Looking for a bit of mystery? The best of British streamer BritBox is heading into the new month with a crime-heavy collection of new film and TV titles! The month will kick off with the BritBox exclusive serial adaptation of the Agatha Christie mystery “Murder Is Easy,” starring David Jonsson and Penelope Wilton. Continue throughout March for repeat offenders, like Season 2 of the multi-bafta Award-winning anthology series “Time,” the complete 12-season police procedural program “Trial & Retribution,” or the 1990s crime drama “Killer Net.”
Check out The Streamable’s top picks for BritBox’s latest additions and learn everything coming to the streamer this March!
7-Day Free Trial $8.99+ / month BritBox.com What are the 5 Best Shows and Movies Coming to BritBox in March 2024? “Agatha Christie's Murder Is Easy” | Friday, March 1
David Jonsson leads the cast as the young and ambitious Luke Fitzwilliam in the recent BBC One Christie adaptation. Arriving from...
Check out The Streamable’s top picks for BritBox’s latest additions and learn everything coming to the streamer this March!
7-Day Free Trial $8.99+ / month BritBox.com What are the 5 Best Shows and Movies Coming to BritBox in March 2024? “Agatha Christie's Murder Is Easy” | Friday, March 1
David Jonsson leads the cast as the young and ambitious Luke Fitzwilliam in the recent BBC One Christie adaptation. Arriving from...
- 2/29/2024
- by Ashley Steves
- The Streamable
The true story of golf's 1913 U.S. Open is full of the stuff inspiring movies are made of: underdog triumph, the breaking of class barriers, a down-to-the-wire showdown. In his first nonfiction book, "The Greatest Game Ever Played", writer-producer Mark Frost exhumed the event that once riveted the nation -- an unlikely match between a 20-year-old amateur and the game's reigning champ. He adapts the tale to the big screen with economy but not without conceding to certain rules of the genre; there's a familiarity to the saga as it hits predictable plot points. Still, actor-turned-helmer Bill Paxton has fashioned solid family entertainment in this well-cast feature, which in turn should provide solid boxoffice returns.
If the film makes its points early and sets out on an obvious trajectory, Paxton's love of the game is evident throughout. He and cinematographer Shane Hurlbut inject pizzazz into the proceedings with ball's-p.o.v. shots and telescoping effects. Although the story can't escape a certain sentimentality, Paxton leavens the inspirational element with admirable dramatic restraint, particularly in the two central performances.
Shia LaBeouf is full of quiet determination as Brookline, Mass., boy Francis Ouimet. He's been obsessed with golf since he began caddying at a tender age at the country club across the street from his working-class parents' home. From his Irish mother (Marnie McPhail) he receives undying encouragement, while his wary French father (Elias Koteas, bringing an affecting complexity to what could have been a by-the-numbers role) sees only heartbreak ahead for a poor boy dabbling in a gentleman's game.
But with the support and coaching of golfer Hastings (Justin Ashforth) and pro-shop expert Campbell (Luke Askew), Francis makes his way onto the green as a player, nabbing amateur titles until he finds himself squaring off in the U.S. Open against world-class players. Further bending the game's etiquette, circumstances leave Francis with a 10-year-old caddie, Eddie (Josh Flitter), who's not much taller than the bag. Eddie feeds Francis wisdom and rhyming pep talks with the delivery of a pintsize Borscht Belt comedian.
If the heart of the story is Francis' pairing with the spunky Eddie, its soul is the unspoken connection between him and his chief competition, Harry Vardon (Stephen Dillane), the British superstar of the game. Despite his professional status, Vardon feels he is the working-class outsider among the moneyed elite. The specter of a crucial moment from his Isle of Jersey childhood, hauntingly depicted in the film's prologue, arises to unnerve him during crucial moments at the tee. With his doleful gaze and self-contained intensity, the estimable Dillane movingly conveys Harry's profound pleasure in Francis' performance.
The fine supporting cast includes Stephen Marcus as Harry's no-nonsense colleague; Peter Firth as the hissable Lord Northcliffe, sponsor of Harry and Ted's stateside expedition; George Asprey as Britain's top amateur, a snob of the first order with a mean talent for smoke rings; Michael Weaver as the defending U.S. champion, a man of frothing nationalistic fervor; Robin Wilcock as the Brit journalist who loves the story; and Peyton List as the Smith girl who takes an interest in Francis, in a subplot that feels tacked-on.
Turn-of-the-century period detail is strong, the Quebec locations striking. A lovely conceit strips away the crowds and noise and leaves Vardon alone on a pristine landscape, while a sequence of rain-soaked golfing benefits from Elliot Graham's dynamic editing. Brian Tyler contributes a rousing, if insistent, score, and opera star Dawn Upshaw appears onscreen to trill a composition by Joe Jackson.
THE GREATEST GAME EVER PLAYED
Buena Vista Pictures/Walt Disney Pictures
A Morra Brezner Steinberg Tenenbaum production
Credits:
Director: Bill Paxton
Screenwriter: Mark Frost
Producers: Larry Brezner, Mark Frost, David Blocker
Executive producer: David Steinberg
Director of photography: Shane Hurlbut
Production designer: Francois Seguin
Music: Brian Tyler
Costume designer: Renee April
Editor: Elliot Graham
Cast:
Francis Ouimet: Shia LaBeouf
Harry Vardon: Stephen Dillane
Lord Northcliffe: Peter Firth
Arthur Ouimet: Elias Koteas
Ted Ray: Stephen Marcus
Eddie Lowery: Josh Flitter
Ted Hastings: Justin Ashforth
Stedman Comstock: Len Cariou
Sarah Wallis: Peyton List
Alec Campbell: Luke Askew
Bernard Darwin: Robin Wilcock
John McDermott: Michael Weaver
Mary Ouimet: Marnie McPhail
Wilfred Reid: George Asprey
Soprano: Dawn Upshaw
Running time -- 120 minutes
MPAA rating: PG...
If the film makes its points early and sets out on an obvious trajectory, Paxton's love of the game is evident throughout. He and cinematographer Shane Hurlbut inject pizzazz into the proceedings with ball's-p.o.v. shots and telescoping effects. Although the story can't escape a certain sentimentality, Paxton leavens the inspirational element with admirable dramatic restraint, particularly in the two central performances.
Shia LaBeouf is full of quiet determination as Brookline, Mass., boy Francis Ouimet. He's been obsessed with golf since he began caddying at a tender age at the country club across the street from his working-class parents' home. From his Irish mother (Marnie McPhail) he receives undying encouragement, while his wary French father (Elias Koteas, bringing an affecting complexity to what could have been a by-the-numbers role) sees only heartbreak ahead for a poor boy dabbling in a gentleman's game.
But with the support and coaching of golfer Hastings (Justin Ashforth) and pro-shop expert Campbell (Luke Askew), Francis makes his way onto the green as a player, nabbing amateur titles until he finds himself squaring off in the U.S. Open against world-class players. Further bending the game's etiquette, circumstances leave Francis with a 10-year-old caddie, Eddie (Josh Flitter), who's not much taller than the bag. Eddie feeds Francis wisdom and rhyming pep talks with the delivery of a pintsize Borscht Belt comedian.
If the heart of the story is Francis' pairing with the spunky Eddie, its soul is the unspoken connection between him and his chief competition, Harry Vardon (Stephen Dillane), the British superstar of the game. Despite his professional status, Vardon feels he is the working-class outsider among the moneyed elite. The specter of a crucial moment from his Isle of Jersey childhood, hauntingly depicted in the film's prologue, arises to unnerve him during crucial moments at the tee. With his doleful gaze and self-contained intensity, the estimable Dillane movingly conveys Harry's profound pleasure in Francis' performance.
The fine supporting cast includes Stephen Marcus as Harry's no-nonsense colleague; Peter Firth as the hissable Lord Northcliffe, sponsor of Harry and Ted's stateside expedition; George Asprey as Britain's top amateur, a snob of the first order with a mean talent for smoke rings; Michael Weaver as the defending U.S. champion, a man of frothing nationalistic fervor; Robin Wilcock as the Brit journalist who loves the story; and Peyton List as the Smith girl who takes an interest in Francis, in a subplot that feels tacked-on.
Turn-of-the-century period detail is strong, the Quebec locations striking. A lovely conceit strips away the crowds and noise and leaves Vardon alone on a pristine landscape, while a sequence of rain-soaked golfing benefits from Elliot Graham's dynamic editing. Brian Tyler contributes a rousing, if insistent, score, and opera star Dawn Upshaw appears onscreen to trill a composition by Joe Jackson.
THE GREATEST GAME EVER PLAYED
Buena Vista Pictures/Walt Disney Pictures
A Morra Brezner Steinberg Tenenbaum production
Credits:
Director: Bill Paxton
Screenwriter: Mark Frost
Producers: Larry Brezner, Mark Frost, David Blocker
Executive producer: David Steinberg
Director of photography: Shane Hurlbut
Production designer: Francois Seguin
Music: Brian Tyler
Costume designer: Renee April
Editor: Elliot Graham
Cast:
Francis Ouimet: Shia LaBeouf
Harry Vardon: Stephen Dillane
Lord Northcliffe: Peter Firth
Arthur Ouimet: Elias Koteas
Ted Ray: Stephen Marcus
Eddie Lowery: Josh Flitter
Ted Hastings: Justin Ashforth
Stedman Comstock: Len Cariou
Sarah Wallis: Peyton List
Alec Campbell: Luke Askew
Bernard Darwin: Robin Wilcock
John McDermott: Michael Weaver
Mary Ouimet: Marnie McPhail
Wilfred Reid: George Asprey
Soprano: Dawn Upshaw
Running time -- 120 minutes
MPAA rating: PG...
- 10/4/2005
- The Hollywood Reporter - Movie News
Empire Pictures
NEW YORK -- There's a certain authenticity of feeling in this film, written and directed by Duncan Roy, about a young man who insinuates himself into the world of the upper class by posing as one of their own. That's because Roy performed a similar stunt between the ages of 17 and 22 and went to prison for his troubles.
Unfortunately, this film based on his experiences is not quite as compelling as the filmmaker's own story might have been, due somewhat to its lackadaisical pacing and jarring shifts of tone but mainly because of the unfortunate decision to present the entire film in a triptych format, with three separate images onscreen at the same time. As it was in recent similar efforts like Mike Figgis' "Timecode", the technique is needlessly distracting and off-putting, and this intimate story is hardly in need of such a device.
Set in the late 1970s, "AKA" presents the misadventures of Dean Page (Matthew Leitch), a handsome and articulate 18-year-old from a lower-middle-class family who has long suffered both the constraints of his upbringing and the often violent abuse of his stepfather. Inspired by his mother's rather deluded notion of being friends with the upper-class customers she waits on at the restaurant at which she works, Dean approaches one of the haughtier ones, Lady Gryffoyn (Diana Quick), and snags a job as an assistant at her gallery.
Soon, Lady Gryffoyn has taken the personable young man under her wing, even inviting him to live temporarily in her house because he has nowhere else to go. But things don't go quite as well with her jealous son, Alex (Blake Ritson), and Dean, taking the advice of his American friend Benjamin (Peter Youngblood Hills), hightails it to Paris, where he, a la "The Talented Mr. Ripley", assumes Alex's identity. He finds himself living with Benjamin and his rich lover (George Asprey), eventually taking Benjamin's place in the older man's affections and home. Meanwhile, his audacious spending on stolen credit cards has attracted the interest of the local police.
Telling his tale at a sluggish, attenuated pace, the director-screenwriter doesn't help matters with his screenplay's often artificial-sounding dialogue and stereotypical characterizations. Also problematic are the shifts in tone -- from realistic drama to comedy of manners to would-be thriller -- and the highly uneven performances. Although Leitch is quite convincing as the duplicitous Dean, several of the supporting players are allowed to indulge their character's more exaggerated traits too often.
But most deleterious is the split-screen approach, which reduces the widescreen image to three small boxes. Inconsistently shifting from framing the action from a variety of angles to simply repeating certain images to presenting other visuals entirely, the technique adds little in the way of illumination and a lot in terms of inducing a migraine. the film suffers from an overeagerness to make the action compelling, with uncertain camera placement and frantic editing at times serving to distract rather than enhance. The choreography by Laurie Ann Gibson (who has a small part as Honey's evil rival) ranges from a baffling and lifeless Tweet video, with its robotic moves and incongruous Flying by Foy, to the exuberant freestyling of the kids in Honey's class. The highlight is the kids' rehearsal for a Ginuwine video: Shot simply, the scene boasts terrific dancing and the story's most powerful dramatic moment.
HONEY
Universal Pictures
A Marc Platt/Nuamerica production
Credits:
Director: Bille Woodruff
Screenwriters: Alonzo Brown, Kim Watson
Producers: Marc Platt, Andre Harrell
Executive producer: Billy Higgins
Director of photography: John R. Leonetti
Production designer: Jasna Stefanovich
Music: Mervyn Warren
Costume designer: Susan Matheson
Editors: Mark Helfrich, Emma E. Hickox
Cast:
Honey Daniels: Jessica Alba
Chaz: Mekhi Phifer
Benny: Lil' Romeo
Gina: Joy Bryant
Michael Ellis: David Moscow
Mrs. Daniels: Lonette McKee
Raymond: Zachary Isaiah Williams
Katrina: Laurie Ann Gibson
As themselves: Missy Elliott, Jadakiss & Sheek, Shawn Desman, Ginuwine, Harmonica Sunbeam, Rodney Jerkins, Silkk, 3rd Storee, Tweet
Running time -- 94 minutes
MPAA rating: PG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
NEW YORK -- There's a certain authenticity of feeling in this film, written and directed by Duncan Roy, about a young man who insinuates himself into the world of the upper class by posing as one of their own. That's because Roy performed a similar stunt between the ages of 17 and 22 and went to prison for his troubles.
Unfortunately, this film based on his experiences is not quite as compelling as the filmmaker's own story might have been, due somewhat to its lackadaisical pacing and jarring shifts of tone but mainly because of the unfortunate decision to present the entire film in a triptych format, with three separate images onscreen at the same time. As it was in recent similar efforts like Mike Figgis' "Timecode", the technique is needlessly distracting and off-putting, and this intimate story is hardly in need of such a device.
Set in the late 1970s, "AKA" presents the misadventures of Dean Page (Matthew Leitch), a handsome and articulate 18-year-old from a lower-middle-class family who has long suffered both the constraints of his upbringing and the often violent abuse of his stepfather. Inspired by his mother's rather deluded notion of being friends with the upper-class customers she waits on at the restaurant at which she works, Dean approaches one of the haughtier ones, Lady Gryffoyn (Diana Quick), and snags a job as an assistant at her gallery.
Soon, Lady Gryffoyn has taken the personable young man under her wing, even inviting him to live temporarily in her house because he has nowhere else to go. But things don't go quite as well with her jealous son, Alex (Blake Ritson), and Dean, taking the advice of his American friend Benjamin (Peter Youngblood Hills), hightails it to Paris, where he, a la "The Talented Mr. Ripley", assumes Alex's identity. He finds himself living with Benjamin and his rich lover (George Asprey), eventually taking Benjamin's place in the older man's affections and home. Meanwhile, his audacious spending on stolen credit cards has attracted the interest of the local police.
Telling his tale at a sluggish, attenuated pace, the director-screenwriter doesn't help matters with his screenplay's often artificial-sounding dialogue and stereotypical characterizations. Also problematic are the shifts in tone -- from realistic drama to comedy of manners to would-be thriller -- and the highly uneven performances. Although Leitch is quite convincing as the duplicitous Dean, several of the supporting players are allowed to indulge their character's more exaggerated traits too often.
But most deleterious is the split-screen approach, which reduces the widescreen image to three small boxes. Inconsistently shifting from framing the action from a variety of angles to simply repeating certain images to presenting other visuals entirely, the technique adds little in the way of illumination and a lot in terms of inducing a migraine. the film suffers from an overeagerness to make the action compelling, with uncertain camera placement and frantic editing at times serving to distract rather than enhance. The choreography by Laurie Ann Gibson (who has a small part as Honey's evil rival) ranges from a baffling and lifeless Tweet video, with its robotic moves and incongruous Flying by Foy, to the exuberant freestyling of the kids in Honey's class. The highlight is the kids' rehearsal for a Ginuwine video: Shot simply, the scene boasts terrific dancing and the story's most powerful dramatic moment.
HONEY
Universal Pictures
A Marc Platt/Nuamerica production
Credits:
Director: Bille Woodruff
Screenwriters: Alonzo Brown, Kim Watson
Producers: Marc Platt, Andre Harrell
Executive producer: Billy Higgins
Director of photography: John R. Leonetti
Production designer: Jasna Stefanovich
Music: Mervyn Warren
Costume designer: Susan Matheson
Editors: Mark Helfrich, Emma E. Hickox
Cast:
Honey Daniels: Jessica Alba
Chaz: Mekhi Phifer
Benny: Lil' Romeo
Gina: Joy Bryant
Michael Ellis: David Moscow
Mrs. Daniels: Lonette McKee
Raymond: Zachary Isaiah Williams
Katrina: Laurie Ann Gibson
As themselves: Missy Elliott, Jadakiss & Sheek, Shawn Desman, Ginuwine, Harmonica Sunbeam, Rodney Jerkins, Silkk, 3rd Storee, Tweet
Running time -- 94 minutes
MPAA rating: PG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
Empire Pictures
NEW YORK -- There's a certain authenticity of feeling in this film, written and directed by Duncan Roy, about a young man who insinuates himself into the world of the upper class by posing as one of their own. That's because Roy performed a similar stunt between the ages of 17 and 22 and went to prison for his troubles.
Unfortunately, this film based on his experiences is not quite as compelling as the filmmaker's own story might have been, due somewhat to its lackadaisical pacing and jarring shifts of tone but mainly because of the unfortunate decision to present the entire film in a triptych format, with three separate images onscreen at the same time. As it was in recent similar efforts like Mike Figgis' "Timecode", the technique is needlessly distracting and off-putting, and this intimate story is hardly in need of such a device.
Set in the late 1970s, "AKA" presents the misadventures of Dean Page (Matthew Leitch), a handsome and articulate 18-year-old from a lower-middle-class family who has long suffered both the constraints of his upbringing and the often violent abuse of his stepfather. Inspired by his mother's rather deluded notion of being friends with the upper-class customers she waits on at the restaurant at which she works, Dean approaches one of the haughtier ones, Lady Gryffoyn (Diana Quick), and snags a job as an assistant at her gallery.
Soon, Lady Gryffoyn has taken the personable young man under her wing, even inviting him to live temporarily in her house because he has nowhere else to go. But things don't go quite as well with her jealous son, Alex Blake Ritson), and Dean, taking the advice of his American friend Benjamin (Peter Youngblood Hills), hightails it to Paris, where he, a la "The Talented Mr. Ripley", assumes Alex's identity. He finds himself living with Benjamin and his rich lover (George Asprey), eventually taking Benjamin's place in the older man's affections and home. Meanwhile, his audacious spending on stolen credit cards has attracted the interest of the local police.
Telling his tale at a sluggish, attenuated pace, the director-screenwriter doesn't help matters with his screenplay's often artificial-sounding dialogue and stereotypical characterizations. Also problematic are the shifts in tone -- from realistic drama to comedy of manners to would-be thriller -- and the highly uneven performances. Although Leitch is quite convincing as the duplicitous Dean, several of the supporting players are allowed to indulge their character's more exaggerated traits too often.
But most deleterious is the split-screen approach, which reduces the widescreen image to three small boxes. Inconsistently shifting from framing the action from a variety of angles to simply repeating certain images to presenting other visuals entirely, the technique adds little in the way of illumination and a lot in terms of inducing a migraine. the film suffers from an overeagerness to make the action compelling, with uncertain camera placement and frantic editing at times serving to distract rather than enhance. The choreography by Laurie Ann Gibson (who has a small part as Honey's evil rival) ranges from a baffling and lifeless Tweet video, with its robotic moves and incongruous Flying by Foy, to the exuberant freestyling of the kids in Honey's class. The highlight is the kids' rehearsal for a Ginuwine video: Shot simply, the scene boasts terrific dancing and the story's most powerful dramatic moment.
HONEY
Universal Pictures
A Marc Platt/Nuamerica production
Credits:
Director: Bille Woodruff
Screenwriters: Alonzo Brown, Kim Watson
Producers: Marc Platt, Andre Harrell
Executive producer: Billy Higgins
Director of photography: John R. Leonetti
Production designer: Jasna Stefanovich
Music: Mervyn Warren
Costume designer: Susan Matheson
Editors: Mark Helfrich, Emma E. Hickox
Cast:
Honey Daniels: Jessica Alba
Chaz: Mekhi Phifer
Benny: Lil' Romeo
Gina: Joy Bryant
Michael Ellis: David Moscow
Mrs. Daniels: Lonette McKee
Raymond: Zachary Isaiah Williams
Katrina: Laurie Ann Gibson
As themselves: Missy Elliott, Jadakiss & Sheek, Shawn Desman, Ginuwine, Harmonica Sunbeam, Rodney Jerkins, Silkk, 3rd Storee, Tweet
Running time -- 94 minutes
MPAA rating: PG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
NEW YORK -- There's a certain authenticity of feeling in this film, written and directed by Duncan Roy, about a young man who insinuates himself into the world of the upper class by posing as one of their own. That's because Roy performed a similar stunt between the ages of 17 and 22 and went to prison for his troubles.
Unfortunately, this film based on his experiences is not quite as compelling as the filmmaker's own story might have been, due somewhat to its lackadaisical pacing and jarring shifts of tone but mainly because of the unfortunate decision to present the entire film in a triptych format, with three separate images onscreen at the same time. As it was in recent similar efforts like Mike Figgis' "Timecode", the technique is needlessly distracting and off-putting, and this intimate story is hardly in need of such a device.
Set in the late 1970s, "AKA" presents the misadventures of Dean Page (Matthew Leitch), a handsome and articulate 18-year-old from a lower-middle-class family who has long suffered both the constraints of his upbringing and the often violent abuse of his stepfather. Inspired by his mother's rather deluded notion of being friends with the upper-class customers she waits on at the restaurant at which she works, Dean approaches one of the haughtier ones, Lady Gryffoyn (Diana Quick), and snags a job as an assistant at her gallery.
Soon, Lady Gryffoyn has taken the personable young man under her wing, even inviting him to live temporarily in her house because he has nowhere else to go. But things don't go quite as well with her jealous son, Alex Blake Ritson), and Dean, taking the advice of his American friend Benjamin (Peter Youngblood Hills), hightails it to Paris, where he, a la "The Talented Mr. Ripley", assumes Alex's identity. He finds himself living with Benjamin and his rich lover (George Asprey), eventually taking Benjamin's place in the older man's affections and home. Meanwhile, his audacious spending on stolen credit cards has attracted the interest of the local police.
Telling his tale at a sluggish, attenuated pace, the director-screenwriter doesn't help matters with his screenplay's often artificial-sounding dialogue and stereotypical characterizations. Also problematic are the shifts in tone -- from realistic drama to comedy of manners to would-be thriller -- and the highly uneven performances. Although Leitch is quite convincing as the duplicitous Dean, several of the supporting players are allowed to indulge their character's more exaggerated traits too often.
But most deleterious is the split-screen approach, which reduces the widescreen image to three small boxes. Inconsistently shifting from framing the action from a variety of angles to simply repeating certain images to presenting other visuals entirely, the technique adds little in the way of illumination and a lot in terms of inducing a migraine. the film suffers from an overeagerness to make the action compelling, with uncertain camera placement and frantic editing at times serving to distract rather than enhance. The choreography by Laurie Ann Gibson (who has a small part as Honey's evil rival) ranges from a baffling and lifeless Tweet video, with its robotic moves and incongruous Flying by Foy, to the exuberant freestyling of the kids in Honey's class. The highlight is the kids' rehearsal for a Ginuwine video: Shot simply, the scene boasts terrific dancing and the story's most powerful dramatic moment.
HONEY
Universal Pictures
A Marc Platt/Nuamerica production
Credits:
Director: Bille Woodruff
Screenwriters: Alonzo Brown, Kim Watson
Producers: Marc Platt, Andre Harrell
Executive producer: Billy Higgins
Director of photography: John R. Leonetti
Production designer: Jasna Stefanovich
Music: Mervyn Warren
Costume designer: Susan Matheson
Editors: Mark Helfrich, Emma E. Hickox
Cast:
Honey Daniels: Jessica Alba
Chaz: Mekhi Phifer
Benny: Lil' Romeo
Gina: Joy Bryant
Michael Ellis: David Moscow
Mrs. Daniels: Lonette McKee
Raymond: Zachary Isaiah Williams
Katrina: Laurie Ann Gibson
As themselves: Missy Elliott, Jadakiss & Sheek, Shawn Desman, Ginuwine, Harmonica Sunbeam, Rodney Jerkins, Silkk, 3rd Storee, Tweet
Running time -- 94 minutes
MPAA rating: PG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
- 12/16/2003
- The Hollywood Reporter - Movie News
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