Alison Lohman

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Dark Shadows Premiere At Grauman's Chinese Theatre

Alison Lohman and Grauman's Chinese Theatre - Alison Lohman and Mark Neveldine Monday 7th May 2012 Dark Shadows Premiere at Grauman's Chinese Theatre

Alison Lohman and Grauman's Chinese Theatre

Special Screening Of Relativity Media's 'The Raven' At The Los Angeles Theatre - Arrivals

Alison Lohman Monday 23rd April 2012 Special screening of Relativity Media's 'The Raven' at The Los Angeles Theatre - Arrivals

Alison Lohman
Alison Lohman
Alison Lohman
Alison Lohman

Gamer Review

Bursting with their trademark visual style, Mark Neveldine and Brian Taylor (Crank) attack the screen with this twist on the virtual reality genre.

Unfortunately, the film is a cacophonous mess without a single interesting character.

In the nearish future, roleplay game-maker Ken Castle (Hall) has made his fortune with two games that let people live vicariously through others: the sex-and-party Society and the war-and-destruction Slayers. The twist is that the gamers are controlling actual people due to nano technology implanted in the performers' brains. In Slayers, they're all death row inmates firing real bullets, and the global megastar performer is Kable (Butler), controlled by rich geek Simon (Lerman). But Kable longs to escape and find his wife (Valletta), and a renegade hacker (Bridges) sets his escape in motion.

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Gamer Trailer

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Drag Me To Hell Review

With the Spider-Man films sitting out there like tarted-up, tawdry trophy wives, it's easy to forget how good a filmmaker Sam Raimi really is. If it weren't for the commercial strictures of the comic book movie, mandates which tend to stifle outright creativity, he might still be churning out the quality spine-tinglers. Instead, he's been lost in a sea of sparkle and spectacle, forgetting us fright fans who propped him up and suggested he might sell to a strict Tinseltown demo. Now, he's back crafting the kind of spook shows that made us all fall in love with him in the first place -- and Drag Me to Hell is quite an act of crazed contrition.

Loan Officer Christine Brown (Alison Lohman) wants the available assistant manager position in her bank. She hopes it will impress the parents of her psychology professor boyfriend Clay Dalton (Justin Long). But when a need for cutthroat tactics causes her to deny a geriatric gypsy woman (Lorna Raver) a third extension on her mortgage, there is literally hell to pay. Seems the old lady places a curse on Christine, guaranteeing that, in three days, a demon will arrive to drag her down to Satan's dominion. Hoping to avoid such a horrible fate, she seeks the aid of psychic Rham Jas (Dileep Rao). He suggests a medium (Adriana Barraza) who had a run in with the same spirit several years before. Unfortunately, it seems Christine's soul is condemned, and nothing can save her.

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2009 Cannes International Film Festival - Day 9

Alison Lohman, Sam Raimi and Justin Long - Alison Lohman, Sam Raimi and Justin Long 'Drag Me To Hell' - Photocall Cannes, France - 2009 Cannes International Film Festival - Day 9 Thursday 21st May 2009

Alison Lohman, Sam Raimi and Justin Long

Drag Me To Hell Trailer

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Delirious Review

I have seen Steve Buscemi in person, and he is not particularly ratlike -- he's actually a bit dapper, almost handsome. But on screen, Buscemi persists in embodying the most rodentlike of characters -- twitchy, scraggly, often lurking in the shadows. His voicing of Templeton the (actual) rat in the live-action Charlotte's Web seemed less perfect casting than foregone conclusion.

Buscemi's character in Tom DiCillo's Delirious is Les Galantine, a "licensed professional" photographer who is undistinguished even by paparazzi standards and ratlike even by Buscemi standards. An irritable loner, Les roams alleys and back entrances with a pack of similar-minded (but slightly less desperate) shutterbugs, grasping for shots of stars like pop sensation D'Harma (Alison Lohman). It's at one of these melees that he bumps into the genially homeless Toby (Michael Pitt); soon Toby has a reluctant, unstable ally and a place to stay. Les, in turn, has someone to listen to his rants and delusions, and to accompany him on sad visits to his elderly parents -- unimpressed, of course, with his published pictures.

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Beowulf Review

From the advent of sound with 1927's The Jazz Singer to the computer-generated effects breakthrough of 1989's The Abyss -- advancements in technology have had a major impact on cinematic storytelling, for better and worse. New technologies open up more cinematic experiences and new avenues for directors and actors to explore their craft. But it's easy to get caught up in the razzmatazz of the latest spectacle, instead of focusing on age-old, tried and true thematic substance. And that's exactly Beowulf's tragic flaw.

The Beowulf legend originates from a 700 A.D. oral tradition that was adapted in epic poem form by the English and into film form by director Robert Zemeckis -- using motion-captured live-action performances that are turned into a computer-generated light show. Much like the IMAX 3D screenings of Zemeckis' previous effort, The Polar Express, Beowulf's tale of a hero who comes to rid a Scandinavian village of its monster, while screaming his name every chance he gets, is more a showcase for RealD technology than an engaging film.

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The Big White Review

It's kind of bizarre that The Big White never landed a proper theatrical release. I mean, how many Robin Williams/Holly Hunter/Woody Harrelson movies go straight to video?

Well, one that I know of.

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Matchstick Men Review

Matchstick Men is an uncharacteristic departure for director Ridley Scott. After all, who didn't think the man was utterly without a sense of humor or even a soul of after the hopelessly depressing Gladiator and Black Hawk Down?

But even Scott proves that he can't suppress his frosted side forever, thanks to this spirited and undeniably sweet look at the con game spliced with a family drama -- his best work in years.

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Big Fish Review

Tim Burton's Big Fish tells the story about a man, Edward Bloom (Albert Finney), whose life is best told in the context of tall-tales and glorified fables. When looking at our own lives, it's easy to see that all of us have a Bloom-type somewhere in our families. You know, the person that's able to take the complexities of life and turn them into the wild fantasies appreciated mostly by the young at heart.

In the film, Bloom's grown son, Will (Billy Crudup) is tired of the imaginative stories his dad has told him since he was young, and decides to only communicate with his mom (Jessica Lange). But, as the elder Bloom approaches the end of his life, Will puts aside his differences and chooses to find the truth behind all the stories in hopes of learning more about his dad. The only way Will knows how to find the answers he seeks is to retell the stories and let us be the judge.

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White Oleander Review

White Oleander is one girl's dramatic coming-of-age story -- emphasis on the word "dramatic." A bright teen bounces around some dreadful foster homes, gets street-tough while in a facility for abandoned kids, and witnesses more tragedy in three years than any person should see in a lifetime. With such relentlessly morose subject matter, you'd think director Peter Kosminsky's adaptation of Janet Fitch's bestseller would lean toward TV melodrama -- and while the script may do so, Kosminsky's deft direction and fine editorial choices make White Oleander an effective and well-paced story of self-realization and determination.

The novel White Oleander was a 1999 selection of the ubiquitous Oprah Winfrey Book Club and you can tell why: There are so many brutally dysfunctional people in the story that Dr. Phil could produce months of television delving into their sorry lives. Astrid (Alison Lohman) is an only child, growing up in the Hollywood Hills with Ingrid (Michelle Pfeiffer), her eccentric, urban-arty mother. After a series of events that Kosminsky smartly keeps off-camera, Ingrid kills her boyfriend. Or does she? And how? Regardless, the beautiful, hopeful, young Astrid is picked up by state services and sent to live in a double-wide with a foster family.

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