"Ginger Snaps" Breaks Werewolf Movie Mold

TRASH IN MY EYE No. 23 (of 2005) by Leroy Douresseaux


Ginger Snaps (2000)
COUNTRY OF ORIGIN: Canada
Running time: 108 minutes (1 hour, 48 minutes)
Unrated by the MPAA
DIRECTOR: John Fawcett
WRITERS: Karen Walton; from a story by John Fawcett and Karen Walton
PRODUCERS: Karen Lee Hall and Steven Hoban
CINEMATOGRAPHER: Thom Best
EDITOR: Brett Sullivan
COMPOSER: Mike Shields

HORROR with elements of comedy

Starring: Emily Perkins, Katharine Isabelle, Kris Lemche, Mimi Rogers, Jesse Moss, Danielle Hampton, John Bourgeois, Peter Kelegan, Pak-Kong Ho, and Christopher Redman

The subject of this movie review is Ginger Snaps, a 2000 Canadian horror film and werewolf movie. The title is a pun on the term, “ginger snaps,” which in the U.S. is a name for a kind of cookie. In this film, there is a girl named Ginger who “snaps,” as in goes really crazy.

In the horror and dark comic film, Ginger Snaps, Brigitte “B” Fitzgerald (Emily Perkins) and her sister, Ginger (Katharine Isabelle), are local outcasts because of their fascination with death and the macabre. Sullen and frequently dressed light goth, the girls earn the derision of their classmates. However, one night while wandering near the woods on their way to get a minor revenge against tormenting female classmate, a large wild animal attacks and bites Ginger.

Sam (Kris Lemche), a local drug dealer with an eye on “B,” runs over the beast while it’s chasing the girls and realizes that the thing is a werewolf. Before long, Ginger is exhibiting hostile behavior and becomes sexually aggressive. Her body begins to change, and once she realizes and accepts that she is becoming a werewolf, Ginger wants “B” to share it with her just as they promised to share death in a suicide pact. Brigitte is having second thoughts, and she gets Sam to help her find a cure for Ginger. Ginger, however, isn’t taking “no” for an answer.

Ginger Snaps is a novel take on the werewolf mythos, mixing in elements of teen angst, feminism, grrrl power, and lots of teenage female body issues, especially menstruation. The film comes across as a bit gross at times, but film’s ideas are engaging. It’s unique and interesting how the “curse” of the werewolf is tied to the “curse” of that time of the month and to Ginger and B’s close and intense relationship. Most of the credit should go to screenwriter Karen Walton for her sharp and witty dialogue. Though the script tends to drag, the chatting between the characters has an intimate feeling (even when characters are fighting amongst themselves) that gives the illusion that these people really know each other. The performances are occasionally tepid, but sometimes nuanced and passionate. Mimi Rogers is creepy as the girls’ mother, Pamela.

Ginger Snaps seems about five or ten minutes too long, and it really tends to drag. However, the film has good atmosphere and is a nice twist on the werewolf movie. I especially like the fact that the creature effects are makeup and (apparently) animatronics rather than CGI.

6 of 10
B

"The Innocents" is the Ultimate Ghost Story

TRASH IN MY EYE No. 71 (of 2006) by Leroy Douresseaux


The Innocents (1961) – B&W
COUNTRY OF ORIGIN: UK
Running time: 100 minutes (1 hour, 40 minutes)
PRODUCER/DIRECTOR: Jack Clayton
WRITERS: William Archibald and Truman Capote with John Mortimer (additional scenes and dialogue); based upon the novel The Turn of the Screw by Henry James)
CINEMATOGRAPHER: Freddie Francis
EDITOR: Jim Clark
COMPOSER: Georges Auric
BAFTA nominee

HORROR/MYSTERY

Starring: Deborah Kerr, Martin Stephens, Pamela Franklin, Megs Jenkins, Peter Wyngard, Michael Redgrave, Isla Cameron, and Clytie Jessop

The subject of this movie review is The Innocents, a 1961 British horror film produced and directed by Jack Clayton. Although it is based on Henry James’ novella, The Turn of the Screw, this black and white film takes its title from The Innocents, a 1950 Broadway stage adaptation of James’ novella by William Archibald.

Miss Giddens (Deborah Kerr), a young governess, accepts a position supervising a young girl, Flora (Pamela Franklin) and her brother, Miles (Martin Stephens), (who is away at school when Miss Giddens first arrives), in a lonely old house on a large English country estate. Things are going well until Miles is expelled from school and returns home. Not only must Miss Giddens deal with Miles disruptive behavior, but she also begins to see shadowy figures and ghostly apparitions and to hear mysterious voices, strange noises, and unexplained music in the manor house and on its grounds. Miss Giddens comes to believe that the house, as well as the children, are haunted by former servants, but the estate’s clouded history is keeping her in the dark… and in danger.

The Innocents, a film adaptation of Henry James’ famed novella, The Turn of the Screw, is one of best English-language horror films ever made. It’s hard to imagine that this film isn’t among the top three to five best Western ghost stories on film. Like James’ novel, producer/director Jack Clayton’s film is coy about whether there are actually ghosts haunting the house or whether Miss Giddens the governess is mentally disturbed, though Clayton and his writers lean towards the former. Viewers may recognize one of Nicole Kidman’s films, 2001’s The Others, as a clever reworking of Henry James’ story via this film. The 2005 film The Skeleton Key also seems to have been launched from this concept.

However, regardless of how one interprets the film, it is a masterwork. Deborah Kerr is superb as the busybody Miss Giddens who is at once high-strung and then quite reserved. Pamela Franklin and Martin Stephens are mesmerizing as the sly, manipulative, and clever children. Rarely have young actors managed to look purely innocent and naïve while at the same time coming across and guilty and disingenuous. Megs Jenkins does a fine turn as the subtle messy housekeeper, Mrs. Grose, with her crafty touch of instantly feigning innocence. We can’t quite get a bead on the children, and Miss Giddens obviously has her problems, while Mrs. Grose knows more than she’ll ever let on – no matter how innocent she may act. And those ghosts: they are determined phantoms that the children must see because they seem like such obvious solid looking phantoms, but the director presents them in such a way that maybe only Miss Giddens is crazy enough to see them. And the great performances totally sell us into the confusion and doubt.

Not only do we get excellent acting, but also Clayton, cinematographer Freddie Francis, and composer Georges Auric deliver career-defining work. Auric’s music for The Innocents defines the term, “haunting score,” yet you wouldn’t really notice it unless you stopped specifically to hear it. Auric made the score quiet, yet forcefully effective. Oscar-winning cinematographer Freddie Francis (Sons and Lovers, Glory) gave the film a look that is as beautiful and it is frightening. Rarely does a ghost story seem so fascinating; his lighting crew certainly did stellar work. I wanted to live in Francis’ beautiful shot dream world no matter how many ghosts were there. Finally, producer/director Jack Clayton brought his talented cast and crew together and created a captivating film that is as distant as it is alluring – always calling the viewer, yet being standoffish.

The Innocents is a ghost story that seems itself to be a ghost – a haunting black and white dream that refuses to give up it secrets no matter how coy it is when giving up tidbits. Its shocking, disquieting ending is like an unsettled ghost that won’t let us leave but also pushes us away. This spectral ghost story is unforgettable.

10 of 10

NOTES:
1962 BAFTA Awards: 2 nominations: “Best Film from Any Source,” and “Best British Film”

1962 Cannes Film Festival: 1 nomination: “Palme d'Or” (Jack Clayton)

Sunday, April 09, 2006

Charlie Brown, Peanuts Gang Get New Feature Film

[Although this press release does not say specifically, the film will apparently be computer-animated, which is obvious (I guess) as Blue Sky Studios does 3D and computer-animated films. - Editor]

20th Century Fox Animation, Blue Sky Studios and Peanuts Worldwide Announce Iconic Peanuts Gang to Hit Theaters

Release To Coincide With The 65th Anniversary Of The Beloved Comic Strip in 2015

LOS ANGELES--(BUSINESS WIRE)--Twentieth Century Fox Animation and Blue Sky Studios have acquired rights to make a feature film based on the late Charles Schulz’s beloved and iconic “Peanuts” franchise. The agreement is the culmination of over two years of discussions – focused on the film’s creative direction – between the Studio and members of the Schulz family. The announcement was made today by Vanessa Morrison, president of Twentieth Century Fox Animation.

The as yet untitled animated event will be released on November 25, 2015. 2015 will mark the 65th anniversary of the debut of the “Peanuts” comic strip and the 50th anniversary of the landmark television special, “A Charlie Brown Christmas.”

Charles Schulz drew the most popular and influential comic strip of all time, which was read everyday by 355 million people in 75 countries. In addition to the famous strip, Peanuts holiday television specials such as “It’s The Great Pumpkin, Charlie Brown” have won Emmy’s and continue to be among the highest rated prime time TV specials.

Steve Martino will direct the “Peanuts” feature; previously, he brought to the big screen (with Jimmy Hayward) Fox/Blue Sky’s “Dr. Seuss’ Horton Hears a Who!” Martino also directed (with Michael Thurmeier) Fox’s recent box-office smash “Ice Age: Continental Drift.” The screenplay is by Craig Schulz and the writing team of Bryan Schulz & Cornelius Uliano. Craig Schulz and Bryan Schulz, respectively Mr. Schulz’s son and grandson, along with Uliano are producing.

Also playing a key role in the deal was Neil Cole, chief executive officer and president of Iconix Brand Group (NASDAQ: ICON), which, in a joint venture with Charles M. Schulz Creative Associates, formed Peanuts Worldwide in 2010, the home to the global “Peanuts” property.

Twentieth Century Fox Animation director of development Ralph Millero worked closely with Morrison and with the Schulz estate in securing the rights to the property.

Commented Vanessa Morrison: "We are thrilled to partner with the Schulz family and Iconix and honored to bring the Peanuts characters to the big screen. This all started with our love and respect for the work of Charles Schulz. We thank the Schulz family and Iconix for letting Fox and Blue Sky bring his vision to new generations of film goers.”

Craig Schulz, President, Charles M. Schulz Creative Associates, commented, “We have been working on this project for years. We finally felt the time was right and the technology is where we need it to be to create this film. I am thrilled we will be partnering with Blue Sky/Fox to create a Peanuts movie that is true to the strip and will continue the legacy in honor of my father."

“This is a momentous step for the Peanuts brand. The beloved characters, Snoopy, Charlie Brown and the whole gang resonate with multiple generations all over the world,” commented Neil Cole, CEO, Iconix Brand Group. “This film will give us a new medium in which to engage consumers globally and showcase the power of the Peanuts brand,” added Cole.


About 20th Century Fox Film
One of the world’s largest producers and distributors of motion pictures, 20th Century Fox Film produces, acquires and distributes motion pictures throughout the world. These motion pictures are produced or acquired by the following units of FFE: Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Fox International Pictures, and Twentieth Century Fox Animation.

About Charles Schulz
Charles Schulz once described himself as "born to draw comic strips." A Minneapolis native, he was just two days old when an uncle nicknamed him "Sparky," after the horse Spark Plug from the "Barney Google" comic strip. Throughout his youth, he and his father shared a Sunday-morning ritual of reading the funnies. After serving in the army during World War II, Schulz got his first big break in 1947 when he sold a cartoon feature called "Li'l Folks" to the St. Paul Pioneer Press. In 1950, Schulz met with United Feature Syndicate, and on Oct. 2 of that year, "Peanuts," so named by the syndicate, debuted in seven newspapers. Schulz died in Santa Rosa, Calif., Feb. 12, 2000 – just hours before his last original strip was to appear in Sunday papers.

PEANUTS WorldwideThe PEANUTS characters and related intellectual property are owned by Peanuts Worldwide LLC, a joint venture owned 80% by Iconix Brand Group, Inc. and 20% by members of the Charles M. Schulz family. Iconix Brand Group, Inc. (Nasdaq: ICON) owns, licenses and markets a growing portfolio of consumer brands including CANDIE'S (R), BONGO (R), BADGLEY MISCHKA (R), JOE BOXER (R), RAMPAGE (R), MUDD (R), MOSSIMO (R), LONDON FOG (R), OCEAN PACIFIC (R), DANSKIN (R), ROCAWEAR (R), CANNON (R), ROYAL VELVET (R), FIELDCREST (R), CHARISMA (R), STARTER (R), WAVERLY (R), ZOO YORK (R), and SHARPER IMAGE (R). In addition, Iconix owns interests in the ARTFUL DODGER (R), ECKO (R), MARC ECKO (R), ED HARDY (R) MATERIAL GIRL (R), PEANUTS (R), and TRUTH OR DARE brands. The Company licenses its brands to a network of leading retailers and manufacturers that touch every major segment of retail distribution from the luxury market to the mass market in both the U.S. and worldwide. Through its in-house business development, merchandising, advertising and public relations departments Iconix manages its brands to drive greater consumer awareness and equity.

"The Skeleton Key" Unlocks Harmless, Eerie Fun

TRASH IN MY EYE No. 136 (of 2005) by Leroy Douresseaux


The Skeleton Key (2005)
Running time: 104 minutes (1 hour, 44 minutes)
MPAA – PG-13 for violence, disturbing images, some partial nudity, and thematic material
DIRECTOR: Iain Softley
WRITER: Ehren Kruger
PRODUCERS: Daniel Bobker, Michael Shamberg, Stacey Sher, and Iain Softley
CINEMATOGRAPHER: Daniel Mindel
EDITOR: Joe Hutshing
COMPOSER: Edward Shearmur

HORROR/THRILLER/MYSTERY

Starring: Kate Hudson, Gena Rowlands, John Hurt, Peter Sarsgaard, Joy Bryant, Ronald McCall, and Jeryl Prescott Sales

Set in the backwoods of Houma, Louisiana (in the same region as New Orleans) in Terreborne Parish (what La. calls its counties), The Skeleton Key is the story of Caroline Ellis (Kate Hudson), a young hospice nurse hired to take care of an elderly woman named Violet Devereaux’s (Gena Rowlands) ailing husband, Ben (John Hurt). Ben supposedly had a stroke while poking through the attic of the Devereaux’s home, a foreboding and decrepit old plantation-style mansion in the Louisiana delta. Ben can’t speak because of the stroke, and Violet is certainly… eccentric. However, the enigmatic couple and their dark and rambling home intrigue her, so Caroline, armed with a skeleton key that unlocks every door in the house, Caroline begins to explore the home and discovers that the large attic actually hides a secret room.

The hidden room holds some darkly mysterious and terrifying secrets; according to Violet it was once the secret room of Papa Justify (Ronald McCall) and his wife, Mama Cecile (Jeryl Prescott Sales). Violet also tells Caroline that the couple practiced hoodoo, a mixture of African, European, and Native American conjuring or black magic (not related to voodoo), and that the couple was lynched and burned because they allegedly tried to teach their witchcraft to their white boss’ son and daughter. The written spells, potions, powders, etc. that they used in their dark arts remain in the secret room. Caroline believes that the method to curing Ben lies in that secret room, and that she must use psychology to convince Ben that the hoodoo only affects him because he believes in it. If she can prove to him that it’s all nonsense, he should be cured… or so Caroline believes as she slowly entangles herself in a dark trap that she’s apparently too stupid to recognize.

Universal Pictures’ advertising tried to sell The Skeleton Key as being a horror movie in the tradition of such late 60’s/late 70’s suspense thriller-type horror movies as Rosemary’s Baby and The Exorcist, or modern atmospheric suspense flicks such as The Sixth Sense and Stir of Echoes. Director Iain Softley (K-PAX) certainly makes use of the charmingly gothic and dread-inducing New Orleans area locations, and his cinematographer Daniel Mindel (Spy Game) and his crew add the final touches that make the film look both moody and morbid. Art directors Drew Boughton and Suttirat Anne Larlarb and set decorator Fontaine Beauchamp Hebb team up, however, to be The Skeleton Key’s true stars. The Devereaux’s creepy old mansion, the surrounding swamps, and dilapidated dwellings are like the drawings of Graham “Ghastly” Ingels, beloved creator of some of the best art ever to appear in legendary EC horror comic books. Ultimately, any legitimacy that The Skeleton Key has as a good horror movie rests in their creative vision; the film is as much theirs as it is Iain Softley’s.

The Skeleton Key, for all that it is sinister, is the kind of film that the less you think about it the more sense it makes. Dig deeply enough into Ehren Kruger’s (The Ring and The Ring Two) script and the film falls apart because its internal logic is full of holes that Kruger either didn’t notice or chose to ignore – likely that latter. Horror movies aren’t supposed to make sense (which is the belief of many fans and quite of few of its practitioners); the scary movie’s success lies in scaring people, and The Skeleton Key is certainly a delightfully spine-chilling affair… as long as you don’t take a hard look at it.

Sure, it seems as if Kate Hudson is slumming for a paycheck; sometimes she doesn’t even bother to act. She stands or sits there with a stony, blank expression on her face, as if she’s wondering in which script hides another potential Oscar nod while a movie is being made around her. Luckily, the superb Gena Rowlands is there to tear it up; her Violet Devereaux is a combination of pointed wickedness, proud dishonesty, and dismissive sarcasm. Rarely has matronly evil looked so good; she’s Joan Collins/Dynasty mean. John Hurt is also great, taking his crippled Ben Devereaux and turning him into a totem of fear-drowned and cuckolded manhood.

While Ms. Hudson struggles to bat .300 in this film and although the villains are as comical and they are scary, The Skeleton Key is a solid, suspense filled horror hit. For all the holes in the concept, screenwriter Ehren Kruger is probably the best writer of scary movies this new century. Cast and crew have glossed over their missteps with enough hair-raising and spine-chilling tropes to make The Skeleton Key a must-go trip to the theatre, at least for true fans of the scary. Sit back, let the feelings and emotions take control, and submit to the will of a big screen full of eerie.

6 of 10
B

Saturday, August 27, 2005

"21 Jump Street" Good from Jump Street

TRASH IN MY EYE No. 77 (of 2012) by Leroy Douresseaux


21 Jump Street (2012)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for crude and sexual content, pervasive language, drug material, teen drinking and some violence
DIRECTORS: Phil Lord and Christopher Miller
WRITERS: Michael Bacall; from a story by Michael Bacall and Jonah Hill (based on the television series created by Patrick Hasburgh and Stephen J. Cannell)
PRODUCER: Neal H. Moritz
CINEMATOGRAPHER: Barry Peterson (D.o.P.)
EDITOR: Joel Negron
COMPOSER: Mark Mothersbaugh

COMEDY/CRIME

Starring: Jonah Hill, Channing Tatum, Ice Cube, Brie Larson, Dave Franco, Rob Riggle, DeRay Davis, Dax Flame, Ellie Kemper, Chris Parnell, Holly Robinson Peete, Caroline Aaron, and Joe Chrest with Peter DeLuise and Johnny Depp

Right up front, I must say that I like Jonah Hill and Channing Tatum. I haven’t seen all the movies in which each actor has appeared, but I try to see as many as I can. I don’t plan on watching two of Tatum’s biggest hits, Dear John or The Vow, unless someone pays me. No one is going to pay me to see either movie.

21 Jump Street is a crime comedy starring Jonah Hill and Channing Tatum. The film is based on 21 Jump Street, the television series created by Patrick Hasburgh and Stephen J. Cannell and which aired from 1987 to 1991 on FOX and in first-run syndication (in the series’ final season). The movie follows two underachieving cops who go undercover at a high school in order to break up a drug ring.

Morton Schmidt (Jonah Hill) and Greg Jenko (Channing Tatum) were high school classmates, but Morton the geek and Greg the cool kid weren’t friends. They became friends after they entered the police academy, where they made up for each other’s weaknesses. After graduating from the academy, they are assigned to park patrol, where they screw up so badly, they’re almost kicked off the police force.

Their last chance is a recently revived police department specialty division, 21 Jump Street, which uses youthful looking police officers to infiltrate high schools. The division head, the profanity-spewing Captain Dickson (Ice Cube), sends Morton and Greg to Sagan High. There, they must find the dealers of a new synthetic drug, H.F.S., but their ultimate goal is to find out the identity of the suppliers behind the dealers. While trying to fit in and not look like narcs, Morton and Greg learn that much has changed since their own high school days a decade ago.

21 Jump Street turned out to be much funnier than I thought it would be, and I thought that it might be a guilty pleasure or, at least, mildly amusing. There is nothing guilty about this pleasure. First, I think that it is a sarcastic send up of action comedies, especially of the buddy-cop variety, and it’s quite good at that. It is smart and dead-on about generational shifts in culture, especially concerning attitudes on identity, sexuality, and technology. Mostly, the movie seems to be about friendships: how they develop, what keeps people together, what can cause strife, etc. The dynamic of friendship between two young men, one that seems to have the potential to last a long time, plays out between the film’s jokes about demanding bosses, eccentric teachers, socially-conscious students, and a group of geeks who really want the new guy to like them.

I think 21 Jump Street works so well as a cop comedy because the relationship between Morton and Greg, with all its odds and ends, seems genuine in the context of a fictional union created for a movie. This movie is worth watching because of Morton and Greg and the way that Hill and Tatum, respectively, portray them. I liked the two enough to be very happy when I learned that a sequel to this movie is in the works.

I don’t want to make 21 Jump Street sound like a “bromance.” There is some ridiculous and crazy shit that happens in this movie, and almost all of it is very funny. It’s never over the top, even in the way Rob Riggle’s character, Mr. Walters, tries to save a special body part near the end of the film.

7 of 10
A-

Tuesday, October 09, 2012

Actor and NFL Great, Alex Karras, Dies

Professional football player Alex Karras played his entire NFL career with the Detroit Lions. After starring for four years at the University of Iowa, the Lions drafted Karras with the 10th overall pick in 1958. He was a four-time All-Pro defensive tackle, making it to the first team in 1960, 1961 and 1965, and he was also a four-time Pro Bowl selection. After 12 seasons with the Lions (1958 to 1970), he retired in 1971 at the age of 35. Karras was also selected to the 1960s All-Decade NFL team.

Alexander George “Alex” Karras died today (Wednesday, October 10, 2012).  Here's the Yahoo.com obituary.

Karras’ football career was long over by the time I started watching NFL games, so I best remember him as an actor. From 1983 to 1987, he was actor Emmanuel Lewis’ adoptive father, George Papadapolis, in the sitcom, Webster. I’ll never forget the shocking murder of Karras’ character, Hank Sully, in Against All Odds (1984).

To me, however, Karras will always be Mongo, the not-so-bright bruiser in Mel Brooks’ classic spoof of Westerns, Blazing Saddles. I fondly remember the scene in which Mongo slugged a horse and also his classic line, “Mongo only pawn in game of life.” [Another favorite moment is when Cleavon Little’s Sheriff Bart announces, “Telegram for Mongo!” during the scene in which Bart tries to capture Mongo.]

I offer my condolences to Mr. Karras’ family. Rest in peace, Alex Karras.

"Argo" Soundtrack Now Available

Argo Soundtrack Coming October 9th

Preview the Album, Featuring Original Music by Alexandre Desplat, at the WaterTower Music Website

LOS ANGELES--(BUSINESS WIRE)--On October 9, 2012, WaterTower Music will release Argo: Original Motion Picture Soundtrack at all digital retailers. The original music was composed by four-time Academy-Award® nominee Alexandre Desplat.

The film’s director Ben Affleck said, “We needed to find a theme that we would use throughout—obviously different instrumentation and tempo, but still the same piece of music.” He turned to composer Alexandre Desplat. “Desplat was amazing at crafting an atypical score, incorporating uncommon instruments, many Middle Eastern in origin. It doesn’t feel too literal or cliché, but he created a sound that instantly puts you in that place.”

Desplat received his most recent Oscar® nod for his score for the Best Picture winner “The King’s Speech,” for which he also won a BAFTA Award and earned a Golden Globe nomination. He previously garnered Oscar® and BAFTA Award nominations for his score for the animated “Fantastic Mr. Fox”; Oscar®, Golden Globe and BAFTA Award nominations for David Fincher’s “The Curious Case of Benjamin Button”; and Oscar® and BAFTA Award nominations for Stephen Frears’ “The Queen.” In addition, Desplat won a Golden Globe Award for John Curran’s “The Painted Veil,” and also received Golden Globe nominations for his scores for Stephen Gaghan’s “Syriana” and Peter Webber’s “Girl with a Pearl Earring.”

Desplat more recently created the scores for “The Tree of Life,” directed by Terrence Malick; George Clooney’s “The Ides of March”; “Carnage,” for director Roman Polanski; Stephen Daldry’s “Extremely Loud & Incredibly Close”; and the two-film finale of the Harry Potter film franchise, “Harry Potter and the Deathly Hallows – Parts 1 and 2.”

Oscar® winner Ben Affleck (“The Town,” “Good Will Hunting”) directs and stars in “Argo,” opening nationwide on October 12, 2012. Based on real events, the dramatic thriller “Argo” chronicles the life-or-death covert operation to rescue six Americans, which unfolded behind the scenes of the Iran hostage crisis, focusing on the little-known role that the CIA and Hollywood played — information that was not declassified until many years after the event. On November 4, 1979, as the Iranian revolution reaches its boiling point, militants storm the U.S. Embassy in Tehran, taking 52 Americans hostage. But, in the midst of the chaos, six Americans manage to slip away and find refuge in the home of Canadian Ambassador Ken Taylor. Knowing it is only a matter of time before the six are found out and likely killed, the Canadian and American governments ask the CIA to intervene. The CIA turns to their top “exfiltration” specialist, Tony Mendez, to come up with a plan to get the six Americans safely out of the country. A plan so incredible, it could only happen in the movies.

Warner Bros. Pictures presents, in association with GK Films, a Smokehouse Pictures production, “Argo.” The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company. Affleck directed the film from a screenplay by Chris Terrio, based on a selection from The Master of Disguise by Antonio J. Mendez and the Wired Magazine article “The Great Escape,” by Joshuah Bearman. The film is produced by Grant Heslov and George Clooney. David Klawans, Nina Wolarsky, Chris Brigham, Chay Carter, Graham King and Tim Headington are the executive producers, with Amy Herman co-producing. “Argo” also stars Bryan Cranston, Alan Arkin and John Goodman.

The Argo - Original Motion Picture Soundtrack on WaterTower Music will be available digitally on October 9, 2012, and can be previewed at www.watertower-music.com.

www.argothemovie.com