Category: Sony Pictures Classics
Taglines: Life can change at the turn of a page.
Michael (Liam Neeson) is a Pulitzer Prize-winning fiction author who has recently left his wife, Elaine (Kim Basinger), and is having a tempestuous affair with Anna (Olivia Wilde), an ambitious young journalist who wants to write and publish fiction.
At the same time, Scott (Adrien Brody), a shady American businessman, is in Italy to steal designs from fashion houses. He meets Monika (Moran Atias), a beautiful Roma woman, who is about to be reunited with her young daughter. When the money she has saved to pay her daughter’s smuggler is stolen, Scott feels compelled to help. They take off together for a dangerous town in Southern Italy, where Scott starts to suspect that he is the patsy in an elaborate con game.
Julia (Mila Kunis), an ex-soap opera actress, is caught in a custody battle for her 6 year-old son with her ex-husband Rick (James Franco), a famous New York artist. With her support cut off and her legal costs ruinous, Julia is reduced to working as a maid in the same upscale boutique hotel where she was once a frequent guest. Julia’s lawyer Theresa (Maria Bello) has secured Julia one final chance to change the court’s mind and be reunited with the child she loves. Rick’s current girlfriend Sam (Loan Chabanol) is a compassionate onlooker.
At its heart, Third Person is much more than a collection of love stories —it is a mystery, a puzzle in which truth is revealed in glimpses, and clues are caught by the corner of the eye — and nothing is truly what it seems.
Third Person is a romantic thriller film directed and written by Paul Haggis and co-starring Liam Neeson, Mila Kunis, Adrien Brody, Olivia Wilde, James Franco, Moran Atias, Kim Basinger, and Maria Bello. The film premiered at the 2013 Toronto Film Festival.
Review for Third Person
aul Haggis’s new movie, “Third Person,” Anna (Olivia Wilde), a go-getting New York journalist, is having an affair with Michael (Liam Neeson), a Pulitzer Prize-winning novelist in a funk. In a darkened room in a posh Paris hotel, he tries, with diminishing confidence, to finish writing a book. He flies Anna over, and they taunt each other, make love, play complicated erotic games. They’ve been carrying on this way for two years—fighting keeps the affair alive. Neeson, now sixty-two, is recognizably stalwart—tough-tender and imposing—and it’s a pleasure to see him acting with a woman after so many fantasy characters and man-alone genre movies. The revelation is Wilde.
A slender beauty with high cheekbones, she makes Anna a full-fledged neurotic, candid and demanding and changeable, shifting abruptly from snuggling happiness to angry defiance. At one point, after Michael locks a naked Anna out of his hotel room, she races down the hallway to her own room and falls into bed laughing. Wilde’s Anna seems to have no center, but that’s the point. She’s harboring guilty secrets, as is Michael, and Haggis’s insight in this movie is that guilt doesn’t make people sodden or reclusive. On the contrary, it makes them frantically alive, seeking to grab something they’ve missed.
There are six main characters in “Third Person,” all of whom are just as surprising as Anna and just as messed up. Haggis tells three stories, set in Paris, Rome, and New York, about different kinds of love, and his unifying theme is that a “third person”—a child, an old lover—lingers in the background of every serious relationship. He intercuts the stories, as he did in “Crash” (2004), but this time the characters don’t impinge on one another—at least, not until the end, when he changes our relation to everything we’ve seen.
As we discover, four of the six have failed as parents, sometimes with disastrous results, but “Third Person” is hardly an accusation. Haggis shapes the stories as complicated adventures undertaken by damaged people whose unhappiness compels them to take risks. Much of the dialogue is prickly and intimate—so intimate that, at times, one has the impression that Haggis is unloading personal obsessions into his narratives, as Bergman and Fellini did.
Adrien Brody, whom I have found languid and uninteresting in the past, provides a second revelation. He uses his hollow bemusement and hangdog recessiveness to create an effective portrait of a man in a rut: Scott, a self-disgusted businessman who steals designs from Italian fashion houses in order to make cheap knockoffs in sweatshops. Scott wanders into an American bar in Rome and, in a lengthy scene, which Haggis builds slowly, becomes enthralled by a beautiful and comically hot-tempered woman from Romania, Monika (Moran Atias), who seems to have escaped from a Rome Opera production of “Carmen.” She is carrying five thousand euros in cash to redeem her daughter from smugglers who are holding the girl in a boat.
The story doesn’t quite make sense, especially as Monika rushes out of the bar, leaving the money behind. But Scott is roused from his self-absorption by the woman’s crazy vivacity, and he tries to help her out. Is he being conned? He doesn’t much care: Monika is funny and street-smart in ways that he could never be. Brody, energized now, enters into Scott’s passion with the mixed fascination and fear of a man who may be throwing his life away but is happy to be doing something decisive at last.
The tale dominated by Mila Kunis, as Julia, a rattled New Yorker, lacks the exuberant spirit of the other two. Julia is one of those infuriating people who can’t pull themselves together, no matter how high the stakes. Broke, disorganized, always late, she has lost custody of her little boy, whom she longs for; a year earlier, she may have hurt the child. Her ex-husband, a famous artist (James Franco, uncharacteristically fierce), has had her cut off financially and her visitation rights blocked. Kunis, scrambling through the city, gives the ultimate in desperate, bottom-dog performances—those saucer eyes never stop pleading. Haggis treats this screwup with great sympathy, recounting her cascading dilemmas in sorrowful detail. Life in the world Haggis creates is marked by bizarre coincidences, missed opportunities, and terrible luck. Living it isn’t easy for anyone.
Directed by: Paul Haggis
Starring: Olivia Wilde, Caroline Goodall, James Franco, Maria Bello, Moran Atias, Mila Kunis, Adam Brody, David Harewood, Liam Neeson, Kim Basinger
Screenplay by: Paul Haggis
Cinematography by: Gianfilippo Corticelli
Film Editing by: Jo Francis
Costume Design by: Sonoo Mishra
Set Decoration by: Raffaella Giovannetti
Art Direction by: Dimitri Capuani, Luca Tranchino
Music by: Dario Marianelli
MPAA Rating: R for language and some sexuality / nudity.
Studio: Sony Pictures Classics
Release Date: June 20, 2014
Based on a true story, Infinitely Polar Bear is a funny and heartbreaking portrait of the many unexpected ways in which parents and children save each other.
While most fathers spend their days at work, Cam Stuart (Mark Ruffalo) is more likely to be found mushroom-hunting, cooking elaborate meals, or working on one of his many half-completed projects. His family’s wealth keeps his family just barely afloat, while Cam struggles to live with manic depression. When Cam has a manic breakdown that lands him in a mental hospital, his wife Maggie (Zoe Saldana) and their two young daughters, Amelia and Faith, are forced to leave their house in the country and move into a cramped apartment in Cambridge, where Maggie tries to find a decent job, with no luck.
Broke, stressed, and overwhelmed, Maggie applies to business school and is accepted to Columbia University’s MBA program. Seeing this as her chance to build a better life for their daughters, Maggie asks Cam to become the primary caregiver for the girls while she completes her degree in New York. After all, routine is what the doctor ordered and the girls miss their dad. Cam agrees, hoping to rebuild his family. But the two spirited girls are not interested in making things easy for him.
With Maggie away in New York, Cam quickly realizes that he’s in over his head. Over the course of the next 18 months, as Maggie rushes to complete her degree, he learns, through trial and a lot of error, how to take care of his precocious daughters as well as himself. After years of struggling to find his place in the world, Cam may finally have found where he fits in.
Infinitely Polar Bear
Directed by: Maya Forbes
Starring: Zoe Saldana, Mark Ruffalo, Keir Dullea, Wallace Wolodarsky, William Xifaras, Mary O’Rourke
Screenplay by: Maya Forbes
Production Design by: Carl Sprague
Cinematography by: Bobby Bukowski
Film Editing by: Michael R. Miller
Set Decoration by: Jennifer Engel
Costume Design by: Kasia Walicka-Maimone
Music by: Theodore Shapiro
MPAA Rating: R for language.
Studio: Sony Pictures Classics
Release Date: January 18, 2014
Dave Skylark and his producer Aaron Rapoport run the popular celebrity tabloid TV show “Skylark Tonight.” When they discover that North Korean dictator Kim Jong-un is a fan of the show, they land an interview with him in an attempt to legitimize themselves as journalists. As Dave and Aaron prepare to travel to Pyongyang, their plans change when the CIA recruits them, perhaps the two least-qualified men imaginable, to assassinate Kim Jong-un.
The Interview is an American political satire comedy film directed by Seth Rogen and Evan Goldberg. It is their second directorial work, following This Is the End (2013). The screenplay is by Dan Sterling, based upon a story he co-authored with Rogen and Goldberg. The film stars Rogen and James Franco as journalists who set up an interview with North Korean leader Kim Jong-un (Randall Park), and are recruited by the CIA to assassinate him.
Rogen and Goldberg developed the idea for The Interview in the late 2000s, with Kim Jong-il as the original assassination target. In 2011, after Jong-il’s death, Jong-un replaced him as the North Korean leader. Rogen and Goldberg re-developed the script with the focus on Jong-un’s character. The announcement for the film was made in March 2013, along with the beginning of pre-production. Principal photography took place in Vancouver from October to December 2013.
Directed by: Evan Goldberg, Seth Rogen
Starring: James Franco, Seth Rogen, Lizzy Caplan, Randall Park, Diana Bang, Dominique Lalonde, Anesha Bailey
Screenplay by: Dan Sterling
Production Design by: Jon Billington
Cinematography by: Brandon Trost
Film Editing by; Zene Baker, Evan Henke
Costume Design by: Carla Hetland
Set Decoration by: Johanne Hubert
Art Direction by: James Steuart
Music by: Henry Jackman
Studio: Sony Pictures Classics
Release Date: December 25, 2014
Taglines: It’s a hard knock life.
In Harlem, 10-year-old Annie Bennett lives in foster care with several other girls in the care of the cruel Colleen Hannigan. She spends each Friday waiting outside the restaurant where she believes her parents will return to collect her.
She is rescued from being run down by a truck by William Stacks, a cell phone mogul running for mayor. Stacks is a germaphobe who doesn’t connect to commoners well, and is losing badly. The rescue goes viral on the internet and Stack’s numbers spike. Stacks’ campaign manager Guy Danlily suggests that he invite Annie to live with him as means to further boost his poll numbers. Stacks reluctantly agrees, but over time, develops true affection for Annie and his assistant Grace Farrell, and plans to adopt Annie.
After a disastrous public appearance, Guy Danlily (with the help of Miss Hannigan) arranges to have Annie claimed by impostors pretending to be her parents. But as they enact their plan, Guy betrays Miss Hannigan, who starts having second thoughts. Around the same time, Annie soon learns that the impostors are not her parents, and she is being kidnapped. Hannigan confesses Guy’s scheme to Stacks, who then fires Guy.
Annie is an American musical comedy-drama film directed by Will Gluck and produced by Village Roadshow Pictures and Will Smith’s Overbrook Entertainment for Sony Pictures’ Columbia Pictures. A contemporary adaptation of the 1977 Broadway musical of the same name, the film stars Quvenzhané Wallis, Jamie Foxx, Rose Byrne, Bobby Cannavale, and Cameron Diaz.
The third film adaptation of the 1924 comic strip Little Orphan Annie by Harold Gray, following Columbia’s 1982 theatrical film and Disney’s 1999 television film, Annie began production in August 2013 and opened on December 19, 2014 to generally negative reviews, but was a box-office success, grossing over $133 million.
Directed by: Director: Will Gluck
Starring: Jamie Foxx, Quvenzhané Wallis, Rose Byrne, Bobby Cannavale, Cameron Diaz, Eden Duncan-Smith, Amanda Troya, Zoe Margaret Colletti, Tracie Thoms
Screenplay by: Will Gluck, Aline Brosh McKenna
Production Design by: Marcia Hinds
Cinematography by: Michael Grady
Film Editing by: Tia Nolan
Costume Design by: Renee Ehrlich Kalfus
Set Decoration by: David Schlesinger
Art Direction by: Patricia Woodbridge
Music by: Greg Kurstin
MPAA Rating: PG for some mild language and rude humor.
Studio: Sony Pictures Classics
Release Date: December 19, 2014
Foxcatcher tells the gripping, true story of Olympic Wrestling Champion brothers Mark Schultz (Channing Tatum) and Dave Schultz (Mark Ruffalo) and their relationship with the eccentric John du Pont (Steve Carell), heir to the du Pont Chemical fortune that led to murder. Based on the true story of Mark Schultz, an Olympic wrestler whose relationship with sponsor John du Pont and brother Dave Schultz would lead to unlikely circumstances.
Foxcatcher is an American biographical drama film, directed by Bennett Miller, starring Steve Carell, Channing Tatum, and Mark Ruffalo. The screenplay was written by E. Max Frye and Dan Futterman. It competed for the Palme d’Or in the main competition section at the 2014 Cannes Film Festival, where Miller won the Best Director Award.
About the Production
Based on true events, FOXCATCHER is a rich and moving story of brotherly love, misguided loyalty and the emotional bankruptcy that can accompany great wealth and power. Examining the perilous relationship between an eccentric multi-millionaire and two champion wrestlers, Academy Award nominee Bennett Miller’s fourth feature once again centers around complex characters with vivid personalities navigating unusual circumstances. As with his previous features, CAPOTE and MONEYBALL, large and often allegorical themes in society emerge through Miller’s meticulously imagined portraits of real people.
The mass of research collected during the years of preparation for FOXCATCHER yielded the stark facts from which the drama would be created, transforming the story into a wholly new incarnation. “It’s fact to fiction as a vehicle back to truth,” says Miller. “Some months after CAPOTE was released I received a letter from Harper Lee. She said the film was a demonstration of fiction as a means towards truth. There was, as she pointed out, a great deal in the film that we had invented, but that ‘The film told the truth about Truman.’ FOXCATCHER has a similar aim.”
Miller first heard about the story of eccentric multi-millionaire John Eleuthere du Pont (Steve Carell) and a pair of world champion wrestler brothers, Mark (Channing Tatum) and Dave Schultz (Mark Ruffalo) when executive producers Michael Coleman and Tom Heller showed him a newspaper article about the story. “The circumstances seemed comical and absurd, but the outcome was horrible and real,” says Miller. “The deeply strange things that happened on the du Pont estate were unlike anything I had personally experienced, and yet they felt familiar. There was something about the story – or perhaps something beneath the story – that wasn’t strange at all. In fact, the opposite.”
At the heart of FOXCATCHER is a triangular dynamic between du Pont and the Schultz brothers that Miller found compelling- enough so to commit to making it his next film. But while his initial impulse to take on the project was immediate, the subsequent time and energy poured into it was expansive. “I needed to learn what hadn’t been known about the story and that takes time,” says Miller. “What compelled me was clear and convincing; I knew this was a story for me. But the process of summoning this film took years, involving relentless research and discovery that goes far beyond determining plot. My first undertaking was authoring and engineering the moments and sequencing that would become the film – a process that allowed the film to continue to reveal itself all the way through to the last detail in post-production.”
Miller traveled all over the country- to Iowa, California, Colorado, Missouri, and Pennsylvania – amassing materials, including video footage of both du Pont and the Schultz brothers, and interviewing dozens of people, including Mark Schultz, Dave’s widow Nancy, their friends and fellow wrestlers, people who had worked for du Pont, police officers, and anyone who had lived any part of the story. “This story harbors some uncomfortable truths,” says Miller. “Everyone I spoke with seemed to be guarding some aspect of what happened.”
The basics of the story revealed the following: Although Dave was slightly older than Mark, the siblings did not have a typical brotherly relationship growing up. After their parents split up when they were young, Dave assumed a paternal role as they moved between their parents’ homes, often fending for themselves. Over time, Mark developed a need for his brother, as wrestling partner or coach, or for emotional support. At the same time, he was jealous of Dave’s success. His inner turbulence only escalated as the years went by. “Mark was always that little brother that just couldn’t break out or figure out how to get by on his own,” says Tatum. “He always had to rely on Dave, and this kept him from having his own life, his own career, and the thing he wanted most-his own respect from people.” Mark’s confused vulnerability made him frequently turn his pent-up anger on himself as much as on his wrestling opponents. “I don’t think anybody could punish Mark more than he could himself and I think he hardens himself against the world by punishing himself,” says Tatum.
Directed by: Bennett Miller
Starring: Channing Tatum, Steve Carell, Sienna Miller, Mark Ruffalo Mark Ruffalo, Anthony Michael Hall, Mark Schultz, Vanessa Redgrave, Tara Subkoff, Stephanie Garvin, Samara Lee
Screenplay by: E. Max Frye, Dan Futterman
Production Design by: Jess Gonchor
Cinematography by: Greig Fraser
Film Editing by: Jay Cassidy, Stuart Levy, Conor O’Neill
Costume Design by: Kasia Walicka-Maimone
Set Decoration by: Frederick E. Kowalo, Kathy Lucas
Music by: Rob Simonsen
MPAA Rating: R for some drug use and a scene of violence.
Studio: Sony Pictures Classics
Release Date: November 14, 2014
Whiplash follows Andrew (Teller), a first-year college student as he begins his quest to become the core drummer of the top jazz orchestra in the country. Under the direction of a prestigious but borderline abusive instructor named Fletcher (J.K. Simmons), Andrew would do anything to become a famous musician. His commitment is put to the ultimate test when the unrelenting and eccentric band professor all but drives him to madness. Fletcher’s extreme teaching methods rattle Andrew’s faith in drumming…and in himself. In the end, the struggle is only worthwhile if Andrew is really the one-in-a-million talent that Fletcher believes him to be.
Whiplash is an American jazz music drama thriller film written and directed by Damien Chazelle. The film stars Miles Teller as a young jazz drummer who attends one of the best music schools in the country under the tutelage of the school’s fearsome maestro of jazz (J. K. Simmons). It also stars Melissa Benoist, Austin Stowell, Jayson Blair, and Kavita Patil.
The film premiered in-competition in the US Dramatic Category at 2014 Sundance Film Festival on January 16, 2014, as the opening film of the festival. Shortly after the film’s premiere screening, Sony Pictures Worldwide acquired the international distribution rights.
About the Production
Originally conceived in the form of an 85-page screenplay, Damien Chazelle’s Whiplash came to prominence after being featured in the 2012 Black List that includes the top motion picture screenplays not yet produced. When producers started showing interest, Chazelle took 15 pages from his original screenplay and adapted it into a short film starring Johnny Simmons in the role of the drummer and J. K. Simmons (no relation) in the role of the teacher.[ The 18-minute short film went on to much acclaim after screening at the 2013 Sundance Film Festival, which ultimately attracted investors to sign on and produce the complete version of the script. The feature-length film was financed for $3.3 million by Bold Films.
In August 2013, Miles Teller signed on to star in the role originated by Johnny Simmons; J. K. Simmons remained attached to his original role. Principal photography began the following month with filming taking place throughout Los Angeles, including the Hotel Barclay, Palace Theater, and the Orpheum Theatre.
Directed by: Damien Chazelle
Starring: Miles Teller, J. K. Simmons, Melissa Benoist, Austin Stowell, Jayson Blair, Kavita Patil
Screenplay by: Damien Chazelle
Production Design by: Melanie Jones
Cinematography by: Sharone Meir
Film Editing by: Tom Cross
Costume Design by: Lisa Norcia
Set Decoration by: Karuna Karmarkar
Music by: Justin Hurwitz
MPAA Rating: R for strong language including some sexual references.
Studio: Sony Pictures Classics
Release Date: October 10, 2014
Magic in the Moonlight is an American romantic comedy film written and directed by Woody Allen. The film stars Colin Firth, Emma Stone, Hamish Linklater, Marcia Gay Harden, Jacki Weaver, Erica Leerhsen, Eileen Atkins, and Simon McBurney. Set in the 1920s on the French Riviera, the film was released on July 25, 2014, by Sony Pictures Classics.
In 1928, a globally famous illusionist, Wei Ling Soo, performs in front of a crowd in Berlin with his world-class magic act. As he walks off stage the film audience sees that he is actually a British man named Stanley (Colin Firth). He berates his employees and is generally curmudgeonly towards his well-wishers. In his dressing-room, he is greeted by old friend and fellow illusionist Howard Burkan (Simon McBurney).
Howard enlists Stanley to go with him to the Côte d’Azur where a rich American family, the Catledges, has apparently been taken in by a clairvoyant and mystic, Sophie (Emma Stone). In fact, the son of the family, Brice (Hamish Linklater), is smitten with Sophie, and his sister Caroline (Erica Leerhsen) and brother-in-law George (Jeremy Shamos) are concerned Brice is considering proposing marriage. Howard says that he has been unable to uncover the secrets behind her tricks and he admits that the more he watched her the more he believed she really has supernatural powers. So he would like Stanley, who has debunked charlatan mystics in the past, to help him prove she is a fraud.
Howard and Stanley travel to the French Riviera, but Stanley is soon astonished by Sophie’s ability to go into a fugue state and apparently pull out highly personal details about him and his family. Stanley witnesses a seance in which Sophie communicates with the deceased patriarch of the American family. A candle floats up from the table and Howard grabs it to try to discern what trickery is at play, but is astounded to find no apparent subterfuge. Stanley begins spending time with Sophie. He takes her to visit his aunt and they drive a convertible along the picturesque rocky corniches. When caught in a rain storm, they end up at an observatory that Stanley had visited as a child. After the rain subsides, they open the roof up and view the stars.
When Stanley and Sophie visit his aunt Vanessa (Eileen Atkins), Sophie is seemingly able, after holding aunt Vanessa’s pearls, to somehow relate most of the details of Vanessa’s one great love affair. This finally convinces Stanley of Sophie’s authenticity and he has an emotional epiphany, feeling that his lifelong rationalism and cynicism have been misguided. He is elated at looking at the world with new eyes and even breaks off his engagement with his equally rational and dispassionate fiancee, Olivia.
At a Gatsby-esque party, Stanley and Sophie dance. As they walk together later that night, Sophie asks him if he has felt any feelings for her “as a woman”. Stanley, who has admired her talents as a mystic and is grateful to her for opening his eyes to a new worldview, is taken aback and admits that he has not thought of her that way. She leaves upset. The next day Stanley holds a press conference to tell the world that he, who spent his life debunking charlatan mystics, has finally come to find one who is the real deal. The reporters drill him with questions, but the grilling is interrupted when he receives news his aunt Vanessa has been in a car accident.
Stanley rushes to the hospital, and in an emotional scene in a waiting room considers turning to prayer for solace. That is, if he now has come to believe in divination and mysticism, perhaps he should believe in God and prayer. He begins to pray for a miracle to save his aunt, but is unable to go through with it. The rationality that has been his whole life comes back and he rejects prayer, the supernatural and by extension, Sophie and her powers. He decides once more to prove she is a fraud.
Magic in the Moonlight
Directed by: Woody Allen
Starring: Colin Firth, Emma Stone, Marcia Gay Harden, Catherine McCormack, Ellen Atkins
Screenplay by: Woody Allen
Production Design by: Anne Seibel
Cinematography by: Darius Khondji
Film Editing by: Alisa Lepselter
Costume Design by: Sonia Grande
Set Decoration by: Jille Azis
MPAA Rating: PG-13 for a brief suggestive comment, and smoking throughout.
StudioB Sony Pictures Classics
Release Date: July 25, 2014
Deliver Us from Evil is an American crime-horror film directed by Scott Derrickson and produced by Jerry Bruckheimer. Despite being officially based on a 2001 non-fiction book entitled Beware the Night by Ralph Sarchie and Lisa Collier Cool and a marketing campaign highlighting that it was “inspired by actual accounts”, the film actually does not showcase any of the cases recounted in the book and instead features a completely original plot imagined by Derrickson and co-writer Paul Harris Boardman.
New York police officer Ralph Sarchie (Eric Bana), struggling with his own personal issues, begins investigating a series of disturbing and inexplicable crimes. He joins forces with an unconventional priest (Edgar Ramirez), schooled in the rituals of exorcism, to combat the frightening and demonic possessions that are terrorizing their city. Based upon the book, which details Sarchie’s bone-chilling real-life cases.
Deliver Us from Evil is an American supernatural horror film directed by Scott Derrickson and produced by Jerry Bruckheimer. The film is officially based on a 2001 non-fiction book entitled Beware the Night by Ralph Sarchie and Lisa Collier Cool, and its marketing campaign highlighted that it was “inspired by actual accounts”. The film stars Eric Bana, Édgar Ramírez, Sean Harris, Olivia Munn, and Joel McHale in the main roles and was released on July 2, 2014.
About the Story
The movie opens in Iraq in 2010. A small group of soldiers are running through a war zone in the desert when they encounter a man-made underground cave. The group leader, Lt. Griggs, sends two soldiers (Jimmy Tratner and Mike Santino) to investigate. Jimmy is recording. Underground, the camera light starts to flicker and then eventually dies out completely. Jimmy and Santino are heard screaming, and then the night vision comes on to reveal hundreds of bats exiting the cave around the two men. Santino produces a light and walks over a river of human skulls to the back of the cave, despite Jimmy’s pleas to leave. He illuminates the back wall of the cave, which has a Latin inscription on it.
The movie then flashes forward to 2013, in New York. Detective Ralph Sarchie is seen trying to give mouth to mouth to a very small bundle, which is revealed to be a dead baby. The coroner asks him repeatedly to let go, but he has trouble doing so and is clearly affected by the experience. The next scene shows Sarchie and his partner, Butler, patrolling the streets of New York. They hear a call coming in about a domestic dispute case and Sarchie says they’ll take it. Butler, an adrenaline junkie, is excited because apparently Sarchie has a “radar” that causes him to take cases that take unusual, often violent turns.
The call is about Jimmy Tratner. They pull up to his house and Jimmy answers the door. Sarchie needs to see his wife so Jimmy lets them inside. The wife, sitting on the sofa, lifts her head to show she has been badly beaten. Sarchie and Butler immediately try to arrest Jimmy, who fights back with a knife, slashing Sarchie’s arm, and then sprints away. They eventually catch him, with Sarchie beating him so badly that Butler has to pull him away, and arrest him. Sarchie notices Jimmy’s fingernails are bleeding.
After Sarchie gets stitches in his arm, the two get a call for the local zoo. Upon arriving, the police at the scene tell them a woman has thrown her 2-year-old boy into the lion’s pit. Luckily, the pit is being repainted, so the lions are not there, but the boy was badly injured. In the ensuing chaos, the woman escaped and the power went out. Sarchie and Butler split up and look for the woman. Sarchie notices the animals are going crazy and eventually finds the woman trying to dig into the ground with her bare fingernails. She is also constantly repeating the lyrics to a song by The Doors. While arresting her, they notice a man in a hood, presumably the painter, in the lion enclosure. Sarchie wants to talk to him but he just slowly walks away, farther into the lion’s pit. Sarchie follows him when suddenly the two lions are out in the enclosure. He barely escapes.
Upon taking the woman, named Jane, to the station, they are met by a priest named Mendoza. He wants to know more about Jane’s behaviour, saying he’s been close with her for years and that she isn’t insane. He says there are two types of evil: secondary evil, which man does, and primary evil, which is something else entirely. He believes Jane is possessed. Sarchie doesn’t believe the priest but takes his card anyway.
Deliver Us From Evil
Directed by: Scott Derrickson
Starring: Eric Bana, Édgar Ramírez, Olivia Munn, Sean Harris, Olivia Horton, Antoinette LaVecchia, Valentina Rendón
Screenplay by: Paul Harris Boardman, Scott Derrickson
Production Design by: Bob Shaw
Cinematography: Scott Kevan
Film Editing by: Jason Hellmann
Costume Design by: Christopher Peterson
Set Decoration by: Ellen Christiansen
Music by: Christopher Young
MPAA Rating: R for bloody violence, grisly images, terror throughout, and language.
Studio: Sony ScreenGems, Sony Pictures Classics
Release Date: July 2, 2014
The film continues where the first film ends. It continues with Rama (Uwais) going undercover and infiltrates the ranks of a ruthless Jakarta crime syndicate in order to protect his family and to uncover the corruption in his own police force.
Berandal (a.k.a. The Raid 2: Berandal) is an Indonesian action film directed by Gareth Evans; it is a sequel to the 2012 hit The Raid: Redemption and was announced in 2011. The film has a release date of March 28, 2014.
Iko Uwais will reprise his role as Rama. In addition, the film stars Alex Abbad, Julie Estelle, Tio Pakusadewo, Arifin Putra, Oka Antara, and Cecep A. Rahman. Japanese actors Ryuhei Matsuda, Kenichi Endo and Kazuki Kitamura are also joining the film.
About the Story
Bejo, a self-made Jakarta gang lord executes Rama’s brother Andi in the fields outside Jakarta. After the disastrous raid on Tama’s apartment building, Rama meets with Bunawar, a police officer that was assured honest by Andi. After sending Rama’s fellow survivor Bowo to receive medical attention and executing Wahyu, Bunawar invites Rama to join a clandestine anti-corruption task force which seeks to expose police commissioner Reza’s backroom dealings with the Bangun and Goto gangs. While Rama initially declines, he agreed to join them after learning of his brother’s murder by Bejo and the imminent threat to his family.
Rama assaults the son of a politician who opposed Bangun’s criminal family, earning imprisonment alongside Bangun’s son Uco. Rama, under the alias “Yuda”, saves the mobster’s life during a prison riot. Bangun subsequently hires “Yuda” when the latter’s prison sentence ends two years later. As “Yuda”, Rama proves his value to the organization and earns the family’s trust while rifts grow between him and the unreliable Bunawar, who withholds information from him. Meanwhile, Uco grows increasingly discontented with his father’s lack of faith in his abilities and placidity towards the Japanese, desiring to take on a larger role in the mob’s operations.
Bejo invites Uco to dinner, sharing rumours of a Japanese plot to turn Reza against the Bangun family and allowing Uco to personally kill his prison assailants. Uco subsequently hatches a plot with Bejo to start a gang war that would destroy the Japanese, letting Uco prove himself to his father while Bejo profits from the chaos. The pair use Bejo’s personal assassins to frame the Japanese for killing Bangun’s loyal henchman Prakoso and falsify a harsh retaliation by Bangun. When the families meet to reconcile, Bangun takes an apologetic stance that causes Uco to lash out against his father. Meanwhile, Reza’s corrupt cops attack “Yuda” in reprisal, leaving him incapacitated as Bangun harshly beats Uco for his disobedience.
Bangun’s adviser Eka calls for “Yuda” to rescue Uco from Bangun’s office. While “Yuda” is in transit, Bejo, the Assassin, and Bejo’s henchmen appear in the office. Uco kills his father and shoots Eka in the leg. Before Uco can finish the enforcer off, “Yuda” arrives, stalling Bejo’s men to cover Eka’s escape. After the Assassin subdues “Yuda”, Bejo commands his men to kill him offsite.
The Raid 2: Berandal
Directed by: Gareth Evans
Starring: Iko Uwais, Roy Marten, Arifin Putra, Oka Antara, Tio Pakusadewo, Julie Estelle
Tio Pakusodewo Tio Pakusodewo
Screenplay by: Gareth Evans
Cinematography by; Matt Flannery, Dimas Imam Subhono
Film Editing by: Gareth Evans
Music by: Aria Prayogi, Joseph Trapanese, Fajar Yuskemal
MPAA Rating: R for sequences of strong bloody violence throughout, sexuality and language.
Studio: Sony Pictures Classics
Release Date: March 28, 2014