Michael Biehn

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Screening Of 'WINNING: The Racing Life Of Paul Newman'

Michael Biehn - Screening of 'WINNING: The Racing Life Of Paul Newman' at the El Capitan Theatre at El Capitan Theatre - Hollywood, California, United States - Friday 17th April 2015

Michael Biehn

WINNING The Racing Life Of Paul Newman Reception

Michael Biehn and son - "WINNING: The Racing Life of Paul Newman" Pre-Premiere Reception at Roosevelt Hotel - Los Angeles, California, United States - Friday 17th April 2015

Michael Biehn and Son
Michael Biehn
Michael Biehn

Saving Grace B Jones Trailer


After being confined to a mental asylum for 17 years, Grace B Jones gets released following years of abuse and torment at the hands of mental health nurses. She goes to live with her brother Landy Bretthorse, his wife Bea and two young girls in Boonville, Missouri despite Bea's concerns about her instability particularly around the children.  Although Grace seems a nice, friendly person and treats the girls kindly, she has regularly bouts of hysteria which first come about after a boat accident during the calamitous 1951 flood. Is there enough of Grace left to save? Or will the household conclude that sometimes a broken woman is beyond repair?

'Saving Grace B Jones' is based on a true story surrounding first time feature film director Connie Stevens' childhood in the fifties when she was sent away from her home in Brooklyn to Missouri to live with family friends after witnessing a brutal murder. She was to find, that summer, that that terrible crime was not the thing that would have the biggest effect on her the rest of her life. This shocking drama has been co-written by Jeffry Elison in his screenwriting debut and first premiered in 2009 at the Philadelphia Film Festival/Cinefest. It is now available to see in theaters everywhere now.

Director: Connie Stevens

Continue: Saving Grace B Jones Trailer

The Divide Review


Grim
High-energy production values and kinetic physicality draw us into this scrappy end-of-the-world thriller. But it isn't long before the plot and characters have nowhere left to go but down to the depths of human depravity. And by the end it's impossible to see the point.

As missiles rain down on New York City, nine people take refuge in their building's basement. After the dust settles, contamination-suited goons burst in and grab a young girl (Thickson) from her hysterical mother (Arquette), then clearly intend to kill the adults. After a rebellion, they are instead sealed in the basement. Soon a hierarchy develops around building repairman Mickey (Biehn) and his stash of supplies. Then the increasingly menacing Josh (Ventimiglia) and his mercurial friend Bobby (Eklund) take control. Meanwhile, Eva (German) is carefully treading the middle ground.

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The Divide Trailer


Set in New York in the not too distant future, a sudden nuclear explosion happens in the city. In an apartment block near the explosion, the residents are hurrying down to the basement, which was converted from a fallout shelter. Only eight manage to make it inside - the rest are left to die in the blast.

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The IFI (Irish Film Institute) Horrorthon Screening Of 'The Victim' In Temple Bar

Michael Biehn and Jennifer Blanc - Michael Biehn, wife Jennifer Blanc Dublin, Ireland - The IFI (Irish Film Institute) Horrorthon screening of 'The Victim' in Temple Bar Saturday 29th October 2011

Michael Biehn and Jennifer Blanc
Michael Biehn and Jennifer Blanc
Michael Biehn
Michael Biehn and Jennifer Blanc
Michael Biehn and Jennifer Blanc
Michael Biehn

2011 FanExpo At The Metro Toronto Convention Centre.

Michael Biehn Saturday 27th August 2011 2011 FanExpo at the Metro Toronto Convention Centre. Toronto, Canada

Michael Biehn
Michael Biehn

Take Me Home Tonight Review


Weak
He built his name on That '70s Show, and now Topher Grace stars in, produces and came up with the story for what should have been called That '80s Movie.

Clearly, the intention was to recreate the vibe of 1983's freewheeling romp Risky Business. And while it's good fun, it's also forgettable.

Matt (Grace) was a high-achiever in the class of 1984. He's just earned a top four-year engineering degree from MIT, but has no idea what to do with the rest of his life. Then one day he bumps into his high school crush Tori (Palmer) and pretends to be a successful banker. Soon he's invited to a cool party at the home of Kyle (Pratt), the hard-partying boyfriend of Matt's twin sister Wendy (Faris). And when Matt's goofy pal Barry (Fogler) tags along, it becomes clear that trouble won't be too far behind.

Continue reading: Take Me Home Tonight Review

The 2009 Saturn Awards At The Castaways In Burbank

Michael Biehn, son Caelan and Saturn Awards - Michael Biehn and son Caelan Los Angeles, California - The 2009 Saturn Awards at the Castaways in Burbank Wednesday 24th June 2009

Michael Biehn, Son Caelan and Saturn Awards

Grindhouse Review


Excellent
Longtime buddies Quentin Tarantino and Robert Rodriguez have worked together before (Four Rooms, Sin City), but this takes it to the next level. Grindhouse is their shared B-movie fantasy: a three-hour, bare-knuckled double feature epic, an unapologetic celebration of '70s-era hardcore schlock that's authentic, witty beyond expectation, and unerringly crowd-pleasing.

In a recent TV interview, Tarantino said he and Rodriguez had always wished those low-budget flicks were as good as their posters -- and they set out to achieve that, decades after the movies' heyday. With an obvious passion for the genre, the pair has recreated the experience of being at some cheap Texas drive-in with two features, fake coming attractions, missing reels, local ads, and announcements from theater management. Even if you don't catch on to everything, just watching the package is a complete thrill.

Continue reading: Grindhouse Review

Havoc Review


OK
Eventually, every girl grows up. Cinema dictates this. Sometimes, that move into adulthood is seamless (see Jodie Foster, Claire Danes, Scarlett Johanssen, Kirsten Dunst). Sometimes it is agonizingly painful (see the Olsen twins, Hilary Duff, and -- arguably -- Drew Barrymore).

Sometimes it is as curious as all get-out (see Anne Hathaway in Havoc). I don't know if I've ever seen a more radical departure of film roles than Hathaway's decision to go from the Princess Diaries films to this one. Hathaway's former work is almost unilaterally square in the rated-G realm. Her PG-rated movies earned those ratings primarily due to events like Hathaway falling on her butt.

Continue reading: Havoc Review

The Terminator Review


Essential
I'll never forget the first time I saw James Cameron's The Terminator. I must have watched that movie at least 100 times during my youth. But during the 101st viewing, the VHS copy I stole from my uncle Dave's video collection was eaten by my crappy old-school, top-loading VHS player. Damn, that sucked.

The Terminator stands as a personal favorite. Schwarzenegger was in his prime in the 1980s -- in guilty pleasures like Commando, Raw Deal, Predator, Conan The Barbarian, and The Running Man. But he gave many kids my age something to hang on to during the Reagan years. Schwarzenegger was our generation's John Wayne, a muscle-bound bodyguard extracting his own kind of vengeance from a cold and dangerous world. He was always the good guy, but it's almost ironic that his first indelible impression on our minds was that of a killer robot from the future sent back in time to murder a hot coffee shop waitress.

Continue reading: The Terminator Review

Cherry Falls Review


Weak
By now, the audience for slasher films is perfectly attuned to the rhythms of Scream and its spawn of imitators, each more formulaic than the next. Attractive teenagers flirt with one another, meander around campus chatting on their cell phones, then abruptly find themselves isolated in an abandoned library or, God forbid, alone in the house. That's when the masked killer attacks. Cue the shrieks.

Put Cherry Falls a notch above the competition for the audacity of its wry comic twist. Yes, there's a creepy, longhaired psychopath, either a convincing drag queen or a ferociously strong woman, deliberately seeking out virgins for slicing and dicing. Virgins. The resourceful students of Cherry Falls High School soon realize that they have a deliciously simple choice: sex or death. Which would you choose?

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Havoc Review


OK
Eventually, every girl grows up. Cinema dictates this. Sometimes, that move into adulthood is seamless (see Jodie Foster, Claire Danes, Scarlett Johanssen, Kirsten Dunst). Sometimes it is agonizingly painful (see the Olsen twins, Hilary Duff, and -- arguably -- Drew Barrymore).

Sometimes it is as curious as all get-out (see Anne Hathaway in Havoc). I don't know if I've ever seen a more radical departure of film roles than Hathaway's decision to go from the Princess Diaries films to this one. Hathaway's former work is almost unilaterally square in the rated-G realm. Her PG-rated movies earned those ratings primarily due to events like Hathaway falling on her butt.

Continue reading: Havoc Review

The Art Of War Review


Unbearable
Wesley Snipes is a master of selecting bad action roles. Murder at 1600, U.S. Marshals, Money Train, Drop Zone, Boiling Point, and the ultimate camp film - Passenger 57. The Art of War is another entry in this very ugly and unique category. Ultimately, it is little more than a ridiculous action film with a plot as believable as the Warren Report, ugly violence that would have made Peckinpah cringe, and terrible acting by B-list actors like Michael Biehn and Anne Archer. Oddly, it feels like the undiscovered sequel to another Snipes "masterpiece," Rising Sun.

The movie revolves around the convenient story of a special UN operative caught up in a secret murder conspiracy involving a Chinese ambassador, the Chinese Triad Brotherhood, a rich Chinese businessman (played by...that bad guy from Rising Sun, Cary-Hiroyuki Tagawa) a Chinese UN interpreter, and, inexplicably, Donald Sutherland. The film ends with more confusion than a boatload of Chinese immigrants trying to register at Ellis Island. Or should I say the film ends with the most blatant ripoff of both The Matrix and all of John Woo's Hong Kong films combined.

Continue reading: The Art Of War Review

Michael Biehn

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