Skewed 'n Reviewed Movie News and Reviews 2015-02-28T15:19:38Z http://sknr.net/feed/atom/ Ben Rueter <![CDATA[Sony E3 Preview]]> http://sknr.net/?p=77179 2015-02-28T15:19:38Z 2015-02-28T15:16:30Z Let’s hope Sony leaves the tech-and-spec talk out of their conference this year and keep it on the games, please!

Sony had a healthy line-up of titles last year, but little is known about where Sony plans to take the Playstation 4 in 2015. A new Uncharted is expected this year, but it has already gotten a lot of play during other Sony conferences, so it is safe to assume Nathan Drake won’t lead this year’s show in slew for new titles to lead the charge into 2016.

Sony has placed an emphasis on indie titles and you can assume they will take up a portion of the press conference. In fact, look to Steam on PC for the most popular indie titles and you may have a teaser for what is to come for the Playstation Network Store and Playstation Vita.

Evolution Championship Series in July seems to be a better fit for Sony to showcase Street Fighter V, but Final Fantasy XV will take center stage and it will probably be the their lead title going into 2016.

Third party contenders will probably range from more Destiny content from Bungie to an appearance from Gearbox Software’s Battleborn. Mirror’s Edge 2 seems like a fit for the PS4 conference as well. However, most of the third-party showcases could show up at either Microsoft or Sony’s, but a major title that isn’t a new Call of Duty or Assassin’s Creed game is bound for Sony’s stage too.

Sony’s press conference will be intriguing for sure, as their 2015 and 2016 seem bare and fans should expect a few surprises on both the PS4 and the Vita given last year’s announcements.

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gareth <![CDATA[Does The Success Of The Order: 1886 Show That Sony Has The Most Loyal Fans]]> http://sknr.net/?p=77177 2015-02-28T15:02:34Z 2015-02-28T15:02:34Z It is no secret that The Order: 1886 has been a game steeped in controversy and heated debate even before it was released. Fans, critics, and other bashed or defended everything from the game’s price, gameplay mechanics, run time, and lack of multiplay.

Rarely has a title inspired such passion and debate pre and post release as this game as despite mixed reviews, fans have defended the game and have seen it top the sales charts around the world the week of release, even toppling the heavily-touted Evolve from the #1 spot.
While a large portion of the early success for the game is no doubt a combination of pre-orders and fans eager to have a new exclusive for their PS4 systems, one cannot amass sales simply on those factors alone and sustain them.

The Meta score for the game amongst reviewers is at a 6.0 and a 6.6 for fan reviews showing that for the most part, fans and reviewers have been largely in agreement, but yet even those who are willing to admit what the game is lacking will often defend it to the end.

So what is allowing the game to succeed when other games with similar reviews and word of mouth would likely have withered and faded?

Brand loyalty is a big factor here as with the huge sales lead of the PS4 system over their rivals combined with an audience starving for new exclusives for the system, The Order: 1886 was given tons of support from fans looking for the next big thing and eager to see a new franchise launched. As such, combined with the anticipation for the game and very clever marketing and hype by Sony, fans were willing to overlook things they would not in other games.

It is very interesting how games like Infamous: Second Son, and Killzone: Shadow Fall did not get this sort of love out of the box and even the much maligned Knack still did fairly well in sales despite the bad reviews.

I would expect at a future date when the price drops for the game and new DLC becomes available there will be a surge of new purchases from people who are not yet ready to make the leap but will in time check it out if nothing more than curiosity or to add it to their collection.

Sony is in an enviable spot as despite the people who are eager to take shots at them and want to see them fail; they have endured and continue to thrive as the PS4 enters the second year of being on the market.

Bloodborne, Until Dawn, and Uncharted 4, are just a few of the impressive looking games that Sony has scheduled and you can bet that come June, their E3 conference will be eagerly anticipated and watched to see what new games they will be announcing.

Until then, fans will take advantage of a slew of third part games and the exclusives Sony offered and will likely continue to forge ahead as even with the less than stellar reception for The Order: 1886, Fans are showing that Sony and the PS4 are currently a runaway train that keeps gaining momentum and shows no signs of slowing down in terms of fan support and loyalty.

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gareth <![CDATA[Leonard Nimoy Tribute And Panel From Phoenix Comicon 2011]]> http://sknr.net/?p=77174 2015-02-27T22:48:41Z 2015-02-27T22:48:41Z  

It was a very sad morning when we learned of the passing of Leonard Nimoy. As a child I watched the reruns of the show and that combined with my love of Star Wars and Science Fiction set the path for where I am today.

in 2011 my wife and I had just moved to AZ to open our second office. I was preparing for my panel at Phoenix Comicon and after 14+ years of doing shows in Washington, Oregon, and British Columbia I was worried about how I would do in an new market where we were not known. I learned I was up against Leonard Nimoy and figured I was destined for a disaster but I found my room to be packed beyond capacity and that people were being turned away. The next year I was up against William Shatner and the same thing happened. Despite the capacity audiences for both of those legends, people still waited to see me and hear me which was a very humbling experience considering not all of them were those who could not get into the panels by Shartner and Nimoy.

Far beyond his work as Spock, Nimoy was an accomplished Director, writer, photographer, musician and poet and a humanitarian who will be greatly missed as he inspired countless people around the world.

 

I learned shortly after his panel that he was on his farewell tour from conventions but I am happy to say that thanks to Phoenix Comicon, we can share his panel below.

 

Enjoy.



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Joseph Saulnier <![CDATA[Dying Light]]> http://sknr.net/?p=77172 2015-02-27T13:43:01Z 2015-02-27T13:40:54Z When I played Dying Light a couple years ago at PAX Prime, I was impressed.  While clearly cast from the same forge as the Dead Island series, the main plot of the game seemed promising and the atmosphere intriguing.  As I leapt over cars, scurried up walls, and jumped from rooftop to rooftop, I had to arm traps during the day while sunlight was gradually dwindling away.  By the time I was done, night had come and the sluggish zombies around me started to scream and wail, then transform, as they mutated from the classic dim-witted undead to active, hyper, and violent monsters.  Rightly terrified out of my gourd, I fervently scrambled back to home base, as the infected closed in around me and a fight looked hopeless.  I triggered the traps I laid, slowing them down while more and more burst from doors and alleyways.  It was tense, stressful and I was damn near ready to fill my pants.  This little slice of horror built my excitement for Dying Light.  One that still fueled my anticipation two years later.

Dying Light makes me not want to review games anymore.  The game is not bad, per say.  It is, however, nowhere near as exciting as the finely tuned slice of gameplay I got to play with developers two years ago.  What we have instead is a factory-standard, open-world game that runs down the checklist of every game in the genre.  Dying Light mimics, if not outright copies, almost all of its core ideas from well-established games, while its one central gimmick – the day/night cycle – becomes little more than a slight tactical alteration than a true game changer.  But no, Dying Light is not bad… at all.  It’s not ambitious enough to be notably poor.  Or even notably good.

The one playable character (even in four-player co-op), Kyle Crane, is a walking, talking, mighty whitey stereotype.  He parachutes down into a zombie-infested Harran to save the locals who couldn’t save themselves.  You perform missions for Harran’s population, while taking guidance from the human relief group who sent you in to help.  The large and indistinct world map is littered with repetitive side quests and collectibles – radio towers that can be climbed, safe houses that need to be unlocked, boxes that need to be opened via lock pick (that is really reminiscent of The Elder Scroll), and survivors fighting off zombie attacks.  And in what seems to be common place in open world games as of late, there’s a ton of generic brand “content” that only exists to fill a map rather than provide fresh experiences.

Navigating around Harran can be fun, especially when you upgrade and bolster your abilities.  Parkour is the main mode of travel, as players press a single button/key while running to leap, climb and hop over obstacles and across gaps.  The more you parkour around the world, the more agility points you gain, which in-turn can be spent on increasing stamina and gaining cool new parkour moves.  With a little grinding, you get to jump off the heads of zombies or slide-kick them in the knee to break legs.  But these get old, and the parkour has its problems – like sometimes Crane won’t grab ledges he should be able to reach.  For the most part, however, navigation works far better and more consistently than I would have expected from the developer (Techland).

Combat is a different matter entirely.  As with Dead Island, fighting is very delicate mixture of flailing wildly and hoping of the best.  In fairness, there is a dodge move with some leveling, and as you gain power points through battling, you can invest in power attacks and finishing moves.  But ultimately, the entire experiences feels even rougher and less flexible than what Techland has brought to the table in previous games.  Zombies incessantly try to grab you with a grapple that requires fervently mashing buttons to counter.  The zombies take a ton of effort to put down, too, which would make them threatening… if they weren’t so silly.  They are constantly falling over.  They resemble bald dolls.  Their only real threat comes from cheap shots, landing annoying swipes on Crane from behind, and generally getting in the way when they’re least needed.  This is most true of the faster, “runners” who, once agitated, seem to psychically know where you are at all times.  And the never stop chasing you.  You’re practically forced to engage them.  This is not scary.  This is not threatening.  The zombies are, simply put, irritating.

Almost as irritating as the durability of the weapons in the game. Heavy steel wrenches break apart after just a few hits, and your favorite gear just seems to fall to bits.  Can I just say, the idea of weapon durability is just not a fun idea?  It’s just not enjoyable.  It’s an inconvenience and gets in the way.  Dying Light already constrains you with a limited stamina bar, ensuring you only get a couple of good swings before you get too winded to fight.  Throwing weapon breakages on top is like covering a bed of nails in salt.  The lifespan of weapons can, like other hindrances, be improved as you level, but don’t get too attached to your favorite electrified sledge.

Night time shakes things up a little bit, but it’s far from brilliant.  When the sun goes down, the volatile zombies emerge from whatever dark hole they’ve been hiding in.  Volatiles are large, nude, pale zombies with mandibles.  They’re fast, strong, and they alert all of their friends when they find you.  Due to the threat they pose, all agility and power points are doubled at night, encouraging a risk-and-reward system where one can significantly boost Crane’s leveling endeavors by staying out after dark.  In theory, this is all fantastically fun.  In practice, it’s a lacking stealth system where you simply avoid the volatile’s field of vision on the minimap and try not to make excessive noise.  If you are spotted, it may be rather frightening the first couple times, and then you’ll learn just how incompetent the AI is, and just how easy it is to shake pursuit.  Once you learn this, you will actively try to be spotted by them, because evading a pursuit nets you a huge bonus in agility points, turning the whole endeavor into a farming campaign.

As mentioned, there’s drop-in co-op, allowing up to four Kyle Cranes to run amok.  It doesn’t particularly change much; it’s mostly the same game with some people hanging about, which seems to constitute “cooperation” in games these days.  One cool little addition to co-op is the ability to set up quick competitions throughout the game, allowing opportunities to kill more zombies than the other players, or reach a supply drop first.  It’s not hugely influential, but the option for some (very) light player challenge is there.  Co-op at least works rather seamlessly, allowing players to hop in and out at any time without disrupting the game.  The same cannot be said for zombie invasion, a competitive element that can have players gatecrash you at any time and take on the role of a powerful night hunter that’s sensitive to UV light, but that are able to catch Cranes unawares with a one-hit kill.  If this simply meant that a dangerous, player-controlled zombie could pop up unexpectedly, that would be fine.  Instead, the entire game shifts into a “versus mode”, where you’re tasked with destroying zombie nests while the hunter has to kill you a certain number of times – and it takes forever!  It is also significantly more fun for the invader than the invadee.  Rather than feel the fear of an invasion, once simply rolls their eyes as gameplay is disrupted and whatever task you are doing is abandoned.  You can turn zombie invasion off in the settings, which I would recommend.  It just doesn’t feel intimidating or spontaneous.  It’s just a blatant multiplayer game that was awkwardly forced in.  As with so many features of this game, the kernel of a great horror-filled idea is turned into something overly codified, easily quantified, and so very generic.

If length is your bag when it comes to videogames, then at least there’s a lot to chew through with Dying Light.  After spending (almost) literally all day, for two days, with the game, I must confess I’m not at the end.  And I don’t know when it’s coming.  Dying Light boasts hours upon hours of stuff, but like the games it’s mimicking, this stuff consists of a handful of ideas repeated over and over and over, while the story running through it is (at best) forgettable, melodramatic, and features characters I don’t care about doing stuff that just doesn’t concern me.  The script is absolutely atrocious, full of attempts at tragedy, so preposterous and overwrought that it comes off like a sociopath trying too hard to mimic emotions of a fully adjusted human.  The voice acting doesn’t do it any justice, either, especially since most of the cast members showcase some of the worst accents this side of a Pace Picante commercial.

Despite all this, there is something that’s dragging me back to Harran, even when I end each session having run out of patience with the game and needing a break.  The parkour is a lot of fun, and while it doesn’t exactly balance out all the ways in which the game disappoints me, it’s done enough to keep me coming back.  That’s all it does, however – it has my attention, and then does nothing with it.  I’m just running from point A to point B, then to point C, and so on, picking up random items for a fairly remedial crafting system, or rescuing the um-teenth “random” survivor from a pack of walkers.

Dying Light has all the tools to be something special, but it’s so insistent on playing it safe and mimicking other successful games that it fails to stand out.  Even the inclusion of parkour isn’t particularly special these days, since so many games seem to be throwing it in.  We have a game that shamelessly “borrows” elements from Far Cry, Assassin’s Creed, and The Elder Scroll while significantly toning down anything that might even be remotely original.  It almost seems deliberate.  Far be it for me to speculate, but I can’t help but wonder if Techland had something with more spontaneity in mind, something more radical and consistently closed to what I played at PAX Prime ’13, before Warner Bros. stepped in and brought with them mass market trends.  Whatever the motivation, the result is a game that has all these wonderful ideas crammed into the pedestrian shape of Big Budget Game Release #672,313.

Parkour.  Open world.  Zombies.  Online co-op.  Crafting.  Radio towers.  Zombies.  Item farming.  Collect-a-thons.  Zombies.  Dying Light desperately tries to be all of the videogames in a bid to impress everyone.  If only it had tried as hard to be its own game, we’d have had an amazing horror game on our hands.  Instead, we have just another indistinct jack-of-all-trades to throw on top of the ever growing pile.

2.5 stars out of 5

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Joseph Saulnier <![CDATA[The Lazarus Effect]]> http://sknr.net/?p=77167 2015-02-27T07:35:27Z 2015-02-27T07:33:27Z Short and sweet, The Lazarus Effect is about a group of medical students who are experimenting/researching with bringing life to the deceased.  Bringing people back from the dead.  Sounds familiar, right?  Well yes, but this isn’t exactly a Flatliners remake.  If you look at movies as a cocktail these days, where they mix genres, or concepts, and throw them together to try and come up with something “original”.  If I have to describe this movie with that in mind, it would be like this: one part Flatliners, two parts Lucy, with a twist of Carrie.

But this is not necessarily a bad thing.  The medical students are led by Frank (Mark Duplass) and Zoe (Olivia Wilde), who are engaged, but the wedding was put on hold when they got a grant to run the Lazarus experiments.  We open the movie with the group recording their experiments with animals.  The team is rounded out by Nico (Donald Glover) and Clay (Evan Peters), with a film student, Eva (Sarah Bolger), brought in to document their research.  They make a break through and manager to bring a dog back from the dead, even going so far as curing the stage 5 cataracts that led to the dog being put down in the first place.  But something is a bit odd with the dog’s behavior.  Before the group can really research these oddities further, they are shut down by a pharmaceutical company who bought out the company that provided a grant to the Frank, Zoe and the gang.  This means that they lost all of their research, records, notes, videos… everything.  So they decide to break into the lab and record the experiment again, just to show the world that they were the ones who made the break through.

Of course, this is where things go awry.  During the experiment, Zoe dies.  A grief stricken Frank decides to run the project with Zoe.  He manages to convince the others in the group to go along with it, and sure enough, Zoe comes back from the dead.  But with some side effects.  What have the students unleashed with bringing Zoe back?  That’s where the Lucy portion comes back in as the serum used in the experiments seems to be unlocking access to her brain, with the explanation that humans can only access 10% of their brain is a myth.  The theory here is that human can access all of their brain, but only 10% at a time.

I have to say that I was extremely impressed with the movie.  I went in with a preconceived notion that it would be another run of the mill horror movie, but I am not even sure you can qualify it as a horror.  I think suspense with supernatural elements is a better way to describe it.  And I was blown out of the water.  The one thing that made me want to see the movie was the cast, and that Blumhouse was behind it.  Duplass and Wilde have a good chemistry together, and I am a big fan of Peters of Glover; though I am a little worried about Evan Peters being type cast because of his roles in American Horror Story.  He definitely plays the part well, though.

The cinematography was excellent, making good use of classic angles and transitions that seem to be a little forgotten or left by the wayside for computer generated effects these days.  But there is a traditional field to the film.  The score was excellent as well; it didn’t overdo the suspenseful music.  In fact it was very subtle at the points where it really needed to be.  If I had one gripe with the movie, it was that they the “nothing there, pan away then back, bam something’s there” shots a little too much.  I am not sure of the technical term, but I am sure you will see what I mean if you watch the film.

Is the film worth seeing in theaters?  I am not sure.  If you’re a fan of the actors, or Blumhouse films (like Sinister or The Purge), then you may want to see it in theaters.  But there wasn’t really any eye popping effects that would make it an absolute see on the big screen.  Definitely entertaining, and worth the watch though, if this is your genre of movie.  There were some good effects, and Olivia Wilde proved to me once again why I love her as an actress.  Definitely check it out, at the very least when it hits the shelves and digital media in a couple months.

4 stars out of 5

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Jennifer Fiduccia <![CDATA[Focus]]> http://sknr.net/?p=77160 2015-02-27T06:10:20Z 2015-02-27T07:01:29Z Focus, a new film starring Will Smith, Rodrigo Santoro, Margot Robbie, and Gerald McRaney seems like it ‘should be’ predictable, but I didn’t find it to be predictable at all.

I only caught one of the tricky story line twists at the last minute, at the very end, and the whole entire movie, I really thought that the leading lady Jess (Margot Robbie) was up to something other than what she was.

The movie overall, after watching it, reminds me a bit of Oceans 11, with twists and turns and surprises and things I just didn’t see coming.

I felt Will Smith as Nicky Spurgeon did a great job, and portrayed his relationship, or the fact that he was bothered by his lack of a relationship with Jess very believably.

The story moves along quickly, flowing well, for the most part. We watch Jess try to con Nicky, and watch him school her on ‘how it’s done’.
This sets the tone for the rest of the show which follows Nickys’ path as a con man and him working with his crew in one job after another.
He is supposed to be the best of the best and we watch him successfully carry off con after con in the first half.

The second half of the movie takes place after a number of years have passed, and more closely details Nicky’s feelings or apparent feelings for Jess.
Without revealing too much, I can only say everything is not as it appears, but the action of what is happening is fast enough that it distracted me from being able to concentrate too hard on what the deceptions might be.

I think this might be Will Smiths ‘comeback movie’ after a series of recent films over the past handful of years with him as a headliner have been really, really bad.

I have already encouraged a handful of friends to see the film when it comes to regular release, and I would gladly see it again.

I would give this movie 4 out of 5 stars.

 

Second Review By Sasha Glenn

 

Upon seeing the trailer for “Focus,” I felt that I’d seen this film a dozen times before. The typical plot layout of a successful and charming criminal and a beautiful young woman attempting to emulate a sort of modern day Bonnie and Clyde. Usually this involves a bank heist or some kind of drug operation. Predictable.

Yet, I was taken by surprise when I saw “Focus.” Yes, the plot is a bit unrealistic. A charming criminal, Nicky Spurgeon (Will Smith), crosses paths with an equally charming and criminally inclined lady, Jess Barrett (Margot Robbie). The unrealistic aspects of the plot become glaringly obvious when Nicky lets Jess in on his entire operation shortly after meeting her. As if a criminal boss would be so trusting, no matter how gorgeous his new partner. Also in the fantasy realm, Jess is very lucky that such a seasoned criminal happens to be gentle, kind, and without any ill intent toward her.

Overall the plot is undeniably vapid. It glamourizes making a life out of stealing from others, rather than having any real ambition that concerns the world outside oneself. It also completely leaves out the risk of legal consequences.

But I must admit, this film pushes all its flaws aside by delivering a great moviegoing experience.

The acting is surprisingly good quality. Smith, of course, has already proven time and time again that he can hold his own. But something harder to achieve has been accomplished in this film – on screen romantic chemistry. The chemistry between Nicky and Jess seems very authentic. From body language, to eye contact, to verbal inflection, Smith and Barrett do a marvelous job of convincing the audience their relationship to one another is real.

The best thing about this movie is that it is not predictable. Just as you would expect from a con man, there are always surprises.

“Focus” is thrilling, entertaining, and will keep the audience on its toes. I give it 3.5 out of 5 stars.

 

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Ben Rueter <![CDATA[Microsoft E3 2015 Preview]]> http://sknr.net/?p=77163 2015-02-26T18:52:36Z 2015-02-26T18:48:37Z Microsoft had a sharp and focused press conference last year and it would be great to see a similar one in 2015.

 Of course, Halo 5 will play a big role, as Microsoft will be pushing the hype train forward to the Halo 5’s release. Probably single-player details will drop as well as a release date seems like safe bets. On the other hand, 343 Industries may just focus on their esports angle for Halo 5.

 There may be a large focus on rallying the esports crowd. New titles with a spectator focus and heavy competition element may be the focus for many new and returning franchises.

 Rare fans may catch a glimpse of their new franchise. It would be great to see Microsoft remind their fans that stellar first party exclusives are coming to their platform after Sony has dropped a few bombshells on them; e.g. Street Fighter 5 exclusivity to PS4 and PC.

 Third party locks, given Xbox’s pedigree with shooters, teases for Star Wars: Battlefront and Mass Effect 4 will be somewhere in the show. Rumor has it that Fallout 4 will be at the show. It’s bound to be at Bethesda’s press conference, but the possibility exists that it may be teased at Microsoft and Sony’s conference. A title this big is destined to show up at Microsoft or Sony’s show.

 If Microsoft can pack as much content in one hour as they did last year it will be hard to complain about their showing. There is speculation that HoloLens integration with the Xbox One experience is a possibility. However, maybe that’s a 2016 innovation, if the augmented reality glasses take off that is.

 

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Justin Giza <![CDATA[Robot Roller-Derby Disco Dodgeball]]> http://sknr.net/?p=77157 2015-02-26T16:09:01Z 2015-02-26T16:04:54Z Let’s talk dodgeball. Let’s talk thumpin’ jams. Let’s talk robots.

Robot Roller-Derby Disco Dodgeball is a newly-release multiplayer bonanza that delivers exactly what the title promises. The name is ridiculous, but they’re not joking around. I giggled and eye-rolled a little as I launched the program, but any skepticism I had was immediately tossed aside.

The general rules of dodgeball: Grab a ball, throw a ball, hit a person, they’re out. You can block with your ball, or you can catch a thrown ball to knock out your assailant. Disco Dodgeball takes these rules and drops you into a neon-plastered club-like arena that blasts high-energy music your way as you weave through the field, blowing up little robots with throws and catches.

The training segment takes minutes to complete, after which you have the option of diving into Arcade Mode or Multiplayer. Arcade Mode throws you into an increasing onslaught of AI robots who’re there to knock you down. I didn’t have much trouble with the early bots, but that isn’t to say I didn’t miss an overconfident catch or two and meet my explode-y demise. Movement takes some getting used to, since the physics are meant to emulate skating. Once you push in a direction, you’ll continue in that direction until you intervene. Jumping has a “wind-up” delay, and that’s perhaps the trickiest of all. Over time, as you complete matches, you can purchase upgrades and unlock new powers for your little skating robot buddy.

Multiplayer is quick and painless. I was matched up within seconds with a game, and immediately realized that there are other players who are much, much better at this than I am.

In terms of graphics, the game isn’t anything intense. You won’t need a new rig to play this. While some might see this as a detractor, the game is exactly what it needs to be – quick, stylized and most importantly, fun. You can pick it up in a matter of seconds, and it’s very easy to see why this game has made a rapid meteoric rise in the Multiplayer category on Steam.

This game is strongly recommended for people who like fast action, skill-shots, watching numbers increase, and robots. This game is not recommended for those looking for graphically intensive, bloody action, or those looking for a deep story.

This is quick and dirty fun. This is Robot Roller-Derby Disco Dodgeball.

5 stars out of 5

 

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gareth <![CDATA[Our February 2015 Skewedcast Looks At Alien 5, Prometheus 2, and So Much More]]> http://sknr.net/?p=77153 2015-02-26T02:18:33Z 2015-02-26T02:06:00Z Here is our latest Skewedcast. We look at the new Alien film as well as Prometheus 2, talk about new games in the Call of Duty and Homeworld series as well as new DVDs, Hardware and announced DVDs as well as some great stuff coming at the Star Wars Celebration.

 

 

 

 

 

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gareth <![CDATA[Indican Acquires Acclaimed Drama Radio America]]> http://sknr.net/?p=77150 2015-02-25T15:52:35Z 2015-02-25T15:52:35Z  

“Everyone who ever had a dream, this film will bring it back to life”- Talent Monthly
“Beautiful and Charming. Great Soundtrack” – KTIM
“Two Thumbs Up” – Random Radio Network

 

LOS ANGELES, CALIFORNIA – Indican Pictures has acquired Radio America, a heartfelt odyssey about the pitfalls of fame “that gives you the VIP pass from farm to fame with all the right tour stops in between” (The Entertainment Corner).   Production hails from Shorris Film, the Hollywood-based outfit run by Clint Morris and Christopher Showerman.   The acquisition is another feather in the cap for a distributor that’s becoming increasingly synonymous for their top-notch independent feature films.   “If Indican were the stage, and we were musicians, we couldn’t ask for a better stage to present our act. With their passion, knowledge, and skill, they are undoubtedly the right distributor to bring Radio America to the masses”, says Morris.   A touching, music-fuelled drama – in the vein of La Bamba, Once, and The Commitments- Radio America “reminds us what’s possible when passion and opportunity collide” (Cyrus Webb, Conversations Magazine).   The “Incredible story” (BGG After Dark) fixes on two wannabe musicians, stuck working on a farm, who hit the bigtime when one of their songs gets radio airplay.   Eric (Jacob Motsinger) and Dave (Christopher Alice) are two farm boys who dream of escaping their rural roots to achieve fame and fortune as rock stars. As they grow up, their talent grows with them. However, the real impetus behind their momentum is their friend Jane (Kristi Englemann), who manages their musical career. She finally gets them in front of a major label A&R scout who sees the potential of the act. Dave and Jane become romantically involved and this strains their friendship with Eric. When the A&R scout replaces Jane as the manager and puts the act before America, the pressure is almost too much for their friendship to handle. Their first tour puts them on a roller coaster of euphoria and tragedy that mercilessly puts the value of friendship vs. commercial success back into perspective for the survivors.
Wayne Bastrup (Terminator : Genisys), Read MacGuirtose (Cruel Will), Tristan Price (The OC), Robert Ebinger (Days of Our Lives), and J.Kristopher (Straight Outta Compton) help make up the ensemble cast.
Christopher Showerman makes his feature directorial debut on Radio America, Pic is produced by Morris, Showerman, Chris Durand, and Eliza Washabaugh. Showerman wrote the script.
Radio America will be released later this year.

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