Emilio Estevez

Emilio Estevez

Emilio Estevez Quick Links

News Pictures Film Footage Quotes RSS

Picture - Martin Sheen reads excerpts from... , Saturday 16th June 2012

Martin Sheen reads excerpts from his autobiography Along The Way chronicling his struggle with alcoholism and the birth and Early Years of his son Emilio Estevez to an audience at Diesel Abook Store in Malibu. Saturday 16th June 2012

Martin Sheen, Emilio Estevez and The Early Years
Martin Sheen, Emilio Estevez and The Early Years
Martin Sheen, Emilio Estevez and The Early Years
Martin Sheen, Emilio Estevez and The Early Years
Martin Sheen, Emilio Estevez and The Early Years

Video - Emilio Estevez: 'Our Stuntman Was Scared Of A Lake'


Actor Emilio Estevez (Men At Work; The Breakfast Club; Young Guns) attends a press junket to promote his new movie 'The Way'. Speaking via a satellite link, Emilio recounts the uplifting tale that inspired him to make the movie and talks about a lake that Martin Sheen's stuntman was afraid of.

The Way, based on true events, tells the story of a man (played by Emilio's father, Martin Sheen) who travels the 'Camino de Santiago' (The Way of Saint James) to recover the body of his dead son (Emilio Estevez)

Picture - Producer of the way, David... New York City, USA, Wednesday 5th October 2011

Emilio Estevez - Producer of the way, David Alexanian, Sonja Magdevski, Emilio Estevez, New York City, USA - at the premiere of 'The Way' to benefit the Walkabout Foundation at School of Visual Arts. Wednesday 5th October 2011

Emilio Estevez

Picture - Martin Sheen, Director, Emilio Estevez, New York City, USA, Wednesday 5th October 2011

Martin Sheen and Emilio Estevez - Martin Sheen, Director, Emilio Estevez, New York City, USA - at the premiere of 'The Way' to benefit the Walkabout Foundation at School of Visual Arts. Wednesday 5th October 2011

Martin Sheen and Emilio Estevez
Martin Sheen and Emilio Estevez
Martin Sheen and Emilio Estevez

Picture - Producer, David Alexanian, Martin Sheen,... New York City, USA, Wednesday 5th October 2011

Martin Sheen and Emilio Estevez - Producer, David Alexanian, Martin Sheen, Director, Emilio Estevez, New York City, USA - at the premiere of 'The Way' to benefit the Walkabout Foundation at School of Visual Arts. Wednesday 5th October 2011

Martin Sheen and Emilio Estevez

Video - Gloria Estefan Takes Photo With A Fan - Lifetime movie 'Five' Arrivals Part 1


The made for TV movie 'Five' had its premiere in New York City on the 26th September. Among the stars on the red carpet were actresses Demi Moore and Gloria Estefan, who graciously posed for a photo with a fan; rapper Wyclef Jean; actor Emilio Estevez and Jennifer Aniston, who part directed Five.

'Five' is a series of short films, following the lives of five women and the impact breast cancer had on their lives. It stars Rosario Dawson and 'Kick-Ass' star Lyndsy Fonseca

The Way Review


Excellent
This thoughtful, openly emotive film resists cynicism due to its quiet honesty.

As a story of self-discovery, it may seem a little simplistic, but the themes it grapples with along the way are genuinely challenging.

Tom (Sheen) is a California ophthalmologist whose only son Daniel (Estevez) dropped out of society in his late 30s to travel the world. Then Tom gets a call: Daniel has died on the Camino de Santiago (The Way of St James) in northern Spain. In France to collect the body, Tom suddenly decides to take the two-month pilgrimage himself, partly to understand his son better. Along the way he collects three companions who just won't leave him alone: a jaded Canadian (Unger), a too-cheerful Dutchman (van Wageningen) and a jagged Irishman (Nesbitt).

Continue reading: The Way Review

The L.A. Riot Spectacular Review


Grim
A film that works overtime to offend each and every ethnic group and economic class that makes up the smoggy purgatory of Los Angeles while simultaneously patting itself on the back for being so putatively daring, The L.A. Riot Spectacular is a cynical exercise in erstwhile satire that's all the more frustrating for the wasted opportunity it represents.

Like a series of linked MAD TV skits done without regard to network censors - the humor is about that intelligent - the film presents the 1992 Rodney King beating and subsequent riots as a grand comic opera of greed and stupidity, going after everybody involved with equal vigor. One can get a feel for how writer/director Marc Klasfeld intends to approach his subject a few minutes in, when the car chase and police beating of King (T.K. Carter) is done as a jokey game, with a police helicopter pilot serving as the announcer ("and they're off!"), while the cops themselves, having pulled King over, place beats over the ethnicity of the guy inside. Then Snoop Dogg shows up - serving, appropriately enough, as the film's narrator and chorus - to introduce the film proper, while fireworks go off behind him.

Continue reading: The L.A. Riot Spectacular Review

Bobby Review


Terrible
Filmmakers go overboard all the time, but none more than Oliver Stone. When Stone released JFK in 1991, it was obvious that he was pulling from a biased idealism, but he wasn't necessarily fibbing either. The cumulative effect of Stone's film was investigative fervor; even if you didn't believe the bulk of what was being given, you had to be shocked by a few of his points. The film was about looking back, but it was also about the hushed panic of the Kennedy assassination and the rest of the '60s. So, maybe going overboard was important to what Stone was after.

You won't find any sort of rabblerousing or sense of time in Emilio Estevez's Bobby, his account of the people that were in attendance when Robert F. Kennedy was shot and killed in Los Angeles' Ambassador Hotel. Estevez tosses together close to two dozen major characters and storylines along with footage of RFK campaigning against racism, America's poverty, and unlawful McCarthy tactics. The stories run the gamut from a young couple (Elijah Wood and Lindsay Lohan) getting hitched to keep the groom out of the war to an alcoholic diva (Demi Moore) and her forgotten husband (Estevez himself) to a philandering hotel manager (William H. Macy) who must keep his affair with a switchboard operator (Heather Graham) from his wife (Sharon Stone) and from an infuriated ex-employee (Christian Slater). There's also a pack of poll campaigners (Nick Cannon, Joshua Jackson, Shia Labeouf, and Brian Geraghty) who must deal with an acid freak out facilitated by a hippie (Ashton Kutcher), a pushy Czech journalist (Svetlana Metkina), and a flirty waitress at the hotel restaurant (Mary Elizabeth Winstead). Sounds like the makings of an ensemble comedy, no?

Continue reading: Bobby Review

Rated X (2000) Review


Weak
An interesting subject gets a rather shoddy treatment at the hands of Emilio Estevez. Here we have the story of porn pioneers the Mitchell brothers (who put together Behind the Green Door, launching the career of Marilyn Chambers) who fought the mob, opened the famed O'Farrell theater in San Francisco, and tried to kill each other. You'll have to see the movie to find out which one succeeded (or, you know, like, read about it somewhere else). Awfully reminiscent of The People vs. Larry Flynt. Based on the true story chronicled in the book X-Rated.

Continue reading: Rated X (2000) Review

Repo Man Review


Excellent
Repo Man is 20 years old now, and time's given it the look feel of a documentary. Not because it's factually accurate about anything - this is a movie about a space alien glowing in the trunk of an elderly Malibu, after all. But it has an earnest feel for its particular place (underclass L.A.), time (early '80s), and subculture (punk-rock underground) that gives it an aura of truth. Willfully absurd and rich with ironic joking, it was released by Universal but had a spirited indie feel that even most indie films a decade later couldn't match. L.A. punk's moment as a defining part of youth culture is long past, but wherever you see young snotbags and anti-authoritarian pranking today on film and TV, you can bet somebody working on the script was cribbing from Repo Man.

In one of his first leading roles, Emelio Estevez plays Otto, a young punker who's found himself stuck in a dead-end spiral: A cheating girlfriend, zombified parents who live under the hypnotic spell of a televangelist, and crummy job at a supermarket where his best friend is the geeky Kevin (Zander Schloss), who's a sort of proto-Napoleon Dynamite. Lured in by Bud (Harry Dean Stanton), a dissipated, disjointed, and cranked-up repo man, Otto begins a new life freeing cars from delinquent owners. Nobody in the repo shop is particularly likeable, but they have the benefit of non-mainstream quirkiness, particularly Miller (Tracy Walter), a half-homeless hanger-on who expounds on a variety of deep matters: John Wayne's sexual proclivities, the ubiquity of tree-shaped air fresheners, and the synchronicities of everyday life.

Continue reading: Repo Man Review

The Outsiders Review


OK
When Francis Ford Coppola made The Outsiders in 1983, he was in the midst of yet another career paradigm shift. Having broke the bank on the gargantuan semi-failures Apocalypse Now and One from the Heart, he turned to adapting a pair of S.E. Hinton novels - which he hyperbolically termed "Camus for kids" - first this one and then Rumble Fish. The Outsiders was relatively cheap, and also brought Coppola back to a kind of human drama that his post-Godfather work had been lacking, the result enrapturing a good number of teens and pre-teens in the 1980s. Coppola can never leave well enough alone, though, and so now we have his new version, The Complete Novel, overall a case in point for directors not being allowed to do this sort of thing.

The original film takes Hinton's spare 1967 novel of young gangs in Tulsa and turns it into grand melodrama, with gorgeous CinemaScope sunsets, sweeping orchestral score, and teen scuffles that take on all the clashing importance of medieval battles. On the crap side of town live the working-class greasers, with their black t-shirts and slicked-back hair, always getting hassled by the socs, preppie bastards with family money and nicer cars. The film centers on the greasers, particularly the sensitive 13-year-old orphan Ponyboy Curtis (C. Thomas Howell) who lives with his older brothers Sodapop (Rob Lowe) and Darrell (Patrick Swayze). The surrogate family hanging around the Curtis' ramshackle house also includes Emilio Estevez and Tom Cruise, while their friend, born-to-lose Dally Winston (Matt Dillon) has just been released from jail. Almost as childlike as Ponyboy is his best friend, Johnny (Ralph Macchio), an angelically bruised kid from a troubled home who provides the film's most emotional moments.

Continue reading: The Outsiders Review

The L.A. Riot Spectacular Review


Grim
A film that works overtime to offend each and every ethnic group and economic class that makes up the smoggy purgatory of Los Angeles while simultaneously patting itself on the back for being so putatively daring, The L.A. Riot Spectacular is a cynical exercise in erstwhile satire that's all the more frustrating for the wasted opportunity it represents.

Like a series of linked MAD TV skits done without regard to network censors - the humor is about that intelligent - the film presents the 1992 Rodney King beating and subsequent riots as a grand comic opera of greed and stupidity, going after everybody involved with equal vigor. One can get a feel for how writer/director Marc Klasfeld intends to approach his subject a few minutes in, when the car chase and police beating of King (T.K. Carter) is done as a jokey game, with a police helicopter pilot serving as the announcer ("and they're off!"), while the cops themselves, having pulled King over, place beats over the ethnicity of the guy inside. Then Snoop Dogg shows up - serving, appropriately enough, as the film's narrator and chorus - to introduce the film proper, while fireworks go off behind him.

Continue reading: The L.A. Riot Spectacular Review

The Breakfast Club Review


OK
Like a group therapy session with no psychologist in sight (unless that scary principal counts), The Breakfast Club is often considered the Most Meaningful of all the John Hughes teen movies. And while that very well might be the case, that doesn't necessarily make it the best of those movies; that prize would most likely have to go to Sixteen Candles or Pretty in Pink. But one thing that must be said about The Breakfast Club is that it doesn't quite resemble any other teen movie done before or since, a more impressive feat than you might think.

The idea is impressively theatrical for a teen movie: Five teens show up at Shermer High School for Saturday detention, where they'll have to write an essay on who they think they are. All the kids represent different archetypes, of course, and by the end of the day, they'll all have exposed each other's fears and learned that, for all their supposed differences, there really isn't that much that separates them.

Continue reading: The Breakfast Club Review

Emilio Estevez

Emilio Estevez Quick Links

News Pictures Film Footage Quotes RSS