If you liked I, Tonya, get ready for Margot Robbie‘s second producorial effort under her LuckyChap banner, the mysterious Neo-Noir Terminal. We got our first teaser trailer for the film last week, and it was a stylish cinematography showcase, but we still haven’t got much of a taste for what this movie is about or who the characters are. Fortunately, we’ve got an exclusive first look at the film’s theatrical and motion posters to give us a little a first look at the film’s cast of characters ahead of the full trailer debut.

The film marks the feature directorial debut of assistant director Vaughn Stein (Beauty and the Beast), who also wrote the script, and follows a twisting tale of two assassins (played by Dexter Fletcher and Max Irons) on a dangerous mission for a mysterious employer. Their journey brings them across a number of colorful characters including an enigmatic janitor and a mysterious femme fatale named Annie (Robbie), who might just have more to do with their mission than they think.

Robbie will debut the full trailer on Wednesday, but for now, you can get a sneak peek in the posters below. Terminal also stars Simon Pegg and Mike Myers. RLJE will release the film in theaters on May 11, 2018.

By Haleigh Foutch, Collider


Sarah Daggar-Nickson’s brutal A Vigilante, feels like it’s coming along at just the right cultural moment that it could become a talking point for female empowerment. It’s a story of trauma, domestic violence and vengeance that’s driven by a fearless, remarkable performance from Olivia Wilde, doing the best work of her career. Whenever the film stumbles narratively – there’s some chronological gamesmanship that doesn’t work and a flawed final act – Wilde is there to pick it up and keep moving it along, just as her character does for the people in the film.

She plays Sadie, a woman we meet putting on a wig, colored contacts, and make-up. Sadie is a vigilante. Anyone who needs help – but primarily women in domestic violence situations – can go through the right channels to find her and, well, get vengeance. She’s not a killer. She’s more of an extractor. She will get the person in need out of their dangerous situation, which is what so many victims of domestic violence can’t do for themselves. And Sadie will use whatever means necessary, including violence. She has trained herself in combat and knows how to force a man to leave his family or rescue a child from a true waking nightmare.

Of course, Sadie does this work because of trauma in her own past. In an early scene, Sadie hears a song that clearly sparks a memory and has a massive breakdown. It’s frightening, and it’s not the last. Wilde gives herself over completely to the most physically challenging role of her career. Sadie is a woman who is all cool when she’s on the job but often screams, cries, and shakes when the trauma that got her here returns in memory. One of the reasons that A Vigilante works is that Wilde and her writer/director are careful to treat people who have suffered violence respectfully and honestly. Trauma and violence aren’t just plot devices in this world – they are a part of an ongoing massacre in this country in which men, mostly men, kill women and children. A Vigilante could have been B-movie exploitation, but it never crosses that line, handling its difficult subject matter well, and reminding us how incredible Wilde can be in the right material.

By Brian Tallerico, rogerebert.com


EXCLUSIVEHighland Film Group has come on board to handle international rights to Mel Gibson and Frank Grillo action drama Boss Level.

The company, which is led by Arianne Fraser and Delphine Perrier, is launching the Joe Carnahan-directed picture at Berlin and joins its EFM slate, which also includes Tye Sheridan’s The Night Clerk and Margot Robbie’s Terminal.

The film follows a retired special forces veteran, played by Grillo, who is trapped in a never-ending loop resulting in his death. In order to stop his endless suffering, he must figure out who is responsible and stop them. Gibson plays Colonel Clive Ventor, the powerful head of a shadowy program. Carnahan wrote the script.

Gibson is coming off the back of S. Craig Zahler’s Dragged Across Concrete, which he starred in alongside Vince Vaughn and Jennifer Carpenter as well as Paramount’s Daddy’s Home 2 with Will Ferrell and Mark Wahlberg. Grillo, who starred in Captain America and the Purge franchise, recently starred in Netflix’s Wheelman and Wolf Warrior 2. He is set to star in brawl thriller Donnybrook and Netflix doc Fight World.

The film is financed by Emmett/Furla/Oasis, and produced by Randall Emmett and George Furla. It is a co-production between EFO, Di Bonaventura Pictures, Carnahan and Grillo’s War Party, and Scott Free, whose Jules Daly will be exec producer.

Gibson is repped by CAA, Grillo by CAA and Management 360, and Carnahan by CAA.

By Peter White, Deadline.com


EXCLUSIVE: X-Men and Ready Player One star Tye Sheridan is to front crime drama The Night Clerk, written and directed by Original Sin director and Bonfire of the Vanities screenwriter Michael Cristofer. The film is produced by David Wulf, producer of forthcoming Nic Cage vehicle Looking Glass, and Highland Film Group, which is launching it at Berlin next week.

The feature sees Sheridan star as a hotel night clerk Bart Bromley, an intelligent young man on the autism spectrum, who uses secret surveillance cameras to record guests in an effort to improve his social interaction skills. However, when a woman is murdered Bromley becomes the prime suspect and he refuses to reveal his illegal cameras that would prove his innocence. As the police investigation closes in, he becomes close to a beautiful guest named Andrea, but soon realizes he must stop the real murderer before she becomes the next victim.

Principal photography begins in Utah in May. Arianne Fraser and Delphine Perrier’s Highland Film Group, the firm behind Margot Robbie’s Terminal and Jason Momoa’s Braven, will begin international sales at the EFM in Berlin with Highland and The Gersh Agency co-repping U.S. sales.

It is the latest role for rising actor Sheridan, who is set to star in Steven Spielberg’s Ready Player One, which is released by Warner Bros on March 29, and Alexandre Moors’ The Yellow Birds, which is released in June. He’s just off the back of X-Men: Apocalypse, where he revived his role as Cyclops, and has also appeared in Jeff Nichols’ Mud after breaking through in Terrence Malik’s The Tree Of Life.

The Night Clerk is the directorial return for Cristofer, who last directed Antonia Banderas and Angelina Jolie’ erotic thriller Original Sin in 2001 and Jolie’s Jay McInerney-penned HBO movie Gia in 1998. More recently he has been in front of the camera with roles in TV series including Mr Robot, American Horror Story and Ray Donovan. Sheridan is represented by WME, Mosaic and Stone, Genow, Smelkinson, Binder & Christopher and Cristofer is represented by The Gersh Agency and Parseghian Planco.

Other titles on Highland’s Berlin slate include Berlin, I Love You with Helen Mirren and Keira Knightley, Vaughn Stein’s Terminal, Jon Avnet’s Three Christs starring Richard Gere, Eric Bress’ supernatural psychological thriller Ghosts of War, Lin Oeding’s Braven, Scott Mann’s Final Score starring Dave Bautista and Pierce Brosnan; and a remake of The Crow directed by Corin Hardy.

By Peter White, Deadline.com


Some of the most impressive first features are those that don’t appear to be first features at all – that, instead, seem like the work of a seasoned pro who commits fully to familiar material, and somehow reinvigorates clichés and conventions. Braven marks the directorial debut of Lin Oeding, a veteran stunt coordinator and second unit director whose credits run the gamut from high-end studio projects (The Equalizer, Inception) to guilty-pleasure genre pastiches (The Baytown Outlaws, Universal Soldier: Day of Reckoning), so it’s hardly surprising that the fight scenes and run-and-gun clashes here are brutally efficient and efficiently brutal. What is unexpected is Oeding’s confidently unhurried, no-sweat approach to introducing characters and connections, and his straightforward, almost aggressively non-flashy attentiveness to such niceties as spatial relationships and cause-and-effect details during the rough stuff. If Don Siegel or John Sturges had lived long enough to try his hand at a VOD-centric melodrama, it probably would have looked and sounded a lot like this one.

Taking a break from his ongoing gig as Aquaman in the DC Extended Universe, lead player (and producer) Jason Momoa credibly dials it down to the level of blue-collar hero as Joe Braven, the hands-on owner-operator of a rural Newfoundland logging company that evidently is less than diligent when it comes to vetting employees. Joe is a cheerfully loving husband to Stephanie (Jill Wagner); a playful parent to their young daughter Charlotte (Sasha Rosoff); and an increasing worried protector of Linden (Stephen Lang), his aging father, who has been edging into dementia ever since he survived a serious workplace accident, and now has a bothersome habit of getting into barroom brawls with the husbands of women he mistakes for his late wife.

Of course, since this is, after all, a VOD-centric melodrama, you can rest assured that Joe will face far more demanding challenges than deciding whether to institutionalize dear old dad. Fairly early in Braven, it’s revealed that Weston (Brendan Fletcher), one of Joe’s delivery-truck drivers, moonlights as a drug courier by transporting bags of heroin along with the logs. When Weston and Hallet (Zahn McClarnon), his partner in crime, skid off the road during a nighttime snowfall, they opt to hide their stash in Joe’s secluded hunting cabin — conveniently located near the accident — before inquisitive cops show up. It seems like a good idea at the time.

The next day, however, when Weston and Hallet return to the cabin with Kassen (Garret Dillahunt), the drug kingpin whose stash has been stashed, and a few armed minions, they find Joe and Linden have trekked out to the cabin to spend some quality time together. Nothing good comes of this.

To their credit, Oeding and screenwriter Thomas Pa’a Sibbett don’t try to “explain” Joe’s resourcefulness and resilience by making him a retired Special Ops soldier or CIA hit man. Rather, they define Joe as a relatively ordinary guy who’s driven to extremes (and forced to improvise lethal weapons) to defend himself, his father, and — yes, they have no shame in this regard — little Charlotte, who surreptitiously came along for the ride. There’s more than a hint of Sam Peckinpah’s Straw Dogs in the scenes that depict Joe’s DIY approach to warding off home invaders with metal rods, hunting bows, red-hot tongs, and anything else he can scrounge in the cabin. For his part, Linden provides cover from his upstairs vantage point, and even takes a few good shots, with a scope-equipped hunting rifle. But the movie keeps us from ever feeling too secure in regard to the old man’s capabilities with sporadic reminders that, well, he’s not entirely sentient.

Braven remains exciting and suspenseful even after Joe vrooms out of the claustrophobic cabin setting on an ATV, triggering a manhunt in the snow that further illustrates Oeding’s ability to choreograph action in clear, clean fashion. And that action is all the more involving because the freshman filmmaker gives his actors sufficient time to flesh out their characters before the bullets (and arrows) start flying.

Momoa neatly balances physicality, vulnerability and unpredictability in a performance that recalls his standout work in the underrated Sundance TV series The Red Road, while Lang’s vivid portrayal of a lion in winter is potently charged with alternating currents of angry pride and fearful confusion. Individually and collectively, they make the father-son bond arrestingly compelling. In one scene, Linden pointedly reminds Joe that he turned the logging business over to his son, and more or less guilt-trips Joe into insisting he would never, ever, put his dad in his home. At that point, it stops being a scene, and simply is.

Fletcher effectively plays the drug lord Kassen as a self-styled martinet who clearly enjoys giving orders and cracking heads; you get the feeling that he leads the raid on the cabin not because such an action is necessary, but because he really enjoys acting like he’s the general of an invading army. Wagner capably rises to the challenge of conveying that, when push comes to shove, Stephanie can be just as tough — and accurate — as her husband. And even though McClarnon (another Red Road alum) has only a secondary role, he once again indicates, as he has in the cable series Longmire and The Son, that he has sufficient screen presence to steal any scene that isn’t bolted to the floor.

The lensing by Brian Andrew Mendoza is exceptional, and the score by Justin Small and Ohad Benchetrit enhances moods without ever overstating the obvious. To put it simply and gratefully: Braven is the sort of unpretentious yet thoroughly professional popcorn entertainment that brings out the best in everybody involved.

By Joe Leydon, Variety.com

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