Saturday, August 11, 2012
VINCENT D'ONOFRIO JOINS CAST OF LYNCH'S 'A FALL FROM GRACE'
HORRORBUG
This just in from Jennifer Lynch’s upcoming thriller ‘A Fall From Grace’: Vincent D’Onofrio joins Tim Roth in ‘A Fall From Grace’ today and Cedric the Entertainer has been cast for the dramatic role of the Coroner.
Famed auteur Jennifer Lynch takes the helm for her fifth effort, both on the page and behind the camera with the modern thriller ‘A Fall from Grace’, starring Academy Award nominated actor Tim Roth. We have the just released teaser trailer for you, narrated by Bill Pullman.
The producers – including Jennifer Lynch and David Michaels, the director and author of ‘Chinatown’ and the TV series ‘Macabre Theatre’ – are angling to start production as early as this fall/winter on location in St. Louis, MO. Oscar-nominated actor Tim Roth will star in the movie’s lead role, alongside Vincent D’Onofrio and Cedric the Entertainer as has been announced today. The remainder of the cast is presently being assembled.
Friday, August 10, 2012
David Rakoff of 'The New Tenants' loses battle to cancer
ENTERTAINMENT WEEKLY
by Adam B. Vary
David Rakoff — a sharp, sardonic wit who delighted listeners of This American Life and readers of his books of essays — died after a two-year fight with cancer on Thursday. He was 47.
Born in Canada, Rakoff started his career in publishing, where he struck up a friendship with author and humorist David Sedaris.
Through Sedaris, Rakoff also got to know an NPR reporter named Ira Glass, and when Glass started his hour long public radio show This American Life, Rakoff was one of its earliest contributors. (He’s also one of the rare few who has guest hosted the show.)
Through his This American Life appearances and his books of collected essays, including 2001′s Fraud and 2005′s Don’t Get Too Comfortable, Rakoff quickly established his singular worldview: A bemused, trenchant pessimism, informed in equal measure by his Jewish cultural heritage, his homosexuality, and his inveterate loyalty to his adopted home of New York City.
Rakoff also contributed to a great number of publications, from GQ and The New York Times Magazine to Spin and Wired, but he never gave up pursuing his first professional love, acting. In 2009, he starred in (and cowrote) the short film The New Tenants, which costarred Vincent D’Onofrio and Kevin Corrigan and won an Academy Award for Best Live Action Short Film. You can watch the trailer below:
While working on his third book, 2010′s Half Empty, Rakoff was diagnosed with a cancerous tumor that had been pinching a nerve in his left arm, placing him under excruciating pain. (He battled cancer, specifically Hodgkin’s disease, once before in his 20s.) Seeing as the book was a paean to pessimism and melancholy, Rakoff’s reaction to the diagnosis could almost perversely be called optimistic, as one can see in his appearance on The Daily Show to promote the book:
In typical fashion, Rakoff’s most recent contributions to This American Life dealt with mortality in distinctive and unexpected ways. For “Invisible Made Visible,” performed live and beamed to movie theaters across the country, Rakoff recounted the effects of a recent surgery to cut the nerve that had been causing him so much constant pain — but also rendered his left arm totally limp and numb. And in “Show Me The Way,” Rakoff collaborated with writer Jonathan Goldstein on a epistolary short story in which Gregor Samsa from Franz Kafka’s The Metamorphosis decides to turn to Dr. Seuss for help with his desperate-if-peculiar affliction (i.e. turning into a cockroach). At the end of the piece, host Ira Glass notes that Rakoff has a novel, written completely in rhyme, set to arrive in bookstores next year.
by Adam B. Vary
Through Sedaris, Rakoff also got to know an NPR reporter named Ira Glass, and when Glass started his hour long public radio show This American Life, Rakoff was one of its earliest contributors. (He’s also one of the rare few who has guest hosted the show.)
Through his This American Life appearances and his books of collected essays, including 2001′s Fraud and 2005′s Don’t Get Too Comfortable, Rakoff quickly established his singular worldview: A bemused, trenchant pessimism, informed in equal measure by his Jewish cultural heritage, his homosexuality, and his inveterate loyalty to his adopted home of New York City.
Rakoff also contributed to a great number of publications, from GQ and The New York Times Magazine to Spin and Wired, but he never gave up pursuing his first professional love, acting. In 2009, he starred in (and cowrote) the short film The New Tenants, which costarred Vincent D’Onofrio and Kevin Corrigan and won an Academy Award for Best Live Action Short Film. You can watch the trailer below:
While working on his third book, 2010′s Half Empty, Rakoff was diagnosed with a cancerous tumor that had been pinching a nerve in his left arm, placing him under excruciating pain. (He battled cancer, specifically Hodgkin’s disease, once before in his 20s.) Seeing as the book was a paean to pessimism and melancholy, Rakoff’s reaction to the diagnosis could almost perversely be called optimistic, as one can see in his appearance on The Daily Show to promote the book:
In typical fashion, Rakoff’s most recent contributions to This American Life dealt with mortality in distinctive and unexpected ways. For “Invisible Made Visible,” performed live and beamed to movie theaters across the country, Rakoff recounted the effects of a recent surgery to cut the nerve that had been causing him so much constant pain — but also rendered his left arm totally limp and numb. And in “Show Me The Way,” Rakoff collaborated with writer Jonathan Goldstein on a epistolary short story in which Gregor Samsa from Franz Kafka’s The Metamorphosis decides to turn to Dr. Seuss for help with his desperate-if-peculiar affliction (i.e. turning into a cockroach). At the end of the piece, host Ira Glass notes that Rakoff has a novel, written completely in rhyme, set to arrive in bookstores next year.
'Families Acting Up'': Leila George
THE SYDNEY MORNING HERALD
SHOWBIZ is indeed a family affair judging by the next generation of Australian stars in the making profiled in next week's issue of InStyle magazine. Among the brightest is 20-year-old Leila George, daughter of Australian/Italian actor Greta Scacchi and her ex-husband and fellow actor Vincent D'Onofrio.
Private Sydney: acting in the family (02:34) While Kings Cross bar, the Piano Room strikes a dud note, the acting bug is on a high as the family members of some of Australia's most successful actors enter the business. 10/08/12 Private Sydney: Families acting up
SHOWBIZ is indeed a family affair judging by the next generation of Australian stars in the making profiled in next week's issue of InStyle magazine. Among the brightest is 20-year-old Leila George, daughter of Australian/Italian actor Greta Scacchi and her ex-husband and fellow actor Vincent D'Onofrio.
Private Sydney: acting in the family (02:34) While Kings Cross bar, the Piano Room strikes a dud note, the acting bug is on a high as the family members of some of Australia's most successful actors enter the business. 10/08/12 Private Sydney: Families acting up
''EXCLUSIVE 'CHAINED' OPENING SCENE CLIP''
JOBLO
CHAINED - EXCLUSIVE CLIP
Description: An exclusive clip from the opening scene of Jennifer Lynch's CHAINED, starring Vincent D'Onofrio, Gina Phillips, Jake Webber, Eamon Farren and Julia Ormond.
Added on Aug 10, 2012
Thursday, August 9, 2012
''[Fantasia '12] Lonmonster's Mini-reviews #4: 'Chained'''
SCARY CAR GHOST CAR
The 16th annual Fantasia Film Festival is concluded in Montreal, Canada. The festival is so packed this year that it’s overwhelming to even begin looking at the film schedule. The horror lineup spans across subgenres and budgets and this is precisely what makes Fantasia so special. Giving equal attention to major productions and low budget indie films, Fantasia has something for everyone.
In its 16th year, there are over 160 screenings during the three-week festival, and it would be insane to even attempt reviewing them all. I’ve been running to the various theaters to catch each flick, and I still can’t watch them all. Although it would be ideal to write full reviews, it would take way too many days, and way too many cups of coffee. What follows are mini-reviews on what I’ve seen so far at Fantasia 2012 including ParaNorman, Hidden in the Woods, Replicas, Chained, and Excision.
[excerpted]
Jennifer Lynch keeps improving with each film she makes. Chained is not only her best effort yet, it’s a genuinely chilling, on-the-edge-of-your-seat thriller. The film follows the story of a young boy, Rabbit (Eamon Farren), who is abducted by a serial killer named Bob (Vincent D’Onofrio) at the age of 9. Rabbit is chained to a wall, thus becoming a slave to the malicious, yet oddly human, Bob. Chained is packed with disturbing visuals as Rabbit is forced to watch Bob rape and murder random women.
Vincent D’Onofrio is brilliant, and his acting carries the film. From his any town USA accent to his childish mannerisms, D’Onofrio delivers a bone-chilling performance. However, there are dull moments scattered throughout Chained. Once in a while, the camera cuts to what is supposed to be a hidden video camera inside Bob’s home. These shots add nothing to the story, and don’t fit within the plot. Ultimately, they take the audience out of the film, which is unfortunate considering how strong the mood is. The biggest issue with Chained is that Lynch sets up for a grand epiphany finale, but instead delivers an odd twist that doesn’t fit with the scope of the film.
This is a novel take on serial killers, and despite the unnecessary twist at the end, Chained will send shivers down your spine for the first 70 minutes.
3.5/5 Skulls
The 16th annual Fantasia Film Festival is concluded in Montreal, Canada. The festival is so packed this year that it’s overwhelming to even begin looking at the film schedule. The horror lineup spans across subgenres and budgets and this is precisely what makes Fantasia so special. Giving equal attention to major productions and low budget indie films, Fantasia has something for everyone.
In its 16th year, there are over 160 screenings during the three-week festival, and it would be insane to even attempt reviewing them all. I’ve been running to the various theaters to catch each flick, and I still can’t watch them all. Although it would be ideal to write full reviews, it would take way too many days, and way too many cups of coffee. What follows are mini-reviews on what I’ve seen so far at Fantasia 2012 including ParaNorman, Hidden in the Woods, Replicas, Chained, and Excision.
[excerpted]
SOME TECHNICAL FILMING SPOILERS
Jennifer Lynch keeps improving with each film she makes. Chained is not only her best effort yet, it’s a genuinely chilling, on-the-edge-of-your-seat thriller. The film follows the story of a young boy, Rabbit (Eamon Farren), who is abducted by a serial killer named Bob (Vincent D’Onofrio) at the age of 9. Rabbit is chained to a wall, thus becoming a slave to the malicious, yet oddly human, Bob. Chained is packed with disturbing visuals as Rabbit is forced to watch Bob rape and murder random women.
Vincent D’Onofrio is brilliant, and his acting carries the film. From his any town USA accent to his childish mannerisms, D’Onofrio delivers a bone-chilling performance. However, there are dull moments scattered throughout Chained. Once in a while, the camera cuts to what is supposed to be a hidden video camera inside Bob’s home. These shots add nothing to the story, and don’t fit within the plot. Ultimately, they take the audience out of the film, which is unfortunate considering how strong the mood is. The biggest issue with Chained is that Lynch sets up for a grand epiphany finale, but instead delivers an odd twist that doesn’t fit with the scope of the film.
This is a novel take on serial killers, and despite the unnecessary twist at the end, Chained will send shivers down your spine for the first 70 minutes.
3.5/5 Skulls
''FEARnet Movie Review: 'Chained'''
I'VE BEEN WAITING TO HEAR FROM THE 'BIG GUNS'...THIS REVIEW DOESN'T CONTAIN ANY REAL SPOILERS...
FEARNET
By Scott Weinberg
Once in a while we hear a horrific story about a mentally deranged kidnapper who abducts someone, and simply keeps them. No ransom, no murder; just time spent as someone else’s plaything or reluctant companion. When they pop up in the newspapers, these tragic stories hit home in a dark, personal way. We ponder (hopefully for not very long) how we might deal with such a terrible ordeal, and it’s that sort of communal fear that always seems to seep into horror cinema. A recent (and rather solid) indie called Bereavement tackled this tale, and now comes Chained, the latest in dark genre fare from Jennifer Lynch, whom most FEARnet readers may remember from films like the absurd Boxing Helena, the amusing Surveillance, or the bizarre Bollywood import known as Hisss.
The dark and challenging (and occasionally dopey) Chained is Ms. Lynch’s most “complete” horror film to date, and while it does spin its wheels for a while, the loyal genre viewers will be “rewarded” with a stark, unpredictable, and frequently ugly rumination on themes like free will and morality. Chained is not a fun-time horror flick, and sometimes Lynch and leading man Vincent D’Onofrio go a little overboard from time to time, but despite some early misgivings, I found myself rather fascinated by this two-character horror tale.
Basically, a brutal yet clever psychopath (D’Onofrio) has kidnapped a young boy, but instead of demanding ransom or disposing of the victim, he keeps the kid (chained to the wall) as a servant. Time goes on, and as the kid grows into a willful teenager, the psycho continues to bring shrieking women home for killing. Frequent conversations between villain and his unwilling accomplice are, to the credit of Lynch and co-writer Damian O’Donnell, compelling enough, but they seem to get a bit (grossly) melodramatic as we start to learn the “reasons” for the psycho’s behavior.
When Ms. Lynch sticks to the morality play -- does long exposure to evil make you evil? -- Chained works, and although he could probably play an effective lunatic in his sleep, Mr. D’Onofrio does a fine job of articulating his character’s own logic, sick and twisted as it may be. Where Chained stumbles is in the tonal shifts. The flashback scenes and a large chunk of Act III seem a little more “traditional” than the more subversive and disturbing ideas found earlier in the film, but on the whole Chained deserves credit for trying to mine some relatively intelligent chills out of something different, topical, and primally disturbing.
FEARNET
By Scott Weinberg
Once in a while we hear a horrific story about a mentally deranged kidnapper who abducts someone, and simply keeps them. No ransom, no murder; just time spent as someone else’s plaything or reluctant companion. When they pop up in the newspapers, these tragic stories hit home in a dark, personal way. We ponder (hopefully for not very long) how we might deal with such a terrible ordeal, and it’s that sort of communal fear that always seems to seep into horror cinema. A recent (and rather solid) indie called Bereavement tackled this tale, and now comes Chained, the latest in dark genre fare from Jennifer Lynch, whom most FEARnet readers may remember from films like the absurd Boxing Helena, the amusing Surveillance, or the bizarre Bollywood import known as Hisss.
The dark and challenging (and occasionally dopey) Chained is Ms. Lynch’s most “complete” horror film to date, and while it does spin its wheels for a while, the loyal genre viewers will be “rewarded” with a stark, unpredictable, and frequently ugly rumination on themes like free will and morality. Chained is not a fun-time horror flick, and sometimes Lynch and leading man Vincent D’Onofrio go a little overboard from time to time, but despite some early misgivings, I found myself rather fascinated by this two-character horror tale.
Basically, a brutal yet clever psychopath (D’Onofrio) has kidnapped a young boy, but instead of demanding ransom or disposing of the victim, he keeps the kid (chained to the wall) as a servant. Time goes on, and as the kid grows into a willful teenager, the psycho continues to bring shrieking women home for killing. Frequent conversations between villain and his unwilling accomplice are, to the credit of Lynch and co-writer Damian O’Donnell, compelling enough, but they seem to get a bit (grossly) melodramatic as we start to learn the “reasons” for the psycho’s behavior.
When Ms. Lynch sticks to the morality play -- does long exposure to evil make you evil? -- Chained works, and although he could probably play an effective lunatic in his sleep, Mr. D’Onofrio does a fine job of articulating his character’s own logic, sick and twisted as it may be. Where Chained stumbles is in the tonal shifts. The flashback scenes and a large chunk of Act III seem a little more “traditional” than the more subversive and disturbing ideas found earlier in the film, but on the whole Chained deserves credit for trying to mine some relatively intelligent chills out of something different, topical, and primally disturbing.
''Don't Go in the Woods (2010) - Yeah, I Saw It''
FORGET TO BREATHE
Posted by Dave
I POSTED THIS REVIEW OF DGITW NOT BECAUSE IT'S A FAVORABLE ONE BUT BECAUSE OF ITS PASSION BY THE REVIEWER. HIS UNABASHED RANTING DEFENDING VINCENT'S CHOICE TO MAKE THIS FILM AND HAVING NO EXCUSES TO ANYONE. I LOVED IT.
An indie band with a loyal local following has high hopes of scoring a major label record deal. In order to push their talent to the next level the group adheres to (Nick) their lead songwriter’s idea to sequester themselves in the woods with no connections or influences of the outside world allowed to interfere with their creative process. No cell phones, no drugs (alcohol or other), and no women. However, a surprise caravan made of female loyalists causes tension between Nick and everyone else, but they are resolved to bigger problems as people begin disappearing and the woods begins filling with music and dripping with blood.
I only knew three things about this movie going in:
1) It was directed by the brilliant, STILL underrated, but much more appreciated Vincent D’Onofrio; still best known from his performance as Private Lawrence from Stanley Kubrick’s Full Metal Jacket, but gained wider notoriety during his stint on Law & Order: Criminal Intent as the genius, yet slightly unstable Detective Robert Goren. He’s also fondly remembered as Edgar from the first Men in Black film, the one who got possessed by the alien cockroach. Really, any role he’s in he owns it. Look up Vincent D’Onofrio’s movies and watch them; they’re not all great but he is always excellent.
2) The story centered on a band writing music. What kind of band? I didn’t know. The band could be classified as emo, which could turn some people off. It’s not my first choice to listen to but like any genre there are good bands and bad bands.
3) It was a slasher flick. Thank you, Zombie Jesus.
As I watched the movie, my eyes widened in no outlandish way upon discovering that this bare bones budgeted slasher film about a band in the woods is actually a musical. Not the type like Rock of Ages, which butchers rock classics by turning them into lackluster Broadway fodder, but the band’s music, which, if you’re a fan of the genre, is quite enjoyable; I myself liked the songs and I also liked that the music wasn’t limited to just the band members, even the women had their descanting moments. If you’re going to make a musical, go all out.
The acting was surprisingly decent. The cast was made up of locals, so the chemistry was comfortably authentic and reflective. D’Onofrio’s first-time directorship was a unique task to undertake but it seemed like he knew exactly what he wanted and he got it both in real-time shots and the music video portions. He kept it simple and it worked out well.
When it comes to a promise of bloodshed, I don’t care when it happens. You can spread it throughout the film or you can save it for the end, but if you’re going to save it for the end, I expect Hell to be unleashed on the victims. I will simply say I was satisfied with what was given, which is what I will also say for the movie as a whole. I was satisfied with what was presented.
This film version of Don’t Go in the Woods is not a remake of the 1984 camping slasher of the same name. Some fans, so-called fans, critics, and wannabe critics found themselves in a slight when they heard about a new version. They complained even more when they saw this new movie and discovered that it is a slasher musical. Quite frankly, they would have complained even if it wasn’t a musical because it would have been too practical and THEY would have expected more from someone with D’Onofrio’s cinematic experience. But, instead of actually trying to change the game they just complain about what other people do and how wrongly they do it because, again, it’s not what THEY would have done. THEY whine all the time about wanting something different or unique and it’s presented, THEY piss all over it because it’s not the different or unique that THEY wanted. Instead taking it for what it is, THEY trash it for what it is not. I took Dark Knight Rises for what was presented; a loud, flashy nonsensical piece of crap grounded so heavily in reality purposely by the first two films that it became a spoof of itself and wasted a great villain (kudos to Tom Hardy) by undermining him with lazy writing. I liked Vincent D’Onofrio’s Don’t Go in the Woods. It works as a fresh musical and an old school horror movie without trying to reinvent anything, just going with what works, having fun, and making the movie HE wanted to make.
Posted by Dave
I POSTED THIS REVIEW OF DGITW NOT BECAUSE IT'S A FAVORABLE ONE BUT BECAUSE OF ITS PASSION BY THE REVIEWER. HIS UNABASHED RANTING DEFENDING VINCENT'S CHOICE TO MAKE THIS FILM AND HAVING NO EXCUSES TO ANYONE. I LOVED IT.
An indie band with a loyal local following has high hopes of scoring a major label record deal. In order to push their talent to the next level the group adheres to (Nick) their lead songwriter’s idea to sequester themselves in the woods with no connections or influences of the outside world allowed to interfere with their creative process. No cell phones, no drugs (alcohol or other), and no women. However, a surprise caravan made of female loyalists causes tension between Nick and everyone else, but they are resolved to bigger problems as people begin disappearing and the woods begins filling with music and dripping with blood.
I only knew three things about this movie going in:
1) It was directed by the brilliant, STILL underrated, but much more appreciated Vincent D’Onofrio; still best known from his performance as Private Lawrence from Stanley Kubrick’s Full Metal Jacket, but gained wider notoriety during his stint on Law & Order: Criminal Intent as the genius, yet slightly unstable Detective Robert Goren. He’s also fondly remembered as Edgar from the first Men in Black film, the one who got possessed by the alien cockroach. Really, any role he’s in he owns it. Look up Vincent D’Onofrio’s movies and watch them; they’re not all great but he is always excellent.
2) The story centered on a band writing music. What kind of band? I didn’t know. The band could be classified as emo, which could turn some people off. It’s not my first choice to listen to but like any genre there are good bands and bad bands.
3) It was a slasher flick. Thank you, Zombie Jesus.
As I watched the movie, my eyes widened in no outlandish way upon discovering that this bare bones budgeted slasher film about a band in the woods is actually a musical. Not the type like Rock of Ages, which butchers rock classics by turning them into lackluster Broadway fodder, but the band’s music, which, if you’re a fan of the genre, is quite enjoyable; I myself liked the songs and I also liked that the music wasn’t limited to just the band members, even the women had their descanting moments. If you’re going to make a musical, go all out.
The acting was surprisingly decent. The cast was made up of locals, so the chemistry was comfortably authentic and reflective. D’Onofrio’s first-time directorship was a unique task to undertake but it seemed like he knew exactly what he wanted and he got it both in real-time shots and the music video portions. He kept it simple and it worked out well.
When it comes to a promise of bloodshed, I don’t care when it happens. You can spread it throughout the film or you can save it for the end, but if you’re going to save it for the end, I expect Hell to be unleashed on the victims. I will simply say I was satisfied with what was given, which is what I will also say for the movie as a whole. I was satisfied with what was presented.
This film version of Don’t Go in the Woods is not a remake of the 1984 camping slasher of the same name. Some fans, so-called fans, critics, and wannabe critics found themselves in a slight when they heard about a new version. They complained even more when they saw this new movie and discovered that it is a slasher musical. Quite frankly, they would have complained even if it wasn’t a musical because it would have been too practical and THEY would have expected more from someone with D’Onofrio’s cinematic experience. But, instead of actually trying to change the game they just complain about what other people do and how wrongly they do it because, again, it’s not what THEY would have done. THEY whine all the time about wanting something different or unique and it’s presented, THEY piss all over it because it’s not the different or unique that THEY wanted. Instead taking it for what it is, THEY trash it for what it is not. I took Dark Knight Rises for what was presented; a loud, flashy nonsensical piece of crap grounded so heavily in reality purposely by the first two films that it became a spoof of itself and wasted a great villain (kudos to Tom Hardy) by undermining him with lazy writing. I liked Vincent D’Onofrio’s Don’t Go in the Woods. It works as a fresh musical and an old school horror movie without trying to reinvent anything, just going with what works, having fun, and making the movie HE wanted to make.
Wednesday, August 8, 2012
VIDEOS: JENNIFER LYNCH AT FANTASIA
Published on Aug 8, 2012 by SeasonXero
Jennifer Lynch (Director), Damian O'Donnail (Original Screenplay Writer) and Chris Peterson (Editor) talk about the making of the awesomeness that is CHAINED
THANK YOU, MACULAE!
''ION Television Acquires Fan Favorite "Law & Order: Criminal Intent" From NBCUniversal Cable & New Media Distribution''
GLOBAL NEWS WIRE
Source: ION Television
Date: August 08, 2012 07:08 ET
ION Television Acquires Fan Favorite "Law & Order: Criminal Intent" From NBCUniversal Cable & New Media Distribution NEW YORK, Aug. 8, 2012 (GLOBE NEWSWIRE) -- ION Television continues to strengthen its programming lineup with high-quality content, announcing today the acquisition of the critically-acclaimed series
"Law & Order: Criminal Intent." The off-network licensing rights give ION all 10 seasons (195 episodes) of the crime-drama favorite.
"'Law & Order: Criminal Intent' is a proven drama with a long-standing history as part of a highly successful 20-plus year franchise" said Brandon Burgess, CEO, ION Media Networks. "The addition of this popular series to our general entertainment lineup is yet another important piece to ION's solid programming foundation."
"'Law & Order: Criminal Intent' is a perfect addition to ION's lineup and we are excited to extend our partnership with another series that resonates with their audience," added Bruce Casino, SVP, NBCUniversal Cable & New Media Distribution.
"Law & Order: Criminal Intent" takes viewers into the minds of its criminals while following the psychological approaches the Major Case Squad uses to solve the crimes. Detective Robert Goren (Vincent D'Onofrio), who channels his inner Sherlock Holmes, is an exceptionally bright homicide investigator with well-honed instincts that match up favorably with his criminal quarry. Likewise, his partner, Detective Alexandra Eames (Kathryn Erbe), brings an independence and stylish edge to her work that meshes well with Goren.
"Law & Order: Criminal Intent" was created by Dick Wolf and is the third installment of the "Law & Order" brand, which stands as the second longest-running scripted primetime series in television history. Executive producers of the series include Wolf, Warren Leight, Peter Jankowski and Norberto Barba. The series was produced by Wolf Films in association with NBCUniversal Cable & New Media Distribution. "Law & Order: Criminal Intent" aired for 10 seasons, first on NBC (six seasons) and followed by USA Network, concluding in 2011.
The "Law & Order: Criminal Intent" deal comes on the heels of other recent key acquisitions for the network, including "Numb3rs" and ION's first exclusive broadcast partnership with WWE for the original series "WWE Main Event."
"Law & Order: Criminal Intent" also joins ION's "Positively Entertaining" lineup of hit series, including the original show "Flashpoint," "Criminal Minds," "Cold Case" and "Leverage."
About ION Television
ION Television is a leading U.S. general entertainment network, combining high-quality programming and dependable broadcast distribution with an attitude of innovation and growth normally associated with a cable channel. Its "Positively Entertaining" network brand positioning features a formula of proven series, an expansive catalog of blockbuster movies and a commitment to introduce new original programming. Since its recent launch in 2008, ION's reach has grown to 100 million households and has become one of the top-15 TV rated U.S. networks in record time.
For more information, visit www.iontelevision.com.
# # # Contact: Chris Addeo, ION Media Networks 561-682-4210
chrisaddeo@ionmedia.com
Source: ION Television
Date: August 08, 2012 07:08 ET
ION Television Acquires Fan Favorite "Law & Order: Criminal Intent" From NBCUniversal Cable & New Media Distribution NEW YORK, Aug. 8, 2012 (GLOBE NEWSWIRE) -- ION Television continues to strengthen its programming lineup with high-quality content, announcing today the acquisition of the critically-acclaimed series
"Law & Order: Criminal Intent." The off-network licensing rights give ION all 10 seasons (195 episodes) of the crime-drama favorite.
"'Law & Order: Criminal Intent' is a proven drama with a long-standing history as part of a highly successful 20-plus year franchise" said Brandon Burgess, CEO, ION Media Networks. "The addition of this popular series to our general entertainment lineup is yet another important piece to ION's solid programming foundation."
"'Law & Order: Criminal Intent' is a perfect addition to ION's lineup and we are excited to extend our partnership with another series that resonates with their audience," added Bruce Casino, SVP, NBCUniversal Cable & New Media Distribution.
"Law & Order: Criminal Intent" takes viewers into the minds of its criminals while following the psychological approaches the Major Case Squad uses to solve the crimes. Detective Robert Goren (Vincent D'Onofrio), who channels his inner Sherlock Holmes, is an exceptionally bright homicide investigator with well-honed instincts that match up favorably with his criminal quarry. Likewise, his partner, Detective Alexandra Eames (Kathryn Erbe), brings an independence and stylish edge to her work that meshes well with Goren.
"Law & Order: Criminal Intent" was created by Dick Wolf and is the third installment of the "Law & Order" brand, which stands as the second longest-running scripted primetime series in television history. Executive producers of the series include Wolf, Warren Leight, Peter Jankowski and Norberto Barba. The series was produced by Wolf Films in association with NBCUniversal Cable & New Media Distribution. "Law & Order: Criminal Intent" aired for 10 seasons, first on NBC (six seasons) and followed by USA Network, concluding in 2011.
The "Law & Order: Criminal Intent" deal comes on the heels of other recent key acquisitions for the network, including "Numb3rs" and ION's first exclusive broadcast partnership with WWE for the original series "WWE Main Event."
"Law & Order: Criminal Intent" also joins ION's "Positively Entertaining" lineup of hit series, including the original show "Flashpoint," "Criminal Minds," "Cold Case" and "Leverage."
About ION Television
ION Television is a leading U.S. general entertainment network, combining high-quality programming and dependable broadcast distribution with an attitude of innovation and growth normally associated with a cable channel. Its "Positively Entertaining" network brand positioning features a formula of proven series, an expansive catalog of blockbuster movies and a commitment to introduce new original programming. Since its recent launch in 2008, ION's reach has grown to 100 million households and has become one of the top-15 TV rated U.S. networks in record time.
For more information, visit www.iontelevision.com.
# # # Contact: Chris Addeo, ION Media Networks 561-682-4210
chrisaddeo@ionmedia.com
''Fantasia 2012: ‘Chained’ (Review)''
DREAMMOVIECAST
SPOILER ALERT!
SPOILER ALERT!
Posted at August 7, 2012 by Mario Melidona
“Terror starts at home” or so what Jennifer Lynch makes of it. Filled with despair, fear and the traumatic events of growing up, Chained is an absolutely mesmerizing and enveloping story about a serial killer taking in a child and raising him to be his family. Starring Vincent D’Onofrio as the terrifying and physically intimidating warped sociopath, Jennifer Lynch makes great use of the barren middle-of-anywhere U.S.A. and gnaws at the core humanity in all of us. The film had its World Premiere at Fantasia International Film Festival.
It’s difficult to talk about the film without ever constantly coming back to D’Onofrio, an actor who’s always gone all-in when it comes to these sorts of roles. Who could ever forget Full Metal Jacket? No one. D’Onofrio’s portrayal of Bob is enthralling; his body hunched over almost childlike himself with a slight lisp. He’s not stupid, but is slightly naïve about the relationship he tries to cultivate with Rabbit, the boy he kidnapped and brought up under his control. Rabbit’s story begins when he and his mother Sarah Fittler (Julia Ormond) were leaving from a movie theater and got into the wrong cab, driven by Bob. Portrayed at two distinct “growing” stages, Evan Bird provides deep emotional terror as a young boy and the film quickly skips ahead several years to show a victimized and “chained” up late-teen Rabbit (Eamon Farren). We see the routine he’s had to live with for years, forcing him to clean after Bob’s kill, eat only what’s left for him after Bob’s eaten and finally realizing that the wanting to escape is much harder than expected.
Growing up from a truly warped childhood, Bob kills women because they’re born “sluts” and “whores”; traits attributed to women from all walks of life. When Bob was much younger,[SPOILERS] he was taking the brunt of his father’s abuse in order to protect his brother and was forced to have sex with his mother, which was his father’s twisted sense of becoming a “man” (in clear contrast to what his father was not). [END SPOILERS] Thinking that Rabbit needed a woman to clear his mind, Bob forces him to choose a woman for his first kill. Strangely enough throughout all these years of abuse, Rabbit demonstrates that no matter how corrupted or how long we’ve become accustomed to violence and abuse, there’s always core humanity in all of us; one that we should and can strive to be better and change our destructive ways.
Needing to escape and in trying to save Annie (his chosen “first kill”), Rabbit gives away his plan to escape and save Annie to Bob and the ensuing sequence is heart-pounding and nerve-racking, you almost wish none of it was actually happening.
D’Onofrio constructs a physical stature and presence, a calculated and precise mannerism that all leads Bob to an expulsion of rage, anger, bewilderment and betrayal. Wishing that you could save the little boy in him, but not before one more reveal that (in retrospect) you may have seen coming. The build-up has been so incredibly tense and immersive; you wonder why you didn’t ask yourself that question before.
In fact, it’s a testament to the filmmakers where the editing let’s performances breathe from the entire cast (noting that to edit Vincent D’Onofrio is the hardest task at hand) and the story being so tightly written by Damian O’Donnell (polished by Jennifer Lynch herself), the film is propelled by characters that the progression of the narrative and everyone’s motivation is sound and purposeful. We often don’t get a film like this and beautifully photographed by Cinematography Shane Daly; we need to relish them, to uphold is thematic relevancies and to better our society at large. Jennifer Lynch brings about the atmospherics of daily life and the horror that begins at home.
RATING: 5/5
Tuesday, August 7, 2012
''CHAINED (2012) movie review''
HORROR 101 WITH DR. AC
Not exactly a favorable review...but I am an equal opportunity poster and believe everyone has the right to their opinions.
Chained (2012)
(1st viewing)
d. Lynch, Jennifer (USA)
One shouldn’t even attempt to view this tale of a taxi driving serial killer (Vincent D’Onofrio, looking primed to reprise his Private Pyle character for Full Metal Jacket II: More Jelly Donuts) who “adopts” the nine-year-old son of his latest victim through a realistic lens. Instead, engage it as a twisted, sinister fairy tale, one that exists in an alternate storybook universe where bad men do bad things, children exist in peril, years flash by as needed, and events occur simply because that’s how the story goes. (To do otherwise proves an exercise in frustration and exhaustion at the amount of disbelief suspension required.)
D’Onofrio’s hulking, mumbling menace is a puzzling construct; one wonders how this lisping, inarticulate, intellectually-emotionally-socially stunted creature has eluded capture for decades. (The venerable actor renders a lived-in performance, to be sure, but one that always feels like a performance.) Likewise, our young abductee’s (played by Evan Bird and Eamon Farren at different stages) character never changes, remaining quietly, defiantly human in the face of inhumanity. Considering how much screen time Lynch gives to flashback sequences of emotional and sexual childhood abuse to justify his captor’s madness, one wonders why “Rabbit,” as he is renamed by D’Onofrio, resists a similar path so clearly laid out for him to follow.
But then again, we wonder about a lot of logistical things as the weeks, months and years drift by – a final climactic twist the biggest head-slapper of all – and I wish that the fairy tale approach had been made clear from the outset.
Just whisper “Once upon a time…” during the opening credits. You’ll thank me later.
CONTAINS SPOILERS!
Not exactly a favorable review...but I am an equal opportunity poster and believe everyone has the right to their opinions.
Chained (2012)
(1st viewing)
d. Lynch, Jennifer (USA)
One shouldn’t even attempt to view this tale of a taxi driving serial killer (Vincent D’Onofrio, looking primed to reprise his Private Pyle character for Full Metal Jacket II: More Jelly Donuts) who “adopts” the nine-year-old son of his latest victim through a realistic lens. Instead, engage it as a twisted, sinister fairy tale, one that exists in an alternate storybook universe where bad men do bad things, children exist in peril, years flash by as needed, and events occur simply because that’s how the story goes. (To do otherwise proves an exercise in frustration and exhaustion at the amount of disbelief suspension required.)
D’Onofrio’s hulking, mumbling menace is a puzzling construct; one wonders how this lisping, inarticulate, intellectually-emotionally-socially stunted creature has eluded capture for decades. (The venerable actor renders a lived-in performance, to be sure, but one that always feels like a performance.) Likewise, our young abductee’s (played by Evan Bird and Eamon Farren at different stages) character never changes, remaining quietly, defiantly human in the face of inhumanity. Considering how much screen time Lynch gives to flashback sequences of emotional and sexual childhood abuse to justify his captor’s madness, one wonders why “Rabbit,” as he is renamed by D’Onofrio, resists a similar path so clearly laid out for him to follow.
But then again, we wonder about a lot of logistical things as the weeks, months and years drift by – a final climactic twist the biggest head-slapper of all – and I wish that the fairy tale approach had been made clear from the outset.
Just whisper “Once upon a time…” during the opening credits. You’ll thank me later.
''Fantasia Faceoff: Boneboys vs. Chained''
BLOODY UNDERRATED
Chained
Directed by Jennifer Lynch
Written by Jennifer Lynch, Damian O’Donnell
U.S.A., 2012
105 min.
Can there be such a thing as an apprentice serial killer? When nine-year-old Tim gets kidnapped by Bob, a taxi driver, and enlisted to help him keep track of his various murders, that certainly seems to be where things are going. Tim grows up in Bob’s fortified farmhouse, enslaved and alone, watching murder after murder take place… and as he grows into a willful young man, Bob expects him to be an avid pupil.
Intense, claustrophobic, and highly dialogue-dependent, this is the kind of movie that could be performed on a stage with little modification. There’s so much emphasis placed on the shaky dynamic between the shackled Tim and his captor, and the stunning performances make this dynamic all the more compelling. Vincent D’Onofrio keeps Bob walking the thin line between completely deranged and nearly sympathetic, even as the character commits horrifying act after horrifying act. A skeletal Eamon Farren maintains a similar balance as he portrays the older version of Tim, keeping us guessing as to whether he’s taking Bob’s lessons to heart or not.
Interestingly, some of the strongest scenes in this film are the ones that inject something other than horror into the proceedings. There’s a darkly comical moment where the two play cards with the photo IDs of Bob’s victims that will stick in your head for sure, and even an oddly romantic scene involving a victim-to-be that I won’t describe further except to say that I don’t think anything remotely like it has been filmed before.
All told, Chained is a fine, fine film, thoughtful even as it covers some very dark – and occasionally gory – material. Jennifer Lynch has put together something truly remarkable here: a character-driven horror film that would be less horrifying if it placed less emphasis on character. See what I mean this October, when the DVD hits the shelves – and in the mean time, get the details on Chained over at the Fantasia website.
MILD SPOILERS
This past weekend at Fantasia I was lucky enough to catch the world premieres of two excellent – and very different – horror movies, and even luckier not to have suffered any nightmares after the fact. Seriously, between these two films there are lot of scares to go around – and while neither film is showing again at the festival, each is definitely worth the trouble of tracking down if you’re ever in need of a fright. It’s covert cannibalism versus serial slayings in this, our penultimate Fantasia Faceoff.
(excerpted)
(excerpted)
Chained
Directed by Jennifer Lynch
Written by Jennifer Lynch, Damian O’Donnell
U.S.A., 2012
105 min.
Can there be such a thing as an apprentice serial killer? When nine-year-old Tim gets kidnapped by Bob, a taxi driver, and enlisted to help him keep track of his various murders, that certainly seems to be where things are going. Tim grows up in Bob’s fortified farmhouse, enslaved and alone, watching murder after murder take place… and as he grows into a willful young man, Bob expects him to be an avid pupil.
Intense, claustrophobic, and highly dialogue-dependent, this is the kind of movie that could be performed on a stage with little modification. There’s so much emphasis placed on the shaky dynamic between the shackled Tim and his captor, and the stunning performances make this dynamic all the more compelling. Vincent D’Onofrio keeps Bob walking the thin line between completely deranged and nearly sympathetic, even as the character commits horrifying act after horrifying act. A skeletal Eamon Farren maintains a similar balance as he portrays the older version of Tim, keeping us guessing as to whether he’s taking Bob’s lessons to heart or not.
Interestingly, some of the strongest scenes in this film are the ones that inject something other than horror into the proceedings. There’s a darkly comical moment where the two play cards with the photo IDs of Bob’s victims that will stick in your head for sure, and even an oddly romantic scene involving a victim-to-be that I won’t describe further except to say that I don’t think anything remotely like it has been filmed before.
All told, Chained is a fine, fine film, thoughtful even as it covers some very dark – and occasionally gory – material. Jennifer Lynch has put together something truly remarkable here: a character-driven horror film that would be less horrifying if it placed less emphasis on character. See what I mean this October, when the DVD hits the shelves – and in the mean time, get the details on Chained over at the Fantasia website.
Monday, August 6, 2012
''Fantasia 2012: Jennifer Lynch has ‘Chained’ the Serial Killer Monster''
PUBLISHED ON AUGUST 6, 2012 BY MICHAEL RYAN IN FANTASIA FILM FESTIVAL, REVIEWS,SPOTLIGHT
SPOILER ALERT!
Chained
Written by Jennifer Lynch, based on a screenplay by Damian O’Donnell
Directed by Jennifer Lynch
“I shall call you… Rabbit,” is the most chilling line of any film this year. Spoken slowly but deliberately with a slight lisp and a faint Germanic accent by Vincent D’Onofrio, the voice alone places Bob somewhere between Hans Beckert and Jeffrey Dahlmer. D’Onofrio’s performance as Bob is a virtuoso effort by one of our great (albeit under-utilized) actors, delicately inhabiting a brute, like a ballerina trapped in a gorilla’s body.
“When I said I cast Vincent D’Onofrio, I was told that he was too TV… What The Fuck?! Have you not seen Full Metal Jacket?”
-Jennifer Lynch
Bob is a taxi driver whose specially modified cab makes it easier for him to kidnap women, drive them back to his isolated rural home, rape them and kill them. One day, he picks up Sarah Fittler (Julia Ormond) and her ten year old son Tim (Evan Bird) at the movies where they have just seen a horror film. After killing Sarah, Bob changes Tim’s name to Rabbit, telling him, “I didn’t choose you, but I will make the most of it.”
“I wanted to talk about abuse. I wanted to start a dialogue. The main thing is we have to fucking stop hurting the kids!”
-Jennifer Lynch
Rabbit becomes Bob’s servant, “You will have one job. You do what I say. You clean up my house,” which begins with cleaning up the remains of his mother. In time, teenage Rabbit (Eamon Farren) becomes Bob’s reluctant student and it becomes clear that Bob intends for Rabbit to become his son and heir.
“I wanted to write an original horror story… I decided not to do something supernatural, which left serial killers. I had seen films where someone is chased by the killer, Halloween, and I had seen films where the police chase the killer, Se7en, Silence of the Lambs, but I had never seen a film where an ordinary person is parachuted into a serial killer’s life and can’t get away.”
-Damian O’Donnell
Part of the genius of Chained is the way that Jennifer Lynch uses the rhythms of a home and a life and a father-son relationship to lull us into a form of Stockholm Syndrome along with Rabbit, only to twist the knife and remind us that Bob is a monster. This also allows her to give D’Onofrio screen time to truly develop Bob, to give him depth and dimension.
“He’s tough to cut. You just want to look at him forever.”
-Chris Peterson (editor)
It would be easy to categorize Chained as a nature vs. nurture story, but the film ends up being much more complicated than that. Lynch reveals a story of generational abuse in tiny drips, each splash causing us to reevaluate Bob’s life, but Lynch (and D’Onofrio) never let Bob off the hook for his actions. His past is a reason, not an excuse.
“Parents lend children their experience and a vicarious memory; children endow their parents with a vicarious immortality.”
-George Santayana
Bob sees Rabbit sometimes as a son, but mostly as a replacement. A replacement for the kid brother that Bob tried to protect from his father’s wrathful abuse and ultimately a replacement for Bob himself.
The greatest (and stupidest) tribute this film has received is from the MPAA who slapped the film with an NC-17 rating, for scenes of violence less gory, but more emotionally unsettling, than you will see from any horror fantasy franchise like Saw, Halloween or Friday the 13th.
“It would be easy to hate them. I wanted to hate them, but everyone in the MPAA were really nice people. When we went for our appeal, we played the film and then we got to speak and the lady who gave us the NC-17 rating got to speak. We pointed to the Saw films as examples of films that got an R rating with scenes much gorier than our film. They told us that our film felt too real.”
-Jennifer Lynch
Giving Chained an NC-17 rating is another bone-headed decision in a year when the MPAA seems determined to Stupid, Stupid Rat Creatures itself into irrelevance. I don’t mean to suggest that Chained should be viewed in the same light as Bully, but there are worse films to watch with your 14 year old. And watching Chained would lead to a discussion about evil – real world evil – that would never happen from watching the cartoon carnage inflicted by Michael, Jason, Freddy or Jigsaw.
“If had made the movie more sexualized or funnier, I would have got away with the violence. I could have made the violence hyper-sexual. I have done that before, but it didn’t seem appropriate here. I could have made the movie funny, but I don’t think that abuse is fucking funny.”
-Jennifer Lynch
Maybe the best part of the film is the sound design from D’Onofrio’s voice to the pounding, percussive score that traps you in the nightmare. It is almost possible to believe that you could follow the film’s plot just by listening with your eyes closed and, in fact, in certain parts of the film that is exactly what you can must do.
“And you, you that call yourselves collectors. Until now, you have all sustained fantasies in which you are the maltreated heroes of your own stories. Comforting daydreams in which, ultimately, you are shown to be in the right. No more. For all of you that dream is over. I have taken it away.”
-Dream from Sandman#14 ‘Collectors‘ written by Neil Gaiman
The problem inherent in most serial killer literature, whether on the page or on the screen, is that we tend to make our monsters into heroes, which is why Hannibal Lecter is getting his own TV series instead of Clarice Starling or Will Graham.
Jennifer Lynch and Vincent D’Onofrio dive deep into the abuse that creates monstrosities and emerge with the portrait of a complicated human monster, who is not once allowed to be the hero. The MPAA may believe that Chained is too real to be seen, but that is exactly why you should see it.
REVIEW: ''Horror Movie News Fantasia 2012: Chained (Directed by Jennifer Lynch) ''
Aug. 6, 2012
by: Chris Bumbray
JOBLO
PLOT: A young boy, Tim, and his mother (Julia Ormond) are abducted by a cab-driving serial killer, Bob (Vincent D’Onofrio). After his mother is killed, Bob decides to raise Tim, who he renames Rabbit, as his own son. Ten years later, the now teenaged Rabbit (Eamon Farren) has spent the last decade chained up in Bob’s home- but, now that he’s approaching adulthood, Bob has decided that it’s time to teach Rabbit the family business- murder. Will Rabbit, after ten years in captivity be able to hold on to his humanity, or after being raised by a monster, will he turn into one himself?
REVIEW: CHAINED is the latest from Jennifer Lynch, a director who is no stranger to controversy. Her first film, BOXING HELENA was downright infamous, while her follow-up, SURVEILLANCE shook up audiences (in a good way) when it played Fantasia a few years ago. In the years between that film, and CHAINED, Lynch travelled to India, where she made a film, HISSS- that turned out so badly that there’s a documentary- DESPITE THE GODS, about its troubled production that’s also at this year’s edition of Fantasia (look for a review shortly).
CHAINED is a comeback for Lynch, who’s proving herself to be a filmmaker that’s just as unconventional as her famous father- David Lynch. However, where he experiments with craft, she looks inward, putting the audience inside the heads of vicious characters most of us would never want to think about for any extended period of time. As such, CHAINED is a deeply troubling film- that probably owes more to psychological thrillers like SE7EN and MANHUNTER, than straightforward horror like SAW, despite what the NC-17 rating may lead you to believe.
Spending ninety minutes inside the head of a serial killer may not be everyone’s cup of tea, and certainly, CHAINED was a very difficult film to watch at times. That said, monsters such as Bob are all too real, and CHAINED is one of the first movies to come along in a while that tries to take a serious look at the kind of abuse that creates such a man. As Bob, Vincent D’Onofrio turns in a towering performance. This is not an easy role, and D’Onofrio, Lynch, and writer Damian O’Donnell have made sure that Bob can’t just be dismissed as a two-dimensional boogie man. While an evil, twisted killer- D’Onofrio still injects moments of inner turmoil, such as a really strong sequence where Bob picks up an abusive father as a fare, leading to flashbacks which reveal his own twisted upbringing at the hands of a vicious parent.
It’s this nature vs. nurture debate that seems to be at the heart of CHAINED. Lynch never goes so far as to say Bob’s upbringing is totally responsible for the way he turned out- but by having Rabbit suffering similar abuse at Bob’s hands, the question at the heart of CHAINED isn’t whether or not Rabbit’s going to escape, but whether he’s going to let Bob turn him into a monster. As amazing as D’Onofrio is, I was just as taken by Eamon Farren’s performance as Rabbit. He has that fragile look of a boy who’s grown up under the thumb of a monster, but there’s enough of a spark in his eye that you can tell he hasn’t totally allowed his humanity to be taken away from him.
Which brings me to the NC-17…
Watching the uncut version of CHAINED that played Fantasia, its obvious this rating wasn’t for violence. While it’s certainly gruesome, it’s no more violent than SE7EN, and a great deal less gory than any of the SAW movies. CHAINED depicts violence in a raw, disturbing way- which to me feels about 1000x more responsible than the way most horror movies try to make it “cool”, or even worse- “titillating”. CHAINED is many things, but it’s definitely not exploitation- and this rating is a joke.
As Lynch herself said in the Q&A after the film, the MPAA’s main complaint was that CHAINED felt too real, and truly- it does. It’s a raw, unpleasant film, but it’s also a very involving and fascinating one. While a twist late in the film felt a little tacked on- other than that, the film as a whole was pretty damn excellent. It certainly re-establishes Lynch as a filmmaker to watch, as CHAINED is obviously the work of a director that’s truly becoming a master of her craft.
by: Chris Bumbray
CONTAINS SPOILERS!
JOBLO
PLOT: A young boy, Tim, and his mother (Julia Ormond) are abducted by a cab-driving serial killer, Bob (Vincent D’Onofrio). After his mother is killed, Bob decides to raise Tim, who he renames Rabbit, as his own son. Ten years later, the now teenaged Rabbit (Eamon Farren) has spent the last decade chained up in Bob’s home- but, now that he’s approaching adulthood, Bob has decided that it’s time to teach Rabbit the family business- murder. Will Rabbit, after ten years in captivity be able to hold on to his humanity, or after being raised by a monster, will he turn into one himself?
REVIEW: CHAINED is the latest from Jennifer Lynch, a director who is no stranger to controversy. Her first film, BOXING HELENA was downright infamous, while her follow-up, SURVEILLANCE shook up audiences (in a good way) when it played Fantasia a few years ago. In the years between that film, and CHAINED, Lynch travelled to India, where she made a film, HISSS- that turned out so badly that there’s a documentary- DESPITE THE GODS, about its troubled production that’s also at this year’s edition of Fantasia (look for a review shortly).
CHAINED is a comeback for Lynch, who’s proving herself to be a filmmaker that’s just as unconventional as her famous father- David Lynch. However, where he experiments with craft, she looks inward, putting the audience inside the heads of vicious characters most of us would never want to think about for any extended period of time. As such, CHAINED is a deeply troubling film- that probably owes more to psychological thrillers like SE7EN and MANHUNTER, than straightforward horror like SAW, despite what the NC-17 rating may lead you to believe.
Spending ninety minutes inside the head of a serial killer may not be everyone’s cup of tea, and certainly, CHAINED was a very difficult film to watch at times. That said, monsters such as Bob are all too real, and CHAINED is one of the first movies to come along in a while that tries to take a serious look at the kind of abuse that creates such a man. As Bob, Vincent D’Onofrio turns in a towering performance. This is not an easy role, and D’Onofrio, Lynch, and writer Damian O’Donnell have made sure that Bob can’t just be dismissed as a two-dimensional boogie man. While an evil, twisted killer- D’Onofrio still injects moments of inner turmoil, such as a really strong sequence where Bob picks up an abusive father as a fare, leading to flashbacks which reveal his own twisted upbringing at the hands of a vicious parent.
It’s this nature vs. nurture debate that seems to be at the heart of CHAINED. Lynch never goes so far as to say Bob’s upbringing is totally responsible for the way he turned out- but by having Rabbit suffering similar abuse at Bob’s hands, the question at the heart of CHAINED isn’t whether or not Rabbit’s going to escape, but whether he’s going to let Bob turn him into a monster. As amazing as D’Onofrio is, I was just as taken by Eamon Farren’s performance as Rabbit. He has that fragile look of a boy who’s grown up under the thumb of a monster, but there’s enough of a spark in his eye that you can tell he hasn’t totally allowed his humanity to be taken away from him.
Which brings me to the NC-17…
Watching the uncut version of CHAINED that played Fantasia, its obvious this rating wasn’t for violence. While it’s certainly gruesome, it’s no more violent than SE7EN, and a great deal less gory than any of the SAW movies. CHAINED depicts violence in a raw, disturbing way- which to me feels about 1000x more responsible than the way most horror movies try to make it “cool”, or even worse- “titillating”. CHAINED is many things, but it’s definitely not exploitation- and this rating is a joke.
As Lynch herself said in the Q&A after the film, the MPAA’s main complaint was that CHAINED felt too real, and truly- it does. It’s a raw, unpleasant film, but it’s also a very involving and fascinating one. While a twist late in the film felt a little tacked on- other than that, the film as a whole was pretty damn excellent. It certainly re-establishes Lynch as a filmmaker to watch, as CHAINED is obviously the work of a director that’s truly becoming a master of her craft.
Sunday, August 5, 2012
'CHAINED' REACTIONS...
Tonight 'Chained' had its world premiere at the Fantasia International Film Festival in Montreal, Canada.
Here are some of the reactions that I will update as they come in; so keep checking back!
RECENT TWEETS:
CurseoftheMultiples@OhCurses
Chained premiere with Jennifer Lynch!!!
Fantasia Festival@FantasiaFest
"Thank you all fucking much for being here!" Jennifer Lynch, Chained #FantasiaFest http://pic.twitter.com/tM2C6SDm
@Nantzee @fantasiafest I did bring my mommy she loved it!! #Chained
Juan Llamas@llamasjr
Ethaniel Vestby@ethanves
Jason Widgington@jay_wigger
Theo Radomski@hastily
Michael Ryan@Llakor
Dany Soucy it was simply the best movie of 2012. WAY better than any VHS, Excision, Sushi Girl or any other I saw this year!
Here are some of the reactions that I will update as they come in; so keep checking back!
THESE MAY CONTAIN SPOILERS SO I'M WARNING YOU NOW!
RECENT TWEETS:
CurseoftheMultiples@OhCurses
Chained premiere with Jennifer Lynch!!!
Fantasia Festival@FantasiaFest
"Thank you all fucking much for being here!" Jennifer Lynch, Chained #FantasiaFest http://pic.twitter.com/tM2C6SDm
CHAINED is freaking brutal, but also enthralling and incredibly amazing. #FantasiaFest
Director Jennifer Lynch, writer Damien O'Donnell and editor Chris Peterson. #Chained #FantasiaFest
"He's tough to cut. You just want to look at him forever." Chris Peterson talking about Vincent D'Onofrio #Chained #FantasiaFest
"I'd watch the guy read a phone book. And pay to see it." Jennifer Lynch about Vincent D'Onofrio #Chained #FantasiaFest
Just got out of the world premier of Jennifer Lynch's CHAINED at @FantasiaFest! Awesome, dark & disturbing... Wouldn't expect less from her!
Most of the cast was hired over Skype. #FantasiaFest #Chained
Fantasia Festival@FantasiaFest
#Chained was called "too realistic" so they rated 17+ instead of R. #FantasiaFest
Fantasia Festival
Fantasia Festival@FantasiaFest
"I was really careful to not show him any terrible thing." Jennifer Lynch about Evan Bird #Chained #FantasiaFest
Juan Llamas
Jennifer Lynch is smart, eloquent, entertaining, and so brilliant. Everyone should catch CHAINED when it comes out. #FantasiaFest
"Vincent was terrified today. Thank you for celebrating his work." Jennifer Lynch #Chained #FantasiaFest
ioncinema@ioncinema
ioncinema
Vincent D'Onofrio and Eamon Farren are the 'odd couple' as only Jennifer Lynch could envision. Superb casting. #Chained @FantasiaFest -JW
Ethaniel Vestby
Chained - Doesn't build to a satisfying point, but its grind house-grimness is certainly of a piece. D'Onofrio is terrifying. #fantasiafest
Jason Widgington
Vincent D'Onofrio and Eamon Farren are the 'odd couple' as only Jennifer Lynch could envision. Superb casting. #Chained @FantasiaFest
Theo Radomski
Chained is absolutely incredible. Horrifying stuff. Amazing performances. So glad that Jennifer Lynch is making movies again. @fantasiafest
Michael Ryan
Most chilling line @FantasiaFest this year: "I shall call you Rabbit." #Chained Vincent D'Onofrio is SO GOOD in this.
Poster de CHAINED autografiado ;)
Dany Soucy it was simply the best movie of 2012. WAY better than any VHS, Excision, Sushi Girl or any other I saw this year!
Jennifer Lynch: When I said I was casting D'Onofrio, I was told he's too TV. WTF! Have you not seen Full Metal Jacket? @FantasiaFest
Jennifer Lynch's latest is a great great great meditation on what makes monsters without ever excusing/forgiving the monster.
Saturday, August 4, 2012
A few words with 'Chained' director Jennifer Lynch
SPECTACULAROPTICAL
The Official Webzine of the Fantasia International Film Festival
“THEY CALL THEM WITNESSES BECAUSE THEY’VE SEEN THINGS”
An interview with Jennifer Chambers Lynch of Chained and Despite the Gods
Kier-La Janisse
(excerpted)
In addition to Despite The Gods, your newest film Chained is also screening at Fantasia (there are no advance screeners so I haven’t been able to watch it), but again, as with Surveillance, you have a child at the center of the story, watching horrible things happen – although this time, they are more overtly complicit. With many of your films do you think you are trying to explore the different ways we can negotiate abusive situations, especially from a young age?
I am a firm believer that child abuse and or neglect leads to great damage. We are building monsters. I am investigating the damage done to children and the repercussive effects of that behavior. I want to entertain sure, but also to create a dialogue about abuse and why it is such a cycle. There is no excuse for bad behavior or violent behavior… but there is an explanation, if we look for it.
There are many true-crime stories in which a serial killer tries to recruit a prot̩g̩ , often a younger family member Рwhy do you think they want that? Are they looking for emotional reinforcement? The power to corrupt another person? Or just company?
I can only speak about the characters in Chained… ultimately, there is a combination of a need for companionship, a need to recreate their own childhood, and to somehow exorcise the demons moving like breath inside them.
This is just a practical question, but you again returned to Saskatchewan to shoot, and employed some of the same local actors (as well as re-casting Julia Ormond). What was the appeal of shooting in Saskatchewan again?
I adore Saskatchewan. The worst news I have heard since losing Hisss to the producers, was that Saskatchewan’s tax credit was cut. Some of the finest crews and human beings make films and live there. It is one of the most creative environments there is, and I hope the tax credit comes back asap. It was a terrible mistake to lose it.
The Official Webzine of the Fantasia International Film Festival
“THEY CALL THEM WITNESSES BECAUSE THEY’VE SEEN THINGS”
An interview with Jennifer Chambers Lynch of Chained and Despite the Gods
Kier-La Janisse
(excerpted)
In addition to Despite The Gods, your newest film Chained is also screening at Fantasia (there are no advance screeners so I haven’t been able to watch it), but again, as with Surveillance, you have a child at the center of the story, watching horrible things happen – although this time, they are more overtly complicit. With many of your films do you think you are trying to explore the different ways we can negotiate abusive situations, especially from a young age?
I am a firm believer that child abuse and or neglect leads to great damage. We are building monsters. I am investigating the damage done to children and the repercussive effects of that behavior. I want to entertain sure, but also to create a dialogue about abuse and why it is such a cycle. There is no excuse for bad behavior or violent behavior… but there is an explanation, if we look for it.
There are many true-crime stories in which a serial killer tries to recruit a prot̩g̩ , often a younger family member Рwhy do you think they want that? Are they looking for emotional reinforcement? The power to corrupt another person? Or just company?
I can only speak about the characters in Chained… ultimately, there is a combination of a need for companionship, a need to recreate their own childhood, and to somehow exorcise the demons moving like breath inside them.
This is just a practical question, but you again returned to Saskatchewan to shoot, and employed some of the same local actors (as well as re-casting Julia Ormond). What was the appeal of shooting in Saskatchewan again?
I adore Saskatchewan. The worst news I have heard since losing Hisss to the producers, was that Saskatchewan’s tax credit was cut. Some of the finest crews and human beings make films and live there. It is one of the most creative environments there is, and I hope the tax credit comes back asap. It was a terrible mistake to lose it.
Friday, August 3, 2012
"EXCLUSIVE: Behind-the-Scenes Clip from 'Full Metal Jacket' + Giveaway"
FILM.COM By Jenni Miller
It’s been 25 years since Stanley Kubrick’s “Full Metal Jacket” was released, but this Vietnam War drama still packs a wallop. The Oscar-winning director let us look through the lens of one young Marine as the men in his troop break down and crack up through their military training and brutal fighting in Vietnam.
We’ve got an exclusive behind-the-scenes clip of Kubrick hard at work on set, along with interviews from his collaborators about the charismatic and dedicated director. Learn more about the auteur’s filmmaking methods and what he was like to work with from some of the people who knew him best.
Plus, we’re giving away two fully loaded 25th anniversary “Full Metal Jacket” Blu-rays so you can revisit this masterpiece in its full glory.
Although it’s been even longer than 25 year since the US went to war in Vietnam, “Full Metal Jacket” and its crew of young Marines is as relevant as ever. Matthew Modine appears as narrator James “Joker” Davis in a breakthrough performance, alongside Arliss Howard and Vincent D’Onofrio as Joker’s closest pals and Adam Baldwin as Animal Mother. And who could forget R. Lee Ermey as the furious, screaming Sergeant Hartman? “Full Metal Jacket” is an unforgettable movie about violence and its effects on our psyche.
To enter for the chance to win a “Full Metal Jacket” Blu-ray, just shoot us an email at NextMovie@MTV.com and include your name, address, birthdate and be sure to copy and paste the following statement:
“By sending this email, I accept and agree to: (1) the Official Rules of the “Full Metal Jacket” Blu-ray Giveaway and (2) Film.com’s Terms of Use and Privacy Policy.”
The contest runs from now until 4 p.m. ET on Thursday, August 9, 2012. Entrants must be at least 17 years old and reside in the U.S.
Click here for complete rules and further details.
It’s been 25 years since Stanley Kubrick’s “Full Metal Jacket” was released, but this Vietnam War drama still packs a wallop. The Oscar-winning director let us look through the lens of one young Marine as the men in his troop break down and crack up through their military training and brutal fighting in Vietnam.
We’ve got an exclusive behind-the-scenes clip of Kubrick hard at work on set, along with interviews from his collaborators about the charismatic and dedicated director. Learn more about the auteur’s filmmaking methods and what he was like to work with from some of the people who knew him best.
Plus, we’re giving away two fully loaded 25th anniversary “Full Metal Jacket” Blu-rays so you can revisit this masterpiece in its full glory.
Although it’s been even longer than 25 year since the US went to war in Vietnam, “Full Metal Jacket” and its crew of young Marines is as relevant as ever. Matthew Modine appears as narrator James “Joker” Davis in a breakthrough performance, alongside Arliss Howard and Vincent D’Onofrio as Joker’s closest pals and Adam Baldwin as Animal Mother. And who could forget R. Lee Ermey as the furious, screaming Sergeant Hartman? “Full Metal Jacket” is an unforgettable movie about violence and its effects on our psyche.
Get More:
To enter for the chance to win a “Full Metal Jacket” Blu-ray, just shoot us an email at NextMovie@MTV.com and include your name, address, birthdate and be sure to copy and paste the following statement:
“By sending this email, I accept and agree to: (1) the Official Rules of the “Full Metal Jacket” Blu-ray Giveaway and (2) Film.com’s Terms of Use and Privacy Policy.”
The contest runs from now until 4 p.m. ET on Thursday, August 9, 2012. Entrants must be at least 17 years old and reside in the U.S.
Click here for complete rules and further details.
Video: ''Five Minutes, Mr. Welles'' (Amateur Stage Production)
Published on Aug 2, 2012 by sandufilms
Based on Vincent D'Onofrio's short film of the same name (http://www.youtube.com/watch?v=s-4PPr3r_r0) "Five Minutes, Mr. Welles" depicts Orson Welles rehearsing an iconic speech from the 1949 film noir "The Third Man".
D'Onofrio's short film was adapted into a one-act play by Jonathan Victory, who also portrays Orson Welles. Katherine is played by Jessica Irwin. It was staged in 2010 as part of a non-profit evening of amateur short plays by the Drama Society of IADT Dun Laoghaire, Ireland. (Please don't sue me VDO!!!)
Based on Vincent D'Onofrio's short film of the same name (http://www.youtube.com/watch?v=s-4PPr3r_r0) "Five Minutes, Mr. Welles" depicts Orson Welles rehearsing an iconic speech from the 1949 film noir "The Third Man".
D'Onofrio's short film was adapted into a one-act play by Jonathan Victory, who also portrays Orson Welles. Katherine is played by Jessica Irwin. It was staged in 2010 as part of a non-profit evening of amateur short plays by the Drama Society of IADT Dun Laoghaire, Ireland. (Please don't sue me VDO!!!)
Tuesday, July 31, 2012
'Film4 FrightFest The 13th Preview'
THE QUIETUS
Stuart Wright , July 31st, 2012 08:25
Event co-founder Alan Jones chats to Stuart Wright about this year's bountiful offerings. Poster by Graham Humphreys and Paul Johnstone
FrightFest is back and this year it's the unlucky for some 13th edition of London's annual 'Woodstock of gore' (copyright Guillermo Del Toro). The five-day bonanza of blood, guts and scares was created in 2000 by producer Paul McEvoy, journalist and broadcaster Alan Jones and distributor/booker Ian Rattray. During that time it has outgrown the Prince Charles Cinema (2000-2004) and Odeon West End (2005-2008) to finally settle down, for the time being, at the Empire in Leicester Square.
(excerpted)
Other surprisingly recognisable names and faces at FrightFest include the Elijah Wood-starring remake of Joe Spinell and William Lustig's 1980 video nasty Maniac, plus Jennifer Lynch's purportedly unsettling Chained. Hailed by Jones as the "best film I've seen in years", the latter stars Vincent D'Onofrio (Full Metal Jacket, TV's Law & Order: Criminal Intent) as a cab-driving serial killer who raises a kidnapped child to be his sidekick.
Stuart Wright , July 31st, 2012 08:25
Event co-founder Alan Jones chats to Stuart Wright about this year's bountiful offerings. Poster by Graham Humphreys and Paul Johnstone
FrightFest is back and this year it's the unlucky for some 13th edition of London's annual 'Woodstock of gore' (copyright Guillermo Del Toro). The five-day bonanza of blood, guts and scares was created in 2000 by producer Paul McEvoy, journalist and broadcaster Alan Jones and distributor/booker Ian Rattray. During that time it has outgrown the Prince Charles Cinema (2000-2004) and Odeon West End (2005-2008) to finally settle down, for the time being, at the Empire in Leicester Square.
(excerpted)
Other surprisingly recognisable names and faces at FrightFest include the Elijah Wood-starring remake of Joe Spinell and William Lustig's 1980 video nasty Maniac, plus Jennifer Lynch's purportedly unsettling Chained. Hailed by Jones as the "best film I've seen in years", the latter stars Vincent D'Onofrio (Full Metal Jacket, TV's Law & Order: Criminal Intent) as a cab-driving serial killer who raises a kidnapped child to be his sidekick.
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