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Film

Review – Meg 2: The Trench

by Isabella Japal August 13, 2023
written by Isabella Japal

The Meg franchise has been revived this summer for Meg 2: The Trench. The film follows Jonas Taylor (Jason Statham) as he works with Jiuming Zhang (Wu Jing) at Juiming’s environmental foundation and also helps to raise his niece, Meiying (Sophia Cai). Together, along with a research team, they venture into Mariana’s Trench. Chaos ensues on multiple fronts as they encounter Megs and subterfuge from environmental naysayers, leading viewers on an action-packed ride.

Meg 2 is a nice mix of crowd-pleasing humor and action, lending itself as the perfect movie for a viewer hoping to duck into a movie theater to escape the summer’s heat to the disgruntled babysitter looking for an activity to keep the kids busy for the afternoon. Initially slow to kick off, the second half of The Meg 2  more than compensates for this with a whirlwind series of battles between Statham, Jing, their teammates, and the elements surrounding them that will have the rest of the moviegoer’s time flying by.

Viewers can look to DJ (played by Page Kennedy) to do most of the comedic lifting in the second half of the film. It is also advised to see the first movie in the Meg franchise, as there are several references to key plot points left over from the first film. Ultimately, Meg 2: The Trench is a movie best seen at home with friends and family, free to laugh not only with, but more importantly at the film, to your heart’s content.

August 13, 2023 0 comment
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EntertainmentThe LatestTV

“The Beanie Bubble” Reminds Us Why We Can’t Have Nice Things!

by Savannah Hanoum July 28, 2023
written by Savannah Hanoum

A movie about the beanie baby craze of the mid-90s isn’t quite what you would expect.

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July 28, 2023 0 comment
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EntertainmentFilmThe Latest

Film Review: “Oppenheimer” A Catastrophic Alarm Bell of Man’s Destructive Power

by Joshua A. Guttman July 25, 2023
written by Joshua A. Guttman

Having seen both Barbie and Oppenheimer, I’m glad I didn’t do the Barbenheimer double feature, because Oppenheimer devastated me.

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July 25, 2023 0 comment
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EntertainmentFilmThe Latest

‘20 Days in Mariupol’ Review: A nerve-wracking, harrowing documentary chronicling war for residents in Ukraine’s port city

by Astrid Zhang July 16, 2023
written by Astrid Zhang

NEW YORK, NY – There are three people who have been single handedly responsible for capturing the harrowing experience in Mariupol in the early days of its siege in February 2022: Associated Press journalists Mstyslav Chernov and his team, Evgeniy Maloletka and Vasilisa Stepanenko.

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July 16, 2023 0 comment
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Film

Ondi Timoner on her latest film and film career

by Richard Schertzer July 14, 2023
written by Richard Schertzer

I was able to sit down and talk with Ondi Timoner, the director of her very personal documentary “Last Flight Home” about her father accepting his own inevitable demise.

Richard: So, how did you start in the filmmaking industry?

Ondi: So I didn’t, really, consciously decide to become a filmmaker. I just sort of picked up a camera. I was a junior in college and I was curious to ask people questions and I started to realize that holding a camera, they gave me really interesting answers. And so my brother and my roommate and I were driving across the country, from, we went to college at the time at Yale and we were driving to the west coast and then back over a spring break and, I brought a little camera along and we went into, you know, convenience stores along the way to buy a soda or a bag of chips or so. And I would ask people, you know, what they feared the most or what made them happy or what they thought of gays in the military because that was actually a, an issue at the time in the, in 1992 when this was. And, and they, and, and I swear, people just gave such interesting answers and all these conversations started happening and I realized that the camera was sort of a bridge, you know, into people’s hearts and minds. And by my senior year at Yale, I would only take classes with the teacher or professor who would let me make a film instead of write a paper. because I learned so much more that way. And I took this one class called transgressive women in American culture and went into women’s prisons to ask them about their experience.

And when I would drive out with the tapes and, and the camera on the back of the car, I felt like I was freeing some part of them from inside the prison walls. Like I had so many of my own prejudices and preconceived notions sort of dissolved in those rooms. And I realized the power of filmmaking, not only to, you know, really upend anything you think, you know, and give you a much more nuanced, truthful and authentic experience, but also to communicate that, right?

Like these people were trapped inside prison. And we had one portrayal of them on late night television as like these crazy violent women. And I was meeting a whole different type of woman. usually someone who was driving the getaway car, usually involved in a nonviolent crime, you know, a mother, a daughter, someone’s sister. And, and so by driving out with the tapes, it was like alchemy, it was like freeing their souls and their stories, you know, to be outside of an otherwise invisible parallel universe that we fund with our tax paying dollars. So that was it. I mean, that was like 30 years ago and I haven’t looked back since, to be honest and back then there was no career, there was no industry in documentary filmmaking. I in fact applied to NYU and UCLA film schools coming out of Yale and I won the film prize at Yale.

I even won like the first ever prize for film that Yale had ever given out. They had no production facilities back then. All I could do was make my films at a public access station. And, but anyway, I wanted to be a documentary filmmaker and, and so I applied saying that to these film schools and I was rejected by the film schools. I couldn’t get in.

So now when I speak at those film schools, they often ask me, you know, what do you think of film school? And I think I don’t really know because I didn’t go to film school. But I do think that not being in film school allowed me to develop my own original style, you know, which I think you can kind of see in all my films a little bit.

Richard: What made you want to make a documentary like Last Flight Home? That was so obviously very personal to you.

Ondi: That one, you know, was more of an unconscious effort. I mean, sometimes I go and set out to make these films and sometimes these films almost set out for me to make them, you know, and it’s the other way around this one, like, like dig and we live in public, all of them, all three of those, they were just kind of bigger than I was. They were just kind of, they were, it’s almost like the film was meant to be made and I kind of came along and made it.

In this case, my father was dying and I didn’t expect it even though I should because he was 92. But we don’t talk about death and dying in our society very much, you know. And, and so I was just kind of in this denial about it. And when he said I really need to go, I panicked and I just didn’t want to forget another word. He said when we found out that there was medical aid dying in California and that he had the right to die.

I was happy to be able to help him, you know, move on to perhaps a better place, but at least to be free of his body, which he was, had been trapped in, you know, he’d been paralyzed for 40 years. So I was happy that there was a solution to him lying there for years or who knows how long with his terminal illness until it killed him. You know, as soon as he could make that choice, he had such power and agency.

It was like when returned to his sales and he was empowered again to be funny and present and happy because he knew that on this certain day, March 3rd, 2021 he could take his life and that we were gonna support him in that. And so that’s changed the course of my life. But at that moment, I was just a daughter sort of panicking, you know, it was like my favorite person in the world and I just didn’t want to forget anything that he said because I can’t really remember him from

before. I was 10 when he had that accidental stroke that paralyzed him. I, I just, my brain kind of blocks it out. I think. So, I think it was really a very deep urge. I had not to forget him. And I went to a therapist and I asked her, you know, if this was appropriate and I said, my dad’s terminally ill, he’s coming home from the hospital. He’s gonna start a 15 day waiting period in hospice.

And I feel like I need to set up cameras and I thought she’d say that it was terribly inappropriate. But instead she’s like, if you think you should film, you should film. So I called my father and he, to my surprise said, I instinctively know you’re on the right track and then he never let the cameras be turned off the whole time. And he was just, he knew what I was doing more than I knew what I was doing.

But at some point along those lines, you know, I came to realize that this was the most profound and important and greatest learning experience of my life and that it was incumbent upon me to share it. And that if I didn’t share it, I wasn’t honoring the work that I’ve been doing for 30 years, which is, you know, to go out with a camera and learn and then come back and share edit together what I’ve learned and then share it with an audience and that’s what I needed to do with this and getting my sister and her family on board for that was more challenging because nobody expected that we were making a documentary. They all kind of believed me that I was just filming him because that’s what I thought. But I did film it like a documentary because I’m a documentary filmmaker. So luckily I got good sound and, you know, I had four cameras going and when, when I, when I realized Oh my God, this is a film, by then, I had the material, I had 500 hours of footage to share. So I made up, I guess the movie is 100 and 100 and four minutes. So from 500 hours, which is not a crazy ratio. If you look at my other films, some of my films are like thousands of hours of footage down to a feature. So, wow. Yeah.

Richard: Who are some of your greatest inspirations when you’re doing documentary filmmaking?

Ondi: Well, all the great verite filmmakers of the sixties are probably my favorites just because great observational filmmaking, ver filmmaking is the, the most powerful I think form of filmmaking period if it can be done, right? Because what it does is it takes the audience and invites them into the room without any mediation or narration to really observe what’s going on there, you know.

And that’s a hard thing to do, especially these days with the amount of consciousness we have around cameras and social media and, you know, everybody is just constantly thinking, thinking about what they can post, you know, and so it’s not the same as even when I began, people were a lot more innocent about cameras, but now it’s a different story.

But I think to this day, you know, the D A Penny Bakers, the rapper Drew, you know, I won the Robert Andrew Award for excellence and observational filmmaking in November from DOC NYC. And I was literally, I was blown away. I was so honored because, you know, their films, these are the first films I ever saw documentaries I ever saw were, you know, primary, his film Primary.

That was amazing. Or Ricky Leacock films, D A Penny Baker’s films. you know, don’t look back on Bob Dylan. That was a great, great film. And so, you know, my, I think my most powerful films actually have a good deal of verite in them. I mean, Last Flight Home is almost all purely verri few, a few interviews, but basically you’re in the room, you know, and that’s what people say is that they can actually transpose their own families onto our family.

And it’s such a powerful experience to just be invited to be at my father’s bedside and to be part of the Timoner family, you know, and I think dig does that. It takes you into the lives of these two bands, you know, where we live in public, takes you into the bunker into, you know, to be in that place for 30 days with these people who have given up all of their rights just to be where it matters at the turn of the millennium and have subjected themselves to this social experiment and you’re kind of in there, you know, right in there and a lot of my films do that. So, yeah, I’d say those are the most, if I hadn’t seen it, I don’t know if I would have known to do it, you know, I don’t really look at other films to influence my work. I kind of look at the subject of the work. So if I’m making a film about someone, the style of the film will come from that or from that experience, it won’t come from other films that I’m studying.

You know, I have a much more pure relationship with my subject and that’s how I make my films. So, but these, these verite films early on without them, I don’t know where I’d be.

Richard: OK. So I, I know that you’re working on a project about the disruption of finance as according to your Wikipedia page.

Ondi: It should be updated because that film is premiered at South by Southwest in March. It’s called the New Americans. And it’s coming out, I believe in the fall or winter or, or right at New Year’s somewhere around then. And I’m not able to disclose who’s putting it out yet, but it’s playing the festival circuit, it played Mountain Film just recently, Dallas Milwaukee.

Next stop that I’m making with the film is Sidewalk Film Festival in Birmingham, Alabama. Fantastic Festival. I cannot not recommend it high, more, highly fantastic festival. If you can go Richard, you should. And it’s in Birmingham, Alabama. It’s a great regional festival like I have three films. They are playing this year because of the 25th anniversary and they’re huge fans of Dig.

So they’re playing Dig, they’re playing Last Flight Home because that’s where I did the secret screening to test it. when it was a very, very rough cut years ago before the Sundance premiere before the Tell You eye premiere. I did a secret screening for 100 people there under no title with without my name, to see what, whether it was too personal or whether it was appropriate to, to share.

And, and so I’m bringing the final version back and then also the New Americans is playing there and also the Woodstock Film Festival in New York is playing. So those are the, those are the next places it’s playing. But, it’s a crazy film. I mean, it’s all about memes and the internet and if you’ve seen my movie, we live in public, it’s sort of the part two of that. It’s really looking at technology’s impact on our, on our minds, on our society, on our politics, on our finances.

And the way that we’re organizing and it’s, it’s both really positive and really negative. because the internet, like all of the most powerful things is a double edged sword. It’s equally the greatest invention of our lifetime and also what might bring us down. So, or I should say tech virtual technology, including A. I.?

Richard: What do you enjoy most about your work? And what do you enjoy least about it?

Ondi: That’s a good question. I like that. My favorite aspect is how much I learn, from the people and the subjects I delve into. It’s almost like my camera’s a diving bell and it just takes me so deep into whatever the topic is usually way far beneath the headlines to a much more three dimensional, four dimensional eight dimensional truth, you know, almost like a prism.

And I really like to take the audience on that journey and share what I’ve learned with them. But I think my favorite part is making the film. Last week I was in a hospice, the only hospice for the homeless in America. And I’m filming a, I’m making a film there. That’s what it should say on my page. If my wikipedia was updated, feel free to update it, Richard because I know you have special skills.

The movie is called the In Between All Caps. And it’s named after a place called the In between I and in between. And it’s a place where the homeless can go to either recover from surgery where they would normally be infected or unable to continue living on the streets. or they go there to die in, in a dignified manner with a loving face and not alone and in a bed and every major city in America should have one of these.

And I’ve just learned so much from the compassion, the, the care, the treatment, the people, the residents. I filmed a veteran dying last week, you know, in this place. And I was, you know, I was rocked for days by it, but I just learned a lot on a deep level, not the kind of stuff you can get from a book, you know. So, ok, so that’s what I love the most.

Oh, yeah. And what do I not like? What do I not like the most? It’s so hard, it is so hard being a documentary filmmaker. There’s an article right now as we speak about how there’s a, there’s a crisis in the documentary filmmaking world because the things that we film take such a psychological toll and we have to be really, really have the fortitude, mentally or the health, you know, the stability to really handle a lot of what it is that we’re documenting.

It’s very, very intense stuff. So there’s that aspect to it. And I think the articles in the Hollywood reporter, let’s see. Let me tell you the name of the article it is. give me one second it is. Yep. Take your time. The documentary film industry is in crisis, the unspoken traumas of the filmmaking community. I believe it’s in the holiday reporter, if you want to see it. But anyway, there’s that and then there’s just the hours the competition that the competition for, and I mean, I’m not competitive. I’m like off right now to go host a screening of colleagues of mine work that’s coming out on HBOMax’s 24 hour decade of popular music because I think the film is so great. And I host all the nonfiction films that the Directors Guild of America.

And I used to have a talk show that you can see on the internet if you’re interested in documentary film called Byod Bring Your Own doc. in which I interview a different colleague every week for hundreds of episodes from 2011 to 2016. I did this. So I’m, I’m really a person who loves to kind of spread the word about my, my film, my fellow filmmakers work and I love the community that we have.

But I it is really a competitive field now and you know, there’s a lot of fear and competition and competition for awards and it’s all built around awards and it’s, it’s all very exhausting, I guess is the word really what I wanna do is just make my movies if that makes sense. Right. Yeah, the industry is what I don’t like that much but I work my way.

I manage, you know, I’m, I, I’m not complaining. I really, I get to do pretty much whatever I want to do, but that’s just because I just go do it. Usually I just go make my movies. I find funding along the way. Sometimes I take a job but mostly I just go and make my own films. and then I sell them or I get funding along the way. So I’m not one of these people who’s always like looking for a job per se.

That’s just how I’ve always worked. I don’t mind. I mean, please call me and hire me for a job, but I, but I’m not gonna wait for the phone to ring to go make a movie if that makes sense. Right? Like I have a couple of movies going right now and then I have a script about my father and that whole experience that I’m trying to make into a scripted film, you know, because I do those as well. I would recommend Maplethorpe, the director’s cut, on Amazon if you want to see a scripted film of mine, Maplethorpe.

Richard: So where do you think your career is gonna go in the next 5 to 10 years?

Ondi: It’s a great question. I really never think like that. I never got into this thinking, oh, I’m gonna do this one day or I’m gonna win this or, you know, I just was filming and then I looked at this, I had like hundreds of tapes when I was making dig and my then boyfriend said to me, what do you, what do you do? You know, what do you want to do with your career?

And I was like, when you see all those tapes, I just wanna put them on one tape. So my thing is always just like, doing whatever the project is that I’m doing and then it leads to the next thing, just organically, you know, I don’t know. I hope I will make last flight home, the scripted version, which was called a stroke of genius. and I would really, really love to tell that story because the last flight home, you see a little bit of my dad’s career, you don’t really get to go into what it is to start an airline, you know, in the seventies and the great rise and fall that happened there with the stroke and the impact it had on our family and all of that. And, so I’ve written a script over the last eight years. In fact, those are the pages you see on his bed. And, that would be my dream is to make that film. But, in the meantime, I have a film about my sister, and this project she’s doing in Brooklyn and I have this film the in between that I’m gonna make. And, I also have a film about a I, that I’ve been making for a few years that I hope to finish called soulmate. So I have plenty of films to keep me very busy. But what do I expect? I expect more, more, you know, that I’ll make more films and probably hopefully balance it out with living a little bit more too. because I, I mean, doubling up on last flight home and the New Americans at the same time was exhausting. And so I’m due for a little bit of balancing right now, taking things a little bit more. one at a time if I can?

Richard: Ok. And last question, do you have any advice for young upcoming filmmakers like myself?

Ondi: Go do it, go make your film find something that you find interesting that you think others will find important or relevant even years from now and something that you find interesting enough that you want to spend a couple of years focusing on it and with documentary, you can go do it, make sure you have good sound, you can always replace the visuals, but you cannot capture the sound again if it’s live and happening in front of you.

So make sure you have a good microphone and and go, you know, go make a film like if you, if that’s what you wanna do, no one’s gonna just, you know, it’s like it wasn’t like I could show up in Hollywood with the sign and say I want to be a filmmaker and somebody would give me a job, you know, I just went and made movies and that’s how I got to be successful and to be where I’m, I’ve now made 10 features and hundreds of shorts, you know, I just went and made them. Sometimes I needed funding a lot of funding and then I would go and find that. But first before you find it, you’ve got to prove it, you know, so go shoot something and make a sizzle and then you could find funding, you know. But if you sit around and you write, you know, write it again, rewrite and rewrite a proposal on your computer in your bedroom, nobody’s gonna give you the funding. So get out there and do it. Well, that’s good advice and learn to edit and edit what you do so that you know what you need to shoot no better guide than being an editor to know what to do in the field. Because you’ll go, you’ll sit there and you’ll edit and you’ll be like, oh my God, I’m missing this, this, this, this and this and the next time you go out there you’ll actually capture those things.

So learn to edit. I edit a lot of my own films, usually co edit with someone else. just because it’s very, very hard long work, but I love it. The art is a documentary is a lot in the editing room. I usually joke editing is 70%. But shooting is also 70%. So if you want to be a documentary filmmaker, you need to be ready to give 100 and 40% beautiful.

 

July 14, 2023 0 comment
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Film

Dimitri Logothetis on his film career

by Richard Schertzer July 4, 2023
written by Richard Schertzer

He may not be a household name but this director has movies like Slaughterhouse Rock, The Kickboxer franchise and the upcoming film Gunner, which is set to star Morgan Freeman, to his name.

Richard: How did you get your start in the filmmaking industry?

Dimitri: Well, I went to film school at Loyola and I got a master’s in film and television and I did a short that won 10 or 11. I don’t remember national and international film awards and then I went on and I did some cable television and, and at the time that cable TV had just started, they had these opportunities where they wanted studios built for public access. So I did a lot of that and then ended up having a pretty good position, one of the biggest cable operators in the country and decided to leave and set up my own phone company.

Richard: So who are your greatest inspirations in this industry?

Dimitri: Oh God, there’s so many, I mean, way before I was born Howard Hawks, producer. He of course, Marin Scorsese, who I worked for as an actor. and who actually wrote a letter for me to go to film school. I was about 19. At the time I worked on a movie called New York, New York as an actor and you know, Francis Ford Coppola James Cameron. and the list goes on and on. And so, wow.

Richard: Where did the inspiration for filmmaking come from? What made you say that this is what I wanna do with the rest of my life?

Dimitri: Well, I don’t think you ever do that. Do you? I think you just kind of start doing things and I think if anybody’s lucky enough to figure out what they want to do for the rest of their lives, I think that they’re pretty fortunate, but most of us do the best we can, or at least it’s been my methodology to try to see if we can just, you know, I try to see if I can do the best I can this year and if I can get through this year, you know, it leads me to opportunities later and so on and so forth. So I never really planned on being a filmmaker. And there wasn’t a single point in my life where I said this is gonna be exactly what I’m gonna do and then all of a sudden I had an opportunity, after film school, and it just one thing led to another and I knew that I was always a very good writer and, writing is what always got me through school, better than anything. And so that was, you have to be a good storyteller. You gotta be a pretty good writer.

You have to be able to work story all the time. especially when you’re, when you’re making movies and TV, because you have to be able to adjust in the day. Sometimes what was written down, whether it’s by you or anybody else may not be working and it may not be working for the actors, you know, so you have to figure out how to continue and move the story forward maybe better than what was originally on the page. I think. I think it starts there.

Richard: So basically the script is never set in stone. It’s always evolving even when you’re, even when the cameras are rolling.

Dimitri: Yeah, I mean, the script has to be good. It’s got to be very good. Otherwise nobody is going to want to jump on board. But when you’re making the film, you’re gonna run into all kinds of situations that, you know, when you’re dealing with actors and actresses and, and locations and it’s just you can see things that work better for the story and hopefully you’re not you’re, you’re, you’re right about your choices, at least 85% of the time.

Richard: Do you have any upcoming projects in the works?

Dimitri:Well, I’m finishing Gunner with Luke Hemsworth and Morgan Freeman. So I’m editing that right now and I’ll probably be delivering that in the next two months and I’m preparing a sequel, the third installment of Kickboxer, which will be Kickboxer III: Armageddon. And I’m planning to shoot that in September. And I’m also doing a film called Flying Shadow, which I’m planning to do just, I’m trying to plan to do both these movies before the end of the year.

You know, Kickboxer did so well. I think it’s still, I think it’s 92% on Rotten Tomatoes and the critics and I think it’s in the eighties with audiences around the world. So I think it’s still holding up pretty well.

Richard: That’s great to hear. so when you, when you made your, first feature film, where did you, where did you get your, where did you get your money from? Because I know making a film is not free. Like,

Dimitri: Well, I don’t know, you know, everybody always asks me that and, and I’m, I’m never, I’m not trying to be coy at all. Everything is different. Yeah. So, early on when I was doing this, video just came into play and there were studios that had divisions that were video divisions. And the majority of the things that I’ve done are independent, they’re independent films.

So I’d say maybe 75% of them are independent. I did, I worked as a director on studio television and I also work as a showrunner on studio television for Warner Brothers. But as a filmmaker and as a, as a, as a, as a writer, producer, director, the majority of what I’ve done is independent. And so sometimes you have an opportunity where you’ll have a property that you’re very passionate about.

And I always suggest to people that if you’re doing this because you need a job, you should just do something else because you really need to be excited about what you’re doing and you really need to be passionate about what you’re doing because as a filmmaker, you may be working on something for a year, two years, three years of your life and that time will never come back.

So you really need to be passionate about it. You really need to want to get that story out there. So sometimes you’ll have sales as today. And now at this point in my life, when I want to do something that’s an action oriented project, which is the majority of the stuff that I do. I, I have a certain value that’s attached to myself and the projects that I pick and then you have to put actors together.

Sometimes I’ve had investors that have liked the genre. For instance, Kickboxer is a very, very valuable commodity. I think before I got involved with this company, they had made when I was still in film school, something like five Kickboxers. And then when I took over the franchise, I relaunched two of them.

So I did Kickboxer: Vengeance and Kickboxer: Retaliation brought Jean Claude Van Dam back. And there were investors that were very interested in that franchise and along with sales and along with the cast, I was able to put together a certain amount of financing.

 

July 4, 2023 0 comment
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“Sheroes”: A Thrilling and Empowering Action Film Celebrating Female Bonds

by Tamerras Leonard June 23, 2023
written by Tamerras Leonard

In the world of action cinema, it’s not often that we see women taking center stage as fearless heroes. However, the highly anticipated film “Sheroes” aims to change that narrative with its compelling story of strength, resilience, and unbreakable female bonds. Starring Isabelle Fuhrman, Sasha Luss, Wallis Day, and Skai Jackson, this action-packed adventure promises to captivate audiences with its powerful performances and breathtaking visuals.

Unleashing the Power of Female Characters

Set against the stunning backdrop of Thailand, “Sheroes” transports viewers into a world where four exceptional women come together to confront a dangerous adversary. Isabelle Fuhrman, known for her standout performance in “Orphan,” once again shines as the courageous and determined leader of the group. Sasha Luss brings her magnetic presence and formidable skills to the screen, showcasing why she is one of the most exciting rising stars in the industry.

In an exclusive interview, Fuhrman shared her excitement about the film’s empowering message and the opportunity to portray a strong female character. She said, “I am thrilled to be a part of ‘Sheroes’ and to bring a powerful female character to life. This film challenges the traditional notions of heroism and highlights the strength and resilience of women. It’s a story that needs to be told, and I am honored to be a part of it.”

Embracing Authenticity and Unity

Wallis Day, previously recognized for her impressive work in “Batwomen,” adds depth and complexity to her character, infusing the film with a sense of vulnerability and strength. Day expressed her enthusiasm for the film, stating, “What drew me to ‘Sheroes’ was the chance to play a character who embodies both strength and authenticity. The film celebrates the unbreakable bonds between women and showcases the power that comes from unity and friendship. It’s an incredible story, and I’m grateful to be a part of it.”

Skai Jackson, whose incredible talent and undeniable charisma make her a force to be reckoned with in “Sheroes,” emphasized the importance of representation and diversity in action cinema. She remarked, “Being a part of ‘Sheroes’ is a dream come true. This film breaks barriers and shows that women can be the heroes of their own stories. It’s crucial to have diverse and inclusive narratives, and I’m honored to contribute to that with this project.”

A Visual Spectacle ‘Thailand’s Breathtaking Backdrop’

One of the most striking aspects of “Sheroes” is its stunning cinematography and picturesque setting. Thailand’s breathtaking landscapes serve as the perfect backdrop for the film’s thrilling action sequences, transporting viewers into a visually immersive experience. From bustling cityscapes to lush jungles, the film showcases the beauty and diversity of the country, enhancing the overall viewing experience.

Inspiring Audiences Worldwide

At its core, “Sheroes” is a celebration of female strength and resilience. The film sends a powerful message, urging audiences to recognize the unwavering determination and capability within themselves. Fuhrman further highlighted this aspect, saying, “Through the gripping story and compelling performances, ‘Sheroes’ shows that gender is not a limitation when it comes to achieving greatness and overcoming obstacles. It’s a reminder that we all possess the strength to make a difference.”

“Sheroes” emphasizes the importance of staying true to one’s authentic self while navigating life’s challenges. The characters serve as inspiring role models, highlighting the significance of embracing individuality and standing up for what is right.

An Epic Journey Awaits

Prepare to be swept away by the exhilarating journey that “Sheroes” promises. With its talented cast, gripping narrative, and awe-inspiring visuals, this film is set to leave audiences inspired, entertained, and hungry for more empowering stories of fearless heroines. As the boundaries of representation and diversity continue to be pushed, “Sheroes” stands tall as a trailblazer, paving the way for a new era of action cinema where women truly become the heroes we’ve always admired.

Mark your calendars and get ready to witness the rise of these extraordinary “Sheroes” – a cinematic experience that will undoubtedly captivate hearts and ignite the spirit of adventure within us all.

June 23, 2023 0 comment
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John Boyega, Teyonah Parris, and Director Juel Taylor talks “They Cloned Tyrone” at ABFF!

by Jan D. June 17, 2023
written by Jan D.

Things are heating up in Miami Beach as ABFF makes a return for their 27th annual film festival! With They Cloned Tyrone being the opening night film, movie goers got to see actor John Boyega, who played Fontaine in the film, get into character by serving three separate red carpet looks.

With his final red carpet appearance, The Knockturnal had the opportunity to speak with him about his role and rise to success.

“It’s a celebration of blaxploitation films! This movie was fun to make and made us connect so well,” He shared. “I play the role of Fontaine, and he’s going through an early life crisis after finding out he’s a clone. [This movie] shows the process of that investigation.” he further explained. As Boyega continues his rise to fame, we can’t help but to notice how authentic he remains while navigating the industry as a British actor.

MIAMI BEACH, FLORIDA – JUNE 14: John Boyega attends as They Cloned Tyrone opens The American Black Film Festival at New World Center on June 14, 2023 in Miami Beach, Florida. (Photo by Jason Koerner/Getty Images for Netflix)

“It first starts with the ability to be comfortable being yourself. There are a couple of obstacles you have to
go through; your personality may not make everybody happy. Once you’re confident in yourself, whatever
that process is, you can step into those spaces  and don’t care about what anyone says.”

Teyonah Parris, who plays yo-yo in the film, also stopped by to give us more insight into her character. “We shall say
[yoyo] is a…. pro at what she does. She’s ambitious, intelligent, and doesn’t take no for an answer.” She goes on to say that Director Juel Taylor gave them the space to make their own creative choice which allowed the cast to play around with the boundaries in cinema.

With this being his first directorial debut, Juel Taylor praises ABFF for the support and positivity they constantly show him.

“It’s amazing, and I love the energy; you know how it is when black folks get together. I’m blessed!” He
continued emphasizing how collaborating with the cast has been an excellent experience. “They all bring so
much more to the characters than I ever imagined. I’m constantly surprised by the choices they
make.”

Although Jamiee Foxx wasn’t able to attend the carpet, his co-stars made sure to give him his flowers while he is still making a recovery.

MIAMI BEACH, FLORIDA – JUNE 14: John Boyega, Teyonah Parris, and Juel Taylor attend as They Cloned Tyrone opens The American Black Film Festival at New World Center on June 14, 2023 in Miami Beach, Florida. (Photo by Jason Koerner/Getty Images for Netflix)

Netflix’s They Cloned Tyrone will be premiering on July 21, 2023.

June 17, 2023 0 comment
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Film

Last Flight Home: Timoner hits documentary gold!

by Richard Schertzer June 15, 2023
written by Richard Schertzer

Pain, sadness, loss and regret all encompass this absorbing tale of life and death in acclaimed documentarian Ondi Timoner’s newest piece of work entitled “Last Flight Home”, where she explores the sad and tear-jerking death of her late father and venture capitalist Eli Timoner.

Eli Timoner was born in New York after his family emigrated from Russia to the states. Later in his life, Timoner and his wife Lisa had three children named Ondi, Rachel and David. He was a loving father but died in March 2021 of his own accord with the help of the End of Life Option Act, which is legal under the California law. 

The film has a certain nostalgic sense that remains enduring for all to see. Its emotional magnitude allows audience members to be immersed into the fabula of the narrative. The film is a great look at the final hours of Eli Timoner and how he spent them with his family.

 

 

This may be Timoner’s magnum opus as it is probably her most personal in her filmography. The film’s heart-felt and sensitive take on an equally sensitive topic seems to be a lot larger than life in more ways than one.

It seems impossible to watch and not get teary-eyed with such emotion as we see Eli come to terms with his inevitable demise that his family are unable to stop no matter how hard they try. 

This film is a true testament to love and appreciation for those in your lives that love you the most because it is painfully obvious that tomorrow is never promised and we only have a certain amount of time to spend with the ones we love. 

 

June 15, 2023 0 comment
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Film

“Thelma & Louise” Drives Into The Criterion Collection

by Julia Mazza June 8, 2023
written by Julia Mazza

When we think of a Western, several images come to mind. 

A tumbleweed rolling through a dusty town. The hero has to be the first to draw his gun. John Wayne rides off on his horse into the great wide somewhere. These stories tend to have one thing in common: a man in his natural habitat. The Old West towns, the wide open plains, the badlands are all considered to be rightfully possessed by the hero who roams them—and that hero is always a man. 

Then Callie Khouri’s screenplay for Thelma & Louise flipped the script on the genre forever.

In lieu of the Western genre’s signature cowboy, Thelma & Louise featured two anti-heroes cursed by their femininity. Instead of a horse, audiences got a blue 1966 Ford Thunderbird. The scenery of mountains, oil rigs, deserts, and canyons were deserving of the genre—but served the purpose of being their escape instead of their domain. 

From the first moments that best friends Thelma (Geena Davis) and Louise (Susan Sarandon) grace the screen, we are introduced to two women who have accepted their roles in a man’s world—or so we think. Both are tragically stuck in claustrophobic, soul-sucking environments; Thelma, a housewife who caters to the every need of her emotionally immature husband and Louise, a diner waitress in a lonely relationship. 

If their indoor environments act as nothing but a prison, then the outdoors is their liberation. What begins as Thelma and Louise’s drive to their cabin for a serene fishing trip to escape their humdrum lives becomes a hurried dash to flee the country as fugitives after Louise shot and killed the man who raped her best friend. 

All of their misfortunes are caused by men being men in a man’s world, from Thelma’s emotionally abusive marriage to the “unspeakable” thing that happened to Louise long ago—even getting their money stolen by a drifter. But it’s a world they’re determined to take back piece-by-piece, one stretch of road at a time. 

Our heroes’ journey is just that; a story of survival and desperation. Thelma’s skirt and Louise’s headscarf goes the way of tattered t-shirts and jeans. Louise throws her lipstick out of the car as she drives, and by the end of the film, both women aren’t wearing any makeup at all. Thelma’s naivete quickly chips away when she takes charge and does what needs to be done—she robs a convenience store at gunpoint to make up for letting a drifter (played by Brad Pitt) steal Louise’s life savings. As the movie gets grittier, Thelma and Louise not only get sweatier and grimier, but also tougher,  finally standing on equal footing with each other before the story’s end. 

It’s no wonder Geena Davis relentlessly pursued the role for a year. She was able to play two characters so flawlessly: the sheltered, ditzy Thelma, and the resilient, badass woman Thelma becomes, forever changed by the journey. But it’s Susan Sarandon who takes the wheel, giving an incredible performance just by acting with her eyes; we are told all we need to know about what happened to Louise in Texas without a word of it leaving her lips. It’s what drives Louise to protect Thelma at all costs, like an older sister would—protection which Thelma demonstrates she no longer needs after blowing up a catcalling truck driver’s oil tanker. 

Debuting a 4K transfer of the film, The Criterion Collection’s edition of Thelma & Louise looks stunning, capturing the grime and dust of Ridley Scott’s landscapes while extenuating its beauty.  Scott beautifully uses scenery to tell the story of two women fleeing their suffocating environments to find freedom on the road. He uses canyons, mountains, and deserts to pay tribute to the tradition of the great Western film, while not telling a story of good vs. evil.

Critics and detractors who described the film as “man-hating” back in its day tragically missed the point; it’s about women taking back the keys to control their own fates. Heroes become outlaws during times of oppression, which makes Thelma & Louise as relevant as ever today in a post-#MeToo, post-Roe v. Wade world. 

So many critics and directors missed the point during its time, giving the film a well-deserved edge today. Thelma & Louise is not pretty or coy; it’s a rallying cry of frustration and rebellion. They are outlaws who realize they can’t be free in a man’s world. 

But if they gotta go out, they’re gonna go out fighting.

 

“Thelma & Louise” is now available in 4K and Blu-ray via The Criterion Collection (featuring exclusive interviews with Ridley Scott and Callie Khouri, commentary tracks, deleted scenes, and more!)

June 8, 2023 0 comment
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