A GIRL WALKS HOME ALONE AT NIGHT
Strange things are afoot in Bad City. The Iranian ghost town, home to prostitutes, junkies, pimps and other sordid souls, is a bastion of depravity and hopelessness where a lonely vampire stalks its most unsavory inhabitants.
Cinema’s first Iranian vampire western, Ana Lily Amirpour’s debut feature basks in the sheer pleasure of pulp. A joyful mash-up of genre, archetype, and iconography, its prolific influences span spaghetti westerns, graphic novels, horror films, and the Iranian New Wave. Amped by a mix of Iranian rock, techno, and Morricone-inspired riffs, its airy, anamorphic, black-and-white aesthetic and artfully drawn-out scenes combine the simmering tension of Sergio Leone with the weird surrealism of David Lynch..
A GIRL WALKS HOME ALONE AT NIGHT TRAILER
MOCKINGJAY – PART 1
The worldwide phenomenon of The Hunger Games continues to set the world on fire with The Hunger Games: Mockingjay – Part 1, which finds Katniss Everdeen (Jennifer Lawrence) in District 13 after she literally shatters the games forever. Under the leadership of President Coin (Julianne Moore) and the advice of her trusted friends, Katniss spreads her wings as she fights to save Peeta (Josh Hutcherson) and a nation moved by her courage. The Hunger Games: Mockingjay – Part 1 is directed by Francis Lawrence from a screenplay by Danny Strong and Peter Craig and produced by Nina Jacobson’s Color Force in tandem with producer Jon Kilik. The novel on which the film is based is the third in a trilogy written by Suzanne Collins that has over 65 million copies in print in the U.S. alone.
REACH ME
A motivational book written by a mysterious man (Tom Berenger) goes viral and quickly gains popularity, inspiring a group of people that includes a journalist (Kevin Connolly), his editor (Sylvester Stallone), a former inmate (Kyra Sedgwick), a hip-hop mogul (Nelly), an actor (Cary Elwes) and an undercover cop (Thomas Jane) to re-evaluate their choices and decisions by confronting their fears in hopes of creating more positive lives. REACH ME also stars Terry Crews, Danny Aiello, Kelsey Grammer, Lauren Cohan, Ryan Kwanten, Tom Sizemore, and is written/directed by John Herzfield. The film is produced by Rebekah Chaney, Cassian Elwes, John Herzfield, and Buddy Patrick.
V/H/S VIRAL
A police chase after a deranged ice cream truck has captivated the attention of the greater Los Angeles area. Dozens of fame—obsessed teens flock to the streets with their video cameras and camera phones, hell—bent on capturing the next viral video. But there is something far more sinister occurring in the streets of L.A. than a simple police chase. A resounding effect is created onto all those obsessed with capturing salacious footage for no other purpose than to amuse or titillate. Soon the discovery becomes that they themselves are the stars of the next video, one where they face their own death.
LATE PHASES
Crescent Bay is not the ideal place to spend one’s golden years, especially since the once-idyllic retirement community has been beset by a series of deadly animal attacks from the ominous forest surrounding it. When grizzled war veteran Ambrose McKinley (Nick Damici) is forced into moving there by his yuppie son Will (Ethan Embry), the residents immediately take offense to Ambrose’s abrasive personality. But that take-no-prisoners attitude may be just what Ambrose needs to survive as it becomes clear that the attacks are being caused by creatures that are neither animal nor man, and that the tight-knit community of Crescent Bay is hiding something truly sinister in its midst…
LITTLE HOPE WAS ARSON
LITTLE HOPE WAS ARSON tells the 2010 story of ten East Texas churches set ablaze in one month, sparking the largest manhunt in regional history. But once the crime was solved, the real mystery began. What drove two young men to do it? What effect did it have on their families and the churches? And when a church loses its building . . . can it still stand?
“From the moment I read about these fires, I knew there was a redemptive story that could rise from these violent and tragic acts,” said Theo Love, the film’s director. “When churches and families face such loss—of property and relationships—it can turn attention to what really matters.”