Based on the groundbreaking video game franchise, Silent Hill: Revelation 3D is the sequel to the hit film Silent Hill, which opened to number one at the US box office and took in nearly $100 million at the worldwide box office.
Featuring an unparalleled horror experience, Konami’s Silent Hill franchise has captivated fans for more than a decade and has spawned a hit comic book series, graphic novels, collectible action figures and numerous soundtracks from rock bands.
In Silent Hill: Revelation 3D, Heather Mason (Clemens) and her father (Sean Bean) have been on the run, always one step ahead of dangerous forces that she doesn’t fully understand. On the eve of her 18th birthday, plagued by horrific nightmares and the disappearance of her father, Heather discovers she’s not who she thinks she is. The revelation leads her deeper into a demonic world that threatens to trap her forever.
Directed by Paul W.S. Anderson, the wildly successful film franchise adaptation that has grossed nearly $700 million worldwide to the popular video game series, Resident Evil, returns in its highly anticipated fifth installment, Re5ident Evil: Retribution in state-of-the art 3D.
The Umbrella Corporation’s deadly T-virus continues to ravage the Earth, transforming the global population into legions of the flesh eating Undead. The human race’s last and only hope, Alice (Milla Jovovich), awakens in the heart of Umbrella’s most clandestine operations facility and unveils more of her mysterious past as she delves further into the complex.
Without a safe haven, Alice continues to hunt those responsible for the outbreak; a chase that takes her from Tokyo to New York, Washington, D.C. and Moscow, culminating in a mind-blowing revelation that will force her to rethink everything that she once thought to be true. Aided by newfound allies and familiar friends, Alice must fight to survive long enough to escape a hostile world on the brink of oblivion. The countdown has begun.
Daniel Craig is back as Ian Fleming’s James Bond 007 in “Skyfall,” the 23rd adventure in the longest-running film franchise of all time. In “Skyfall,” Bond’s loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost.
Skyfall is the twenty-third James Bond film produced by Eon Productions. It was distributed by MGM and Sony. It features Daniel Craig in his third performance as James Bond, and Javier Bardem as Raoul Silva, the film’s villain. It was directed by Sam Mendes and written by Neal Purvis, Robert Wade and John Logan, and features an Academy Award-winning theme sung by Adele.
The story centres on Bond investigating an attack on MI6; the attack is part of a plot by former MI6 operative Raoul Silva to humiliate, discredit and kill M as revenge against her for betraying him. The film sees the return of two recurring characters to the series after an absence of two films: Q, played by Ben Whishaw, and Eve Moneypenny, played by Naomie Harris. Skyfall is the last film of the series for Judi Dench, who played M, a role that she had played in the previous six films. The position is subsequently filled by Ralph Fiennes’ character, Gareth Mallory.
Based on the book by David Mitchell, his third novel, a work of mind-bending imagination and scope.
A reluctant voyager crossing the Pacific in 1850; a disinherited composer blagging a precarious livelihood in between-the-wars Belgium; a high-minded journalist in Governor Reagan’s California; a vanity publisher fleeing his gangland creditors; a genetically modified “dinery server” on death-row; and Zachry, a young Pacific Islander witnessing the nightfall of science and civilisation — the narrators of Cloud Atlas hear each other’s echoes down the corridor of history, and their destinies are changed in ways great and small.
In his captivating third novel, David Mitchell erases the boundaries of language, genre and time to offer a meditation on humanity’s dangerous will to power, and where it may lead us.
Cloud Atlas is a German-American science fiction film written and directed by Lana Wachowski, Tom Tykwer and Andy Wachowski. Adapted from the 2004 novel of the same name by David Mitchell, the film has multiple plots set across six different eras, which Mitchell described as “a sort of pointillist mosaic.”
The official synopsis describes it as “an exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution.” Tom Hanks, Halle Berry and Jim Broadbent lead an ensemble cast.
The film was produced by Grant Hill, Stefan Arndt, the Wachowskis, and Tykwer. During four years of development, the project met difficulties securing financial support; it was eventually produced with a $102 million budget provided by independent sources, making it one of the most expensive independent films of all time. Production began in September 2011 at Studio Babelsberg in Potsdam-Babelsberg, Germany.
Directed by: Tom Tykwer, Andy Wachowski, Lana Wachowski
Starring: Tom Hanks, Hugo Weaving, Halle Berry, Susan Sarandon, Jim Sturgess, Hugh Grant, Ben Whishaw
Screenplay by: David Mitchell, Lana Wachowski, Tom Tykwer, Andy Wachowski
Production Design by: Hugh Bateup, Uli Hanisch
Cinematography by: Frank Griebe, John Toll
Film Editing by: Alexander Berner, Claus Wehlisch
Costume Design by: Kym Barrett, Pierre-Yves Gayraud
Set Decoration by: Rebecca Alleway, Peter Walpole
Music by: Reinhold Heil, Johnny Klimek, Tom Tykwer
MPAA Rating: R for violence, language, sexuality/nudity and some drug use.
Studio: Warner Bros. Pictures
Release Date. October 26, 2012
Angelina (Ashley Hinshaw) is an 18-year-old on the verge of finishing high school, rushing to escape her broken family life. After reluctantly taking nude photos at her boyfriend’s (Jonny Weston) behest, she takes the cash to skip town with her best friend (Dev Patel). Angelina gets a job cocktailing in a San Francisco strip club where she meets Frances (James Franco), an affluent lawyer who introduces her to a high-class world beyond her wildest dreams.
At the same time, Angelina begins exploring San Francisco’s porn industry, using the moniker Cherry, under the wing of a former performer turned adult film director (Heather Graham). But Angelina’s newfound ideal lifestyle soon comes apart at the seams. About Cherry challenges assumptions about sexuality and pornography, while addressing the common struggle of finding one’s role in life.
This bold debut film by author Stephen Elliott, a visual love letter to San Francisco, is the story of high school student Angelica (a mesmerizing Ashley Hinshaw), whose choices lead her from a depressing home life and dead-end job in Los Angeles to the fetish-filled Bay Area adult film world.
A stepfather with dark motives lurks in the background, as Angelica watches over her younger sister and questions her options. In memorable supporting roles are Festival favorite Lili Taylor as Angelica’s manic and opportunistic mother, Jonny Weston as her sexy but sleazy boyfriend and Dev Patel as best friend and much-needed nonsexual support.
The vibrant cast also includes James Franco as a coke-addicted attorney who spots Angelica in a strip club, and Heather Graham as a female porn director who launches “Cherry’s” adult film career with mixed feelings. A gritty and defiantly voyeuristic look at the life of a youth who never loses her innocence, even as she gyrates for the camera, Cherry captures a rare point of view, urging us to consider the delicate tension between body and self by focusing on society’s most sought after objects of desire.
Directed by: Stephen Elliott
Starring: James Franco, Heather Graham, Dev Patel, Ashley Hinshaw, Lili Taylor, Diane Farr, Elana Krausz
Screenplay by: Stephen Elliott, Lorelei Lee
Production Design by: Michael Grasley
Cinematography by: Darren Genet
Film Editing by: Michelle Botticelli
Costume Design by: Daniella Turner
Set Decoration by: Tyler Kowalski
Art Direction by: Christopher Gaw
Music by: Jeff Russo
MPAA Rating: R for sexual content, including nudity, language and some drug material.
Studio: IFC Films
Release Date: September 21, 2012
The film is told in from the perspective of Cindy (Jennifer Garner) and Jim Green (Joel Edgerton), a couple residing in the drought-stricken town of Stanleyville, as they explain their experience with Timothy (CJ Adams) in an effort to persuade to the adoption services to allow the couple to adopt a child.
Cindy, who works in the town’s local museum and Jim who is employed at the town’s historic pencil factory, reside in the drought-stricken town of Stanleyville, North Carolina. The Greens are informed by doctors that they are unable to conceive. Distraught by the news, Jim convinces Cindy to dream up their ideal child and write the child’s characteristics and life events on slips of notepad paper. The couple places the notes inside a box and bury it in their backyard garden.
After a thunderstorm, which seemingly affects only their property, a ten year-old arrives at their home, claiming the Greens as his parents. Soon they realize that the boy, named Timothy, is actually a culmination of all their wishes of what their child would be. The couple also discovers that Timothy has a startling feature; he has leaves growing on his legs.
The next day, at a family picnic, Timothy is introduced to members of his family: Brenda Best (Rosemarie DeWitt), Cindy’s pompous sister; James Green Sr. (David Morse), Jim’s estranged father and Mel (Lois Smith) and Bub (M. Emmet Walsh), Cindy’s parental aunt and uncle. The parents take Timothy to their friend and town botanist Reggie (Lin-Manuel Miranda), where they learn that Timothy’s leaves are unable to be removed. Timothy begins to attend school where he meets Joni Jerome (Odeya Rush), a girl he meets during a bullying incident, who he begins to have a mutual relationship with.
The Odd Life of Timothy Green
Directed by: Peter Hedges
Starring: Jennifer Garner, Joel Edgerton, Ron Livingston, Rosemarie DeWitt, Dianne Wiest
Screenplay by: Peter Hedges, Ahmet Zappa
Production Design by: Wynn Thomas
Cinematography by: John Toll
Film Editing by: Andrew Mondshein
Costume Design by: Susie DeSanto
Set Decoration by: Brana Rosenfeld
Art Direction by: James Hegedus
Music by: Geoff Zanelli
MPAA Rating: PG for mild thematic elements and brief language.
Release Date: August 17, 2012
Each time Jennifer Gibgot and Adam Shankman have launched a new Step Up film, they have made sure to match and then surpass the energy, diversity and complexity of the previous film’s dancing. But with Step Up Revolution, they have outdone all their previous efforts by scaling up the production values and bringing in more different styles of dance than ever before.
“From the very beginning, it was important to me to include the full spectrum of dance in this movie,” says director Scott Speer. “I believe everyone is naturally a dancer. And every style of dance is really about communicating. The Mob blends many different styles of movement into their flash mobs, including non-dance styles like parkour, which incorporates vaulting, rolling, running, climbing and jumping. I don’t think anyone has brought all of these different aesthetics together in a film.”
By juxtaposing the different styles, Speer believes that he not only shows how well they can work together, he also emphasizes the individual strength of each discipline. “They’re almost at their best when they’re all cut up against each other,” he says. “You really appreciate the hard-hitting hip-hop when you see it set up against the elegance of contemporary dance. That’s when you can best understand how universal dance is, which is one of the most powerful ideas in this movie.”
To pull together all the various elements, the producers brought back Jamal Sims, the prolific actor, dancer and choreographer who staged all three earlier films as well the recent remake of Footloose, the Madonna: Sticky & Sweet Tour and Hannah Montana: The Movie. “He has always done incredible work for us,” Gibgot. “We’ve been proud to watch him grow professionally.”
Sims was encouraged to take his creative spirit to the limitÂ¡Âªand beyond. “A big part of our evolution has been introducing new dance styles in each film,” Sims says. “Scott’s approach was that whatever I could dream up, he would try and make happen. He wanted to take as many different kinds of dance as possible and make them work together.”
Sims brought in a diverse team of choreographers to help realize Speer’s ambitious vision, including Chuck Maldonado, Chris Scott and Travis Wall. “Bringing other choreographers in ensured that the numbers all have a unique look and feel,” says Sims. “For example, Chuck is a stepper and he did Stomp The Yard 2. He helped us with the finale, which is an unbelievable blend of so many styles of dance. Chris has a strong tap background and worked with The LDX.
Travis has his finger on the pulse of the contemporary dance world. His pieces are very emotional and come from the heart of the movie.”
Wall was handpicked to choreograph Emily’s audition for a contemporary dance company. “We knew that we wanted someone different for that,” says Gibgot. “It’s a totally different style from the rest of the film and Travis could do that.”
“He has a different sensibility,” says Smith. “Kathryn McCormick trained as a contemporary dancer. She’s not schooled in hip-hop, which was heavily featured in the previous films. We still have lots of hip-hop dancing in the movie, but we made a choice when casting Kathryn to bring in something new. Travis was integral to realizing that.”
A duet between Sean and Emily, the dance plays into the film’s “Romeo and Juliet” romance. “Not only do they come from two different places and social strata, the way they dance is different,” says Smith. “Ryan brings a much more urban feel. Kathryn’s more lyrical.”
The choreographers worked hard to develop a unique look and feel for each of the large-scale production numbers. “The flash mob scenes are designed to be completely self-contained,” says Sims. “Each has a unique palette, location, theme and style of music. They are very different from each other.”
The pulsating Ocean Drive flash mob that opens the film is designed to grab the audience’s attention and not let it go until the film’s closing credits. “It is the very first time we see The Mob,” says Speer. “And it’s one of the biggest sequences in the film. It immediately establishes what is different about Step Up Revolution and captures the idea that these flash mobs are establishing a viral presence in the city. It is a great way to kick off the story.”
Sims says he always likes to hit hard as the film begins. “That sequence is in your face. It was probably the hottest day we had in Miami. The kids were dancing on top of cars and on the street. Every surface was scorching. We incorporated low riders, dancing with the cars bouncing to the rhythm of the track. There were so many different moving pieces that had to be coordinated and timed perfectly.”
Flash mobs usually use choreography that is simple enough for anyone to learn, but Sims took full advantage of the talent at his disposal. “The average person, or even the average dancer, would have a hard time pulling this off,” says Gibgot. “There were something like 60 people, including parkour artists, which added another exciting element to it.”
The settings provided as much inspiration as the music for the choreographers as they carefully crafted each of the unique set pieces. “Jamal, Travis and I all came together to choreograph the museum sequence,” says Chris Scott. “It was intense. We had people emerging from walls, a fiber optic ballet and several different styles that had to be integrated together. Sometimes the choreography drives the concept, but in this case the concept was driving us. We wanted to portray dance as fine art, just like you see in a museum. We made the dancers into living, breathing works of art. It’s magic!”
For the corporate-themed flash mob that marks The Mob’s first protest, Scott created a highly synchronized escalator ballet performed by identical drones in suits and ties. With dozens of dancers, it all had to be precisely coordinated to work. “They blend in with the business people,” says Smith. “They become part of the same faceless crowdÂ¡Âªuntil the performance begins. They all look the same and move simultaneously.”
Step Up Revolution ends with a breathtaking finale set in a shipping yard, a far larger space than Sims had ever worked in before. “This is a huge finale,” he says. “The space had so many possibilities and we wanted to take full advantage. We have the kids doing their rendition of The Warriors, really aggressive and dancing with props. We have a popping routine, then some of the top b-boys and trickers. Finally, we go into a lovely, sensual duet and all these different styles get mixed into one. In the end, it’s all connected and reflects the story of the two main characters.”
It was the most challenging number in the movie, according to the director. “We shot it over a period of five days,” Speer says. “It had multiple concepts that bled into each other and there was a lot going on visually with costumes, effects and all kinds of special elements. I couldn’t be happier with what we accomplished.”
In Los Angeles, substitute schoolteacher Peter and aspiring writer Lorna are a couple in their twenties making a film documentary. Their subject is a secretive cult led by the mysterious Maggie (Brit Marling), whom they plan to expose as a fraud.
When the cult considers Peter and Lorna ready to meet Maggie, they are made to shower thoroughly and dress in white surgical gowns. Then they are driven blindfolded to a secret basement location and received by Klaus, with whom they exchange a distinctive, intricate handshake, which they have been practicing. Peter and Lorna then join eight other members and meet Maggie, who uses an oxygen tank and implies that the showering and clothing requirements are to avoid aggravating her illness.
Maggie claims to be a time-traveler from the year 2054. She describes the future as riddled with war, famine and struggle, and has come back to select a special band of chosen people to prepare for what lies ahead. She leads the group in a series of intense psychological exercises and tells them about herself and the future, never proving nor disproving her extraordinary claim. Maggie’s charismatic manner is powerful, and both Lorna and Peter have moments in which they waver between skepticism and belief. Lorna is especially concerned when she notices that Peter, who was initially adamant that Maggie was a charlatan, seems to now be intrigued by and even attracted to Maggie.
After several group meetings, Maggie instructs Peter to bring her the eccentric eight-year-old Abigail Pritchett, one of his students. Maggie insists Abigail is her mother, and that Peter and Lorna will be banned from the group if he fails to comply. When Peter admits that he is considering following Maggie’s orders, Lorna is outraged and accuses him of falling for Maggie’s deception. After they argue, Lorna is privately approached by Carol, a woman who identifies herself as a Justice Department agent. Carol tells Lorna that Maggie is wanted for a variety of felonies. Lorna agrees to set Maggie up to be captured and to hide this plan from Peter.
Sound of My Voice is a 2011 American psychological thriller directed by Zal Batmanglij and starring Christopher Denham, Nicole Vicius and Brit Marling. The plot focuses on two documentary filmmakers who attempt to expose a cult led by a charismatic leader (Marling) who claims to be from the future. The film was written by Batmanglij and Marling. It premiered at the 2011 Sundance Film Festival. It was also selected to close the 2011 SXSW Film Festival. The film was released by Fox Searchlight Pictures on April 27, 2012.
Sound of My Voice
Directed by: Zal Batmanglij
Starring: Christopher Denham, Nicole Vicius, Brit Marling, Avery Kristen Pohl, Davenia McFadden, Christy Meyers, Constance Wu
Screenplay by: Zal Batmanglij, Brit Marling
Production Design by: Scott Enge
Cinematography by: Rachel Morrison
Film Editing by: Tamara Meem
Costume Design by: Sarah de Sa Rego
Set Decoration by: Alys Thompson
Music by: Rostam Batmanglij
MPAA Rating: R for language including some sexual references, and brief drug use.
Studio: Fox Searchlight Pictures
Release Date: April 27th, 2012
Margot meets Daniel while on a business trip, and although they immediately share some chemistry, she reveals to him that she is married. However, it turns out that Daniel is living across the street from Margot and her husband Lou in Toronto. Although Lou and Margot appear happy together, it becomes clear that Margot is not completely satisfied with her marriage, possibly aggravated by encountering Daniel.
She is initially resistant to Daniel’s advances, but as the film progresses they interact more and more until she ultimately leaves her husband to be with him. Lou is saddened, yet understanding. The audience is then shown a montage of Margot’s new life with Daniel, including several brief sex scenes. As the film ends, there is some indication that Margot is not satisfied with her new life either.
Take This Waltz begins with heat. Margot is baking muffins in the sweltering humidity of a Toronto summer. Heat radiates from the oven, sunlight filters through the windows, and as Margot leans up against the stove, the film becomes a sensory experience.
Take This Waltz is the second feature film from writer / director Sarah Polley, based on her screenplay which made the coveted Black List in 2009. Whereas Polley’s feature film directorial debut, Away From Her, was the tender story of a couple in the winter of their married life, Take This Waltz follows a younger couple, married for only a few years, moving from the springtime of their romance, settling into what should be a warm, loving life together.
Set in Polley’s hometown of Toronto, she proudly admits that she romanticizes the city, and wanted to show her affection for the tree‐lined streets and downtown residential areas tucked in around neighborhood restaurants and cinemas. So she placed the story right onto the sidewalks, streetcars and beaches which she walks every day.
The title of the film, Take This Waltz, comes from the Leonard Cohen song of the same name, the words of which Cohen interpreted from “Little Viennese Waltz” by the modernist poet, Frederico Garcia Lorca, who was assassinated in 1936 during the Spanish Civil War.
Now in Vienna there’s ten pretty women. There’s a shoulder where
Death comes to cry. There’s a lobby with nine hundred windows.
There’s a tree where the doves go to die.
“The lyrics are so tragic and romantic,” declared Polley. “You never completely understand it, but it makes perfect sense on some deep, emotional level. I listened to it non‐stop while writing the screenplay and it informed the tone of what I wanted to accomplish.”
In the story, Lou is the good husband, durable in his affection for his wife, grounded in his kitchen, as he diligently works his way through his chicken recipes; Margot, however, is a zephyr. Temperate in her self‐awareness, untethered by intention, she is easily propelled by gusts of inspiration coming from others. Side by side, making all the proscribed choices young, urban couples are advised to make, they move towards their future. Lou, contentedly – Margot, because she is his wife.
Take This Waltz
Directed by: Sarah Polley
Starring: Seth Rogen, Michelle Williams, Sarah Silverman, Luke Kirby, Raoul Bhaneja, Jennifer Podemski
Screenplay by: Sarah Polley
Production Design by: Matthew Davies
Cinematography by: Luc Montpellier
Film Editing by: Christopher Donaldson
Art Direction by: Aleksandra Marinkovich
Set Decoration by: Steve Shewchuk
Costume Design by: Lea Carlson
Music by: Jonathan Goldsmith
MPAA Rating: R for language, some strong sexual content and graphic nudity.
Studio: Magnolia Pictures
Release Date: June 29, 2012
When her sister disappears, Jill (Amanda Seyfried) is convinced the serial killer who kidnapped her two years ago has returned, and she sets out to once again face her abductor.
Jill Parrish comes home from a night shift to discover her sister Molly has been abducted. Jill, who had escaped from a kidnapper a year before, is convinced that the same serial killer has come back for her sister. Afraid that Molly will be dead by sundown, Jill embarks on a heart-pounding chase to find the killer, expose his secrets and save her sister.
Gone movie trailer 2012 is presented in full HD 1080p high resolution. Gone movie hits theaters on February 24, 2012. The movie is directed by Heitor Dhalia, starring by Amanda Seyfried, Jennifer Carpenter, Sebastian Stan, Wes Bentley, Daniel Sunjata and Amy Lawhorn, screenplay by Allison Burnett.
Prolific screenwriter Allison Burnett (Fame, Feast of Love) wrote his original screenplay for Gone on spec. He recalls that, one day, producer Chris Salvaterra (The Visitor, Fast Food Nation) came to him with only a kernel of an idea for a movie. “He told me that he had an image in his head of a girl in the middle of the woods, buried in a hole in the ground,” Burnett says. “He explained that he had no idea what else followed, but that he couldn’t shake the thought.”
As the days went by, Burnett found that he, too, couldn’t shake the haunting image from his mind. And thus began his screenwriting journey for Gone. As Burnett started to contemplate the range of possibilities for the story, the pieces of the puzzle started to fall into place and he decided to write the script on speculation—without any guarantee that it would ever be produced.
“I wrote in a very intense burst of creativity,” he says of the process. “At first, I had no idea what was going to happen in the narrative. I was absolutely as lost and clueless as is Jill, the main character in the story. I had to discover the clues along the way. But I knew that if it was unpredictable to me, if I didn’t know what was going to happen next, then the audience couldn’t possibly know either.
“When I finished the screenplay, and because I’ve worked at Lakeshore Entertainment a lot over the years and have a high regard for producing partners Tom Rosenberg and Gary Lucchesi, I felt a moral obligation to offer it to them first. I gave them what’s called a ’24 hour jump’. That’s where you give someone a day to read a script before anyone else has an opportunity to see it.”
Burnett’s script was delivered via messenger to Lakeshore Entertainment. It arrived at 9:00 in the morning. Less than two hours later Tom Rosenberg called Burnett to say that Lakeshore Entertainment would make the movie.
“What I found so satisfying about Gone is that it’s grounded in reality,” Rosenberg says of Burnett’s script. “It takes place over a period of only one day and it reminds me of Hitchcock’s classics. It’s a very taught thriller and has a strong psychological component to it and moves at breakneck speed.”