In the midst of a pro basketball lockout, sports agent Ray Burke (André Holland) finds himself caught in the face-off between the league and the players. His career is on the line, but Ray is playing for higher stakes. With only 72 hours to pull off a daring plan, he outmaneuvers all the power-players as he uncovers a loophole that could change the game forever. The outcome raises questions of who owns the game – and who ought to.
High Flying Bird will debut Friday, February 8th exclusively on Netflix. Check out the trailer below.
Broadway’s at it again breathing new life into an American classic with a revival of Tennessee Williams very own The Glass Menagerie. Recently I had the great pleasure to sit down with some of the cast (Zachary Quinto, Cherry Jones) and the director (John Tiffany) of this timeless tale to discuss the appeal of Williams and how a production written so long ago sustains the test of time with audiences of every generation.
The Glass Menagerie opens Thursday, September 26th at the Booth Theater.
Star Trek The Game is the first Trek game to be produced by Paramount. Based on the characters and situations – and featuring the principal cast members – that premiered in the 2009 reboot movie, this is one cool looking piece of work.
Follow the jump for the first in a series of ‘making of’ videos. Star Trek The Game hits shelves three days before the 45th anniversary of the original series episode Arena, which introduced the Gorn – a species that figures prominently in the game.
Zachary Quinto (Star Trek, Heroes) and Robin Weigert (Deadwood), among others, will be starring this fall in Signature Theatre Company’s Off-Broadway production of Tony Kushner’s ANGELS IN AMERICA.
ANGELS IN AMERICA, which will be directed by Michael Greif, will begin performances on September 14, 2010 at The Peter Norton Space (555 West 42nd Street) in New York City. Opening night will be October 28, 2010. ANGELS IN AMERICA was one of the most critically acclaimed and heralded plays of the 1990s and established Tony Kushner as a major new voice in world theatre. Frank Rich, The New York Times, praised it as “the most thrilling American play in years”. Kushner adapted the plays for an HBO mini-series, directed by Mike Nichols, which premiered in 2003 and won Golden Globe and Emmy Awards for Best Miniseries.
ANGELS IN AMERICA: A GAY FANTASIA ON NATIONAL THEMES is set in late 1985 and early 1986, as the first wave of the AIDS epidemic in America is escalating and Ronald Reagan has been elected to a second term in the White House. The play’s two parts, MILLENNIUM APPROACHES and PERESTROIKA, bring together a young gay man with AIDS (Christian Borle) and his frightened, unfaithful lover (Zachary Quinto); a closeted Mormon lawyer (Bill Heck) and his valium-addicted wife (Zoe Kazan); the infamous New York lawyer Roy Cohn (Frank Wood); an African-American male nurse (Billy Porter); a Mormon housewife from Utah (Robin Bartlett); and a steel-winged, prophecy-bearing angel (Robin Weigert); as well as the ghost of Ethel Rosenberg, an ancient rabbi, the world’s oldest living Bolshevik and a Reagan administration functionary, among many others – all played by a company of eight actors. The lives of these disparate characters intersect, intertwine, collide and are blown apart during a time of heartbreak, reaction and transformation. Ranging from earth to heaven, from the political to the intimate to the visionary and supernatural, ANGELS IN AMERICA is an epic exploration of love, justice, identity and theology, of the difficulty, terror and necessity of change.
The eleventh Star Trek film, simply entitled Star Trek, is a genuine experience. Saying that they got it right is like saying that the sky is blue. Star Trek is the best Trek film – but that’s only half the story. It is a blockbuster in all the right ways: fascinating characters; robust action sequences; a relatable villain; stuff that gets blowed up real good [and yet, not gratuitously], and even some romance [between two of the least likely characters – one of the film’s bigger risks…].
Director J.J. Abrams and writers Alex Kurtzman and Roberto Orci have produced a film that is set up in such a way that it does not need to navigate through forty-plus years of continuity – a film that can [and does] take chances. Instead of having to worry that any situation might rile Trekkers by flagrantly violating Trek continuity, Star Trek shuffles the deck with a unique twist on time travel paradoxes that allow fresh adventures within the positive core of creator Gene Roddenberry’s original concept. That it is “real” cannot be denied. It has the blessing of the Roddenberry family and Leonard Nimoy – and if Spock says it’s Trek, then it’s Trek. Plus, there’s no Big Red Reset Button [though there is the traditional red-shirted casualty-in-waiting…].
J.J. Abrams is a man who I’ve always thought was way overrated – I’ve hated just about everything that he’s been involved in including Alias, Felicity, Mission Impossible III and that god awful Cloverfield. I’m also not a Trekkie, I’ll watch Star Trek the original series on occasion and Voyager whenever it’s on but I hated the Picard crew with a passion. So for these reasons and more I wasn’t really feeling the new Star Trek prequel movie. I wanted to be the one who comes out hating this movie, but I can’t. Abrams has knocked this one completely out of the park. This is an almost flawless movie. The acting, plot, pacing, cinematography, SFX is almost perfect.
Beyond the reasons listed above I thought all the trailers for this movie were, “Meh” and the casting really awful. But a funny thing happens as you watch, it soaks in that I was completely wrong, this cast is absolutely perfect and spot on. I started to have double vision, I could easily imagine these people 20 or 30 years older with their big stomachs and years of experience being together as a crew. I always say how much I hate prequels, but it’s time to say that when done well they can be a lot of fun. It’s just very rare that it’s done well. Prequels should be more than just “how the big things came to be,” they should be about the characters themselves and the little moments, things and character “ticks” that fans of any given show come to love.