Review: "After Earth" Offers a World of Thrilling Adventure

TRASH IN MY EYE No. 70 (of 2013) by Leroy Douresseaux

After Earth (2013)
Running time:  100 minutes (1 hour, 40 minutes)
MPAA – PG-13 for sci-fi action violence and some disturbing images
DIRECTOR:  M. Night Shyamalan
WRITERS:  Gary Whitta and M. Night Shyamalan; from a story by Will Smith
PRODUCERS:  James Lassiter, Jada Pinkett Smith, Caleeb Pinkett, and Will Smith
CINEMATOGRAPHER:  Peter Suschitzky
EDITOR:  Steven Rosenblum
COMPOSER:  James Newton Howard

SCI-FI/ADVENTURE/DRAMA/THRILLER

Starring:  Jaden Smith, Will Smith, Sophie Okonedo, Zoe Isabella Kravitz, Glenn Morshower, and Jaden Martin

It was panned by critics, and it was a box office disappointment – some would even say a box office bomb.  However, I liked it.  I liked it a lot more than I thought I would.  It is about as good as I had hoped it would be when I first heard about it.

I am talking about After Earth, the 2013 futuristic science fiction adventure-survival film from director M. Night Shyamalan.  The film follows a teen boy who must embark on a perilous journey across a hostile future Earth in order to save himself and his father.

After Earth takes place 1,000 years after the human race had to abandon Earth because of an environmental cataclysm.  Humanity eventually settles on a new world called Nova Prime.  That settlement brings humanity into conflict with the S’krell, an alien race that wants to conquer Nova Prime.  The S’krell’s secret weapon are the Ursa, large, blind, predatory creatures that hunts humanity by “smelling” human fear.  Humanity is saved by The Ranger Corps, in particular, the legendary General Cypher Raige (Will Smith), who developed the technique that allows humans to successfully fight the Ursa.

The heroic Cypher, however, does not have a successful relationship with his son, Kitai Raige (Jaden Smith).  They plan a trip together, but an unexpected event strands them on Earth, a now-quarantined planet.  With Cypher gravely wounded, Kitai must locate a distress signal beacon, but to do that, he must travel cross terrain in which many plants, animals, and the climate are lethal to humans.

There are moments in After Earth, when Will and Jaden’s acting is suspect, but for the most part, they make their respective characters’ bonds and conflicts seem genuine.  As Kitai, Jaden’s fear is palatable, and his anger, grief, and disappointed are authentic within the context of his story.  I think some critics’ complaints of nepotism regarding this father-son acting team, specifically as it relates to After Earth, are dishonest.  Fathers and sons have been appearing together in film for decades.  What makes the Smiths so different that they are the target of such derision and resentment?

I also think that the way some critics are always out to attack director M. Night Shyamalan has gotten out of hand.  He does an excellent job with After Earth, especially with a young actor like Jaden.  Shyamalan creates a taut, riveting journey that begins generating a sense of impending doom from the time the Raiges leave Nova Prime to the final frames of the film.  Whatever people might say about him, Shyamalan is the master of the gripping narrative, and he does some gripping with After Earth.

Worthy of note are two excellent supporting performances by Sophie Okonedo and Zoe Isabella Kravitz, especially the latter.  Zoe is award-nomination worthy in her After Earth part, and it is a shame she does not appear in more films.

Visually, After Earth is a beautiful film, and its science fiction and futuristic concepts (such as the dialect spoken in the film) are inventive and interesting.  James Newton Howard’s score is soaring and emotional; the perfect music for a film that is both an epic adventure and a tale of a ragged relationship between an estranged father and his son.

Bravo!  I understand that After Earth is the first of a planned trilogy.  If the second and third movies could be as good as the first, I hope that they are produced, despite this film’s box office results.  Regardless of hyped box office expectations and of the politics of film critics and their resentments and prejudices, After Earth is a movie spectacular.  This is a classic tale of man vs. nature, of man vs. himself, and of man vs. his dad who has way-high expectations.  After Earth will stand the test of time.

8 of 10
A

Monday, October 14, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

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"Gravity" Soars Past $100 Mil in Worldwide Box Office

Warner Bros. Pictures’ “Gravity” Has Fast Climb to $100 Million Worldwide

Alfonso Cuarón’s dramatic thriller, starring Sandra Bullock and George Clooney, soars with critics and audiences around the world

BURBANK, Calif.--(BUSINESS WIRE)--Only five days after its record-breaking launch, Warner Bros. Pictures’ “Gravity” has flown past $100 million at the worldwide box office. The film has earned an estimated $68.5 million domestically and $35.8 internationally for a global total to date of $104.3 million. The announcement was made today by Dan Fellman, President of Domestic Distribution, and Veronika Kwan Vandenberg, President of International Distribution, Warner Bros. Pictures.

Following weeks of enthusiastic critical acclaim and huge anticipation from moviegoers, the Alfonso Cuarón-directed dramatic thriller exceeded all expectations on its opening weekend. Taking in $55.8 million domestically, “Gravity” broke a number of box office records, including those for the biggest October opening for any film, the largest IMAX opening in October ($11.8 million), and the highest opening weekend ever for stars Sandra Bullock and George Clooney.

In making the announcement, Fellman stated, “We are all thrilled by this start—from the tremendous critical acclaim to the fantastic response from audiences. Alfonso Cuarón and his brilliant collaborators crafted a groundbreaking film that succeeds on every level, both creatively and commercially. Word of mouth has been amazing and we expect it only to grow, keeping ‘Gravity’ strong at the box office in the weeks and months ahead.”

Kwan Vandenberg noted, “‘Gravity’ is a riveting and relatable human drama that has struck a chord with moviegoers in countries around the globe. We are excited by these numbers and know this is just the beginning, with much-anticipated openings coming up in major markets such as the UK, France, Japan, Korea, Brazil and Mexico.”

Sue Kroll, Warner Bros. Pictures President, Worldwide Marketing and International Distribution, said, “The buzz on ‘Gravity’ began building when we unveiled the film at the Venice and Toronto Film Festivals. Critical raves and screening audience reactions reinforced what we already knew—that the combination of thrilling drama, breathtaking visuals, and powerful performances made this a film that had to be experienced on the big screen.” President of Worldwide Production Greg Silverman added, “Sue and I join everyone at Warner Bros. in congratulating Alfonso Cuarón, producer David Heyman, screenwriter Jonás Cuarón, Sandra Bullock and George Clooney, and all the other talented artists who worked to make ‘Gravity’ an unequivocal cinematic achievement.”

Academy Award® winners Sandra Bullock (“The Blind Side”) and George Clooney (“Syriana”) star in “Gravity,” a heart-pounding thriller that pulls you into the infinite and unforgiving realm of deep space. The film was directed by Oscar® nominee Alfonso Cuarón (“Children of Men”).

Dr. Ryan Stone (Bullock) is a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalski (Clooney) in command. But on a seemingly routine mission, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalski completely alone—tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth…and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left.

But the only way home may be to go further out into the terrifying expanse of space.

“Gravity” was written by Alfonso Cuarón & Jonás Cuarón, and produced by Alfonso Cuarón and David Heyman (the “Harry Potter” films). Chris deFaria, Nikki Penny and Stephen Jones served as executive producers.

The behind-the-scenes team includes multiple Oscar®-nominated director of photography Emmanuel Lubezki (“Children of Men,” “The New World”); production designer Andy Nicholson (art director “Alice in Wonderland”); editors Alfonso Cuarón and Mark Sanger (VFX editor “Children of Men”); and costume designer Jany Temime (the “Harry Potter” films). The visual effects were handled by Oscar®-nominated visual effects supervisor Tim Webber (“The Dark Knight”). The music was composed by Steven Price (“Attack the Block”).

Warner Bros. Pictures Presents an Esperanto Filmoj/Heyday Films Production, an Alfonso Cuarón Film, “Gravity.” The film will be released in 3D and 2D and IMAX®, and will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment company. This film has been rated PG-13 for intense perilous sequences, some disturbing images and brief strong language.

gravitymovie.com

Review: The "Candyman" Can... Still Scare

TRASH IN MY EYE No. 132 (of 2005) by Leroy Douresseaux

Candyman (1992)
Running time:  98 minutes (1 hour, 38 minutes)
MPAA – R
DIRECTOR:  Bernard Rose
WRITER:  Bernard Rose (based upon the story “The Forbidden” by Clive Barker)
PRODUCERS:  Steve Golin, Sigurjon Sighvatsson, and Alan Poul
CINEMATOGRAPHER:  Anthony B. Richmond, B.S.C.
EDITOR:  Dan Rae
COMPOSER:  Philip Glass

HORROR/THRILLER with elements of fantasy and mystery

Starring:  Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons, Vanessa Williams, and DeJuan Guy

The subject of this movie review is Candyman, a 1992 horror film from director Bernard Rose.  The film is an adaptation of “The Forbidden,” a short story by Clive Barker that first appeared in Barker’s short story collection, Books of Blood Volume 5 (published in the United States as In the Flesh).  Candyman tells the story of a grad student who is skeptical of stories about a local boogeyman until the boogeyman attacks her.

Stand in front of a mirror and say his name five times, and Candyman (Tony Todd) will appear behind you.  When someone calls his name, Candyman usually arrives to gut his caller from groin to gullet, but it’s all a children’s ghost story – an urban legend to scare the simpleminded.  That’s what Helen Lyle (Virginia Madsen), a Chicago-based graduate student, believes when she comes across the tale of Candyman while doing research for her thesis on modern folklore.

However, when she hears that Candyman haunts Chicago’s notorious Cabrini Green projects, Helen thinks that she has a new angle for the thesis upon which she is working with her partner, Bernadette “Bernie” Walsh (Kasi Lemmons).  Still, Helen can’t really accept that Candyman exists.  Her actions and investigations also lead to an arrest that seems to put the Candyman tales to rest… until the legend himself appears and ignites a series of gruesome and bloody murders for which Helen gets the blame.

Thirteen years before earning the Oscar nomination that would revive her career (for 2004’s Sideways), Virginia Madsen was a scream queen – the heroine in a now-cult favorite horror movie entitled Candyman.  Based upon legendary horror/fantasy writer, Clive Barker’s, tale “The Forbidden,” Candyman took the unusual narrative approach that the final result of the film had to be that the heroine, in this case Helen Lyle, die in order to save the day.  Not only is Helen fighting a monster, but she’s also fighting a story that wants her dead.  Madsen was perfect as the doe-eyed beauty who swoons from one scene to the next, her plump, semi-Rubenesque body awaiting the fearsome savagery of Candyman’s hook.

Writer/director Bernard Rose (who would go on to direct Immortal Beloved, with Gary Oldman) moved the action from the housing projects of Liverpool, the original setting of Barker’s tale, to Chicago’s then-40-year old, decaying housing projects, Cabrini Green.  Rose’s choice was an excellent one, as he was able to make Cabrini an even more darkly mysterious setting for chills and thrills as good as any haunted house.  Rose makes the first half of the film a quietly, chilling suspense thriller, but he transforms the second half of the film into a dreamy and trippy dark horror/fantasy that only stumbles a little as it waltzes to the end.

The film also features a small role by Kasi Lemmons, who would make a name for herself in Hollywood as both a script doctor and as a director with the acclaimed, independent film hit, Eve’s Bayou.  Tony Todd became something of a horror movie/sci-fi cult actor (kinda like Bruce Campbell) appearing in episodes of “Stargate:  SG-1,” “Star Trek: The Next Generation” and “Star Trek:  Deep Space Nine” and also in the Final Destination horror film franchise.  Here, Ms. Madsen, Ms. Lemmons, Todd, and Rose put together a small, mesmerizing horror treat that bears many repeat viewings.

7 of 10
B+

Monday, August 22, 2005

Updated:  Sunday, October 13, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

New Line Cinema Still "Conjuring" Box Office

New Line Cinema’s “The Conjuring” is a Global Box Office Phenomenon

Supernatural Horror Thriller Tops $300 Million Worldwide

BURBANK, Calif.--(BUSINESS WIRE)--New Line Cinema’s “The Conjuring” has surpassed the $300 million mark at the worldwide box office, it was announced today by Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures and Veronika Kwan Vandenberg, President, International Distribution, Warner Bros. Pictures.

James Wan’s supernatural horror thriller has earned a staggering $306.6 million at the worldwide box office, taking in $137.2 million in the U.S., and $169.4 million overseas. Domestically, the film had the biggest opening weekend ever for an original horror film and has gone on to become one of only three horror films to gross more than $100 million in the summer. Internationally, “The Conjuring” has surpassed all expectations for the genre, becoming the highest grossing Warner Bros. Pictures horror release within the past 15 years internationally, second only to the 1973 release of “The Exorcist.” It is also the highest grossing horror film ever in territories such as Belgium, Korea, Mexico and Australia.

In making the announcement, Fellman said, “These incredible results prove that regardless of genre, a compelling tale, well told, will continue to draw audiences even in this highly competitive marketplace.”

Kwan Vandenberg added, “The international response among audiences of all ages is nothing short of phenomenal. We’re thrilled to see this outstanding film resonate even in markets that don’t traditionally favor the genre.”

Based on the true life story, “The Conjuring” tells the tale of how world renowned paranormal investigators Ed and Lorraine Warren were called upon to help a family terrorized by a dark presence in a secluded farmhouse. Forced to confront a powerful demonic entity, the Warrens find themselves caught in the most horrifying case of their lives.

From New Line Cinema comes a feature film drawn from the case files of married demonologists Ed and Lorraine Warren. “The Conjuring” stars Academy Award® nominee Vera Farmiga (“Up in the Air,” TV’s “Bates Motel”) and Patrick Wilson (“Insidious”) as the Warrens, and Ron Livingston (“The Odd Life of Timothy Green”) and Lili Taylor (TV’s “Hemlock Grove”) as Roger and Carolyn Perron, residents of the house. Joey King, Shanley Caswell, Hayley McFarland, Mackenzie Foy and newcomer Kyla Deaver play the Perrons’ five daughters, and Sterling Jerins is the Warrens’ little girl, Judy. Rounding out the cast are Marion Guyot, Steve Coulter, Shannon Kook, and John Brotherton.

James Wan (“Saw,” “Insidious”) directed the film from a screenplay by Chad Hayes & Carey W. Hayes (“The Reaping”). The film is produced by Tony DeRosa-Grund, Peter Safran and Rob Cowan, with Walter Hamada and Dave Neustadter serving as executive producers.

New Line Cinema presents a Safran Company / Evergreen Media Group Production of a James Wan Film, “The Conjuring.” The film is being distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

www.theconjuringmovie.com

The DreamVision Company Wants to Be the Next Pixar

The DreamVision Company on Target to Re-Define Family Entertainment Landscape Globally. The Next Disney/Pixar?

LOS ANGELES--(BUSINESS WIRE)--Industry leaders are tracking the family entertainment market radar as The DreamVision Company continues to mark strategic territory within the lucrative CGI animation space with their proprietary and envied emotionally driven process and expansive family brand.

In a calculated move earlier this year, DVC mass released a family friendly short entitled "Hooked" http://vube.com/DreamVision/dHeY7iPO3X?t=s into the respective marketplace that has now garnered nearly 30 million unprecedented viral views and international awards securing a strong and vocal following globally. It appears that DreamVision is on target to redefine the family entertainment and animation marketplace with content that is designed to fill an obvious void with an audience that is clamoring for what DVC is offering.

The highly valued Fort Worth/Orlando and South Africa based company shook the platform in June with the announcement of an array of clear brand based development including full length CGI musical motion pictures, live action dramas, animated and live action television series/specials, theatrical & music productions and ground breaking theme park resort development domestically and internationally.

Under the direction of CEO & Chairman Rick Silanskas and former Executive Vice President of Entertainment for Disney Worldwide, Ron Logan, DreamVision encompasses one of the most sought after and powerful classic teams in family entertainment. Logan was also the founder and first President of Disney Theatrical (Beauty and the Beast) and inducted as a Disney Legend in 2007.

DVC corporate representatives have confirmed that the highly anticipated newest generation of The DreamVision Company proprietary CGI Animation will be strategically revealed in the upcoming short "Unsung Hero" scheduled for release during the 4th quarter 2013.

The DreamVision Company will maintain operations in Florida in cooperation with their new global headquarters in Texas and animation division in South Africa.

Review: "Nancy Drew – Detective" is a Delight (Remembering Bonita Granville)

TRASH IN MY EYE No. 42 (of 2004) by Leroy Douresseaux

Nancy Drew – Detective (1938)
Running time:  66 minutes (1 hour, six minutes)
DIRECTOR:  William Clemens
WRITER:  Kenneth Gamet (based on the novel “The Password of Larkspur Lane” by Carolyn Keene)
PRODUCER:  Bryan Foy
CINEMATOGRAPHER:  L. William O'Connell
EDITOR:  Frank Magee
COMPOSER:  Heinz Roemheld

MYSTERY with some elements of adventure, drama, and family

Starring:  Bonita Granville, John Litel, James Stephenson, Frankie Thomas, Frank Orth, Helena Phillips Evans, Renie Riano, Charles Trowbridge, Dirk Purcell, Ed Keane, and Mae Busch

The subject of this movie review is Nancy Drew – Detective, a 1939 mystery film.  It was the first of four films based on the Nancy Drew character and originally released by Warner Bros. Pictures in 1938 and 1939.

Nancy Drew – Detective is apparently a loose adaptation the Nancy Drew novel, The Password of Larkspur Lane, which was first published in 1933.  The novel was written by Walter Karig, using the pseudonym, Carolyn Keene, the name used as the author for all Nancy Drew novels.  In Nancy Drew – Detective, the girl detective sets out to solve the mystery of wealthy elderly lady who makes a substantial donation to Nancy’s alma mater and then, suddenly disappears.

When Mary Eldredge (Helena Phillips Evans) announces that she is leaving a quarter of a million dollars to Nancy’s high school, Nancy Drew (Bonita Granville) and her fellow students are excited and heartily announce that they plan to use the money to build a swimming pool.  But when Ms. Eldredge and her attorney, Hollister (Charles Trowbridge), are supposed to visit Nancy’s father, Carson Drew’s (John Litel) law office to legalize the donation, only Hollister appears.  He informs Nancy and her father that Ms. Eldredge has run off to an unknown sanitarium because she’s ill and that her donation to the school is on hold.  So begins the film Nancy Drew – Detective.

Of course, Nancy isn’t buying that her school’s donor has mysteriously run off, and after a chance encounter, when she witnesses the kidnapping of a local doctor, Nancy decides that Ms. Eldredge was spirited away by nefarious means.  She enlists her good-natured friend Theodore “Ted” Nickerson (Frankie Thomas) to assist her in the investigation of the missing donor.  Ted agrees and joins Nancy as they tackle an adventure that features a ruthless gunsel, skeptical cops, carrier pigeons, and an aerial search.  As usual Carson Drew has stern warnings and admonishments for his daughter about her recklessness.

Even after nearly 70 years, the Nancy Drew films retain its sparkling wit, tight plotting, engaging suspense, and find acting.  Nancy Drew – Detective was the first in a series of four films about the girl detective, and though it lacks the intensity of more adult or stronger mystery thrillers, it is still a quite engaging mystery film.  Personally, I like the clear photography (think of the better photographed black and white TV programs of the late 50’s and early 60’s), and the sets capture an idyllic suburban/rural/pastoral sprawl that you’d want to call home.

Sassy and stubborn, Ms.Granville’s Nancy Drew is a hoot, and her co-stars are playful and witty in ways that actors don’t seem to be anymore.  I give this film a hearty recommendation.

7 of 10
B+

Updated:  Friday, October 11, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Alamo Drafthouse Cinemas to Hold "Berserk" Triple Feature

VIZ MEDIA ANNOUNCES TRIPLE-FEATURE ANIME THEATRICAL PREMIERE OF BERSERK: THE GOLDEN AGE ARC TRILOGY AT ALAMO DRAFTHOUSE CINEMA LOCATIONS IN HOUSTON, TX

Texas Anime Fans Will Go Wild For Back-To-Back Screenings Of All Three Dark Fantasy Medieval Action Anime Films In October; Special Triple-Feature Ticket Price For Only $15

VIZ Media, LLC (VIZ Media), the largest distributor and licensor of anime and manga in North America, delivers the bloody arms and armor action of the BERSERK: THE GOLDEN ARC anime feature film trilogy to Houston for a pair of very special triple-feature screenings at the Alamo Drafthouse Cinema Houston Mason Park and Vintage Park locations.

BERSERK: THE GOLDEN AGE ARC I, II and III (subtitled) premieres on Saturday, October 26th at the Alamo Drafthouse Cinema - Vintage Park, located at 114 Vintage Park Blvd., Houston, TX; (713) 715-4707.

BERSERK: THE GOLDEN AGE ARC I, II and III (English dubbed) also screens on Sunday, October 27th at the Alamo Drafthouse Cinema - Mason Park, located at 531 S. Mason Rd., Katy, TX 77450; (281) 492-6900.

Tickets are only $15.00 for all three film screenings are on sale now. For specific show times and advance tickets, please visit http://drafthouse.com/movies/berserk-the-golden-age-arc-i-ii-and-iii/houston.

BERSERK: THE GOLDEN AGE ARC film trilogy was produced in Japan by the legendary Studio 4ºC, and is based on the bestselling medieval dark fantasy manga (graphic novel) series created by Kentarou Miura.

BERSERK: THE GOLDEN AGE ARC I – THE EGG OF THE KING (rated TV-MA) follows lone mercenary Guts as he travels the land where a hundred-year-old war is taking place. His ferocity and ability to take down enemies attracts the attention of Griffith, leader of the mercenary group “The Band of the Hawk,” and Guts is recruited to the unit. Thanks to their continued victories on the battlefield, the bond between Guts and Griffith deepens, but despite all their success, Guts begins to question his reasons for fighting for Griffith’s dream. Unknown to Guts, this unyielding dream is about to bestow a horrible fate on them both.

BERSERK: THE GOLDEN AGE ARC II - THE BATTLE FOR DOLDREY (rated TV-MA) picks up the story as Guts mistakenly believed, for three years, that his mission was to pursue Griffith’s dream together with him. But in order to become Griffith’s equal and truly be called his friend, Guts realizes he will have to leave the Band of the Hawk. At the same time, a bloody battle to capture the impenetrable Fortress of Doldrey from the Empire of Chuder is about to begin. The Band of the Hawk will face an army 30,000 strong!

The saga reaches its stunning finale in BERSERK: THE GOLDEN AGE ARC III - THE ADVENT (rated TV-MA). It’s been a year since Griffith’s imprisonment by the Kingdom of Midland. Once praised as the saviors of the Midland, The Band of the Hawk has been on the run and is on the brink of breaking apart. Much to everyone’s surprise, Guts returns to the Hawks and the search for Griffith begins!

The BERSERK manga series, by Kentarou Miura, debuted in Japan in 1989 and quickly drew a devoted following, going on to sell more than 30 million copies worldwide. The series, still ongoing in Japan, has been published in North America and the UK, as well as in France, Germany, Italy, Spain, Russia, and Latin America. The BERSERK manga has also inspired a popular anime television series and has spawned a variety of related video games, collectable figures and toys, and music soundtracks, as well as the current BERSERK: THE GOLDEN AGE ARC film trilogy.

For more information on the BERSERK: THE GOLDEN AGE ARC film trilogy, please visit the official Facebook page at: www.facebook.com/BerserkFilm.

About VIZ Media, LLC
Headquartered in San Francisco, California, VIZ Media distributes, markets and licenses the best anime and manga titles direct from Japan.  Owned by three of Japan's largest manga and animation companies, Shueisha Inc., Shogakukan Inc., and Shogakukan-Shueisha Productions, Co., Ltd., VIZ Media has the most extensive library of anime and manga for English speaking audiences in North America, the United Kingdom, Ireland and South Africa. With its popular digital manga anthology WEEKLY SHONEN JUMP and blockbuster properties like NARUTO, BLEACH and INUYASHA, VIZ Media offers cutting-edge action, romance and family friendly properties for anime, manga, science fiction and fantasy fans of all ages.  VIZ Media properties are available as graphic novels, DVDs, animated television series, feature films, downloadable and streaming video and a variety of consumer products.  Learn more about VIZ Media, anime and manga at www.VIZ.com.

About Alamo Drafthouse Cinema
Alamo Drafthouse is an entertainment brand comprised of the acclaimed cinema-eatery chain, the largest genre film festival in the United States and a collectible art gallery. Named “the best theater ever” by Time Magazine, the Alamo Drafthouse Cinema has built a reputation as a movie lover’s oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high-profile, star studded special events. Alamo Drafthouse Founder & CEO, Tim League, created Fantastic Fest, a world renowned film festival dubbed “The Geek Telluride” by Variety. Fantastic Fest showcases eight days of offbeat cinema from independents, international filmmakers and major Hollywood studios. The Alamo Drafthouse’s collectible art gallery, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and Movie properties including Star Wars, Star Trek & Universal Monsters. The Alamo Drafthouse Cinema is expanding its brand in new and exciting ways, including the launch of Drafthouse Films, a new film distribution label and plans to extend its theaters and unique programming philosophy to additional markets across the United States. More information about Alamo Drafthouse franchise opportunities are available on the official website www.drafthouse.com.