
Costume Design by: Carol Cutshall
Music by: Anton Sanko
MPAA Rating:: PG-13 for sequences of horror violence and terror.
Studio: Lionsgate Films
Release Date: November 7, 2014
Taglines: Don’t set him off.
When a retired hit man is forced back into action by a brutal Russian mobster, he hunts down his adversaries with the ruthlessness that made him a crime underworld legend in John Wick, a stylish tale of revenge and redemption set in a brilliantly imagined New York City and starring World Stunt Award-winner Keanu Reeves.
After the sudden death of his beloved wife, John Wick (Reeves) receives one last gift from her, a beagle puppy named Daisy, and a note imploring him not to forget how to love. But John’s mourning is interrupted when his 1969 Boss Mustang catches the eye of sadistic thug Iosef Tarasov (Alfie Allen). When John refuses to sell the car, Iosef and his henchmen break into his house and steal it, beating John unconscious and leaving Daisy dead. Unwittingly, they have just reawakened one of the most brutal assassins the underworld has ever seen.
John’s search for his stolen vehicle takes him to a side of New York City that tourists never see, a hyper-real, super-secret criminal community, where John Wick was once the baddest guy of all. After learning that his attacker is the only son of a former associate, vicious Russian crime boss Viggo Tarasov (Michael Nyqvist), John turns his attention to vengeance. As word spreads that the legendary hit man is after his son, Viggo offers a generous bounty to anyone who can bring John down. With a veritable army on his trail, John once again becomes the remorseless killing machine the underworld once feared, launching a pitched battle against Viggo and his soldiers that could mean the end of them both.
About the Production
When producer Basil Iwanyk of Thunder Road Pictures first read Derek Kolstad’s original screenplay for John Wick, he found himself drawn to the contradictions and complications faced by its main character, a seemingly ordinary man who harbors an extraordinary secret.
“The tone of the script was subversive and really fun,” says Iwanyk. “It had a very clear emotional throughline and a great premise for an action movie. John Wick is the story of a man who loses his wife and has his home invaded, his car stolen and his dog killed. It’s a very human premise for a big action movie, something that could happen to anyone. To me, the holy grail of the action genre is to pair a very simple and very accessible premise like this with a hyper-real style, as we’ve done with this film.”
Kolstad found his inspiration in some of his favorite film-noir classics. “When I was a kid, I watched a lot of movies,” he explains. “My favorites always had a revenge motif. And I love the antihero. So I wanted to explore what would happen if the worst man in existence found salvation. Would it be true to his core? When the source of his salvation is ripped from him, what happens? Do the gates of Hades open?”
And so began the extraordinary journey of John Wick, the only man to ever walk away from a shadowy world of elite professional killers and survive, only to be sucked back in by fate. “John’s the kind of guy who walks into a room and has everything laid out in his mind like a chess game,” says Kolstad. “In the underworld, he’s a legend, and he’s been away long enough that the young up-and-comers have heard the name, but don’t necessarily believe all the stories.”
Given the character’s fabled career as an assassin, the filmmakers initially imagined an older actor in the role. “Instead, we decided to look for someone who is not literally older, but who has a seasoned history in the film world,” says Iwanyk. “Keanu Reeves is someone I’ve always wanted to work with.”
Reeves’ impeccable action pedigree, which includes the groundbreaking Matrix trilogy, two chapters of the blockbuster Speed franchise and the daredevil adventure Point Break, has justifiably earned him iconic status in the action world. But for the past five years, Reeves has been devoting most of his time to his directorial debut, Man of Tai Chi.
“So audiences haven’t seen much of him,” notes Iwanyk. “We thought that gave him a fresh and interesting edge. I think the audience will believe that this character has been retired for five years, because in some ways Keanu retired as an action star for a while.”
Reeves signed on to headline John Wick, working closely with the writer to refine the story. “Basil and Peter Lawson of Thunder Road brought the script to me with the idea that I would be a part of such a great collaboration,” the actor says. “We all agreed on the potential of the project. I love the role, but you want the whole story, the whole ensemble to come to life.”
Kolstad says there was no “star temperament” working with Reeves. “What I really like about Keanu is that he’s a normal, laidback guy,” he says. “He’s incredibly bright and such a hard worker. We spent as much time developing the other characters as we did his. He recognizes that the strength of the storyline lies in even the smallest details.”
Looking to infuse the film with innovative action sequences that would set it apart from the pack, Reeves contacted the filmmaking team of Chad Stahelski and David Leitch, co-founders of 87Eleven, one of Hollywood’s most elite stunt groups. Reeves and Stahelski originally met on the set of The Matrix and Stahelski eventually became the actor’s stunt double. Together with longtime friend Leitch, Stahelski has worked on dozens of high-profile action films, and the pair are now two of the most in-demand second-unit directors in Hollywood.
Approached to design and film the blistering action scenes of John Wick, Stahelski surprised the producers by asking if he could pitch his ideas as director. After years at the top of his profession, he was ready to transition to the next level, with his longtime collaborator Leitch on hand to produce. When this screenplay landed on his desk, he knew it was time to grab the opportunity.
“It had gun fights, knife work, car chases and lots of hand-to-hand combat,” says Stahelski. “Dave and I talked about the potential to make a great graphic-novel-influenced action movie set in an almost mythical world. We pitched Keanu, Basil and the guys at Thunder Road the idea of John Wick as an urban legend, a thriller assassin movie with a realistic vibe and an otherworldly setting.”
Reeves was already confident the duo had the skill and creativity to stage John Wick’s groundbreaking action sequences better than anyone else. “Hearing Chad speak about the material and how he thought he could visually bring it to life was revelatory,”
Reeves says. “He and Dave were interested in making each character unforgettable. They had given thought to the themes of the movie, the double life, the hyper-reality. They’ve been closely following the film since day one and trying to bring out all the emotion that is in this piece.”
As a filmmaking team, Stahelski and Leitch were the ideal choice for John Wick, according to Reeves. “Chad and Dave are experts in terms of this genre,” the actor notes. “The dialogue is hard-boiled but it’s also got the humor of graphic novels, the kind of amazingly original imagery and framing that we’ve come to associate with them. It’s a unique vision. I thought it was exciting and really cool to see all of these influences and experience and craft come together.”
Iwanyk was immediately sold on Stahelski and Leitch’s approach to the film. “Their take for the movie and their visual presentation were so in line with what we were thinking the movie should be,” says the producer. “Everything from the color palette to the way in which the action should be staged and shot to the lookbook just felt right.”
Directed by: David Leitch, Chad Stahelski
Starring: Keanu Reeves, Michael Nyqvist, Alfie Allen, Adrianne Palicki, Willem Dafoe, Dean Winters, Bridget Moynahan
Screenplay by: Derek Kolstad
Production Design by: Dan Leigh
Cinematography by: Jonathan Sela
Film Editing by: Elísabet Ronaldsdóttir
Costume Design by: Luca Mosca
Set Decoration by: Susan Bode
Music by: Tyler Bates, Joel J. Richard
MPAA Rating: R for strong and bloody violence throughout, language and brief drug use.
Studio: Summit Entertainment, Lionsgate Films
Release Date: October 24, 2014
Taglines: The legend is real. So is the terror.
For five friends, it was a chance for a summer getaway— a weekend of camping in the Texas Big Thicket. But visions of a carefree vacation are shattered with an accident on a dark and desolate country road. In the wake of the accident, a bloodcurdling force of nature is unleashed—something not exactly human, but not completely animal— an urban legend come to terrifying life…and seeking murderous revenge.
Exists is a horror film that was directed by Eduardo Sánchez. The film had its world premiere on March 7, 2014 at South by Southwest and stars Chris Osborn and Samuel Davis as two brothers hunting for the legendary Sasquatch.
Review for Exists Movie
If you were ever wondering when the time might arrive that actually uses Big Foot as a main horror element AND succeeds in being a kick ass horror film, then that time has come. “Exists” is a 2014 horror film directed by Eduardo Sánchez (Blair witch, Altered) that dares the ground yet again of using cam footage for its principle presentation. Like the few films that use this format and have come away with accolades, it appears that cam footage does in fact work in the favor of former Blair Witch director.
“Exists” is a scary nervy kind of film that keeps its premise relatively simple. Ok, lets cross that out and go for “extremely” simple. Now, stop me if you heard this introduction… 5 friends head out to a cabin in East Texas,,, things happen,,,
So with a cabin-in-the woods premise, a big foot monster at the center, and a movie that uses cam footage as its base, you might be thinking along the lines of… nothing new here? While that statement is quite true, in this case it just doesn’t matter. “Exists” is really big foot like we’ve never seen him. He’s pissed and he lets us know it right away. All the clique horror elements unite in a glorious parade of… I told you so.
To round out the ensemble group we have Dora (Dora Madison Burge), Elizabeth aka Lizzie (Denise Williamson), Matt (Samuel Davis), Todd (Roger Edwards) and Brian (Chris Osborn). Brian dreams of filming bigfoot on camera in hopes that he “might” become a Youtube star. Though Brian isn’t really entirely serious with this aspiration thinking that it would be cool enough if he filmed his friends and “maybe” even caught footage of something weird in the forest. Brian gets his wish.
Matt has “borrowed” his Uncle Bob’s keys so that the group can have a good time out in the woods (without approval). Fair enough…Matt wasn’t anticipating a reason to regret his decision.
The movie begins on some somber music as we are told about 3000 cases of big foot sightings since 1967. Shortly after, our group arrives at their “Evil dead” looking cabin to grab some summer-fun-time. This includes swimming, fooling around, and bike jumping into the lake (forgot the name for that, ugh)
We discover that Uncle Bob has never returned to the cabin since leaving long ago. The reason was never disclosed to the family. Brian begins to see traces of what he “thinks” is a big foot in the distance. Hoping to grab some shots, he jokes around while filming.
We would expect a long drawn out story that takes its time getting to the monster, however “Exists” quickly ramps things up with a big foot attack on the cabin. This raging man-animal creature busts thru windows, knocks crap around, and generally lets the group know that they are trespassing on his turf. This is where Eduardo Sánchez’s brilliance really shines. Even though we “think we know” how things will play, they are done in ways that keep the tension heightened at all times. This “tension” is Sánchez’s ace in the deck reminding us of what drew us to “Blair Witch” so many years ago. Belief, curiosity, urban legends and chaos… write it down… it works!
The group is quickly defeated when they try and make a run for it. The act of “getting help” starts with the destruction of their car by one angry Sasquatch. Various shots of the monster chasing after members of the group presents our big foot not as a sneaky cowardice beast, but as a formidable villainous creature intent on controlling any attempt to leave the forest. Sound cheesy? It’s not, and that is why I walked away a fan.
“Exists” manages to avoid the expected direction of nightly TV shows like “Finding Bigfoot” opting for something quite different and direct. It is a blatant reminder that cam-footage films have not overstayed their welcome, just yet. Perhaps,The scariest big foot movie ever, “Exists” is one tense knuckle ride of a horror film. It’s got my vote for one of the success stories of this year. Go see it.
Directed by: Eduardo Sanchez
Starring: Dora Madison Burge, Samuel Davis, Roger Edwards, Chris Osborn, Brian Steele, Denise Williamson
Screenplay by: Jamie Nash
Cinematography by: John W. Rutland
Production Design by: Andrew C. White
Film Editing by: J. Andrew Jenkins & Andrew Eckblad, Eduardo Sanchez
Music by: Nima Fakhrara
MPAA Rating: R for language throughout, some violence, sexual content and drug use.
Studio: Lionsgate Films
Release Date: October 24, 2014
Taglines: Every woman needs an escape.
The seemingly lush, well-ordered life of Zoe Reynard spins frenetically out of control when she is drawn into a passionate escape from her everyday world in ADDICTED, the first major feature film adapted from the work of Zane — the best-selling author dubbed “the queen of erotica.” Based on Zane’s very first novel, ADDICTED is the simultaneously provocative, suspenseful and emotional story of a happily married, highly successful businesswoman who unexpectedly finds herself crossing the line, only to become entangled in a sticky web of heated affairs that endanger everything she loves.
ADDICTED kicked off a series of novels by Zane that, over the last decade, have carved out a provocatively candid view of women in a way they’ve not often been seen: as fiercely independent and unapologetically sexual, with complex desires that can be as risky as they are compelling. Now, for the first time Zane’s alternately juicy and truthful insights into women’s romantic and sensual lives comes to the movies in a scorching thriller.
Director Bille Woodruff (HONEY, “The Game”) brings together the volatile chemistry of Sharon Leal (DREAMGIRLS) with Boris Kodjoe (LOVE & BASKETBALL, “Soul Food”), William Levy (THE SINGLE MOMS CLUB, “Dancing With The Stars”) and top male model Tyson Beckford in this story of desire inside and outside of marriage, and in and out of the usual bounds of restraint.
Though infidelity gone wrong is a theme that has been taken up in thrillers ranging from Golden Age film noirs to FATAL ATTRACTION, ADDICTED turns the typical storyline on its head: putting a powerful woman at the center of its journey into sexual and marital jeopardy.
“Telling this kind of story from a female point of view makes it fresh. We’ve seen the male POV on the sexual thriller in every kind of way. But this is a different and exciting take all its own,” says Paul Hall, who serves as producer.
The Uninhibited World of Zane
For Zane, ADDICTED turned out to be a breakout novel. Not only did the book blaze a new trail for women’s erotic fiction, it was also the spark that lit dozens more best sellers, as well as a popular social network and two steamy Cinemax series. Most of it all, it forged Zane’s reputation for crafting raw, candid, humor-and-suspense-filled stories that finally broke open taboo conversations about women’s fantasies, impulses and real sex lives.
The mother of three children, who got her start writing edgy stories for her own enjoyment, Zane has been a pioneer on multiple fronts. She is one of only a few African-American women to make the New York Times fiction bestseller “print list” in this century. Yet she says she never anticipated the degree to which she would tap into an unaddressed need for the kind of stories few others were telling. Her stories were a way of expressing something honest about life, including the sexual parts of life, she says, and the idea that others found them sensual adventures took her by surprise.
“Believe it or not, I never imagined ADDICTED would be a published book let alone a movie because at the time that I wrote it, I was mostly writing to entertain myself,” she confesses. “But I knew I wanted to write a story about how what happens to us in childhood affects our adult lives. I also wanted to write about a woman in therapy, because it’s still considered a stigma in the African-American community.”
She goes on: “And I also really wanted to talk more about how women truly do have needs and desires just like men do — but these desires too often are not even mentioned, let alone addressed. There are still a lot of double standards when it comes to women. So I started writing about this woman named Zoe who was married and doing the most, but was unable to talk to her husband about her desires.”
Zoe’s long-suppressed impulses drive her to endanger herself, the business she has worked so diligently to build and the family that is her very sustenance. Yet, Zane ultimately sees her as a courageous woman – one who must better understand herself and the roots of what turns out to be a sexual addiction if she has any hope of saving her marriage and her life.
“Even though Zoe can seem like the weakest link in ADDICTED, I always felt she was really the strongest character in the story,” the author explains. “She’s the one who ultimately finds the strength to confront her issues head-on. Lots of people try to cope with things instead of really resolving them. But every day is a gift and every day is a great opportunity to make a change in your life – and that’s what comes through to Zoe.”
The degree to which readers embraced ADDICTED was unanticipated but enormously gratifying to Zane. She became increasingly aware of how few outlets women have to talk about – and immerse themselves in — the most hidden, passionate aspects of their lives. “I started meeting women who had read the book and fell into my arms crying because they related to Zoe. I also saw people getting into intense arguments about Zoe’s actions so I knew these characters had truly become real to people,” Zane recalls.
As for why her characters have touched so many, Zane offers: “I think everyone is interested in personal relationships and no one has a completely perfect marriage. I know so many extremely successful women – corporate leaders, celebrities, powerful women – who are in complicated or toxic relationships. The truth is, no matter who you are, no one ever gets over that need to be loved, that hope for someone who understands you at every level.”
Although talk of turning ADDICTED into a movie began almost as soon as the book was published, Zane is thrilled with the way it has finally become a reality. “One of the things that most excites me is that I think this will be quite cutting edge for an African-American film,” she concludes. “Bille Woodruff understood exactly what the book was trying to get across and then he brought it together with an incredible cast and a very committed studio in Lionsgate. I really can’t wait for people to see it.”
Zane at the Movies
It was the way Zane mixed such palpably familiar characters into some of life’s most tempting, provocative and unsettling situations that drew director Bille Woodruff to commit to the taboo-busting project.
He began by exploring the broad appeal of her books. “Zane’s books have spoken to a huge audience who want to be addressed,” the director observes. “I think we’re entering a time when audiences are more interested than ever to see women’s sexual empowerment explored in new and different ways, so it seemed that the script for ADDICTED came along at just the right moment.”
The script by Christina Welsh and Ernie Barbarash focused in on ADDICTED’s alluring lead character, Zoe Reynard, whose picture perfect world begins to unravel, strand by strand, when she is tempted to step out on a beautiful marriage she doesn’t want to lose. As Zane had so deftly done, the screenplay took a fevered look inside Zoe’s most covert drives, even as they lead her into a shocking self-confrontation and a potentially deadly situation.
“It’s a story that is by turns sexy, scary, titillating and revealing,” says Woodruff. “But most of all I felt the story of ADDICTED was about a marriage in terrible danger and how both Zoe and her husband Jason have to fight together to save it.”
He was also drawn to elements of the story that break open myths. “The story is edgy and it’s entertaining, but it also deals with an issue in sex addiction that is very real and I found it compelling that Zoe takes the step of going to a therapist, which is often seen as taboo in the African-American community,” Woodruff says. “It’s an erotic thriller on one level, but I think it will also start some important and interesting conversations.”
For producer Paul Hall, Woodruff was just the right director to balance the twists of the story with the spirit of Zane’s unabashed explorations into the full spectrum of feminine sexual experiences. “Bille works extremely well with women, which he exemplified earlier in HONEY and BEAUTY SHOP, and with this film, I think he’s really been able to capture the female perspective. At the same time, he works equally well with men,” says Hall. “This was a real chance for him to take his skills in a new direction.”
To bring the story to life, Woodruff knew the most essential element would be casting –finding just the right mix of volatile physical and emotional chemistry between the leads.
Directed by: Bille Woodruff
Starring: Sharon Leal, Boris Kodjoe, John Newberg, Cameron Mills, Emayatzy Corinealdi, Kat Graham, Maria Howell, Omer Mughal
Screenplay by: Christina Welsh, Ernie Barbarash
Production Design by: Jeffrey Pratt Gordon
Cinematography by: Joseph White
Film Editing by: Bruce Cannon
Costume Design by: Lorraine Coppin
Set Decoration by: Sarah Carter
Music by: Aaron Zigman
MPAA Rating: R for strong sexual content, nudity, language and brief drug use.
Studio: Lionsgate Films
Release Date: October 10, 2014
Taglines: Right target, wrong woman.
Based on Elmore Leonard’s novel “The Switch,” Life of Crime is a dark caper comedy starring Jennifer Aniston, John Hawkes, Yasiin Bey, Will Forte, Mark Boone Junior, Isla Fisher and Tim Robbins. The wife (Jennifer Aniston) of a corrupt real estate developer (Tim Robbins) is kidnapped by two common criminals (yasiin bey and John Hawkes), who intend to extort him with inside information about his crooked business and off-shore accounts. But the husband decides he’d actually rather not pay the ransom to get back his wife, setting off an unbelievable sequence of double crosses and plot twists that could only come from the mind of Elmore Leonard.
Daniel Schechter’s adaptation of Elmore Leonard’s 1978 novel The Switch was the last movie with which the novelist was intimately involved, and this is an unexpectedly winning take from one of the less splashy directors to have attempted Leonard.
It gleams with a faintly tacky, country club sheen. The woman in the crispest whites is Mickey (Jennifer Aniston), playing the stoical socialite wife of fraudster Frank (Tim Robbins, sweaty and repellent). She becomes the target of an ill-planned plot by Ordell (Mos Def) and Louis (John Hawkes), who plan to kidnap her and only release her for $1m. Problem is: Frank wants her out of the picture anyway, having filed divorce papers.
About the Production
In four dozen novels and scores of short stories, Elmore Leonard has created an engrossing and often electrifying world of tough-talking career criminals, corrupt businessmen, femmes fatales and eccentric outcasts, all scheming to make that one big score. Often set in the shadowy Detroit underworld, his off-kilter tales of men and women fueled by greed and ambition have made him a beloved and bestselling author, and inspired films that include Get Shorty, Jackie Brown and Out of Sight, as well as the hit television series “Justified.”
Daniel Schechter, the director and screenwriter of the newest Leonard-inspired movie, Life of Crime, remembers his first encounter with the work of the man who has been called the “Dickens of Detroit.” “My brother had a copy of Get Shorty when I was younger,” Schechter says. “I liked the movie, so I picked it up.”
The book was what Schechter calls “a gateway drug” to his obsession with the author’s work. “I defy anyone to pick up an Elmore Leonard novel, read the first chapter, the first page, maybe even the first sentence, and try to put it down,” he says. “He’s ruined me for other writers, who, for my money, will never match his wit, his originality or his humanity. He’s been called ‘the King Daddy of crime writers’ and ‘the best writer of dialogue alive,’ two opinions I completely agree with.”
Adapting one of the internationally acclaimed author’s darkly humorous crime sagas was a long-held dream for Schechter. “I think I have read every Elmore Leonard book out there,” he says. “His books work so well cinematically because he is able to take things we’ve seen in films before-heists and robberies, in this case a kidnapping-and ground them in as much reality as possible. He makes the people feel so specific and real that the average reader or audience member is able to imagine what it would be like and how they would act in that situation.”
The Switch, the novel on which Life of Crime is based, offered all the elements the filmmaker had been looking for in a directing project. “It had seven juicy characters, a tone I thought I could nail, and it wasn’t too big in scale. I saw it as this awesome and weird meeting of Alfred Hitchcock and the Coen brothers. It was something that I couldn’t write for myself, but it had everything that I wanted to direct. It felt genuinely thrilling and savagely funny.”
Determined to make the most of Leonard’s legendary gift for spoken language, Schechter began by simply transcribing the dialogue from a single chapter and entering it verbatim into a screenplay-formatting program. “It’s amazing,” says Charles Saveur Bonan, who became an executive producer for the film. “The book almost was written like a script. That is Elmore Leonard’s distinctive writing style.”
“Just like that, I had a great scene,” Schechter says. “I decided to see what would happen if I did that to the whole book. Eight days later, after some editing and invention of my own, I had a first draft of a script.”
But what he didn’t have were the rights to film the story. The process of getting an unknown writer and director attached to an Elmore Leonard bestseller would take luck, patience, determination and a team of dedicated people, including producer Lee Stollman.
“I love Elmore Leonard’s world,” says Stollman. “I love his characters and his voice. Dan, to his credit, rolled the dice and adapted the book purely on spec, without anyone’s permission. He then sent it to Michael Siegel and Michael shared it with Elmore. And that risk paid off – Leonard said that other than Scott Frank and Quentin Tarantino, Dan’s adaptation was among the best, and gave him a free option on the book.”
Siegel, Elmore Leonard’s manager and the official guardian of his work, was so impressed by the young director’s vision and commitment that he agreed to give Schechter and Stollman time to try to assemble a cast and raise money for the movie. Working only on a handshake, the filmmakers began to put together financing, but discovered that there was one catch. No one was sure who actually owned the movie rights to The Switch.
“That started a two-year search for the owners,” says Schechter. “It was brutal. Finally we discovered that a French company had taken a 30-year option on the book. It had lapsed a year earlier.”
As the legal issues were being hammered out, Schechter continued polishing and refining his screenplay. “I didn’t work directly with Elmore in putting together the script,” he says. “He tended to keep a distance from the filmmakers who adapted his work. I’d like to think his camp saw how deeply protective I felt of the material.”
Schechter hewed closely to Leonard’s emphasis on believability, even in some of the story’s most absurd twists and turns. “I believe his genius is taking in the reader and placing them in the center of a surreal scenario and discovering how real people would handle it in a world we recognize,” he says. “As I read, I would ask myself what I would do if I were trapped in a room full of Nazi paraphernalia, or if I were trying to cheat on my wife. I find that Elmore always captures something that feels very human. Even though the book is 35 years old, the story still feels contemporary because it’s so honest and so unexpected.”
The colorful and singular aspects of the characters kept him rooting for everyone, even the seemingly irredeemable criminals behind the kidnapping. “I don’t necessarily believe that there have to be bad guys,” Schechter says. “There are people who do morally awful things in this movie, but I don’t want to demonize anybody. It’s easy to make Mickey the sympathetic housewife and Frank the abusive husband. I felt that finding moments when Mickey is more passive-aggressive makes her in part responsible for the situation, which in turn makes Frank’s unhappiness oddly sympathetic. We see that he’s sad and insecure.
“And that just makes it a more satisfying meal and a more rich film,” he says. “It’s still wildly funny and fun and you’ll want him to get his comeuppance, but when you care about him a little bit, it makes for more of a unique experience.”
If two of the main characters, car thieves-turned-kidnappers Ordell and Louis, seem familiar to moviegoers it’s because they are also central figures in Jackie Brown, Quentin Tarantino’s big-screen adaptation of Leonard’s bestseller Rum Punch. “People have referred to it as a prequel to Jackie Brown,” says Schechter. “It’s not really that. It just happens to have the same two characters, played in that film by Samuel L. Jackson and Robert De Niro. I’d be lying if I said that wasn’t a really appealing part of whole project, because I’m a massive fan of Jackie Brown. It accurately captured the Elmore Leonard voice and I had a big affection for those two characters.
“But when I watch this film, it doesn’t feel anything like that movie,” he continues. “It definitely has its own tone and it has a bit more action. But those are huge footsteps to have to follow in!”
Life of Crime, he says, is ultimately a story about complex people trying to make the most of a simple plan gone wrong. “It’s my love letter to the work of Elmore Leonard, which now and always will remind me that being honest and being entertaining never have to be mutually exclusive.”
Life of Crime
Directed by: Daniel Schechter
Starring: Jennifer Aniston, Mos Def, Isla Fisher, Will Forte, Clea Lewis, Tim Robbins, Alex Ladove, Jenna Nye
Screenplay by: Daniel Schechter
Production Design by: Inbal Weinberg
Cinematography by: Eric Alan Edwards
Costume Design by: Anna Terrazas
Set Decoration by: Jasmine E. Ballou
Music by: The Newton Brothers
MPAA Rating: R for language, some sexual content and violence.
Studio by: Lionsgate Films, Roadside Attractions
Release Date: August 29, 2014
Taglines: He can’t escape from his past.
A retired New Orleans crime boss and widowed father (Jason Patric) is forced to team up with his best friend (John Cusack) to return to the crime world when his daughter (Mantegna) is kidnapped by an old rival (Bruce Willis), who has cultivated a fervent hatred for him, after he accidentally killed his wife and daughter.
The Prince is an American gangster thriller film directed by Brian A. Miller. It stars Jason Patric, Bruce Willis, John Cusack, and Rain. The film received a VOD (video on demand) and theatrical release on August 22, 2014, by Lionsgate Films.
Filming took place in Mobile, Alabama in and around The Battle House Hotel and the adjoining RSA Battle House Tower. Bruce Willis completed his scenes on December 3rd, 2013, followed by Rain and Jason Patric who completed their initial scenes on December 6th.
Directed by: Brian A Miller
Starring: Bruce Willis, Jason Patric, Jessica Lowndes, John Cusack, 50 Cent, Didi Costine, Bonnie Somerville
Screenplay by: Andre Fabrizio, Jeremy Passmore
Production Design by: Nate Jones
Cinematography by: Yaron Levy
Film Editing by: Rick Shaine
Costume Design by: Camille Jumelle
Set Decoration by: John Richoux
Art Direction by: Michelle Jones
Music by: The Newton Brothers
MPAA Rating: R for violence, drug content and language.
Studio: Lionsgate Films
Release Date: August 22, 2014
Barney (Sylvester Stallone), Christmas (Jason Statham) and the rest of the team comes face-to-face with Conrad Stonebanks (Mel Gibson), who years ago co-founded The Expendables with Barney. Stonebanks subsequently became a ruthless arms trader and someone who Barney was forced to kill… or so he thought. Stonebanks, who eluded death once before, now is making it his mission to end The Expendables — but Barney has other plans. Barney decides that he has to fight old blood with new blood, and brings in a new era of Expendables team members, recruiting individuals who are younger, faster and more tech-savvy. The latest mission becomes a clash of classic old-school style versus high-tech expertise in the Expendables’ most personal battle yet.
The Expendables 3 is an American ensemble action film directed by Patrick Hughes, and written by Creighton Rothenberger, Katrin Benedikt, and Sylvester Stallone. It is a sequel to the 2012 action film The Expendables 2, and the third film in The Expendables film series. The film features returning cast members Sylvester Stallone, Jason Statham, Antonio Banderas, Jet Li, Wesley Snipes, Dolph Lundgren, Kelsey Grammer, Randy Couture, Terry Crews, Kellan Lutz, Ronda Rousey, Glen Powell, Victor Ortiz, Robert Davi, Mel Gibson, Harrison Ford, and Arnold Schwarzenegger.
The story follows the mercenary group known as “The Expendables” as they come into conflict with ruthless arms dealer Conrad Stonebanks (Mel Gibson), the Expendables’ co-founder, who is determined to destroy the team. The film was released on August 15, 2014. Unlike the previous two films which were both rated R, The Expendables 3 is the first film in the series to be rated PG-13 by the Motion Picture Association of America.
The Expendables 3
Directed by: Patrick Hughes
Starring: Sylvester Stallone, Jason Statham, Harrison Ford, Arnold Schwarzenegger, Mel Gibson, Dolph Lundgren, Ronda Rousey, Kellan Lutz, Jet Li, Antonio Banderas
Screenplay by: Sylvester Stallone, Creighton Rothenberger
Production Design by: Daniel T. Dorrance
Cinematography by: Peter Menzies Jr.
Film Editing by: Sean Albertson, Paul Harb
Costume Design by: Lizz Wolf
Set Decoration by: Kelly Berry, Valentina Mladenova
Music by: Brian Tyler
MPAA Rating: PG-13 for Violence including intense sustained gun battles and fight scenes, and for language.
Studio: Lionsgate Films
Release Date: August 15, 2014
Taglines: Sometimes it takes a player to hepy you score with your wife.
My Man Is a Loser is a full-featured comedy about two married guys who employ their single playboy friend to help them get their mojo back to save their marriages. During the ensuing adventures, things start to backfire leaving the wives to wonder if the new versions of their husbands are worse than the old ones. This movie is projected to be released in 2014 and deployed billions of Digital impressions including millions of Twitter and Facebook fans and followers helping to promote the film. We expect that this had been the heaviest digitally promoted Independent film to date.
When it comes to women, playboy Mike (John Stamos) has all the right moves. So when Mike’s buddies (Michael Rapaport and Bryan Callen) ask for advice on how to reconnect with their wives, Mike figures he’ll share some secrets and help the guys regain their marriage mojo. But when Mike’s lessons start backfiring with hilarious results, it takes a beautiful, no-nonsense friend (Tika Sumpter) to show Mike he still has a thing or two to learn about relationships.
My Man Is a Loser is a comedy film written and directed by comedian Mike Young. Filming began in New York City in June 2012. The film received a video on demand and limited theatrical release on July 25, 2014, by Lionsgate Films.
The film follows two married friends, Marty (Michael Rapaport) and Paul (Bryan Callen), who hire their single playboy friend Mike (John Stamos) to “help them get their mojo back” in order to save their marriages. Their plan backfires, leaving their wives unimpressed with their new personalities.
Step One of Many Entertainment plans a heavily digitally-media-oriented promotion strategy for the film, focused on Twitter and Facebook. The company states that it expects My Man Is a Loser to be “the heaviest digitally promoted Independent film to date”.
My Man Is a Loser
Directed by: Mike Young
Starrig: Sean Young, Tika Sumpter, John Stamos, Diane Guerrero, Michael Rapaport, Carly Brooke, Courtney Cooper, Emilie Kuznicki
Screenplay by: Mike Young
Production Design by: Judy Rhee
Cinematography by: Harlan Bosmajian
Film Editing by: Phyllis Housen
Costume Design by: Michael Bevins
Set Decoration by: Sarah Dennis
Music by: Cass Dillon, Brian H. Kim
MPAA Rating: R for pervasive language, sexual content and some graphic nudity.
Studio: Lionsgate Films
Release Date: July 25, 2014
He came. She came. They both came.
From the director of Wet Hot American Summer, Wanderlust and Role Models comes a hilarious and irreverent subversion of the romantic comedy genre.
When Joel (Paul Rudd) and Molly (Amy Poehler) meet, it’s hate at first sight: his big Corporate Candy Company threatens to shut down her quirky indie candy shop. Plus, Joel is hung up on his sexy ex (Cobie Smulders). But amazingly, they fall in love, until they break up about two thirds of the way through, and Molly starts dating her accountant (Ed Helms). But then right at the end…well you’ll just have to see. (Hint: Joel makes a big speech and they get back together.)
They Came Together is an American comedy film directed by David Wain and written by Wain and Michael Showalter. It is a parody of romantic comedies infused with Showalter and Wain’s absurd approach. The film had its world premiere at the 2014 Sundance Film Festival, and was released theatrically (with a simultaneous release on iTunes) on June 27, 2014.
The film was written by David Wain and Michael Showalter. Rudd and Poehler participated in a table read of the script at the SF Sketchfest in January 2012. The film had its world premiere at the Sundance Film Festival on January 24, 2014., the film went on to screen at the Sundance London Film Festival on April 26, 2014., and went on to screen at the Chicago Critics Film Festival, Seattle International Film Festival, BAMcinema Fest., The film was released in the United States on June 27, 2014 in a limited release and through video on demand by Lionsgate.
They Came Together
Directed by: David Wain
Starring: Paul Rudd, Amy Poehler, Cobie Smulders, Christopher Meloni, Max Greenfield, Bill Hader, Ellie Kemper
Screenplay by: Michael Showalter, David Wain
Production Design by: Mark White
Cinematography by: Tom Houghton
Film Editing by: Jamie Gross
Costume Design by: Dana Covarrubias
Set Decoration by: Theo Sena
Music by: Matt Novack, Craig Wedren
MPAA Rating: R for language and sexual content.
Studio: Lionsgate Films
Release Date: June 27, 2014