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Saturday, September 27, 2014

Kristy Is A Nerve Shredding, Nail-Biting, Fight

There moments in life more terrifying than being alone at college for the first time, but what if you were absolutely cut off from the rest of the world - and being chased by a masked psychopath?

When a college girl who is alone on campus over the Thanksgiving break is targeted by a group of outcasts, she must conquer her deepest fears to outwit them and fight back.

“With the rest of the campus home for the Thanksgiving holiday, Justine(Haley Bennett) and a few of her friends spend the weekend in their college dormitory: studying, relaxing and blissfully unaware of the terror that is about to unfold outside in the cold. Suddenly, confronted by a gang of violent outcasts, Justine’s quiet long weekend becomes one long lesson in survival as her and her classmates are terrorized in increasingly bizarre and brutal ways, leaving it up to her to figure out who her attackers are…and if they can be stopped. “

The movie stars Haley Bennett, Ashley Greene, Erica Ash, Chris Coy and Lucas Till.

“KRISTY” is released and distributed by CAPTIVE CINEMA. SHOWING OCTOBER 1. NATIONWIDE!

Kill The Messenger

Based on the True story of Journalist Gary Webb. The film takes place in the mid 1990s, when Webb uncovered the CIA's past role in importing huge amounts of cocaine into the U.S. that was aggressively sold in ghettos across the Country to raise money for the Nicaraguan Contras rebel army. Despite enormous pressure not to, Webb chose to pursue the story and went public with his evidence, publishing the series "Dark Alliance". As a result he experienced a vicious smear campaign fuelled by the CIA. At that point Webb found himself defending his integrity, his family, and his life.

Starring Jeremy Renner, Ray Liotta, Michael Sheen, Mary Elizabeth Winstead, Barry Pepper and Paz Vega. Directed by Michael Cuesta.

“KILL THE MESSENGER” is released and distributed by CAPTIVE CINEMA.

Ashley Greene Goes Evil In Kristy

She played the good girl vampire in the “Twilight” movies, but Ashley Greene goes decidedly darker in psychological thriller “Kristy” Haley Bennett plays the lead role of a girl alone on a college campus who becomes the target of a mysterious and evil gang of attackers.

Greene, in a surprising turn, takes the role of the leader of the gang, Violet, who looks pretty creepy with that dead-eyed stare and piercings not in her ears. Director Olly Blackburn tells that Violet is “the worst of the lot” and for her part, “I told them I’d be willing to get all the piercings [required for the role]… [but] I think my mom is happy they’re not real.” Greene laugh.

‘Kristy’, “described as a ‘Rosemary’s Baby’ type thriller, the story follows a girl who is alone on campus over the Thanksgiving break when a random encounter with a gang of violent outcasts leads them to target her as their next victim. To survive, she must conquer her deepest fears to outwit them and fight back.”


Gritty, Realistic Action Scenes Pay Off in The Equalizer

To realize the action of Columbia Pictures’ new action-thriller “The Equalizer,” the conversations began between director Antoine Fuqua, Denzel Washington, and Keith Woulard, one of the film’s stunt coordinators. “There’s a tendency in shooting action to shake the camera and move things around – the audience can’t tell what’s happening,” says Fuqua. That’s just what they didn’t want to do. “My goal was to take acting and make it action,” says Fuqua.

Fuqua’s inspiration for the way he would shoot the action scenes with McCall, Denzel’s character, was inspired by his interaction with real-life boxers. “I happen to have a very good friend who’s a great boxer – Sugar Ray Leonard,” he notes. “He’ll tell stories, and you’ll realize how smart a boxer can be. Sometimes they’ll touch you – hey, how you doin’ today? – and that’s their way of checking you out, seeing if you’re in shape, if they think you’re a threat. Or they’re watching you a certain way, to see how you move, how your body language is, what your strengths and weaknesses are. They can pick you apart. McCall is trained that way, too – he notices these things and uses them to his advantage. We had to show that.”

The next step was to slow it down. “When we first did the scene in the bar office, it was quick – really fast. I said, ‘It should be fast, but it should be personal. Let’s slow it down, let’s look at it like it was a scene of dialogue, so I can still see him as a character within all of this movement. How would that be done, where it’s Denzel doing what he does?”

It was also important to Fuqua that the scenes be realistic. “We asked ourselves, Can it really happen? Can you really physically do these things? What happens to a human being who is capable of doing that? And it turns out for most people, ordinary people, it’s not possible – you get into a car accident, your heart beats faster, you panic. For people like McCall, though, it’s just the opposite. Their heart rate slows down. The breathing slows down. Everything around them slows down. Their pupils open up to let in more light. It’s all really happening as they assess a room in seconds. And then, when they have it all figured out, they go into action.”

For Woulard, as a stunt coordinator, the process began by breaking down the script into its individual set pieces. “We talked to Denzel and Antoine about what they wanted to do,” he says. “In this particular case, Denzel didn’t want to do a lot of martial arts-type of fighting – he wanted straight, street, slick, creative fighting. And Antoine, of course, agreed.” Woulard brought his own experience in the military, including Special Forces, in creating the fights for the film.

For this particular film, it was imperative that the stunt team work closely with Washington and create action that the actor could perform himself. “We set up all of the action facing us. You see Denzel maybe 95% of the time,” Woulard notes. “So, about a month before we started shooting, I started training him – and we trained every day.”

Training was imperative, as the character is highly trained and an expert. “If you’re holding a knife in a knife fight with the blade sticking out, anybody who knows their stuff will say, ‘OK, you’re going to get the drop on this guy really quick,’” Woulard says. “But if that knife is turned and the blade is running down the palm of his hand, and his holding it like he’s boxing, well, that’s a guy who’s got some experience.”

One thing that sets Robert McCall apart is that he does not use a gun – he uses his environment, whatever is at hand, against his opponents. “There could be an ashtray on the table, a letter opener on the desk,” Woulard continues. “There could be a vase, a fork, a cup, a book. And when he’s fighting in Home Mart, he’s on his home turf – he can gather things up and combine them.”

In that way, the specific action of “The Equalizer” doesn’t end with the stunts – it cuts across all aspects of filmmaking, including photography and production design.

Opening across the Philippines in October 01, “The Equalizer” is distributed by Columbia Pictures, local office of Sony Pictures Releasing International.

Before The Conjuring There Was Annabelle

Annabelle, the infamous doll at the center of one of paranormal experts Ed and Lorraine Warren’s most profiled cases, made her terrifying screen debut in James Wan’s box office sensation “The Conjuring.” Even while shooting the film, Wan and producer Peter Safran were already entertaining the idea that the not-so-innocent doll needed an entire movie of her own.

Wan, who has always been fascinated with the Annabelle case, says, “We know she’s so bad that, even after all this time, she still has to be kept locked up ...but, how did she get that way?”
Safran adds, “How does something so charming, so sweet, become a conduit for pure evil and destruction?”

Now, New Line Cinema’s supernatural thriller “Annabelle” answers those questions by tracing where it all began for the terrifying doll.

Wan and Safran approached Wan’s longtime director of photography, John R. Leonetti, to direct the film. “I have been very fortunate to have had John there right by my side, shooting on most of my films, so it was a natural progression for John to direct ‘Annabelle,’” Wan attests. “His visual style, his passion for this story and his innate ability to connect with cast and crew was the total package and we were very fortunate to have him on this film.”

Leonetti, who crafted chilling shots for Wan on “The Conjuring” and “Insidious” films, among others, was just as intrigued with the sinister doll’s beginnings and translating that to the screen, this time as director.

“I’m a huge horror fan,” says Leonetti. “I also love collaborating with James and Peter and am thrilled they had faith in me to take the helm. I couldn’t wait to bring all that I’ve experienced shooting with James, who is the master of scares, and put it into this project.”

Safran notes, “John and James have worked together so extensively they really have a mind meld going, and the three of us worked so closely on ‘The Conjuring’ that there’s a certain trust among us as a creative team. They’re tremendous partners in the process.”

Leonetti immediately responded to screenwriter Gary Dauberman’s script positing how the doll had turned devious. “Gary’s take on how this might have all started was great; the story was suspenseful and had such a cool psychological layer,” he comments.

Dauberman had been eager to work with the team that had frightened him so intensely with the previous film. “I couldn’t wait to play in this playground with these guys,” he offers. “Everybody loves a good scare, and that was our number one goal.”

Leonetti adds, “Annabelle is an incredible way to facilitate fright because she’s real, and nothing is scarier than that.”

“Everyone’s had a toy that they’ve thought was alive at night,” says Annabelle Wallis, who stars in the film as an expectant stay-at-home wife who also happens to collect dolls. “It definitely resonated with me and I think will resonate with a lot of other people too.”

Ward Horton stars opposite Wallis. The story also made a big impression on him. “I loved the script,” he offers. “It rattled me to the core at the same time that it made me care about the characters.”
Alfre Woodard had never done a supernatural thriller, but “thought it would be fun. To tell you the truth this film really disturbed me because it creates a very convincing reality where truly alarming paranormal events take place.”

Leonetti notes, “There are realms beyond our senses we can’t comprehend and there are entities we can’t fathom. The mythology of demonology will always fascinate people—and mess with their heads…especially a possessed doll that is beautiful and creepy all at the same time. We had a lot of fun with that.”

Opening across the Philippines on October 01, 2014, “Annabelle” is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment company.

Extraordinary Cast Brings Alexander's Characters to Life

Walt Disney Pictures' big-screen adaptation of “Alexander and the Terrible, Horrible, No Good, Very Bad Day” required just the right family. “We assembled possibly the world’s loveliest family,” says director Miguel Arteta. “We wanted the audience to have fun, but also to feel this family’s warmth.”
The cast, adds the director, brought so much warmth to the big screen because they felt it on the set. “They all ended up falling in love—with each other,” says Arteta. “We had that spirit that you hope to get—but you don’t always get. The bond you see is real.”

Filmmakers cast a wide net to fill the role of the title character—casting directors saw more than 500 kids. “We had to find just right person to play Alexander,” says Arteta. “We didn’t want a typical child actor. Alexander needed to be the underdog. He’s like the one kid in the otherwise-perfect family portrait with his eyes closed.”

The director enlisted his wife to help scan hundreds of audition tapes. “The moment this Australian kid actor, Ed Oxenbould, came on, we both saw something special. He’s super smart, sweet and generous.”

It was the actor’s likability and his ability to empathize that won him the role of Alexander. “He’s a 12-year-old every-man,” says screenwriter Rob Lieber. “He has an understated charm to him and I think that’s what Alexander’s all about.”

The incomparable Steve Carell fills the shoes of Alexander’s dad, Ben Cooper, who kicks off the film as a stay-at-home dad hoping to rejoin the ranks of the employed. But when he lands a huge job interview, he’s unable to line up a babysitter in time and is forced to bring baby Trevor with him—which isn’t exactly the first impression he’d hoped to make. “He’s been unemployed for seven months,” says Lieber, “so he has a lot riding on this opportunity.”

Adds Arteta, “He’s the ultimate optimist, but this terrible, horrible, no good, very bad day tries his patience to the point that he finally freaks out. It’s a lot of fun to see a sunny character like that finally lose it.”

Jennifer Garner was called in to portray super mom Kelly Cooper—a force of nature. Shouldering the breadwinning duties for the family, Kelly secretly craves more time with her family. She starts her terrible day behind schedule and finds herself battling a potentially career-ending publishing snafu. “It’s a big moment in her career,” says Lieber. “There’s a celebrity reading that day, and a rather unfortunate misprint is discovered at the last minute. Everything goes wrong.”

Even Alexander has to admit that big brother Anthony is a “total winner,” which can’t be easy. Dylan Minnette was tapped to portray to successful teen, who pretty much has it made in life—just ask him—till the bad day strikes and his reflection reveals what may be his first zit—ever. His perfect life continues to unravel—highlighted by a driving test that doesn’t exactly go as planned. The film, says Arteta, showcases Minnette’s comic abilities. “I don’t think he realized how funny he was,” the director says of the actor. “But he came in and really committed to what was happening, and in doing so, he was hilarious. He even made Jennifer Coolidge, who’s a comic genius, really laugh.”

Kerris Dorsey was cast as Alexander’s sister Emily, an aspiring actress who’s looking forward to her debut as Peter Pan in the school play. “It’s probably the biggest day of her middle school life,” says Lieber, “but she wakes up with a horrible cold.”

Unwilling to let a cold keep her from performing, Emily turns to cough medicine—again and again and again. “She ends up flying around the stage for her school play and destroying everything,” says Arteta. “Kerris is quirky, yet grounded, and she makes it feel real. She makes you laugh and also feel for the character at the same time.”

Twins Zoey and Elise Vargas crawled up to the plate to portray the youngest Cooper—baby Trevor. Even Trevor suffers a bad day—no Cooper is spared—when his beloved bumblebee pacifier is unwittingly destroyed. Trevor finds little solace in a green marker, despite valiant efforts.
Arteta says that like Alexander, he’s decided bad days are pretty much unavoidable. “I have a lot of bad days when everything seems to go wrong—the fridge door swings too fast and knocks over a bunch of glass bottles making me late for every appointment thereafter. I seem to have a lot of those days. I think I’m the right director for this film.”

Opening across the Philippines on Oct. 15, 2014, “Alexander and the Terrible, Horrible, No Good, Very Bad Day” is distributed by Walt Disney Studios Motion Pictures International through Columbia Pictures.
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