| QUOTE |
| Victor Garber tapped for Eli Stone The veteran actor (Alias et al) will star opposite Johnny Lee Miller in the ABC pilot Eli Stone. Produced by Touchstone Television and studio-based Berlanti Television, the show is being touted as a ''high concept legal drama'' focused on Eli Stone (Miller), a San Francisco attorney who learns he might be a prophet. Garber will play a senior attorney and the father of Stone's financee. ABC snapped up Garber when he became available after Fox/Warner Bros. TV's Justice was canceled in November. (Hollywood Reporter |
| QUOTE |
| "Alias" star Michael Vartan has been tapped to topline ABC's untitled Jon Feldman drama pilot, which is being directed by Charles McDougall. The Feldman project, from Warner Bros. TV, revolves around four high-powered CEOs or CEOs-to-be who are all friends. Vartan will play the new CEO of a large corporation who is described as the moral center of the show. For five seasons, Vartan (Endeavor, Stephen Hanks Management) played Agent Michael Vaughn on "Alias." |
| QUOTE (Outta Sight @ Jan 26 2007, 03:38 PM) |
| All my favourites :lol: :thumbsup: |
| QUOTE |
| Don't Call This Epic Gross, Shirley by Joal Ryan Sun, 28 Jan 2007 02:07:33 PM PST Spoof comedies don't win Oscar gold. They just make lots of box-office green. Epic Movie, the latest heir to the Airplane! throne, scammed an estimated $19.2 million in its debut weekend, per Exhibitor Relations, topping all comers, including freshly minted Academy Award contenders such as Dreamgirls. Overall, the box office was down nearly 11 percent from the same weekend last year. One reason: Epic Movie was big, but Big Momma's House 2 was bigger. The box-office benchmark for spoof comedies remains Scary Movie 3, which opened with $48.1 million in 2003, per Box Office Mojo. Epic Movie's opening is more in line with Date Movie's. The latter grossed $19.1 million in its debut weekend last February. In a roundabout way, Epic Movie, a send-up of super-sized cinematic tales from Titanic to, um, Nacho Libre, can trace its lineage all the way back to the mother of all hit spoof comedies, 1980's Airplane! That's because Epic Movie was written, in part, by writers who worked on the Scary Movie franchise, the two most recent installments of which were directed by David Zucker who helped helm Airplane!, not to mention its cult-classic predecessor, Kentucky Fried Movie. Smokin' Aces doesn't share any bloodlines with Ted Striker, et al., but still managed to acquit itself nicely in its opening weekend. The R-rated crime drama, made for an estimated $17 million, collared an estimated $14.3 million, good for second place. According to Box Office Mojo stats, Smokin' Aces is star Ben Affleck's biggest debut weekend in four long years, although it's not nearly as big as his last truly big debut—Daredevil's $40.3 million in 2003. Affleck's wife, Jennifer Garner, was not 13 Going on 30 in her new comedy-drama Catch and Release, which only snagged a so-so $8 million (fourth place). Dreamgirls has a bigger tale of woe. First, it didn't get a Best Picture Oscar nomination. Then, it didn't get an Oscar bounce at the box office. In the wake of its field-best eight nominations (and giant-sized snub), the musical's ticket sales fell 17 percent, down to an estimated $6.6 million (sixth place; $86.7 million overall). The Departed, which did get a Best Picture nod, got an Oscar bounce, and then some—up 908 percent from the previous weekend, thanks to its estimated $3 million take ($124.9 overall) and 1,300-plus additional screens. The Queen was the highest grossing Best Picture hopeful, with an estimated $4 million (ninth place, $41.2 million overall). Fellow Best Picture nominee Little Miss Sunshine got its Oscar bounce in the form of a 100 percent increase in DVD shipments, Fox Searchlight said Sunday. The comedy was released on home video last Dec. 19. Elsewhere, The Hitcher ($3.6 million; 10th place; $13.4 million overall) was stranded by moviegoers in its second weekend, while Freedom Writers ($3.5 million; $31.3 million overall) and Children of Men ($2 million; $30.7 million overall) both fell out of the Top 10. Here's a rundown of the top 10 films based on estimates compiled by Exhibitor Relations: 1. Epic Movie, $19.2 million 2. Smokin' Aces, $14.3 million 3. Night at the Museum, $9.5 million 4. Catch and Release, $8 million 5. Stomp the Yard, $7.8 million 6. Dreamgirls, $6.6 million 7. The Pursuit of Happyness, $5 million 8. Pan's Labyrinth, $4.8 million 9. The Queen, $4 million 10. The Hitcher, $3.6 million |
| QUOTE |
| Here's a rundown of the top-grossing weekend films based on final studio figures compiled by Exhibitor Relations: 1. Epic Movie, $18.6 million 2. Smokin' Aces, $14.6 million 3. Night at the Museum, $9.6 million 4. Stomp the Yard, $7.69 million 5. Catch and Release, $7.66 million 6. Dreamgirls, $6.7 million 7. The Pursuit of Happyness, $5 million 8. Pan's Labyrinth, $4.8 million 9. The Queen, $4 million 10. The Hitcher, $3.6 million |
| QUOTE |
| Posted: Wed., Jan. 31, 2007, 10:00pm PT Garner to topline 'Christmas' remake Warner Bros. in holiday spirit By PAMELA MCCLINTOCK Jennifer Garner has pacted with Warner Bros. Pictures to topline a remake of romantic comedy "Christmas in Connecticut." Project reunites Garner with "13 Going on 30" producing partners Susan Arnold and Donna Roth. There is no writer assigned yet to the remake of the 1945 screwball holiday classic, directed by Peter Godfrey and starring Barbara Stanwyck, Dennis Morgan and Sydney Greenstreet. Original storyline revolves around a cooking writer -- the Martha Stewart of her time -- whom the world believes to living on a cozy farm in Connecticut with her husband and baby. In reality, she's a single woman living on her own in New York. The ruse is discovered when a holiday meal is planned at her fake farm. In 1992, Arnold Schwarzenegger directed a remake of "Christmas in Connecticut" for television. Dyan Cannon, Kris Kristofferson and Tony Curtis starred. In that version, the cooking diva is the hostess of her own homemaking show. Garner is in theaters with "Catch and Release." She's set to begin production on Jason Reitman's coming-of-age comedy "Juno" later this month in Vancouver. Arnold and Roth ("Forces of Nature," "America's Sweethearts") are in post-production with comedy "Drillbit Taylor" for Paramount. |
| QUOTE |
| Don't Shoot The Messengers by Joal Ryan Sun, 4 Feb 2007 08:23:47 PM PST Aptly, a horror movie led them all. In a pretty scary box-office weekend for Hollywood, the poltergeist-populated The Messengers came away with the top spot, scaring up an estimated $14.5 million, ticket tracker Exhibitor Relations said Sunday. Overall, the combined haul from the nation's top 12 movies was down nearly 20 percent from last weekend, which wasn't so hot, either. When compared to the same weekend last year, the box office was down nearly 13 percent. The Messengers is the lowest grossing number one movie since last September when The Gridiron Gang muscled its way past the after-summer competition with $14.4 million, per stats at Box Office Mojo. Traditionally, Super Bowl weekend is about as tough a time for Hollywood as the weeks leading into and out of Labor Day. The Messengers, with a low-wattage cast led by Dylan McDermott and Penelope Ann Miller, was one of only two new major releases. The other, the comedy Because I Said So, featured bigger stars (chiefly, Diane Keaton), but not better drawing power. It grossed an estimated $13 million, which this time out was good enough for second place. The clock ran out on last weekend's champ, Epic Movie (third place, $8.2 million; $29.4 million overall), which saw its ticket sales free fall 56 percent. Smokin' Aces (fifth place, $6.3 million; $25 million overall) showed even less staying power in its second weekend, with the Ben Affleck hit-man movie down 57 percent. On the bright side for the Affleck family, at least Smokin' Aces stayed in the top 10. Wife Jennifer Garner's drama-comedy Catch and Release (11th place, $2.7 million; $12 million overall) all but disappeared, down 65 percent. Like Catch and Release, the horror movie The Hitcher ($1.2 million; $15.6 million overall, per Box Office Mojo) saw its top 10 run ended. In its seventh weekend, the marathon runner that is Night at the Museum (fourth place, $6.8 million) was only down about 30 percent. Overall, the Ben Stiller comedy crossed the $225 million benchmark. Among Oscar contenders, Dreamgirls (seventh place, $4 million; $92.8 million overall) was tops. The Queen (10th place, $2.7 million; $45.5 million overall) was the biggest grossing Best Picture nominee. On the art-house circuit, Factory Girl, featuring tabloid-fixture Sienna Miller's turn as doomed Andy Warhol protégée Edie Sedgwick, was the standout, making a big $95,291 in only three theaters. Its per-screen average of $31,764 was easily the weekend's highest. Here's a rundown of the top 10 films based on estimates compiled by Exhibitor Relations: 1. The Messengers, $14.5 million 2. Because I Said So, $13 million 3. Epic Movie, $8.2 million 4. Night at the Museum, $6.8 million 5. Smokin' Aces, $6.3 million 6. Stomp the Yard, $4.2 million 7. Dreamgirls, $4 million 8. Pan's Labyrinth, $3.6 million 9. The Pursuit of Happyness, $3.1 million 10. The Queen, $2.7 million |
| QUOTE |
| Kingdom" Visit Delayed Five Months Posted: Wednesday February 7th 2007 12:12am Source: Variety Author: Garth Franklin Due to very positive reactions from early test screenings, Universal has delayed its Middle Eastern-set action thriller "The Kingdom" from April 20th to September 28th to give marketing more time to create buzz reports Variety. Jamie Foxx, Jennifer Garner and Chris Cooper star in the Peter-Berg directed project which follows an elite FBI detail sent to hunt down a terrorist mastermind. Michael Mann produced the film. The delay comes due to box-office concerns. This April is already overcrowded with releases, and is famous for being a month which has yet to produce any realy $100 million hits. The late September slot though will open the film on the Columbus Day holiday weekend, the same weekend which proved a big success last year for "Jackass: Number Two". |
| QUOTE |
| The Weinstein Co. and its genre arm Dimension Films have announced an official release date for Greg McLean’s ROGUE, the WOLF CREEK writer/director’s auspicious crocodile-amok thriller starring Radha Mitchell and Michael Vartan (pictured - it`s on the website ;) ). The flick was originally intended to bow this month, but will now hit April 20–the date its crocodilian competitor, Hollywood Pictures’ PRIMEVAL, was initially penciled in for release. Hollywood got antsy and pulled the trigger on that one last month, in a supposed reactionary move to beat ROGUE into theaters; to date, its worldwide gross is only a paltry $10 million. See our report from an advance ROGUE test screening here ( again , on the website :lol: ) and check out Fango #263, on sale in April, for an exclusive set report. —Ryan Rotten |
| QUOTE |
| Interviewed by Keith Phipps February 27th, 2007 Greg Grunberg has been a familiar face to TV viewers for more than a decade, slowly making his way up from regional commercials to one of the lead roles on the hit show Heroes. As Matt Parkman, a cop who can read minds, Grunberg gets at the heart of the show's once-ambivalent attitude toward superpowers, and by extension, the burdens of being a hero. For years now, Grunberg's ordinary-guy qualities have made him a successful TV sidekick, most notably in series created by his lifelong friend J.J. Abrams. On Abrams' Felicity, he played a man whose entrepreneurial instincts usually got the best of him. From there, he segued into a regular role on Alias, where he served as a pal and buffer to on-again/off-again fellow agents Jennifer Garner and Michael Vartan. Grunberg also starred as a bounty hunter in The Catch, an Abrams pilot that wasn't picked up, and he co-starred with Jason Bateman in the barely aired, pre-Arrested Development sitcom The Jake Effect. During a break from filming Heroes, Grunberg talked to The A.V. Club about what makes a successful sidekick, and what it's like leaving sidekickdom behind. And also frozen yogurt. The A.V. Club: When we decided to put together a sidekick-themed issue, you immediately came to mind as a good person to talk to, even though you've graduated from those roles lately. Greg Grunberg: You know, as much as I've graduated, I love sidekicks. For me, it's the greatest position to be in, because, first of all, you always need a sidekick. It's always that familiar face that you can count on. I've been J.J.'s sidekick go-to guy, and for me, as far as work's concerned, if you're a sidekick, you'll work forever. I love it, I always love it. What's funny is on Felicity and Alias as well, even going back to Seinfeld, on all those shows, sidekicks are the ones you remember. They always have the zinger, they're always the support system, or they get all the information. They're the shoulder to cry on. So they're always good characters to play. AVC: What's the key to making your part memorable without overshadowing the lead? GG: Hopefully, it's well-written… It's weird. I hate to steal a scene, but you've got to have… I always try to find something or some way of delivering the lines or playing the scene that you wouldn't normally expect. And I know that sounds weird, because it's not like I surprise people with shocking performances. But in an interesting way… Just being real and as interesting as possible. Usually, that stuff is the spine of the show. It's the humor that you need in a scene, in an intense moment or something. [On Alias,] I'll pop through the scene and ask Vaughn if he wants to have a calzone. It's that sidekick moment. You don't get that many moments, so you've got to make the most of what you get. AVC: Did you admire any character actors who played sidekicks as you were forming your own acting style? GG: Not really. Senior citizens compare me to a guy named Jack Carson. He was the character actor's character actor way back, and he was able to play comedy, he was able to play drama, and he crossed over. He could get some leading roles, Cat On A Hot Tin Roof and some other big parts, but he was mainly the "God, wait a minute. I know that guy!" You were comfortable with him in any film, in any genre, and he worked forever. I have, actually, his headshot from the '30s, and a signed autograph on a napkin from when he was coming out of some club in 1939 or '49, and it's just that classic, go-to sort of character that you can count on. But there isn't anybody I've really studied to do this. It's kind of been like my life. I mean, I know my limits. I try and just become the best actor I can possibly be. Heroes has definitely given me more leading-man stuff to do, and I love it. I'm still staying in my comfort zone, but you know. AVC: So how would you define your limits? GG: I'm not going to play someone too far from who I am. Although I did a movie where I played a killer, and that has yet to come out. But that's someone I love being able to shock people with. I will hopefully be able to do that on Heroes. There are decisions that these characters, they get to a crossroads, and it's like… Well, take what's just aired. I could steal these diamonds, I could do something you would not expect me to do. My limitations are—I'm not Meryl Streep. I'm not playing anything in a foreign language, or anything too far from who I am. AVC: How did you get started acting? GG: I was, throughout school, in the theater program. Through elementary school, junior high, high school, and then J.J. Abrams, my closest friend in the world, we were living together. He was writing and I was trying writing, I wasn't getting paid for it like he was, but I always had the acting bug. And then I just realized, "I've got to do this." I started with commercials, and then through commercials, guest-star roles. You know, a natural progression. And I got very lucky. There are so many great actors out there, friends of mine, who are not working right now. It's a tough time. It's a great time, but it's also a tough time. And I've just been really, really fortunate. People that I work with have gone on to do other things, and then they've been kind enough to want to work with me. AVC: What was your first commercial? GG: Oh God, my very first commercial was for a Computer Learning Center. It was daytime TV, but it was local, and I was so excited that I booked it. Without an agent. It was one of those just-submit-yourself things, and I booked it, and this is how I know that my career had to go up from here: I had a 7 a.m. call time. I lived in Sherman Oaks, I had a 7 a.m. call time in Orange County. I woke up at 9:30. It was literally the worst possible situation ever. I did over 60 commercials, but the most memorable commercial I ever did was one for Rolaids. It was me, tailgating at, it was either the Super Bowl or a Buffalo game. My body was painted, and they had a character playing my dad and a character playing my grandfather, and the tagline for the commercial was "Mom doesn't make it out to the games. I don't know why." It was very memorable, it ran for over two years. I actually went on Leno because of that commercial. AVC: Looking at your filmography from '90 until Felicity, you did work on syndicated shows, Fox, and off-network programs, vs., say, independent films. Was that a conscious choice? GG: It's certainly easier to get those roles. Nothing is a conscious choice as an actor at that stage. There's so little that's a conscious choice even now. The offers, as absolutely limited as they are even at this point in my career, I have to really think about. I have a family, and it's a job. There are times when you take work that you normally may not dig. I did V.I.P. and Silk Stalkings, and looking back, I don't know if I would have done that stuff. It was fun to do, and my dad taught me a long time ago, just go. If someone says, "I want to meet with you," and they're about a hundred miles away, just go. You never know what might come out of it, and if you can make it, make it to the meeting. If you can do a job, work. Work begets work begets work begets work, so I really have always been about that. I was a series regular on Alias, and then I had a deal with NBC, and I did this funny show with Jason Bateman [The Jake Effect], and I was waiting for this other pilot to get picked up, when my buddy at House called. Did I want a guest spot on House? I said yes, when another actor might have said, "No, I'm a series regular. I don't do that!" But I really believe that if it's something good and it's work, why not do it? Why sit around on my ass? That's what I do, I'm an actor. To work, I take any opportunity I can get. AVC: You've known J.J. Abrams all your life, right? GG: Yes. Since we were 3. AVC: As kids, did you talk about going into this business? GG: I didn't have any family in the business, so I didn't have that leg up. But seeing as J.J. and I are as close as we are, it's sort of like having family in the business. His dad, Jerry Abrams, very successful TV-movie producer, and he's got a couple films and stuff. I was very lucky, my parents just encouraged me to pursue something creative. Although my dad was in the clothing business for 35 years, so I had business in my blood. I opened up a frozen-yogurt business out of college. I didn't finish college, I went halfway and then I worked for Joel Silver, the producer, as a driver for a year. And I was sort of like, I didn't know what I wanted to do. I learned a lot from Joel. He's a really, really smart guy, and I just learned if you put your mind to it, you can do it. Don't be intimidated by anybody. Joel was one of the biggest movie producers in town, and I wasn't hanging out, I was in the car driving him, but it was one of those things you through osmosis pick up. If those bozos can do it, I can do it. It was a great experience, but after that, my business side took over and I opened up a frozen-yogurt business on Melrose. And out of that frustration of sitting in a yogurt store and waiting for people to come in and pay $1.50 for yogurt… I remember feeling so trapped at times doing that, and realizing, "Okay, I'm single, I have to try before I settle down, I have to try acting and do what I want to do." So I closed the store and started a frozen-yogurt delivery business called Yogurt Runners, and I would send fellow actors out in the afternoons, to all the agencies and studios around town, and the hair salons, and we would sell nonfat frozen yogurt that was prepackaged. And that way, I could go on auditions during the day and sell frozen yogurt in the afternoon, and still make a living. It was a great way to earn my income without having to wait tables, which is just not for me. So I had that business for a while, and that business actually grew. It was a pretty successful business, as far as a little business in LA, and I kept a lot of my actor friends employed. And after that, I was a telemarketer at night for a knee-brace company. I've done everything to try and keep my… I didn't want to wait for success to find me. I didn't want to wait and say, "When I hit it big, that's when I'll start a family." I met my wife, I had no money, I had nothing, and I started my family without really, my career was nowhere, but I had these other businesses, I had these things I was doing to be able to afford a small home. AVC: And you got out in time, before the collapse of the frozen-yogurt market, too? GG: Exactly, and now it's back! AVC: Now that you're in a more straightforward heroic role, have you felt increased pressure? GG: I do, at times, but I really enjoy it. I feel like I'm ready for this. I learn from everybody that I work with. Leonard Roberts [who plays D.L. Hawkins] is on the show right now, and that guy… He just has to smile, and he scares the shit out of me. It just shows that you don't have to play into what's written for you. You don't have to play heroic to be heroic. There are these moments, and directors—we have guest directors every week—I can't tell you how many they'll be like, "Okay, this is your hero shot." And on this last episode that aired, it was right before Ali comes out, and she's chasing us around the building, and I go "Okay, I'm going to buy us some time." I cock the gun and I'm standing there, and he goes, "That's your hero moment!" And I just go, "Oh my God, come on. Let's just shoot it, and I don't want to make that hero face. I don't want to attempt to do that." Ricky Gervais was the best villain we had on Alias, because he didn't play it scary. He had the cards. He had the bomb on the plane, he didn't have to threaten us, or start screaming. It was just, he held all the cards. And that, to me, is as scary as you can possibly make it. We're shooting an episode… we're about to shoot, where it's five years in the future, and it's not the Matt Parkman that anyone is used to seeing. My character is in a place that is really dark, and I'm not going to play it like this menacing, evil guy. I'm just going to play it as normal as possible. That, to me, is the way to make the most impact. Let the actions speak louder than the words. Horned-rim Glasses, Jack Coleman, has that job on our show, and so does Zach Quinto, who plays Sylar. It's like he's got to put on a face, and when the character he's talking to turns away, his face drops and he's evil. That stuff's really hard to do without looking corny. So I'm not planning on adding any extra pressure to me to be heroic. I'm just going to do what I do, and hopefully people buy it. I want to be as real as possible. |
| QUOTE |
| March 8: Dimension sending ROGUE direct to DVD We didn’t want to believe it when we first got wind of this news, but a little digging confirmed it: ROGUE, writer/director Greg McLean’s follow-up to WOLF CREEK, is being sent straight to DVD by The Weinstein Company/Dimension on May 20. Fango had heard recently that Dimension had removed the giant-crocodile thriller, which stars Radha (PITCH BLACK) Mitchell and ALIAS’ Michael Vartan (pictured), from its most recent April 20 theatrical berth; the movie played release-date chicken earlier this year with Hollywood Pictures’ similarly themed PRIMEVAL, only for the latter to be tossed out, sans any reference to its reptilian content in the ads, in early January to extreme box-office indifference. Now, with early word coming down that PRIMEVAL will hit disc in June, the Weinsteins evidently want to beat it to the punch on the home-viewing front, at least. It’s a sad fate for McLean’s film, which won a rave from a Fango source who caught an early test screening (see those comments here on the site). No details on DVD special features, if any, have yet been announced; we’ll keep you posted. In a related development, it appears that Billy O’Brien’s well-reviewed Irish killer-livestock flick ISOLATION will also go the straight-to-disc route via First Look June 26. We’ll let you know anything more we hear about this one as well. —Michael Gingold |
| QUOTE |
| The Fangoria report, mentioned below << points above :lol: >>, was a little off it seems. The films local distributor tells us that "Hot off the press : The Rogue U.S DVD release is wrong, Weinstein are still releasing in the US market as are we [in AU]. TWC have pulled the info off the site." |
| QUOTE |
| Emmys 2008: Pilot season possibilities With television pilot season kicking into high gear, there are already a couple of projects that, on paper at least, look like Emmy possibilities. Of course, between now and the announcement of the new fall lineups in June, anything could, and probably will, happen to these and other projects currently in the works. Hour-long drama hopefuls include "Dirty Sexy Money" (ABC) with Peter Krause ("Six Feet Under") as an idealistic lawyer who works for a wealthy family headed by Donald Sutherland and Jill Clayburgh. "Viva Laughlin!" (CBS), exec produced by Hugh Jackman, transplants the BBC hit from the seaside town of Blackpool to dusty Nevada. Interweaving musical numbers into dramatic storylines sometimes succeeds, "The Singing Detective," and sometimes fails, "Cop Rock." Three shows are set in New York City. "Lipstick Jungle" (NBC), based on the book by Candace Bushnell of "Sex and the City" fame, has a trio of lovelies — Kim Raver ("24", "The Nine"), Brooke Shields ("Suddenly Susan"), and Lindsay Price living the high life. A testerone-heavy pilot from Jon Feldman for ABC focuses on four businessmen, Christopher Titus ("Titus"), Michael Vartan ("Alias"), Dylan McDermott ("The Practice"), and one still uncast, while Tom Fontana ("Oz") has Emmy winner Bobby Canavale("Will & Grace") as an unlikely mayor of Gotham (NBC). Looking at the funny side of life, "Action News" (FOX) pairs multiple Emmy winners Kelsey Grammer and Patricia Heaton as rival anchors on a local newscast (with Fred Willard as the sportscaster). "The Mastersons of Manhattan" (NBC) stars Natasha Richardson and Molly Shannon ("SNL") as socialite sisters in a sly satire (sounds like an updated version of '70s success "Soap"). |
| QUOTE |
| Product details Actors: Claudio Bigagli, Galatea Ranzi, Michael Vartan, Lino Capolicchio Format: Anamorphic, PAL Language Italian Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.) Aspect Ratio: 1.78:1 Classification: To be announced Studio: Arrow Films DVD Release Date: 14 May 2007 DVD Features: Main Language: Italian Available Audio Tracks: Dolby Digital Sub Titles: English |
| QUOTE |
| March 15: ROGUE going theatrical after all? We had reported last week (based on info from on-line DVD sales sites and a video retail insider) that Dimension was sending ROGUE, the killer-crocodile film from WOLF CREEK writer/director Greg McLean starring Radha Mitchell (pictured) and Michael Vartan, straight to DVD May 22. Then the other day, we got a call from Dimension stating that such is not the case. Apparently, the movie will first play theaters in Australia (which McLean calls home and where ROGUE was lensed) via Village Roadshow this summer, followed by big-screen play in the U.S. this fall. So we got in touch with Genius Entertainment, which is partnered with The Weinstein Company in releasing Dimension titles on DVD, and a source there told us ROGUE has no definite disc date. We’re happy to hear that the film, which we’ve been hearing great things about (see an advance report here), seems headed for Stateside theatrical release after all—though someone should tell all those web retail sites, which still have it listed as a May 22 disc title. —Michael Gingold |
| QUOTE |
| Title: Catch & Release Starring: Jennifer Garner Released: 8th May 2007 SRP: $28.95 Further Details: Sony Pictures Home Entertainment has announced romantic comedy Catch & Release which stars Jennifer Garner, Juliette Lewis, Kevin Smith, and Timothy Olyphant. The film will be available to own from the 8th May, and should retail at around $28.95. The disc will carry both anamorphic widescreen, and full screen presentations - along with English and French Dolby Digital 5.1 Surround tracks. The only extra material will be two audio commentaries (participants to be confirmed) and preview trailers. A Blu-ray release will also be available for $38.96. We've attached some early package artwork below: see clicky :) |
| QUOTE (little pixie @ Apr 27 2007, 02:53 PM) |
| Cast Pic from MV`s pilot Perfect Gentlemen :thumbsup: |
| QUOTE (Jae @ Apr 28 2007, 11:49 AM) | ||
Can't see it :tear: Any ideas when it's coming to the UK? |
| QUOTE (Jae @ Apr 28 2007, 01:51 PM) |
| Thanks LP :D Is that Nia Long I see? |
| QUOTE (little pixie @ Jun 20 2007, 04:13 PM) |
| New Rogue trailer :) |
| QUOTE (Jae @ Jun 22 2007, 07:37 PM) | ||
Oooh, looks good :D I'll probably get it when it's out on DVD :) |