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There is no disputing that director/screenwriter Leigh Whannell is one of the kings of modern day horror. The Australian was the writer behind both the Saw and Insidious franchises while in recent years he has also sat in the director’s chair for films like Insidious: Chapter 3 and the under-appreciated Upgrade.

Now Whannell returns as the director/screenwriter/producer of The Invisible Man – a modern day Blumhouse take on one of Universal Pictures most loved horror characters. And as we chat to Whannell in Melbourne we learn that this is not a task that he took lightly.

“I actually wasn’t thinking about doing an Invisible Man movie at all, says Whannell as we begin to talk about the origins of this film. “I had just finished Upgrade and I had been bitten by the action movie bug and I think I was keen to go and shoot the fifty million dollar version of Upgrade. You know we could crash forty cars instead of one car… i was keen to get my Michael Bay on. Then this idea was suggested to me… the idea of doing The Invisible Man and it was not something that I had given any thought to, but then as soon as it was in my mind it was truly an inception.”

“It wouldn’t leave my brain,” says Whannell with a big smile on his face revealing just how excited he was about the product. “It just kept taking up space rent free. And then I just couldn’t stop thinking about it and that is usually the first sign that I am going to make a film – when it just won’t go away. That’s how it came about and then I just went back to Blumhouse and Universal and said that I was interested in doing this and we were off to the races. It was remarkable just how quickly the pieces all came together.”

As we begin to talk craft I ask Whannell whether or not the fact that the idea of the film was planted in his mind rather than him just thinking it up changed the way he went about writing the original screenplay. “It did in the sense that I was aware of this legacy that was behind me,” he says after pausing to think about the question for a moment. “Other people have made Invisible Man movies and I wanted to avoid repeating them. I didn’t want anybody to be able to say ‘well this is just a retread of so and so.’ And so if anything it was more of an awareness to avoid those other movies- that was the biggest thing – trying to take this character and modernise it and make it very new. In other words I wanted to make it feel like no other Invisible Man movie had ever existed and that this was the first. I can’t tell you how many scenes I came up with that I put on the reject pile because I felt that they had been done before.”

Whannell’s version of The Invisible Man takes on a very different voice to any of the Invisible Man films of the past have. Here Whannell explores the dark topic of domestic violence and depicts in a very dark way that few filmmakers have been brave enough to do in the past. “Really early on I knew that I wanted it to be dark,” he explains. “I knew that I wanted to make something that was really tense and suffocating – not light-hearted at all. I didn’t want anything that was frolicking or fun I wanted to make something that was really relentlessly tense and suffocating to the audience.”

“That was a decision that I made very early on and then I began building out the story,” he explains. “The thematic elements of the movie about a woman being in an abusive relationship that just came out organically. As you start to put the pieces out on the table those things just kind of emerge on their own without you forcing them. It was all really organic and that is how it all fell together.”

With the legacy of the Invisible Man being so entrenched in Hollywood history and certain amount of fandom is also there, and that is something that Whannell is more than aware of. “Any movie whether it has a legacy like The Invisible Man or if it is stand-alone like Upgrade makes me nervous,” he says laughing out loud. “Even just thinking about it now is making me nervous. I think it is because you put so much of yourself into a movie an then you release it to the world and they get to judge it and it is just a scary moment. Eventually the nerves ease off once the movie is out there and you can’t do anything about it. Then you a start to relax but right now I am right in the middle of the white hot centre of nerves because it is just starting to get out there.”

 

The Invisible Man opens in cinemas today.

 

There is perhaps no bigger band in the heavy music world at the moment than Five Finger Death Punch. Their albums are chart toppers, they have won awards galore and they have the cream of heavy music lining up to tour with them. A quick talk with bassist Chris Kael tells you though that not everything has been rosey in the FFDP camp.

He talks about his own addiction battles, the addiction fight that front-man Ivan Moody has been through and how the fact that the band’s last album And Justice For None was an absolute miracle that it even exists. Now though comes their brand new album F8 which he describes as a rebirth for the band and a body of work that he and the band are most proud of.

“We knew this was a very important record for us,” says Kael with complete honesty as we begin to talk about the new album. “Our last album, And Justice For None, was recorded during a time where we were battling with our record label, Ivan was dealing with addiction problems, I was dealing with addiction problems and there was a lot of in-fighting within the band so that encapsulates a ‘not great’ time for me.

“Whenever I hear it it brings up the negative times we were stuck in,” he says. “There was lots of turmoil and it just wasn’t a lot of fun. So we knew going into this one that this was really a make it or break it record for us. Obviously we have a huge following and we have sold a lot of records but this was make it or break it for us because it was important for us to get back on track. If we hadn’t put out the album that we did this could have been a disaster for us and we knew that.”

Talking to Kael about that period makes you really realise how lucky we are that Five Finger Death Punch are still together and making albums today. “We went through a whole lot,” he says continuing. “Both personally and in the band but for us to come through all of that, and to come out of it with a new album coming out on the 28th of February it is a really proud moment for us. Not just because of how far we have come but because we have overcome so many things that couldn’t have turned into an inferno… but didn’t luckily. So here we are, we are still, the record is out on Friday and we are super excited about it.”

Hearing Kael describe this album as a ‘make or break album’ really showed just how important this album was to the band so I ask him how the band dealt with the pressure that was there heading into this album. “I think the biggest thing leading into this that could have been a major setback were the amount of addiction problems that we had at that point,” he says still talking with complete honesty. “There were times when day-to-day we weren’t even sure if the band was going to be able to go on so right out of the gate we had to get rid of those issues. Without getting rid of those issues we would have continued to burn ourselves alive and that would have been the end of Death Punch!”

“So we got them out of the way,” he continues. “And this has been kind of a rebirth for us because as individuals we have all been through this rebirth and growth which has seen us become better versions of ourselves which in return has seen a better version of Death Punch. When we first got into the writing phase for this album we realised that when you are using you kind of see that as your creative juice and you start to wonder when that goes away will that creative energy still be there, luckily the first three tracks that we wrote for this record were absolute beasts so we were all like ‘okay we can do this and we can do it a whole new level.’”

The new re-birthed Five Finger Death Punch also got a massive lift from their live shows they did while putting together F8. “At the same time we went out and did three weeks worth of shows,” he explains. “And we got these amazing reviews from the fans because we were playing better than we had ever played before and as a band we were getting along better than we ever had before and all of that translated to the stage. And besides that we were having fun and we took that confidence into this record. There are couple of songs on there that perhaps you wouldn’t expect from Death Punch, not because it is not what Death Punch does but because we were able to expand a few things on this record.”

 

F8 is out this Friday.

 

 

 

If you are a fan of Dio then you are about to be in for a very special treat indeed. BMG are about to release some very special remastered versions of Angry Machines, Magica, Killing The Dragon and Master Of The Moon in memory of the tenth anniversary of the passing of Ronnie James Dio.

BMG have made sure that the deluxe editions of these remastered albums have some very special items for true collectors, and to make sure that everything is authentic they have worked with Wendy Dio Ronnie’s widow who was also his manager. We recently chatted to Wendy about what fans can expect from these releases.

“Well the re-releases are coming out through BMG and they haven’t been out for almost ten years,” says Wendy as we begin to talk about the releases. “They have been re-mastered by Wyn Davis who worked with Ronnie on many, many records and there are some very special CDS that go with them that has some live recordings on them. I am so excited about them, and we even some great new artwork to go with them that has been done by Marc Sasso. I am so excited about them because they are great.”

Wendy says she was also very happy with the entire process of when she was working with BMG saying they had the passion that labels all used to have. “They are very passionate about what they do,” she explains. “They were very excited about this… they wanted to do this for the fans. They came here and saw some of the T-Shirts that we have and they just said ‘can we get some? Can we get some?’ They were great, they didn’t feel corporate at all, in fact they felt like the way record labels used to be in the beginning when everybody was excited and they wanted to do it because it was fun and because they loved music.”

“That was the feeling that I got here,” she goes on to say. “It really felt like they were loving what they were doing and that they wanted to make the best possible product.”

Thanks to Wendy’s dedication to Dio’s work BMG also didn’t have to go very far to find exactly what they needed to make these releases so special. “Everything was here,” says Wendy with a hint of sadness in her voice. “We have everything in a big vault, we have so much stuff. So, we just went through everything that I could find. Then Wyn Davis went through to find what was the best quality because we wanted this to be a good quality product that Ronnie would be proud of.”

Of course Wendy admits that going back through the material also brings up memories for her as well. “It is kind of bittersweet,” she says after she pauses trying to find the right words to describe how she feels. “It is one thing to find the stuff but then I found myself wishing that was here to listen to all the stuff and to put his stamp on it. I mean his stamp is on it but for me I still feel that he isn’t here. It was like when we won the Grammy for Last In Line by Tenacious D that was the one thing that I wished for everything that Ronnie could have been there to see – that success at the Grammys.”

As our discussion goes on Wendy admits that sometimes as she finds herself going through a lot of the stuff that has been kept she finds things that she believed were long lost. “Yes, that happens all the time,” she says. “Everything s kept in a climate controlled area and it is all labelled. But I am finding stuff all the time, I’ll suddenly be like ‘oh look there’s that… that is wonderful.’ Then of course there were also a lot of unfinished songs that perhaps in the future we could look at a way to put them out, but it would have to be perfect and it would have to be the way that Ronnie would have wanted it. I don’t want to just flood the market with any old crap, I am very particular about what we find and then I get somebody with professional ears, like Wyn Davis, to listen to it and make sure that it is fine before I ever put anything out.”

As we finish up the interview Wendy tells me that Ronnie also had a soft spot for Dio’s Australian fans. “He just loved the Australian people,” she says. “His favourite places to play were the United Kingdom and Australia because he said he had great fans there. Of course there were critics but they were always fair, and Ronnie would always listen to the fans. It was a pity that Australia was so far away because he would have loved to have toured there more often.”

 

The remastered Dio collection will be released by BMG on the 20th March.

 

Melbourne’s very own Riff Raiders are hitting 2020 with a bang. Aside from heading out on a tour that will see them headline the Kilmore Rock Festival the band also have their vinyl Double A-Side single landing on February 18th through Rue Morgue Records and then release their brand new album Rock ‘N’ Roll Daydream in March.

The band’s debut album Live Like You Mean It was released to critical acclaim and won the band a legion of fans. When we recently sat down to interview Riff Raider’s very own Marty Powell he admitted that it was something that was weighing on their mind as they worked on the new album. “I didn’t feel pressure when I was writing the songs because that felt like a bit of a break-through,” he says. “We were doing a lot of shows and we felt like a band on a run so the songs were coming from excitement and adrenalin so that worked really well.”

“But when it came to recording them we really wanted to approach them differently,” he admits. “I started the album about a year ago and like what happens with other artists – I just wasn’t happy with it and that is why the line-up of the band changed. That was so we could make it as good as we good.”

As we talk about the events that surrounded that moment we talk about what a drastic decision it was to make. “It was a really important decision to make,” agrees Powell. “The guys we were playing with were great at that level but musically if we wanted to go to that next stage we had to do something, and it was pointed out by the producer we were working with at the time. But yeah it was painful. But I thought if we are going to go to all this trouble and we have the best batch of songs that we can come up with then we really have to do them justice.”

“So we decided that we needed a different rhythm section,” he continues. “I think different is a better word than better, we just needed a different style and then I worked with a different producer that pushed it to a whole another level again. But we didn’t rush into it. We did a lot of shows with the new line-up to break in the band again, which I think you can hear on the recordings. It held things up but it also made things better. It also gave me the opportunity to define the songs a bit more and by re-recording them we were able to give everything a second go. That really helped.”

The work of the line-up is clearly evident on the Double A Side that is about to be released by Rue Morgue and they are both tracks that Powell are clearly proud of. “You’ve got Loaded Gun and Best Day Ever,” he explains. “They are the lead tracks off the new album – Rock ‘N’ Roll Daydream. There are two very different sounds of the band on show with these tracks.”

“Loaded Gun has that classic kind of slide, kind of a classic rock sound to it,” he says continuing. “The other track that is there is still rock but I guess it has more of 90s kind of vibe to it… it is a bit more fun. We really wanted to show different sides of the band. It is all rock, the title of the album pretty much explains that, and we aren’t ripping anything off but when I write the songs I always try to think about what kind of rock music I like which is all different styles. So when you listen to the album you hear those different styles as well, and the idea is that this kind of music has been around for a long while so we just try to do songs in this genre. It isn’t exactly re-inventing the wheel but putting more wheels on sale I guess is the best way to describe it.”

The one thing that really strikes you about these two tracks is the catchiness of them Walk away after listening to Best Day Ever and you will be humming it for the rest of the day. “We’re all about hooks,” says Powell laughing. “It’s not even about what we do in the studio, it’s about how we write the track and then arrange it with the band. You get to do that in the studio as well but when you see us live it is there as well. That comes back to that classic type of song-writing, it is heavy but you still want to be able to whistle the tune. That was The Beatles concept – is the song memorable? Playing that kind of music though can be difficult, take Loaded Gun for example, you are holding it back a bit. It’s like AC/DC when you get a band to groove like that it is quite powerful, but that is hard to achieve just smashing away and doing what you like. There is restraint there but you also want that hook side, so you try to go for both.”

Whatever the recipe is that Riff Raiders are working on it obviously works because both Loaded Gun and Best Day Ever are something very special indeed.

 

The mighty Sepultura are back with their brand new album Quadra and boy is this an album with a difference. The world has been blessed with the music of these mighty giants now for thirty-five years with many believing their 1986 album Morbid Visions was a game changer when it came to the thrash genre.

Now in 2020 Sepultura have released Quadra an album that while full of original songs goes back over their career to date and seems to grab the different styles the band has presented over the years. When I had the opportunity to sit down with front-man Derrick Green and chat about Quadra he admits that was the idea that the band when into the studio with.

“A lot of times when we go into writing an album we usually like to go in a with a concept because it makes the process of writing a little bit easier,” he admits. “We become more focussed when we have an objective. So when we headed into this album we were looking at it as if it was a double album – so there was a Side A, a Side B, a Side C and a Side D. And with each side we wanted to have the elements – those elements of Sepultura that have existed in the past on each side.”

“So the first side – Side A – were more geared up towards the thrash elements of Sepultura’s past,” he goes on to explain. “Side B has more of the tribal elements, a mixture of that kind of leading to Machine Messiah. Then Side C is more of the experimental and instrumental phases of Sepultura and then the D side is the more melodical side. So that was the idea that we had in mind, all leading to the idea that Andreas Kisser our guitarist had because he came up with the title Quadra which is Portuguese for ‘the playing field that has four sides’ and then within this playing field you have rules, so Quadra is kind of what each person is born into, so it is a metaphor for the various parts of the world that people are born into, and the laws that you abide to or don’t. And of course there are repercussions for that. Then of course there are people that are struggling to get out of their quadra as well. ”

With that framework already in mind when the band went in to work on the album they also discovered that the term ‘quadra’ also had a lot deeper meaning for Sepultura as well. “We are a four piece,” says Green thinking for a moment. “So the number four has a deep meaning for us. We were also reading a book about taking the four elements of the Arts – namely arithmetic, geometry, music and astrology. And then there is numerology in which the number four is significant because when that number is manifested a lot of powerful things are happening in the moment, and that is how we felt as a band. When the four of us are together on stage there is a moment that is happening that is very powerful.”

“That also happens for us in the studio,” he admits again after thinking for a moment. So we went in that direction from the very beginning before anything was even written and we were able to have a lot of time to work on the album. We made sure that we had that time by not doing a lot of festival tours like we normally do in the summer and we became really comfortable in the writing process which really helped in the creation of this album.”

For Sepultura fans out there Quadra is a very special album indeed as it captures the true sound of the band in a way that many haven’t heard before. Green tells us that some versions of the album also feature the Endurance documentary that he band worked on as well.

“You can actually grab a copy that has the Endurance documentary of Sepultura as well,” he explains. “It has been out on Netflix in Latin American for awhile now but now it is great because it will be obtainable for everyone when they buy the album. I think it is with the Deluxe version of the album, so we are really excited about that. Check it out and check us out when we are in town.”

And for the hardcore Sepultura out there a little birdy called Derrick Green assured us they hope to be hitting all the Aussie towns in 2021.

 

Quadra is out now through Nuclear Blast.

 

 

After working in the visual effects department on massive blockbuster movies like Avengers and The Hobbitt filmmaker Jason Lei Howden went out on his own in 2015 and made the cult classic action horror film Deathgasm. The film became a fan favourite at festivals right around the world and now Howden returns with his latest film – Guns Akimbo – which is going straight into Australian cinemas on February 28th.

Starring Daniel Radcliffe and Samara Weaving Guns Akimbo follows the story of a young games developer who suddenly finds himself in a cat and mouse game of survival with a psychopath after his interactions with an online, reality game go horribly wrong.

“The idea came from my love of 80s action movies,” says Howden when I get the opportunity to sit down and talk to him about all the ins and out of Guns Akimbo. “There were movies like Commando and Rambo of course, there were always those movies with the big buff action hero and they would be shooting like fifty people.”

“So I wanted to make an over-the-top action movie but instead of having Arnie as a hero I wanted to have the total opposite. So I ended up with a programming nerd with the guns on the hand. When I thought about I thought he would sit back or run away but then I thought what if he has the guns bolted to his hands so it is either shoot or die, it all kind of came from that.”

Then there is the smart-mouth psychopath Nix played by Samara Weaving who Howden also let his creativity run wild with. “I didn’t want her to be the standard femme fatale,” he explains. “I wanted her to be cool and fun but I felt her being a female baddie should not be her defining trait. I feel so many times when a female character is depicted that becomes the defining trait of the character, but she is not just a person she is a fucking psychopath.”

“Then there was some pressure from the producers to make her more sexy or to make her like Harley Quinn,” he goes on to say. “I had to keep saying ‘but she isn’t Harley Quinn, she hasn’t got time to sit there and make colourful clothes all day’, she puts on her jacket and jeans and goes and shoots fuckers all day. We ended up bleaching her eyebrows and putting tattoos and piercings on her and the producers were really freaking out and saying ‘she looks really un-appealing.’ But Samara and I just stuck to our guns… that is an awful pun… and I am glad we did.’”

That leads me to ask whether Samara Weaving was always in mind to play Nix. “No, we shopped around a little bit,” he admits. “I don’t think Nix was really written with anyone in mind because originally she was going to be a male character and I figured out really on that that didn’t really suit the story that I wanted to tell, it seemed to work better with Miles up against a female character. I had seen Samara in a couple of things – I thought she was great in The Babysitter so I knew she would bring something different to the role and that she had a great comedic timing which was cool.”

Of course the other big casting news around Guns Akimbo was Daniel Radcliffe being cast as Miles. And while some people maybe a little surprised that the actor who portrayed Harry Potter is now in an action film they should be reminded that this is the same actor who did films like Horns and Woman In Black. “I had a short list of about five actors and Dan was on the top of that list,” says Howden as we talk about how Radcliffe won the role. “I was really excited about Dan, but not because of the Harry Potter movies. I mean I like the Harry Potter movies but I loved him in Woman In Black, The Horns and especially Swiss Army Man which is a fantastic movie. So, I guess I really don’t get the whole Harry Potter thing around this film, but I see it has become a meme and we had people yelling it out on the street when we were trying to film which was really annoying.”

“But yeah I think he is like Elijah Wood,” he goes on to explain. “Or maybe it is a little worse for Dan because he did nine Harry Potter movies, Elijah Wood did three Lord Of The Rings movies and Kristen Stewart did five Twilight films but they don’t seem to be as related to their roles, plus Harry Potter movies were such a huge part of people’s childhoods as well. But as far as casting goes we went to Dan first and I heard back that he was interested which was quite mind-blowing because the casting process is a bit of a wing and prayer. You got out to people and they pass, so yeah it was a surprise that he was so excited by us and when I Skyped him he was like ‘dude I fucking love this movie man.’”

That statement alone shows what kind of man Daniel Radcliffe is because that seems to be what most people are saying after they have seen Guns Akimbo as well. It is a cult classic in the making and Howden has made another winner.

 

 

Summary: A secluded farm is struck by a strange meteorite which has apocalyptic consequences for the family living there and possibly the world.

Year: 2019

Australian Cinema Release Date: 6th February 2020

Thailand Cinema Release Date: TBA

Australian DVD Release Date: TBA

Country: United States, Malaysia, Portugal

Director: Richard Stanley

Screenwriter: Richard Stanley, Scarlett Amaris, H.P. Lovecraft (short story)

Cast: Madeleine Arthur (Lavinia), Nicolas Cage (Nathan Gardner), Tommy Chong (Ezra), Keith Harle (Hunter Jake), Julian Hilliard (Jack), Q’orianker Kilcher (Mayor Tooma), Elliott Knight (Ward), Brendan Meyer (Benny), Joely Richardson (Theresa), Josh C. Waller (Sheriff Pierce)

Running Time: 111 mins

Classification: MA15+ (Australia)

 

 

OUR COLOR OUT OF SPACE REVIEWS & RATINGS:

 

Dave Griffiths Review

Remember those old horror films that you and your friends used to sit around and watch on VHS? There is no doubt that you have seen many horror films over the past few years and walked out of the cinema wishing there was a way to flashback to that time. A time when filmmakers made horror movies because they believed in the genre and loved it, not just because a studio had asked them to make something for a quick buck.

The good news is Color Out Of Space is one of those films. Even when you are watching the film in a big cinema you find yourself transported back to your lounge room sitting in front of your TV with the VHS plugged in. Added to that is the fact that this is a film made by a filmmaker who has been in love with the work for years, and that is obvious throughout the film. Yes there is a retro feel to Color Out Of Space but this is also a film that very much holds up for audiences of today as well.

Based on a short story by HP Lovecraft Color Out Of Space finds a family trying to re-start their lives in a beautiful home in an ancient wood. The ambitious father, Nathan (Nicolas Cage – The Rock), is trying to set up an alpaca farm while trying to mend his relationship with his wife, Theresa (Joely Richardson – Event Horizon), who is recovering from cancer.

Nathan also finds his relationship with his children is strained. His teenage daughter Lavinia (Madeline Arthur – Big Eyes) is going through a rebellious stage that involves experimenting with Wicca while his teenage son, Benny (Brendan Meyer –  The Guest) is more interested in getting stoned with their hippy neighbour, Ezra (Tommy Chong – Zootopia) then he is to help out on the farm.

All of those problems pale into significance though when the family’s farm is hit by a meteor. Although strange occurrences start happening straight away they are told by the authorities that everything will be okay, with only young hydrologist Ward (Elliot Knight – Titans) warning them that he believes it has contaminated the water table.

As a filmmaker you very quickly learn that Richard Stanley (Hardware) doesn’t much around when he is telling a story like this. He doesn’t around with jump scares and the like, instead he delves straight into the story at hand focussing on characterisation to help move the story along before delving straight into the horror at hand. Perhaps some people out there may not like the ‘retro’ feel to the horror but it really does feel like Stanley has told this story the way that Lovecraft would have expected to see it on the screen.

While Stanley’s script doesn’t exactly explain what has caused the ‘being’ from the meteorite to behave the way it does the events that follow are so horrific that the audience really won’t mind. In fact not knowing all the ins and outs of what is happening actually works to the film’s audience because it places the audience in the same boat as the characters on the screen – they can’t work out what the hell is happening and neither can we. Stanley’s approach to the horror is creative and to his credit he doesn’t try and hide the brutal results from his audience.

There also seems to be a real bond and chemistry a between the cast as well. Nicolas Cage and Joely Richardson are sensational together on screen, and credit must be paid to them for not shying away from starring in an alternative genre flick like this. Aside from Jack Nicholson nobody quite does ‘crazy’ on screen like Cage and here he is in his element.

Stanley also brings out the best in the younger cast and it is easy to see that both Brendan Meyer and Madelaine Arthur have big futures ahead of them in Hollywood. With her performance in Color Out Of Space Arthur really announces herself as an actress that can deliver it all. From scenes of romantic tension with Elliott Knight to extreme scenes involving self-harm she is on top of her game. Credit must also be paid to Stanley for not using Tommy Chong as a ‘joke’ in the film. His character of Ezra is one of the most interesting characters in the film and plays an important role in the story at hand… he is certainly not just there for a cameo.

While Color Out Of Space may not be the kind of film enjoyed by the casual movie goer it is destined to become a cult classic amongst the more hardcore horror and sci-fi fans. It’s retro vibe once again reminds many of us why we love cinema so much.

 

 

 

 

Average Subculture Rating:

 

 

 

IMDB Rating: 
Color Out of Space (2019) on IMDb

 

Other Subculture Entertainment Color Out Of Space Reviews: N/A

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Summary: American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist.

Year: 2019

Australian Cinema Release Date: 13th February 2020

Thailand Cinema Release Date: TBA

Australian DVD Release Date: TBA

Country: United States

Director: Clint Eastwood

Screenwriter: Billy Ray, Marie Brenner (article), Kent Alexander (book), Kevin Salwen (book)

Cast: Muhammed Ali (himself – archive footage), Ronnie Allen (Kenny Rogers), David An (Ken), Nina Arianda (Nadya Light), Matthew Atchley (FBI Agent Doug Wall), John Atwood (Mr Brenner), Kathy Bates (Bobi Jewell), Jonathan Bergman (Jerrod Braden), Kellan Boyle (Lonny), Brian Brightman (Zoeller), Tom Brokaw (himself – archive footage), Bill Clinton (himself – archive footage), Alex Collins (Max Green – APD), David de Vries (John Walter), Wayne Duvall (Richard Rackleff), Luke Georgecink (Rob), Ian Gomez (Dan Bennet), Will Gonzalez (Agent Rosario), Charles Green (Dr. W. Ray Cleere), Garon Grigsby (Bryant Gumbel), Jon Hamm (Tom Shaw), Paul Walter Hauser (Richard Jewell), Alan Heckner (Bill Miller – GBI), Izzy Herbert (Mariah Braden), Dylan Kussman (Bruce Hughes), Kelly Collins Lintz (Mrs. Braden), Eric Mendenhall (Eric Rudolph), Niko Nicotera (Dave Dutchess), Michael Otis (Mr. Braden), Desmond Phillips (Mike Silver – APD), Mike Pniewski (Brandon Walker), Grant Roberts (Will Jones – APD), Sam Rockwell (Watson Bryant), David Shae (Ron Martz), Billy Slaughter (Tim Barker),Aaron Strand (Joe Nobody), Robert Treveiler (Patrick Williams),  Olivia Wilde (Kathy Scruggs), Mike Wilson (Forsythe), Olaolu Winfunke (Eli Gradestone)

Running Time: 131 mins

Classification: M (Australia)

 

 

OUR RICHARD JEWELL REVIEWS & RATINGS:

 

Dave Griffiths Review

 

 

 

 

Kyle McGrath’s Review

 

 

 

Average Subculture Rating:

 

 

 

IMDB Rating: 
Richard Jewell (2019) on IMDb

 

Other Subculture Entertainment Richard Jewell Reviews: N/A

Trailer: