Advertisement
Home Blog Page 1672

‘Outlander’ Season 2 Episode 6 Recap: Best Laid Schemes

Outlander Season 2 Episode 6
Sam Heughan and Duncan Lacroix in ‘Outlander’ (Photo © 2016 Sony Pictures Television Inc)

Vive Les Frasers!! The sixth episode of Starz’s Outlander season two, Best Laid Schemes…, is a pivotal sequence of events. I like to think of it as a bridge episode in a way. So many explosive things will happen in 207 (benefits of being a book reader too). This series of events is certainly laying the cobblestones for the disasters and triumphs to come. So let’s get down to laying that path out for you.

We open, almost where we left off, with Jamie (Sam Heughan) contemplating the argument and decision to NOT duel with Captain Jack Randall (Tobias Menzies). Murtagh (Duncan Lacroix) comes in still talking about the plans for the duel. Jamie has to tell him that the duel is off; he has sent word to recant the challenge. Murtagh is angered and asks why. Jamie asks that Murtagh trust him as to the reason and to leave it alone. This is a very natural course of things. In the book Murtagh never knows that Claire (Caitriona Balfe) is from the future, Jamie is the only Highlander who knows the whole story. Anyway… Murtagh bounds out of the room, grumbling all the way. Secrets in a household can be disastrous, and feel like betrayal. Never a good thing.

Claire went early to the L’ Hospital des Anges. She sees the Royal Executioner, Monsieur Forez (Niall Greig Fulton), and assists with a patient who has died. He goes through the enjoyable {insert sarcasm here} task of telling Claire what it means to do a successful drawn and quartered execution. Ghastly conversation, and for a woman so far along in pregnancy too. MEN! In the book, he does give these gruesome details, but it is at the Fraser home and to both Jamie and Claire.

Mother Hildegarde (Frances de la Tour) is not so out of the loop as you might think. If the trio are caught it is the exact description of what will happen to them. Claire understands this all too well and turns pale on the spot. The stress this woman is under will spell disaster, mark my words! But in the show he is in the hospital telling his art to distracting detail for a different reason.

The show’s point to this conversation is that the current victims are practitioners of the dark arts within the city. The King is on the hunt for heretics. Claire goes to Master Raymond (Dominique Pinon) after the Executioner suggests she go see him straight away. She gives Master Raymond the warning. He tries to brush it off but Claire presses her concerns with the point that the executioner is involved. He is very touched by her concern and does warn her that she has put herself at risk in the effort.

We next see Claire and Jamie sitting in front of the fire, Jamie absently rubbing Claire’s feet. I have to admit a sharp elbow went into my husband’s ribs at this. Jamie is looking absently off while doing his heavenly task for a very far along pregnant Claire. The way to a man’s heart might be his stomach, but the way to a woman’s heart is by her feet. A good foot massage…AAHHH heaven!

Jamie reveals what he was thinking, and it was about Claire asking for a life in their last argument about the duel. She was begging to save Frank, not Black Jack. Jamie tells her what most men would; she chose him of her own free will so he doesn’t really give the consideration to Frank directly like Claire does. He does admit that he wants to leave a place for Claire to flee to safety should it become necessary. Quite amazing he could think that far ahead in the heat of a passionate argument. He wants her to be able to go back to a man who will love her and take care of her and the baby. He exacts a promise from her. She has to promise to go back through those diabolical stones and to Frank should the time come. She promises but is very taken aback by the entire conversation. I’m sure Jamie was no less taken aback by her request for BJR’s life.

The next morning, they continue on with the scheme (hence the title to the episode) of trying to thwart the shipment of wine for Charles Stewart (Andrew Gower). Poor Jamie gets to be a test dummy of sorts to Claire’s concoction to fake Small Pox. Claire proves her point about it being possible to fake the symptoms in the crew so the cargo could get destroyed again. Murtagh is still mad about all the intrigue, he likes a much more direct approach. Murtagh storms out and stalks the front courtyard. Jamie and Claire decide now is the time to tell him about her and the REAL reason for the situation they are in. Murtagh accepts the explanation but adds a nice little punch to the jaw for Jamie’s trouble. He says he should have trusted him from the start. There is that Godfather understanding for ye…lol.

The next morning, Jamie and Fergus (Romann Berrux) head out to infect the warehouse staff, covertly of course, with the herbs and things that Claire has cooked up. After getting them off on their journey Claire heads back inside to see Murtagh writing on a paper. Murtagh looks uneasy when he is caught by Claire. He shows her it was years that he was writing down. All the years of her life before coming to the past. They have an exchange about the future and what she knows. Murtagh asks, in an inadvertent way, about when they will die. She doesn’t know those particulars, but Murtagh gets that any knowledge of the future is a huge burden to bear. I love those little sensitive moments when Murtagh is compassionate and lets it show.

Jamie and Fergus accomplish their task of “infecting” the crew, more like afflicting the crew. They make it back to Paris successfully. Jamie is soon called to the brothel urgently by the Prince, and the dashing and dastardly Le Comte St. Germain (Stanley Weber) is there as well. They report the dreadful news of the men in St. Germain’s warehouse being stricken with an unknown illness. Okay, I have to say it. Is it NOT totally sexy when Stanley Weber shouts in French…ooo lala! Right, we don’t like him. Back to business…

They ask Jamie to take the cargo and transport it himself from the La Havre harbor. He is hesitant but agrees to the task. What else could he do? Now the scheme has to be to hijack the shipment during transport. Enter Murtagh and hired thugs. Murtagh is too funny, fussing about the French attire that he has to wear. So Suzette (Adrienne-Marie Zitt) offers to relieve him of his attire {giggle snort}. Jamie and Claire retire to their bed as well. Such a cute scene this is…. Jamie feels the baby move for the first time. He speaks directly to the baby and says that he canna wait to meet his wean.

Outlander Season 2 Episode 6
Caitriona Balfe in ‘Outlander’ (Photo © 2016 Sony Pictures Television Inc)

The next evening Claire is at Louise de Rohan’s (Claire Sermonne) having dinner with her and a gaggle of ladies, gossiping…. naturally. Claire’s mind is on Jamie and Murtagh, they are actively involved in this highly risky move to hijack the shipment. Le Comte St. Germain is riding in the lead wagon, Jamie is riding in the second wagon. A masked Murtagh and hired highwaymen ambush the caravan and take the wine. St. Germain and Murtagh square off at pistol point.

Jamie knows he has to do something or Murtagh is likely to be shot right in the face. Jamie jumps to the front wagon and pushes St. Germain off the wagon to the ground. Murtagh fires making it look like Jamie saved his life. Jamie jumps on Murtagh and they play the part well. Murtagh finishes by knocking Jamie unconscious by pistol-whipping him. St. Germain buys the acting and later tells the Prince that Jamie saved his life. But the cargo is lost.

The scene turns back to the gaggle of ladies, and Claire finally gets a snoot full. She leaves the gathering and heads to the hospital. She starts to exhibit exhaustion and Mother Hildegarde forces her to stay the night at the hospital and rest. Mother notices that Claire is bleeding a bit. Fergus takes word to Jamie that Claire is staying the night at the hospital under the Mother’s care. Fergus does not tell him that she is bleeding, largely because he does not know this key fact.

In the book, Jamie is aware that Claire is placed on bed rest at this point because she did start to bleed a bit. In the show, he is not aware of this development. Jamie is still at the brothel with the Prince and St. Germain. St. Germain is rightly upset and taking much of his ire out on Jamie. The Prince calms him, amazingly enough, but the Prince is in great distress at this turn of events and what it means for his cause. Jamie tries to comfort him, but the Prince dissolves into tears.

Jamie finally gets home in the early hours of the morning. Jamie and Fergus sit down to breakfast after Fergus relays where Claire is. Suzette bursts in with distressful news that Prince Charles has raised a fuss at the brothel and refuses to pay his debt there. Jamie has to run back to the Prince’s side at the brothel to settle the situation before there is a need for the police. Fergus goes with him since Murtagh has been sent to Portugal to sell the wine that was just hijacked. Jamie goes to attend to the situation about the Prince and Fergus does a bit of exploring. He just so happens to step into the wrong room. He picks up a vile from the bedside table just in time to turn to see a man shut the door and the red coat hanging on the chair. NOT GOOD!!! You don’t see the man, but book readers know EXACTLY who that is and what happened in that room. Can you guess?

Claire returns home. The staff all give her concerned looks, but she does not notice this at first. She asks for Jamie and poor Suzette tries not to have to tell her. Claire sees his hand guard laying on the bed. Suzette has to admit that Jamie has gone to the woods and she spills the story of a fight at the brothel with an English Officer. Claire is actively in pain with the baby; she is clutching her stomach when she whispers that Jamie promised not to duel BJR. She forces Magnus (Robbie McIntosh) to take her to the woods where they are dueling. He does so, but Claire is in great distress about the duel and the baby. She gets to the site but knows she cannot cry out to Jamie or she could cost him his life. She has to stand and watch as her nightmare comes true: the duel between Jamie and Frank’s life through Jack Randall.

Claire tries to cry out when they pause and have a verbal exchange, but the pain in her stomach takes the words. Jamie stabs BJR right in the family jewels (Tulach Ard) just as Claire starts bleeding profusely and drops to the ground. She gets enough breath to cry out and Jamie sees her just as the police arrive to arrest the gathering. Claire tells Magnus to take her to the hospital and Mother Hildegarde, Jamie is taken away, and BJR is lying on the ground bleeding from his man sack and passes out. Could this be a more suspenseful place to stop the episode? I don’t think so!! I know what happens, but you will have to either read the book to catch up or watch the outcome next week.

Outlander Season Two Recaps:




‘The Blacklist’ Spinoff Title Revealed and First Photos

The Blacklist Redemption
Ryan Eggold as Tom Keen in ‘The Blacklist: Redemption’ (Photo by: Virginia Sherwood/NBC)

NBC has officially revealed the title along with new photos from The Blacklist spinoff, The Blacklist: Redemption. The network’s given a series order to the dramatic spinoff set to star Ryan Eggold reprising his role from The Blacklist as Tom Keen, Famke Janssen reprising her role as Susan Hargrave, Edi Gathegi back as Matias Solomon, and Tawny Cypress as Nez Rowan.

Jon Bokenkamp and John Eisendrath are on board as writers and executive producers, with John Fox and John Davis also executive producing. Michael Dinner (Justified) directs.

The Plot: In this thrilling new spinoff of NBC’s breakout hit series, undercover operative Tom Keen joins forces with Susan “Scottie” Hargrave (Famke Janssen), the brilliant and cunning chief of Grey Matters, a covert mercenary organization that solves problems governments don’t dare touch. While on the hunt for Liz’s attacker, Tom secretly discovered that Scottie is actually his biological mother. Now, as they team up to employ their unique skills and resources in a dangerous world of deadly criminals, Tom begins his own covert mission to find out more about his shadowy past.

The Blacklist: Redemption
Ryan Eggold as Tom Keen and Famke Janssen as Susan “Scottie” Hargrave in ‘The Blacklist: Redemption’ (Photo by Virginia Sherwood/NBC)

Vanessa Hudgens, Nick Jonas, Julianne Hough Go ‘Running Wild with Bear Grylls’

Running Wild with Bear Grylls
‘Running Wild with Bear Grylls’ (Photo by: NBCUniversal)

NBC announced the new set of celebrities who will be roughing it with Bear Grylls on Running Wild with Bear Grylls. Joining the expert survivalist for the upcoming season will be Vanessa Hudgens, Nick Jonas, Julianne Hough, Lindsey Vonn, and Courteney Cox. Running Wild with Bear Grylls is executive produced by Grylls, Ben Silverman, Chris Grant, Laura Caraccioli, Viki Cacciatore and Delbert Shoopman.

Season two of the NBC reality series averaged 4 million viewers and featured celebrities including President Barack Obama, Kate Hudson, Drew Brees, Michelle Rodriguez, and Ed Helms. Season one’s celebrities included Zac Efron, Channing Tatum, Deion Sanders, and Ben Stiller.


In season three, airing this summer, Vanessa Hudgens (Grease Live, Sucker Punch) will be surviving in the wild of the Sierra Nevada Mountains. Nick Jonas (Kingdom) will also be roughing it in the Sierra Nevada Mountains on his episode of Running Wild with Bear Grylls. Dancing with the Stars‘ Julianne Hough will be traveling to Africa for an episode and Courteney Cox (Friends, Cougar Town) will joining Grylls in Ireland. And Olympic gold medalist Lindsey Vonn is also venturing into the wilderness of Ireland this season.

‘Sleepy Hollow’ Renewed for Season 4

Lyndie Greenwood and Tom Mison in Sleepy Hollow
Lyndie Greenwood and Tom Mison in ‘Sleepy Hollow’ (Photo by Tina Rowden © 2016 Fox Broadcasting Co)

Sleepy Hollow fans have the answer they’ve been waiting for: Fox will be bringing back Sleepy Hollow for a fourth season. The supernatural drama spent the final episodes of season three killing off major characters, including lead actress Nicole Beharie who played Abbie Mills. Beharie had wanted off the series but that didn’t lessen the negative response from fans after Abbie was killed off in the season three finale. The death of her character was also thought to have spelled the end for the series because the chemistry between Beharie and Tom Mison (who plays Ichabod Crane) has always been what drives the series. However, the season three ratings were high enough at 4.8 million average viewers that Fox opted to renew the series for another season.


In addition to Mison, Sleepy Hollow stars Lyndie Greenwood as Jenny Mills, Jessica Camacho as Sophie Foster, and Lance Gross as Daniel Reynolds. The series premiered on September 16, 2013 and was co-created by Alex Kurtzman, Roberto Orci, Len Wiseman, and Phillip Iscove.

The season four plot: Sleepy Hollow returns for a groundbreaking fourth season full of supernatural creatures, inexplicable events and the search for the truth about the lives of Witnesses.

First Look: ‘The Light Between Oceans’ Trailer

Light Between Oceans
Michael Fassbender stars as Tom Sherbourne and Alicia Vikander as his wife Isabel in DreamWorks Pictures poignant drama ‘The Light Between Oceans.’

Get your tissues ready… DreamWorks Pictures has unveiled the first full trailer for the dramatic film The Light Between Oceans and it’s a tear-jerker. Written and directed by Derek Cianfrance (The Place Beyond the Pines), the film is based on M.L. Stedman’s bestselling novel and features Michael Fassbender, Alicia Vikander, Rachel Weisz, Bryan Brown and Jack Thompson. The Light Between Oceans opens in theaters on September 2, 2016.

The Plot: M.L. Stedman’s debut novel takes place on a remote Australian island in the years following World War I, where a lighthouse keeper and his wife are faced with a moral dilemma when a boat washes ashore with a dead man and a two-month-old infant. When they decide to raise the child as their own, the consequences of their choice are devastating.

Watch The Light Between Oceans trailer:

Meghan Trainor to Perform on the Billboard Music Awards

Meghan Trainor

Meghan Trainor’s been added to the list of performers set to take the stage during the 2016 Billboard Music Awards on May 22nd. Trainor joins a list of confirmed performers that includes Justin Bieber, Celine Dion, DNCE, The Go-Go’s, Ariana Grande, Demi Lovato, Shawn Mendes, P!nk, Rihanna, “Kia’s One to Watch” Troye Sivan, Britney Spears, Fifth Harmony featuring Ty Dolla $ign, Nick Jonas with Tove Lo, and Blake Shelton and Gwen Stefani. Madonna will also appear on the awards show performing a tribute to Prince.


The 2016 Billboard Music Awards will air live on the East and West Coasts for the first time in the show’s history. The broadcast kicks off at 8pm ET and 5pm PT on ABC. Ludacris and Ciara are this year’s hosts.

Meghan Trainor’s currently in the news over a photoshopping incident involving her new music video for the single, “Me Too.” She requested the video be taken down after discovering her waist had been digitally slimmed down. Talking to Good Morning America, Trainor said, “When it was up, I saw my fans posting clips of this dance scene and I was like, ‘Why are the fans messing with my waist?’ and then I looked at my video and I was like, ‘It’s my own video.'” The original unaltered video is now back online.

Trainor just released her new album, Thank You, which featured the lead single “NO.” “NO” has already achieved Platinum status and “Me Too” will begin receiving airplay on May 16th.

‘Love & Friendship’: Kate Beckinsale Interview

Kate Beckinsale Love and Friendship
Kate Beckinsale in ‘Love & Friendship’ (Photo credit: Bernard Walsh, Courtesy of Amazon Studios and Roadside Attractions)

Kate Beckinsale once again teams with indie auteur extraordinaire Whit Stillman for Love & Friendship, their first collaboration since 1998’s The Last Days of Disco. Based on a Jane Austen epistolary novella, the film is Stillman’s first period piece, though it fits perfectly into his catalogue as yet another “comedy of mannerlessness,” with Beckinsale deftly navigating the American director’s characteristically verbose, fleet-footed dialogue even better than she did eighteen years ago.

Beckinsale plays Lady Susan Vernon, a devious, aristocratic manipulator who uses her charm and impenetrable, mannered facade to weasel her way into the arms of a wealthy scion, Reginald De Courcy (Xavier Samuel). His sister Catherine (Emma Greenwell) sees through Susan’s schemes and tries her best to intercept the Lady’s advances, but to no avail; Susan is an upper-crust force of nature not to be reckoned with.

Austen’s social satire is as potent as ever, but Stillman injects enough of his signature urbane sense of humor to make the old feel new again. The film’s greatest boon, however, is Beckinsale, who’s so magnetic and eloquently charismatic that she commands undivided attention without lifting so much as a white-gloved finger.

We spoke to Beckinsale about working with Stillman on Love & Friendship, which is out in select cities this weekend.

Kate Beckinsale Interview:

What attracted you to the script? Whit had you in mind for Lady Susan from the beginning.

“I was in Bulgaria on another movie and I read the script. I thought it was great. I thought, Whit’s done something in the style of Jane Austen. I loved it, and I loved the work we did the last time we worked together. I know that he has a particular relish for a diabolical female. It’s a pleasure to work with somebody who gets such a bang out of that.”

Was reuniting with Whit after all these years something you’d been hoping for? A pleasant surprise?

“Whit sort of went subterranean for a lengthy period of time, so I really didn’t know if that was something to even hope for, to be honest. Whit is a very interesting creature. He could easily pop up in any other career…I honestly believe Whit can do anything. The first movie we did together was the first American movie I had ever done, and it’s the first time I’d ever had to do an American accent on film. The thing about Whit is, he is sort of Jane Austen in that respect. He was, at that time, specializing in a very particular strata of social milieu, which was absolutely unfamiliar to me, being from England and not having been to America at all. I felt very unqualified.


This time, it was a bit different because it was more my territory. I started out doing Jane Austen, and I’m English, so…[laughs] It was a little bit easier. There were seventeen, eighteen years in between [films], and people sort of have a lot of life happen to them in that time. But I think, essentially, we’re the same people. There’s something quite comforting about that.”

Talk about the dynamic between you and Chloë Sevigny.

“I remember being really blown away by her when I first went out to New York. She was so unbelievably cool. I suppose my notion of what cool-to-the-bone people were like was kind of shattered by Chloë. I thought they’d be kind of closed-up and look like how everyone looks in Warhol pictures. Untouchable. She’s so candid and so goofy. She’s so very much herself at all times, even if she’s falling over or whatever it is. She’s cooler than everybody else. She cops to everything in a way, which I realized was the sort of kernel of why she is so cool. Having never been cool–and still, not really–I found that illuminating. I think we’re quite different actresses. We prepare differently. And yet, for some reason, the scenes really spark between us. We really like working together.”

Whit is one of the most interesting people I’ve ever spoken to, interview or not. What’s it like being in a working, creative partnership with someone like that?

“We had a sort of epistolary relationship at first through back-and-forth emails. Given that I’m, at base, an academic more than anything else, Whit asked for my notes on the script and of course I sent back a small thesis. [laughs] He’d harass me with these notes for ages, and I’d prepare them like I would anything at university.

He has a weird obsession with background actors. I remember that from Last Days of Disco. You’ll have your most involved scene with the most dialogue and possibly a dance as well and god knows what else is going on, and when you get to the end, Whit would be going, ‘Well, there’s a gardener in the back…’ You go, ‘Well, you’re not looking at me at all!’ This time around, I was prepared for it. He’s also got an amazing gift for what is truly funny. It might be that the gardener is funnier than you. He’s usually not wrong.” [laughs]

You have three movies coming out this year. How do you move so nimbly from a vampire warrior to an English coquette as an actress?

“I decided to go to university as opposed to drama school. I started working when I was sixteen, so I felt a little underprepared at the beginning. I thought, I may be working professionally, but I need to treat this as a sort of apprenticeship. My big thing that I wanted to do was to do as many different things as possible. I was able to keep this up for a pretty long time. What I didn’t factor in was that doing a play at the Royal Court or doing a small French movie that nobody sees or a movie like this movie…they’re not exactly the same weight as an Underworld movie is. The clue is if you’ve got an action figure and people dress up as you for Halloween. It freights things a bit more. I’m thinking, ‘Here I am, moving nimbly between genres, and I’ve done 45 movies! Only four of them have been Underworld.’ I don’t think that’s what other people’s perception is. It started out as a sort of apprentice thing, but actually, I think you want to stay a little bit scared as an actor. A little, ‘Oh shit, can I do this?’

That’s what doing the first Underworld movie really was. I would go into meetings and there would be a part that was, like, a policewoman or something. They’d go, ‘Well, she’s really period-drama,’ or, ‘We smell crumpets on her,’ or whatever. I thought, I’d better do something that gives me a bit more edge. Underworld had legs like you wouldn’t believe. It’s not really what I’m comfortable doing, but it seems to be weighted a bit more. It’s a slightly schizophrenic position to be in, to be best known for the thing that is the least [within] your skill and comfort zone. That’s been a bit strange.”

What kind of roles are you most comfortable with?

“I’m very drawn to characters like [Lady Susan], who are difficult or diabolical or tricky, but they’re also very charming. As an actor, you’ve got to find that balance. I liked that in Last Days of Disco and I liked that in [Love & Friendship]. It’s a really fine tightrope to walk. Whit seems to be the king of this. They’ve got a lot of color in them, those parts.”

This character could have easily become sinister to the point where the audience turns against her. I think you manage a very delicate tightrope walk.

“I think the thing you don’t want is for it to be arch and have that sort of mustache-twiddling, I’m-a-villain thing, you know? Whit is so sensitive to nuance. The script that he wrote…I didn’t feel that [Susan] was like that. I think if your sensibility and the director’s are very similar…it wasn’t like we were like, ‘Ooh, watch out! She’s coming off like too much of a bitch here.’ I found it very important to be aware of the social situation she was in. This character, who’s an intelligent, charismatic woman with a healthy sexual appetite, would be doing just fine in 2016. She’d have an extremely high-powered job and she’d have a few lovers. The trouble is, she has all of these qualities, and yet she’s in this kind of constraint of this society where it is sort of impossible to have that kind of lifestyle unless you’ve secured yourself a husband. I think the way I’d describe her is that she’s very much somebody who wants to have her cake and eat it too.”

Fox Says Goodbye to ‘Grinder’ and ‘Grandfathered’

Grinder Rob Lowe Fred Savage
Rob Lowe and Fred Savage in ‘The Grinder’ (Photo © 2015 Fox Broadcasting Co.)

It’s one season and out for Fox’s 2015-2016 batch of half-hour new comedies. The network has decided not to bring back The Grinder, Grandfathered, Cooper Barrett’s Guide to Surviving Life, or the animated comedy Bordertown for second seasons. While Cooper Barrett and Bordertown‘s cancellations were sure bets, there was actually reason to hope Fox would stick with The Grinder and Grandfathered for another season. Both comedies starred long-time fan favorites – Rob Lowe on The Grinder and John Stamos on Grandfathered – and both shows debuted to decent although not outstanding numbers. But as the first season went on, neither show grew its audience despite Stamos and Lowe continuously plugging their shows on talk shows and via other outlets (and despite The Grinder being one of their better comedies to appear in years).

Grandfathered‘s ratings for season one showed the comedy featuring Stamos as a playboy who discovers he’s actually a grandfather was averaging in the 4 million range. The Grinder was only managing 3.4 million viewers on average. Still, The Grinder‘s numbers were better than either Bordertown and Cooper Barrett’s. Seth MacFarlane’s animated Bordertown never found an audience, kicking off quietly and never gaining any traction. Cooper Barrett‘s numbers were a ratings disaster and no one expected the series to earn a season two renewal.

‘Hell or High Water’ Unveils a Trailer and Poster

Hell or High Water Poster

CBS Films has just released the official trailer and poster for the dramatic thriller Hell or High Water starring Chris Pine, Jeff Bridges, Gil Birmingham, and Ben Foster. Set in West Texas, the action drama comes from Young Adam‘s David MacKenzie and was written by Sicario‘s Taylor Sheridan. Gigi Pritzker, Bill Lischak, Michael Nathanson, Rachel Shane, John Penotti and Bruce Toll executive produced, with Sidney Kimmel, Peter Berg, Carla Hacken and Julie Yorn produced. Hell or High Water opens in limited release on August 12, 2016 followed by a wide release on August 19th.


The Plot: A story about the collision of the Old and New West, two brothers — Toby (Chris Pine), a straight-living, divorced father trying to make a better life for his son; and Tanner (Ben Foster), a short-tempered ex-con with a loose trigger finger — come together to rob branch after branch of the bank that is foreclosing on their family land. The hold-ups are part of a last-ditch scheme to take back a future that powerful forces beyond their control have stolen from under their feet. Vengeance seems to be theirs until they find themselves in the crosshairs of a relentless, foul-mouthed Texas Ranger (Jeff Bridges) looking for one last triumph on the eve of his retirement. As the brothers plot a final bank heist to complete their plan, a showdown looms at the crossroads where the last honest law man and a pair of brothers with nothing to live for except family collide.

Watch the Hell or High Water trailer:

‘Love & Friendship’ Movie Review

Love and Friendship
Chloë Sevigny and Kate Beckinsale in Whit Stillman’s ‘Love & Friendship’ (Photo credit: Ross McDonnell, Courtesy of Amazon Studios and Roadside Attractions)

With an unbroken cadence and an impish smirk, Kate Beckinsale brings the house down in Whit Stillman’s characteristically verbose and wickedly funny Love & Friendship, based on Jane Austen’s posthumously titled epistolary novella Lady Susan. Teaming for the first time since 1998’s The Last Days of Disco, Beckinsale (who stars as the Lady of the original title) and Stillman pay the oft-adapted author homage by both honoring the source material and building upon its virtues. It’s a razor-sharp comedy of manners that balances the glistening opulence of Austen’s 18th-century milieu with the stinging, postmodern wit of Stillman, who eschews the epistolary style and re-shapes the story into a swirling series of urbane tête-á-tétes that fits snugly into both he and Austen’s respective oeuvres.

Beckinsale’s Lady Susan Vernon is an unstoppable force of sophisticated, duplicitous scheming, exercising her gift for charming the opposite sex into submission whenever the opportunity arises. Women are naturally threatened by Susan’s mannered magnetism, none more than Susan’s sister-in-law, Catherine Vernon (Emma Greenwell), who’s put on alert when Susan announces she’s paying an extended visit to she and her husband, Charles (Justin Edwards), at Churchill, their gorgeous, sprawling estate.


Almost immediately, Susan spots her target, Catherine’s handsome, inordinately wealthy younger brother, Reginald De Courcy (Xavier Samuel). Like butter, the eligible scion melts in Susan’s gloved hands. All seems to be going to plan until her teenage daughter, Frederica (Morfydd Clark), runs away from school and pops up at Churchill, complicating her carefully-laid plans. Unexpectedly, Frederica emerges as a rival for Reginald’s affection. While gossiping with her similarly devious, American best friend, Alicia (a charmingly helter-skelter Chloë Sevigny), Susan devises a plan to eliminate Frederica from the field by pairing her with a peripheral suitor, the imbecilic Sir James Martin (Tom Bennett, a scene-stealer).

While many of Austen’s original lines remain intact, Stillman adds plenty of his own, mostly to reframe the story so that it’s stageable and shootable (the novella was told in a series of letters between the characters, who lived miles apart). Perhaps the most miraculous thing about this particular Austen adaptation is that it’s difficult to distinguish the old lines from the new ones; every bit of dialogue is sharp, funny, and gels with the rest of the script, which is a testament to Stillman’s pen. His style seeps in elsewhere as well, like when he introduces the dramatis personae one by one, each paired with a tongue-in-cheek title card as they stay unblinkingly, earnestly in character.

One couldn’t ask for a better reciter of said dialogue than Beckinsale, who has both the unwavering poise and disarming good looks to embody an aristocratic worldbeater the likes of Lady Susan. The seasoned English actress plays every scene straight as an arrow, which of course makes everything funnier: When Susan arrives at Churchill with an unpaid servant in tow, she insists that, “As there’s a friendship involved, I’m sure the paying of wages would be offensive to us both.” A sly devil she is.

The elegance of the period set design and costuming is almost enrapturing in its presentation, with Stillman clearly relishing in the succulent details of every nook and cranny of Churchill and its inhabitants’ fine, billowy dress. The lilting score reinforces the ornate aesthetics, creating a rock-solid period presentation that allows Stillman’s postmodernist social satire to pop like pink on gold. The material doesn’t have the grand dramatic swells of Austen’s later work (Lady Susan was written pre-Pride & Prejudice), but it nevertheless beats out almost every other adaptation of its ilk. Austen fans and Stillman devotees alike are sure to rejoice at what is so far one of the best, most idiosyncratic comedies of the year.

GRADE: A-

MPAA Rating: PG for some thematic elements

Running Time: 92 minutes

Trending