Exclusive: Texas Monthly, the magazine that has been chronicling life in the Lone Star State since 1973, has continued its expansion into film and TV by setting its first-ever feature documentary, to be made in partnership with Peabody and Critics’ Choice Award-winning filmmaker Deborah Esquenazi (Southwest of Salem: The Story of the San Antonio Four).
The currently untitled film centers on James Reyos, a gay Apache man who for 40 years has sought to clear his name of the brutal murder of a Catholic priest in oil-rich West Texas. Embedding with the Innocence Project of Texas that has taken up Reyos’ case, Esquenazi with her doc sheds new light on a story that has eluded detectives, crime researchers and amateur sleuths for four decades, exposing a web of media lore and homophobia, as well as whispers of a possible serial killing team targeting clergy in the 1980s. The project extends coverage of...
The currently untitled film centers on James Reyos, a gay Apache man who for 40 years has sought to clear his name of the brutal murder of a Catholic priest in oil-rich West Texas. Embedding with the Innocence Project of Texas that has taken up Reyos’ case, Esquenazi with her doc sheds new light on a story that has eluded detectives, crime researchers and amateur sleuths for four decades, exposing a web of media lore and homophobia, as well as whispers of a possible serial killing team targeting clergy in the 1980s. The project extends coverage of...
- 7/6/2023
- by Matt Grobar
- Deadline Film + TV
Exclusive: Kino Lorber and Zeitgeist Films have picked up North American rights to Desperate Souls, Dark City and the Legend of Midnight Cowboy — a new documentary on the making of the iconic John Schlesinger film, from acclaimed documentarian Nancy Buirski (The Loving Story).
Related Story 1091 Pictures Acquires Domestic Distribution Rights To Romantic Drama ‘Under My Skin’ Related Story Locarno Film Festival War Drama 'Tommy Guns' Gets North American Deal Related Story Ralph Fiennes' 'Four Quartets' Gets North American Distribution Deal Ahead Of Stateside Bow At Santa Barbara
Zeitgeist will open the film in North American theaters beginning at New York’s Film Forum in late June and take it nationwide from there, with a digital, educational and home video release on all major platforms via Kino Lorber to follow.
Inspired by Glen Frankel’s 2021 book Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation and the Making of a Dark Classic, Desperate...
Related Story 1091 Pictures Acquires Domestic Distribution Rights To Romantic Drama ‘Under My Skin’ Related Story Locarno Film Festival War Drama 'Tommy Guns' Gets North American Deal Related Story Ralph Fiennes' 'Four Quartets' Gets North American Distribution Deal Ahead Of Stateside Bow At Santa Barbara
Zeitgeist will open the film in North American theaters beginning at New York’s Film Forum in late June and take it nationwide from there, with a digital, educational and home video release on all major platforms via Kino Lorber to follow.
Inspired by Glen Frankel’s 2021 book Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation and the Making of a Dark Classic, Desperate...
- 3/22/2023
- by Matt Grobar
- Deadline Film + TV
“Trapped” underwater in a tiny tank excruciatingly close to the wide-open ocean, singer and actor Noah Cyrus stars in a powerful new PETA campaign that proclaims, “Life’s No Beach in Captivity. Boycott SeaWorld.”
Noah Cyrus PETA Ad
The ad — which aims to put pressure on the abusement park to retire the long-suffering orcas it hold captive to seaside sanctuaries — was shot by top celebrity photographer Brian Bowen Smith and was made possible by James Costa and The Archibald Family Foundation, both proud PETA supporters.
“I love animals so much. To think that any animal would be trapped — it makes me so sad,” says Cyrus in an exclusive interview with PETA. “It’s like living in your bedroom for your entire life and never being able to go outside.”
PETA — whose motto reads, in part, that “animals are not ours to use for entertainment” — notes that in the wild, orcas form complex relationships,...
Noah Cyrus PETA Ad
The ad — which aims to put pressure on the abusement park to retire the long-suffering orcas it hold captive to seaside sanctuaries — was shot by top celebrity photographer Brian Bowen Smith and was made possible by James Costa and The Archibald Family Foundation, both proud PETA supporters.
“I love animals so much. To think that any animal would be trapped — it makes me so sad,” says Cyrus in an exclusive interview with PETA. “It’s like living in your bedroom for your entire life and never being able to go outside.”
PETA — whose motto reads, in part, that “animals are not ours to use for entertainment” — notes that in the wild, orcas form complex relationships,...
- 10/30/2017
- Look to the Stars
Bob Barker has some new competition in Los Angeles, at least when it comes to advocating for animal welfare. Ken Howard, SAG-AFTRA co-president, and wife Linda are organizing a fundraiser for the Onyx & Breezy Foundation April 13 at James Costa’s estate in the Hollywood Hills. The Foundation, named in memoriam of founders Mark and Wanda Shefts’ two late black Labrador Retrievers, provides direct grants to applicants with animals in need of food or veterinary care and funds spay and neuter programs. The fundraising event, which is sponsored by Relativity Media CEO Ryan Kavanaugh’s newly acquired FreeHand Dog food company and will feature performances from “American Idol” winner Lee DeWyze and Leslie Odom Jr. of NBC’s “Smash,” is the first held by the Foundation on the West Coast. It was five years in the making. Back in 2008, the Howards and Shefts met at a Humane Society Fundraiser. “They...
- 4/5/2013
- backstage.com
On Saturday, April 23, Moby, NBA Champion John Salley, “The Biggest Loser’s” Bob Harper and Jennifer Coolidge will host a very special evening to launch the 25th Anniversary Gala Celebrations of Farm Sanctuary, the nation’s leading farm animal protection organization, at the home of James Costa in the Hollywood Hills.
This special milestone, and all that has been achieved to promote compassion for farm animals in the past 25 years, will be commemorated at two star-studded, black-tie Galas in New York City on May 14, and in Los Angeles on September 24.
More information below, and RSVP here.
Read more...
This special milestone, and all that has been achieved to promote compassion for farm animals in the past 25 years, will be commemorated at two star-studded, black-tie Galas in New York City on May 14, and in Los Angeles on September 24.
More information below, and RSVP here.
Read more...
- 4/18/2011
- Look to the Stars
Opens
Friday, March 19
The cities of Quebec and Montreal actually playing themselves for once is just about the best thing in the otherwise pedestrian psychological thriller "Taking Lives". Shooting largely in the old towns of both French-Canadian cities, director D.J. Caruso establishes a film-noir atmosphere that has an intriguing blend of Old and New World. Angelina Jolie plays a role that definitely feels like something she has already done, but she does add an unmistakable dash of excitement and glamour. Otherwise, it's a struggle to differentiate this cop vs. serial killer tale from many others that now crowd video shelves. Young males will give "Taking Lives" a solid opening weekend, but Jolie's Special Agent Illeana Scott is no Lara Croft.
Illeana, an FBI profiler, has a knack for tracking down serial killers
she's Sherlock Holmes with curves. Illeana can merely look at a suspect and determine he's a left-hander from Vancouver with a bad childhood -- or lie in a grave, which is where we first see her, and determine the exact method by which a victim was murdered and buried.
Illeana gets called into a case that has the Montreal police baffled. (How and why Canadian authorities would bring an American agent in on a Canadian case is never made clear.) A body has turned up at a construction site, and on almost no evidence whatsoever, Surete du Quebec director Leclair (Tcheky Karyo) decides a serial killer is at work.
The film actually opens in 1983, when a drifter (Paul Dano) impulsively kills a guy he is traveling with and assumes his identity. In present day, a distraught mother (Gena Rowlands) pleads to bored Quebec City police that she just saw her son, whom she believed dead for two decades. She cautions them that he is very dangerous.
The viewer's only quandary at this moment is whether Ethan Hawke, who claims to be Montreal art dealer James Costa, looks enough like that kid in 1983 to be him, or is he simply what he says he is -- a good Samaritan who happened along just as a prolific serial killer was finishing off another victim?
Initially, Illeana treats him as a suspect. But signs point to him being the next target of the killer, since he got a good look at the man, thus requiring police protection and Illeana's continual presence in his life. A strange attraction grows between them that may, in her words, "cloud my judgment."
Meanwhile, Illeana becomes convinced that the killer has been on the rampage for years, each time assuming the life of his victim. But her methods clash with those of her Montreal police colleagues, hotheaded Paquette (Olivier Martinez) and the more even-keel Duval (Jean-Hugues Anglade). Then Kiefer Sutherland turns up rather late in the story, playing yet another of his furtive and menacing characters.
Jon Bokenkamp's script, based on Michael Pye's novel, delivers the requisite thriller sequences -- the chase through a large crowd, a detective prowling in a dark house only to discover that she is not alone, a body that falls out of nowhere, a car that roars down the wrong way of a bridge. The movie loses considerable punch, though, with a drawn-out ending, when the culprit is revealed but doesn't receive his comeuppance until much later.
The filmmaking here -- Amir M. Mokri's moody cinematography, Tom Southwell's stylish mix of locations, Anne V. Coates' meticulous editing and Philip Glass' unusually low-key but evocative music -- is surprisingly graceful for a conventional thriller. Clearly, much care and intelligence have been lavished on discouraging, routine material.
TAKING LIVES
Warner Bros. Pictures
Warner Bros. in association with Village Roadshow Pictures presents a Mark Canton production
Credits:
Director: D.J. Caruso
Screenwriter: Jon Bokenkamp
Based on a novel by: Michael Pye
Producers: Mark Canton, Bernie Goldman
Executive producers: Bruce Berman
David Heyman
Director of photography: Amir M. Mokri
Production designer: Tom Southwell
Music: Philip Glass
Costume designer: Marie-Sylvie Deveau
Editor: Anne V. Coates
Cast:
Illeana: Angelina Jolie
Costa: Ethan Hawke
Hart: Kiefer Sutherland
Mrs. Asher: Gena Rowlands
Paquette: Olivier Martinez
Duval: Jean-Hugues Anglade
Leclair: Tcheky Karyo
Running time -- 103 minutes
MPAA rating: R...
Friday, March 19
The cities of Quebec and Montreal actually playing themselves for once is just about the best thing in the otherwise pedestrian psychological thriller "Taking Lives". Shooting largely in the old towns of both French-Canadian cities, director D.J. Caruso establishes a film-noir atmosphere that has an intriguing blend of Old and New World. Angelina Jolie plays a role that definitely feels like something she has already done, but she does add an unmistakable dash of excitement and glamour. Otherwise, it's a struggle to differentiate this cop vs. serial killer tale from many others that now crowd video shelves. Young males will give "Taking Lives" a solid opening weekend, but Jolie's Special Agent Illeana Scott is no Lara Croft.
Illeana, an FBI profiler, has a knack for tracking down serial killers
she's Sherlock Holmes with curves. Illeana can merely look at a suspect and determine he's a left-hander from Vancouver with a bad childhood -- or lie in a grave, which is where we first see her, and determine the exact method by which a victim was murdered and buried.
Illeana gets called into a case that has the Montreal police baffled. (How and why Canadian authorities would bring an American agent in on a Canadian case is never made clear.) A body has turned up at a construction site, and on almost no evidence whatsoever, Surete du Quebec director Leclair (Tcheky Karyo) decides a serial killer is at work.
The film actually opens in 1983, when a drifter (Paul Dano) impulsively kills a guy he is traveling with and assumes his identity. In present day, a distraught mother (Gena Rowlands) pleads to bored Quebec City police that she just saw her son, whom she believed dead for two decades. She cautions them that he is very dangerous.
The viewer's only quandary at this moment is whether Ethan Hawke, who claims to be Montreal art dealer James Costa, looks enough like that kid in 1983 to be him, or is he simply what he says he is -- a good Samaritan who happened along just as a prolific serial killer was finishing off another victim?
Initially, Illeana treats him as a suspect. But signs point to him being the next target of the killer, since he got a good look at the man, thus requiring police protection and Illeana's continual presence in his life. A strange attraction grows between them that may, in her words, "cloud my judgment."
Meanwhile, Illeana becomes convinced that the killer has been on the rampage for years, each time assuming the life of his victim. But her methods clash with those of her Montreal police colleagues, hotheaded Paquette (Olivier Martinez) and the more even-keel Duval (Jean-Hugues Anglade). Then Kiefer Sutherland turns up rather late in the story, playing yet another of his furtive and menacing characters.
Jon Bokenkamp's script, based on Michael Pye's novel, delivers the requisite thriller sequences -- the chase through a large crowd, a detective prowling in a dark house only to discover that she is not alone, a body that falls out of nowhere, a car that roars down the wrong way of a bridge. The movie loses considerable punch, though, with a drawn-out ending, when the culprit is revealed but doesn't receive his comeuppance until much later.
The filmmaking here -- Amir M. Mokri's moody cinematography, Tom Southwell's stylish mix of locations, Anne V. Coates' meticulous editing and Philip Glass' unusually low-key but evocative music -- is surprisingly graceful for a conventional thriller. Clearly, much care and intelligence have been lavished on discouraging, routine material.
TAKING LIVES
Warner Bros. Pictures
Warner Bros. in association with Village Roadshow Pictures presents a Mark Canton production
Credits:
Director: D.J. Caruso
Screenwriter: Jon Bokenkamp
Based on a novel by: Michael Pye
Producers: Mark Canton, Bernie Goldman
Executive producers: Bruce Berman
David Heyman
Director of photography: Amir M. Mokri
Production designer: Tom Southwell
Music: Philip Glass
Costume designer: Marie-Sylvie Deveau
Editor: Anne V. Coates
Cast:
Illeana: Angelina Jolie
Costa: Ethan Hawke
Hart: Kiefer Sutherland
Mrs. Asher: Gena Rowlands
Paquette: Olivier Martinez
Duval: Jean-Hugues Anglade
Leclair: Tcheky Karyo
Running time -- 103 minutes
MPAA rating: R...
Opens
Friday, March 19
The cities of Quebec and Montreal actually playing themselves for once is just about the best thing in the otherwise pedestrian psychological thriller "Taking Lives". Shooting largely in the old towns of both French-Canadian cities, director D.J. Caruso establishes a film-noir atmosphere that has an intriguing blend of Old and New World. Angelina Jolie plays a role that definitely feels like something she has already done, but she does add an unmistakable dash of excitement and glamour. Otherwise, it's a struggle to differentiate this cop vs. serial killer tale from many others that now crowd video shelves. Young males will give "Taking Lives" a solid opening weekend, but Jolie's Special Agent Illeana Scott is no Lara Croft.
Illeana, an FBI profiler, has a knack for tracking down serial killers
she's Sherlock Holmes with curves. Illeana can merely look at a suspect and determine he's a left-hander from Vancouver with a bad childhood -- or lie in a grave, which is where we first see her, and determine the exact method by which a victim was murdered and buried.
Illeana gets called into a case that has the Montreal police baffled. (How and why Canadian authorities would bring an American agent in on a Canadian case is never made clear.) A body has turned up at a construction site, and on almost no evidence whatsoever, Surete du Quebec director Leclair (Tcheky Karyo) decides a serial killer is at work.
The film actually opens in 1983, when a drifter (Paul Dano) impulsively kills a guy he is traveling with and assumes his identity. In present day, a distraught mother (Gena Rowlands) pleads to bored Quebec City police that she just saw her son, whom she believed dead for two decades. She cautions them that he is very dangerous.
The viewer's only quandary at this moment is whether Ethan Hawke, who claims to be Montreal art dealer James Costa, looks enough like that kid in 1983 to be him, or is he simply what he says he is -- a good Samaritan who happened along just as a prolific serial killer was finishing off another victim?
Initially, Illeana treats him as a suspect. But signs point to him being the next target of the killer, since he got a good look at the man, thus requiring police protection and Illeana's continual presence in his life. A strange attraction grows between them that may, in her words, "cloud my judgment."
Meanwhile, Illeana becomes convinced that the killer has been on the rampage for years, each time assuming the life of his victim. But her methods clash with those of her Montreal police colleagues, hotheaded Paquette (Olivier Martinez) and the more even-keel Duval (Jean-Hugues Anglade). Then Kiefer Sutherland turns up rather late in the story, playing yet another of his furtive and menacing characters.
Jon Bokenkamp's script, based on Michael Pye's novel, delivers the requisite thriller sequences -- the chase through a large crowd, a detective prowling in a dark house only to discover that she is not alone, a body that falls out of nowhere, a car that roars down the wrong way of a bridge. The movie loses considerable punch, though, with a drawn-out ending, when the culprit is revealed but doesn't receive his comeuppance until much later.
The filmmaking here -- Amir M. Mokri's moody cinematography, Tom Southwell's stylish mix of locations, Anne V. Coates' meticulous editing and Philip Glass' unusually low-key but evocative music -- is surprisingly graceful for a conventional thriller. Clearly, much care and intelligence have been lavished on discouraging, routine material.
TAKING LIVES
Warner Bros. Pictures
Warner Bros. in association with Village Roadshow Pictures presents a Mark Canton production
Credits:
Director: D.J. Caruso
Screenwriter: Jon Bokenkamp
Based on a novel by: Michael Pye
Producers: Mark Canton, Bernie Goldman
Executive producers: Bruce Berman
David Heyman
Director of photography: Amir M. Mokri
Production designer: Tom Southwell
Music: Philip Glass
Costume designer: Marie-Sylvie Deveau
Editor: Anne V. Coates
Cast:
Illeana: Angelina Jolie
Costa: Ethan Hawke
Hart: Kiefer Sutherland
Mrs. Asher: Gena Rowlands
Paquette: Olivier Martinez
Duval: Jean-Hugues Anglade
Leclair: Tcheky Karyo
Running time -- 103 minutes
MPAA rating: R...
Friday, March 19
The cities of Quebec and Montreal actually playing themselves for once is just about the best thing in the otherwise pedestrian psychological thriller "Taking Lives". Shooting largely in the old towns of both French-Canadian cities, director D.J. Caruso establishes a film-noir atmosphere that has an intriguing blend of Old and New World. Angelina Jolie plays a role that definitely feels like something she has already done, but she does add an unmistakable dash of excitement and glamour. Otherwise, it's a struggle to differentiate this cop vs. serial killer tale from many others that now crowd video shelves. Young males will give "Taking Lives" a solid opening weekend, but Jolie's Special Agent Illeana Scott is no Lara Croft.
Illeana, an FBI profiler, has a knack for tracking down serial killers
she's Sherlock Holmes with curves. Illeana can merely look at a suspect and determine he's a left-hander from Vancouver with a bad childhood -- or lie in a grave, which is where we first see her, and determine the exact method by which a victim was murdered and buried.
Illeana gets called into a case that has the Montreal police baffled. (How and why Canadian authorities would bring an American agent in on a Canadian case is never made clear.) A body has turned up at a construction site, and on almost no evidence whatsoever, Surete du Quebec director Leclair (Tcheky Karyo) decides a serial killer is at work.
The film actually opens in 1983, when a drifter (Paul Dano) impulsively kills a guy he is traveling with and assumes his identity. In present day, a distraught mother (Gena Rowlands) pleads to bored Quebec City police that she just saw her son, whom she believed dead for two decades. She cautions them that he is very dangerous.
The viewer's only quandary at this moment is whether Ethan Hawke, who claims to be Montreal art dealer James Costa, looks enough like that kid in 1983 to be him, or is he simply what he says he is -- a good Samaritan who happened along just as a prolific serial killer was finishing off another victim?
Initially, Illeana treats him as a suspect. But signs point to him being the next target of the killer, since he got a good look at the man, thus requiring police protection and Illeana's continual presence in his life. A strange attraction grows between them that may, in her words, "cloud my judgment."
Meanwhile, Illeana becomes convinced that the killer has been on the rampage for years, each time assuming the life of his victim. But her methods clash with those of her Montreal police colleagues, hotheaded Paquette (Olivier Martinez) and the more even-keel Duval (Jean-Hugues Anglade). Then Kiefer Sutherland turns up rather late in the story, playing yet another of his furtive and menacing characters.
Jon Bokenkamp's script, based on Michael Pye's novel, delivers the requisite thriller sequences -- the chase through a large crowd, a detective prowling in a dark house only to discover that she is not alone, a body that falls out of nowhere, a car that roars down the wrong way of a bridge. The movie loses considerable punch, though, with a drawn-out ending, when the culprit is revealed but doesn't receive his comeuppance until much later.
The filmmaking here -- Amir M. Mokri's moody cinematography, Tom Southwell's stylish mix of locations, Anne V. Coates' meticulous editing and Philip Glass' unusually low-key but evocative music -- is surprisingly graceful for a conventional thriller. Clearly, much care and intelligence have been lavished on discouraging, routine material.
TAKING LIVES
Warner Bros. Pictures
Warner Bros. in association with Village Roadshow Pictures presents a Mark Canton production
Credits:
Director: D.J. Caruso
Screenwriter: Jon Bokenkamp
Based on a novel by: Michael Pye
Producers: Mark Canton, Bernie Goldman
Executive producers: Bruce Berman
David Heyman
Director of photography: Amir M. Mokri
Production designer: Tom Southwell
Music: Philip Glass
Costume designer: Marie-Sylvie Deveau
Editor: Anne V. Coates
Cast:
Illeana: Angelina Jolie
Costa: Ethan Hawke
Hart: Kiefer Sutherland
Mrs. Asher: Gena Rowlands
Paquette: Olivier Martinez
Duval: Jean-Hugues Anglade
Leclair: Tcheky Karyo
Running time -- 103 minutes
MPAA rating: R...
- 3/15/2004
- The Hollywood Reporter - Movie News
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