5 items from 2014
Brad Lunders (P.J. Boudousqué) is awakened in the middle of the night by strapping figures wearing shirts reading "Staff" and is unceremoniously tossed in the back of a van with other teenage boys, all handcuffed and shivering in their pajamas. They are headed to a private juvenile "rehabilitation" facility out in the country, a place where their parents have paid former military men and their lackeys a hefty sum of money to scare their misbehaving teens straight, with physical and mental torture. This is the milieu of "Coldwater," the feature directorial debut of Vincent Grashaw, a producer and cinematographer (via festival favorite "Bellflower"). "Coldwater" teems with a boiling resentment toward the abuse of power. Eventually, that resentment will pour out in bloody chaos, but rigid authoritarian structures prove difficult to bring down. The film is most successful when it's ruminating on the origins and cycles of »
- Katie Walsh
“Coldwater” is the story of what happens to a baby-faced hunk after his mom sends him to a juvenile rehabilitation facility. Never mind that he sells drugs, starts fights at parties and is directly responsible for the death of an innocent friend. As played by heartthrob-in-the-making P.J. Boudousque, the character is evidently just too cute to deserve rehabilitation. A passion project more than a decade in the making for director Vincent Grashaw, this uneven arthouse- and VOD-bound indie — released unrated, but suitable for teens — lies somewhere between indignant expose and unusually tasteful exploitation pic, with shower scenes and sweaty young delinquents aplenty.
Though it never strays far from the prison-abuse-movie playbook, “Coldwater” doesn’t exactly look or feel like other examples of the genre, hewing closer to the aesthetic found in Bruce Weber’s Abercrombie & Fitch photography. Bathed in a rich, golden glow, the pic has an almost dreamlike feel to it. »
- Peter Debruge
Title: The Signal Director: Will Eubank Starring: Brenton Thwaites, Beau Knapp, Olivia Cooke, Laurence Fishburne, Lin Shaye Several years ago, in 2011, multi-hyphenate director Evan Glodell and a group of collaborators with whom he shared a long list of short-form collaborations made a weird little film, saturated in feverish tones, called “Bellflower.” Whatever one thought of that movie itself as a finished narrative product, its construction was so audacious and of a piece as to almost take one’s breath away. “The Signal,” directed by Will Eubank, is an extraordinarily different work, but one every bit as charged and shot through with cool assurance and technical savvy. It’s the type of indie offering [ Read More ]
The post The Signal Movie Review appeared first on Shockya.com. »
Last Saturday, the Austin Film Society successfully hosted the first ever Sundance #ArtistServices Workshop in Austin. #ArtistServices is an organization operated by the Sundance Institute that provides distribution support and assistance to Sundance alumni. They also work to educate up-and-coming filmmakers about all the latest trends in marketing and distribution, and have previously held workshops in Park City, Los Angeles, San Francisco and New York.
Three Sundance staff members (Joseph Beyer, Chris Horton and Missy Laney) were on hand for Saturday's event and had clearly worked closely with Afs to organize a well-run and enlightening collection of panels and conversation. In her opening salvo, Afs Associate Artistic Director Holly Herrick emphasized the workshop aspect of the day and encouraged attendees to ask questions at any point.
The first section of the workshop was specifically devoted to crowdfunding, and this topic continued to resurface throughout the day. In particular, inexperienced filmmakers »
- Caitlin Moore
Caliber Media and Glydascope are producing the project. Quincy Rose is directing the film about well-educated young adults trying to make their way through the craziness of dating in Los Angeles.
Shooting began Wednesday and will last about three weeks in Los Angeles, where big-budget films have largely vanished due to rich incentives from other states and nations. State legislators have recently introduced a bill to improve the state’s production tax credit program, and FilmL.A. president Paul Audley has noted repeatedly that these days, much of the feature film shooting in Los Angeles has been of low-budget entries such as “Friends Effing Friends.”
“Shooting in L.A. was a mixture of several things,” producer Dallas Sonnier told Variety. “The story is all about how hard »
- Dave McNary
5 items from 2014
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