Edge of Tomorrow (Film Review)

Being one of Hollywood's most celebrated actors, Tom Cruise has appeared in quite a number of action films lately. The guy is ultimately invincible --and bulletproof. But have anyone actually remember him dying onscreen? This is what 'Edge of Tomorrow' pokes fun of, a celebration of Tom Cruise getting killed a lot, --and what a joy seeing that guy die repeatedly.

X-Men: Days of Future Past (Film Review)

Okay Brett Ratner, you can now step aside. Bryan Singer, well technically everyone we all love from the original X-Men trilogy and "First Class" are back in this crowded, superhero extravaganza. That is basically how I can describe 'X-Men: Days of Future Past', and I think we can now breath again smoothly because it literally trashes every single one of the many non-sense events from "The Last Stand" and change for something better. This "X-Men" saga has been on a bumpy ride --there might be a few misses and jumps, but "Days of Future Past" started on a new drive, and there's a far more interesting and better road beyond that.

Godzilla 2014 (Film Review)

After too much hype and speculations, "Godzilla" is now making his big comeback after 16 years. And boy does he deliver. Everything in this film screams "awesomeness" and while the creature canonly be seen at least 28 minutes, Director Gareth Edwards manages to grip audiences with its exceptional action sequences --and a lot of mayhem. Definitely the most fitting word for this film is 'EPIC', because it just is.

Maleficent (Film Review)

It has been clearly known how messed up Disney has been dealing with it's live action incarnation of classic stories. 'Oz, The Great and Powerful', 'Alice in wonderland', do you even remember how bad are these? 'John Carter', anyone?? So, Disney definitely has to put these films on hold to shame, because now there doing another one, a live-action re-imagining of 'Sleeping Beauty' --with a little of twitches here and there. In fact, this film is coming off the perspective of Disney's iconic villain 'Maleficent'. Because princesses are beyond boring.

Rio 2 (Film Review)

'Rio 2' is one of the great examples of how an animated sequel should be, which is rarely made. Retaining the vibrant look of the visuals and musical numbers, while adding effective humor and new characters in between. Okay, I was a bit skeptical of how this movie'll turn out. Sequels from animated movies these days often come pretty bad and lame, but Blue Sky Studios sure learned their lessons with their recent Ice Age movies.The film slightly got to the lame-sequel direction with its final half, but all-in: this is pack of joy and delight. Kids will definitely enjoy this, big time.

Ben Affleck's Toughest Challenge Yet On Being Married In 'Gone Girl'

The page-turner tome “Gone Girl” written by Gillian Flynn about a woman gone missing on the day of their fifth year wedding anniversary and a marriage believed to be on the rocks is brought to life by Ben Affleck and Rosamund Pike under the direction of David Fincher.
From the bestsellers’ shelves, “Gone Girl” reveals the real Mr. and Mrs. Dunne as they go through the motion of making their marriage work. Nick (Affleck) decides to move back to his hometown in Missouri from New York after being sacked as a print journalist, bringing his wife Amy (Pike) with him.  Embittered by his current state due to the advent of online publishing, the couple has slowly drifted apart, with Nick spending most of his time at a local bar he bought and manages while Amy is mostly home and explores the community with a few newfound friends.    
               
Unexpectedly, Nick’s sleepy town has awakened due to Amy’s sudden disappearance, what was left are confusing clues as to why and how his wife had gone missing.  At the scene of the crime within the Dunne’s home are clear signs of struggle – shattered glasses and an overturned coffee table but there were no signs of forced entry, leaving investigators to think that the prime suspect they’re looking for might be Nick.
               
In recent interviews, Pike stated that the movie will make people re-examine their thoughts on marriage.  “That aspect of marriage as a con game, or whatever.  The idea that we perform a sort of ideal version of ourselves that the other person wants. We perhaps belie our true nature in order to perform to the ideal. David and I talked a lot about living in an age of rampant narcissism.”
               
Likewise, Affleck shared that ““I actually think this is the perfect date movie, not because I think it’ll result in divorce – I think that’s just David’s fantasy – but because it’s the kind of movie that a husband and wife could talk about afterwards. I think a man and a woman would have different takes on what happens. The last time I was in a movie that I thought polarised men and women in an interesting way was ‘Chasing Amy.’ That was quite some time ago.”
               
“Gone Girl” opens in cinemas nationwide on October 8 from 20th Century Fox to be distributed by Warner Bros.


Harry Connick, Jr. Back For A New Challenge In 'Dolphin Tale 2'

Actor-musician Harry Connick, Jr. returns to play the real-life character of Dr. Clay Haskett who heads the non-profit marine animal rescue facility responsible for dolphin Winter's rescue and rehabilitation, in Warner Bros.' eagerly awaited sequel, “Dolphin Tale 2.”

In the first “Dolphin Tale,” Dr. Clay Haskett—as the head of what was then the Clearwater Marine Hospital—was dealing with money troubles that put the entire facility on the brink of closing down. It was a threat to the one thing he had dedicated his life to: the survival of all the animals, including the dolphin Winter, who faced an uncertain fate in the wake of losing her tail. But the invention of the groundbreaking prosthetic tail that saved Winter’s life also gave new life to the marine animal rescue hospital, which now bore a new name: Clearwater Marine Aquarium (CMA).

While Winter’s newfound fame brought CMA financial security, the staff and the animals are facing other challenges instigated by a death in the family. “The loss of Panama is heartbreaking to everyone,” says director Charles Martin Smith, “but for Winter, it’s like losing her mother and she withdraws from everyone in grief. Dolphins are very intelligent, sensitive animals, and I really tried to illustrate that point. Winter is alone and not doing particularly well, which is a concern for everyone at CMA.”

However, Clay knows there is a more pressing issue that could jeopardize the future of the Aquarium and its most popular resident. Connick offers, “They need to find a new poolmate for Winter, but that’s easier said than done. One possibility is Mandy, a female dolphin that was found beached and badly sunburned, but the mission of CMA is Rescue, Rehab and Release, so it remains to be seen if Mandy will stay or will be returned to the wild. They have no right to keep Mandy if she can survive on her own in the ocean, where she belongs. Clay is getting a lot of pressure from all sides to hold on to Mandy in order to keep Winter, so he’s at a point where he has got to make a pretty tough decision.”
“Harry has a genuine goodness about him that comes across in his portrayal of Clay,” says Smith. “He is also hilarious and a total jokester; he was always making everyone laugh during the first movie, and he picked up right where he left off.”

“Since we made the last movie, Clearwater Marine Aquarium has exploded in real life, as both a rescue/rehab/release facility and as a tourist attraction,” says Connick. “So in our somewhat fictionalized storyline, these are the things that are affecting my character, or rather, he’s trying to keep them in balance. And with that comes politics, and that gets Clay into a few sticky situations.”

But the actor is quick to point out that the feeling on the set is much different in tone than the sometimes emotional story they are filming. He continues, “I'm wearing shorts and flip flops and a t-shirt, so that in itself just takes a load off. It's a very relaxed easy feel. We're shooting in Clearwater, Florida. The weather's great. We are around these incredibly beautiful and inspirational animals, and the people who help them are some of the most amazing, hardworking people I've met in any walk of life. So when you take all of that, you have a movie set where we’re all happy and feel very lucky to be working on.”
Opening across the Philippines on Oct. 08, 2014, “Dolphin Tale 2” is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment company.

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Will Poulter Rivals Greenie In 'The Maze Runner'

Will Poulter, best known for his role as Eustace Scrub in “The Chronicles of Narnia: Voyage of the Dawn Treader” and has recently played comic scene-stealing moments in “We’re The Millers” stars alongside an atypical group of teens trapped in a virtual prison in “The Maze Runner.”

Based on the (first book) young adult series by James Dashner of the same title, “The Maze Runner” director Wes Ball casts Poulter as Gally, one of the captured Glader group who takes an instant dislike to newcomer Thomas played by Dylan O’Brien.  Thomas wakes up in a lift, moving slowly upward. As the box grinds to a halt and the doors open, he s finds himself among a colony of boys who welcome him to the Glade – a large open expanse surrounded by enormous concrete walls. Thomas’ mind is blank. He has no knowledge of where he is, doesn’t know where he came from, and he can’t remember his parents, his past, or even his own name.

Thomas’s nemesis in the Glade is Gally.  Smart and intimidating, Gally wants to maintain the status quo and clashes with the new arrival.  “But Gally and Thomas are really two sides of the same coin,” notes Ball.  “Thomas fully embraces and charges into the unknown and Gally is all about self-preservation and keeping things safe and normal.”
Will Poulter, who starred in the cult film “Son of Rambow,” and recently showed his comic skill in “We’re the Millers,” portrays Gally. Godfrey says, “Will’s the perfect Gally because you don’t want to mess with him, and he’s an intelligent adversary.”

Gally’s trust in and insistence on the status quo is not without good reason, says Poulter. “He’s not so much the law-keeper as he is a guy who has a lot of faith in the rules, because without them, the Gladers will die,” he explains.  “So Gally is quick to speak up and challenge Thomas when those rules aren’t respected.  To him, those laws are life itself.”

Novelist Dashner also rejects the idea that Gally is a villain.  “I wanted to set him up as a major rival to Thomas, but I also wanted readers to empathize with him and understand his beliefs and actions,” he says.
On auditioning for the part, Poulter shared that “Well, actually I auditioned a scene for Gally without having read the script or the books and so that was quite tricky. I went away and read the books and the script and I loved them both. What I really loved about the script – and it’s the biggest challenge when adapting into film – is that it captured the spirit of the book without having every single detail in, because that would be impossible. The camaraderie between the Gladers is really, really key in this and the dynamic that exists between characters – how they negotiate around the hierarchy they’ve built – I really liked as an actor. And then to play someone I hadn’t played before – I wouldn’t call him a villain, but he’s this conflicted character that goes between good and bad. It’s difficult to know where Gally stands. I was on board from the moment I read the script, because it was a great challenge and you don’t often associate such challenges with a platform as big as this movie.”

“The Maze Runner” opens September 17 in cinemas from 20th Century Fox to be distributed by Warner Bros.

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'Annabelle' Director Learns Craft From Mentor James Wan

“The Conjuring” and “Insidious” cinematographer John R. Leonetti makes his feature directorial debut with New Line Cinema's upcoming horror-thriller “Annabelle.”

The new film begins before the evil was unleashed in “The Conjuring.” John Form (Ward Horton) has found the perfect gift for his expectant wife, Mia (Annabelle Wallis)—a beautiful, rare vintage doll in a pure white wedding dress. But Mia’s delight with Annabelle doesn’t last long.

On one horrific night, their home is invaded by members of a satanic cult, who violently attack the couple. Spilled blood and terror are not all they leave behind. The cultists have conjured an entity so malevolent that nothing they did will compare to the sinister conduit to the damned that is now...Annabelle.

The first-time director talks about his inspiration, mentor James Wan and the craft of making horror films, in the following interview.

Question: You have been working with James Wan as a cinematographer on a number of films. What was it about “Annabelle” that made you want to make the switch to director on this film?
John Leonetti: It’s fun doing these movies with James, like “Insidious” and “The Conjuring.” I love crafting these films as a cinematographer. But this script was so amazing, first of all. When they approached me about it—it just came out of the blue; I didn’t solicit it—I said, ‘Well, let me read the script.’ So I did. It was so good that I couldn’t believe that [screenwriter] Gary Dauberman had written the first draft in just six days.

It’s kind of a throwback to the past in terms of older movies like Polanski’s “Rosemary’s Baby.” It’s birthed by “The Conjuring,” I guess you could say, but the structure of this movie is different and one thing I really love is female protagonists. I’m a fan of women, and I’ve always been attracted to stories that are about women. And, honestly, as weakened as our heroine Mia becomes in the events surrounding this doll and the demon she has to confront, she is a very strong and has a very powerful soul in her own right.
But, really, it was the script, and then knowing that the family—I guess you could call it “The Conjuring” family from New Line—would be involved.

Q: When you’re directing, do you have to fight the urge to set up shots like a cinematographer or do you see it as more of a collaboration?

Leonetti: I do separate myself from it. However, having [cinematographer] Jimmy Kneist on the film, who’s really talented, was great. He’s someone that is open enough to let me add my three cents, yet he gets my vision and my sensibility enough to be able to just make it happen. I’m very specific about how I set up my shots. I didn’t storyboard the movie before we started, but I literally visualized, shot-listed, edited and cut the whole movie before we even started shooting. I’m very visual, obviously. That’s my day job. [Laughs] But when you’re working with a filmmaker like James Wan, you analyze how he’s directing these movies. He’s very visual as well. And we’ve been a pretty awesome team for five movies in a row.

Q: You’ve got like mind-meld going on...

Leonetti: Yeah, we do. [Laughs] So, when he visualizes something, I know I can give it to him. For someone else to come in and be me while I’m being James, if you will, it would be difficult for anybody because I know where I want to cut, where the transitions are, all those things.
It’s not to say that Tom Melkins, our editor, won’t be making variations on that, as he should, and make it better. That’s awesome, because the movie is not just about how it looks, but what the camera is doing at every moment and why. It’s building up suspense by getting inside Mia’s world, and following the characters and that freaking doll as well. [Laughs]
We’re so lucky to have such a great cast. They’re all amazing actors. But the thread throughout the movie is Mia and that demon and the suspense that builds around this conflict she’s facing essentially alone. And designing that, shot by shot, tasting each element as it comes, has to be very, very specific.

Q: “The Conjuring” has such a distinct look and feel to it. Was that a touchstone for you for “Annabelle”?

Leonetti: Oh, no question. Visually, it’s in the same zone as “The Conjuring” in terms of inspiration, conception and execution. Jimmy has been kind enough to embrace my cinematography on “The Conjuring,” to help maintain that continuity for a very specific reason. Not just the way the camera moves, but the way the film looks. Both stories take place around 1970, so the period is the same. The way we manipulate the color in the post process is very similar. So it’s going to have very much the same look and feel and, by the way, it’s just as beautiful.

Q: Can you talk about building the tension and mood of the film, and also engineering the scares in the film? Were those fun for you to devise?

Leonetti: Definitely. The script is written in a way that creates a template for how we pace the movie. And my motto on this movie is ‘less is more,’ patience in suspense, and James Wan knows about that as well, obviously. So it’s always about keeping a balance between the ticking Hitchcock bomb and a jump scare, and you don’t give anything away. So you have to carefully set things up and then it’s how you pay them off throughout the movie, and there are many layers to that. Sometimes it’s just disorienting the audience enough to create the environment to be scared, or to let them know what Mia doesn’t to the point where they say, ‘Oh, no, don’t go down those stairs!’ Whatever it is.

The other thing that we did, which was so wonderful, is to shoot the film almost entirely in continuity. We were able to watch it grow, so that by the third act, everybody emotionally and dramatically can know where we are, from me to the actors.

But, even more importantly, it’s Annabelle’s performance as Mia. I believe that as strong as the demon is, so is she. As much as it knocks the wind out of her sails and tries to take the legs out from underneath her, every time that happens inside, she puts up another pillar of strength. We don’t see it, but it’s there. And then it’s a matter of gauging and varying performance, all the way through the movie, where she’s really vulnerable and becomes stronger.

Opening across the Philippines on October 01, 2014, “Annabelle” is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment company.

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Denzel Washington's Got Your Back As 'The Equalizer'

Two-time Academy Award®-winning actor Denzel Washington is a man constantly on the move. Never comfortable repeating himself or his successes, Washington always searches for new challenges through his numerous and varied film and stage portrayals. From “Glory” to “Cry Freedom”; from Shakespeare's “Richard III,” to “Training Day,” to his most recent critically acclaimed performance in “Flight,” Washington has amazed and entertained audiences with a rich array of characters distinctly his own.

Now, Washington stars in Columbia Pictures' action-thriller “The Equalizer” as the mysterious Robert McCall whose driving force is an innate sense of justice.

“Robert McCall has done a lot of bad things in his past, and he’s trying to get beyond that – he’s not proud of his past, and he’s trying to do better,” Washington explains. After leaving that past behind to lead a quiet life, he finds that desire for justice reawakened when a young girl – abandoned by the rest of the world – needs his help. “He didn’t like himself – he never lost his skills, he made a conscious decision to put that behind him. It’s when he meets an innocent young girl who is being abused, that he decides to do something about it.”

“McCall’s motivation is simple,” says Todd Black, a producer of the film. “When there is an injustice to an ordinary person, someone who can’t defend themselves, because they’re not capable or they don’t even know where to start, he will take care of it – violently or nonviolently.”

“We’d all like to believe that there’s a guy out there who could help us, if only we could find him,” says producer Jason Blumenthal. “If somehow we could reply to an ad on the Internet, desperately pleading for help when no one else would take that call. I’d like to believe that in my hour of need, somebody out there would listen to me – somebody would drop everything and help me, just because. And that’s the Equalizer.”
In his role as a producer, Washington worked with screenwriter Richard Wenk to realize the role he wanted to play. He says they kept asking the basic questions – “Who is he? What makes him tick? What are his flaws? What is he trying to get over? I think that long ago, he started out as a man who wanted to help people, and it turned into something else. He had to put that all behind him, to shut the door. And this young innocent opens that door again.”

Similarly, Washington felt great confidence in his director, Antoine Fuqua. “He’s very talented,” says the actor. “We sent him the material and he responded – we sat down and he had tons of ideas – and it was a done deal.” Later, on set, that confidence paid off. “Antoine had the vision for the film – he was doing close work with specialized cameras, all of that stuff. But I never worried about any of that. The camera is Antoine’s area of expertise – I don’t have to worry about that. I just worry about the acting,” he smiles.

Since “Training Day,” Fuqua and Washington have had several opportunities to re-team, but “The Equalizer” is the first that actually brought them back together. “We didn’t force it,” says Blumenthal. “It wasn’t ‘Let’s get the guys that did Training Day together.’ That’s not a reason to make a movie. I think Antoine was looking to make a movie where he could get back into character and really understand what makes a person tick. You can only build a great character if you’ve got an unbelievable actor, and of course, we had Denzel. So the challenge then became finding a character that Denzel could sink into and a world that Antoine could bring to life.”
Opening across the Philippines in October 01, 2014, “The Equalizer” is distributed by Columbia Pictures, local office of Sony Pictures Releasing International.


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Takeru Satoh Returns In 'Rurouni Kenshin: The Legend Ends'

He took Manila by storm last August during a historic Asian premiere. And wowed audiences and critics alike with a calm but fiery performance in 'Kyoto Inferno'. Now, Takeru Satoh returns to Philippine cinemas as the legendary Kenshin Himura in the final chapter of the epic 'Rurouni Kenshin' trilogy -- "Rurouni Kenshin: The Legend Ends."

From the age of 14, amidst the chaos of the end of the rule of the Shoguns in 1860s Japan, Kenshin spent five years as an assassin for the anti-Shogunate forces, dreaming of an age of peace in which all could live in safety. Faster than a god, more powerful than a demon, wielding his sword in the ‘High Heaven’ style designed for use against a number of opponents, Kenshin was feared as ‘Battosai the Killer’, but began to doubt his way of life when he took the life of a young man with a bright future awaiting him.

With the fall of the Shogun and the ‘restoration’ of rule to the Emperor, Kenshin vowed he would never kill again, and set off to wander the land with a ‘back-blade’ whose cutting edge was on the back of the sword. To save the life of Kaoru, he was on the verge of returning to his old ways, but managed to resolve her difficulties and still preserve his vow.

But now, with the emergence of ruthless killer Shishio (Tatsuya Fujiwara), who is plotting to bring Japan under his control, the question presses upon him: can he beat a crazed enemy and still remain a peaceful man who does not kill?

“There are things this time that Kenshin must overcome to defeat his opponent, so Kenshin has to become a ‘new Kenshin,'” says Satoh of his character's dilemma.
Of filming the sequels, Satoh expounds “Every day brought another scene that was vital, and every scene was a highlight. Even now that filming is over, I’m still reacting to Kenshin. As I got deeper and deeper into the character, I became more and more attached to him. It’s like he’s a close friend who lives inside of me. He’s a friend that I love, that I want to protect, that I don’t want to let go. That’s how strongly I feel about him. I’ve never had this feeling about a character before. I have affection for every character I play, but this is the first time I’ve felt that I wanted to go on playing him forever. Playing him has been the kind of experience you don’t get in life very often.”

Born March 21st, 1989 in Saitama Prefecture, Satoh's first starring role came in Kamen Rider Den-O (TV Asahi, 07). He came to wide attention in the 2008 Rookies TBS-TV series, and won a Television Drama Academy Best Supporting Actor award for Mei-chan’s Butler (Fuji TV, 09). The NHK Sunday night drama Ryomaden (10) marked his first period role, and the same year he took a starring role in the Q.10 drama serial (NTV), going on to win the All Nippon Producers Association Élan d’Or Newcomer of the Year Award in 2011. In 2012 he extended his activities to the live stage, playing Romeo in a production of Romeo and Juliet. Other television work includes Tonbi (TBS, 13) and Bitter Blood (Fuji TV, 14). Following his starring role in the first Rurouni Kenshin film (12), he has appeared in Real and The Liar and His Lover (both 13).

Opening across the Philippines on Sept. 24, 2014, “Rurouni Kenshin: The Legend Ends” is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

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Fifth 'Mission: Impossible' Film Starts Production

HOLLYWOOD, CA (August 25, 2014) – Paramount Pictures and Skydance Productions announced today that principal photography has commenced on the fifth installment in the blockbuster “Mission: Impossible” franchise. The new film will shoot in Vienna, Morocco and London.

Christopher McQuarrie will direct from a screenplay by Drew Pearce and Christopher McQuarrie and Will Staples. The film is produced by Tom Cruise through Tom Cruise Productions and J.J. Abrams and Bryan Burk through Bad Robot. Skydance Productions’ David Ellison, Dana Goldberg and Don Granger will serve as executive producers.

The film stars Tom Cruise reprising the iconic role of Ethan Hunt, who was first introduced to moviegoers in 1996. Returning to the franchise will be Simon Pegg as Benji, Jeremy Renner as Brandt and Ving Rhames as Luther. Joining the cast will be Alec Baldwin and Rebecca Ferguson.
The 4th installment in the globally successful franchise, “Mission: Impossible – Ghost Protocol,” earned nearly $700 million worldwide and became Cruise’s highest grossing film to date in his storied career.
The “Mission: Impossible” franchise has earned more than $2 billion at the box office, making it one of the most successful franchises in movie history.

The fifth“Mission: Impossible” film will be distributed in the Philippines by United International Pictures through Columbia Pictures.



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Odds Stacked Against You? Call 'The Equalizer'

From Antoine Fuqua, director of “Training Day” and “Olympus Has Fallen” comes Columbia Pictures' new action thriller “The Equalizer” starring Denzel Washington.

In the film, Washington plays McCall, a man who believes he has put his mysterious past behind him to lead a quiet life in peace. But when McCall meets Teri (Chloë Grace Moretz), a young girl under the control of ultra-violent Russian gangsters, he can’t stand idly by – he has to help her. Armed with hidden skills that allow him to serve vengeance against anyone who would brutalize the helpless, McCall comes out of his self-imposed retirement and finds his desire for justice reawakened. If someone has a problem, if the odds are stacked against them, if they have nowhere else to turn, McCall will help. He is The Equalizer.

Based on the television series created by Michael Sloan and Richard Lindheim, “The Equalizer” also stars Marton Csokas, Chloë Grace Moretz, David Harbour, with Bill Pullman and Melissa Leo. Film is written by Richard Wenk.

For director Antoine Fuqua – who re-teams with Denzel Washington after directing the actor to his Oscar®-winning performance in “Training Day” – McCall shares some of the archetypical heroic traits that have been passed down. “I saw this movie as a throwback, like the westerns that Sergio Leone made,” he explains. “There’s an antihero, in a struggle, reluctant and ashamed to pick up his gun... but when he gets a chance to help other people, he does. He uses his skills for that.”
The film takes its title from the 1980s television series and shares its central premise – a man, highly trained, who can “equalize” the odds when they are stacked against the helpless. Though the filmmakers took only the premise and title from the original show, Blumenthal says that the premise is one that has only become more relevant. “The word ‘equalizer’ is a very strong, powerful word,” he notes. “A lot of people believe that there’s a lot of imbalance in the world, so the idea of creating a balance – equalizing something – is very meaningful. If anything, I think that title means more now, in 2014, than it did in the 1980s. People can get behind this kind of hero: a man who does heroic acts for the people who need them the most.”

In seeking out a director, Washington was excited to be re-teaming with Fuqua. After their experience together on “Training Day,” Fuqua says, it was clear that “The Equalizer” lent itself to a good match of actor and director. “Part of what I discovered in `Training Day' is that I can read something on the page that sounds like an action piece, and I know that Denzel will see the acting in that – he can take an action beat and create great drama, as if it’s a dialogue scene,” says Fuqua. “He’s unpredictable, in the best way possible – he’s in his world, and you’re a fly on the wall, to capture it, if you can be smart enough to know when to continue in the scene.”

Similarly, Washington felt great confidence in his director. “He’s very talented,” says the actor. “We sent him the material and he responded – we sat down and he had tons of ideas – and it was a done deal.” Later, on set, that confidence paid off. “Antoine had the vision for the film – he was doing close work with specialized cameras, all of that stuff. But I never worried about any of that. The camera is Antoine’s area of expertise – I don’t have to worry about that. I just worry about the acting,” he smiles.
“We had a rhythm and an understanding,” concludes Fuqua. “There were times when we didn’t need to talk; we both knew where each other was going.”

Opening across the Philippines on October 01, 2014, “The Equalizer” is distributed by Columbia Pictures, local office of Sony Pictures Releasing International.




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