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Monday, 30 November 2015

More Sequels That Could Easily Copy the Torch-Passing Model of Creed

creed featured

As if the success of Jurassic World and the pre-sale achievement of Star Wars: The Force Awakens weren’t enough, the triumphant opening of Creed this past weekend sends another message to Hollywood that the sequel that’s also a reboot is the way to go. These are all franchises now following new characters inhabiting the same universe as the old familiar faces. Some also feature those old faces in supporting roles, but these are primarily about passing the torch to a new generation.

Matt Singer at Screen Crush calls them “legacyquels” (legacy sequels), and he acknowledges that they’re nothing we haven’t seen before. Many franchises have, over the past decade, tried to evolve in the form of handing the lead position down to another character, often to the child of the original main character. But Creed goes a fresh direction by having the legacy carried on not by the son of the original hero but that of his friend, a former supporting character long since dead.

We are always willing to lend Hollywood a helping hand, so we’ve found five more potential sequels that could pass the torch the way Creed does — down and over.

 

Top Gun 2
aka “Bradshaw

034

Tom Cruise has already shown us he has trouble letting go of a franchise. He was supposedly going to pass Mission: Impossible over to Jeremy Renner, but that didn’t happen. Would he have the same attachment to Top Gun? The long-teased sequel was at one time also going to keep Cruise’s Maverick in a minor role as he taught a new hot shot (Taylor Lautner was rumored for the role then). If suddenly Paramount wants to copy what Creed does, it could still do that idea but have the young gun be the son of Goose (Anthony Edwards), who died in the original. Unlike the newbie of Creed, we’ve already seen this kid before.

 

The Color of Money 2
aka “Felson

The-Color-of-Money-Tom-Paul

While we’re talking about Tom Cruise, it’s worth noting that he starred in a legacyquel decades ago, with him being the newcomer opposite Paul Newman’s reprisal of his character from The Hustler. It’s already been longer since the release of The Color of Money than it was between that and its predecessor (they were based on novels by Walter Tevis published 25 years apart), so the next installment is way overdue. This time the young pool player will just happen to be the grandson of Newman’s character. Bring it around in a circular way (down the road we meet Cruise’s character’s grandson and he takes over). And if history can repeat itself properly, the movie would see Cruise finally win an Oscar, just as The Color of Money finally got Newman his.

 

Alien 5
aka “Hicks

hicks

The latest word we got on Neill Blomkamp’s Alien sequel is that if it still happens it will ignore Alien 3 and Alien: Resurrection and bring back Hicks (Michael Biehn) and Newt, who would now be grown up and set to take over the franchise from Ripley (Sigourney Weaver). That’s a fine way to pass the torch, but if Fox wants to follow Creed‘s model they’ll keep those characters dead (I hate when franchises retcon, unless it’s with time travel, which maybe…). They could make it so Hicks had a daughter back on Earth, who never had the chance to know him. But this being the Alien series, of course she turns out to secretly be an android.

 

Indiana Jones 5
aka “Brody

jawsbdcap2_original

The last installment, Indiana Jones and the Kingdom of the Crystal Skull, attempted a legacyquel by introducing the hero’s son, Mutt (Shia LaBeouf). The next one should avoid trying any further to get LaBeouf to take over the franchise and instead go the way of Creed by introducing another character’s son. We’ve never heard anything about Marcus Brody (Denholm Elliott) having kids, probably because his wife died only a few years after they wed. He does have a nephew, James, according to one book. His nickname is Sunny Jim, which I guess could be the continuing series’ title. Maybe.

Or Spielberg could make another nephew be Martin Brody, who goes adventuring with and then similar to Indiana Jones for a few years (always complaining about a fear of water, akin to Jones’s fear of snakes) before settling down as a police officer on Amity Island … and therefore it turns out the movies are also a prequel series leading up to Jaws.

 

Fast and Furious 19
aka “O’Connor

furious-7-paul-walker-05

The number of the sequel isn’t important. But at this point it’s hard not to foresee the Fast and Furious movies getting up there. Also, with a new movie out every two years, that gives the franchise plenty of time until Brian and Mia’s son or daughter is old enough to join the team or lead a new one. By then they can also say Paul Walker’s character has died and it’s not insensitive, right? Or, if that’s the case, better to have it be one of the lesser characters’ kids, anyway. Han’s son or daughter it is, then. And the villain can be the kid of Jason Statham’s character. Or Jason Statham’s character. He’ll still be alive.

Vintage 'The Force Awakens' Posters Are Connecting Past & Present

The Force Awakens

Just let it in! We're down to the last few weeks. Over the weekend, Lucasfilm debuted three new posters for Star Wars: The Force Awakens that contain nothing but text. They are actually a specific throwback to the very same poster design utilized during the release of Star Wars: A New Hope on May 25th, 1977. For reference, we've included photos of the original posters at the bottom. We've seen so much imagery, so many attempts at Drew Struzan art, that it's sometimes refreshing to see marketing that is based purely on our imagination. That's what Star Wars is all about, capitalizing on our boundless imaginations and the joys that come with believing in The Force. It's exciting to be around here for yet another big Star Wars release.

Here's the vintage posters (3x) full-size for Star Wars: The Force Awakens, originally debuted by IGN:

Star Wars: The Force Awakens Posters

Star Wars: The Force Awakens Posters

Star Wars: The Force Awakens Posters

And here are the original posters from A New Hope's release in 1977, showing very similar designs (via io9). This is how they originally released posters for the movie before the iconic Drew Struzan art. Take a look:

Star Wars: A New Hope Posters

Star Wars: A New Hope Posters

Read more about the creation of the original Star Wars logo here. Thanks to Movies.com and io9 for tips.

Star Wars: Episode VII - The Force Awakens, continuing the beloved original trilogy about Luke, Leia, Han & Chewie that ended in 1983, is directed by J.J. Abrams, of the films Mission: Impossible 3, Star Trek, Super 8 and Star Trek Into Darkness. The screenplay is written by Lawrence Kasdan (Empire Strikes Back, Raiders of the Lost Ark, Return of the Jedi, The Big Chill, The Bodyguard) and J.J. Abrams, with Kathleen Kennedy from Lucasfilm producing. This debut is the beginning of a brand new saga, with another trilogy planned for this storyline, with Rian Johnson and Colin Trevorrow lined up to direct. Disney, after acquiring Lucasfilm in 2012, will release Star Wars: The Force Awakens in theaters worldwide on December 18th.

Making Of Featurette on the Stop-Motion Animation in 'Anomalisa'

Anomalisa

It's still so amazing that a couple of studios are actually making stop-motion animation feature films every year. The creative skill, patience and artistic vision that goes into creating a full-length stop-motion movie is so impressive, and it's always interesting to get a glimpse at that process. Paramount has released a new behind-the-scenes featurette for the indie drama Anomalisa, the new Charlie Kaufman film co-directed by Duke Johnson, which is a stop-motion film that has been earning rave reviews at film festivals. "Anomalisa is 118,089 Frames of Film. Each Animator had a goal of 2 seconds (48 frames) of animation per day. See how it all came together…" I wish they showed more here, but they're probably saving it for the DVD release.

Here's the making of featurette for Charlie Kaufman & Duke Johnson's Anomalisa, from Paramount:

If you haven't seen the full trailer for Anomalisa, watch it here. And read this review from Telluride.

Michael Stone, husband, father and respected author of "How May I Help You Help Them?" is a man crippled by the mundanity of his life. On a business trip to Cincinnati, where he's scheduled to speak at a convention of customer service professionals, he checks into the Fregoli Hotel. There, he is amazed to discover a possible escape from his desperation in the form of an unassuming Akron baked goods sales rep, Lisa, who may or may not be the love of his life. Anomalisa is co-directed by Charlie Kaufman & Duke Johnson (animation work on "Community", "Moral Orel", "Mary Shelley's Frankenhole"), from a screenplay by Charlie Kaufman (Synecdoche New York, Eternal Sunshine of the Spotless Mind, Being John Malkovich), originally based on a play. This premiered at the Telluride, Venice and Toronto Film Festivals. Paramount will release Anomalisa in select theaters first starting December 30th, before wide in January.

Christopher McQuarrie to Be First to Make Two Mission: Impossible Movies

Christopher McQuarrie

Paramount Pictures

One of the more interesting hallmarks of the Mission: Impossible franchise is that while it has maintained its cast across five films, it is yet to have a director make more than one. The most recent film, Mission: Impossible – Rogue Nation, saw Christopher McQuarrie (Jack Reacher) write and direct, following in the footsteps of Brian De Palma, John Woo, J.J. Abrams and Brad Bird.

Following the success of Rogue Nation, there was a safe assumption made that the franchise would go out looking for a new director who could dangle Tom Cruise from some new height.

With Tom Cruise recently saying that they plan to shoot the sequel next summer (which is a pretty sharp turnaround), Paramount’s search for a new director led them back into familiar territory. Christopher McQuarrie confirmed today via Twitter that he has accepted the mission to return:

According to a Variety story last week, McQuarrie was already confirmed to be coming back to write the next one. While he doesn’t specify in his confirmation, it’s being widely reported by major outlets that he will direct.

There are two reactions here. First, the fact that the Mission: Impossible series is going away from the one-and-done director rhythm is a little disappointing. That was one of the things that made the franchise fun, that level of mystery as to how each filmmaker would leave their stamp upon the franchise. Does sticking with the same director for a few films cause the franchise to go stale?

That’s the other thing. McQuarrie made a very satisfying Mission: Impossible film, one that introduced the wider world to the immensely talented Rebecca Ferguson, amped up the stunts and brought the core cast back together in a fun way. It ultimately set up a world in which IMF is doing alright, living under the oversight of Alec Baldwin and free to carry out more missions. Rogue Nation didn’t have to breath new life into the franchise, it’s been going strong for some time now, but it did breathe further life into the franchise.

It will be interesting to see how things play out with McQuarrie and M:I‘s first second date with a director. Even though the formula is broken, the choice might still be correct.

We Are Building The Future. Here’s How You Can Help.

patreon-post-banner

This past Saturday was Small Business Saturday. Today is Cyber Monday. This is the time of year when everyone is getting out their wallets and spending money online. It seems like a perfect time for us to launch our next venture, a crowdfunded future for Film School Rejects.

Of course, there’s a lot more to it than just sticking our hand out and asking for money. We’ve got a plan to build the blog of the future. One that delivers the same (and more) original content that we’ve been known for over the years, but doesn’t bombard its users with advertisements or bend over for corporate interests. We know what the future looks like and with your help, we can build it.

To support us, click here to visit our Patreon page.

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This Month, We Watched The Umbrellas of Cherbourg with Eric D. Snider

umbrellas-of-cherbourg

I am a film critic, but almost all of the movies I watch are new releases. That is going to change. With Jeff Bayer’s Remedial Film School a notable film critic or personality will assign me (and you) one film per month. Eric D. Snider from Movie B.S. with Bayer and Snider (my co-host) and freelancer extraordinaire is our guest, and he chose The Umbrellas of Cherbourg (currently available for free on Hulu, and Vimeo, or for rent/purchase on iTunes). Each section begins with a quote from the film.

“Guy, I love you. You smell of gasoline.” (Snider explains): My first exposure to The Umbrellas of Cherbourg was actually a staged concert performance of it (in English) way back in 1999. I was smitten, but it wasn’t till several years later that I got around to seeing the movie, which I immediately fell in love with. A sad French jazz opera about star-crossed lovers? What’s not to like??

The movie is gorgeous to look at, the sets and costumes full of vivid primary colors, the cast beautiful. (Surely there were no two better-looking people in France in 1964 than Catherine Deneuve and Nino Castelnuovo.) It’s very difficult to sing and act at the same time, and the film’s impact relies on both of those things being done well. Every time I see it, I’m swept up in the romance and tragedy of it all.

The reason I chose it for this project is simple: Jeff Bayer is one of my best friends, and this is the only movie I can think of that I LOVE that he hadn’t seen before. And it’s a perfect choice anyway, because it’s maybe not the sort of movie he would have expected me to love, because Will Ferrell isn’t in it.

“Am I too ugly or too stupid?” (Bayer watches): This film is exactly why this column exists. Imagine a good friend telling you this, “Let’s watch a foreign film … From 1964 … it’s a musical … nothing you’ve ever heard of … it’s very French … and oh by the way, there aren’t songs, they just sing the dialogue.” My answer simply would have been, “What else could we watch?” But when it’s assigned to me, I’m stuck. Well played, Snider. Well played.

The film begins with terribly boring opening credits that feel like they last much longer than the technical two minutes and 15 seconds. But then something happens. It’s big band jazzy music and everything starts to pop. Snider didn’t tell me the part about the singing dialogue (again, no dialogue is spoken). I was perplexed. Was a song or pattern going to emerge from this? Nope. I was ready for this to be over, until she walked in. Catherine Deneuve stars as Geneviève Emery and, damn, she’s hot. I’m talking Olivia Newton-John hot on some sliding Grease scale. The oddity is this film is only fantasy because of the singing. Otherwise, it’s a soap opera. That’s not to say there isn’t the occasional pep of dialogue. Like when Geneviève orders “something squeezed” at a bar. But then something disastrous happens. Geneviève, who at this point I’m wondering if some sort of time-traveler/alternative reality device can be created so we can live happily ever after, turns out to be 16 years old. Not cool, The Umbrellas of Cherbourg, not cool at all. Thankfully, it appears Deneuve was 21 at the time, but still.

The film is a love story and you actually end up feeling the love between Geneviève (who works for her mom at the umbrella store) and Guy (Castelnuovo). He wants to own a gas station and love her until the day he dies. Unfortunately, He’s got to go off to war in Algeria for a few years. Madame Emery (Anne Vernon) is Geneviève’s mom, and she’s amazingly vain, and wants her daughter to end up with Roland (Marc Michel).

I was absolutely, positively convinced we were going to flash forward two years, and come back to find where this soap opera would lead, but we actually get snippets of time along the way. They’re almost exclusively filled with bad decisions from Geneviève. She’s pregnant with Guy’s baby, but all too quickly decides to be with Roland. I was irate, which means the young love between Guy and Geneviève worked wonders on me. It’s impossible not to feel terrible for Guy. Even when he ends up in a brothel. Heck, before the hooker and the word “shit” this movie would have been rated G. Thankfully, Guy finds happiness with another, Madeleine played by Ellen Farner. We find happiness to, right? I love her with him, even though at 1 hour and 24 minutes into the film there is the worst face petting/hand rubbing of all time in a film. Prove me wrong! Then, two minutes later I was terribly nervous. I didn’t think we were going to get a happy ending. Even though all of my worst thoughts (car crash, etc) were wrong, the ending of the film is very cold and sad. It stuck with me for a while. Even Guy doesn’t come off well in the end. He’s ignoring his child. That whole plot point was something I just couldn’t get over.

Here’s some randomness for Snider to think about. Do you know of other opera-like movies such as this? At the 17-minute mark, a mailperson walks into the shop. I loved learning how mail was delivered with this little tray, and this is the role I would cast for you in the remake. Geneviève proves to be a magician making a huge fire at the 33-minute mark. All the more reason to love her (until she marries Roland). Geneviève drinks and smokes while pregnant. You’ve got to respect it. The film references movies a few times, which is another level of obvious fantasy I found interesting. Finally, are you ready for the worst/best idea of all time in remake history? Anne Hathaway dyes her hair blonde and plays Geneviève. Joseph Gordon-Levitt goes all French again and plays Guy. Those two actors can be great, have been great, but also can easily fall into Broadway children actors. It would be a shot-for-shot, line-for-line English remake, and it would be the worst/best thing ever. Cast the rest of the key roles for me, won’t you?

Movie Score: 7/10

“Stop crying. Look at me. People only die of love in movies.” (Snider responses):  One of the things I enjoy about Umbrellas is that it’s totally honest and relatable even though it comes from such a different time and place. It was socially acceptable for a 20-year-old man to date a 16-year-old girl (you notice it’s not Guy’s age that Genevieve’s mother objects to), and it wasn’t even particularly scandalous if he happened to knock her up, or if she smoked and drank. Nor was there any expectation that he would be involved in his child’s life after the mother had married someone else. It all seems distasteful now, but things were different 55 years ago. Why, in those days, you could make ends meet in a small town by running a store that only sold umbrellas! At least for a while, anyway.

As always, your idea for a remake is terrible and unnecessary. Here are my contributions: Genevieve’s mom should be played by Kathy Bates, Roland should be played by one of the guys from Workaholics (any of them), Madeleine should be a computer-animated robot, and Guy’s dying aunt should be played by Tyler Perry in a dress. There.
Sung-through musicals (as they’re called when they don’t have spoken dialogue) aren’t very common, but there are some. On stage, Les Miserables, Evita, Cats, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, Miss Saigon, Rent, and The Last Five Years are totally or almost totally sung. Most of them stuck to that when they got turned into movies. As for movies not based on stage musicals, I don’t know of any besides The Umbrellas of Cherbourg that don’t have any spoken dialogue. It seems unlikely that Umbrellas is the only one, but maybe?
Jeff, did the movie make you consider the idea of coordinating your outfits so they match the color of the walls in your house? Or of painting your walls bright, vivid colors? I recommend it.
In an alternate universe, this movie ends with Guy and Genevieve getting back together: the happy ending. Do you think that version would necessarily be better or worse than this one? Does the tragic aspect make it a better film? Or would it be a better film if it offered a more traditionally satisfying resolution? You can probably guess what I think, but I’m curious what you think.
Finally, did the town of Cherbourg remind you of Cannes? Remember the time we went to Cannes? It was basically like Cherbourg, without the singing.

“I think you can go.” (Bayer concludes): You know my wife dresses me, and decides all colors in our house. You’ll have to convince her on changing any of those things in my life. The film would be less memorable if it was a happy ending. I didn’t expect to feel cold at the end of the film, but it’s very effective. Yes, times were different with smoking, drinking, and leaving kids behind. But I’m stuck in 2015, and was even disappointed in Don Draper’s parenting at the end of Mad Men, even though I now feel bad complaining about Don. I like that it’s not a clean, happy ending, mainly because they had gone too far, changed too much. It was the perfection of young love, which most of the time, is best when left in the past.

Cannes now feels like a missed opportunity. Thanks. We could have been singing the entire time, especially while getting those baguettes and croissants and now I’m just drooling over everything.

Your Next Assignment: Guest critic Jenna Busch selected Metropolis (1927). It is available on Netflix. Your due date is December 31.

Watch: Two Fresh TV Spots for 'Joy' Featuring Jennifer Lawrence

Joy Movie TV Spots

"This has a chance to change all of our lives…" 20th Century Fox has debuted a few new TV spots this last month for the upcoming release of David O. Russell's new film Joy, starring Jennifer Lawrence as Joy Mangeno, the young single mother who invents the Miracle Mop. David O. also reunites with Robert De Niro and Bradley Cooper (the same trio from both of Russell's Silver Linings Playbook and American Hustle previously), plus the ensemble cast of Joy includes Edgar Ramirez, Isabella Rossellini, Diane Ladd, and Virginia Madsen. The film started showing to critics this past weekend and seems to be getting some good buzz. Now they're reading to roll it out to the public coming up this Christmas. Still interested?

Here's the two new TV spots for David O. Russell's Joy, direct from 20th Century Fox's YouTube:

Joy, both written and directed by David O. Russell, tells the wild story of a family across four generations centered on the girl who becomes the woman (Lawrence) who founds a business dynasty and becomes a matriarch in her own right. Betrayal, treachery, the loss of innocence and the scars of love, pave the road in this intense emotional and human comedy about becoming a true boss of family and enterprise facing a world of unforgiving commerce. Allies become adversaries and adversaries become allies, both inside and outside the family, as Joy’s inner life and fierce imagination carry her through the storm she faces. Like David O. Russell's previous films (The Fighter, Silver Linings Playbook, American Hustle), Joy defies genre to tell a story of family, loyalty, and love. Arrives in theaters on Christmas Day, December 25th, this year.

Now You See Me 2 Teaser Promises More Magically Ludicrous Action

Summit Entertainment

Summit Entertainment

Like all forms of art, film is a subjective medium, but sometimes a concrete fact emerges. Case in point, Now You See Me was one of 2013’s dumbest movies. One of the main joys of heist films is seeing characters overcome a seemingly impossible challenge, both in the initial execution and the later recap that breaks down how exactly they did it. Now You See Me wants to follow in those twisty footsteps, but while it sets up the impossible thefts and sequences it cheats viewers in everything that follows. Instead of rewarding audiences with a clever explanation and a smart reveal every action is accomplished via CG. The challenges are impossible, and the film just doesn’t care.

All of that said, the film also earned $350 million worldwide so a sequel was always going to be in the cards.

The mysteriously titled Now You See Me 2 sees the return of the Four Horsemen — Jesse Eisenberg, Dave Franco, Woody Harrelson, and Lizzy “I’m not Isla Fisher” Caplan — along with Mark Ruffalo, Michael Caine, and Morgan Freeman who are presumably reprising their roles from the first film as detective, manager, and soothing voice, respectively. The sequel sees a newcomer to the world of magic in the form of Daniel Radcliffe.

Check out the first teaser below.

Louis Leterrier has been replaced in the director’s chair this go-around by John M. Chu (G.I. Joe: Retaliation), but the end result appears to be more of the same. It looks to be a CG-heavy romp suggesting that it’s once again on track to be a silly flick with story and characters lacking in weight or consequence. To be clear, the issue isn’t simply the abundance of CG effects as that’s standard for big summer releases. The problem is that the film is destined to once again lack anything resembling suspense — the Horsemen are devoid of any compelling skills but are never in danger because nothing is ever out of bounds.

The one thing in the sequel’s favor is the same thing that made the first film bearable — it has one hell of a cast. Eisenberg, Harrelson, Franco, and Ruffalo all appeared to have a fun time before so we should expect more energetic and loose performances from the quartet here, and Radcliffe is clearly game as well. Isla Fisher has been replaced by Caplan, and while it’s unfortunate that both of the first film’s lead females (Fisher and Mélanie Laurent) were deemed unnecessary for the follow-up we will never be disappointed by the presence of Caplan. Never.

Now You See Me 2 magically appears in theaters June 10th, 2016.

Saturday, 28 November 2015

Friday, 27 November 2015

Lubezki is Sharing Amazing Making Of Photos from 'The Revenant'

The Revenant Photos

The master let's us take a look through his lens. Cinematographer Emmanuel Lubezki, known as "Chivo", is very likely going to win his third Oscar for filming The Revenant, the latest from director Alejandro G. Iñárritu (they also made Birdman together). The film opens in theaters later in December, but is getting early rave reviews for it's remarkable cinematography. Every last scene was shot using only natural, real light - no Hollywood tricks or lightbanks, it's all authentic. Lubezki joined Instagram a few years ago, but recently has been posting shots of various people and scenes from the filming of The Revenant in Canada (which went on for almost a year during late 2014/early 2015). Many of these characters are background characters, but they're definitely in it. Lubezki is a true master and every shot he takes is stunning to see.

Here's some of the best photos from Emmanuel Lubezki's Instagram during the making of The Revenant:

For even more photos from Lubezki, follow him on Instagram @chivexp. Watch The Revenant trailer here.

Inspired by true events, The Revenant is an immersive and visceral cinematic experience capturing one man’s epic adventure of survival and the extraordinary power of the human spirit. In an expedition of the uncharted American wilderness, legendary explorer Hugh Glass (Leonardo DiCaprio) is brutally attacked by a bear and left for dead by members of his own hunting team. In a quest to survive, Glass endures unimaginable grief as well as the betrayal of his confidant John Fitzgerald (Tom Hardy). Guided by sheer will and the love of his family, Glass must navigate a vicious winter in a relentless pursuit to live and find redemption. The Revenant is directed and co-written by renowned filmmaker, Oscar winner Alejandro G. Iñárritu (Birdman, Babel). Fox will release The Revenant in theaters on December 25th, Christmas Day.

Official Trailer for Indie 'Dixieland' with Chris Zylka & Riley Keough

Dixieland Trailer

"This will be my last job." IFC Films has debuted the trailer for the indie crime drama Dixieland, from writer/director Hank Bedford, starring Chris Zylka (The Leftovers) and Riley Keough (Mad Max: Fury Road). Zylka plays Kermit, a "mostly good kid" fresh out of prison trying his best to stay clean, falling in love with his neighbor, Rachel, played by Keough. Of course, when he needs money he decides to do one last job and we all know how that's going to turn out. The supporting cast includes Faith Hill, RJ Mitte, Brad Carter, Steve Earle, Spencer Lofranco and Mick Foley. Not my kind of film, but give it a look below.

Here's the first official trailer (+ poster) for Hank Bedford's Dixieland, direct from IFC's YouTube:

Dixieland Poster

Featuring "explosive chemistry" between rising stars Chris Zylka and Riley Keough and impressive supporting performances from music legends Faith Hill and Steve Earle, Dixieland is an intoxicating portrait of life and love on the margins. Fresh out of prison, Kermit (Zylka), a mostly good kid mixed up with local drug dealers, returns home to his rural Mississippi trailer park. As he struggles to keep his nose clean, he falls for Rachel (Keough), his sultry neighbor who’s turned to dancing in a club to support her sick mother. Determined to overcome their inauspicious circumstances, the star-crossed lovers make a desperate, last-ditch effort to escape their dead-end town—but soon find themselves ensnared in a cycle of crime. Dixieland is written/directed by Hank Bedford. IFC opens in theaters + VOD on December 11th.

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