Focus Features recently send us over stills for their upcoming release of the "The Place Beyond the Pines". The film is latest from "Blue Valentine" director Derek Cianfrance and stars Academy Award® nominees Ryan Gosling, Bradley Cooper along with Eva Mendes, Ray Liotta, Rose Byrne. "The Place Beyond the Pines" makes its way into limited release on March 29th.

For more information on this film, you can visit the film's official website at: http://www.theplacebeyondthepinesmovie.com

Plot Synopsis:

The daring new movie from the director of Blue Valentine, The Place Beyond the Pines is a sweeping emotional drama powerfully exploring the unbreakable bond between fathers and sons.

Luke (Academy Award nominee Ryan Gosling) is a high-wire motorcycle stunt performer who travels with the carnival from town to town. While passing through Schenectady in upstate New York, he tries to reconnect with a former lover, Romina (Eva Mendes), only to learn that she has given birth to their son Jason in his absence. Luke decides to give up life on the road to try and provide for his newfound family by taking a job as a car mechanic. Noticing Luke's ambition and talents, his employer Robin (Ben Mendelsohn) proposes to partner with Luke in a string of spectacular bank robberies - which will place Luke on the radar of ambitious rookie cop Avery Cross (Academy Award nominee Bradley Cooper).

Avery, who has to navigate a local police department ruled by the menacing and corrupt detective Deluca (Ray Liotta), is also struggling to balance his professional life with his family life, which includes his wife Jennifer (Rose Byrne) and their infant son AJ. The consequences of Avery's confrontation with Luke will reverberate into the next generation. It is then that the two sons, Jason (Dane DeHaan) and AJ (Emory Cohen), must face their fateful, shared legacy.

Focus Features recently announced that they've picked up the U.S rights to "The Place Beyond the Pines" The film is the highly anticipated new drama from "Blue Valentine" director Derek Cianfrance. The film stars Academy Award nominee Ryan Gosling, Bradley Cooper, and Eva Mendes. Focus Features has set a 2013 release date for the film.

Press Release:

U.S. rights to The Place Beyond the Pines, the highly anticipated new drama from director Derek Cianfrance, starring Academy Award nominee Ryan Gosling, Bradley Cooper, and Eva Mendes, have been acquired by Focus Features for a 2013 release. Focus CEO James Schamus and president Andrew Karpen made the announcement today at the Toronto International Film Festival, where the movie is having its world premiere.

Focus acquired the rights from Sidney Kimmel Entertainment (SKE), which financed the movie and which was represented at Toronto by Jim Tauber and Nick Hanks, with WME Global and Creative Artists Agency acting as sales agents. International sales to the feature are being handled by Sierra/Affinity.

The Place Beyond the Pines was written by Mr. Cianfrance, Ben Coccio, and Darius Marder. The movie was produced by Jamie Patricof and Lynette Howell through their Electric City Entertainment, Alex Orlovsky through his Verisimilitude, and SKE’s Sidney Kimmel; Mr. Patricof, Ms. Howell, and Mr. Orlovsky previously produced the award-winning Blue Valentine, directed by Mr. Cianfrance and starring Mr. Gosling and Academy Award nominee Michelle Williams. The new movie’s executive producers are Mr. Tauber, Matt Berenson, and SKE’s Bruce Toll.

The film powerfully explores the consequences of motorcycle rider Luke (Mr. Gosling)’s fateful decision to commit a crime to support his child. The incident renders him targeted by policeman Avery (Mr. Cooper), and the two men become locked on a tense collision course which will have a devastating impact on both of their families in the years following.

The cast of The Place Beyond the Pines also includes Golden Globe Award nominee Rose Byrne (Damages), Mahershala Ali (Treme), Emory Cohen (Smash), Dane DeHaan (Chronicle), Gabe Fazio, Bruce Greenwood (Flight), Ray Liotta (Killing Them Softly), Ben Mendelsohn (The Dark Knight Rises), and Harris Yulin (Scarface).

Mr. Schamus and Mr. Karpen said, “Derek Cianfrance has made a bold, epic, and emotionally generous saga, once again showing a master’s hand in eliciting searingly beautiful performances from the actors with whom he collaborates.”

Mr. Cianfrance commented, “The Focus team’s ability to work in partnership with writers and directors is known and respected by the film community. Their passion for this very personal project is why I know they are the right home for our new movie.”

Mr. Tauber added, “Sidney Kimmel and I are convinced that the entire Focus team understands the uniqueness of Derek’s bold and daring film, and that they provide the perfect home for the filmmaking group.”

The title refers to the day Julius Caesar was assassinated by a group of senators who feared his role as a dictator would forever destroy their constitutional government. Some of these senators were close friends of his which makes their actions all the more shocking. In the political arena then and now, you’d think those running for office would have their friends and loyal advisors to instill their trust in. But as history shows, the quest of power can tear friendships apart completely and corrupt the seemingly incorruptible. In William Shakespeare’s play of “Julius Caesar,” a soothsayer warns him before he is stabbed to death:

“Beware the Ides of March.”

George Clooney’s latest directorial effort is based on the play “Farragut North” by Beau Willimon, and it looks at how dangerous a political campaign can be for all those involved. They may not get stabbed in the back literally, but there is a lot of that to go around figuratively speaking. It all makes for an intense political thriller that never lets up.

Ryan Gosling stars as Stephen Meyers, a Junior Campaign Manager for Governor Mike Norris (Clooney) who is seeking the Democratic nomination for President of the United States. As the movie opens, Norris is campaigning in Ohio where a win there will all but guarantee him the nomination. Meyers is a strong believer in Norris and what he stands for, but his belief in him and the world of politics is in for a rude awakening. After a secret meeting with the rival campaign manager Tom Duffy (Paul Giamatti), trust becomes a precious commodity that’s in very short supply. Meyers also stumbles on an even bigger situation which could destroy the campaign for good.

This is Clooney’s fourth movie as a director, and the abilities he shows behind the camera are never in doubt. “The Ides of March” doesn’t necessarily break any new ground in the political movie genre, but he does great work in generating tension throughout as characters suddenly finds themselves on a precipice which threatens to fall out beneath them with little warning. He also gets great performances from the entire cast as they face off with each other like they’re playing a game of chess. Everyone is holding their cards close to their chest, and only the eyes can give them away in showing where they are most vulnerable.

Gosling is having a heck of a year in 2011 with this, “Crazy Stupid Love,” and “Drive.” As with the latter, he brings a smoldering intensity to his performance as he takes Meyers from a political idealist to one who sells out his values when things get rough. With one look he can let us inside his thoughts without saying a single word.

Two of my most favorite performances in “The Ides of March” come from two of the best character actors ever: Phillip Seymour Hoffman and Paul Giamatti. Playing campaign managers for their individual candidates, they brilliantly bring out the moral complexities of each person as their agendas become clear throughout the story. Both also make what could have been convoluted actions or maneuvers appear completely believable as they try to get the upper hand in a fragile political environment. They essentially represent the cynical side of politics where idealism vanished a long time ago and the path Meyers may be forced to go down if he wants to continue working in this realm.

The fabulous Evan Rachel Wood is great as always as Molly Stearns, a campaign intern whose confidence collapses when her secret is realized. Seeing her go from a sexy seducer to the campaign’s most vulnerable employee is handled by her like a pro, and she makes us see Molly as a person while others view her as a crippling concern needing to be quickly and quietly removed. The cruelty of politics comes to hit her character the hardest.

And then there’s the equally fabulous Marisa Tomei who portrays New York Times reporter Ida Horowicz. She enjoys a friendly banter with Gosling from the start which draws us in on a more personal level. It’s there where Tomei traps not just Gosling but the audience as well. She provides us with a friendly face that is later revealed to be a manipulative journalist who wields more power than you might expect one to have. I have yet to see Tomei give a bad performance in anything she does.

What I really like about the screenplay of “The Ides of March” is that it’s not about good guys and bad guys. It’s all about shades of gray and how the hope in politics can be easily and quickly worn down to a cinder of what it once was. Some of the actions in the movie almost feel like something out of the “Saw” as they almost seem illogical and impossible to put together, but it makes sense in regards to the world it takes place in. This would make a great double feature with Mike Nichols’ “Primary Colors” as both deal with the moral compromises made in getting your man elected. But while “Primary Colors” sees something of a light at the end of the tunnel, “The Ides of March” doesn’t let the viewer off as easy.

* * * ½ out of * * * *

He sits behind the wheel of a car, his face exuding a cool and impenetrable confidence only his eyes can betray. His name isn’t important, and all that matters is the time he gives you to do your thing. If you’re back in 5 minutes, he’s all yours. If you’re a second late, he’s gone and he ain’t looking back. Outside of his getaway driving career, he appears to maintain that same level of emotional coolness wherever he goes. After this character is established, I kept wondering what he would like when he lost his cool. Let’s face it; no one can stay that controlled forever.

I went into “Drive” thinking it would be a remake of Walter Hill’s “The Driver” which had Ryan O’Neill as another nameless character who drove more than he talked. “Drive” also has a Ryan in the lead role, the one with the last name of Gosling. Both these men have as much dialogue as Arnold Schwarzenegger did in “The Terminator,” and while we can’t condone what they do, you have to admire how well they do it.

“Drive” turns out to be its own thing and is one of the few action movies to come out this past year that focuses as much on character as it does on action and spectacle. While it feels like an odd to Michael Mann’s “Heat” or “Thief” with its neon-like credits electronic score courtesy of Cliff Martinez, this film does not feel at all dated in what it presents.

By day Gosling is a stuntman driver for the movies, doubling for the actors whom the insurance company doesn’t want to pay for if they mess up (and many of them probably would). He also appears to have car racing aspirations of his own which his friend and partner in crime Shannon (Bryan Cranston) wants to help him to realize in a way that will benefit them both. Shannon manages to find a financer in a Jewish mobster (Albert Brooks) who will offers support only if it will benefit him more than anyone else.

Meanwhile the driver starts taking an interest in his next door neighbor Irene (Carey Mulligan) who looks after her son Benicio (Kaden Leos) while her husband finishes up a stint in jail. Both Gosling and Mulligan show a strong attraction to one another and stare into one another’s eyes like they were Harrison Ford and Kelly McGillis in “Witness.” Of course, her husband Standard (Oscar Isaac) comes back into the picture and finds himself in debt to those he owes money for prison protection. Inflation can be a bitch!

Standard ends up being forced to rob a pawn shop to pay off his debts, something he doesn’t want to do. Having gotten friendly with his wife and son, the driver offers to help him get the job done by being his getaway driver, ensuring that he gets out safely and in one piece. But like every carefully planned heist a la “Before The Devil Knows You’re Dead,” it all goes horribly wrong.

“Drive” is not your typical shoot ‘em up movie where the good and bad guys are easily told apart from one another. It is deeply thoughtful and gives us characters that are far more complex than you could ever have expected them to be. Not everyone is completely heartless even after they show off just how cold blooded and manipulative they can be. What rules these men’s lives is business, and even if they don’t want it to, it cuts straight through love and pleasure whenever their own well being becomes threatened.

Directing this movie is Nicolas Winding Refn who won the Best Director Prize at this year’s Cannes Film Festival for his work here. His previous directorial efforts include “Valhalla Rising” and “Bronson,” the latter being one of those DVDs I bought from a Blockbuster Video store that was closing down. Watching his brilliant work on “Drive” has me wanting to explore of his work and keep “Bronson” from gathering anymore dust on my DVD shelf.

Refn is not content with letting the viewer watch the action from a distance. He puts us right into the danger to where we instinctively duck when those bullets start flying. Those gunshots sound frighteningly real which intensifies an already suspenseful tale where the danger keeps rising throughout. The most violent scenes will shock even the most jaded viewers as certain characters get killed off in unexpectedly gruesome fashion. One scene has a character bashing in another that will instantly remind those of a similar scene of brutality from Gaspar Noe’s “Irreversible.”

Gosling is having a fantastic year with this, “Crazy, Stupid Love,” and the upcoming George Clooney directed “The Ides of March.” His challenge here is to maintain his cool exterior and still show a vulnerability that is not easily spotted. It’s in his eyes do you see a pain and longing for something more fulfilling, something that makes him feel alive. With his performance here, he continues his reign as one of the best movie actors of his generation.

Mulligan herself is a wonderful presence even as she plays a role she has quickly become famous for; a woman who wonders how much she can trust and support the man she loves. Be it “An Education” or “Wall Street: Money Never Sleeps,” she always seems to playing the same person. But like those characters, Irene doesn’t need a man to survive on her own and finds independence in one form or another.

While Irene’s and the driver’s attraction seems physical, it becomes almost spiritual as it opens them up to feelings they are new both or which have been denied to them for the longest of times. Like Gosling, the acting she does with her eyes can speak a thousand words.

It’s such a kick to see Albert Brooks here playing a mobster, and he makes Bernie Rose as interesting as he is vicious. Having watched him as such a neurotic case in dozens of movies, you might expect him to be completely wrong for this part. Then again, he played another criminal to memorable effect in Steven Soderbergh’s “Out of Sight.” Seeing him mix compassion with businesslike ruthlessness reminds us of what a brilliant actor he can be. When he meets up with Gosling towards the movie’s end, it’s a fantastic acting moment where both actors have to talk with one another without their eyes giving away their true motives. You come out of that scene wondering how good each one would be at Poker.

Other terrific performances in “Drive” come from “Hellboy” himself Ron Perlman who takes a seemingly throwaway character like Nino (another Jewish mobster) and makes him very interesting and entertaining in a way few other actors could accomplish. Bryan Cranston, currently on a roll with the critically acclaimed “Breaking Bad,” makes Shannon more than the average schemer down on his luck. Oscar Isaac also succeeds in making Standard not just another jealous husband who can’t pull himself away from crime. In the limited time he has onscreen Isaac makes us care about Standard which renders his eventual fate all the more tragic.

“Drive” gets the fall season of 2011 off to a great start, and it marks an American breakthrough to remember from Nicolas Winding Refn. It doesn’t break any new ground in the genre it inhabits, but it is not easily forgotten when you depart from the movie theater. There are only so many movies from this past year you can say that about.

I also got to say that “Drive” has one scene I have been impatiently waiting to see in a movie. You know those scenes where Q shows James Bond the latest car he’s been working on and its infinite number of gadgets? So many other films have done the same kind of scene, but in this one it goes in the opposite direction. For the driver’s getaway gig, he gets a Chevy Impala. Why? Because Shannon informs him that no one will expect him to be driving something like that. For once the blandness of a car stands out more than the ones no one other than Bond or maybe XXX ever gets to drive. Sooner or later it had to happen!

* * * * out of * * * *

Summit Entertainment recently send us over stills for their upcoming release "Drive", which hits theaters here in the US on September 16th and is playing at this year's Toronto International Film Festival. The film world premiered at this year's Cannes Film Festival, where the film's director Nicolas Winding Refn won Best Director at the festival. "Drive" features an all star cast that includes Ryan Gosling, Carey Mulligan, Albert Brooks, Bryan Cranston, Christina Hendricks, Oscar Isaac and Ron Perlman.

For more information on "Drive", You can visit the film's official website at: http://www.drive-movie.com/

Plot Synopsis:

Breakout Danish director Nicolas Winding Refn (THE PUSHER Trilogy, BRONSON, VALHALLA RISING) throttles into the Hollywood fast lane with the precision-crafted action caper DRIVE.

Ryan Gosling stars as a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for armed heists by night. Though a loner by nature, Driver can't help falling in love with his beautiful neighbor Irene (Carey Mulligan), a vulnerable young mother dragged into a dangerous underworld by the return of her ex-convict husband Standard (Oscar Isaac).

After a heist intended to pay off Standard's protection money spins unpredictably out of control, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals (Albert Brooks and Ron Perlman). But when he realizes that the gangsters are after more than the bag of cash in his trunk-that they're coming straight for Irene and her son-Driver is forced to shift gears and go on offense.

DRIVE was written by Academy Award® nominee Hossein Amini (THE WINGS OF THE DOVE) and adapted from the eponymous novel by James Sallis. It was produced by Marc Platt, Gigi Pritzker, Michel Litvak, Adam Siegel and John Palermo; executive producers are David Lancaster, Gary Michael Walters, Bill Lischak and Linda McDonough.

Upcoming Screenings:

Saturday September 10th
Ryerson
9:15pm
Toronto, Canada

Sunday September 11th
TIFF Bell Lightbox 1
9:00am
Toronto Canada






"Drive": Official Trailer

"Don't Be Afraid of the Dark" hasn't hit theaters yet, but its not stopping Film District from setting a release date and releasing the official trailer for their next film, "Drive".

The film played at this year Cannes Film Festival and it latest from Danish director Nicolas Winding Refn (THE PUSHER Trilogy, BRONSON, VALHALLA RISING). The film also boasts a good cast that includes Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman, with Oscar Isaac, and Albert Brooks.

Drive" hits theaters on September 16th.

Plot Synopsis:

Breakout Danish director Nicolas Winding Refn (THE PUSHER Trilogy, BRONSON, VALHALLA RISING) throttles into the Hollywood fast lane with the precision-crafted action caper DRIVE.

Ryan Gosling stars as a Los Angeles wheelman for hire, stunt driving for movie productions by day and steering getaway vehicles for armed heists by night. Though a loner by nature, Driver can't help falling in love with his beautiful neighbor Irene (Carey Mulligan), a vulnerable young mother dragged into a dangerous underworld by the return of her ex-convict husband Standard (Oscar Isaac).

After a heist intended to pay off Standard's protection money spins unpredictably out of control, Driver finds himself driving defense for the girl he loves, tailgated by a syndicate of deadly serious criminals (Albert Brooks and Ron Perlman). But when he realizes that the gangsters are after more than the bag of cash in his trunk-that they're coming straight for Irene and her son-Driver is forced to shift gears and go on offense.

"Drive": Official Trailer

Movie: 4

Film: 3

As a woman I tend to frequent romantic comedies. I believe it is a genetic predisposition. That said I am usually annoyed by them. I find them hokey and cutesy and believe they require too great a suspension of disbelief. Sometimes that make me angry and unbelievably, more bitter than I normally am already. However, when they work, they can be some of the most satisfying cinema around. It gives a viewer a feeling of warmth that they can carry around for the rest of the day. “Lars and the Real Girl” is in the second category. Not only was this one of the sweetest comedies I have seen in years, but this was one of my favorite movies that I have seen this year period.

Lars Lindstrom (Ryan Gosling) is a quiet, gentle man who lives in the converted garage behind the main house he grew up in. His married brother Gus (Paul Schneider) lives in the main house with his pregnant wife Karin. As Lars’ mother died during his childbirth, he is having an increasingly difficult time dealing with his sister in law’s pregnancy. This unease coupled with his extreme social awkwardness manifests itself in the form of an imaginary girlfriend. Well, partially imaginary at least.

Considering that half of this couple is an inanimate object, this was still one of the sweetest love stories I have ever seen. The story is more about the kind nature of Lars and how he sees life through such a skewed view of the world. Even so, he may be one of the sanest people in the town. His innocence and kindness are what people respond to and it is because of these character traits that the small town is willing to bend over backwards to help Lars get well again. The audience can root for Lars to notice the love struck Margo, but ultimately the audience just wants Lars to be happy. It has been a long time since I have seen a character that is so lovable and endearing. A lot of that has to do with Gosling’s performance. Gosling captures the part so beautifully not just in terms of what he says or how he says it but also in the facial and body tics he adds to the character. The downturn of his mouth and the way he has to blink with both eyes in a very determined fashion give the character life and presence. Couple that with the beautiful and charming script turned out by Nancy Oliver, and you have one of the most likeable characters I have seen in years.

Paul Schneider (whom I have loved since “All the Real Girls”) plays brother Gus and does a fantastic job of straddling that line between man who doesn’t want to play into Lars’ fantasy and the concerned older brother who can’t bear to watch Lars suffer. It is a moving and subtle performance by Schneider. Mortimer is also a joy to watch as the sister in law who just wants Lars to be happy no matter what it takes.

The direction makes the most of these brilliant, heart felt performances. You can almost feel the love radiate off the screen. The music, the framing, the pacing, all clicks in just the right way. In fact, it was difficult to find anything in the film that didn’t work for me. Even the brief forays into the lives of other townspeople didn’t seem off track for me. Why? Because this story is as much about the love of the town for Lars as it is about his family. There is no pity for him. There is only the support that comes from a small town eager to help one of its own get through a hard time. It is sweet and comforting and that feeling sticks with you long after the film ends.