Indie Film Distribution/Production Company Rogue Arts has just signed a partnership agreement with Fairway Film Alliance to distribute films globally. The partnership began at Afm where three of Rogue Arts new titles were launched successfully. "We are creating these kind of relationships in order to be completely transparent with both our investors and our filmmakers. It is a great time of growth in our company", stated company founder, Kirk Harris. "Our goal is a new type of company where partnership with the filmmaker really means both the filmmaker and the distributor benefit from the proceeds and know step by step what is occurring with the films," stated Don Franken, also a Principal at Rogue Arts.
Rogue Arts has produced 8 films and Rogue Arts and Fairway Films Alliance has handled the distribution of more than 50 titles. Founded as a production company in 2004 by Actor/Filmmaker Kirk Harris, company executives now include Celebrity sports talent and marketing agent Don Franken, Retired Navy Special Forces Swcc Vernon Mortensen and Fairway Films Alliance's Marty Poole. "With over 20 years working film in film sales, and also as a filmmaker, I felt it was time to create a company by, with, and for the filmmaker" stated Fairway Films Alliance founder, Marty Poole. Another feature of the Rogue Arts and Fairway Film Alliance partnership is the unique blend of world sales, theatrical booking, digital content knowledge and PR and Marketing experience the principles have.
Recent produced titles include: The Kid: Chamaco, directed by celebrated Mexican producer Miguel Necoechea starring Martin Sheen, Kirk Harris and Gustavo Sanchez Parra. They also include the freshly completed Western Thriller The Sorrow, directed by Rogue Arts' Vernon Mortensen and starring Harris, John Savage and Michael Madsen.
Noted distribution titles include: "Flickering Lights" from Academy Award Winning Anders Thomas Jensen and starring Ulrich Thomsen and Mads Mikkelsen. Wim Wenders presents Michael Meredith's "Three Days of Rain" starring Peter Falk, Blythe Danner and Lyle Lovett and last but not least, "Spooky House" from director William Sachs starring Ben Kingsley and Mercedes Ruehl.
Rogue Arts titles have screened at the Sundance, Berlin, Toronto, Slamdance and Venice Film Festivals.
Recent titles that premiered at Afm were the FX action film "Time Warrior", Terrorist subway thriller "Red Line" and "The Sorrow". "Time Warrior" and "Red Line" were acquired through a new strategic alliance with the San Diego Film Festival to provide distribution for some of their premiere entries.
Additionally, Rogue Arts has two TV series in development as well as several feature projects of varying budgets in the pipeline. ...
Rogue Arts has produced 8 films and Rogue Arts and Fairway Films Alliance has handled the distribution of more than 50 titles. Founded as a production company in 2004 by Actor/Filmmaker Kirk Harris, company executives now include Celebrity sports talent and marketing agent Don Franken, Retired Navy Special Forces Swcc Vernon Mortensen and Fairway Films Alliance's Marty Poole. "With over 20 years working film in film sales, and also as a filmmaker, I felt it was time to create a company by, with, and for the filmmaker" stated Fairway Films Alliance founder, Marty Poole. Another feature of the Rogue Arts and Fairway Film Alliance partnership is the unique blend of world sales, theatrical booking, digital content knowledge and PR and Marketing experience the principles have.
Recent produced titles include: The Kid: Chamaco, directed by celebrated Mexican producer Miguel Necoechea starring Martin Sheen, Kirk Harris and Gustavo Sanchez Parra. They also include the freshly completed Western Thriller The Sorrow, directed by Rogue Arts' Vernon Mortensen and starring Harris, John Savage and Michael Madsen.
Noted distribution titles include: "Flickering Lights" from Academy Award Winning Anders Thomas Jensen and starring Ulrich Thomsen and Mads Mikkelsen. Wim Wenders presents Michael Meredith's "Three Days of Rain" starring Peter Falk, Blythe Danner and Lyle Lovett and last but not least, "Spooky House" from director William Sachs starring Ben Kingsley and Mercedes Ruehl.
Rogue Arts titles have screened at the Sundance, Berlin, Toronto, Slamdance and Venice Film Festivals.
Recent titles that premiered at Afm were the FX action film "Time Warrior", Terrorist subway thriller "Red Line" and "The Sorrow". "Time Warrior" and "Red Line" were acquired through a new strategic alliance with the San Diego Film Festival to provide distribution for some of their premiere entries.
Additionally, Rogue Arts has two TV series in development as well as several feature projects of varying budgets in the pipeline. ...
- 2/19/2013
- by Sydney Levine
- Sydney's Buzz
Release Date: Oct. 11, 2011
Price: DVD $24.99
Studio: Strand Releasing
Monica del Carmen and Gustavo Sanchez Parra take it to the next level in Leap Year.
The acclaimed 2010 erotic drama movie Leap Year from Mexico will heat up up any already steamy summer.
The film follows Laura (Monica del Carmen), a young journalist living an isolated life in a cramped Mexico City flat. Laura’s not lucky in love. The banality of her daily life stands in stark contrast to her nightly pursuit of sex and love, which result in a series of short-lived affairs.
One night, she meets brooding, would-be actor Arturo (Gustavo Sanchez Parra), and their sizzling chemistry ignites feelings in Laura that leave her deeply troubled. It doesn’t take too long for the pair to embark on an increasingly dangerous sadomasochistic relationship in which pleasure, pain and love merge. Uh-oh…
Directed and co-written by Michael Rowe, Leap Year...
Price: DVD $24.99
Studio: Strand Releasing
Monica del Carmen and Gustavo Sanchez Parra take it to the next level in Leap Year.
The acclaimed 2010 erotic drama movie Leap Year from Mexico will heat up up any already steamy summer.
The film follows Laura (Monica del Carmen), a young journalist living an isolated life in a cramped Mexico City flat. Laura’s not lucky in love. The banality of her daily life stands in stark contrast to her nightly pursuit of sex and love, which result in a series of short-lived affairs.
One night, she meets brooding, would-be actor Arturo (Gustavo Sanchez Parra), and their sizzling chemistry ignites feelings in Laura that leave her deeply troubled. It doesn’t take too long for the pair to embark on an increasingly dangerous sadomasochistic relationship in which pleasure, pain and love merge. Uh-oh…
Directed and co-written by Michael Rowe, Leap Year...
- 9/6/2011
- by Laurence
- Disc Dish
Man on Fire
Opens
April 21
Denzel Washington plays an avenging angel in "Man on Fire", a full-throttle, good-vs.-evil thriller about an ex-CIA agent bent on eliminating, one by one, a ruthless Mexican gang of kidnappers and dirty cops.
Everything is straightforward save for director Tony Scott's fussy style of hyperimages and flash editing, which he has developed in such similar melodramas as "Spy Game" and "Enemy of the State". Washington commands the screen with calm assurance, shares it well with his tiny co-star, Dakota Fanning, during the first half of the story and pretty much carries the marathon-length movie on his broad shoulders, as he is in nearly every scene.
At nearly 21⁄2 hours, exhibitors might lose a daily showing with "Man on Fire". But it won't matter much as the film looks primed to do excellent boxoffice, with Washington pulling in above-average numbers for a film that should appeal to men of all ages and a good many women as well.
"Man on Fire" is actually a second go at the novel of pseudonymous author A.J. Quinnell by producer Arnon Milchan, who shepherded to the screen a 1987 French⁄Italian production starring Scott Glenn and Joe Pesci and directed by Elie Chouraqui. This production, of course, is considerably amped by Scott and a top-flight crew, with much time spent on atmosphere, stunts, conflagrations and dramatic confrontations.
Washington plays one of those burnt-out cases so beloved by thriller writers. In this instance, he is John Creasy, a former CIA assassin who has run out of people to kill. The only remaining target is himself. Alcoholic and without purpose, he drifts into Mexico to visit old pal and fellow ex-agent Rayburn (Christopher Walken). Rayburn fixes him up with a job as bodyguard to 9-year-old Pita Ramos (Fanning), daughter of stressed-out Mexican industrialist Samuel (singing sensation Marc Anthony) and his anxious Yankee wife, Lisa (Radha Mitchell). The family's smooth attorney (Mickey Rourke) has insisted on hiring a bodyguard as abductions occur round-the-clock in Mexico.
(The portrait of the country and its citizens is about as bleak as any studio picture ever made, essentially portraying Mexico as a cesspool of crime and corruption reaching upward into the social elite. Whether accurate or not, the movie is not likely to make Vicente Fox's top 10 list.)
Brian Helgeland's script can't help but traffic in predictable plot developments. Yes, Pita breaks down Creasy's resistance to life, even getting him to smile again and act as her swimming coach. And yes, Pita gets abducted and the ransom drop goes awry -- crooks beating other crooks to the prize -- and all is lost.
But Creasy, despite being badly wounded, methodically takes on the entire gang, a bloody trail of reprisals that leads to top cop Fuentes (Jesus Ochoa) and "the Voice" (Gustavo Sanchez Parra), who ordered the kidnapping. In this, he has the aid of Mexico's only apparent honest citizens, police inspector Manzano (Italian star Giancarlo Giannini) and fearless journalist Mariana (Rachel Ticotin).
Scott heightens the tension with cinematographer Paul Cameron's nervous, pivoting camera moves, Christian Wagner's quick edits, sudden shifts in motion, color and a dramatic play of light and shadows. Harry Gregson-Williams' percussion-driven Latin jazz score greatly pushes the mood of high anxiety.
While on fire, Washington plays it cool. Whether a drunk or revenge-minded killer, he is always in control. Fanning gets snatched away, which leaves a hole in the story, but Giannini and Ticotin help fill the gap by playing a pair of good guys who nevertheless exploit each other.
The film is always watchable, and the confrontations contain undeniable edgy excitement. But even if this weren't a remake, it would be a remake. Hollywood filmmakers have fished these waters so thoroughly that it's virtually impossible to land a big catch.
MAN ON FIRE
Fox 2000 Pictures and Regency Enterprises present a New Regency/Scott Free production
Credits:
Director: Tony Scott
Screenwriter: Brian Helgeland
Producers: Arnon Milchan, Tony Scott, Lucas Foster
Executive producers: Lance Hool, James W. Skotchdopole
Director of photography: Paul Cameron
Production designer: Benjamin Fernandez
Music: Harry Gregson-Williams
Co-producer: Conrad Hool
Costume designer: Louise Frogley
Editor: Christian Wagner
Cast:
Creasy: Denzel Washington
Pita: Dakota Fanning
Samuel: Marc Anthony
Lisa: Radha Mitchell
Rayburn: Christopher Walken
Manzano: Giancarlo Giannini
Mariana: Rachel Ticotin
Fuentes: Jesus Ochoa
Jordan: Mickey Rourke
Running time -- 142 minutes
MPAA rating: R...
April 21
Denzel Washington plays an avenging angel in "Man on Fire", a full-throttle, good-vs.-evil thriller about an ex-CIA agent bent on eliminating, one by one, a ruthless Mexican gang of kidnappers and dirty cops.
Everything is straightforward save for director Tony Scott's fussy style of hyperimages and flash editing, which he has developed in such similar melodramas as "Spy Game" and "Enemy of the State". Washington commands the screen with calm assurance, shares it well with his tiny co-star, Dakota Fanning, during the first half of the story and pretty much carries the marathon-length movie on his broad shoulders, as he is in nearly every scene.
At nearly 21⁄2 hours, exhibitors might lose a daily showing with "Man on Fire". But it won't matter much as the film looks primed to do excellent boxoffice, with Washington pulling in above-average numbers for a film that should appeal to men of all ages and a good many women as well.
"Man on Fire" is actually a second go at the novel of pseudonymous author A.J. Quinnell by producer Arnon Milchan, who shepherded to the screen a 1987 French⁄Italian production starring Scott Glenn and Joe Pesci and directed by Elie Chouraqui. This production, of course, is considerably amped by Scott and a top-flight crew, with much time spent on atmosphere, stunts, conflagrations and dramatic confrontations.
Washington plays one of those burnt-out cases so beloved by thriller writers. In this instance, he is John Creasy, a former CIA assassin who has run out of people to kill. The only remaining target is himself. Alcoholic and without purpose, he drifts into Mexico to visit old pal and fellow ex-agent Rayburn (Christopher Walken). Rayburn fixes him up with a job as bodyguard to 9-year-old Pita Ramos (Fanning), daughter of stressed-out Mexican industrialist Samuel (singing sensation Marc Anthony) and his anxious Yankee wife, Lisa (Radha Mitchell). The family's smooth attorney (Mickey Rourke) has insisted on hiring a bodyguard as abductions occur round-the-clock in Mexico.
(The portrait of the country and its citizens is about as bleak as any studio picture ever made, essentially portraying Mexico as a cesspool of crime and corruption reaching upward into the social elite. Whether accurate or not, the movie is not likely to make Vicente Fox's top 10 list.)
Brian Helgeland's script can't help but traffic in predictable plot developments. Yes, Pita breaks down Creasy's resistance to life, even getting him to smile again and act as her swimming coach. And yes, Pita gets abducted and the ransom drop goes awry -- crooks beating other crooks to the prize -- and all is lost.
But Creasy, despite being badly wounded, methodically takes on the entire gang, a bloody trail of reprisals that leads to top cop Fuentes (Jesus Ochoa) and "the Voice" (Gustavo Sanchez Parra), who ordered the kidnapping. In this, he has the aid of Mexico's only apparent honest citizens, police inspector Manzano (Italian star Giancarlo Giannini) and fearless journalist Mariana (Rachel Ticotin).
Scott heightens the tension with cinematographer Paul Cameron's nervous, pivoting camera moves, Christian Wagner's quick edits, sudden shifts in motion, color and a dramatic play of light and shadows. Harry Gregson-Williams' percussion-driven Latin jazz score greatly pushes the mood of high anxiety.
While on fire, Washington plays it cool. Whether a drunk or revenge-minded killer, he is always in control. Fanning gets snatched away, which leaves a hole in the story, but Giannini and Ticotin help fill the gap by playing a pair of good guys who nevertheless exploit each other.
The film is always watchable, and the confrontations contain undeniable edgy excitement. But even if this weren't a remake, it would be a remake. Hollywood filmmakers have fished these waters so thoroughly that it's virtually impossible to land a big catch.
MAN ON FIRE
Fox 2000 Pictures and Regency Enterprises present a New Regency/Scott Free production
Credits:
Director: Tony Scott
Screenwriter: Brian Helgeland
Producers: Arnon Milchan, Tony Scott, Lucas Foster
Executive producers: Lance Hool, James W. Skotchdopole
Director of photography: Paul Cameron
Production designer: Benjamin Fernandez
Music: Harry Gregson-Williams
Co-producer: Conrad Hool
Costume designer: Louise Frogley
Editor: Christian Wagner
Cast:
Creasy: Denzel Washington
Pita: Dakota Fanning
Samuel: Marc Anthony
Lisa: Radha Mitchell
Rayburn: Christopher Walken
Manzano: Giancarlo Giannini
Mariana: Rachel Ticotin
Fuentes: Jesus Ochoa
Jordan: Mickey Rourke
Running time -- 142 minutes
MPAA rating: R...
- 7/9/2004
- The Hollywood Reporter - Movie News
Man on Fire
Opens
April 21
Denzel Washington plays an avenging angel in "Man on Fire", a full-throttle, good-vs.-evil thriller about an ex-CIA agent bent on eliminating, one by one, a ruthless Mexican gang of kidnappers and dirty cops.
Everything is straightforward save for director Tony Scott's fussy style of hyperimages and flash editing, which he has developed in such similar melodramas as "Spy Game" and "Enemy of the State". Washington commands the screen with calm assurance, shares it well with his tiny co-star, Dakota Fanning, during the first half of the story and pretty much carries the marathon-length movie on his broad shoulders, as he is in nearly every scene.
At nearly 21⁄2 hours, exhibitors might lose a daily showing with "Man on Fire". But it won't matter much as the film looks primed to do excellent boxoffice, with Washington pulling in above-average numbers for a film that should appeal to men of all ages and a good many women as well.
"Man on Fire" is actually a second go at the novel of pseudonymous author A.J. Quinnell by producer Arnon Milchan, who shepherded to the screen a 1987 French⁄Italian production starring Scott Glenn and Joe Pesci and directed by Elie Chouraqui. This production, of course, is considerably amped by Scott and a top-flight crew, with much time spent on atmosphere, stunts, conflagrations and dramatic confrontations.
Washington plays one of those burnt-out cases so beloved by thriller writers. In this instance, he is John Creasy, a former CIA assassin who has run out of people to kill. The only remaining target is himself. Alcoholic and without purpose, he drifts into Mexico to visit old pal and fellow ex-agent Rayburn (Christopher Walken). Rayburn fixes him up with a job as bodyguard to 9-year-old Pita Ramos (Fanning), daughter of stressed-out Mexican industrialist Samuel (singing sensation Marc Anthony) and his anxious Yankee wife, Lisa (Radha Mitchell). The family's smooth attorney (Mickey Rourke) has insisted on hiring a bodyguard as abductions occur round-the-clock in Mexico.
(The portrait of the country and its citizens is about as bleak as any studio picture ever made, essentially portraying Mexico as a cesspool of crime and corruption reaching upward into the social elite. Whether accurate or not, the movie is not likely to make Vicente Fox's top 10 list.)
Brian Helgeland's script can't help but traffic in predictable plot developments. Yes, Pita breaks down Creasy's resistance to life, even getting him to smile again and act as her swimming coach. And yes, Pita gets abducted and the ransom drop goes awry -- crooks beating other crooks to the prize -- and all is lost.
But Creasy, despite being badly wounded, methodically takes on the entire gang, a bloody trail of reprisals that leads to top cop Fuentes (Jesus Ochoa) and "the Voice" (Gustavo Sanchez Parra), who ordered the kidnapping. In this, he has the aid of Mexico's only apparent honest citizens, police inspector Manzano (Italian star Giancarlo Giannini) and fearless journalist Mariana (Rachel Ticotin).
Scott heightens the tension with cinematographer Paul Cameron's nervous, pivoting camera moves, Christian Wagner's quick edits, sudden shifts in motion, color and a dramatic play of light and shadows. Harry Gregson-Williams' percussion-driven Latin jazz score greatly pushes the mood of high anxiety.
While on fire, Washington plays it cool. Whether a drunk or revenge-minded killer, he is always in control. Fanning gets snatched away, which leaves a hole in the story, but Giannini and Ticotin help fill the gap by playing a pair of good guys who nevertheless exploit each other.
The film is always watchable, and the confrontations contain undeniable edgy excitement. But even if this weren't a remake, it would be a remake. Hollywood filmmakers have fished these waters so thoroughly that it's virtually impossible to land a big catch.
MAN ON FIRE
Fox 2000 Pictures and Regency Enterprises present a New Regency/Scott Free production
Credits:
Director: Tony Scott
Screenwriter: Brian Helgeland
Producers: Arnon Milchan, Tony Scott, Lucas Foster
Executive producers: Lance Hool, James W. Skotchdopole
Director of photography: Paul Cameron
Production designer: Benjamin Fernandez
Music: Harry Gregson-Williams
Co-producer: Conrad Hool
Costume designer: Louise Frogley
Editor: Christian Wagner
Cast:
Creasy: Denzel Washington
Pita: Dakota Fanning
Samuel: Marc Anthony
Lisa: Radha Mitchell
Rayburn: Christopher Walken
Manzano: Giancarlo Giannini
Mariana: Rachel Ticotin
Fuentes: Jesus Ochoa
Jordan: Mickey Rourke
Running time -- 142 minutes
MPAA rating: R...
April 21
Denzel Washington plays an avenging angel in "Man on Fire", a full-throttle, good-vs.-evil thriller about an ex-CIA agent bent on eliminating, one by one, a ruthless Mexican gang of kidnappers and dirty cops.
Everything is straightforward save for director Tony Scott's fussy style of hyperimages and flash editing, which he has developed in such similar melodramas as "Spy Game" and "Enemy of the State". Washington commands the screen with calm assurance, shares it well with his tiny co-star, Dakota Fanning, during the first half of the story and pretty much carries the marathon-length movie on his broad shoulders, as he is in nearly every scene.
At nearly 21⁄2 hours, exhibitors might lose a daily showing with "Man on Fire". But it won't matter much as the film looks primed to do excellent boxoffice, with Washington pulling in above-average numbers for a film that should appeal to men of all ages and a good many women as well.
"Man on Fire" is actually a second go at the novel of pseudonymous author A.J. Quinnell by producer Arnon Milchan, who shepherded to the screen a 1987 French⁄Italian production starring Scott Glenn and Joe Pesci and directed by Elie Chouraqui. This production, of course, is considerably amped by Scott and a top-flight crew, with much time spent on atmosphere, stunts, conflagrations and dramatic confrontations.
Washington plays one of those burnt-out cases so beloved by thriller writers. In this instance, he is John Creasy, a former CIA assassin who has run out of people to kill. The only remaining target is himself. Alcoholic and without purpose, he drifts into Mexico to visit old pal and fellow ex-agent Rayburn (Christopher Walken). Rayburn fixes him up with a job as bodyguard to 9-year-old Pita Ramos (Fanning), daughter of stressed-out Mexican industrialist Samuel (singing sensation Marc Anthony) and his anxious Yankee wife, Lisa (Radha Mitchell). The family's smooth attorney (Mickey Rourke) has insisted on hiring a bodyguard as abductions occur round-the-clock in Mexico.
(The portrait of the country and its citizens is about as bleak as any studio picture ever made, essentially portraying Mexico as a cesspool of crime and corruption reaching upward into the social elite. Whether accurate or not, the movie is not likely to make Vicente Fox's top 10 list.)
Brian Helgeland's script can't help but traffic in predictable plot developments. Yes, Pita breaks down Creasy's resistance to life, even getting him to smile again and act as her swimming coach. And yes, Pita gets abducted and the ransom drop goes awry -- crooks beating other crooks to the prize -- and all is lost.
But Creasy, despite being badly wounded, methodically takes on the entire gang, a bloody trail of reprisals that leads to top cop Fuentes (Jesus Ochoa) and "the Voice" (Gustavo Sanchez Parra), who ordered the kidnapping. In this, he has the aid of Mexico's only apparent honest citizens, police inspector Manzano (Italian star Giancarlo Giannini) and fearless journalist Mariana (Rachel Ticotin).
Scott heightens the tension with cinematographer Paul Cameron's nervous, pivoting camera moves, Christian Wagner's quick edits, sudden shifts in motion, color and a dramatic play of light and shadows. Harry Gregson-Williams' percussion-driven Latin jazz score greatly pushes the mood of high anxiety.
While on fire, Washington plays it cool. Whether a drunk or revenge-minded killer, he is always in control. Fanning gets snatched away, which leaves a hole in the story, but Giannini and Ticotin help fill the gap by playing a pair of good guys who nevertheless exploit each other.
The film is always watchable, and the confrontations contain undeniable edgy excitement. But even if this weren't a remake, it would be a remake. Hollywood filmmakers have fished these waters so thoroughly that it's virtually impossible to land a big catch.
MAN ON FIRE
Fox 2000 Pictures and Regency Enterprises present a New Regency/Scott Free production
Credits:
Director: Tony Scott
Screenwriter: Brian Helgeland
Producers: Arnon Milchan, Tony Scott, Lucas Foster
Executive producers: Lance Hool, James W. Skotchdopole
Director of photography: Paul Cameron
Production designer: Benjamin Fernandez
Music: Harry Gregson-Williams
Co-producer: Conrad Hool
Costume designer: Louise Frogley
Editor: Christian Wagner
Cast:
Creasy: Denzel Washington
Pita: Dakota Fanning
Samuel: Marc Anthony
Lisa: Radha Mitchell
Rayburn: Christopher Walken
Manzano: Giancarlo Giannini
Mariana: Rachel Ticotin
Fuentes: Jesus Ochoa
Jordan: Mickey Rourke
Running time -- 142 minutes
MPAA rating: R...
- 4/21/2004
- The Hollywood Reporter - Movie News
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