Melora Walters’ “Drowning,” which has its world premiere at the Rome Film Festival, has debuted its first trailer. The film stars Oscar winner Mira Sorvino, Emmy winners Gil Bellows and Jay Mohr, and Walters, whose acting credits include “Magnolia,” Boogie Nights” and “Dead Poets Society.”
The film tells the story of a mother coming to terms with the emotions as her only son is deployed to war, and is inspired by Walters’ own experience.
The film is written and directed by Walters. Other cast include Joanna Going, Christopher Backus, Steven Swadling, Sergio Rizzuto, Sarah Butler and Jim O’Heir.
It is produced by Sergio Rizzuto for Potato Eater Productions and Room in the Sky Films, in association with Hero L.A. and Eight Trick Pony. It is executive produced by Swadling. The other producers are Albert Chi, Walters, Rory Rooney and Jerry Ying. The cinematographer was Christopher Soos.
The film...
The film tells the story of a mother coming to terms with the emotions as her only son is deployed to war, and is inspired by Walters’ own experience.
The film is written and directed by Walters. Other cast include Joanna Going, Christopher Backus, Steven Swadling, Sergio Rizzuto, Sarah Butler and Jim O’Heir.
It is produced by Sergio Rizzuto for Potato Eater Productions and Room in the Sky Films, in association with Hero L.A. and Eight Trick Pony. It is executive produced by Swadling. The other producers are Albert Chi, Walters, Rory Rooney and Jerry Ying. The cinematographer was Christopher Soos.
The film...
- 10/10/2019
- by Leo Barraclough
- Variety Film + TV
A well-intentioned drama about a married couple traumatised by their daughter's death that looks a little TV-drama-ish
Here is a decently intended and heartfelt drama of redemption which in the end does not quite convince, but not for the want of trying. The director is Jake Scott, son of Ridley and nephew of Tony, both of whom are credited as the film's executive producers. James Gandolfini and Melissa Leo are Doug and Lois, a middle-aged couple whose marriage is buckling under the weight of a terrible loss: their teenage daughter has died. Doug has become a dead-eyed emotional zombie, trudging through his life; Lois has developed agoraphobia and can't leave the house. On a business trip to New Orleans, Doug experiences some kind of epiphany or emotional breakdown while in a lapdancing club: he strikes up a protective friendship with Mallory (Kristen Stewart) a stripper who, of course, is about...
Here is a decently intended and heartfelt drama of redemption which in the end does not quite convince, but not for the want of trying. The director is Jake Scott, son of Ridley and nephew of Tony, both of whom are credited as the film's executive producers. James Gandolfini and Melissa Leo are Doug and Lois, a middle-aged couple whose marriage is buckling under the weight of a terrible loss: their teenage daughter has died. Doug has become a dead-eyed emotional zombie, trudging through his life; Lois has developed agoraphobia and can't leave the house. On a business trip to New Orleans, Doug experiences some kind of epiphany or emotional breakdown while in a lapdancing club: he strikes up a protective friendship with Mallory (Kristen Stewart) a stripper who, of course, is about...
- 11/18/2011
- by Peter Bradshaw
- The Guardian - Film News
Whiteout doesn't trust its audience. Of course this is nothing new for Hollywood - sometimes it's even a necessary tactic to nudge the viewers awake rather than risk them tuning out. Whiteout's greatest weakness, though, is how obvious it makes it (right from the start) that the scriptwriters plainly feel if at any point they ease off on the flash, or the gimmicks or the cheap emotional manipulation anyone still watching will simply cease to care.
Which is a warning sign, because the basic premise ought to be enough to hook more than a few. Adapted from the first of two Whiteout graphic novels by Greg Rucka, the film is set in the Antarctic, where Marshall Carrie Stetko (Kate Beckinsale, Underworld, Underworld: Evolution) has the unenviable job of policing the loneliest place on earth. The discovery of a body out on the ice - the first ever murder at...
Which is a warning sign, because the basic premise ought to be enough to hook more than a few. Adapted from the first of two Whiteout graphic novels by Greg Rucka, the film is set in the Antarctic, where Marshall Carrie Stetko (Kate Beckinsale, Underworld, Underworld: Evolution) has the unenviable job of policing the loneliest place on earth. The discovery of a body out on the ice - the first ever murder at...
- 1/20/2010
- Screen Anarchy
Pics give first look of 'New Moon' star as a stripper in the film premiering at Sundace.
By Eric Ditzian
Kristen Stewart in "Welcome to the Rileys"
Photo: Christopher Soos
Just as the 2010 Sundance Film Festival lineup was announced on Wednesday, brand-new stills from Kristen Stewart's indie entrant, "Welcome to the Rileys," hit the Web. The pics give us our first look at the 19-year-old's next appearance on the big screen following "New Moon."
In the film, Stewart plays a prostitute and stripper named Mallory, who enters into the lives of a married couple (James Gandolfini and Melissa Leo) who are struggling after the death of their daughter.
"Welcome to the Rileys"
One photo shows Stewart in a string bikini top, standing next to Gandolfini in what seems like some sort of seedy room, candles burning nearby and a beaded curtain hanging in the doorway. She looks...
By Eric Ditzian
Kristen Stewart in "Welcome to the Rileys"
Photo: Christopher Soos
Just as the 2010 Sundance Film Festival lineup was announced on Wednesday, brand-new stills from Kristen Stewart's indie entrant, "Welcome to the Rileys," hit the Web. The pics give us our first look at the 19-year-old's next appearance on the big screen following "New Moon."
In the film, Stewart plays a prostitute and stripper named Mallory, who enters into the lives of a married couple (James Gandolfini and Melissa Leo) who are struggling after the death of their daughter.
"Welcome to the Rileys"
One photo shows Stewart in a string bikini top, standing next to Gandolfini in what seems like some sort of seedy room, candles burning nearby and a beaded curtain hanging in the doorway. She looks...
- 12/3/2009
- MTV Movie News
“Whiteout” has a good premise and a likeable lead, but it goes rapidly downhill and is ultimately disappointing, thanks to confusing direction, an anti-climactic finale and an ‘Is that it?’ plot that makes less sense the more you think about it.
Directed by Dominic Sena (from a script credited to two different sets of brothers – never a good sign), Whiteout stars Kate Beckinsale as Us Marshal Carrie Stetko, who’s taken a post at a remote research station in Antarctica in order to escape a traumatic incident in her past. As her posting nears an end, she’s considering turning in her badge, but her departure plans are put on hold by the discovery of a mysterious body on the ice… read more [ViewLondon.co.uk]
It’s all fine, as far as it goes, but that’s not very far. Beckinsale is a trim and athletic actress, but she’s not a very compelling presence,...
Directed by Dominic Sena (from a script credited to two different sets of brothers – never a good sign), Whiteout stars Kate Beckinsale as Us Marshal Carrie Stetko, who’s taken a post at a remote research station in Antarctica in order to escape a traumatic incident in her past. As her posting nears an end, she’s considering turning in her badge, but her departure plans are put on hold by the discovery of a mysterious body on the ice… read more [ViewLondon.co.uk]
It’s all fine, as far as it goes, but that’s not very far. Beckinsale is a trim and athletic actress, but she’s not a very compelling presence,...
- 9/11/2009
- by Allan Ford
- Filmofilia
Release Date: Now playing in select cities
Director: Sacha Gervasi
Starring: Steve "Lips" Kudlow, Robb Reiner
Cinematographer: Christopher Soos
Studio/Run Time: Abramorama, 90 mins.
I’ll admit, when I first started hearing word of a documentary about a hugely influential but largely forgotten Canadian heavy-metal band now in their fifties, I suspected a hoax. Seeing the film only brought the Spinal Tap comparisons into clearer focus-the aging rockers suffering through demeaning gigs, the memory of the big show in Japan, the visit to Stonehenge, even an amp that actually goes to 11. But director Sascha Gervasi is playing those cards very deliberately—and very well. And his Anvil! The Story of Anvil is moving and very real. But don’t just take my word for it; Dustin Hoffman told the director: “This is the most inspirational, moving, beautiful film I think I’ve ever seen. I hated heavy metal until tonight.
Director: Sacha Gervasi
Starring: Steve "Lips" Kudlow, Robb Reiner
Cinematographer: Christopher Soos
Studio/Run Time: Abramorama, 90 mins.
I’ll admit, when I first started hearing word of a documentary about a hugely influential but largely forgotten Canadian heavy-metal band now in their fifties, I suspected a hoax. Seeing the film only brought the Spinal Tap comparisons into clearer focus-the aging rockers suffering through demeaning gigs, the memory of the big show in Japan, the visit to Stonehenge, even an amp that actually goes to 11. But director Sascha Gervasi is playing those cards very deliberately—and very well. And his Anvil! The Story of Anvil is moving and very real. But don’t just take my word for it; Dustin Hoffman told the director: “This is the most inspirational, moving, beautiful film I think I’ve ever seen. I hated heavy metal until tonight.
- 5/26/2009
- Pastemagazine.com
Armada Pictures International
PARK CITY -- "One Point 0" is a bit of Kafka, a touch of Orwell and Terry Gilliam and a whole lot of been-there-done-that. This dramatic competition film from Canadian-American Jeff Renfroe and Icelander Marteinn Thorsson takes yet another foray into a bleak future where computers and surveillance cameras rule everyday life. While the design of the film is highly imaginative, Renfroe and Thorsson's screenplay is an enervating rehash of science fiction themes too old to qualify as futuristic any longer.
The handful of streets and buildings that comprise the world of this movie are eerily deserted and dreary. The tenants of one particularly dingy high-rise act so weird that the place should be named Paranoid Manor. Simon J. (a game Jeremy Sisto) is a recluse who ventures from his apartment only to buy gallons of milk, which he swills all day while he labors as a computer programr.
One day, he finds a plain brown package in his apartment. He opens it, but nothing is inside. As time goes by, more packages mysteriously materialize inside this apartment, causing him to suspect his neighbors -- for good reason, though, because everyone is nuts. An older man (Udo Kier) spends his days perfecting an android face to whom he has given Simon's voice. The landlord (Emil Hostina) holes up in his security center where he watches his tenants via surveillance cameras. The maintenance man (Lance Henriksen) babbles mostly nonsense.
A muscular neighbor (Bruce Payne) keeps a ferocious dog and plays a computer game in which reality and fantasy mingle. The game eventually brings about his bloody death. The only remotely sane tenant is a weary nurse (Deborah Unger) who turns out to have a secret life as well.
Cryptic messages warn of viruses that can infect both humans and computers. Simon is starting to feel feverish. What is going on here? The filmmakers say their film is about nanotechnology and corporate control, but little in this oblique movie makes this clear.
The design of this future world is deliberately retro with a rotary dial telephone and a huge computer that looks like what someone in the 1950s might imagine a contemporary computer to be. The colors in Christopher Soos' cinematography are harsh greens and reds, suggesting that the whole thing might be a hallucination or a nightmare. So a mood of feverish paranoia is solidly established, but the unoriginal narrative betrays its empty purpose.
PARK CITY -- "One Point 0" is a bit of Kafka, a touch of Orwell and Terry Gilliam and a whole lot of been-there-done-that. This dramatic competition film from Canadian-American Jeff Renfroe and Icelander Marteinn Thorsson takes yet another foray into a bleak future where computers and surveillance cameras rule everyday life. While the design of the film is highly imaginative, Renfroe and Thorsson's screenplay is an enervating rehash of science fiction themes too old to qualify as futuristic any longer.
The handful of streets and buildings that comprise the world of this movie are eerily deserted and dreary. The tenants of one particularly dingy high-rise act so weird that the place should be named Paranoid Manor. Simon J. (a game Jeremy Sisto) is a recluse who ventures from his apartment only to buy gallons of milk, which he swills all day while he labors as a computer programr.
One day, he finds a plain brown package in his apartment. He opens it, but nothing is inside. As time goes by, more packages mysteriously materialize inside this apartment, causing him to suspect his neighbors -- for good reason, though, because everyone is nuts. An older man (Udo Kier) spends his days perfecting an android face to whom he has given Simon's voice. The landlord (Emil Hostina) holes up in his security center where he watches his tenants via surveillance cameras. The maintenance man (Lance Henriksen) babbles mostly nonsense.
A muscular neighbor (Bruce Payne) keeps a ferocious dog and plays a computer game in which reality and fantasy mingle. The game eventually brings about his bloody death. The only remotely sane tenant is a weary nurse (Deborah Unger) who turns out to have a secret life as well.
Cryptic messages warn of viruses that can infect both humans and computers. Simon is starting to feel feverish. What is going on here? The filmmakers say their film is about nanotechnology and corporate control, but little in this oblique movie makes this clear.
The design of this future world is deliberately retro with a rotary dial telephone and a huge computer that looks like what someone in the 1950s might imagine a contemporary computer to be. The colors in Christopher Soos' cinematography are harsh greens and reds, suggesting that the whole thing might be a hallucination or a nightmare. So a mood of feverish paranoia is solidly established, but the unoriginal narrative betrays its empty purpose.
Armada Pictures International
PARK CITY -- "One Point 0" is a bit of Kafka, a touch of Orwell and Terry Gilliam and a whole lot of been-there-done-that. This dramatic competition film from Canadian-American Jeff Renfroe and Icelander Marteinn Thorsson takes yet another foray into a bleak future where computers and surveillance cameras rule everyday life. While the design of the film is highly imaginative, Renfroe and Thorsson's screenplay is an enervating rehash of science fiction themes too old to qualify as futuristic any longer.
The handful of streets and buildings that comprise the world of this movie are eerily deserted and dreary. The tenants of one particularly dingy high-rise act so weird that the place should be named Paranoid Manor. Simon J. (a game Jeremy Sisto) is a recluse who ventures from his apartment only to buy gallons of milk, which he swills all day while he labors as a computer programr.
One day, he finds a plain brown package in his apartment. He opens it, but nothing is inside. As time goes by, more packages mysteriously materialize inside this apartment, causing him to suspect his neighbors -- for good reason, though, because everyone is nuts. An older man (Udo Kier) spends his days perfecting an android face to whom he has given Simon's voice. The landlord (Emil Hostina) holes up in his security center where he watches his tenants via surveillance cameras. The maintenance man (Lance Henriksen) babbles mostly nonsense.
A muscular neighbor (Bruce Payne) keeps a ferocious dog and plays a computer game in which reality and fantasy mingle. The game eventually brings about his bloody death. The only remotely sane tenant is a weary nurse (Deborah Unger) who turns out to have a secret life as well.
Cryptic messages warn of viruses that can infect both humans and computers. Simon is starting to feel feverish. What is going on here? The filmmakers say their film is about nanotechnology and corporate control, but little in this oblique movie makes this clear.
The design of this future world is deliberately retro with a rotary dial telephone and a huge computer that looks like what someone in the 1950s might imagine a contemporary computer to be. The colors in Christopher Soos' cinematography are harsh greens and reds, suggesting that the whole thing might be a hallucination or a nightmare. So a mood of feverish paranoia is solidly established, but the unoriginal narrative betrays its empty purpose.
PARK CITY -- "One Point 0" is a bit of Kafka, a touch of Orwell and Terry Gilliam and a whole lot of been-there-done-that. This dramatic competition film from Canadian-American Jeff Renfroe and Icelander Marteinn Thorsson takes yet another foray into a bleak future where computers and surveillance cameras rule everyday life. While the design of the film is highly imaginative, Renfroe and Thorsson's screenplay is an enervating rehash of science fiction themes too old to qualify as futuristic any longer.
The handful of streets and buildings that comprise the world of this movie are eerily deserted and dreary. The tenants of one particularly dingy high-rise act so weird that the place should be named Paranoid Manor. Simon J. (a game Jeremy Sisto) is a recluse who ventures from his apartment only to buy gallons of milk, which he swills all day while he labors as a computer programr.
One day, he finds a plain brown package in his apartment. He opens it, but nothing is inside. As time goes by, more packages mysteriously materialize inside this apartment, causing him to suspect his neighbors -- for good reason, though, because everyone is nuts. An older man (Udo Kier) spends his days perfecting an android face to whom he has given Simon's voice. The landlord (Emil Hostina) holes up in his security center where he watches his tenants via surveillance cameras. The maintenance man (Lance Henriksen) babbles mostly nonsense.
A muscular neighbor (Bruce Payne) keeps a ferocious dog and plays a computer game in which reality and fantasy mingle. The game eventually brings about his bloody death. The only remotely sane tenant is a weary nurse (Deborah Unger) who turns out to have a secret life as well.
Cryptic messages warn of viruses that can infect both humans and computers. Simon is starting to feel feverish. What is going on here? The filmmakers say their film is about nanotechnology and corporate control, but little in this oblique movie makes this clear.
The design of this future world is deliberately retro with a rotary dial telephone and a huge computer that looks like what someone in the 1950s might imagine a contemporary computer to be. The colors in Christopher Soos' cinematography are harsh greens and reds, suggesting that the whole thing might be a hallucination or a nightmare. So a mood of feverish paranoia is solidly established, but the unoriginal narrative betrays its empty purpose.
- 1/21/2004
- The Hollywood Reporter - Movie News
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