Exclusive: Quiver Distribution to rerelease the Sundance classic Ruby in Paradise

ComingSoon.net can exclusively reveal that Quiver Distribution will be rereleasing writer and director Victor Nunez’s 1993 award-winning film Ruby in Paradise in a new HD master that was fully restored from the original camera rolls and audio tracks and looks and sounds better than ever before. Ashley Judd leads in her first starring role, along with Todd Field, Bentley Mitchum, Allison Dean, and Dorothy Lyman. Ruby in Paradise will be available via Virtual Cinemas as well as to rent and own on North American digital HD internet, cable, and satellite platforms through Quiver on February 16, 2021.

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Ruby Lee Gissing (Ashley Judd) is on the run, determined to find something better than the closed rough life in the mountains of East Tennessee. She flees to a place once visited as a child, the “Redneck Riviera” of Panama City Beach. Arriving during the off-season, Ruby finds work in a gift shop owned by Mildred Chambers (Dorothy Lyman). Always on an emotional and economic edge, Ruby begins to keep a journal, “trying to figure out the whys of running off, of coming here.” Ruby’s desire to find her own way, to make her own choices, to explore her appetites in her own good time, gets her in and out of trouble as she moves through Winter into the frantic madness of Spring Break and beyond. The resolution of Ruby’s journey is both unexpected and hopeful as Ruby indeed finds her own way in “paradise.”

“We are ecstatic to be working with Victor Nunez in bringing this modern classic to new audiences,” said Larry Greenberg at Quiver Distribution. “Ruby in Paradise is exactly the type of classic that Quiver is looking to give a new life.”

Written and directed by Victor Nunez, Ruby in Paradise was produced by Sam Gowan and Keith Crofford. The film won the 1993 Grand Jury Prize for Drama at the Sundance Film Festival. Ashley Judd received the Independent Spirit Award for Best Female Lead.

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Larry Greenberg negotiated the deal on behalf of Quiver Distribution. Paul Cohen of FSU’s Torchlight Cinematheque represented the filmmakers.

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The Adam Project photos preview Reynolds & Ruffalo as a father and son duo

Deadpool star Ryan Reynolds took to Instagram to share new behind-the-scenes photos from the set of Netflix’s upcoming sci-fi comedy film The Adam Project, featuring Reynolds and MCU star Mark Ruffalo who plays a father and son duo in the star-studded film. Check out the full photos below along with Reynolds’ witty Hulk-references in the caption!

 

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A post shared by Ryan Reynolds (@vancityreynolds)

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In The Adam Project, Reynolds stars as a man who travels back in time to get help from his 13-year-old self (Walker Scobell). Together, they have to find their late father, who is now the same age as Reynolds, and set things right in order to save the future.

The film will also star MCU stars Mark Ruffalo (Spotlight, Avengers: Endgame) and Zoe Saldana (Guardians of the Galaxy) along with Jennifer Garner (13 Going 30, Alias) and Catherine Keener (Being John Malkovich, An American Crime).

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The project the second collaboration between Reynolds and Levy, who previously worked together on the upcoming action-comedy Free Guy. The film will be directed by Levy (Stranger Things) from a screenplay written by Jonathan Tropper and David Ellison. Reynolds and Levi will both produce the action-adventure film through their respective production banners Maximum Effort and 21 Laps Entertainment. David Ellison, Dana Goldberg, and Don Granger are producing for Skydance.

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Sam Neill teases Thor: Love and Thunder appearance

In a recent interview with Entertainment Weekly, Sam Neill revealed that he believes he will have a role in Taika Waititi’s Thor: Love and Thunder. Fans will recall the actor appeared alongside Matt Damon in Thor: Ragnarok where he portrayed Odin in a cheesy reenactment of the previous Thor films; and considering Damon is set to appear in Love and Thunder, it makes sense that Neill would pop up in some way shape or form as well.

“I think the odds are reasonably high,” Neill said. “I think Taika’s got something up his sleeve. We will see what happens. Travel between [New Zealand] and Australia is problematic at the moment, but we will see if something can be worked out.”

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It was previously reported that Chris Pratt has signed on to join Chris Hemsworth in Thor: Love and Thunder, with Vin Diesel also confirmed to appear in Taika Waititi’s upcoming MCU film. Their official casting shouldn’t actually come as a shock with Diesel previously teasing earlier this year that “Thor will incorporate some of the Guardians of the Galaxy.”

Thor: Love and Thunder will be directed by Waititi (Jojo Rabbit) on a script co-written by him and Jennifer Kaytin Robinson (Someone Great), which will be the follow-up to Waititi’s wildly successful 2017 sequel Thor: Ragnarok. Oscar-winner Natalie Portman is set to return as Jane and will now be wielding the mighty Mjolnir. Chris Hemsworth and Tessa Thompson will also return as Thor and Valkyrie, respectively. Academy Award winner Christian Bale (The Dark Knight trilogy) will portray Gorr the God Butcher, the main antagonist in the film. The female Thor storyline is based on Jason Aaron’s run on “The Mighty Thor” in which a cancer-stricken Jane Foster takes up the mantle and powers of Thor.

Thor and Valkyrie were last seen in the highest-grossing film of all time Avengers: Endgame, with the god of thunder entrusting his responsibilities as the King of Asgard to Valkyrie as he joins the Guardians of the Galaxy on their next mission.

RELATED: Chris Hemsworth Confirms Thor: Love and Thunder Won’t Be His Last MCU Appearance

Thor: Love and Thunder will now be arriving in theaters on May 06, 2022.

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Zack Snyder shares new images from director’s cut, teases Martian Manhunter

How we feeling, Snyder fans? This weekend saw three new posters for Zack Snyder’s Justice League along with an official release date, March 18. Now, just to tease fans a little more, the man himself revealed a few shots from the completed film. The first is from the beginning of the movie during which Bruce Wayne (Ben Affleck) searches for Aquaman (Jason Mamoa) — and also teases a much different opening credits as you can see by the post below — while the other features a shot of Ray Fisher’s Cyborg with the quote, “There’s a war coming,” a line that is apparently said by Martian Manhunter in the film. Finally, the third and final image sees Gal Gadot’s Wonder Woman in all of her glory on a massive theater screen. Is Snyder hinting something here? Check out the images below!

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— DynestiGTI (@ItsDhanushka) January 30, 2021

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— Zack Snyder (@ZackSnyder) January 31, 2021

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— Zack Snyder (@ZackSnyder) January 31, 2021

RELATED: Zack Snyder on Which Marvel Character Would Get Him to Join the MCU

Justice League will be hitting HBO Max solely as a four-hour movie. It was originally revealed at DC FanDome that the movie will release on HBO Max in 2021 by being broken up into four one-hour parts that will also be released as one four-hour film, but Snyder’s new comments seem to indicate it will solely be released as the one-off film instead of the four-part series. In an informal Q&A with the director via the comments, Snyder also revealed that there will be no after-credits scenes, the release date is still set for March even as potential competition Godzilla vs. Kong just moved to the same month and its runtime is four hours prior to the credits.

Zack Snyder’s Justice League has reportedly cost around $70 million in order to properly finish the editing and visual effects of the director’s original vision, as well as the additional photography. The original post-production crew is also expected to return along with the cast members to record additional dialogue for the cut. 

Fueled by the hero’s restored faith in humanity and inspired by Superman’s selfless act, Justice League sees Bruce Wayne enlist the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg, and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.

Justice League, which features a screenplay from Chris Terrio from a story by Snyder and Terrio, stars Ben Affleck as Batman, Henry Cavill as Superman, Gal Gadot as Wonder Woman, Jason Momoa as Aquaman, Ezra Miller as The Flash, Ray Fisher as Cyborg, Willem Dafoe as Nuidis Vulko, Jesse Eisenberg as Lex Luthor, Jeremy Irons as Alfred Pennyworth, Diane Lane as Martha Kent, Connie Nielsen as Queen Hippolyta, with J.K. Simmons as Commissioner Gordon, and Amy Adams as Lois Lane.

RELATED: Harry Lennix Reveals He is Martian Manhunter in Zack Snyder’s Justice League

Released in November 2017, the film earned mixed reviews from critics and audiences alike, praising the action and performances from Gadot and Miller while criticizing every other aspect of the film, namely the inconsistent tone that many fault Joss Whedon (The Avengers) for after taking over directorial duties from Snyder. With a large budget of $300 million and a break-even point of $750 million, the film is considered a box office bomb having grossed only $658 million.

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CS Interview: Writer/Director Sean Ellis on werewolf thriller Eight for Silver [Sundance]

Ahead of the horror-thriller’s debut at the Sundance Film Festival, ComingSoon.net got the opportunity to chat with writer/director Sean Ellis (Anthropoid) to discuss his return to the genre with the exciting werewolf chiller Eight for Silver.

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ComingSoon.net: Eight for Silver is an absolute treat, it’s dark, it’s chilling, but it’s also your first time back in the horror genre in about 13 years, what was it that got you to come back to the genre? 

Sean Ellis: I don’t make decisions on genre, per se, normally it’s something other than that, although having said that when I did Anthropoid, after that I was offered a lot of World War II scripts and at that point the last thing I wanted to do was to make another WWII script. I think that normally I’m drawn towards the story and if it happens to be a certain genre that I’ve done before, like The Broken, then I guess you go, “Yeah, why not?” I mean, with The Broken, I got raked over the coals a bit with that one, but then again I learned a lot, you learn a lot more from your mistakes as a filmmaker than you do your successes. I’ve been very wary of making those same kinds of mistakes in the same way with every film that I’ve made since, especially with a horror film, and I think that was definitely one of the minefields I walked into which was to come up with something really original. So that was definitely the bridge of if you’re doing to do a horror film, make sure it’s something that people haven’t seen before.

CS: So how did you come up with the concept and the story for this film? I love it’s blend of a typical werewolf movie with Lovecraftian elements. 

SE: I think it was too big for me to say, “Oh I’m gonna reinvent the werewolf legend,” I didn’t know how to do that, I mean I could’ve said it but I wouldn’t have known how I would have done it. Even if I’m going to reinvent the werewolf legend, how do you do that? So what I did was I started to research the original Wolf Man and the fact that it was written by a Jewish writer and that the wolf was a metaphor for his experience as a Jewish person in Europe in the late ’30s and I started to think about how that metaphor for being persecuted for your religion at the time was very interesting. I thought what, in modern society, are we being persecuted for? I think we probably would prosecute ourselves in some respect, because I think we have major problems with addiction these days, whether it be drugs, or phones or a bad relationship or whatever and I like to think of the wolf as a metaphor for addition. When I started to think like that, I started to think that you become a slave to your addiction and they will mostly rule your life. When I started to think in those terms, I started to almost think about the design of what was happening, because that meant instead of changing into a wolf, you were becoming a prisoner to the wolf. I think once that element came into my mind, I started to get excited about the possibilities of where I could take this, so step by step, the concept and the sort of design of the story went forward and basically ended up where it is. It plays with some of the original mythology, but also I had fun spending time playing with that mythology in fact and fiction, I mean there’s biblical references, which are fact, and then there’s the silver bullet, which is fiction and mythological, so it was fun to sort of mix that stuff up, to sort of give the silver bullet some kind of history because we all know it’s harmful to the werewolf but not many of us know why, so that was fun to play with.

CS: You have a phenomenal roster with mostly European stars, but then you have Boyd playing British and he does very well with it, so what was it like building up your roster for the film? 

SE: Yeah, I mean, we started to speak to a few actors in the beginning just to sort of get feelers out there and I think at that point, Boyd had got hold of the script through his agent and he got a message to me saying that he loved the script. He’d seen Anthropoid and was wondering if we could have a call about the project, and so I did and I was impressed with Boyd’s work, because I’ve seen him in Narcos and I’ve seen him in Logan and felt he was a very interesting actor  and that he’s very chameleon like, where people don’t necessarily know his name, but they know his work and I think that’s a really interesting thing. Because like, when you say Boyd Holbrook, some people will say, “Uhhh?” and you say the blonde guy in Narcos and they go “Oh, yeah, he’s great!” You know, I think that’s really interesting and I’m a little bit like that, I feel that the people don’t necessarily know my name, but my films are more well known. So we thought about that and basically said, “Yeah, I guess the elephant in the room is the English accent.” He said, “Let me do taping for you and send it to you, but just know whatever you hear I’m going to be working on it for three months, so please make allowances.” But what he sent me was really good and I thought this is actually quite interesting. He had a calmness in his voice I felt was really right for the piece. He continued to work with a dialogue coach right up to shooting and even through shooting he would never drop the accent, even during lunch and stuff. He would just constantly be practicing it, whatever he was doing. Then right behind Boyd’s casting with the film, we had Alistair and Kelly, they slid straight in and they were both my first choices, so we were lucky to get that.

CS: This also marks the first time in a while that you also act as cinematographer alongside writer, director and producer, what was it like returning to that position alongside the other three? 

SE: I mean, it’s one job for me as a filmmaker, I’m lucky because I know about cameras and I know about lenses and I know that, like, because my background is photography and I was a photographer for many years before I became a director, it’s all second nature, achieving an image that you have in your mind by using a tool, whether it’s a brush or a camera, though my training is with a camera. So if I imagine something in my mind, I’m pretty clear how I got about making that a reality by using light and cameras and lenses, so yeah, for me it’s just one job. I mean, it’s obviously extra work in the sense that because I operate as well, there are days when I’ve got a 23 kilogram camera on my should for 9-10 hours a day and it’s physically demanding. On top of that, you’ve got to be completely focused not only on your actors, but also on if the light has changed and whether you need to open up your exposure a little bit because something’s just happened or you’re losing the lights. It is a little bit extra, but I think because I’ve been doing it for so long, it’s sort of quite second nature, but having said that I think I would have loved to work with a DP [laughs]. There are so many great DPs out there that I admire and I’d love to get them in and give them the space and time to create something beautiful. I think on this one it was also there was budgetary constraints, so it was just easier for us to have two less crew.

CS: So how do you feeling gearing up for the premiere at Sundance? 

SE: Because of the lockdown, we’ve never shown the film, so I’ve had a little bit of culture shock in the last few days where these phoners have actually been the first time I’ve really talked to people that haven’t worked on the film and who have seen it. It definitely feels like there’s a lot of positivity around what people are seeing and people seem excited about it. So I hope the audience and the buyers find the same thing, they see the same thing as you, as you sound excited about it, so I hope that sort of continues.

RELATED: CS Video: Bloody Hell Interview With Writer Robert Benjamin

In the late nineteenth century, brutal land baron Seamus Laurent slaughters a Roma clan, unleashing a curse on his family and village. In the days that follow, the townspeople are plagued by nightmares, Seamus’s son Edward goes missing, and a boy is found murdered. The locals suspect a wild animal, but visiting pathologist John McBride warns of a more sinister presence lurking in the woods.

Written and directed by Ellis, the cast for the film includes Alistair Petrie (Hellboy, Sex Education), Max Mackintosh (The Quiet Ones), Boyd Holbrook (Logan, The Fugitive), Kelly Reilly (Sherlock Holmes, Yellowstone) and Roxane Duran (Mary Queen of Scots).

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