Tag: Drama

Three Billboards Outside Ebbing, Missouri Advance Movie Screening

November 9, 2017 Published by

Movie Screening Summary: THREE BILLBOARDS OUTSIDE EBBING, MISSOURI is a darkly comic drama from Academy Award winner Martin McDonagh (IN BRUGES). After months have passed without a culprit in her daughter’s murder case, Mildred Hayes (Academy Award winner Frances McDormand) makes a bold move, painting three signs leading into her town with a controversial message directed at William Willoughby (Academy Award nominee Woody Harrelson), the town’s revered chief of police. When his second-in-command Officer Dixon (Sam Rockwell), an immature mother’s boy with a penchant for violence, gets involved, the battle between Mildred and Ebbing’s law enforcement is only exacerbated.

http://www.foxsearchlight.com/threebillboardsoutsideebbingmissouri/

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Advance Movie Screening ForTHREE BILLBOARDS OUTSIDE EBBING, MISSOURI

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Phoenix, Arizona

Advance Movie Screening Details

Movie Screening Date: Tuesday, November 14
Location: Harkins Shea
Movie Screening Time: 7:00pm
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Las Vegas, Nevada

Advance Movie Screening Details

Movie Screening Date: Wednesday, November 15
Location: Regal Red Rock
Movie Screening Time: 7:00pm
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Advance Movie Screening Information

To redeem a pass, simply click the Get Passes button. You will taken to our movie screening partner site (where you can sign up for a free account). Once you’ve done so, you’ll be able to print out your pass and bring it with you to your screening or event.

Admittance into a screening or event is not guaranteed with your pass. Events and advance screenings are filled on a ” first come, first served ” basis. To ensure that you stand a good chance of being admitted, we recommend that you show up 30 minutes to one hour early.

The number of admissions that are permissible for each pass are printed clearly on the ticket that you print out. You are allowed to bring as many guests as is indicated on your pass. For example, if your pass is for ” Admit Two, ” you can bring yourself and one guest. If you have an ” Admit One ” pass, you can bring only yourself.

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LAST FLAG FLYING Screening in Phoenix Tomorrow!

November 8, 2017 Published by
In 2003, 30 years after they served together in the Vietnam War, former Navy Corps medic Larry “Doc” Shepherd (Steve Carell) re-unites with ex-Marine Sal Nealon (Bryan Cranston) and Reverend Richard Mueller (Laurence Fishburne) on a different type of mission: to bury Doc’s son, a young Marine killed in the Iraq War. Doc decides to forgo burial at Arlington Cemetery and, with the help of his old buddies, takes the casket on a bittersweet trip up the East Coast to his home in suburban New Hampshire. Along the way, Doc, Sal and Mueller reminisce and come to terms with shared memories of the war that continues to shape their lives.

Find your chance to receive special advance movie screening passes below. 

LAST FLAG FLYING 

Location:

11/9/17
7 PM
Harkins Camelview at Fashion Square
7014 E Camelback Road ANC-03A
Scottsdale, AZ 85251

JON FAVREAU’S ALL-NEW BIG-SCREEN ADVENTURE “THE LION KING” ROARS TO LIFE WITH ALL-STAR CAST

November 3, 2017 Published by

The all-star lineup for director Jon Favreau’s new take on Disney’s 1994 classic animated film “The Lion King” includes stars from the film, TV, theater and music arenas. Featuring pioneering filmmaking techniques, the film welcomes back to the big screen iconic characters that audiences have long treasured—but in a whole new way. From Disney Live Action, “The Lion King” is slated for U.S. theaters on July 19, 2019.

“It is a director’s dream to assemble a talented team like this to bring this classic story to life,” said Favreau.

Lions rule the African savanna in “The Lion King,” which welcomes Donald Glover (“Atlanta,” “Solo: A Star Wars Story”) as future king Simba, Beyoncé Knowles-Carter (“Dreamgirls,” “Lemonade” visual album) as Simba’s friend-turned-love interest Nala, and James Earl Jones (“Rogue One: A Star Wars Story,” “Field of Dreams”) as Simba’s wise and loving father, Mufasa, reprising his iconic performance from Disney’s 1994 animated classic. Chiwetel Ejiofor (“Twelve Years a Slave,” Marvel Studios’ “Doctor Strange”) was called on to portray Simba’s villainous uncle Scar, and Alfre Woodard (“Juanita,” Marvel’s “Luke Cage”) portrays Simba’s no-nonsense mother, Sarabi. JD McCrary (OWN’s “Tyler Perry’s The Paynes,” Apple’s “Vital Signs”) fills the shoes of Young Simba, a confident cub who can’t wait to be king, and Shahadi Wright Joseph (NBC’s “Hairspray Live,” Broadway’s “The Lion King”) brings tough cub Young Nala to life.

Every kingdom comes with a trustworthy advisor or two. John Kani (“Coriolanus,” Marvel Studios’ “Captain America: Civil War”) was cast as the wise baboon Rafiki, and John Oliver (HBO’s “Last Week Tonight with John Oliver,” Comedy Central’s “The Daily Show with Jon Stewart”) was tapped as hornbill Zazu, Mufasa’s loyal confidant. When Simba goes into exile, he relies on two newfound friends—Seth Rogen (“Sausage Party,” “Neighbors”) lends his comedic chops to naïve warthog Pumbaa, and Billy Eichner (“Billy on the Street,” FX’s “American Horror Story”) joins the cast as know-it-all meerkat Timon.

While most of the animals in the kingdom respect the king, the hyenas have other plans. Florence Kasumba (NBC’s “Emerald City,” Marvel Studios’ “Black Panther”) portrays Shenzi, Eric André (Adult Swim’s “The Eric André Show,” FXX’s “Man Seeking Woman”) is Azizi, and Keegan-Michael Key (“Predator,” Netflix’s “Friends from College”) plays Kamari.

“The Lion King” is directed by Favreau (“The Jungle Book,” Marvel Studios’ “Iron Man”) and produced by Favreau, Jeffrey Silver (“Beauty and the Beast,” “Edge of Tomorrow”) and Karen Gilchrist (“The Jungle Book,” “Chef”). Jeff Nathanson (“Catch Me If You Can,” “Pirates of the Caribbean: Dead Men Tell No Tales”) penned the screenplay based on the 1994 screenplay by Irene Mecchi, Jonathan Roberts and Linda Woolverton. Tom Peitzman (co-producer “Kong: Skull Island,” “Alice in Wonderland”) and Thomas Schumacher (“The Lion King,” “Beauty and the Beast”) are executive producers, and John Bartnicki (“The Jungle Book,” “Chef”) is co-producer. The award-winning team of artists tapped to bring the African savanna and its animal inhabitants to life include visual effects supervisor Rob Legato, who conceived the virtual production on “Avatar,” won Academy Awards® for his work on “The Jungle Book,” “Hugo” and “Titanic,” and was nominated for an Oscar® for his work on “Apollo 13.”

The film’s animation supervisor is Oscar®-winner Andrew R. Jones (“The Jungle Book,” “Avatar,” “World War Z”). VFX supervisor is Adam Valdez (“The Lord of the Rings: The Fellowship of the Ring,” “The Lord of the Rings: The Two Towers”), who won an Oscar for his work on “The Jungle Book.” Five-time Oscar nominee Caleb Deschanel, ASC, (“Jack Reacher,” “The Patriot”), is director of photography, and James Chinlund (“War for the Planet of the Apes,” “Marvel’s The Avengers”) serves as the production designer. Oscar winner Ben Grossman (“Alice in Wonderland,” “Hugo,” “Star Trek into Darkness”) is virtual production supervisor, and Mark Livolsi, ACE, (“The Jungle Book,” “Saving Mr. Banks,” “The Blind Side”) and Adam Gerstel (“Transformers: The Last Knight,” “The Jungle Book”) are editors. Hans Zimmer (“Dunkirk,” “Hidden Figures”), who won an Oscar for his score for the animated classic, will score the adventure.

ABOUT THE MOVIE:

From Disney Live Action, director Jon Favreau’s all-new “The Lion King” journeys to the African savanna where a future king is born. Simba idolizes his father, King Mufasa, and takes to heart his own royal destiny. But not everyone in the kingdom celebrates the new cub’s arrival. Scar, Mufasa’s brother—and former heir to the throne—has plans of his own. The battle for Pride Rock is ravaged with betrayal, tragedy and drama, ultimately resulting in Simba’s exile. With help from a curious pair of newfound friends, Simba will have to figure out how to grow up and take back what is rightfully his. The all-star cast includes Donald Glover as Simba, Beyoncé Knowles-Carter as Nala, Chiwetel Ejiofor as Scar, James Earl Jones as Mufasa, Billy Eichner as Timon and Seth Rogen as Pumbaa. Utilizing pioneering filmmaking techniques to bring treasured characters to life in a whole new way, “The Lion King” roars into theaters on July 19, 2019.

Maybe we should all consider… “DOWNSIZING” – Trailer

November 3, 2017 Published by

DOWNSIZING 

Directed by: Alexander Payne 

Starring: Matt Damon, Christoph Waltz, Hong Chau and Kristen Wiig 

Written by: Alexander Payne & Jim Taylor

Produced by: Mark Johnson, Alexander Payne, Jim Taylor 

Downsizing imagines what might happen if, as a solution to over-population, Norwegian scientists discover how to shrink humans to five inches tall and propose a 200-year global transition from big to small. People soon realize how much further money goes in a miniaturized world, and with the promise of a better life, everyman Paul Safranek (Matt Damon) and wife Audrey (Kristen Wiig) decide to abandon their stressed lives in Omaha in order to get small and move to a new downsized community — a choice that triggers life-changing adventures. 

DOWNSIZING Official Channels

Hashtag: #Downsizing

Facebook: /DownsizingFilm 

Twitter: @DownsizingFilm

Instagram: @DownsizingFilm 

Website: DownsizingMovie.com 

In Theaters December 22nd

http://www.fandango.com

Acts of Vengeance – Movie Review

October 27, 2017 Published by

If you don’t mind a little Philosophy with your action movies ‘Acts of Vengeance’ is for you!  The movie is told in parts, each start with quotes such as, ‘Action is the only truth.’ from the Roman Emperor Marcus Aurelius’ writings from the book, Meditations.  Antonio Banderas plays a lawyer named Frank Valera who loves his wife and daughter very much.  He’s at work but on a phone call to his child, he makes a promise to her that he will make it to her performance in a talent show later in that night.  You know what’s going to happen next and so does he.  He is held up at work and knowing his wife and daughter are probably angry, he excuses the fact that they don’t come home right away but as the evening hours tick by, he becomes more concerned.  Around midnight, the police come to his door; his wife and daughter have been found murdered.  Banderas does an adequate job of not holding back the pain that a revelation of this magnitude would bring him.

Frank’s mood darkens and he runs from life.  He eventually decides that defending suspected criminals is not something he is interested in continuing to do so he leaves the law firm.  He stumbles on an MMA ring which gives him the outlet that he needs to work out his frustrations and the loneliness that pursues him on a daily basis.  As time passes, a police officer friend of his, Strode (Urban), informs him that the investigation into their deaths has gone cold.  In an unnecessary voice-over, done in typical Banderas fashion (deeply and quietly), Frank tells us that he realizes he has been punishing himself but now it’s time to find the guilty party… if he has to himself. 

Playing detective, he gets himself injured but happens upon a book that gives him some much-needed introspection and he starts to train harder and sharpen his mind to prepare for battle.  He even stops talking so he can better listen to what’s important.  During another confrontation, he’s shot and is helped by an ER nurse named Shelia.  Predictably he leaves her immediately but the men he fought had a German Shepard who has grown attached to Frank and isn’t quite so easy to leave behind.  As it turns out, the pooch ends up being more of an asset than a pest.  Part 3 of the 5-part narrative starts by telling us that ‘There is nothing that hinders you from doing what must be done.’  A relationship develops between him and, oh did I tell you Shelia makes a return?  Yes, Shelia is back, and they begin to bond.  This confuses him because his life is changing for the better but he’s ill-prepared, still wanting only for the past to return. 

Upon further investigation, he thinks he knows who the guilty party is.  Not surprisingly, it’s friend Strode.  He follows him and after breaking into his home, he finds the reason Strode would end the life of his innocent wife and child.  They meet and during a melodramatic confession, Strode happily shouts out the reason… possibly in case you didn’t already figure it out yourself or read it in an earlier clip.  In a life and death fight with Strode, Frank’s inner monologue echoes the words of whom he considers the greatest stoic of all which are, ‘The best revenge is to be unlike your enemy.’  Does he learn from the passages he has been reading all this time or does he break with Marcus Aurelius and kill Strode?  You’ll have to find out yourself when you see Acts of Vengeance, out today at AMC Arizona Center and On Demand!

Wonderstruck – Movie Review

October 27, 2017 Published by

Wonderstruck is a great title, would probably be a remarkable book to read but it’s not so much a wonderful feature film to sit through unless prepared.  Watching it feels as if you’re reading it.  Everything takes too long to happen.  Not surprisingly, it is based on a critically acclaimed novel; one written by Brian Selznick.  Don’t get me wrong.  I’m not saying this isn’t worth a watch because it is in that it’s beautifully orchestrated, well-crafted and is quite inspiring to watch but it could be a dash too slow for some.

It starts introducing us to the main character, Ben (Fegley).  In 1977, he lives through the death of his mother, Elaine (Williams), whom he admired so much.  Being very independent and capable, she has told Ben very little about his father except for his name.  She was the type of woman who knew enough to develop Ben’s curiosity but sees no reason to fill his head with the knowledge he doesn’t truly need.  Instead, she teaches him what matters to her most such as a favorite quote by Oscar Wilde that also becomes Ben’s favorite, ‘We are all in the gutter but some of us are looking at the stars.’  She encourages his astute, youthful and insightful imagination when he asks about its meaning and instead of answering the questions she makes him tell her what it means.  When she dies a short time later, he holds on dearly to all she gave and taught him.

Living with his aunt now, his interest in his father, who’s from New York, grows.  To find out what we’re in for at this point, we can break the title of the film down.  Wonder can mean to marvel and speculate about the origin of something like the solar system, which Ben does often.  Struck is to encounter something suddenly or unexpectedly.  Not only is Ben an admirer of the skies, wondering if his father was, too, but lightning strikes him when he’s on the phone and poor Ben loses his hearing.  It’s here we cut to 1927 where a young deaf girl, Rose (Simmonds) fantasizes about a life beyond hers.  She admires an actress named Lillian Mayhew (Moore) and decides to go to New York to find her.

Now the very accomplished director Todd Haynes (Carol) takes the material he has been given of these two youngsters and cleverly marries them by building a cohesive plotline.  He manages to structure the suspense to keep you guessing as to what Ben and Rose are headed toward and why.  Choosing music by the incredibly brilliant composer Carter Burwell, who has scored or composed over 100 films, (Three films this year; Goodbye Christopher Robin and Three Billboards Outside Ebbing Missouri, as well as this one) was genius on Haynes’ part.  Flipping back and forth between the 1920’s and the 1970’s made the music incredibly important to remove you from one time period and plop you, emotionally and all, into the other on a continual basis.  In fact, you feel as if you’re in two movies, but the music never loosens its grip on you and you’re firmly planted in the story.

On his quest, Ben meets Jamie (Michael), a child as alone as Ben who is looking for a friend.  The pair goes to the Museum of Natural History and Ben is taken with what he has been missing from this world.  They run all over the building, passing this display and that display while Rose, fifty years earlier is doing the exact same thing in the exact same building walking passed the very same pieces and display cases.  As this happens and as the boys investigate an unbelievable coincidence, you’ll feel the interest in you intensify because this must be leading to a beautiful… something.  But honestly, this is where the film lets you down.  An incident here, an act of fate or chance there leads not to wonder or spectacle but to regularity and commonality that one was hoping in this world they’d be escaping.  The film is beautifully done with gorgeous music and superb acting by all but the souvenir at the end of this trip was that there really wasn’t anything worth taking.

Thank You for Your Service – Movie Review

October 27, 2017 Published by

Thank You for Your Service centers around three servicemen Schumann (Teller), Solo (Koale) and Waller (Cole) when they’re discharged from the Army after serving together in Iraq.  It starts by showing an incident that haunted each of them when it happened and also now that they’re out.  In 2007, they’re caught on a roof being shot at by a sniper when a soldier named Emory (Haze) is struck in the head.  Schumann tries his best to save him.  He advances down some stairs, carrying Emory on his shoulders.  Unfortunately, before Schumann gets to the bottom of the steps and out the door, he drops him.  With the taste of Emory’s blood in his mouth, it’s a moment he’s having a hard time forgetting.

We don’t see a lot of combat in the movie because the purpose of the film is not to show you a battle on the field but the battle each soldier has upon returning home.  We see the issues they have due to the stress they were under either in combat themselves or what they saw returning from the frontlines.  Not wanting to admit they need it but realizing they do, the struggles they have trying to get care for themselves is colossal.  The significance of the film is to tell the citizens of this nation that soldiers aren’t given help immediately just because they need it.  Tangled in a bureaucracy of red tape, administrators and office after office travel, they have to fight just as hard to be heard and to be helped with their afflictions in America as they did in the deserts overseas.  They also find their own homes not to be the same place as when they left.

Schumann is a married father of two.  He was in charge of his unit of a dozen men and his expertise was looking for bombs everywhere they traveled, something he may never stop doing for the rest of his life.  Waller, about to marry his longtime girlfriend, can’t wait to get home.  Thinking about his impending nuptials is what gets him through from one day to the next.  On their trip back to the states, he talks to his buddies about the wedding.  Then there’s Solo who doesn’t actually want to leave the Army but due to memory loss and other problems after this last deployment, the Army questions his fitness to return.

All three feel the anxiety and pressure of having been at war and should get help now that they’re stateside, right?  This film shows the sad reality that people willing to die for their country are treated with respect while serving but forgotten about when they’re no longer under fire.

It’s hard enough for them to admit they need help but when they turn to find it and are told to take a number, for one it’s too late and it’s heartbreaking to see the others fight to get any help for the PTSD they obviously have.

Solo reveals he’d rather have missing limbs than to have to endure what is going on in his mind any longer; he doesn’t feel like a war hero because he doesn’t look like one.  Each man hides the truth deep inside especially Solo who thinks himself a lesser man for being harmed mentally, not physically.  He’s filled with anger and frustration when an event they lived through continues to attack him.  Eventually, he attacks back, to whoever is around.  Koale does an outstanding job portraying a man breaking down inside, trying diligently to hold onto who he once was; hardly recognizing his past, unable to see his future.

Schumann’s wife Saskia (Bennett) works rigorously to get her solid and stoic husband to open up and tell her what’s wrong but having to be in control on the battlefield is so deeply ingrained in his psyche, he refuses to show any weakness now, even for her.  Finally, after and a wake-up call and some soul-searching, he calls a number he was given to a location in California that can help men in their position and Schumann takes the first step to getting them the help they need.  I won’t reveal what happens to them during the course of the film but see this to understand how important each of us is to a Veteran, and why.  Also, stay to see some images of the people on which the story was based.

The Killing of a Sacred Deer

October 27, 2017 (updated October 27, 2017) Published by

The Killing of a Sacred Deer might be one of the hardest films to review.  It was a brilliantly haunting and dark thriller that sent chills down my spine as it built to a very creepy climatic ending.  I’m not sure what I saw because the experience of watching it was not unlike being inside of a dream or a nightmare.  Not so much in that the film is scary or filled with blood and gore or that it overuses scenes of a sadistic nature but it leads you inward and you root around alone in the dark for two hours caught somewhere between who you were when you sat down to watch the film and who you are when you stand up to walk away from the screen.  In fact, you might not be able to stand right away.  As if under a trance of some sort, you will still be in the grips of the story and these characters; still be controlled by whatever it is that controls the characters themselves.

The movie was hypnotic, the music and cinematography were masterful.  In fact, as the film opens, a black screen playing breathtakingly beautiful music crescendos to a beating heart during surgery, something you fixate on a bit, reveling in its importance to you and to everyone.  Though the heart is tucked away unseen, it is you, it is me yet there it is… so vulnerable.  ‘What must you be in for next??’, assaults your imagination as you look away from the screen barely able to watch the all-important and unquestionably magnificent organ do its thing.  

Soon we meet the characters, which are few.  Each is so awkward and basic they’re almost underdeveloped but you’re now within the world where director Lanthimos basks.  What made this film so much more unique than most you see is the language that is used.  The way the script was written and how the actors speak makes you feel as if you were witnessing a normal family but from another plane, unlike your own… maybe you were fantasizing all of this or peering into the future?  The application of an almost ‘Queens English’ style of language is so little used in modern society that hearing an entire movie dedicate its speech pattern to it may sound exotic, but it does take a toll on you, however, the movie couldn’t have the effect on you that it will had not every piece been in play so anything that may seem like a flaw works in its favor.

Steven (Farrell) and his wife Anna (Kidman), are the parents of a teenage daughter named Kim (Cassidy) and a young son named Bob (Suljic).  We see that all is well and their lives are fairly routine.  There’s nothing that stands out as unusual, people are just going through the motions until we meet who Steven, a Cardiologist, sees on a regular basis.  Martin, played exceedingly well by Barry Keoghan (Dunkirk), a lonely, possibly mentally impeded young man that Steven spends some of his days with comes into the picture.   After the death of Martin’s father, Steven becomes a father figure and gives the boy gifts and has meals and conversations with him when he’s asked to.  He has Martin over for dinner and Steven introduces him to his family who seems to like Martin right away, especially Kim who takes a particular interest.  Scenes like this play out for half the film and in the back of your mind you know something is wrong but what is it?!  As time passes, the cinematography by Thimios Bakatakis, who has worked with Lanthimos before, becomes more engrossing.  Camera angles get stranger, the music gets more intense and piercing and before long we are told why we have that strange prickling in the back of our necks. 

This is a story of ‘an eye for an eye’ and its revelation is presented so matter-of-factly that you’ll be creeped out by Keoghan to such a degree you may never be able to see him in any other way again.  It’s safe to assume that we are not seeing mere people at this point but instead good and evil.  Each actor portrays an important role in detailing the struggles of being one and fighting another; their eyes so intense that they practically leave an imprint on the screen when it cuts to the next shot.  The systematic breaking down of the children’s father and protector is regarded as nothing more than absurd and futile which brings you to feel uneasy, but Farrell does his best to make it seem he has control.  The acting here is outstanding.  Keoghan is very calculating and incredibly unsettling.  Kidman is his opposite; protecting her children at all costs whether they want it or not.  Though I felt the ending was a bit contrived, an ending for ending’s sake, this is a must see this weekend if you can handle the haunting tone.  If you liked The Lobster see The Killing of a Sacred Deer in the theatre as soon as possible.  It will show up during award season, for that I am sure.

Phantom Thread – Trailer

October 23, 2017 Published by

Focus Features release PHANTOM THREAD

 

Story: Set in the glamour of 1950’s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock’s life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love. With his latest film, Paul Thomas Anderson paints an illuminating portrait both of an artist on a creative journey, and the women who keep his world running. “Phantom Thread” is Paul Thomas Anderson’s eighth movie, and his second collaboration with Daniel Day-Lewis.

Writer/Director: Paul Thomas Anderson (“There Will Be Blood,” “Magnolia,” “The Master”)

Cast: Daniel Day-Lewis, Lesley Manville, and Vicky Krieps

For more info, please follow the film on social:

Official Site I Facebook I Twitter I Instagram

#PhantomThread

In select cities on December 25, 2017

http://www.fandango.com

12 Strong – Trailer

October 20, 2017 Published by

12 STRONG

Director: Nicolai Fuglsig

Writers: Ted Tally, Peter Craig

Based on the acclaimed book by best-selling author Doug Stanton

Cast: Chris Hemsworth, Michael Shannon, Michael PenŢa, Navid Negahban, Trevante Rhodes, Geoff Stults, Thad Luckinbill, Austin Stowell, Ben O’Toole, Austin Hebert, Kenneth Miller, Kenny Sheard, Jack Kesy.

Producers: Jerry Bruckheimer, Molly Smith, Trent Luckinbill, Thad Luckinbill

SYNOPSIS:

“12 Strong” is set in the harrowing days following 9/11 when a U.S. Special Forces team, led by their new Captain, Mitch Nelson (Hemsworth), is chosen to be the first U.S. troops sent into Afghanistan for an extremely dangerous mission. There, in the rugged mountains, they must convince Northern Alliance General Dostum (Negahban) to join forces with them to fight their common adversary: the Taliban and their Al Qaeda allies. In addition to overcoming mutual distrust and a vast cultural divide, the Americans—accustomed to state-of-the-art warfare—must adopt the rudimentary tactics of the Afghani horse soldiers. But despite their uneasy bond, the new allies face overwhelming odds: outnumbered and outgunned by a ruthless enemy that does not take prisoners.

SOCIAL MEDIA:

Facebook: @12StrongMovie

Twitter: @12StrongMovie

Instagram: @12StrongMovie

#12StrongMovie

In Theaters October 21

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