Stars: John Hawkes, Anita Barone, Stephen Falk, Karen Black, Dan Castellaneta, Stephanie Jane Markham, Ryan Alosio, Rusty Schwimmer, Daryl Hury, Leon Russom, Carlos Jacott, Duane Whitaker, Todd Robert Anderson, Greg Benson | Written and Directed by Francis Stokes
A charming and endearing tale of one mans dare to dream attitude and his willingness to break every bone in his body on the way to that dream… With a beautiful re-scan, from 35mm film, of the classic award-winning comedy, Harold Buttleman: Daredevil Stuntman.
Oscar Nominee John Hawkes (Three Billboards Outside Ebbing, Missouri) is Harold Buttleman, a sweet, charming and somewhat clueless small town tuxedo salesman who wants to be the next Evel Knievel and he is willing to break every bone in his body to get there. Harold teams up with a couple of friends who share his passion for what he wants to accomplish and they shoot a crude video (made...
A charming and endearing tale of one mans dare to dream attitude and his willingness to break every bone in his body on the way to that dream… With a beautiful re-scan, from 35mm film, of the classic award-winning comedy, Harold Buttleman: Daredevil Stuntman.
Oscar Nominee John Hawkes (Three Billboards Outside Ebbing, Missouri) is Harold Buttleman, a sweet, charming and somewhat clueless small town tuxedo salesman who wants to be the next Evel Knievel and he is willing to break every bone in his body to get there. Harold teams up with a couple of friends who share his passion for what he wants to accomplish and they shoot a crude video (made...
- 1/26/2018
- by Kevin Haldon
- Nerdly
Drifter was completed in 2007 by Epic Pictures, yet the picture is still looking for distribution even with an enticing trailer and coherent synopsis. Unfortunately for the characters in the film they are not very coherent and left to die in a wide desert landscape. Each person in the film has a surgical scar with no understanding of how they got into their present situation. The film's trailer shows some excellent cinematography and the desert landscapes just seem to equate to loneliness and isolation. These are two good elements to add to a thriller and those who like: "the Cube trilogy, Saw, [or] The Killing Room," might also like this film (Quiet). A distribution co' needs to pick up this film for fans pronto (more details below)!
The synopsis for Drifter here:
"Four characters wake in a desert, disoriented and lost with no clue where they are or how they got there.
The synopsis for Drifter here:
"Four characters wake in a desert, disoriented and lost with no clue where they are or how they got there.
- 3/5/2010
- by Michael Ross Allen
- 28 Days Later Analysis
The European Film Market is a gathering of producers, directors, and film enthusiasts that begins February 12 with panel discussions. To host a series of international horror films the Efm has already announced Caterpillar from Koji Wakamatsu will have a world premiere along with an international premier of The Killer Inside Me. Promoting films of all types to buyers, an early sneak peak can be seen of what the market has to offer. Below you will find the first trailer for Primal aka The Lost Tribe, which will be seen in Berlin. The trailer is for mature audiences only, as the short clip shows nudity, violence, an blood effects that should only be seen after at least one morning coffee. No kidding folks, the clip is brutal! Stay tuned on further developments on the Efm as the beginning of the market nears.
Release Date: February 2010.
Director: Roel Reiné.
Writer: Mark E. Davidson.
Release Date: February 2010.
Director: Roel Reiné.
Writer: Mark E. Davidson.
- 1/23/2010
- by Michael Ross Allen
- 28 Days Later Analysis
PARK CITY, Utah -- Ron Judkins' "The Hi-Line" is a tantalizing near-miss. Beautifully photographed and capably performed, the movie is marred by a dramatically inert story overloaded with exposition and bereft of insight and surprise.
It's a shame because Judkins, an Oscar-winning sound technician writing and directing his first film, is a naturally talented filmmaker blessed with a fine sense of landscape and classical construction. The Sundance competition effort is a tough sell for distributors, though its sharp performances from its attractive leads, Ryan Alosio and emerging young star Rachael Leigh Cook ("She's All That"), suggest that, with the proper care and attention, it has the potential of connecting with sophisticated young urban audiences.
A movie about identity and the search for origins, the story follows Chicago liquor store clerk Sam Polvino (Alosio), who travels to a dreary Montana outpost to seek out 20-year-old Vera Johnson (Cook) with information about her natural father, a drifter and small-time convict. Unsettled by the revelation and the elaborate deceit carried out by her adoptive parents (Stuart Margolin and Margot Kidder), Vera enlists Sam's help in finding her real mother.
As the two move through the eerie, snow-covered landscapes, their quest becomes secondary to the painful realization of their shuttered dreams and unfulfilled lives. Cook has a beautifully understated, natural acting style that is generously rewarded in a complex, extended sequence unfolding in the interior of Sam's car. But the interior lives of Vera and Sam seem too remote and cut off and the dialogue too overt for the material to achieve a larger emotional resonance. The confrontation between Vera and her natural mother (Tantoo Cardinal) doesn't carry the weight and importance the story assigns it.
Technically, the film is a small marvel, in particular the evocative, descriptive production design of Christine Schuman, the brooding cinematography of Wally Pfister and the fluid editing by Charlie Webber.
Judkins has a superb grasp of the grammar of cinema. Late in the film, a single pan that shifts the action from the barren Montana flatlands to Chicago's lakefront is haunting. It only points out the missed opportunities. Indeed, one leaves "The Hi-Line" wishing the words lived up to the images.
THE HI-LINE
Next Wave Films
Producers: Molly Mayeux, Collin Phillips
Director-screenwriter: Ron Judkins
Executive producers: Barbara Boyle, Michael Taylor, Martin Cohen Associate producer: Taylor MacCrae
Director of photography: Wally Pfister
Production designer: Christine Schuman
Editor: Charlie Webber
Costume designer: Hala Bahmet
Music supervisors: Yvonne McDonald, John Bissel
Casting director: Rosemary Welden
Color/stereo
Cast:
Vera Johnson: Rachael Leigh Cook
Sam Polvino: Ryan Alosio
Laura Johnson: Margot Kidder
Clyde Johnson: Stuart Margolin
Martha: Rainer Judd
Singing Bird: Tantoo Cardinal
Running time -- 104 minutes
No MPAA rating...
It's a shame because Judkins, an Oscar-winning sound technician writing and directing his first film, is a naturally talented filmmaker blessed with a fine sense of landscape and classical construction. The Sundance competition effort is a tough sell for distributors, though its sharp performances from its attractive leads, Ryan Alosio and emerging young star Rachael Leigh Cook ("She's All That"), suggest that, with the proper care and attention, it has the potential of connecting with sophisticated young urban audiences.
A movie about identity and the search for origins, the story follows Chicago liquor store clerk Sam Polvino (Alosio), who travels to a dreary Montana outpost to seek out 20-year-old Vera Johnson (Cook) with information about her natural father, a drifter and small-time convict. Unsettled by the revelation and the elaborate deceit carried out by her adoptive parents (Stuart Margolin and Margot Kidder), Vera enlists Sam's help in finding her real mother.
As the two move through the eerie, snow-covered landscapes, their quest becomes secondary to the painful realization of their shuttered dreams and unfulfilled lives. Cook has a beautifully understated, natural acting style that is generously rewarded in a complex, extended sequence unfolding in the interior of Sam's car. But the interior lives of Vera and Sam seem too remote and cut off and the dialogue too overt for the material to achieve a larger emotional resonance. The confrontation between Vera and her natural mother (Tantoo Cardinal) doesn't carry the weight and importance the story assigns it.
Technically, the film is a small marvel, in particular the evocative, descriptive production design of Christine Schuman, the brooding cinematography of Wally Pfister and the fluid editing by Charlie Webber.
Judkins has a superb grasp of the grammar of cinema. Late in the film, a single pan that shifts the action from the barren Montana flatlands to Chicago's lakefront is haunting. It only points out the missed opportunities. Indeed, one leaves "The Hi-Line" wishing the words lived up to the images.
THE HI-LINE
Next Wave Films
Producers: Molly Mayeux, Collin Phillips
Director-screenwriter: Ron Judkins
Executive producers: Barbara Boyle, Michael Taylor, Martin Cohen Associate producer: Taylor MacCrae
Director of photography: Wally Pfister
Production designer: Christine Schuman
Editor: Charlie Webber
Costume designer: Hala Bahmet
Music supervisors: Yvonne McDonald, John Bissel
Casting director: Rosemary Welden
Color/stereo
Cast:
Vera Johnson: Rachael Leigh Cook
Sam Polvino: Ryan Alosio
Laura Johnson: Margot Kidder
Clyde Johnson: Stuart Margolin
Martha: Rainer Judd
Singing Bird: Tantoo Cardinal
Running time -- 104 minutes
No MPAA rating...
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