PRESS


The Aisle Seat “Lost After Dark” Review

LOST AFTER DARK Blu-Ray (85 mins., 2015, Not Rated; Anchor Bay): Ian Kessner’s directorial debut is yet another homage to ‘80s slashers – but unlike other overhyped salutes to Carpenter and the like (“It Follows,” anyone?), “Lost After Dark” gets the job done in its throwback atmosphere and mood. Kendra Timmins stars as a smart girl whose crush on her school’s quarterback (Justin Kelly) lands her – and a group of their classmates – on a desert road leading to a lonely farmhouse belonging to your friendly neighborhood cannibal (Mark Wiebe). Fairly stylish for what it is, “Lost After Dark” should engage genre buffs when it streets on Blu-Ray September 1st. Anchor Bay’s 1080p (1.78) transfer and Dolby TrueHD soundtrack are both top-notch.

“Lost After Dark” (2015) (Blu-Ray Review)

Spring Ball, 1984. Adrienne (Kendra Timmins, Midnight Sun, Wingin’ It), a straight-A student, joins her quarterback crush Sean (Justin Kelly, Maps To The Stars, Big Muddy) and some friends in sneaking out of their high school dance for some unsupervised mayhem. The teens’ party plans hit a snag when they run out of gas on a deserted road. They head out on foot and discover a rundown farmhouse where they hope to find help, but instead find themselves at the mercy of Junior Joad (Mark Wiebe, Sweet Karma), a cannibal killer from an urban legend. After the brutal murder of one of their friends, the group s quest for help becomes one of survival. Will anyone survive the night?If the people behind Lost After Dark meant to set out and make a slasher that you could put along side 80’s slashers, then they did indeed succeed in doing that. The thing is, this isn’t on the level of such A-list slashers like Halloween 2 or Friday the 13th 3 (or whatever sequel you want to pick). Instead it ends up being a throwback you could toss along side such things as Madman, Humongous, or Final Exam. I don’t want you to think I don’t like the movie, because I do. It’s just that the movie does a few things that annoy me along the way. The start of the movie is fine. We have a quick kill, we are introduced to the cast, and everything feels really retro and you get those good slasher movie vibes flowing through your body. The only problem is the movie makes us wait until about 40 something minutes in before the bodies start dropping again and while they try to get cute with the order some folks die, they also kind of take you out of it because of the same method. Still, you can’t deny it accomplishes the feel it was going for and as a man who loves slasher movies, especially from the 80s, I still found a lot of fun with the movie despite some of the flaws.

 

While most your characters here are about typical as you’d imagine, Robert Patrick is here in a role that really stands out in a good way. He’s probably more memorable than our movie’s slasher is. There is comedic moments here and to the movie’s credit, those moments are actually funny. Horror comedies can be iffy, but this one seems to be done right or at least right enough. The movie even takes place in 1984 and as far as I could tell it does look a whole lot like what I’ve seen in movies made from that time. Seeing as how I was just one year old at the time, I can’t tell from personal experience. What matters is entertainment value and the movie has that. It does frustrate you a bit, but not unlike most of the very films it was trying to mimic in its style. It isn’t perfect, but if you are a slasher film fanatic, then you will be more than content enough with what you get here.

 

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Saban Films / Voltage Pictures “Standoff” Press Notes

Saban Films / Voltage Pictures presents

Goldrush Entertainment and Maple Leaf Films

In association with First Point Entertainment present

STANDOFF

PRESS NOTES

 

 

 

OVERVIEW

 

______________________________________________________________________________________________________________________________________________________

 

Starring: Laurence Fishburne, Thomas Jane

Directed By: Adam Alleca

Written By: Adam Alleca

Running Time: 85 Minutes

Medium: HD

Rating: R

 

 

 

PRESS CONTACT

______________________________________________________________________________________________________________________________________________________

 

Goldrush Entertainment Inc.

2348 Chemin Lucerne, Suite #558

Montreal Quebec, H3R 2J8

Tel: 1-514-789-1379

Fax: 1-514-253-5551

rosiek@goldrushentertainment.com

www.goldrushentertainment.com

 

Saban Films

10100 Santa Monica Boul. Suite 110,

Los Angeles, CA, 90067

Tel 310-203-5850

eFax 310-775-4115 info@Sabanfilm.com

Voltage Pictures

116 N. Robertson Blvd., Suite 200

Los Angeles, CA 90048 USA

P: (323) 606-7630

F: (323) 315-7115

office@voltagepictures.com

Maple Leaf Films

1999 Avenue of the Stars

Suite 1100

Los Angeles, CA 90067

michael@mapleleafcapital.com

Office: 310-384-3335

First Point Entertainment

8926 Wonderland Avenue

Los Angeles, CA 90046

lee@first-point.net

O: 323-469-3231

C: 310-429-1131

 

 

 

 

 

SYNOPSIS

______________________________________________________________________________________________________________________________________________________

 

CARTER is struggling with the recent death of his young son, and has turned to alcohol and isolation to cope. He lives alone in his abandoned house, among the decay of packed boxes and sad memories. Desperate, and on the verge of suicide, he composes a letter to his estranged wife, MARA.

 

Meanwhile, BIRD, a 12-year-old girl coming to grips with the loss of her own parents, witnesses a brutal murder at a cemetery. She captures photos of the event on her camera, and attempts to flee. Bird and her guardian, ROGER, search for each other on the grounds, but Roger is shot by the killer. Ruthless in his task, SADE, turns his attention to Bird.

 

Sade has seen the camera around Bird’s neck, and will stop at nothing to pursue her; she has seen his face, and now she must pay the price. In a panic, Bird runs toward Carter’s house, calling for help. Concerned, Carter greets her on the porch, but is shot by Sade from a distance. The two victims dash inside and up to the second floor. Armed with a single-barrel shotgun, Carter shoots Sade from the top of the stairs as he enters the living room. Both men assess their wounds and their firepower, and Carter realizes that he has only one shell left. A narrow staircase and a thick wardrobe prevent the men from taking a clear shot, so a game of psychological manipulation ensues.

 

Sade will stop at nothing to convince Carter to hand Bird over. He warns that they are isolated with no phone, injured, and fighting against time. Sade finds Carter’s cellphone downstairs. Both their conditions deteriorate as they tend their respective wounds, and both turn to alcohol to manage. Upstairs, Bird and Carter take precautions against the pursuing Sade; shattering glass on the stairs, and submerging Bird’s film in the bathroom sink in case of a fire.

 

Suspense and action build as Sade and Carter continue their battle of wits. Sade uses anything and everything to his advantage; he wants to get under Carter’s skin. No topic is off limits: Carter’s suicide note, his family, his broken life. Still, Carter won’t back down. As Sade’s anger grows, a rookie cop, OFFICER BAKER, arrives at the door to investigate. Sade shoots Baker in the stomach, and uses him as a pawn in his sick game; torturing him in front of Carter before murdering him.

 

Time is running out – as night approaches, Carter realizes his generator is running low on gas. Soon the lights will go out, and they will be in complete darkness. Carter and Bird remain upstairs, while Sade is up to no good in the living room. Hours into the stalemate, headlights appear outside the house; it is Mara. Sade tricked her into coming by after finding her number in Carter’s cellphone. Sade uses Mara as the ultimate leverage.

 

Desperate and out of options, Carter hides his Swiss Army knife in his belt, hands the shotgun to Bird, and surrenders himself downstairs. Sade is uninterested; he wants Bird. The struggle continues, and the lights begin to flicker wildly. Sade shoots Carter in the kneecap, Bird walks down with the shotgun, and Mara is used as a human shield. The lights go out. Mara smashes her head into Sade’s face. Carter takes advantage, and stabs Sade in the neck with the knife. Carter is shot in the stomach, and Mara tries to pull Bird to safety. Mara calls 911. Vengeful, Bird walks back into the house in an attempt to destroy Sade, but the shotgun is a dud. On the verge of death, Sade points his gun at Bird but he slumps down dead at the last moment. Bird runs to Carter’s unmoving body, fearing the worst… but Carter wakes. He is alive, though badly wounded. The two share a heartfelt moment of relief.

 

  

DIRECTOR’S STATEMENT

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A 12-year-old girl witnesses a murder and is chased by the assassin to an isolated farmhouse occupied by a suicidal man holding a shotgun with a single shell. A tense standoff ensues over the next 24 hours as the two desperate men fight for the little girl’s life and engage in physical and psychological warfare.

 

In the tradition of DIE HARD and PANIC ROOM, STANDOFF is a dramatic thrill-ride in which character conflict and emotional depth play just as big a role as the plentiful violence and gunplay.

 

It focuses on an intense adversarial relationship in the John McClane/Hans Gruber mold, a battle of wits and wills that relies as much on cunning and ingenuity as it does on brute force. Both opponents are willing to die to get what they want: one driven by his hunger for redemption, the other by his pathological need to win.

 

My focus will be on directing a visceral journey filled with pulse-pounding action, emotional intensity, and clever narrative mechanics. The aim is to create an iconic film with equally iconic characters that audiences will leave the theatre quoting. I intend for audiences to consider STANDOFF in the same league as WITNESS and A HISTORY OF VIOLENCE when they think of dramatic, character-driven thrillers.

 

  • Adam Alleca

 

BIOGRAPHIES

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ADAM ALLECA Director / Writer

 

Adam Alleca is a writer/director/producer who has developed projects with David Fincher, Gore Verbinski, Michael Bay, Joel Silver, Lorenzo di Bonaventura, Jason Blum, and Jerry Weintraub. He got his start when, as a senior in college, he set up one of his original screenplays (BENEATH) at Sony with Michael De Luca and sold another to producer Wes Craven, for whom he also wrote the remake of THE LAST HOUSE ON THE LEFT. He then quickly went on to write a western for Oliver Stone (LAST DOLLAR PASS).

 

Wrapped projects set for release in 2015 include his adaptation of Stephen King’s novel CELL (starring John Cusack and Samuel L. Jackson) and his original screenplay HOME (produced by Leonardo DiCaprio).

 

Writing/producing projects scheduled to shoot in 2015 include his remake of THE BLOB (to be directed by Simon West) and his TV show APEX, to air on the USA Network.

 

 

ZORAN POPOVIC Director of Photography

 

Zoran arrived in Los Angeles via Serbia in 1996. He graduated from the American Film Institute in 1999 and has been a director of photography on critically acclaimed feature films, music videos and commercials ever since. His talent, curiosity and dedication to excellence have led him to work with some of the most influential directors, producers and actors of our time.

 

His credits include WAR, INC. (John Cusak, Ben Kingsley, Marisa Tomei and Hilary Duff), Illeana Douglas’s SUPERMARKET (Jeff Goldblum and Darryl Hanah), the Canadian lensed TRAPPED ASHES, Michael Steven’s SIN (Gary Oldman, Ving Rhames and Brian Cox) and BAD CITY BLUES. Zoran has several accolades and awards to his merit; including being named Best Cinematographer at the 2009 Brooklyn Film Festival and having his work on EXPIRED, which he shot for legendary producer Fred Roos, featured at the world renowned Cannes and Sundance Film Festivals (among other projects of Zoran’s that have been shown at Sundance, such as Paul Solet’s GRACE). Zoran’s other credits, such as Jennifer Lopez/Sony BMG produced dance feature FEEL THE NOISE and the genre favorite LIES & ILLUSIONS (Christian Slater and Cuba Gooding Jr) reflect his flexibility as an artist and versatility as a technician.

 

Zoran is widely considered as one of the true rising stars in the world of feature film cinematography. Those who work with him from producers, to actors and directors, swear by his eye, his passion and his joy as a collaborator. He energises cast and crews alike, ever focused on the importance of story and human relationships in producing truly great photography.

 

 

ERIC GOZLAN Producer

 

A Producer and Financier with over 15 years experience in business development and finance, Eric Gozlan has successfully produced feature films for the US and Canadian markets.

 

Titles include: HALLOWED GROUND (2006); NEVER CRY WEREWOLF (2007); YETI: CURSE OF THE SNOW DEMON (2007), BEAUTY AND THE BEAST (2009) and BURNING MUSSOLINI (2008) which was chosen for the Official Selection at the Montreal World Film Festival.

 

In 2010, Gozlan’ award-winning dramatic feature, BEAUTIFUL BOY starring Maria Bello (“A History Of Violence”) and Michael Sheen (“Kingdom Of Heaven”) and singer/songwriter Meatloaf earled prestigious FIPRESCI Discovery Award at the Toronto International Fil Festival before continuing to earn critical acclaim at the San Sebastien and Tokyo International Film Festivals.

 

In 2011, Gozlan produced and released CARJACKED an action packed thriller starring Stephen Dorff and Maria Bello before moving on in 2012 to create the first of several Slate Financing portfolios designed to take advantage pf preferred position financing transactions in the entertainment industry. Goldrush Entertainment Film Financing (GREFF). GREFF I which launched in 2013, helped finance the Nicolas Cage, Danny Glover Action/Thriller TOKAREV while GREFF II helped finance the acquisition of a library of 12 titles including the multi-award winning BEST OFFER by Director Guiseppe Tornatore (Cinema Paradisol) starring Geoffrey Rush and Donald Sutherland

 

More recently Gozlan produced, LOST AFTER DARK (2013) starring Robert Patrick (“Terminator 2”) and Eve Harlow (“The 100”) and the Psychological Thriller STANDOFF (2014) starring Thomas Jane (“Hung”) and Laurence Fishburne (“The Matrix”).

 

Gozlan is currently developing the psychological thrillers: OLD MAN, GUNNER and BAD MONDAY  as well as the biopics NINE… TEN… AND OUT!: The life of prizefighter Emile Griffith.

 

 

LEE CLAY Producer

 

Mr. Clay is an award winning feature producer with more than 10 produced features under his belt.  Most recently, Clay produced NO GOOD DEED starring Idris Elba and Taraji Henson, which opened #1 at the US box office and has grossed over $53m domestically.  Clay’s other notable credits include DEMONIC for James Wan, director of THE CONJURING, COMET starring Emmy Rossum and Justin Long for IFC, Sundance entry VERY GOOD GIRLS starring Dakota Fanning and Elizabeth Olsen, SXSW Jury Award Winner 96 MINUTES starring Brittany Snow, Evan Ross, and David Oyelowo, and TIFF award winner BEAUTIFUL BOY starring Michael Sheen and Maria Bello.  Clay is currently in development on a slate of features including INK AND BONE for TWC/Dimension, OPERATION DOWNSTRIKE and THE CUL DE SAC with Tyler Perry’s 34th Street Films, TWO GUYS FROM VERONA with Jeremy Garelick, and SHOVELING SNOW starring Quvenzhane Wallis among others.

 

Mr. Clay began his career at Dreamworks SKG where he worked under Steven Spielberg and Bonnie Curtis on A.I. ARTIFICIAL INTELLIGENCE, MINORITY REPORT, RED EYE, and THE CHUMSCRUBBER, which he Co-Produced.

 

TOVE CHRISTENSENProducer

 

Tove Christensen is the co-founder of Maple Leaf Films and the president of Glacier Films, a film finance and production company under which banner he has produced the Elijah Wood starrer, COOTIES (sold to Lions Gate at Sundance 2014) alongside Paranormal Activity creator Steven Schneider who is signed to a multi-picture deal and with whom went on to shoot LADY OF CSEJTE in Romania and the Open Road feature THE TANK in Columbus, Ohio.  He also produced action vehicle OUTCAST (Nicolas Cage, Hayden Christensen) in China in 2014 as well as crime drama AMERICAN HEIST (Adrien Brody) in Louisiana.  Mr. Christensen is also president of Forest Park Pictures owned with his brother, actor Hayden Christensen.  He was nominated as producer for an Independent Spirit Award for Best Picture for the critically acclaimed film SHATTERED GLASS (Hayden Christensen) which Forest Park Pictures produced with Tom Cruise and Paula Wagner.  He produced the Fred Durst directed film THE EDUCATION OF CHARLIE BANKS (Jason Ritter, Jesse Isenberg, Brad Anderson) and directed VANISHING ON 7TH STREET. Forest Park completed first-look deals with New Line Studios and Bauer Martinez Studios, and currently has a multi-picture deal with Screen Gems.  He is a graduate of the University of Pennsylvania.

 

MICHAEL WEXLER – Producer

 

Michael Wexler is the co-founder of Maple Leaf Capital, an investment management company with offices in Los Angeles, London, and Hong Kong. Founded in 2002, the firm manages client assets in hedge funds (volatility trading, crash overlay strategies, illiquid assets), real estate (luxury hotel development, retail and residential value-add), and film finance (Maple Leaf Films). Prior, he was at Credit Suisse First Boston in London for four years establishing and managing the single stock derivative trading group focused on global single stock volatility and correlation trading.  He began his career in currency derivatives with Citibank Toronto and London for five years.  Mr. Wexler graduated with distinction from the Richard Ivey School of Business at the University of Western Ontario in 1993.

 

 

LAURENCE FISHBURNE Sade

 

Laurence J. Fishburne III has achieved an impressive body of work not only as an actor but also as a producer and director.

 

In 1992, he won the Drama Desk, Outer Critics Circle, Theatre World, and Tony Awards for his portrayal of Sterling Johnson in August Wilson’s TWO TRAINS RUNNING, directed by Lloyd Richards. The following year, his performance as Martin in “The Box” episode of the television series TRIBECA, directed by Michael Dinner, earned him an Emmy Award. The following year, he was an Academy Award nominee as Best Actor for his portrayal of Ike Turner in Brian Gibson’s WHAT’S LOVE GOT TO DO WITH IT, opposite Academy Award nominee Angela Bassett.

 

Mr. Fishburne was later an Emmy Award nominee for his portrayal of Thurgood Marshall, broadcast as an adaptation of his one-man show, THURGOOD.  He originated the role in the Broadway debut of the play, written by George Stevens, Jr. and directed Leonard Foglia, again earning a Tony Award nomination and winning Drama Desk and Outer Critics Circle Awards. He also reprised the portrayal at Los Angeles’ Geffen Playhouse and at the Kennedy Center in Washington, DC.

 

He was an Emmy Award nominee and an NAACP Image Award winner for his starring role in the telefilm MISS EVERS’ BOYS, which he executive-produced.  Based on the true story of the Tuskegee Study, MISS EVERS’ BOYS was awarded five Emmy Awards, including Outstanding Made for Television Movie and the coveted President’s Award, which honors a program that illuminates a social or educational issue. Alfre Woodard portrayed Miss Evers in the telefilm, directed by Joseph Sargent.

 

Mr. Fishburne has been acting since the age of 10, starring on the daily television drama ONE LIFE TO LIVE before making his feature film debut at age 12 in CORNBREAD, Earl and Me, directed by Joseph Manduke. At 14, he was cast in a show being staged by the Negro Ensemble Company and also accepted to the High School of Performing Arts. At age 15, he was cast in Francis Ford Coppola’s classic APOCALYPSE NOW.

 

His many other motion pictures include Academy Award nominee John Singleton’s BOYZ N THE HOOD; Richard T. Heffron’s telefilm A RUMOR OF WAR; Michael Schultz’s telefilm FOR US THE LIVING: The Medgar Evers Story; RUMBLE FISH, THE COTTON CLUB, and GARDENS OF STONE, all directed by Francis Ford Coppola; Steven Spielberg’s THE COLOR PURPLE; Spike Lee’s SCHOOL DAZE; Abel Ferrara’s KING OF NEW YORK; Robert Markowitz’s telefilms DECORATION DAY and THE TUSKGEE AIRMEN, for which he received an NAACP Image Award as well as Golden Globe, Emmy and CableACE Award nominations; Michael Apted’s CLASS ACTION and telefilm ALWAYS OUTNUMBERED, the latter adapted by Walter Moseley from his own book and executive-produced by Mr. Fishburne; Bill Duke’s DEEP COVER and HOODLUM, the latter of which he executive-produced; Steven Zaillian’s SEARCHING FOR BOBBY FISCHER; Mr. Singleton’s HIGHER LEARNING, for which Mr. Fishburne won an NAACP Image Award; Oliver Parker’s OTHELLO, opposite Kenneth Branagh and Irène Jacob; the Wachowksis’ three blockbuster THE MATRIX movies; Clint Eastwood’s MYSTIC RIVER; Emilio Estevez’s BOBBY, for which he shared a Screen Actors Guild Award nomination with his fellow actors from the ensemble; Nimród Antal’s ARMORED and PREDATORS; Jon Avnet’s “Hallmark Hall of Fame” telefilm HAVE A LITTLE FAITH; Tim Story’s sleeper hit RIDE ALONG; and Zack Snyder’s MAN OF STEEL and upcoming BATMAN VS. SUPERMAN.

 

His company Cinema Gypsy Productions, has made the movies AKEELAH AND THE BEE, written and directed by Doug Atchison and starring Keke Palmer, and named Outstanding Motion Picture at the Black Movie Awards; FIVE FINGERS, co-written and directed by Laurence Malkin and starring Ryan Phillippe; and ONCE IN THE LIFE. The latter was adapted and directed by Mr. Fishburne from his acclaimed stage play RIFF RAFF, which he had written and directed as the first production under his LOA Productions banner, in Los Angeles and at New York’s Circle Repertory Company.

 

Through Cinema Gypsy, he is slated to executive-produce and star in THE RIGHT MISTAKE, a dramatic television series for HBO. For the show, Mr. Fishburne will be reprising his portrayal of author Walter Moseley’s Socrates Fortlow character, whom he had previously portrayed in the telefilm ALWAYS OUTNUMBERED. Mr. Moseley will also be an executive producer on THE RIGHT MISTAKE.

 

In 1999, he starred as King Henry II, opposite Stockard Channing, in the Roundabout Theater Company’s Broadway revival of James Goldman’s THE LION IN WINTER, staged by Michael Mayer.

 

In 2006, he starred in Alfred Uhry’s drama WITHOUT WALLS, directed by Christopher Ashley, at the Center Theatre Group’s Mark Taper Forum in Los Angeles, and was awarded Best Actor at the NAACP Theater Awards. That same year, Mr. Fishburne reteamed with his frequent acting partner Angela Bassett at The Pasadena Playhouse in August Wilson’s Fences, directed by Samuel Epps; the production broke the Playhouse’ sales record with a sold-out run.

 

He can currently be seen alongside Anthony Anderson and Tracee Ellis Ross in the hit ABC series BLACK-ISH, for which he serves as executive producer. His performance garnered him a Peoples’ Choice Award nomination for Favorite Actor in a New TV Show and a NAACP Image Award win for Outstanding Supporting Actor in a Comedy Series. He also appears alongside Hugh Dancy and Mads Mikkelsen in the NBC thriller series HANNIBAL. Previously, he starred for three seasons on the hit series CSI:CRIME SCENE INVESTIGATION.

 

Mr. Fishburne serves as an Ambassador for UNICEF. In 2007, he was honored by Harvard University as Artist of the Year for his Outstanding Contributions to American and International Performing Arts as well as his humanitarian contributions.

 

 

THOMAS JANE Carter

 

An accomplished producer, director and comic book author, Thomas Jane is most widely regarded for his impressive acting career.

 

Thomas Jane had a breakout performance in Paul Thomas Anderson’s BOOGIE NIGHTS (1997). From there, he became a prominent face in several high-profile features, including DEEP BLUE SEA (1999), THE PUNISHER (2004), THE MIST (2007), and DARK COUNTRY (2009), the last of which he also directed.

 

Jane played the lead role in both HBO’s hit sports drama 61 (2001) and the comedy-drama series HUNG (2009-2011). For his performance in the HUNG, Jane earned three Golden Globe “Best Actor in a Television Series” nominations. He is currently starring in the upcoming SYFY series, THE EXPANSE, written by IRON MAN scribes Mark Fergus and Hawk Ostby.

 

Jane’s recent films include, SOMNIA, THE VEIL, VICE, DRIVE HARD, and STANDOFF, in which he stars opposite Kate Bosworth, Jessica Alba, Bruce Willis, John Cusack, and Laurence Fishburne, respectively. Additionally, Jane just wrapped BROKEN DOGS, and History Channel’s TEXAS RISING as part of an ensemble that includes Bill Paxton, Ray Liotta, Brendan Fraser, and Olivier Martinez. Jane starred alongside Sylvester Stallone, Kelsey Grammer, and Kyra Sedgwick in writer-director John Herzfeld’s REACH ME, which was released last month.

 

Jane co-created RAW Studios, a comic book and graphic novel media company. Under this mantle, he has written and released comic books including Bad Planet.

 

 

ELLA BALLENTINE Bird

 

At the young age of 13, Ella Ballentine is already a seasoned actor in film, television and stage. She began her performing career at the age of four, studying classical ballet which soon emerged to other dance disciplines and then broadened to encompass vocal training and then acting.

 

Ella’s professional acting career launched in 2010 playing Francis Perks in Mirvish Productions’ THE RAILWAY CHILDREN, which was followed by a ballet dancing role in Jörgen’s THE NUTCRACKER during its Toronto run. She then landed a lead role in NUMBERS, a Triple Threat Production at the Toronto Fringe Festival, for which she received a Best Performance in Live Theatre nomination for the 2013 Young Artist Award. She also received a Best Supporting Young Actress nomination for her role as Karen in the Hallmark movie BABY’S FIRST CHRISTMAS.

 

Ella has since performed leading and supporting roles on such high profile projects as Atom Egoyan’s feature THE CAPTIVE (official selection for the 2014 Cannes Film Festival) and Jason Stone’s THE CASTING, as well as Mario Azzopardi’s TIME TREMORS.
Ella recently wrapped production as a lead on STANDOFF a thriller starring Thomas Jane and Laurence Fishburne. She also recently completed filming a recurring role on the highly successful CW series REIGN.

 

Ella has been nominated three times for the Young Artist Award (2013-2015) in Los Angeles. When not filming, Ella is often found in the dance studio training in classical ballet and jazz at the competitive level.  A soprano singer, her vocal passions include jazz, pop and classical variations.

 

 

JOANNA DOUGLAS Mara

 

Joanna’s is best known to audiences for her portrayal of “Samantha” in the CBC/E4 (UK)/SoapNet (USA) television series BEING ERICA. Other television credits include the recurring role of “Shell Jenkins” in ABC’s HAPPY TOWN as well as guest starring roles on THE LISTENER (CTV), SUITS (USA Network), SAVING HOPE (NBC/CTV), WAREHOUSE 13 (SyFy), PERCEPTION (TNT), ROOKIE BLUE (ABC/Global), FLASHPOINT (CBS/CTV), REPUBLIC OF DOYLE (CBC), HEARTLAND (CBC), THE BORDER (CBC) and leading roles in the television movies TAKING A CHANCE ON LOVE (Hallmark) and ALL THE GOOD ONES ARE MARRIED (Lifetime). On the big screen, Joanna can be seen in SAW VII, HELLO OCTOBER, THE FOUR HORSEMEN, ST ROZ, NEW YEAR and most recently Guillermo del Toro’s upcoming CRIMSON PEAK.

 

JOHN TENCH Roger

 

Mr Tench began acting professionally in 1978 and has worked in Stage, Television and Film since then.  He was born in Madison, Wisconsin, USA and raised in Canada. He began his career in Toronto and quickly moved on to further his studies with classical training in New York City, London and Europe. He is a long standing member of Screen Actors Guild, ACTRA, CAEA and UBCP.

 

John has over one hundred Film and Television lead and guest starring roles including:  THE COLONY, WATCHMEN, SHOOTER, BROKEBACK MOUNTAIN, REPEATERS, TOOTH FAIRY and EARTHSEA.  He has worked with such great directors as Ang Lee, Antoine Fuqua and Zach Snyder.  His television credits include COPPER, FRINGE, CRACK’D, PSYCH, SUPERNATURAL, STARGATE, LOST GIRL and go back to OUTER LIMITS and the X-FILES. He has also had regular roles in the critically acclaimed TV Series, INTELLIGENCE and DA VINCI’S INQUEST, the APTN hit BLACKSTONE as well as THE CROW, ANDROMEDA and COLD SQUAD. He recently joined the cast of the hit show THE MURDOCH MYSTERIES as the renowned inventor, Alexander Graham Bell.

 

John also teaches Acting and his credits include many years as an Instructor at various institutions such as the prestigious Corona Stage Academy in London, England. Most recently he was a Senior Acting Instructor and Director at New Image College in Vancouver in both the Theatre and Film Programs. He has toured and taught throughout Ontario in The Artists in the Schools Programs. He has conducted numerous workshops in Canada and the US. He is a noted North American and International Dialects coach and has many Cartoon and Animation credits. He is currently working on Watch Dogs as T Bone in the new hit Video Game for Ubisoft.

 

In the 1980’s John also founded the influential Theatre Company, The Theatre Kathartic performing, directing and touring shows internationally. The Company has produced dozens of original works and plays including: Chekov’s THREE SISTERS, JULIUS CAESAR, SUICIDE IN B FLAT, COLLECTED WORKS OF BILLY THE KID, SAVAGE IN LIMBO, TWELVE ANGRY MEN, SLEUTH and many more. He has also written a number of Screen Plays and is a published poet.

 

JIM WATSON Officer Baker

 

Jim Watson grew up in Northern Ontario, Canada. He caught the acting bug after he was forced to do an after school musical with the drama club. His teacher gave him an ultimatum: do the play or fail the course. After that, his career was decided. Jim is a classically trained actor who has been working steadily in film and television for the last two years. He has appeared as a recurring character on BBC America’s COPPER, and on FX/FX Canada’s THE STRAIN. He also guest starred on The CW’s ‘Reign’ and CBC’s ‘MURDOCH MYSTERIES’.  Jim recently shot an episode of USA’s ‘SUITS’, and the feature film ‘CRIMSON PEAK’ w/Tom Hiddleston, and just completed the new Netflix/Rogers series ‘BETWEEN’.

 

 

LAURA DE CERTERET Woman (40’s)

 

A working artist for the past 25 years, Ms. de Carteret has made numerous appearances in feature films, movies of the week, episodic television and performed on stages across the country and abroad. Selected feature films include: STANDOFF, GOD AND COUNTRY, THE CONSPIRACY, RED, CHLOE, THE ROCKER, DIARY OF THE DEAD, SHOOT ‘EM UP, DAWN OF THE DEAD and MEAN GIRLS. Most recently, Ms. de Carteret wrapped the second season of the critically acclaimed comedy series SEED for which she was nominated for a 2013 Canadian Screen Award for ‘Best Supporting Actress in a Comedy’. Other selected guest appearances for television include: HEMLOCK GROVE, TRANSPORTER, SUITS, LOST GIRL, THE LA COMPLEX, MURDOCH MYSTERIES, THE LISTENER, MY BABYSITTER’S A VAMPIRE, SILENT WITNESS, ROOKIE BLUE, GOOD DOG and FLASHPOINT. Recent stage appearances include: THE BEAUTY QUEEN OF LEENANE (Neptune), TOUT COMME ELLE (Luminato Festival) and HAMLET (World Stage Festival) for which she received a 2011 Dora Nomination for ‘Best Actress in a Leading Role’. Ms. de Carteret has narrated numerous documentaries for the CBC as well as the NFB and has voiced dozens of radio spots and cartoons. She resides in Toronto with her daughter and her Brittany Spaniel named Zoey.

 

ABOUT GOLDRUSH ENTERTAINMENT

______________________________________________________________________________________________________________________________________________________

 

Goldrush is a fully operational, Montreal-based production and distribution house forging new standards in the independent film market.

 

Lighting-up screens in both Canada and the United States, we unite talented filmmakers with qualified investors by utilizing proven risk analysis and effective quality control at every stage of development, production and post-production.

 

Goldrush produces compelling and relevant entertainment, consistently enhancing shareholder value through a commitment to excellence and years of experience in the business. Capitalizing on our creative strengths and deepening our relationships with both audiences and investors while teaming with bankable and exceptional filmmakers, Goldrush is positioned to achieve continued success creatively with a focus on growth and monetization.

 

Goldrush head office is located in Montreal with strong representation in Toronto and Los Angeles.

 

 

 

CREDITS

______________________________________________________________________________________________________________________________________________________

 

 

Saban Films / Voltage Pictures presents

 

Goldrush Entertainment and Maple Leaf Films

 

In association with First Point Entertainment present

 

 

 

 

Written and Directed by

Adam Alleca

 

Produced by

Eric Gozlan, p.g.a.

Lee Clay, p.g.a.

 

Producers

Tove Christensen

Michael Wexler

Laurence Fishburne

Thomas Jane

 

STANDOFF

 

Ella Ballentine

Joanna Douglas

Jim Watson

John Tench

Laura De Carteret

Tim Atherton

 

Executive Producer

Richard Iott

Hayden Christensen

George Castrounis

 

Executive Producer

Bernard Bourret

Laurence Fishburne

Thomas Jane

 

 

Executive Producer

William V. Bromiley

Ness Saban

 

 

Director of Photography

Zoran Popovic

 

Production Designer

Jenny Plaunt

 

Editor

Susan Maggi

 

Co-Producer

Rosie Komadina

 

Music

Austin Wintory

 

Costume Design

Ton Pascal

 

Casting

Stephanie Gorin CSA, CDC

 

Production Manager Bernard Bourret  
First Assistant Director Elizabeth Scherberger  
Second Assistant Director Bob Glover  
 
Associate Producers George Thomas Damasco  
Mark Weissman  
 
CAST  
(in order of appearance)  
 
Carter Thomas Jane  
 

Mara

 

Joanna Douglas

 
 

Sam

 

J.J. Dimichele

 
 

Roger

 

John Tench

 
Bird Ella Ballentine  
 

Priest

 

Tim Atherton

 
Woman  

Laura De Carteret

 
 

Bodyguard

 

Darcy Roy

 
 

Sade

 

Laurence Fishburne

 
 

Officer Baker

 

Dispatcher

 

Jim Watson

 

 

Craig Porritt

 
 

Stunt Coordinator

 

Eric Bryson

 
Rob Racki  
 

Stunt Rigger

 

Ed Queffelec

 
 

Stunts

 

Bobby Brown

 
Sharon Canovas  
 

Stand Ins

 

Dunbar Thompson

 
Matt Conners  
Sadie Gowlett  
 
3rd Assistant Director Robbin “Goose” MacDonald  
Set PA Ryan Walker  
 
Camera Operator A John Askwith  
Keith Hlady  
First Assistant Camera A Jim Saysana  
Second Assistant Camera Sean Foley  
Steadicam / Camera Operator B Yoann Malnati  
First Assistant Camera B Craig Morgan  
DMT Erik Greensmith  
Camera Trainee Luke Grandmont  
Natasha Belisle  
Stills Photographer Melissa Conners  
 
Gaffer James Holloway  
Best Boy Ryan Wiseman  
Electrician Adam Horwood  
 
Key Grip Patrick Thompson  
Best Boy Shane Kirkpatrick  
Grip Donni Bobbiwash  
 
Production Sound Mixer Alex Turner  
Boom Operator Erik Southey  
Sound Trainee Darcy Lavallee  
 
Assitant Art Director Trainee Cory Hawke  
Emily Macrea  
Scenic Painter Dylan Cook  
Construction Cameron Adams  
 
Set Decorator Keith Bowser  
Set Dresser Stephanie Maione  
Key Scenic Greg Palmer  
 
Prop Master Curtis Harrison  
Props Assistant / On Set Dresser Michael Hope  
 
Special Effects Coordinator Max MacDonald  
Special Effects Supervisor Paul Bosak  
1st Assistant Special Effects Richard Hypolite  
 
Wardrobe Truck Supervisor Sarah Martin  
Wardrobe Set Supervisor Tammy Fiegehen  
 
Key Make-up Oriana Rossi  
Key Hair Brandi Boulet  
Hair & Make Up Assistant Nina Stephen  
 
Prosthetics Designer David Scott  
Prosthetics Cassandra Willms  
Daily Prosthetics Zane Knisely  
 
Script Supervisor Cassandra Frechette  
 
Location Manager Robin Brinsmead  
  Location PA Liam White  
 
Casting Assistant Joe Bostick  
 
Assistant to Mr. Fishburne Greg Haynes  
Assistant to Mr. Gozlan Amanda Ihnatowicz  
 
Production Accountant John Roy  
Assistant Accountant James Castellani  
 
Production Coordinator Catherine Sample  
Assistant Production Coordinator Mark Corbin  
Production Office Assistant Jennifer Mathewson  
 
Educational Liaison Laurel Bresnahan  
Tutor Brent Edwards  
 
Animal Wrangler Don Robert  
 
First Aid Superior Emergency Services  
Algoma District Services Administration Board  
 
CTS Unit Manager Rick Minke  
CTS Unit Coordinator Cindy Minke  
Transportation Coordinator Dan Minke  
Transportation Captain Roy Aason  
Drivers Larry Wooly  
Verlyn Edgar Robinson  
Jordan Vernelli  
Derrick Smith  
 
Catering provided by Dish Catering  
Chef Jenn Bellerose  
 
Craft Services Twisted Sisters Craft & Catering  
Christina Tarini  
Assistant Craft Services Jason Ross  
 
PRODUCTION INTERNS  
Josh Rogers Danial O’Brien  
Michelle Edgar Frank Demarco  
Nicole Denomme Tristan Sacrey  
Mikey Brisson Noelle Willick  
Andrew Van Midde Gerard Kelling  
Emily Patterson Courtney Guertin  
Loretta Prevost Andre Gagnon  
 
POST PRODUCTION  
 
Post Production Supervisor Michael B. Forsey  
Post Production Coordinator Brandon Tobia  
 
1st Assistant Editor Bob Doyle  
 
Post Production Services by  
The Rolling Picture Company  
 
Dailies Technician Scott Hannigan  
Post Production Technician David Hermiston  
Digital Colorist Drake Conrad  
Online Editor Kevin O’Donnel  
 
Post-Production Sound by  
Tattersall Sound & Picture  
 
Sound FX Editor David Rose  
Paul Germann  
Dialogue Editor Barry Gilmore  
Re-Recording Mixer Matthew Chan  
Graham Rogers  
Assistant Re-Recording Mixer Alex Aslund  
Foley by Footsteps  
 
Visual Effects by  
 Dreamdust VFX  
Belgrade, Serbia  
 
VFX Producer & Creative Supervisor Bogdan Marjanovic  
VFX Producers Alek Budimlic  
Tijana Zivkovic  
VFX Supervisor Doca Mladenovic  
Animator Goran Rubil  
Lighting Artist Nemanja Andrejevic  
TD Srdjan Crnjanski  
Modeling, Texturing Artist Zeljko Tasic  
Matte Painter Borivoje Mikic  
Compositing Artists Andija Trickovic  
Ivan Pejkic  
Nikola Panic  
 
Original Score Composed and Produced by  
Austin Wintory  
Cello Solos by Tina Guo  
Banjo Solos by Tom Strahle  
Custom Synth Design by Umlaut Lab  
 
Financial Consultant Jacqueline Kelly  
Tax Credit Administrator Rosalie Chilelli  
EPK Randy Morton  
 
Financing in Association with Maple Leaf Finance  
 
Camera Equipment provided by  
Clairmont Camera  
 
Generators, Grip & Electric Equipment  
Trailers, Trucks & Production Equipment  
Provided by  
Canadian Technical Services  
 
Walkies provided by Total Two Way  
 
Accommodations provided by Comfort Suites Inn  
 
Payroll Services by Ease Entertainment Services  
Production Insurance MultiMedia Risk  
Legal Counsel Provided by Joe Sisto  
Claire Benoit  
 
“Enter One”  
Created by Sol Seppy  
 
The Producers Wish to Thank  
Jamie Affifi Suzanne T. Arness  
Anastassia Astapova Leone Barnett  
Sue Bell Sarita Benchimol  
Erika Canchola Sharon Dishner  
Christopher Durrand Paula Durrand  
George Eckstein Ilka Eckstein  
Ronald W. Erb Jeff Finklestein  
Vic Fremlin Aida Gozlan  
Audi Gozlan Craig Holmberg  
Lenny Iozzo Aimee Lagos  
Jaida Lagos-Clay Melanie Muncaster  
Douglas Robertson Andrew Ruf  
Helen Sugland Ryan Tallmadge  
David Torres Harris Tulchin  
Paula Turner Ben Weiss  
 
 
 
 

 

 

 

STIN .ybrocThe Director Wishes to Thank

 
 
Ashley Beyer  
Naren Desai  
Paul Solet  
Ty Williams  
Steven Schneider  
Lance Heybrock  
 
Special Thanks to  
 
Northern Ontario Heritage Fund Corporation  
Sault College Wacky Wingz  
Hakim Optical WEN by Chaz Dean  
 
Filmed Entirely In and Around Sault Ste. Marie, Ontario  
 
 
The events and characters depicted in this motion picture are fictitious.  Similarity to actual persons, living or dead, or actual events is coincidental.  
 
Standoff The Movie Inc. is the author and creator of this motion picture for the purposes of copyright and other laws in all countries throughout the world.  
 
Ownership of this motion picture is protected by copyright and other applicable laws in the United States and other countries.  Any unauthorized reproduction, duplication, distribution or exhibition of this motion picture or video image or any part thereof (including soundtrack) may result in civil liability and criminal prosecution.

 

 

 

© Goldrush Entertainment Holdings USA, LLC, 2015. All Rights Reserved.

 

 
 
 

 

 

VOLTAGE PICTURES presents

GOLDRUSH ENTERTAINMENT AND MAPLE LEAF FILMS

in association with FIRST POINT ENTERTAINMENT present

LAURENCE FISHBURNE and THOMAS JANE

“STANDOFF”

Casting by STEPHANIE GORIN CSA, CDC   Costume Designer TON PASCAL   Music by AUSTIN WINTORY

Co-Producer ROSIE KOMADINA  Edited by SUSAN MAGGI   Production Designer JENNIFER PLAUNT

 Director of Photography ZORAN POPOVIC

Executive Producers RICHARD IOTT  HAYDEN CHRISTENSEN  GEORGE CASTROUNIS BERNARD BOURRET  LAURENCE FISHBURNE  THOMAS JANE  WILLIAM V BROMILEY NESS SABAN

Produced by ERIC GOZLAN, p.g.a. LEE CLAY, p.g.a.  TOVE CHRISTENSEN  MICHAEL WEXLER

Written and Directed by ADAM ALLECA

© Goldrush Entertainment Holdings USA, LLC, 2015. All Rights Reserved.

“Lost After Dark”: Holy Slasher!

Why is Lost After Dark one of the hits of the year? Why is one of the best revisions of the slasher of recent times? And, above all, why Lost After Dark is the best remake of the classic eighties slashers?

 

If anything define the slasher subgenre is always follows the same rules. You can put some surprises on it, play with the stereotypes or vary the number of murders as many times as you want. You can alter the condition of the killer, hide or reveal their identity, make it a killing deformed machine (probably as a result of a relationship of inbreeding), a vengeful woman or even a nightmare demon. You can choose the best heroine, the so-called “Final Girl” (or “the Chosen One”, see Behind The Mask); a character as valuable and immortal as the psychokiller himself. She got a blend of beauty and intelligence and counts with the sympathy of the audience – unlike the rest of stereotypes . So that’s the reason because kill her is always a resounding and immense kick in the balls!

 

Now, let’s check the qualities that makes Lost After Dark an amazing must-to-seen-movie:

 

No. 1 – Playing God:  Sean, Adrianne, Tobe, Marilyn, Jamie, John, Wes and Heather. All of these names are references which Ian Kessner handles to enjoying us during an hour and twenty minutes of a powerful crappy-slasher so great as the classics. Better that this: Lost After Dark is not just a humorous tribute from those movies that we enjoyed in the 1980s, is precisely this same trump card which supports the foundations of Lost After Dark). The names would come from movies like The Texas Chainsaw Massacre, Halloween, Nightmare on Elm Street or Friday the 13th, main references for structuring this clever debut. Kessner made a magnificent combination of all those archetypes used by the “fathers of the slasher” and repeat, with treachery and wonder, the formulas used by those. Fuckin’ brilliant!

 

No. 2 – My cards are jumbled?! What’s the nature of the game that Kessner is playing? As Jeopardy!, you know the answer before to make the right question… even blindfolded!  But  it never prevents you to enjoy the experience from beginning to end.  Please, pay attention to certain details that makes Lost After Dark so surprising and exciting. Despite being a quite referential film, nothing is said and nothing is made. There is a long way to go. A room for surprise.

 

No. 3 – A cannibal closet wants to rip off my head! Best of the psychokiller in Lost After Dark is he doesn’t wear a mask, is letal and omnipresent and even dares to say the first line at the beginning of the film. It is not the best history – even the best of its own history -, but dammit, there is so much nostalgia and affection in the character that we love him! However, it is inevitable to not remember savagery of, for example, Victor Crowley in Hatchet, because at the end, and after all, what everybody want to see is the dismemberment of these stupid teenagers. We have already seen it on countless occasions, but it is always great to be able to enjoy it again!

 

No. 4. – Lost After Dark is harder than a rock. When you googled Lost After Dark in the network, the first thing to read is: “Horror comedy”; and therefore you think that it’s a comedy. Epic fail! It’s not just intended to be funny. Really wants, and indeed really is, a horror movie. Although it seems a joke, taken seriously until its jokes:  from the larceny of the bus, passing by the Terminator escape plan, the romance between the fat boy  and the girl in leather jacket or the pendant suspiciously found on the farm…  Be afraid, because shock and thriller are insured; surprisingly Lost After Dark is much more effective than the 50% of commercial productions of terror looming head by billboards.

 

No. 5 – Highschool nerds played by real highschool nerds. It’s not really shocking to see a thirty-years-old  guy making ridiculous as a teenager in a movie. Paradoxically, you find an innocent and childish cast dressed up with eighties trends and ready to be killed. Despite not being more than clichés, some faces are welcome: a nice scream-queen like Elise Gatien, gorgeous  Eve Harlow and a hateful Alexander Carlvert looks perfect in their roles! Not bad!

 

No. 6 – Those Golden Years.  The eighties are blurred in black, veiled frames ane huge red poster illustrated lyrics (see the wonderful poster, perhaps one of the best this year), tore up the wind noise, deaths in chain… one after another. People who step on a trap for bears and rises as if he had just stepped on a cloud. People who jump from the roof of his house and rises as if it had just get off the couch… Such things doesn’t happen on these days. And when it happens (or at least try to), it always runs the risk of falling into the artificial. Lost After Dark search, compulsively, the likelihood of a film of that era (the glorious 80s) and often get it. That’s the reason why Kessner debut worth so much, because it is achieved, and because it is a joy pretty unusual.

 

No. 7 – The splatter never disappoints you.  If something was clear with the aforementioned Hatchet is that gore raises points easy. How much more brutality and more eye-catching are the killings, more to taste remains one seeing as they mangle to kids so heavy and/or unpleasant. Lost After Dark doesn’t reach the extreme exploitation of Hatchet, but flirts with gore and splatter as to approve with note. Effects, artisan, resolute, and without major fanfare, never disappoint you, which is important.

 

No. 8 – We also want to die quietly. An important aspect of Lost After Dark is the structure. Sometimes feeding the audience continuously can decay in boredom (as happened with the exhausting remake of Friday the 13th), so that I am a strong supporter of the “old school”. I defend the leisurely beginning of the classic slashers for two reasons: because to hunt with stealth is never clear when it is going to explode the bomb, and because when it finally explodes there are enough bait to give 40 frantic minutes of carnage. Good job! In conclusion, I believe that watching Lost After Dark we get a single really important reading: enjoy. Without a doubt, I’ve done it. A highly recommended!

 

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