Interview with JAMES FRANCO & DAVE FRANCO from
contents 4 6 9 11 12 14 16 18 20 23 24
Film Previews Reviews of 34 Upcoming Releases
Pitch Perfect 3 Happy End
Director: Trish Sie
Director: Michael Haneke
A Fantastic Woman A Wrinkle in Time
Director: Sebastiรกn Lelio
An interview with Director Ava DuVernay
Film Stars Don't Die in Liverpool I, Tonya
Director: Paul McGuigan
An interview with Director Craig Gillespie
The Leisure Seeker
Director: Paolo Virzi
The Disaster Artist
An interview with James Franco & Dave Franco
Director: Andrey Zvyagintsev
2017 Toronto International Film Festival By Hannah Hembree, Speciality Film Buyer
Film Guide Senior Staff Publisher
An interview with Director Eli Roth
A Fantastic Woman
Wendy Runyard Writing Staff
Patrick Garlock Creative Director
Rodney Griffin Creative Staff
Dustin Hayes Art Director/ Designer
Rona Qualls Corporate Editor
The Leisure Seeker
Irene Gillaspy Advertising and Promotions
email: robbie.arrington@ regalcinemas.com
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An Interview with Director Eli Roth by: Derek Sante Derek Sante: You are known for your commanding persona in the horror genre. Does this film follow that trend, or is it closer in style to the 1974 classic? Eli Roth: Death Wish was an incredible opportunity to flex other creative muscles while using the skills I’ve honed making scary movies. I looked at films like Eastern Promises and A History of Violence and how (David) Cronenberg used his skills from past kill scenes to create incredible, unforgettable set pieces. The assignment was to make the best, most compelling film and I think you’ll see this is a modern re-imagination of the original classic. I’ve always wanted to make a punishing revenge film like Unforgiven or Man on Fire or Taken
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and this was my chance. I wanted to outdo myself in every way. That said, fans of my movies will not be disappointed. I never pull my punches. DS: What attracted you to Death Wish? ER: The opportunity to work with Bruce Willis. He’s one of my favorite stars—from Die Hard, The Fifth Element, and of course, The Sixth Sense. I wanted to help create the next iconic Bruce Willis action role. DS: When it comes to action movies, nobody does it better than Bruce Willis. But in this film, his character starts out as a surgeon and family man. How did you work within the story for there to be a weapon learning curve? Did Bruce's movements have to be deliberately nervous, inaccurate, at first? ER: We all know and love Bruce Willis as the ultimate bad-ass who’s played some of the most beloved and iconic
action heroes ever in cinema. In this film, we wanted to show him as a family man who wasn’t necessarily a tough guy. That’s the side I wanted to bring out. What if you took that man, the father, the nice guy who did everything right, and broke him down and stripped him of everything? What’s underneath? What comes to the surface? We both made a conscious choice that this guy isn’t John McClane. He’s a surgeon, a community leader. We have to believe he’s never fired a gun in his life, so when he finally does, he nearly kills himself with a ricochet and blows his eardrums. Then he gets eye and ear protection. He watches tutorials online. And slowly he learns, because he’s smart. But when the moment comes to take action, we see he’s terrible at it. He makes mistakes and it leads the cops one step closer to him. It was fascinating to explore the character. Bruce was amazing. DS: In past media climate, the news of a vigilante would take days to circulate. In today’s society, given the social media climate, everything is instantaneous. How did you use technology to build discourse over “The Grim Reaper”? ER: I wanted to show in real time how these stories spread. It’s not just a news reporter standing in front of a crime scene anymore. Any time something happens, someone films it, uploads it, the video goes viral, there’s a remix to some song, people create memes, there’s a parody video ... all within 24 hours. It moves that fast. We used gossip sites like mediatakeout.com and Sway in the Morning on Sirius XM and Mancow who is huge on the radio in Chicago. I wanted to see their perspective on this. I don’t care what news reporters say, I want to know what Sway would say about this. What would 4chan say about this? That’s the world I’m living in. The film had to reflect that.
DS: As a man that creates cinematic horror moments, have you ever had a revenge fantasy? Perhaps not a personal vendetta, but a larger payback for mankind? ER: It’s human nature. Revenge impulses are something programmed into our DNA, but the fact that we are humans with a conscience stops us from acting on them. That’s what makes us different from animals, when someone takes our parking space at Whole Foods we don’t run them over. But for a moment we think about it. DS: How was working with Bruce Willis as Dr. Paul Kersey? Did you have a specific vision for the kind of man you wanted that character to be?
ER: Yes. We wanted a man who above all loves his family. We wanted to take this man who had escaped a rough upbringing through hard work and watch him go primal. We talked about the surgeon’s mask. The mask he wears in surgery and the metaphorical one he puts on to the world when he starts going out after dark. And the genius of Bruce was that he was able to play the character in a way so that everyone else thinks he’s doing great once he starts killing. He comes to work with a subtle smile on his face; everyone thinks he’s doing great. We wanted to explore a man having a total mental breakdown in private, but in public putting on the face that everything is fine.
DS: Can you think of one moment from shooting Death Wish that defines your experience? ER: There’s a scene with the psychiatrist that was one of those simple little scenes that both actors just made sing. I had this experience on Hostel with the locker room scene, just a simple dialogue scene people said was by far the most disturbing. It’s because of the context, not the scene itself. But the way she tells Bruce “well, whatever you’re doing, keep it up” and he half laughs and says “okay, I will.” In any other context, this would be an average scene. Both of them played it so straight that the audience just loves it—because it’s a scene of a psychiatrist essentially giving her patient permission to go out and kill.
It matches the tagline in the trailer and goes to show that you can set up all these elaborate action scenes, but nothing connects with an audience like simple dialogue. All you have to do is set it in the right context. This little scene we shot in two hours, it’ll probably be the line people remember the most. Opens in theatres March 2, 2018 winter 2017
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ow graduated from college and out in the real world where it takes more than a cappella to get by, the Bellas return in Pitch Perfect 3. This is the next chapter in the beloved series that has taken in more than $400 million at the global box office. After the highs of winning the World Championships, the Bellas find themselves split apart and discovering there arenâ€™t job prospects for making music with your mouth. But when they get the chance to reunite for an overseas USO tour, this group of awesome nerds will come together to make some music, and some questionable decisions, one last time. Anna Kendrick, Rebel Wilson, Hailee Steinfeld, Brittany Snow, Anna Camp, Hana Mae Lee, Ester Dean, Alexis Knapp, Chrissie Fit, Kelley Jakle, Shelley Regner, Elizabeth Banks and John Michael Higgins all return and are joined by additions including John Lithgow and Ruby Rose. Pitch Perfect 3 is again produced by Paul Brooks of Gold Circle Entertainment and Max Handelman & Elizabeth Banks of Brownstone Productions, and is directed by Trish Sie (Step Up All In). www.pitchperfectmovie.com
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HAPPY END directed by Michael Haneke
â€œAll around us, the world, and we, in its midst, blind.â€?
snapshot of a well-off French family living in a bourgeois bubble in northern
France, oblivious to the human misery unfolding in migrant camps around the port town of Calais, a few miles from their home. Opens in theatres December 22, 2017.
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arina and Orlando are in love and planning for the future. Marina is a young waitress and aspiring singer. Orlando is 20 years older than her and owns a printing company. After celebrating Marina’s birthday one evening, Orlando falls seriously ill. Marina rushes him to the emergency room, but he passes away just after arriving at the hospital. Instead of being able to mourn her lover, suddenly Marina is treated with suspicion. The doctors and Orlando’s family don’t trust her. A detective investigates Marina to see if she was involved in his death, and his ex-wife forbids her from attending the funeral. And to make matters worse, Orlando’s son threatens to throw Marina out of the flat she shared with Orlando! Most of Orlando’s family considers Marina’s identity as a trans woman an aberration and perversion. So Marina struggles for the right to be herself. She battles the very same forces that she has spent a lifetime fighting just to become who she is now – a complex, strong, forthright and fantastic woman. Opens in theatres February 2, 2018.
directed by Sebastian Lelio winter 2017
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Behind the imagination of acclaimed director Ava DuVernay
isney tessers through the universe along with acclaimed director, Ava DuVernay, in A Wrinkle in Time. Best known for her work on the award-winning Selma and the documentary 13TH, DuVernay is now bringing the celebrated story of A Wrinkle in Time to the big screen. Film Guide caught up with Ava to discuss her new adventure. FIlm Guide: How did you approach casting Disney’s A Wrinkle in Time? Ava DuVernay: With Disney behind me, it was very easy to move through casting. They were very open to inclusive casting and making sure the characters in the film truly represented the real world, which allowed casting to go off without a hitch. FG: Can you elaborate on the search for the young Meg Murry and ultimate choice of Storm Reid to fill the role?
of female filmmakers or filmmakers of color. So playing in that sandbox and creating worlds from top to bottom was a real joy. I went into it, let my mind go free and had a great team that brought my ideas to life. We’re really happy with the way it turned out. FG: With multiple planets and larger-than-life characters, how did you create an immersive yet distinct soundscape? AD: We worked with Skywalker Sound, I think the best in the business, and we had agile teams that gave each planet its own feel and soundscape, each feeling part of the universe but singular with their own ambiance. It’s actually really fun. FG: Everyone looks amazing in what we’ve seen. Do you have a favorite character or costume in the film?
AD: We had a worldwide search for Meg Murry, the center of the story. We looked across many continents to find the one special girl who had the qualities we wanted—curious and kind while still guarded and cautious, and yet who had the strength to save the universe, which is what Meg does. We needed an actress who could embody a full arc, from a girl who doesn’t believe in herself to a girl who saves us all. It was a tough search; it took about six months. Storm really is an extraordinary talent and I’m thrilled that this will be her first, large, major-movie-studio introduction.
AD: Not a favorite, no. I worked with Costume Designer Paco Delgado, an academy-award nominee. We had three women with four different costume changes throughout the film. From planet to planet, they would change costumes. It was an incredible experience to collaborate with an artist like Delgado, to really take my mission of including different eras and cultures and styles of dress and put it into the array of attire of these celestial women in a way that is flattering to their characters. Oprah, Mindy and Reese had great fun stretching their imaginations with the clothes, the fashion and the eras. It was all one fantastic adventure!
FG: You’ve been able to modernize a classic story. Did representation play a role in your casting process?
FG: Disney movies appeal to moviegoers of all ages. How do you balance the interests of adults and kids?
AD: Oh, yes, for sure. I imagined those children, including myself as a child, where I wasn’t represented. I watched films that had nothing in common with the life I lived. So our girl and the cast in this film were chosen to make sure we represented an array of people of all kinds, colors, ages and body shapes. You can look at the young actor who plays Charles Wallace Murray, a young Filipino boy; Meg of course being played by a biracial girl. Also, a South Asian woman “Mrs. Who” is portrayed by Mindy Kaling and Michael Peña, a Latino man, plays the character widely known as “The Man with the Red Eyes.” Representation matters in this film and all the cast was selected with an eye to kids seeing themselves, recognizing people who feel and look like them when they watch the film.
AD: As a filmmaker, I think you get into a little trouble if you try to satisfy every contingent. You have to go in as an artist and try to tell the story as dynamically as you can. Of course, this film has children at the center, so obviously there is an inclination for kids to be interested in it.
FG: The trailer highlights the stunning art direction. How did you merge the book’s imaginative text with your creative vision?
FG: As a final question for a film lover, is there one thing you recommend someone get at the theater to really enhance the moviegoing experience?
AD: We took a lot of time during production design to make sure we delineated between each of the worlds and planets. One of the things that really attracted me to the project, in addition to the narrative itself, was the opportunity to create worlds, to create planets. Not a lot of filmmakers get a chance to do that, certainly not a lot
You know, Disney never has shied away from including the challenging material needed in a story. They understand putting you through the trauma to get you to the triumph. And we do touch on that as well. Meg is going through a trying time as she searches for her father, who could be alive or dead, kidnapped or just gone, unknown to her. So that’s how we find her at the top of the film, but tragedy to triumph is something that every child understands and touches the kid in all of us.
AD: Yes, Bon Bons! Or any ice cream like that with vanilla inside and chocolate covering. They can have the candy covering as well, but I need them really cold. And they’re usually gone before the trailers are over! winter 2017
©2017 Disney 13
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directed by Paul McGuigan
BEHIND THE SCENES
n late September 1981, Peter Turner received a phone call that would change his life forever. His former lover, Hollywood actress Gloria Grahame, had collapsed in a hotel in Lancaster, Englandl. She refused medical attention and instead reached out to Turner, who at Grahame’s request took her to his warm-ifchaotic family home in Liverpool. The pair had met a few years previously, their paths crossing in a Primrose Hill guesthouse in which they were lodging. Turner was an aspiring actor, Grahame a fading star. She had made her name in the Hollywood studio system, often playing the moll, the floozy or, as Turner notes in his memoir, ‘the tart with the heart,’ appearing in a string of film noirs, including In a Lonely Place with Humphrey Bogart (shot by her husband at the time, Nicholas Ray) and Crossfire, for which she was Oscar-nominated, and The Bad and The Beautiful that won her an Oscar for Best Supporting Actress. Yet in her 50s, she fell on hard times and ended up working in smaller-scale theatre productions in the UK. She was, as her landlady notes in the script for Film Stars Don’t Die in Liverpool, ”a big name in black and white films, not doing too well in color.“ When Turner met her in his late 20s, he had no idea who she was. And yet these like-minded souls struck up a friendship, which then blossomed into a full-blown romance. A move to New York followed, though their relationship did not last, collapsing under the weight of the couple’s insecurities and Grahame’s second diagnosis of cancer, a fact she kept hidden from Turner. It was only in the wake of her collapse in Lancaster on that fateful day in 1981 that Turner learned the full extent of her health problems. Though their relationship had failed, their friendship endured and it was to Turner she turned in her hour of need. In 1986, Turner published his memoir entitled Film Stars Don’t Die in Liverpool, which recounted his tale of love and loss with the former Hollywood star. It is an affectionate, moving and wry recollection of this unlikely story. And now, more than 30 years on, it comes to the big screen with Annette Bening starring as Gloria Grahame and Jamie Bell as Peter Turner. The driving forces behind the screen adaptation are producers Colin Vaines and Barbara Broccoli. For a long time, Broccoli had harbored ambitions to bring the Turner-Grahame story to the big screen.
“I have wanted to make this film for over 20 years,” Broccoli begins, “It is very meaningful to me. I knew Gloria and Peter when they were together.” “Obviously, when Gloria died it was devastating and Peter was bereft,” Broccoli continues. “But then quite some time later he showed us this manuscript and said that he had sent it off to a publisher. It was such a moving, simple, beautiful memoir.” It was published by Pan Macmillan in the UK, Picador in US, and it received a positive reception. “Peter and I talked about making a film version and though it has taken a long time, we are finally here.” “I thought it was a really fantastic story and a completely unique book,” Vaines says. “I’d never read anything quite like it. It was a really unusual love story between two people from two entirely different worlds, and it was about the enduring power of love.” Vaines could also see that audiences would readily connect with the character of Peter Turner. “For most people he’s an ordinary bloke and he’s trying to make a living. He's doing okay, but something special happens to him that can happen to people in all sorts of ways when you fall in love with somebody. And it just so happened that he met an extraordinary woman, who, as it turned out, had been a great Hollywood actress in the ’40s and ’50s.” Around eight years ago, Vaines revisited Turner’s book and says he was still struck by its potency. He saw that the rights were with Broccoli and asked her if she’d like to collaborate on the project, working with a young screenwriter named Matt Greenhalgh who had penned the screenplays for Control and Nowhere Boy. Broccoli loved the idea. She says Greenhalgh did a great job with the screenplay and she and Vaines were delighted Paul McGuigan wanted to direct. Vaines explains, “Both Barbara and I felt that Paul brings this great visual quality to filmmaking but that he also has this great connection with the actors, and he really got the script.” Broccoli concurs. “I had wanted to work with Paul for many years and getting him on board was a catalyst to getting the film made.” Opens in theatres December 29, 2017.
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directed by: Craig Gillespie
An Interview with Director Craig Gillespie Film Guide: How did you become involved in this film? Craig Gillespie: Someone asked me “Have you read that I, Tonya script?” And I said “No, I haven’t read it yet.” And, honestly, the idea of Tonya Harding or having to go through that story again wasn’t at the top of my mind. But then they added “Margot Robbie’s attached. You really should take a look at it.” And that idea of Margot Robbie playing Tonya Harding was really intriguing. So I read the script and it’s such a wild and crazy ride! Steven Rogers (the screenwriter) met with Tonya Harding and with Jeff Gillooly (Tonya’s ex-husband). This story is based on those interviews, the contradictory interviews they gave. I just loved the challenge of it and I thought that with the dance between the humor and the drama, Margot would be perfect. Margot was attached already; she was producing alongside Bryan Unkeless. Actually, I had to meet them separately—Bryan first, then I met Steven, and then I finally met with Margot and just sort of had to pitch my version of the film. And thankfully I got it! FG: How much involvement did Tonya and Jeff Gillooly have in this process? CG: Outside of those interviews, that was it. Steven sat down for six hours and interviewed Tonya and then went off and wrote the script. Tonya was aware of it; she gave us her life rights. But I’ve always felt the way Steven presented it, and the way he shines a light on just basically her whole life, that it ends up allowing you to empathize with her predicament. So I always hoped she’d be okay with it. FG: After seeing the film, I heard a reference to her on Bojack Horseman and I heard a comedian reference her again later that same weekend. So Tonya remains a relevant figure. CG: President Obama made a joke about her in a speech two years ago. It’s amazing 25-odd years later that she’s still a punchline in our culture, and that was fascinating to me, to humanize this idea of her and just delve into it. Steven did such an amazing job of accomplishing that in an honest way. Tonya’s got her flaws and she certainly didn’t do the right thing, but you get to see her as a human being instead of a six-second sound bite.
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FG: Is that something you were very purposeful about? To make sure Tonya didn’t come off as a caricature? Was the point of the movie to humanize her? CG: I thought the challenge of the movie was that if you didn’t empathize with her, then the film wouldn’t work. I felt the situation she was involved in sort of lent itself to that, but the interesting thing about Tonya is that she’s unapologetic for it. That’s a strong stance and I love that Steven didn’t shy away from it in the script. Not that she hasn’t apologized since but, at the time, what I think ignited it more was that she stood by the fact that she didn’t know anything about it, that she was innocent. That’s always intrigued us. I really wanted to stay true to that narrative while trying to understand where those motivations were coming from. FG: You said you had to pitch your version of the movie, so what was the “Craig Gillespie” version that made the film different? CG: I actually loved that when I sat down with Margot, she just cut to the chase and simply said “Look, everybody talks about this thing called ‘tone’ and it’s this elusive thing in film. How do you get tone in a film?” And I thought it was such a great question because, ultimately, you can read a script and it can be incredibly broad and almost a caricature or it can be quite dark. And to me, it’s what I was so attracted to: that there was so clearly an opportunity for tone and that dance between the humor and drama. Honestly, it was a 45-minute answer to the question. It goes through everything, from the casting of people who can do that dance to just the blocking in the film to what the music’s doing, where it’s being used. Ultimately, in the most simplistic terms, what I love is when you’re watching a scene and, if you’re doing that dance correctly, the audiences have to project their own feelings onto it. There’ll be people who are laughing at a moment and other people looking around, shocked, going “this is not funny.” And I love when it becomes audience participation—it’s them projecting their own experiences onto what they’re watching. So I like to get into that zone and, to me, it was a large opportunity in this film. FG: It’s very similar to Lars and the Real Girl. If someone read that script, it could be a real sad script, but it’s all about tone and what you do around the script. It feels like you struck a perfect chord here. CG: So much has to do with casting. Margot, obviously, was on board and I felt that she was perfect to set that tone. Allison [Janney], who plays Tonya’s mother, also was on board, having been sort of mandated by Steven, a close friend. He’d actually written that role for Allison. The trickiest one for me to cast was Jeff Gillooly because the amount of violence in their relationship was heinous and it’s very difficult to achieve that dance and still create empathy for the situation. Trying to figure out who would play that role took a few months.
FG: So how did Sebastian Stan end up landing the role of Jeff Gillooly? CG: He came in, did the audition and just blew me away. It was exactly the dance I was looking for. Again, it was so hard to empathize with his character because of the things that occur in this film, and Sebastian had this way of being accessible with that. Also, when required, he could be funny and he could be really scary. FG: One of the absolute biggest scene-stealers in the movie is Paul Walter Hauser who plays Jeff’s friend Shawn. Where did you find him? CG: Again, through our casting, Paul was brought in. I had no idea who he was. A lot of people who came in for Shawn would watch this tape of an interview, which we have in the movie, that is actual footage from a Diane Sawyer interview. Everybody had that starting-off point to go with the character and then it evolved from there. He came in and tried that scene and we just played for a little bit, you know, “Try it like this.” or “Do this.” He was so responsive and so improvisational, which was a gift that again made me declare “He’s the guy for this role.” Paul has a little bit of that stand-up talent where every take is a different improvisation and, fortunately, all our actors are so good that they can go with it and respond to it. FG: Almost everyone knows who Tonya Harding is. What do you want audiences to know about I, Tonya before seeing the film? CG: That the film is based on the contradictory stories of Jeff Gillooly and Tonya Harding. It involves audience participation, so you make a choice of what you believe or what you don’t believe. It also makes you consider how judgmental we are as a society, and looking at contemporary media, I think this might have been the start of it. We love to compartmentalize things and put people in categories and, consequently, often ruin lives that way. The media just churns through people and I thought it was a terrific opportunity to hold up a mirror to how we are in society and how media impacts us. FG: That idea of “holding up a mirror” definitely comes across. There are lines throughout the movie where you make us feel bad because we’re laughing. CG: It’s complicated because we’re complicit even as we’re watching the movie. There are people who don’t like that, being accused of being a part of it all. But it’s a reality. We are all involved. FG: What do you want audiences to take away from the film? CG: That these are human beings we’re dealing with. Tonya’s been known as a punchline in society—and there’s a life at the end of that punchline. She’s had to live in this shadow for 30 years. Tragically, as well as Nancy [Kerrigan], she’ll always be tied to this because of what a huge event it was in the media as opposed to the two Olympic medals she received.
Opens in theatres December 2017. winter 2017
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The Leisure Seeker directed by Paolo Virzi
hen John and Ella Spencer (Donald Sutherland and Helen Mirren) were young, the ’75 Winnebago Indian they christened The Leisure Seeker was for beloved family getaways. Now, The Leisure Seeker has become their actual getaway vehicle, an escape from their well-intentioned but overbearing middle-aged children. John and Ella resolve to enjoy the freedom of a once in a lifetime RV road trip on their own, traveling from their Massachusetts home to the Ernest Hemingway Home and Museum in Key West, Florida. It’s a pilgrimage for John, a former high-school English teacher who still quotes Hemingway from memory, even as he loses track of his adult children’s names. Ella, younger than John and sharp of mind, is a transplanted southerner with a breezy-belle manner that belies a strength and determination. Ella refuses to divulge their whereabouts to their adult children, asking them firmly to let them enjoy this last spontaneous foray. John and Ella experience many interesting situations along the way—even finessing their way out of a roadside robbery! Time is fragmented for John. One moment he savors life in the present, and later he’s raging about a romantic rivalry from 50 years ago. Ella must navigate the present and uncertain future, while she tries to keep the past alive with anecdotes, photos and slide shows at the campground. As a couple they are sustained by their bond of shared love and history as they laugh or bicker, comfort or resent, and feel tenderness or jealousy, while still discovering surprising revelations along the way.
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Opens in theatres January 19, 2018.
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HH: Dave, you play Greg Sestero in the film, the author of The Disaster Artist book, and co-star of The Room. What is your relationship with Greg like?
An interview with James and Dave Franco By Hannah Hembree, Specialty Film Buyer Tommy Wiseau’s 2003 schlock masterpiece The Room has a cult status among cinephiles, deservedly so, and plays at midnight to sold-out auditoriums almost every week. There is a small-but-mighty group of The Room loyalists who watch it regularly. Thanks to James and Dave Franco, our intimate group of misfits is about to get a whole lot bigger. The Franco brothers are about to expose the moviegoing world to something they didn’t realize they were missing: The Disaster Artist. James Franco directed the film and stars as Tommy Wiseau. The Disaster Artist explores two men following their dream of breaking out in Hollywood and illustrates how far Tommy Wiseau went to make his dream come true. “The real Tommy says that the book, The Disaster Artist, is only about 40% accurate, but our movie is 99.9% accurate,” joked Dave Franco. Film Guide sat down with James and Dave during the Toronto International Film Festival (TIFF) just hours before their big premiere to discuss The Disaster Artist. HH: The Disaster Artist is another film that really deserves to have that theatrical, communal experience. Dave Franco: Agreed, yes, 100%. We may never have a better screening of the film than the one at the South by Southwest (SXSW) film festival. I’m hoping Toronto can really live up to it. Being in a theatre with a thousand others who are also huge fans of The Room felt like a rock concert. There were standing ovations in the middle of the movie. HH: What kind of role did Tommy play during the making of the movie? DF: He wasn’t around too often, but it was in his contract that he had to be acting in a scene opposite my brother. For everyone who is reading this, you need to stay after the credits to see Tommy. He nearly steals the movie.
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DF: Good. Great. Greg has been super helpful from day one. He was an asset throughout, and he was on the set a lot. I picked his brain many times before we started filming, and the main thing I wanted to know was why he was drawn to someone as eccentric as Tommy and if he ever thought The Room had a chance of being a good movie. As you see in the movie, Tommy believed in Greg when no one else did, and that’s a huge thing when you’re trying to be an actor or achieve anything in the arts. Most people in your life are telling you it’s impossible and then when you have a friend who really believes in you, that goes a long way. To the second part, Greg claims that he never thought it could be good, but I don’t fully believe him. As an actor, especially when you’re just starting out, it means everything when you get a job. Just to be on a real set, you’re so happy and really have to be optimistic that whatever you’re working on can be great. So you put everything into it. I can relate to that. I’ve been on projects where we put so much work into it, and while we were filming, I would think “Oh wow! We are going to win awards for this movie,” but then it comes out and it’s a full-on disaster! A piece of sh**! But that’s the way our business works. You never know what is going to be a hit, but I think there is something to be said about just being a young actor and wanting to do the work. HH: Do you feel a sense of responsibility to Greg, Tommy or the legion fans of The Room since you are telling their story, a story that is so dear to them? DF: We made this movie for everyone, obviously, but mainly for fans of The Room, and we took it very seriously. We never wanted it to be a satire where we were poking fun at the movie or anybody involved in it. We wanted this to be a love letter to Tommy and to The Room, celebrating his life and the fact that he achieved his goal of making it in the movie business despite doing it in the most backwards way possible. That was our intention, and we just wanted to honor the material. James Franco: Of course. I’ve played many characters that are based on real people, and I always feel a responsibility to them. Depending on the project, I want to at least capture their spirit. In this case, I tried to capture every detail I could. I took a lot of my queues from how I played James Dean, which is sort of ironic because Tommy Wiseau is a huge James Dean fan. I think one of the reasons he wanted me to do it is because he thinks he is James Dean! So I approached Tommy in the same way I did Dean, just
full immersion. I was watching The Room incessantly, and I would listen to the private tapes of Tommy talking to himself that Greg had stolen years before and given to me. I listened to those over and over and over.” HH: The Disaster Artist was made for everyone. But what would you say to the skeptical general audience that never has seen The Room but wants to see the new “James Franco” comedy? DF: It really does help if you have seen it, but ultimately it doesn’t matter because the underlying story is something that relates to everyone. It’s just two guys who are trying to achieve their dreams and not taking no for an answer. No matter what you do for a job, you can relate to that blind ambition, believing in yourself and not caring what other people think.” JF: That was something we were very cautious of when we were making the movie. If you haven’t seen The Room, will you understand The Disaster Artist? Of course you will! When I first saw Ed Wood’s films, I didn’t study them, but as I watched them more, I developed an appreciation for how good they were and have used them as inspiration. This film is sort of like that too. The Disaster Artist is more than insider jokes about your favorite scenes of The Room. It is a universal story about outsiders trying to make it, and that’s what the film really is first and foremost. But if you’re a fan of The Room, it is so much more. HH: What was your first experience with The Room? DF: I was late to the game. I had not seen the movie before, and my brother had reached out to me after he read the book and said, “we’ve got to make a film about this!” I was by myself in Boston in a hotel room, and that’s when I first watched The
Room which is NOT the way you are supposed to watch it! You need people to bond over how crazy the movie is. So, I finished my screening of it feeling very unsettled. But soon after that, I went to one of the infamous midnight screenings, and I immediately understood the cult status of The Room. Since then I have probably seen the movie 20 times! JF: I was not part of the OG crowd that saw The Room at the Sunset 5 either, but I saw the billboards that hung around until about 2008—very creepy. But for some reason, my mind didn’t compute. I saw the posters at the Sunset 5 because I went there a lot, but The Room never registered. I ended up seeing the movie about four years ago after I read the book. As a fan of Hollywood stories, someone recommended the book to me because I love Hollywood stories. I was just blown away because it was an inroad to Hollywood, but through an insane lens. But it was more than that. It was this universal story about dreamers breaking into this business, and I completely identified with that. I saw The Room truly for what it was the first time at a screening in Vancouver. I’ve since gone to many screenings of The Room, and they know how to do it in Vancouver. They had more spoons, more footballs, more tuxes. They just did it right. I have become a full convert! Being a huge fan of The Room and The Disaster Artist, I did not to pass up the opportunity to ask James Franco to say my favorite line of the movie in his Tommy Wiseau voice. And with that, I thanked James and Dave for their time to which James responded, “Oh hi, doggie!” Opens in theatres December 8, 2017. winter 2017
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LOVELESS directed by Andrey Zvyagintsev
ick of each other after many years of marriage, a man and a woman are going through a divorce. They want to turn the page and begin a new chapter of their lives with different partners and new emotions that will help them feel complete and full of promise. Past experience has disheartened them a bit, but they remain confident in the future. All that remains for them to do is to offload the burden that stands between them and happiness: their son Alyosha, a stranger to both of them, who becomes a ragdoll that each of them throws vindictively into the other’s face. “I’ll change; I won’t repeat the mistakes that led me to this disillusionment; I will begin anew.” These are the thoughts of people who blame others for their fiascos. In the end, the only thing you can really change is yourself. Only then will the world around you glow once more. Perhaps only a terrible loss can allow this to happen. Our post-modern era is a post-industrial society inundated by a constant flow of information received by individuals with very little interest in other people, other than as a means-to-an-end. These days, it’s every man for himself. The only way out of this indifference is to devote oneself to others, even perfect strangers, like the volunteer search coordinator who combs the town looking for the vanished child, with no promise of reward, as if it was his life’s true purpose. This basic task imbues his every action with meaning. It is the only means of fighting dehumanization and the world’s disarray. — Andrey Zvyagintsev Opens in theatres February 16, 2018.
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A Cinema Art Guide to a Perfect TIFF By Hannah Hembree, Specialty Film Buyer ,,
ou're going to love it!” That was the response I got from everyone who found out I was going to the Toronto International Film Festival for the first time this year. Toronto, or TIFF as all aficionados call it, is reputed to be a gala so large and so awesome that it is known as the best, the “festival of festivals.” How could I not love it! Getting to Toronto felt like a pilgrimage to the land of my people—film people, not Canadian people. It seemed only right that the flight would be arduous, without Wi-Fi, and delayed so long I missed my first scheduled screening. Alas, no pilgrimage is without a struggle, or so I told myself for the next two days as my luck seemed to worsen. After an entire day unable to get out of bed, I had an epiphany. I was at TIFF, a place I had always dreamed of going, a place that will defines cinema for the next season. I was not going to let illness beat me; I was going to take some vitamin C and power through the next 5 days, maybe. If you ever find yourself in this precise situation of being a Regal Cinema Art Film Guide reader at the Toronto Film Festival for the first time and having no idea what to do next, never fear. In my determination to“love it,” I discovered three resources that helped me have the best TIFF experience I ever could have imagined:
Hundreds of films play TIFF every year. Everything ranging from big-budget prestige pictures to unknown Russian animated shorts premiere at TIFF. One of the essential lessons I learned was to take a chance on viewing something I’d never heard of rather than seeing a studio film that would open in a month, even though I’d been dying to see it. I found myself with a hole in my schedule on a night when everyone I knew was at a premiere. I stood awkwardly in the middle of the hall for a solid five minutes just thumbing through the screening schedule; none of the titles caught my eye. I was just about to head to the escalator of the Scotia Bank Theatre, calling it a night, when a festival volunteer asked if I was going into auditorium 12 because they were about to shut the doors and start the film. The screening was Beast. I knew nothing about it other than what was described in the Midnight Madness section. However, I am not one to ever turn down a horror film! I'm glad I stayed up the extra 100 minutes for this film. It ended up one of my favorites from the festival. Beast presents the traditional small-town, missing-
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girl mystery, a la The Wicker Man (1973), but also touched on important modern topics like feminism and immigration, all through the lens of this unsettling, slow-burning thriller. There is nothing better than a powerfully acted film by two unknown actors. There was raw talent radiating from the screen. It was the kind of refreshing palette cleanser you always hope to discover at a film festival, but quite often do not.
You can sleep later.
It's hard to explain the fatigue that sets in after you've watched the fourth film in a day. Your body literally has done nothing, but your exhaustion levels are off the charts. Too bad you still have two movies to review before you can call it quits. It's 9 pm and bed is just four or five sweet hours away; however, right now you’re in Toronto and have two more screenings to go. I found myself in such a position on the night of the 11:59 pm screening of The Disaster Artist. Along with festival fatigue, I had been battling the mysterious illness plaguing Toronto that week—and I was losing. I dragged myself to the Scotia Bank Theatre first thing that morning and mapped out a solid 6-film schedule, ending with the midnight screening. I was one of the lucky few able to see the film at its South by Southwest premiere earlier this year. I knew what we were in for and I would not allow lack of sleep or a cold to get in my way. The Midnight Madness screening of The Disaster Artist will go down as one of the most enthusiastic, rowdy screenings in TIFF history. Being in a room with 500 strangers, all just as excited and in love with the movie as you, creates the kind of euphoric energy that’s hard to replicate outside of a movie stadium. The standing ovation that preceded the film turned into a full-on standing Q&A. Walking back to my hotel, I was on a movie high. I had watched an incredible film, with an amazing audience, in a beautiful city, and I was buzzing. In fact, I missed my first screening the next day.
Do Talk to Strangers.
The Toronto International Film Festival is an extremely well-oiled machine. I didn't spend hours on end in a queue and never had trouble getting into a screening, even though I did spend a fair share of time waiting in the queue. Despite what we might believe, one can look at an iPhone for only so long. After a minute or two of awkward posturing, someone
else in line is certain to strike up a conversation. Line talk is full of valuable information; it’s kind of like a beauty parlor in that way. You get to hear what everyone within a six-foot radius thinks about the festival selection. This is where you learn what everyone is excited to see, what they liked, what was disappointing, and the movie so bad you shouldn't waste your time. I can't say I discovered my favorite film at TIFF because of line talk, but I can say my favorite premiere at TIFF had everyone in line talking. Alexander Payne's latest film Downsizing certainly caused a commotion. Two very vocal viewpoints started to form, Camp Masterpiece and Camp Eye Roll. As a proud member of Camp Masterpiece, I hope I’m the first to tell you that it is one of the funniest, smartest and most biting films of the year. It is satire on the level of Get Out, but wrapped in a colorfully comical world populated by Matt Damon and Christoph Waltz. There is a light hopefulness that permeates throughout the film, a feeling that cinema could use more of today. Camp Eye Roll was not buying what Payne was selling and could not accept the overtly ridiculous premise. But no matter which side you represented, or if you had no side at all, you were talking about Downsizing to any stranger who would listen.
Now that I have shared the wisdom that only a seasoned veteran of one year can bestow about navigating TIFF, I am even more excited to share the films we loved from TIFF with moviegoers at Regal's Cinema Art locations. Beginning November 2017, look for Lady Bird, Three Billboards Outside Ebbing Missouri, Call Me by Your Name, and dozens more.
I attribute my fantastic TIFF viewing experience to those good strangers I befriended in the queues of Scotia Bank. Ultimately, eight days, two illnesses and twenty-one films later, I made it! Perhaps it wasn’t pretty or traditionally lovable, but I had a festival for the books. I learned a lot and I saw even more.
winter 201 7
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The Metropolitan Opera’s 2017–18 season of live cinema transmissions continues with a breathtaking new production of Puccini’s Tosca, a whimsical reimagining of Mozart’s Così fan tutte, and more.
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FIL M PREVIEWS
a quick look at upcoming alternative & independent films
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A FANTASTIC WOMAN
Director: Sebastian Lelio Starring: Deniela Vega, Francisco Reyes and Luis Gnecco Marina, a transgender waitress who moonlights as a nightclub singer, is bowled over by the death of her older boyfriend. In theatres February 2, 2018.
A PRAYER BEFORE DAWN
Director: Jean-Stéphane Sauvaire Starring: Joe Cole, Vithaya Pansringarm and Panya Yimmumphai Based on the international best-seller, A Prayer Before Dawn is the true story of Billy Moore, a troubled, young British boxer sent to one of Thailand’s most notorious jails. Refusing to die inside prison, Billy becomes a student of the lethal art of Muay Thai Boxing and, in the process, finds a brotherhood that will guide him on an incredible journey to redemption. In theatres 2018.
ALL THE MONEY IN THE WORLD
Director: Ridley Scott Starring: Mark Wahlberg, Christopher Plumber and Michelle Williams All the Money in the World follows the kidnapping of 16-year-old John Paul Getty III and the desperate attempt by his devoted mother Gail to convince his billionaire grandfather to pay the ransom. As Gail attempts to sway her father, her son’s captors become increasingly volatile and brutal. In theatres 2018.
Director: Janus Metz Starring: Stellan Skarsgård, Shia LaBeouf and Sverrir Gudnason The story of the 1980s tennis rivalry between the placid Björn Borg and the volatile John McEnroe. In theatres December 2017.
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FIL M PREVIEWS CALL ME BY YOUR NAME
Director: Luca Guadagnino Starring: Armie Hammer, TimothĂŠe Chalamet and Michael Stuhlbarg In 1983, the son of an American professor is enamored by the graduate student who comes to study and live with his family in their northern Italian home. Together they share an unforgettable summer full of music, food and romance that will forever change them. In theatres December 2017.
Director: John Curran Starring: Kate Mara, Jason Clarke and Ed Helms Ted Kennedyâ€™s life and political career become derailed in the aftermath of a fatal car accident in 1969 that claims the life of a young campaign strategist, Mary Jo Kopechne. In theatres December 8, 2017.
Director: Joe Wright Starring: Lily James, Gary Oldman and Ben Mendelsohn During the early days of World War II, the fate of Western Europe hangs on the newly appointed British Prime Minister Winston Churchill, who must decide whether to negotiate with Hitler or fight on against incredible odds. In theatres December 1, 2017.
FILM STARS DON'T DIE IN LIVERPOOL Director: Paul McGuigan Starring: Jamie Bell, Annette Bening and Stephen Graham
What starts as a vibrant affair between legendary femme fatale Gloria Grahame and her young lover Peter Turner quickly grows into a deeper relationship. Turner is the person Gloria turns to for comfort. Their passion and lust for life is tested to the limits by events beyond their control. In theatres December 29, 2017.
FOREVER MY GIRL
Director: Bethany Ashton Wolf Starring: Alex Roe, Jessica Rothe and Abby Fyder Fortson The story portrays country-music superstar Liam Page who left his bride Josie at the altar, choosing fame and fortune instead. When he unexpectedly returns to his hometown for the funeral of his best friend from high school, Liam is suddenly faced with the consequences of all that he left behind. In theatres January 26, 2018.
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FIL M PREVIEWS FOXTROT
Director: Samuel Maoz Starring: Lior Ashkenazi, Sarah Adler and Yonatan Shiray A troubled family must face the facts when something goes terribly wrong at their son's desolate military post. In theatres March 2018.
Director: Michael Haneke Starring: Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz, Fantine Harduin, Franz Rogowski, Laura Verlinden and Toby Jones A snapshot from the life of a bourgeois European family who pay little attention to the grim conditions in the refugee camps within a few miles of their home. In theatres December 22, 2017.
Director: Scott Cooper Starring: Christian Bale, Rosamund Pike and Ben Foster Set in 1892, Hostiles tells the tale of a legendary Army Captain who, after stern resistance, agrees to escort a dying Cheyenne War Chief and his family to their tribal lands. En route, the former rivals meet a young widow whose family was murdered on the plains. Together, they must join forces to overcome the punishing landscape, hostile Comanches and vicious outliers encountered along the way. In theatres January 2018.
HOW TO TALK TO GIRLS AT PARTIES Director: John Cameron Mitchell Starring: Elle Fanning, Alex Sharp, Nicole Kidman and Ruth Wilson
Enn is a sixteen-year-old boy who just doesn't understand girls, while his friend Vic seems to have them all figured out. Both teenagers are in for the shock of their young lives, however, when they crash a local party only to discover that the girls there are far, far more than they appear! In theatres 2018.
I CAN ONLY IMAGINE
Directors: Andrew and Jon Erwin Starring: J. Michael Finley, Brody Rose and Dennis Quaid I Can Only Imagine is based on the incredible true-life story that inspired the beloved, chart-topping song, of the same name. This film brings ultimate hope to so many, often in the midst of lifeâ€™s most challenging moments. Amazingly, the song was written in mere minutes by MercyMe lead singer Bart Millard. In reality, those lyrics took a lifetime to craft. In theatres March 16, 2018.
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FIL M PREVIEWS I, TONYA
Director: Craig Gillespie Starring: Margot Robbie, Sebastian Stan and Allison Janney Competitive ice skater Tonya Harding rises among the ranks at the U.S. Figure Skating Championships, but her future in the sport is thrown into doubt when her ex-husband intervenes with a sinister plan to attack her opponent. In theatres December 2017.
IN THE FADE
Director: Fatih Akin Starring: Diane Kruger, Denis Moschitto and Numan Acar Katja is a white German woman whose Turkish husband is killed, along with their young son, by a terrorist bomb-blast. After a time of mourning and injustice, when the prevailing criminal justice system fails to convict the neo-Nazi culprits, Katja resolves to take matters into her own hands. In theatres Fall 2018.
ISLE OF DOGS
Director: Wes Anderson Starring: Bryan Cranston, Edward Norton and Bill Murray When all the canine pets of Megasaki City are exiled to a vast garbage dump called Trash Island, Atari sets off alone in a miniature Junior-Turbo Prop and flies across the river in search of his bodyguard dog, Spots. There he begins an epic journey that will decide the fate and future of the entire Prefecture. In theatres March 23, 2018.
Director: Arnaud Desplechin Starring: Mathieu Amalric, Marion Cotillard and Charlotte Gainsbourg The story follows a filmmaker whose life is sent into a tailspin by the return of a former lover just as he is about to embark on the shoot of a new film. In theatres Spring 2018.
Director: Andrey Zvyagintsev Starring: Maryana Spivak, Aleksey Rozin and Varvara Shmykova Zhenya and Boris are going through a vicious divorce marked by resentment, frustration and recriminations. Already embarking on new lives, each with a new partner, they are impatient to start again. Complications arise when their 12-yearold son disappears after witnessing an argument. In theatres Febuary 16, 2018.
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FIL M PREVIEWS MOLLY'S GAME
Director: Aaron Sorkin Starring: Jessica Chastain, Idris Alba and Kevin Costner The true story of Molly Bloom, an Olympic-class skier who ran the world’s most exclusive high-stakes poker game and became an FBI target. In theatres January 5, 2018.
Director: Colette Burson Starring: Kira McLean, Devin Albert and Patricia Arquette A comedy about bad hair, adolescence and socially awkward family members. It involves life-altering permanents and poorly-made toupees. Obstacles to daily survival ensue. In theatres December 15, 2017.
Director: Paul Thomas Anderson Starring: Daniel Day Lewis, Lesley Manville and Camilla Rutherford Set in the glamour of 1950s post-war London, renowned dressmaker Reynolds Woodcock and his sister Cyril are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock. In theatres December 25, 2017.
Director: Francis Lawrence Starring: Jennifer Lawrence, Mary-Louise Parker and Joel Edgerton Ballerina Dominika Egorova is recruited to “Sparrow School,” a Russian intelligence service where she is forced to use her body as a weapon. But her first mission, targeting a CIA agent, threatens to unravel the security of both nations. In theatres March 2, 2018.
Director: James Kent Starring: Alexander Skarsgård, Keira Knightley and Jason Clarke Set in post-war Germany in 1946, Rachael arrives in the ruins of Hamburg in the bitter winter to be reunited with her husband. As they set off for their new home, Rachael is stunned to discover that Lewis has made an unexpected decision to share their home with its previous owners, a German widower and his troubled daughter. In theatres 2018.
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FIL M PREVIEWS THE DEATH OF STALIN
Director: Armando Iannucci Starring: Jason Isaacs, Andrea Riseborough and Olga Kurylenko This depiction of Stalin is adapted from a French graphic novel by Fabien Nury and Thierry Robins. As the Soviet dictator draws his very last breaths and then dies, political infighting leads to total chaos within the party. In theatres December 2017.
THE DISASTER ARTIST
Director: James Franco Starring: James Franco, Dave Franco and Seth Rogen James Franco transforms the tragicomic true story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau—an artist whose passion was as sincere as his methods were questionable—into a celebration of friendship, artistic expression and dreams pursued against insurmountable odds. In theatres December 8, 2017.
THE FLORIDA PROJECT
Director: Sean Baker Starring: Willem Dafoe, Brooklynn Prince and Valeria Cotto Set over one summer, this film follows precocious six-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Disney World. In theatres Winter 2017.
THE HURRICANE HEIST
Director: Rob Cohen Starring: Maggie Grace, Toby Kebell and Ryan Kwanten Thieves attempt a massive heist against the U.S. Treasury as a Category 5 hurricane approaches one of its Mint facilities. In theatres February 2018.
THE KILLING OF A SACRED DEER
Director: Yorgos Lanthimos Starring: Colin Farrell, Nicole Kidman, Barry Keoghan and Alicia Silverstone Dr. Steven Murphy is a renowned cardiovascular surgeon presiding over a spotless household with his ophthalmologist wife Anna and their two children. Lurking at the margins is Martin who begins insinuating himself into the family’s life in ever more unsettling displays. In theatres December 2017.
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FIL M PREVIEWS THE LEISURE SEEKER
Director: Paolo Virzì Starring: Donald Sutherland, Helen Mirren and Kirsty Mitchell A runaway couple goes on an unforgettable journey in the faithful old RV they call “The Leisure Seeker,” traveling from Boston to the Ernest Hemmingway Home in Key West. They recapture their passion for life and their love for each other on a road trip that provides revelation and surprise right up to the very end. In theatres December 22, 2017.
Director: Steven Spielberg Starring: Tom Hanks, Meryl Streep and Alison Brie A cover-up that spanned four U.S. Presidents pushes the country’s first female newspaper publisher and a hard-driving editor to join in an unprecedented battle between journalists and government. In theatres December 22, 2017.
THE SHAPE OF WATER
Director: Guillermo del Toro Starring: Sally Hawkins, Octavia Spencer and Michael Shannon An other-worldly fairy tale set against the backdrop of the Cold Water era in America, circa 1962. In the hidden high-security government laboratory where she works, lonely Elisa is trapped in a life of isolation. That existence is changed forever when Elisa and co-worker Zelda discover a secret, classified experiment. In theatres December 1, 2017.
WHITE BOY RICK
Director: Yann Damange Starring: Matthew McConaughey, Jennifer Jason Leigh and Eddie Marsan This is the story of teenager Richard Wershe Jr. During the 1980s, Rick becomes an FBI undercover informant and ultimately is arrested for drug-trafficking and sentenced to life in prison. In theatres January 26, 2018.
Director: Woody Allen Starring: Kate Winslet, Justin Timberlake and Juno Temple Cinematographer Vittorio Storaro captures a tale of passion, violence and betrayal in this American drama-thriller that plays out in a late-1950s Coney Island amusement park, depicting the wife of a carousel operator and her husband's estranged daughter as they pursue the same man. In theatres December 1, 2017.
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REGAL CINEMA ART dedicated to alternative and independent films, first-run foreign productions and restored classics
Aliso Viejo 20 & IMAX, Aliso Viejo
Webster Place 11, Chicago
Brea Stadium 22, Brea
Crystal Lake Showplace 16, Crystal Lake
Hacienda Crossings Stadium 20 & IMAX, Dublin
Lincolnshire Stadium 20 & IMAX, Lincolnshire
Foothil Town Center 22, Foothill Ranch
Cantera Stadium 17, Warrenville
Valley River Center 15 & IMAX, Eugene
Snowden Square Stadium 14, Columbia
Fox Tower Stadium 10, Portland
L.A. Live Stadium 14, Los Angeles
Hunt Valley Stadium 12, Hunt Valley
Bridgeport Village Stadium 18 & IMAX, Tigard
Long Beach 6, Long Beach
Majestic 20 & IMAX, Silver Spring
Palm Springs Stadium 9, Palm Springs
Fresno 22 & IMAX, Fresno University Town Center 6, Irvine Westpark 8, Irvine
Rancho Mirrage 16, Rancho Mirage Promenade Stadium 13, Rolling Hills Estates San Marcos Stadium 18, San Marcos Stonestown Twin, San Francisco
colorado South Glenn Stadium 14, Centennial
Eagan Stadium 16, Eagan
montana Gallatin Valley 11, Bozeman
nevada Green Valley Ranch Stadium 10, Henderson
ohio Montrose Movies Stadium 12, Akron Crocker Park Stadium 16, Westlake
Old Mill Stadium 16 & IMAX, Bend
pennsylvania Plymouth Meeting 10, Conshohocken King of Prussia 16 IMAX & RPX, King of Prussia Edgmont Square 10, Newtown Square Warrington Crossings 22 & IMAX, Warrington
south carolina Cherrydale Stadium 16, Greenville
West Village Stadium 12, Golden
Village Square Stadium 18, Las Vegas
Canyon View Stadium 14, Grand Junction
Colonnade Stadium 14, Las Vegas
Downtown West Cinema 8, Knoxville
district of columbia
Downtown Summerlin 5, Las Vegas
Green Hills Stadium 16, Nashville
Gallery Place Stadium 14, Washington
High Ridge 8, Albuquerque
Shadowood 16, Boca Raton Belltower Stadium 20, Ft. Myers
Court Street 12 & RPX, Brooklyn
Pinnacle Stadium 18 IMAX & RPX, Knoxville
texas Arbor 8 @ Great Hills, Austin Greenway Grand Palace Stadium 24, Houston Houston Marq*e Stadium 23, Houston
Gainesville Cinema Stadium 14, Gainesville
East Hampton Cinema 5, East Hampton
Beach Boulevard Stadium 18, Jacksonville
Farmingdale Stadium 10, Farmingdale
South Beach Stadium 18, Miami Beach
Ithaca Mall Stadium 14, Ithaca
Ballston Common Stadium 12, Arlington
Hollywood Stadium 20, Naples
Kaufman Astoria 14 & RPX, Long Island City
Fairfax Towne Center 10, Fairfax
Hollywood Stadium 16, Ocala
Quaker Crossing Stadium 18, Orchard Park
Countryside Stadium 20, Sterling
Hollywood Stadium 20, Sarasota
Battery Park, New York
Columbus Stadium 12, Virginia Beach
Winter Park Village Stadium 20, Winter Park
Union Square Stadium 14, New York
Avalon 12, Alpharretta Atlantic Station 18 IMAX & RPX, Atlanta Tara Cinemas 4, Atlanta
hawaii Dole Cannery Stadium 18, Honolulu
Staten Island Stadium 16 & RPX, Staten Island Westbury 12, Westbury
washington Barkley Village 16 IMAX & RPX, Bellingham Martin Village Stadium 16, Lacey
Bella Bottega Stadium 11, Redmond
Crossroads 20 & IMAX, Cary
Meridian 16, Seattle
Ballantyne Village Stadium 5, Charlotte
Thornton Place Stadium 14 & IMAX, Seattle
Manor Twin, Charlotte
Parkway Plaza Stadium 12, Tukwila
Park Terrace Stadium 6, Charlotte
City Center Stadium 12, Vancouver
Boise Stadium 22 & IMAX, Boise Riverstone Stadium 14, Coeur d'Alene
Dedicated to alternative & independent films, first-run foreign productions and restored classics." Since 1999 Regal has presented alternati...
Published on Nov 28, 2017
Dedicated to alternative & independent films, first-run foreign productions and restored classics." Since 1999 Regal has presented alternati...