Xander Berkeley, Spencer Garrett , Steven Culp - Premiere of Amazon's 'Bosch' Season 2 at SilverScreen Theater - Arrivals at SilverScreen Theater at the Pacific Design Center - West Hollywood, California, United States - Thursday 3rd March 2016
Sarah Clarke and Xander Berkeley - Shots of a variety of stars as they attended a Screening Of Amazon's first Original Drama Series 'Bosch' which was held at the ArcLight Theater in Hollywood, Los Angeles, California, United States - Tuesday 3rd February 2015
Al Klein is a used car salesman who works with his best friend and business partner Ash Martini at Diamond Motors. Together, the duo utilise every selling method in existence from complimenting the customer to telling white lies - and it's not always morally sound. Klein misses his former wife Barbara and wishes he could spent more time with his high school graduate son Freddy. Luckily for him, Freddy wants the same thing and decides to drop his college prospects and become a salesman like his father. He moves in with Al but the pair soon find themselves under the wrath of Barbara, who wishes for a more successful life for her son than what Al could offer and is desperate that Freddy doesn't turn out like him. As much as Al loves having him around, he is the one that needs to decide what's best for Freddy.
Continue: Small Time Trailer
Xander Berkeley - GREAT British Film Reception to honor the British nominees of the 85th Annual Academy Awards at British Consul Generals Residence - Los Angeles, California, United States - Friday 22nd February 2013
After his release from prison, a driver (Johnson) is reunited with his beloved muscle-car and immediately puts a bullet in a man's head, which is only the beginning of his vengeance after being set up and left for dead. The police (Thornton and Gugino) are on his trail, as is a hot-blooded killer (Jackson-Cohen) who's distracted by his gun-happy girlfriend (Grace). But the driver is moving so fast that he doesn't need to hide. He's also brazenly unswerving in his mission to settle this old score.
Continue reading: Faster Review
Dave (Johnson) is a shy New York teen who wonders why no one sticks up for each other. So he creates a secret alter-ego, Kick-Ass, and sets out to make a difference. Of course he gets beaten to a pulp. But he also catches the city's imagination. The problem is that gangster Frank (Strong) thinks he's to blame for a series of setbacks and helps his son (Mintz-Plasse) create a rival hero, Red Mist. But Frank's nemesis is actually a man (Cage) who has turned his 12-year-old daughter (Moretz) into a killing machine.
Continue reading: Kick-Ass Review
This is just one of the actions taken by Bryan Mills (Neeson) when he receives a call from his daughter (Maggie Grace) as she is being kidnapped by Albanian sex-traffickers while on vacation in France. An ex-CIA man, Mills uses a few decades worth of weapons knowledge, intelligence training, and fighting styles to basically purge France of any and all Albanian abducters to find his sugarplum and return her to the loving arms of his ex-wife (Famke Janssen) and her absurdly rich second husband (Xander Berkeley).
Continue reading: Taken Review
Far too crazy to be fatalist, Walker strangely begins on a moment of near-defeat for the titular batshit commando (the phenomenal Ed Harris) and his madcap battalion. Saved by a sandstorm and his lawyer, Walker finds himself back in the arms of his love Ellen Martin (Marlee Matlin). The fact that Ephraim Squier (Richard Masur) holds the keys to Walker's future in politics doesn't stop Ellen from asking Squier to fornicate with swine. Soon enough, Walker is trading away his future with Ellen for a mission to Nicaragua at the behest of Squier and Cornelius Vanderbilt (Peter Boyle).
Continue reading: Walker Review
Despite the remarkable assemblage of talent, Cacoyannis' Cherry Orchard feels self-aware of adapting a renowned classic from stage to screen. The cinematography is handsome and stately, but more appropriate to the colorful orchards and vast family estate, the 1900 costumes, the theatrical entrances and exits, than to the intimacy of Chekhov's vivid characters. (It almost makes one long for the hand-held documentary treatment of Louis Malle's seminal Vanya on 42nd Street.) The stylistic choices here take a while to get used to, especially during a drawn-out prologue, absent in the original text, as Madame Lyubov and her buoyant teenage daughter Anna (Tushka Bergen) make elaborate preparations to return to their Russian estate after a self-imposed exile. Some may be exhausted by this Masterpiece Theater treatment (lingering over every piece of luggage) before Chekhov's social entanglements kick in -- which happens shortly after the dozen major characters have assembled at their estate.
Continue reading: The Cherry Orchard Review
Figgis, who earned a Best Director Oscar nomination for Leaving Las Vegas in 1996, appears to have gone a little funny in the head last year with his inexplicable and nearly dialogue-free The Loss of Sexual Innocence. Now he's fully gone off the deep end with what may be the most ambitious experiment ever: Time Code.
Continue reading: Time Code Review
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