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Co-written and directed by Remy Auberjonois, and starring Kate Nowlin (who also co-wrote the film), Tom Lipinski, Chris Sullivan, Rusty Schwimmer, Ashlie Atkinson, Ken Marks, and Rene Auberjonois, the story follows a woman who returns from three tours in Afghanistan.
Continue reading Exclusive ‘Blood Stripe’ Trailer: War Comes Home In L.A. Film Festival Winner at The Playlist.
The Tribeca Film Institute and Alfred P Sloan Foundation Works-In-Progress Reading had Paul Schneider directing readings by Victor Slezak, Dascha Polanco, Tom Lipinski, Britne Olford and Marshall Factora of Emily Lobsenz's Invisible Islands; Eric Talbach, Olford and Lipinski of Thor Klein's Adventures of a Mathematician, and a clip from Jessica Oreck's One Man Dies A Million Times.
Jessica, the director of The Vanquishing Of The Witch Baba Yaga and cameraperson for David Byrne's Contemporary Color, directed by Bill Ross IV and Turner Ross, spoke with me at the cocktail reception. Amy Hobby, producer of Rachel Israel's Keep the Change, Ferne Pearlstein's The Last Laugh, and Treva Wurmfeld's Sam Shepard doc, Shepard & Dark, is the Executive Director of the Tribeca Film Institute.
Jessica Oreck's One Man Dies A Million Times at NeueHouse Photo: Anne-Katrin
Well, that was a doozy.
Blindspot returned for the remainder of the second season on Wednesday night, with an episode that had everything you’d want from the action drama: an explosive death, another internal leak, an ultimatum that may change the team dynamic, and an episode-ending abduction.
Jane (Jaimie Alexander), Weller (Sullivan Stapleton) and company finally gained an upper hand against Shepherd (Michelle Hurd) and Sandstorm, after learning that Shepherd implanted a bug in Patterson’s (Ashley Johnson) tooth in order for her to gain significant intel. After spreading misinformation to lure Shepherd’s minions into a trap, Patterson came face to face with her ex and mole, Borden (Ukweli Roach), only to witness Borden sacrifice himself by blowing up the cabin.
Related: 'Blindspot' Gets a 'Hamilton' Boost With Javier Munoz
Meanwhile, Reed’s ([link
I’ll stick solely to the first act to whet your suspense-thriller
It's no secret that women are still mostly used as beards in studio bromances or scenery in tentpole actioners. But even smaller character-driven films can’t always be counted on to provide satisfaction for those of us yearning to recognize some aspect of ourselves on screen. Faced with intimate stories that fail to bring female characters into focus or ambitious tales that mirror but don’t alleviate the special joys of being a girl (worldwide), female audiences are mostly left to get enlightenment or escape by dreaming ourselves into male characters and stories.
Men rule in the sinister Equity, a sleek woman-powered drama that compels attention from start to finish but occasionally thwarts our need for clarity. Three women’s fates intertwine in what is essentially a horror movie about the perils of being female in the high-stakes world of finance (and elsewhere
For July, we’ve also put together a list for the entire month. We’ve included this week’s list below, complete with information on screening locations for films in limited release.
See More: Here Are All the Upcoming Movies in Theaters for July 2016
Here are the films opening theatrically in the U.S. the week of Friday, July 22. All synopses provided by distributor unless listed otherwise.
Ice Age: Collision Course
Director: Galen T. Chu, Mike Thermeier
Cast: Adam DeVine, Jennifer Lopez, Melissa Rauch
Synopsis: Scrat’s epic pursuit of his elusive acorn catapults him outside of Earth, where he accidentally sets off a series of cosmic events that transform and threaten the planet.
While they wait for a paternity test, they both decide to assume fatherly duties and soon learn to connect and mend their rocky relationship. The film also stars Tom Lipinski (“Suits”) as Robert’s friend Lenny and Talia Balsam (“Mad Men”) as Robert’s mother and Harry’s ex-wife. Watch the exclusive trailer for the film below.
Read More: Here’s How This First-Time Director Shot A Feature Film in New York City
The film is the feature-length directorial debut of Julian Branciforte, who previously acted in Antonio Campos’ “Afterschool” and directed the shorts “The Necessary Defilement
A thirtysomething Marine Corps sergeant never actually named here, but half-jokingly, half-respectfully referred to as “Our Sergeant” (Nowlin), arrives back from her latest — and perhaps, it seems, last — deployment to a minimal welcome. She’s picked up late at from the airport by an in-law. At home, burly husband Rusty (Chris Sullivan) does not make a display of conspicuous enthusiasm. They seem to have a somewhat prickly, not particularly affectionate relationship, suggestive of pre-existing tensions that go unspecified.
Whatever preceded, however, “Sarge” is clearly barely holding it together in this particular return to civilian life: Pounding beers without effect, compulsively jogging, mowing the lawn at midnight and other borderline-manic actions that seem to be keeping some kind of breakdown thinly at bay. At a welcome-home party, a guest’s playful hug triggers drastic over-reaction from her. After that, there’s no further denying she needs help. But she’s sadly aware that appropriate services at a Va Hospital wouldn’t be available for months, sighing, “There’s a wait.”
One day at the tedious municipal road-work job she’s gotten, something in Our Sergeant snaps. She gets in her car and drives hours to the site of a childhood summer camp. It’s the beginning of the off-season, with seemingly sole remaining employee Dot (Rusty Schwimmer) packing things up for the winter. Having no plan, and not having told anyone where she is, Sarge gets a room-and-board gig that’s just what her anxious mind and coiled Marine body needs: Endless, heavy-lifting grunt work.
The two women’s quiet camaraderie, the tranquil setting, and the hard physical labor do seem to make Sarge better, relaxing such that she answers admiring Dot’s questions about her several Iraq and Afghanistan deployments, in terse but revealing terms. But she’s still in a highly fragile state, agitated further by a mixed bag of interlopers to the camp. They include a visiting group of church elders led by gregarious Art (the writer-helmer’s father René Auberjonois, still a theatrically flamboyant presence in his mid-70s); his adoptive-son-of-sorts (Tom Lipinski as another nameless figure, dubbed only “The Fisherman”), a fellow moody loner; and some local louts whose lewd menace Sarge’s addled mindset may or may not be exaggerating.
It’s when these additional characters arrive at midpoint that real-life spouses Nowlin and Auberjonois’ script begins to stumble, after a strong buildup. While the director has cited such deliberately dislocating films about various forms of mental illness and Ptsd as “Repulsion” and “Martha Marcy May Marlene” as models here, “Blood Stripe” grows more tonally muddled than those singular portraits of escalating trauma. The warm-and-fuzzy church group, Lipinski’s conventional Heathcliff-like romantic figure, the poorly integrated thriller elements (a more congruent film would’ve made those local yokels a constant phantom menace) and a vague, unconvincing climactic catharsis all weaken what had initially seems a tougher-minded film. Then there’s the contrivance necessary to keep Sarge from being “rescued” by Rusty, even after she’s made a couple panicked calls back home.
On the plus side, “Blood Stripe” is cryptic in interesting ways, most notably in that we never actually find out what “happened to” Sarge: The film forgoes convention in omitting a flashback, or even a monologue, wherein a specific traumatic combat incident “explains all.” (At one point, however, we do glimpse dramatic scars on her back, and her automatic-recoil reaction to most physical contact raises the possibility of assault or torture.) That’s a refreshing change from formula, not least because it leaves open the possibility that her Ptsd springs from cumulative experience rather than the typical fictive Big Event — a more realistic approach.
Nowlin fully invests in her role, credibly creating a born career-military type nonetheless pushed over the brink — a fully-combat-participatory female soldier relatively new to both U.S. policy and to movies, if you discount the likes of the ludicrous “G.I. Jane.” Schwimmer, Sullivan and Lipinsky are solid in support, even if the latter’s role feels less organic. While its storytelling wavers, there’s nothing unsteady about the movie’s overall packaging craftsmanship, most notably Radium Cheung’s widescreen photography of the gorgeous northern-Minnesota lake country.
Don’t Worry Baby stars John Magaro, Christopher McDonald, Tom Lipinski and Dreama Walker and premiered at the 2015 Sarasota Film Festival.
Julian Branciforte directed the co-production by The Sight Group and Manamarin from his screenplay and Nick Shore and Thomas Kaier produced with Jean-Raphael Ambron, Sam Harper and Brendan McHugh.
Jamie Krasnoff and Johnny Sutak are executive producers.
The movie, which marks Auberjonois’ feature debut, centers on a Marine sergeant returning home to find herself hemorrhaging anxiety and paranoia from unseen wounds. Auberjonois directed from a script he co-wrote with Nowlin.
Producers are Schuyler Weiss, Julie Christeas, Auberjonois and Nowlin. Tom Lipinski, Chris Sullivan, Rusty Schwimmer and Auberjonois’ father Rene also star.
The nine-day festival, now in its 22nd year, closes Thursday night with a screening of “Desierto,” starring Gael Garcia Bernal. “Lowriders” was the opening night film.
The U.S. Fiction Jury also awarded a special mention for comedy for “Chee and T,” directed by Tanuj Chopra; and a special mention for visual accomplishment for Amber Tamblyn’s drama “Paint it Black.” Tamblyn co-wrote the script with Ed Dougherty and produced with Wren Arthur, Amy Hobby and Anne Hubbell.
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During his appearance on Good Morning America Wednesday, Dreyfuss was quick to qualify that his eponymous character in the new ABC miniseries is "the second most despicable man [in modern history] because I've already played Dick Cheney."
That zing aside, Dreyfuss gave insights on his process of channeling Madoff – and the surprising empathy he gained for the imprisoned fraudster, now 77, who orchestrated the largest Ponzi scheme ever by an individual and is currently serving a 150-year prison sentence.
Indeed, while ABC beat HBO to the punch, this production, from the Alphabet’s Lincoln Square arm (previously responsible for its short-lived drama “The Assets,” about CIA mole Aldrich Ames), should do little to temper anticipation for “The Wizard of Lies,” HBO’s upcoming take on the story, starring Robert De Niro and Michelle Pfeiffer.
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