Gravitas Ventures is set to release the horror-thriller Aaron’S Blood in theaters, on Blu-ray, DVD and On Demand. Directed and write by Tommy Stovall (Sedona, Hate Crime), Aaron’S Blood stars James Martinez (Netflix’s “House of Cards,” Netflix’s “One Day at a Time,” Run All Night), Trevor Stovall (Sedona, Hate Crime), Farah White (The Ladies of the House, Miss Congeniality), and Michael Chieffo (AMC’s “Better Call Saul,” Argo). Gravitas Ventures will release Aaron’S Blood on June 2, 2017 in theaters, and on June 6, 2017 on Blu-ray for an Srp of $19.99, on DVD for an Srp of $16.99, same day as On Demand.
Now you can own the Aaron’S Blood Blu-ray. We Are Movie Geeks has a copy to give away (we also have a DVD of Aaron’S Blood for second place). All you have to do is leave a comment answering this question: What is your favorite...
Now you can own the Aaron’S Blood Blu-ray. We Are Movie Geeks has a copy to give away (we also have a DVD of Aaron’S Blood for second place). All you have to do is leave a comment answering this question: What is your favorite...
- 6/2/2017
- by Tom Stockman
- WeAreMovieGeeks.com
We told you yesterday that production is currently under way in Sedona, Arizona, on the new indie feature from director Tommy Stovall, entitled Aaron's Blood. Today we have the first behind-the-scenes image from the set. Dig it!
Aaron’s Blood, the third feature from Arizona based Pasidg Productions, is written and directed by Tommy Stovall and is being produced by Marc Sterling.
James Martinez ("Low Winter Sun," "Breaking Bad"), Michael Chieffo (Argo), and Trevor Sterling Stovall star.
Synopsis:
A single father (Martinez) fights to save his only child, a 12-year-old bullied hemophiliac boy (Sterling Stovall), who becomes infected with vampire blood.
Visit The Evilshop @ Amazon!
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Subscribe to the Dread Central YouTube Channel!
Spill blood in the comments section below!
Aaron’s Blood, the third feature from Arizona based Pasidg Productions, is written and directed by Tommy Stovall and is being produced by Marc Sterling.
James Martinez ("Low Winter Sun," "Breaking Bad"), Michael Chieffo (Argo), and Trevor Sterling Stovall star.
Synopsis:
A single father (Martinez) fights to save his only child, a 12-year-old bullied hemophiliac boy (Sterling Stovall), who becomes infected with vampire blood.
Visit The Evilshop @ Amazon!
Got news? Click here to submit it!
Subscribe to the Dread Central YouTube Channel!
Spill blood in the comments section below!
- 8/1/2014
- by Steve Barton
- DreadCentral.com
Word has just come in that production is currently under way in Sedona, Arizona, on the new indie feature from director Tommy Stovall, entitled Aaron's Blood. Read on for casting news and details.
From the Press Release
Aaron’s Blood, a horror movie from director Tommy Stovall (festival hits Sedona and Hate Crime), started shooting in Sedona, Az, last week. It was written by Stovall and is being produced by Marc Sterling.
Aaron’s Blood is the third feature from Arizona based Pasidg Productions. James Martinez ("Low Winter Sun," "Breaking Bad"), Michael Chieffo (Argo), and Trevor Sterling Stovall are starring.
Aaron’s Blood is about a single father (Martinez) fighting to save his only child, a 12-year-old bullied hemophiliac boy (Sterling Stovall), who becomes infected with vampire blood.
Visit The Evilshop @ Amazon!
Got news? Click here to submit it!
Subscribe to the Dread Central YouTube Channel!
Spill blood in the comments section below!
From the Press Release
Aaron’s Blood, a horror movie from director Tommy Stovall (festival hits Sedona and Hate Crime), started shooting in Sedona, Az, last week. It was written by Stovall and is being produced by Marc Sterling.
Aaron’s Blood is the third feature from Arizona based Pasidg Productions. James Martinez ("Low Winter Sun," "Breaking Bad"), Michael Chieffo (Argo), and Trevor Sterling Stovall are starring.
Aaron’s Blood is about a single father (Martinez) fighting to save his only child, a 12-year-old bullied hemophiliac boy (Sterling Stovall), who becomes infected with vampire blood.
Visit The Evilshop @ Amazon!
Got news? Click here to submit it!
Subscribe to the Dread Central YouTube Channel!
Spill blood in the comments section below!
- 7/31/2014
- by Steve Barton
- DreadCentral.com
Ahc kindly offered a pass to Film Comment Magazine which in turn kindly offered it to me to attend and do a story on this years Ahc. It is also now posted on the Film Comment Website....
There are over 200 theaters in the United States that are independently owned and operated and generally screen nothing but what would be labeled “art-house” films. These theaters have existed in one form or another since at least the 1920s, and back then were sometimes called “little cinemas.” After World War II, they became more popular and for a while were glibly referred to as “sure-seaters,” a term credited to writer Stanley Frank in a 1952 issue of Nation’s Business (and used by scholar Barbara Wilinsky as the title of her excellent book on art-house cinema).
A more accurate moniker, overheard at this year’s 6th annual Art House Convergence (Ahc), might be the People’s Republic of Cinema. From January 14 to 17, the Convergence was held as usual in Midway, Utah, just a short distance from Park City, allowing attendees to head to Sundance immediately afterward. The latest edition drew nearly 350 participants including many representatives, owners, and operators of venues that specialize in screening many of the titles written about in Film Comment. Also present were many of the smaller distributors such as Magnolia Pictures, Janus Films, and Oscilloscope Laboratories who supply the films that help keep theaters in business. A fair amount of vendors, almost all of whom were in the business of digital projection, were on hand. This year Ahc became an international event, with a panel that discussed the challenges for art-house theaters in other countries including Britain, South Korea, and Canada.
Ahc began in 2006, after the Sundance Institute contacted 14 art-house theater operators to meet as part of a celebration for the 25th Sundance Film Festival, for a discussion about the needs and operations of their theaters. Twelve of those theaters participated, said Russ Collins, the Art House Convergence chairperson, and executive director of the Michigan Theater in Ann Arbor, Michigan.
“The Sundance staff suggested the idea, which at that time was actually only a meeting before the festival,” Collins recalled. “Each theater received two film festival passes and we had a single meeting at the Peery Hotel in Salt Lake City.”
Sundance staffers such as current Sundance director John Cooper attended the meeting as did former Sundance executive director Jill Miller.
Over the next year, most of those involved in the meeting stayed in touch and were joined by Connie White, currently the film buyer for Balcony Booking, who became active in planning future conferences. Most importantly, the Sundance staffers were pleased with how the gathering went and scheduled another for 2007. Building on the success, a larger more structured event spanning several days took place the next two years, growing from 25 participants in 2008 to 75 in 2009.
“We outgrew the Peery, and it was decided that the meeting needed to be more formalized. There was also a huge outdoor expo in Salt Lake during that same time frame, and that is when we moved to Midway,” Collins said.
For the 2010 edition, Amy Beth Leber of the Salt Lake City Film Society, which was one of Ahc’s original 12 participants, was able to make arrangements with the Homestead Resort, about 40 miles from Salt Lake, but very close to Park City. Homestead had a homey campus feeling that added to the event’s atmosphere. The new locale also added to the attendance, which went to 125 from 75. This year, Ahc’s ranks swelled to nearly 350.
“Ahc is run entirely by volunteers from many of the original 12 venues, including the Coolidge Corner Theater [in Brookline, Massachusetts], Jacob Burns Film Center [Pleasantville, New York], the Belcourt [Nashville], Gary Meyers of the Telluride Film Festival, and others. With the growth, we have picked up a number of sponsors and Sony was very helpful this year, but we need to make sure that it stays a conference and does not become a trade show,” Collins said.
One of the highlights of Ahc the last several years has been the benchmark survey compiled by the Bryn Mawr Film Institute and presented by its executive director, Juliet Goodfriend. Using data compiled from 87 participants, Goodfriend reported the following this year:
-- 60% of the theaters are in urban areas
-- 90% are independent, 78% are non-profits
-- 87% of the patrons are non-student adults, with 35% of that number over age 65
-- A total of $73 million in revenue was generated, with 51% from box office receipts
-- Most venues were at least slightly profitable or broke even, but 25% ran a deficit
It was also noted that only about a third of the survey participants were using digital projection. Most ranked Facebook as one of the most effective ways of using media, but print advertising, mostly newspapers, was still quite popular, ranking behind weekly email blasts and website announcements and ahead of printed calendars or guides.
Over the course of two-and-a-half days of seminars and panels this year, the convergence covered a range of topics. Panels addressed the ever encroaching need for digital equipment and funding, as well as “Race and Diversity in the Art House” (which challenged programmers to book more films made by African American directors). A series of round-table discussions during a lunch break covered a number of other subjects such as getting better results from the use of social media, working with volunteers, and microcinemas.
A discussion about midnight programming yielded reports of promotional events such as human bowling prior to screenings of The Big Lebowski, a veal-testicle-eating contest in conjunction with screenings of Cannibal Holocaust, and “Midnight at Noon,” Saturday afternoon matinees of midnight movies, in venues with older patrons who might not be night owls.
The topic of microcinemas reflected an apparent trend, with a number of theaters popping up in a variety of places such as the Phoenix’s Film Bar and the Trylon in Minneapolis. Microcinemas might be described as small screening spaces that strive to provide intimate and contextual showings of films, from classics to new releases to the avant-garde. Several future owner-operators of micros were at Ahc, hailing from Lancaster, Pennsylvania; Richmond, Virginia; and Bend, Oregon.
Attendance at this convergence and the others has never been confined to larger big-city operations. Representatives from theaters in at least 25 states and Washington D.C. were on hand, ranging in size from part-time art center or university film series programs to multi-screen metro operations.
Rose Ann Hernandez, a board member and treasurer of a film society that operates a single screen, non-profit, all volunteer venue based in Mesilla, New Mexico, was among the first-timers who would like to come back. Hernandez, who has been involved with the film society for over 20 years, attended for several reasons.
“I went with the intention of meeting other like-minded people and picking their brains about what they've done, doing or thinking about doing. I was particularly interested in what others were doing in fundraising and marketing. I also wanted to meet the distributors to match names with faces,” she explained.
“I got a lot of information; I'm sifting through it to see what we can implement now and later. The individual conversations were energizing. It felt so good to meet others who work as hard as I do for something we both love and are passionate about.”
Patrick Schweiss, the executive director of the Sedona Film Festival and the Mary D. Fisher Theater, both in Arizona, was attending for the second time. He found out about the event in 2012 from a distributor.
“I learned so much last year that I chose to attend the 2013 Ahc rather than going to as many film festivals,” Schweiss said. “My staff really encouraged me to go, especially after attending last year, even though our festival starts in just a few weeks.”
Needless to say, the event is not all work. A lot of socializing and some deal-making do take place, and there are screenings and entertainment each evening after dinner. The 2011 Ahc featured filmmaker Michael Moore as a special speaker, and this year Robert Redford gave a brief talk about the importance of art-house theaters. There was also a special advance screening of one of the films that played at Sundance, Upstream Color, directed by Shane Carruth, whose 2004 film, Primer, won Sundance’s Grand Jury Prize that year. Crispin Hellion Glover presented his Big Slide Show (“a one hour dramatic narration of eight different profusely illustrated books he has made over the years”), followed by screenings of several of his short films and a Q&A.
Sony Pictures Repertory screened their newly restored version of Investigation of a Citizen above Suspicion on the final night. It served as a preview of 4K digital restorations including On the Waterfront, Lawrence of Arabia, and Groundhog Day (the last of which will be screened “back to back” next month at the Seattle International Film Festival Cinema, according to programmer Clinton McClung).
Above all, it was proven again this year that the art-house world has something going for it that multiplexes will never have: community. As noted in the Ahc program guide this year, “art house theaters will remain alive and well and be especially vital if operated and supported as a community-based cultural institution.”...
There are over 200 theaters in the United States that are independently owned and operated and generally screen nothing but what would be labeled “art-house” films. These theaters have existed in one form or another since at least the 1920s, and back then were sometimes called “little cinemas.” After World War II, they became more popular and for a while were glibly referred to as “sure-seaters,” a term credited to writer Stanley Frank in a 1952 issue of Nation’s Business (and used by scholar Barbara Wilinsky as the title of her excellent book on art-house cinema).
A more accurate moniker, overheard at this year’s 6th annual Art House Convergence (Ahc), might be the People’s Republic of Cinema. From January 14 to 17, the Convergence was held as usual in Midway, Utah, just a short distance from Park City, allowing attendees to head to Sundance immediately afterward. The latest edition drew nearly 350 participants including many representatives, owners, and operators of venues that specialize in screening many of the titles written about in Film Comment. Also present were many of the smaller distributors such as Magnolia Pictures, Janus Films, and Oscilloscope Laboratories who supply the films that help keep theaters in business. A fair amount of vendors, almost all of whom were in the business of digital projection, were on hand. This year Ahc became an international event, with a panel that discussed the challenges for art-house theaters in other countries including Britain, South Korea, and Canada.
Ahc began in 2006, after the Sundance Institute contacted 14 art-house theater operators to meet as part of a celebration for the 25th Sundance Film Festival, for a discussion about the needs and operations of their theaters. Twelve of those theaters participated, said Russ Collins, the Art House Convergence chairperson, and executive director of the Michigan Theater in Ann Arbor, Michigan.
“The Sundance staff suggested the idea, which at that time was actually only a meeting before the festival,” Collins recalled. “Each theater received two film festival passes and we had a single meeting at the Peery Hotel in Salt Lake City.”
Sundance staffers such as current Sundance director John Cooper attended the meeting as did former Sundance executive director Jill Miller.
Over the next year, most of those involved in the meeting stayed in touch and were joined by Connie White, currently the film buyer for Balcony Booking, who became active in planning future conferences. Most importantly, the Sundance staffers were pleased with how the gathering went and scheduled another for 2007. Building on the success, a larger more structured event spanning several days took place the next two years, growing from 25 participants in 2008 to 75 in 2009.
“We outgrew the Peery, and it was decided that the meeting needed to be more formalized. There was also a huge outdoor expo in Salt Lake during that same time frame, and that is when we moved to Midway,” Collins said.
For the 2010 edition, Amy Beth Leber of the Salt Lake City Film Society, which was one of Ahc’s original 12 participants, was able to make arrangements with the Homestead Resort, about 40 miles from Salt Lake, but very close to Park City. Homestead had a homey campus feeling that added to the event’s atmosphere. The new locale also added to the attendance, which went to 125 from 75. This year, Ahc’s ranks swelled to nearly 350.
“Ahc is run entirely by volunteers from many of the original 12 venues, including the Coolidge Corner Theater [in Brookline, Massachusetts], Jacob Burns Film Center [Pleasantville, New York], the Belcourt [Nashville], Gary Meyers of the Telluride Film Festival, and others. With the growth, we have picked up a number of sponsors and Sony was very helpful this year, but we need to make sure that it stays a conference and does not become a trade show,” Collins said.
One of the highlights of Ahc the last several years has been the benchmark survey compiled by the Bryn Mawr Film Institute and presented by its executive director, Juliet Goodfriend. Using data compiled from 87 participants, Goodfriend reported the following this year:
-- 60% of the theaters are in urban areas
-- 90% are independent, 78% are non-profits
-- 87% of the patrons are non-student adults, with 35% of that number over age 65
-- A total of $73 million in revenue was generated, with 51% from box office receipts
-- Most venues were at least slightly profitable or broke even, but 25% ran a deficit
It was also noted that only about a third of the survey participants were using digital projection. Most ranked Facebook as one of the most effective ways of using media, but print advertising, mostly newspapers, was still quite popular, ranking behind weekly email blasts and website announcements and ahead of printed calendars or guides.
Over the course of two-and-a-half days of seminars and panels this year, the convergence covered a range of topics. Panels addressed the ever encroaching need for digital equipment and funding, as well as “Race and Diversity in the Art House” (which challenged programmers to book more films made by African American directors). A series of round-table discussions during a lunch break covered a number of other subjects such as getting better results from the use of social media, working with volunteers, and microcinemas.
A discussion about midnight programming yielded reports of promotional events such as human bowling prior to screenings of The Big Lebowski, a veal-testicle-eating contest in conjunction with screenings of Cannibal Holocaust, and “Midnight at Noon,” Saturday afternoon matinees of midnight movies, in venues with older patrons who might not be night owls.
The topic of microcinemas reflected an apparent trend, with a number of theaters popping up in a variety of places such as the Phoenix’s Film Bar and the Trylon in Minneapolis. Microcinemas might be described as small screening spaces that strive to provide intimate and contextual showings of films, from classics to new releases to the avant-garde. Several future owner-operators of micros were at Ahc, hailing from Lancaster, Pennsylvania; Richmond, Virginia; and Bend, Oregon.
Attendance at this convergence and the others has never been confined to larger big-city operations. Representatives from theaters in at least 25 states and Washington D.C. were on hand, ranging in size from part-time art center or university film series programs to multi-screen metro operations.
Rose Ann Hernandez, a board member and treasurer of a film society that operates a single screen, non-profit, all volunteer venue based in Mesilla, New Mexico, was among the first-timers who would like to come back. Hernandez, who has been involved with the film society for over 20 years, attended for several reasons.
“I went with the intention of meeting other like-minded people and picking their brains about what they've done, doing or thinking about doing. I was particularly interested in what others were doing in fundraising and marketing. I also wanted to meet the distributors to match names with faces,” she explained.
“I got a lot of information; I'm sifting through it to see what we can implement now and later. The individual conversations were energizing. It felt so good to meet others who work as hard as I do for something we both love and are passionate about.”
Patrick Schweiss, the executive director of the Sedona Film Festival and the Mary D. Fisher Theater, both in Arizona, was attending for the second time. He found out about the event in 2012 from a distributor.
“I learned so much last year that I chose to attend the 2013 Ahc rather than going to as many film festivals,” Schweiss said. “My staff really encouraged me to go, especially after attending last year, even though our festival starts in just a few weeks.”
Needless to say, the event is not all work. A lot of socializing and some deal-making do take place, and there are screenings and entertainment each evening after dinner. The 2011 Ahc featured filmmaker Michael Moore as a special speaker, and this year Robert Redford gave a brief talk about the importance of art-house theaters. There was also a special advance screening of one of the films that played at Sundance, Upstream Color, directed by Shane Carruth, whose 2004 film, Primer, won Sundance’s Grand Jury Prize that year. Crispin Hellion Glover presented his Big Slide Show (“a one hour dramatic narration of eight different profusely illustrated books he has made over the years”), followed by screenings of several of his short films and a Q&A.
Sony Pictures Repertory screened their newly restored version of Investigation of a Citizen above Suspicion on the final night. It served as a preview of 4K digital restorations including On the Waterfront, Lawrence of Arabia, and Groundhog Day (the last of which will be screened “back to back” next month at the Seattle International Film Festival Cinema, according to programmer Clinton McClung).
Above all, it was proven again this year that the art-house world has something going for it that multiplexes will never have: community. As noted in the Ahc program guide this year, “art house theaters will remain alive and well and be especially vital if operated and supported as a community-based cultural institution.”...
- 2/1/2013
- by Jeff Berg
- Sydney's Buzz
With the current Sedona, writer/director/producer Tommy Stovall establishes that showcasing good-hearted, spiritually eccentric people with the power to revamp big-city workaholics into Thoreaus and Elizabeth Gilberts is his modus operandi.
A tiny, low-budget American indie, Sedona is a love letter to this small Arizona town with its jaw-dropping red sandstone formations, a major draw for those seeking mystical transformations. Just imagine a lush National Geographic special with uplifting plot lines.
Sedona’s initial tale concerns Tammy (Titanic’s Frances Fisher), a middle-aged businesswoman driving on to Phoenix for a major advertising deal. The dear, frazzled coffee-addict, though, just might never reach her desired destination. Fate? First, her auto is damaged by a small privately owned plane forced to land on the highway due to engine trouble. Then she’s apprised her car parts have to be ordered, so to pass time she winds up getting a foot massage...
A tiny, low-budget American indie, Sedona is a love letter to this small Arizona town with its jaw-dropping red sandstone formations, a major draw for those seeking mystical transformations. Just imagine a lush National Geographic special with uplifting plot lines.
Sedona’s initial tale concerns Tammy (Titanic’s Frances Fisher), a middle-aged businesswoman driving on to Phoenix for a major advertising deal. The dear, frazzled coffee-addict, though, just might never reach her desired destination. Fate? First, her auto is damaged by a small privately owned plane forced to land on the highway due to engine trouble. Then she’s apprised her car parts have to be ordered, so to pass time she winds up getting a foot massage...
- 7/23/2012
- by Brandon Judell
- www.culturecatch.com
Katie Cassidy tweeted a picture recently from the set of the new horror flick The Scribbler in character as Suki, and we have it right here next to an image of the original graphic novel character. Cassidy cut her hair and added piercings for the role. God love her!
This comes after The CW announced they would be picking up "Arrow" based on the DC comic book series Green Arrow, in which Cassidy stars as Dinah Lance, who later becomes Black Canary.
In other Scribbler news, Richard Riehle (Office Space), Brad Culver (Growth), Luke Barnett (Sedona) and an English bulldog named Sir Hollywood have all been seen on set playing supporting roles. This adds to an already impressive ensemble cast that includes Cassidy, Michelle Trachenberg ("Buffy"), Garret Dillahunt (No Country for Old Men), Gina Gershon (Showgirls), Michael Imperioli ("The Sopranos"), Eliza Dushku ("Dollhouse"), Billy Campbell ("The Killing"), Kunal Nayyar ("Big...
This comes after The CW announced they would be picking up "Arrow" based on the DC comic book series Green Arrow, in which Cassidy stars as Dinah Lance, who later becomes Black Canary.
In other Scribbler news, Richard Riehle (Office Space), Brad Culver (Growth), Luke Barnett (Sedona) and an English bulldog named Sir Hollywood have all been seen on set playing supporting roles. This adds to an already impressive ensemble cast that includes Cassidy, Michelle Trachenberg ("Buffy"), Garret Dillahunt (No Country for Old Men), Gina Gershon (Showgirls), Michael Imperioli ("The Sopranos"), Eliza Dushku ("Dollhouse"), Billy Campbell ("The Killing"), Kunal Nayyar ("Big...
- 6/21/2012
- by Uncle Creepy
- DreadCentral.com
By Terry Keefe
Sedona: the Movie, the second feature film from filmmaker Tommy Stovall, reminded me of a very fun cross-blending between the Kafka-esque comedy of After Hours, and the road movie plot staple of a stranger breaking down in a very odd town. The film intercuts two stories. First, we meet Tammy (played by Frances Fisher), who does, in fact, break down in Sedona, Arizona (when a plane lands on the road behind her) en route to a huge business meeting in Phoenix. She’s forced to spend the better part of the day with some very eccentric Sedona characters, portrayed by actors Beth Grant, Barry Corbin, Christopher Atkins, Kylee Cochran, and Lin Shaye (who you’ll remember as the Cameron Diaz’s very tanned next-door neighbor in There’s Something About Mary), amongst others.
Tammy’s story is paralleled by the more serious tale of Scott (Seth Peterson...
Sedona: the Movie, the second feature film from filmmaker Tommy Stovall, reminded me of a very fun cross-blending between the Kafka-esque comedy of After Hours, and the road movie plot staple of a stranger breaking down in a very odd town. The film intercuts two stories. First, we meet Tammy (played by Frances Fisher), who does, in fact, break down in Sedona, Arizona (when a plane lands on the road behind her) en route to a huge business meeting in Phoenix. She’s forced to spend the better part of the day with some very eccentric Sedona characters, portrayed by actors Beth Grant, Barry Corbin, Christopher Atkins, Kylee Cochran, and Lin Shaye (who you’ll remember as the Cameron Diaz’s very tanned next-door neighbor in There’s Something About Mary), amongst others.
Tammy’s story is paralleled by the more serious tale of Scott (Seth Peterson...
- 11/22/2011
- by The Hollywood Interview.com
- The Hollywood Interview
HollywoodNews.com: Alan Cumming, Garret Dillahunt, and Frances Fisher star in the poignant period drama Any Day Now, written, produced and directed by filmmaker Travis Fine (The Space Between). The film recently completed principal photography in Los Angeles and is currently in post-production. Produced by Kristine Hostetter Fine (The Space Between) and Chip Hourihan (Frozen River), the film is executive produced by Anne O’Shea (The Kids Are Alright) and Maxine Makover (The Space Between.
Set in the 1970s and inspired by a true story, the film chronicles a gay couple who take in a teenage boy with Down Syndrome who has been abandoned by his drug addicted mother. As the teen discovers the strong bonds of family for the first time in his life, disapproving authorities step in to tear the boy from the only stable environment he has ever known. As the gay men fight to adopt this extraordinary special needs child,...
Set in the 1970s and inspired by a true story, the film chronicles a gay couple who take in a teenage boy with Down Syndrome who has been abandoned by his drug addicted mother. As the teen discovers the strong bonds of family for the first time in his life, disapproving authorities step in to tear the boy from the only stable environment he has ever known. As the gay men fight to adopt this extraordinary special needs child,...
- 9/21/2011
- by Josh Abraham
- Hollywoodnews.com
Hey, look! Amityville news! We haven't had much of that lately! This latest bit is for the Geoff Meed directed cinéma vérité style flick, Amityville Haunting. The first casting news is in. Read on for details.
From the Press Release
Luke Barnett (pictured right) has joined the cast of "Amityville Haunting", the latest of the three Amityville-based films currently in development.
Producers are keeping the story under wraps, but we have gotten word that this will be a "found footage" film based on the Benson murders from the early 80's. Production is currently under way in Los Angeles.
Editor's Note
Director Geoff Meed wrote in to let us know that although the characters' names are similar to the Benson murders (which was optioned by the original Amityville filmmakers back in 1986), there is No relation to the actual people or events in his upcoming film. Confusing? Yeah, just a little.
Relatively unknown,...
From the Press Release
Luke Barnett (pictured right) has joined the cast of "Amityville Haunting", the latest of the three Amityville-based films currently in development.
Producers are keeping the story under wraps, but we have gotten word that this will be a "found footage" film based on the Benson murders from the early 80's. Production is currently under way in Los Angeles.
Editor's Note
Director Geoff Meed wrote in to let us know that although the characters' names are similar to the Benson murders (which was optioned by the original Amityville filmmakers back in 1986), there is No relation to the actual people or events in his upcoming film. Confusing? Yeah, just a little.
Relatively unknown,...
- 8/31/2011
- by Uncle Creepy
- DreadCentral.com
Check out the trailer for The Lincoln Lawyer, directed by Brad Furman and starring Matthew McConaughey (Killer Joe), Ryan Phillippe (Setup, What’s Your Number?), Breaking Bad Emmy Award Winner Bryan Cranston and Academy Award winner Marisa Tomei (Crazy, Stupid, Love, The Ides of March).
The Lincoln Lawyer comes to theaters on March 18th, 2011. The film also stars William H. Macy (Shameless), Josh Lucas (Keeper of the Pinstripes), Laurence Mason (Prison Break, Breakout Kings), Frances Fisher (Sedona, The Roommate), John Leguizamo (Ice Age: Continental Drift), Michael Pena (Tower Heist), Margarita Levieva (For Ellen), Bob Gunton (How I Spent My Summer Vacation), Reggie Baker, Mackenzie Aladjem (Nurse Jackie), Michaela Conlin (Bones) and Michael Pare.
The film is about a criminal defense lawyer who operates out of the back of his Lincoln sedan. Coincidentally, Tomei won her Academy Award for Best Actress in a Supporting Role for her role in My Cousin Vinny,...
The Lincoln Lawyer comes to theaters on March 18th, 2011. The film also stars William H. Macy (Shameless), Josh Lucas (Keeper of the Pinstripes), Laurence Mason (Prison Break, Breakout Kings), Frances Fisher (Sedona, The Roommate), John Leguizamo (Ice Age: Continental Drift), Michael Pena (Tower Heist), Margarita Levieva (For Ellen), Bob Gunton (How I Spent My Summer Vacation), Reggie Baker, Mackenzie Aladjem (Nurse Jackie), Michaela Conlin (Bones) and Michael Pare.
The film is about a criminal defense lawyer who operates out of the back of his Lincoln sedan. Coincidentally, Tomei won her Academy Award for Best Actress in a Supporting Role for her role in My Cousin Vinny,...
- 12/27/2010
- by Bags
- BuzzFocus.com
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