Lyriq Bent on the red carpet at the world premiere for 'Tyler Perry's Acrimony'; a psychological thriller starring Taraji P. Henson and Lyriq Bent - New York, New York, United States - Tuesday 27th March 2018
They were the picture of a perfect relationship for many years. From a chance encounter in the rain at college to their romantic engagement and the most beautiful wedding to follow that. But all relationships have their problems, and Melinda (Taraji P. Henson) and Robert (Lyriq Bent) were the epitome of that sentiment.
By the time 18 years had passed, things had grown stale. They were strangers living in the same house, affection and intimacy had become a thing of the blissful past. Melinda starts to suspect that Robert is cheating on her, and her suspicions are soon confirmed.
Their marriage over, Robert moves in with his new fiance; a beautiful woman named June (Jazmyn Simon) who has everything that Melinda feels she doesn't have, such as youth and a luxurious lifestyle. It doesn't take long for the betrayal and the jealousy to build up a dangerous whirlwind of rage within Melinda; a deadly force that's set to explode come her ex's fateful wedding day.
Continue: Acrimony Trailer
Charlie and his dad Mike are enjoying Halloween together in New York City. As the crowds engulf the streets, Charlie decides to buy his son an ice cream. As the father and son queue up, Charlie asks his father a curious question, 'Dad, can we pay the Ghost?' those were the last words his son spoke to him.
Charlie case is taken on by the Missing Persons team but the police are at a loss as to what happened to the boy. Committed to his child and not willing to give up on the search, Mike begins his own investigation. His research encourages Mike to looking into the disappearance of all the missing Children in the city. What the father discovers is a horrifying possibility that his son has been taken by an unknown and deadly force.
As the anniversary of Charlie's abduction draws closer, Mike must travel through a virtual labyrinth of clues in the possibility of finding his son or at least finding the truth of what happened to him.
Lyriq Bent - The John Varvatos 12th Annual Stuart House Benefit with Honorary Chair Chris Pine. Live performance by Ziggy Marley, guest DJ performance by Nick Simmons and Wade Crescent - Arrivals at John Varvatos Boutique West Hollywood - Los Angeles, California, United States - Sunday 26th April 2015
Lyriq Bent - A number of stars we're snapped as they arrived at John Varvatos' International Day of Peace Celebration at the John Varvatos Boutique in Los Angeles, California, United States - Sunday 21st September 2014
By Bill Gibron
Apparently, it's pretty hard to update the classic movie monsters. When filmmakers aren't turning every well known cinematic creep into a fey Eurotrash version of their former scary selves, they're reinventing the mythology into a mindless "gee whiz" joke. So it only seems fair that after zombies got hyper-activated and vampires gained the glum Goth seal of approval, werewolves would be next on the pointless reinvention list. And thanks to the New Age Native American tweak entitled Skinwalkers, these formerly ferocious beasts got the incredibly short end of the post-modern scream stick.
There's an ongoing war between two lupine factions. On the one side are those who feel that the ancient ability to shapeshift is a curse, and want desperately for an ambiguous prophecy to be fulfilled. Then there are the blood-addicted, supernatural junkies who love killing so much that they want to keep the foretold omen from occurring. And what is this fabled forecast? Seems a young boy, born of human mother and wolfman seed, will turn 13 and... well, that part's not all that clear. Apparently, once the kid hits puberty, he will put the depressed beasts out of their misery while buzz killing the other lycanthropes happy hunting. So naturally, one side protects the brat (named Timmy), while the other is looking to carve up his adolescent guts.
Continue reading: Skinwalkers Review
Who would've guessed that from the lengthy list of gimmicks employed by the Saw series, the one to try patience in Saw IV would not be its elaborate, torture-happy deathtraps, serial killer Jigsaw's dour sermonizing, or its shamelessly amped-up filmmaking, but rather the filmmakers' insistence on movie-to-movie continuity. Saw IV, like its predecessors, takes places directly after, and in some cases concurrently with, the events of its immediate predecessor. For a time, this attention to detail seemed novel; but now lacking any real forward movement, the series threatens to collapse into a black hole of its own making.
The attachment of the Saw series to even its most inconsequential, dull, poorly-realized characters rivals and maybe surpasses head murderer Jigsaw's own hang-ups; the filmmakers have become serial killers by proxy, obsessed with every minor character who crosses their path. The sinking feeling I got watching Saw IV was not horror-movie dread, or even trepidation about the inevitable Saws five through ten in particular, but that Saw V will feel obligated to feature such dynamic new franchise additions such as that FBI agent guy (Scott Patterson) and that one cop who knew those other cops (Costas Mandylor). Based on series patterns, Joanne Boland and Julian Richings will have major parts in the next sequel, reprising their roles of "crime scene photographer" and "vagrant," respectively.
Continue reading: Saw IV Review
By Keith Breese
When I was living in New York, I had the misfortune of spending a better part of one night in Penn Station. Tired of wandering, I wound up in the men's room around 3:45 AM and was greeted by quite a sight: a homeless man bathing in the sink, another making dreadful noises in a toilet stall, and a janitor sweeping up God know what off the yellow tiled floor. The janitor was smoking and the bathing homeless man asked him for a drag. The janitor requested that the homeless man to show him his teeth and the homeless guy obliged, presenting a sore mouth with maybe two or three black and yellow teeth jutting from obscenely swollen gums. The janitor said, "Alright," shrugged, and then let the guy take a drag of his smoke. After the guy with the rotting mouth took a nice long drag, the janitor took back the cigarette and smoked the rest of it.
Saw II made me feel like I was watching that same thing for 90 odd minutes. It's a picture as revolting as it is needless.
Continue reading: Saw II Review