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The Premiere Of Amazon's 'Transparent' Season Two

Andre Royo - The premiere of Amazon's 'Transparent' season two at SilverScreen Theater at the Pacific Design Center - Arrivals at Pacific Design Center - West Hollywood - Los Angeles, California, United States - Monday 9th November 2015

Andre Royo
Andre Royo

Screening Of A24's 'The Spectacular Now'

Andre Royo - Screening of A24's 'The Spectacular Now' at the Vista Theatre - Los Angeles, California, United States - Tuesday 30th July 2013

Andre Royo
Andre Royo

The Spectacular Now Trailer


Sutter Keely thinks he has the perfect life; he's a high-school student with a car, a job he loves, a gorgeous girlfriend and the ability to make friends wherever he goes. Rather than thinking about his future and what graduation will bring, he's perfectly contented to take each day as it comes. It only becomes a curse when his girlfriend dumps him, but things take a different turn in his life when he wakes up after a particularly alcohol-fuelled night only to find himself in someone else's yard with a concerned looking Aimee Finicky next to him. Aimee's the good girl, who's never had a boyfriend and puts her focus on her future. Sutter finds himself falling in love and coming round to the idea of a quiet life, but thinking about the future has made him wonder if he should factor in Aimee's at all.

Continue: The Spectacular Now Trailer

The Collection Trailer


The Collector is a brutal masked serial killer who enjoys torturing, mutilating and killing his victims through booby-traps after luring them to secret locations to collect them. Despite being the subject of an immense manhunt, he manages another ruthless slaughter by rigging up a set of traps at an underground nightclub. Elena is persuaded by her friends to attend the club, but becomes the only survivor after every other attendee is murdered. She is instead kidnapped and taken to an old hotel, again lined with traps. The only person who knows where she is is Arkin; an ex-con who is still traumatised by his own experiences and narrow escape from the Collector. He is persuaded to help look for her after being approached by Elena's wealthy father and his team of headstrong mercenaries, but will they find her in time to save her? And will they struggle to hold themselves together along the way?

'The Collection' is the grisly sequel to 2009 horror flick 'The Collector'. It has been directed by Marcus Dunstan ('Saw IV', 'Piranha 3DD') who co-wrote the screenplay with his previous writing partner Patrick Melton and it has already been released in cinemas in Fall 2012 in the US.

Starring:Josh Stewart, Emma Fitzpatrick, Lee Tergesen, Johanna Braddy, Navi Rawat, Randall Archer, Michael Nardelli, Christopher McDonald, Tim Griffin, Andre Royo, Brandon Molale, Daniel Sharman, Erin Way, Shannon Kane, Justin Mortelliti,

Continue: The Collection Trailer

Picture - Andre Royo , Saturday 12th January 2013

Andre Royo 2013 Independent Spirit Brunch held at BOA Steakhouse in West Hollywood Featuring: Andre Royo Where: Los Angeles, California, United States When: 12 Jan 2013

Andre Royo
Andre Royo
Andre Royo
Andre Royo

Red Tails Trailer


In the height of World War II, the American Army have devised an experimental training programme, known as the Tuskegee Training Programme, that consists of African American soldiers. Despite their hard work training, they are beginning to lose hope that they will ever fight in the war. Discrimination in the army was so rife, the men were often seen as unable to fight for their country.

Continue: Red Tails Trailer

Reading Of Sarah Tuft's '110 Stories', A Benefit For New York Says Thank You Foundation Held At The Skirball Center - Arrivals

Andre Royo Thursday 8th September 2011 Reading of Sarah Tuft's '110 Stories', a benefit for New York Says Thank You Foundation held at the Skirball Center - Arrivals New York City, USA

Andre Royo
Andre Royo

UNCF An Evening Of Stars Presented By Target

Andre Royo Sunday 14th August 2011 UNCF an evening of stars presented by Target Pasadena, California

Andre Royo

Super Review


Very Good
Writer-director Gunn gleefully subverts genre expectations with this superhero movie that goes way against the grain. And what makes it worth seeing is the fact that every scene is grounded in reality.

Frank (Wilson) only has two moments in his life when he felt happy: first was his wedding to Sarah (Tyler) and second was when he helped a cop foil a crime.

So when Sarah leaves him for the charismatic criminal Jacques (Bacon), Frank turns to crimefighting, with a little inspiration from Libby (Page), who works in a comic book shop. Frank's super alter-ego is the Crimson Bolt, smacking criminals with a pipe-wrench. And when Libby figures it out, she becomes his sidekick Boltie, helping him launch an all-out offensive to free Sarah from Jacques' control.

Continue reading: Super Review

The Wire: Season Five Review


Extraordinary
Millions of hearts broke when season four of The Wire reached its bleak conclusion. The cause of this mass cardiac disintegration was twofold: first, most of the teenage boys in the season's primary storyline seemed doomed to nasty and short lives. And second, the single greatest work of dramatic television in the history of the medium had come to an end. That couldn't be easy for anyone's emotions.

Fifteen months later, The Wire returned for its brilliant swan song. David Simon, Ed Burns, and crew famously dedicated each season of The Wire to an institutional failure (the drug war, the middle class, political reform, the schools) that has contributed to the extended death of Baltimore, and by extension all of America's inner cities. For the show's final go-round, the show takes on the decline of local media. Simon spent years -- several of them tumultuous -- at the Baltimore Sun before he started creating amazing TV shows. Naturally, Simon brings much of his personal disaffection and melancholy to his portrayal of that disintegrating daily.

Continue reading: The Wire: Season Five Review

The Wire: Season One Review


Essential
Baltimore probably doesn't make the top-ten list of most-documented American cities on film. It's a different matter if you're talking about best-documented cities, though, and the credit for that belongs almost entirely to David Simon. A former reporter for the Baltimore Sun, Simon parlayed his tremendous 1991 book Homicide -- which tracked a year in the life of an exceedingly busy Baltimore homicide detail -- into a TV series of the same name. Despite the fact that NBC continually placed it in crummy time slots, the show deservedly survived for seven seasons. (Richard Belzer continues to play its most colorful character, the acerbic Det. John Munch, on Law & Order: SVU.) Simon returned to TV with the HBO miniseries The Corner, based on his book (co-written with former cop Ed Burns) chronicling a year in the life of the residents of a Baltimore drug corner.

Homicide and The Corner, in their concern for covering multiple aspects of race, class, and authority in an American city, made for some of the best television of '90s. The Wire, Simon's series about the intersection of police and the drug trade, ranks among the most nuanced television series in history; it is easily the best police-procedural show that's ever aired. That's in part because the show's writers stubbornly refuse to fall into the clichés of the usual police procedural. The bad guys -- in this case, the men who run the drug trade around Baltimore's housing projects -- are often as shrewd and smart as the cops, with characters just as layered as anybody else. The star of season one, to the extent there is one, is Larry Gilliard Jr., who plays D'Angelo Barksdale, nephew of Avon (Wood Harris), who runs the business out of an office above a strip club. (The show pretty much annihilates the notion of drug dealers living high-class lives in tony neighborhoods. The money's good, but you're always nervous about it, and you're still in the thick of the projects.) A tough-nosed but naïve adolescent, D'Angelo balances the day-to-day work of dealing with handling his friendships, girls, and his future -- to the extent he ponders something that abstract. Nothing in the formal structure of the show -- music, plotting, dialogue -- casts falsely melodramatic judgment on D'Angelo. He is what he is.

Continue reading: The Wire: Season One Review

The Wire: Season Two Review


Essential
During its run on HBO, The Wire has established itself as nothing less than an epic television show. It tackles a monstrous issue -- the illegal drug trade, with its manifold social, economic, criminal, and moral implications -- and resounds with the ring of truth like no other police drama before it. Whether an episode features a glimpse into the lives of stevedores at a dying Baltimore port, a candid peek at the inner-workings of city government, or a look at the relationships between cops and the drug dealers they're forever chasing, The Wire gets it, right down to the last bill of lading, backroom deal, and warrant for arrest.

The second season is no different. It's riveting television that pulses with realism, intelligence, and harrowing drama. If by chance you've stumbled upon this review without having watched the first season, update your Netflix queue immediately, with The Wire: Season One at the top. Like nearly all of today's best hour-long dramas, its multilayered storytelling technique demands a great deal of attention to detail from the viewer. The show can't be fully appreciated without understanding each character's nuanced backstory and the history of interactions and conflicts everyone has with one another. So start at the beginning and enjoy.

Continue reading: The Wire: Season Two Review

The Wire: Season Three Review


Essential

Sadly, the most passionate and persuasive argument in recent years against the current disposition of the government's stance in the so-called "War on Drugs" came not from a think tank armed with stats and big ideas or a celebrity eager for a cause, but from a TV show. The third season of The Wire, which aired on HBO in late 2004, continued its sprawling and justifiably lauded Dickensian crawl through its web of stories centering on the inner Baltimore drug trade -- following, with an unusual focus to detail and character, both the gangs fighting for territory and the cops of a major case unit assigned to busting up their organizations. But where the show became more than just an abnormally well-made, balanced, and realistic law and order drama (and there's no need here to heap more praise on the show than already has been done), and became something entirely different, was in the fourth episode, "Amsterdam."

Police major "Bunny" Colvin (previously a supporting player on the show), desperate to see some improvement in his crime-ridden West Baltimore district and tired of watching his cops waste all their time busting street corner dealers to no larger effect, institutes a new policy: If all drug dealers move to three designated zones in the district and sell there, they will not be arrested. In effect, he legalizes the drug trade in a large part of an American city. The cops don't get it, the drug-dealing kids don't either, as it throws into question the entire reality of their limited universe where the kids sell drugs, occasionally they get hassled or arrested, but everything goes on without change; as one of the dealers says, "Why you got to go and fuck with the program?"

The point being made here by the two creative forces behind The Wire -- investigative reporter David Simon and veteran detective Ed Burns, both of whom know this territory better than almost anyone -- is quite simple: the drug trade has atomized vast and forgotten swaths of American cities, like West Baltimore, and decades of simplistic, head-knocking, "tough on crime" enforcement has made zero difference. So, take a page out of Amsterdam's book, where a blind eye is turned to the drug traffic in certain designated areas, and see if you can at least make some poor neighborhoods normal again by ridding them of turf-battling drug gangs.

Colvin -- a strange kind of revolutionary -- gives a speech using the "brown paper bag" analogy Simon introduced in his book The Corner: Men drinking on the street will carry their liquor in a brown paper bag -- the cops know it's liquor but don't arrest them for public drinking because the men are at least making an attempt at hiding the bottle. It's the same with pushing drug dealing to what Colvin calls the "free zones"; it's a civil truce. Call it legalization, call it a truce, call it dealing with reality, Simon's point is that drugs will be dealt, and the more you can keep the trade itself from ruining the social fabric of already distressed neighborhoods, the better. And if you can weave this message into a thrilling hour-long crime drama, all the better.

As for what the remainder of this season dealt with, it would be futile to go into much discussion of that, since The Wire's storylines rival Tolstoy's in their complexity. Suffice it to say that one must watch the show as one reads a book, starting at the beginning of season three -- even with that "previously, on The Wire" intro which HBO prefaces its shows with -- is next to useless. For those who have already been watching, of primary importance is that the show's quality remains undimmed. Simon's writing staff has been beefed up by the addition of top-shelf novelists like Richard Price (Clockers) and George Pelecanos (The Night Gardener), who bring some welcome flourishes of both character-driven realism and pulp crime drama to the proceedings. A few of the show's more central characters get their arcs reversed, with the classically rogueish cop McNulty (a wonderfully snarky Dominic West) coming to a crisis of self-destruction, and striving criminal mastermind Stringer Bell (the iconic and contemplative Idris Elba) finding himself stuck between worlds, too street for the business world and too thoughtful for the street. And although several long-running characters continue to pop up -- like free-range gunslingers Omar (Michael K. Williams) and Brother Mouzone (Michael Potts), and Bubbles (Andre Royo), the junkie who serves as the closest thing The Wire has to a chorus -- story is always sublimated to the overarching themes, with the focus never straying far from Simon's central conceit of the American city in crisis, and what to do about it.

The Wire has cast a sardonic eye on the efficacy of current drug law enforcement since the beginning. In the very first episode, a detective who just used the term "War on Drugs" gets a quick schooling from another detective on why the term just doesn't apply, with the world-wearied quip, "Wars end." By presenting an idea for how one might, if not win a war that has done so much damage to American cities and the economically disadvantaged, then at least call an honorable truce, the show became not just the best show currently on television, but also possibly the most important.

Anyone else see Charlie Brown's shirt?

The Wire: Season One Review


Essential
Baltimore probably doesn't make the top-ten list of most-documented American cities on film. It's a different matter if you're talking about best-documented cities, though, and the credit for that belongs almost entirely to David Simon. A former reporter for the Baltimore Sun, Simon parlayed his tremendous 1991 book Homicide -- which tracked a year in the life of an exceedingly busy Baltimore homicide detail -- into a TV series of the same name. Despite the fact that NBC continually placed it in crummy time slots, the show deservedly survived for seven seasons. (Richard Belzer continues to play its most colorful character, the acerbic Det. John Munch, on Law & Order: SVU.) Simon returned to TV with the HBO miniseries The Corner, based on his book (co-written with former cop Ed Burns) chronicling a year in the life of the residents of a Baltimore drug corner.

Homicide and The Corner, in their concern for covering multiple aspects of race, class, and authority in an American city, made for some of the best television of '90s. The Wire, Simon's series about the intersection of police and the drug trade, ranks among the most nuanced television series in history; it is easily the best police-procedural show that's ever aired. That's in part because the show's writers stubbornly refuse to fall into the clichés of the usual police procedural. The bad guys -- in this case, the men who run the drug trade around Baltimore's housing projects -- are often as shrewd and smart as the cops, with characters just as layered as anybody else. The star of season one, to the extent there is one, is Larry Gilliard Jr., who plays D'Angelo Barksdale, nephew of Avon (Wood Harris), who runs the business out of an office above a strip club. (The show pretty much annihilates the notion of drug dealers living high-class lives in tony neighborhoods. The money's good, but you're always nervous about it, and you're still in the thick of the projects.) A tough-nosed but naïve adolescent, D'Angelo balances the day-to-day work of dealing with handling his friendships, girls, and his future -- to the extent he ponders something that abstract. Nothing in the formal structure of the show -- music, plotting, dialogue -- casts falsely melodramatic judgment on D'Angelo. He is what he is.

Continue reading: The Wire: Season One Review

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'Lost' BBC Session By Led Zeppelin Recovered And Restored

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Michael J. Fox Joins Coldplay On Stage To Perform 'Back To The Future' Songs

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Bjork Announces Virtual Reality Exhibition In London, Plus Single Live Show

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Bjork Digital comes to London's Somerset House in September, along with a single live show at the Royal Albert Hall.

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Has Kanye West Broken The Law Over Taylor Swift Phone Call?

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DJ Shadow - The Mountain Will Fall Album Review

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Guns N' Roses detained for gun possession

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Andre Royo Movies

The Spectacular Now Trailer

The Spectacular Now Trailer

Sutter Keely thinks he has the perfect life; he's a high-school student with a car,...

The Collection Trailer

The Collection Trailer

The Collector is a brutal masked serial killer who enjoys torturing, mutilating and killing his...

Red Tails Trailer

Red Tails Trailer

In the height of World War II, the American Army have devised an experimental training...

Super Movie Review

Super Movie Review

Writer-director Gunn gleefully subverts genre expectations with this superhero movie that goes way against the...

Advertisement
The Wire: Season Three Movie Review

The Wire: Season Three Movie Review

Sadly, the most passionate and persuasive argument in recent years against the current disposition of...

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