Scott Glenn

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Daredevil - Teaser Trailer

A single accident or act of violence can change more than just a single person, but an entire city. Blinded as a child, Matt Murdock (Charlie Cox) has worked hard to become a respected lawyer, yet it is his out-of-hours job that is having more of an impact on the world around him. Living in the Hell's Kitchen neighbourhood in New York City, Murdock faces crime on a day-to-day basis. Left without the use of his eyes, he must navigate the world around him using his almost sonar levels of hearing, battling criminals during the day as a lawyer, and at night, as the masked vigilante Daredevil. 

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The Paperboy Review


Filmmaker Daniels follows up his acclaimed hit Precious with what might be the trashiest movie in recent memory: a swampy thriller packed with desperate characters hiding grisly secrets. Daniels and his cast dive headlong into this garish world, refusing to blink as they take us to the fringes of human behaviour. It's so marvellously audacious that we feel like we need a shower after watching it.

The film takes us into the steamy backwoods of central Florida in 1969, as Miami journalist Ward (McConaughey) returns home with his black colleague Yardley (Oyelowo), who sparks whispers of racism everywhere he goes. Staying with his editor dad (Glenn) and delivery boy brother Jack (Efron), Ward is investigating the case of death row inmate Hillary (Cusack), whose trashy fiancee Charlotte (Kidman) is filing an appeal. The 20-year-old Jack is instantly smitten with the overtly sexual Charlotte, who seems happy to seduce every man she meets. And as Ward, Yardley and Jack dig deeper into the case, they get several startling surprises.

Daniels keeps the film sweaty and snarky as he delves into the story's seriously dark corners. And the actors all go along with him. The always terrific Kidman really goes for broke here, prowling through each scene and oozing raw sexuality. It's no wonder she triggers Jack's lust, and Efron plays him with a delicate balance of intelligence and naivete, underscored of course with relentless horndog desire. None of the characters are as dumb as they look, and McConaughey, Oyelowo and especially Cusack revel in playing against expectations. Each actor packs every line with attitude and insinuation, creating fascinating chemistry along the way.

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2013 Vanity Fair Oscar Party

Carol Schwartz and Scott Glenn - 2013 Vanity Fair Oscar Party at Sunset Tower - Arrivals - West Hollywood, California, United States - Sunday 24th February 2013

The Paperboy Trailer

Charlotte Bless is a busty, blonde, middle-aged woman who enchants most men she meets with her looks and sexual appeal. She has fallen emphatically in love with Hillary Van Wetter, an inmate on death row accused of murdering a sheriff with whom she is regularly in correspondence with, and plans to marry him once she finds a way of getting him released. She enlists the help of two newspaper reporters to investigate the circumstances surrounding the crime and to gather evidence to prove his innocence. One of their main objections is that the judge who sentenced Wetter did not see the evidence that was presented before him in court. Whilst Charlotte is convinced that Wetter is not a bad person, young Jack Jansen is equally convinced that she doesn't really love Wetter and becomes deeply infatuated with her.

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The Bourne Legacy Trailer

The CIA is confronted with the consequences of previous events that have taken place involving Jason Bourne. They decide that they must shut down Operation Outcome (the subsequent operation to Operation Treadstone) which will involve the assassination of Outcome agent Aaron Cross and Doctor Stephanie Snyder who helped produce the agents. They must find an escape or be killed.

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2011 Tribeca Film Festival Vanity Fair Party At The State Supreme Courthouse - Arrivals

Scott Glenn Thursday 28th April 2011 2011 Tribeca Film Festival Vanity Fair party at the State Supreme Courthouse - Arrivals New York City, USA

Scott Glenn

Sucker Punch Review

There are so many layers of fantasy in this eye-catching filmbut we never see any real humanity. This sucks all tension and emotion from what should be a provocative thriller. Although 12-year-old boys will probably love it.

After her mother dies, Babydoll (Browning) is sent to a gothic madhouse where a sinister orderly (Isaac) arranges, behind the back of the head doctor (Gugino), to have her lobotomised when the specialist (Hamm) arrives in five days.With less than a week to escape, she hatches a fantastical plan involving four fellow inmates (Cornish, Malone, Hudgens and Chung). They fantasise that they're on dangerous missions led by a mysterious man (Glenn), gathering the items they need to break out.

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Warner Bros. Pictures Los Angeles Premiere Of 'Sucker Punch' Held At The Grauman's Chinese Theatre

Scott Glenn Wednesday 23rd March 2011 Warner Bros. Pictures Los Angeles Premiere of 'Sucker Punch' held at the Grauman's Chinese Theatre Hollywood, California

Scott Glenn

Secretariat Trailer

Penny Chenery never really thought she would take over the family racing stables but as her fathers health started to deteriorate, Penny found herself in just that position. In recent years the team at Meadow Stables found themselves on somewhat of a loosing streak but all that was about to change when a bit of luck started to come their way.

Starting to operate in a male dominated business, Penny and her small team including her loyal and well known trainer Lucien Laurin began to make waves on the racing circuit mainly because their determination and a beautiful chestnut colt named Secretariat which Penny found herself owner of purely by chance.

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Sucker Punch Trailer

Zack Snyder has described his latest film Sucker Punch as Alice in Wonderland with machine guns. Set in the 1950s it tells the story of a girl named Baby Doll who's been incarcerated in a mental institution and faces having a lobotomy.

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Nights In Rodanthe Review

With the Gulf Coast narrowly dodging Gustav and the Houston area recuperating from Ike, now might not be the best time for a breathy romance that uses the violent lashing of a vicious hurricane to simulate foreplay between passionate lovers.

It's hard to fault director George C. Wolfe, however. His Nights in Rodanthe adaptation merely adheres to a blueprint provided by best-selling author Nicholas Sparks, who makes use of a tempest in his source novel but also provides earnest human connections and palpable heartache.

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The Bourne Ultimatum Review

There are actually three screenwriters credited for The Bourne Ultimatum, though it's hard to imagine what exactly they all did to earn their paycheck. "You don't remember anything, do you?" "It's Bourne." "It ends here." [insert car chase] That doesn't mean that this third installment of the popular shaky-cam travelogue spy thriller series doesn't deliver all that it's intended to, and occasionally more, it just means that you're more likely to hear barked-out commands or the sound of squealing tires and shattering glass than two or more actors exchanging full sentences as part of a conversation. This is a film that asks exactly how much traditional storytelling structure can you cleave away and still have a coherent and engaging piece of work? The answer: Nearly all of it.

Coming off last year's abysmally underrated United 93, director Paul Greengrass thankfully returns for his second film in the series about the titular amnesiac CIA-trained assassin (Matt Damon) with identity issues. Although the resulting film is not nearly up to the hard-to-match bar set by the preceding film, The Bourne Supremacy, it's hard to imagine any other director currently working who would be able to keep the relentless pace delivered by Ultimatum. Unfortunately, it's also all too easy to see that the filmmakers and Damon are coasting when they could be soaring.

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Journey To The End Of The Night Review

Despite the killer title (Journey to the End of the Night is the name of a nihilistic Celine book that has nothing to do with this film), this Brendan Fraser sex-and-drugs drama can't live up to its manufactured cool. The complicated relationships have Fraser as the scheming son of a brothel owner (Scott Glenn), who's trying to get out of the Sao Paolo slums via a big drug deal. Unfortunately we never much care for either Glenn or Fraser's characters, leaving the film in the hands of Mos Def, a dishwasher pressed into helping out. Most of the film is shot in the dark, it seems, in keeping with the coal-black mood of the entire affair.
Scott Glenn

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