Movie Nation

Well, “All is Lost” plainly didn’t make enough money and have enough legs to give Robert Redford his last legitimate shot at a best actor Oscar. Bummer. His audience is as old as he is, and that wasn’t a help. He represents a tiny minority in a younger Academy.

The 86th Academy Awards will be a bit poorer for it.

Emma Thompson, Tom Hanks and “Saving Mr. Banks” were no shows. Hanks certainly deserved a nomination for “Captain Philips,” as did director Paul Greengrass.

Meryl Streep and Julia Roberts pulled nominations for the showy and maudlin melodrama “August: Osage County.” I guess being big and broad and loud pays off. The movie got no writing, directing or “best picture” nomination. They wasted these two nominations on an inferior film.

They only nominated nine best pictures for best picture in a year when “All is Lost”, “Saving Mr. Banks,” just the first two possibles to come to mind that seemed to have a shot, were left out.

Scorsese was nominated for a hot, hotly-debated film that falls into his second or third rank of accomplishments.

Daniel Bruhl, nominated for “Rush” at the Golden Globes, no best supporting actor nomination here.

“Star Trek Into Darkness” got a visual effects nomination.

All of the best picture nominees date from late in the year, so no “Butler,” “Mud” or “Fruitvale Station” or any summer film and barely any fall films had a shot. Short attention spans. No “Fruitvale”? Really?

Pleasant surprise? Jonah Hill’s best supporting actor nomination for “Wolf of Wall Street,”  June Squibb recognized for “Nebraska,” which she pretty much stole.

“The Hunt” is the best of the foreign films I’ve seen, “The Great Beauty” is the most recent. Guess which one will win?

“Blackfish” was worked and worked for a best documentary nomination, and Hollywood dodged it. Let the outrage begin.

“20 Feet from Stardom” got in instead, the slight “Cutie and the Boxer,” and a trio of docs that most filmgoers, and critics, haven’t even heard of. Nicely done, doc branch.

A big day for Steve Coogan, whose “Philomena” earned adapted screenplay, actress and best picture nominations. Nice.

Oprah and “The Butler” bombed out.

“Inside Llewyn Davis” had no real shot at anything huge, as I have been saying all along.  Cinematography is the biggest nod that one earned.

“The Grandmaster” picked up a few choice technical nominations, “Gatsby” earned a costumes nomination.

I’ll bet, with all the revived Woody Allen-child molester blowback, they’re regretting nominating him for the dated, talky, tone-deaf “Blue Jasmine” script. At least he won’t show up. At least he doesn’t have a shot at winning. Spike Jonze (“Her”) all the way.

Five  nominees for best animated film? “Ernest & Celestine” is the odd man out. “Frozen,” “Croods” “Despicable Me 2” and Miyazaki’s “The Wind Rises” are the real contenders.

“American Hustle” and “Gravity” pulled 10 nominations, “12 Years a Slave” 9.

The 86th Academy Awards will be handed out MAr. 2.

Best picture
“12 Years a Slave”
“The Wolf of Wall Street”
“Captain Phillips”
“Her”
“American Hustle”
“Gravity”
“Dallas Buyers Club”
“Nebraska”
“Philomena”

Best director
Steve McQueen — “12 Years a Slave”
David O. Russell — “American Hustle”
Alfonso Cuaron — “Gravity”
Alexander Payne — “Nebraska”
Martin Scorsese — “The Wolf of Wall Street”

Best actor
Bruce Dern — “Nebraska”
Chiwetel Ejiofor — “12 Years a Slave”
Matthew McConaughey — “Dallas Buyers Club”
Leonardo DiCaprio — “The Wolf of Wall Street”
Christian Bale — “American Hustle”

Best actress
Amy Adams — “American Hustle”
Cate Blanchett — “Blue Jasmine”
Judi Dench — “Philomena”
Sandra Bullock — “Gravity”
Meryl Streep — “August: Osage County”

Best supporting actor
Barkhad Abdi — “Captain Phillips”
Bradley Cooper — “American Hustle”
Jonah Hill — “The Wolf of Wall Street”
Jared Leto — “Dallas Buyers Club”
Michael Fassbender — “12 Years a Slave”

Best supporting actress
Jennifer Lawrence — “American Hustle”
Lupita Nyong’o — “12 Years a Slave”
June Squibb — “Nebraska”
Julia Roberts — “August: Osage County”
Sally Hawkins — “Blue Jasmine”

Best original screenplay
“American Hustle” — David O. Russell and Eric Warren Singer
“Blue Jasmine” — Woody Allen
“Her” — Spike Jonze
“Nebraska” — Bob Nelson
“Dallas Buyers Club” — Craig Borten and Melisa Wallack

Best adapted screenplay
“12 Years a Slave” — John Ridley
“Before Midnight” — Julie Delpy, Ethan Hawke and Richard Linklater
“The Wolf of Wall Street” — Terence Winter
“Captain Phillips” — Billy Ray
“Philomena” — Steve Coogan and Jeff Pope

Best animated feature
“The Wind Rises”
“Frozen”
“Despicable Me 2”
“Ernest & Celestine”
“The Croods”

Best foreign feature
“The Hunt” (Denmark)
“The Broken Circle Breakdown” (Belgium)
“The Great Beauty” (Italy)
“Omar” (Palestinian territories)
“The MIssing Picture” (Cambodia)

Best documentary feature
“The Act of Killing”
“20 Feet From Stardom”
“The Square”
“Cutie and the Boxer”
“Dirty Wars”

Best music (original song)
“Frozen”: “Let it Go” — Robert Lopez and Kristen Anderson-Lopez
“Mandela: Long Walk to Freedom”: “Ordinary Love” — U2, Paul Hewson
“Her”: “The Moon Song” — Karen O, Spike Jonze
“Despicable Me 2”: “Happy” — Pharrell Williams

Best Original Score
Steven Price, “Gravity”
Alexandre Desplat, “Philomena”
William Butler and Owen Pallett, “Her”
John Williams, “The Book Thief”
Thomas Newman, “Saving Mr. Banks”

Best Sound Editing
“Gravity”
“Captain Phillips”
“All is Lost”
“The Hobbit: The Desolation of Smaug”
“Lone Survivor”

Best Sound Mixing
“Gravity”
“Captain Phillips”
“The Hobbit: The Desolation of Smaug”
“Inside Llewyn Davis”
“Lone Survivor”

Best Production Design
“American Hustle”
“Gravity”
“The Great Gatsby”
“Her”
“12 Years a Slave”

Best Cinematography
“Gravity”
“The Grandmaster”
“Inside Llewyn Davis”
“Nebraska”
“Prisoners”

Best Makeup And Hairstyling
“Dallas Buyers Club”
“Bad Grandpa”
“The Lone Ranger”

Best Costume Design
“The Great Gatsby”
“The Grandmaster”
“American Hustle”
“The Invisible Woman”
“12 Years a Slave”

Best Film Editing
“Gravity”
“12 Years a Slave”
“Captain Phillips”
“American Hustle”
“Dallas Buyers Club”

Best Visual Effects
“Gravity”
“The Hobbit: The Desolation of Smaug”
“Iron Man 3”
“The Lone Ranger”
“Star Trek Into Darkness”

“Alone Yet Not Alone”: “Alone Yet Not Alone” — Bruce Broughton, Dennis Spiegel

Tom Clancy’s C.I.A. analyst-hero Jack Ryan returns to the screen in a workmanlike if unoriginal and uninspiring reboot — “Jack Ryan: Shadow Recruit.”
Hardcore fans of espionage thrillers will recognize it as on a par with the least of the Jason Bourne films, sort of “Bond Lite,” a prequel about how Jack Ryan wasn’t just some mild-mannered numbers cruncher and desk jockey when he first joined the agency. But director Kenneth Branagh, his new Ryan (Chris Pine) and co-stars Kevin Costner as Jack’s handler and Keira Knightley as the woman Jack hides his true career from make sure that it’s never less than efficient and reasonably entertaining.
This Ryan was an economics student in Britain when 9/11 happened, a smart cookie who enlisted in the Marines, was crippled in combat and met his lady love (Knightley) while in rehab. Costner plays Harper, a mysterious Navy commander.
“I’m in the C.I.A.,” he whispers, to Jack’s amusement.
Harper recruits Jack to be a C.I.A. agent working (illegally) on Wall Street, sniffing around his bank for shady terrorist deposits. Clancy would have never made that sort of basic violation of the C.I.A. charter, but hey, a Brit directed so what can you do? And playing up Ryan’s military background makes his ability to handle himself in life-or-death brawls less surprising than the Alec Baldwin and Harrison Ford versions of the character. This guy is closer to Liam Neeson’s “Taken” man of “particular skills” than a “Three Days of the Condor” fish out of water.
Jack gets wind of gigantic Russian holdings of U.S. currency, holdings that can only do us harm if they sell them all at once. So Harper ships his desk jockey to Moscow to pry the truth out of Russian oligarch Vitkor Cherevin, played by Branagh.
“They aren’t a country, they’re a corporation,” Harper gripes, a lefty sentiment the right winger Clancy would never have approved. But he would have liked having the Russians plot the downfall of capitalism through terror and market manipulation.
“You Americans like to think of yourselves as direct,” Cherevin growls. “Perhaps you are just rude.”
“You Russians like to think yourselves poets,” Ryan purrs back. “I wonder if you’re just…touchy.”
There’s a ticking clock to the proceedings, the fiance thinks Jack is cheating on her, she gets mixed up in his business and we get a taste of Keira in cocktail wear in sexy, glitzy Moscow, and Branagh does his best hissing, no lips Russian villain, one who answers to former ballet star Mikhail Baryshnikov, as a Kremlin insider.
Working in the film’s favor — the performances. Knightley does an American accent, and everybody has a great rapport with everybody else — Costner with Pine, Pine with Knightley, Knightley with Branagh. It’s a film of romantic and dramatic close-ups of actors in dialogue scenes, jumpy, jerky photography edited into a blur in the action beats.
Working against it — that famed Clancy precision, the technology that never fails, the tradecraft that has spies prepared for any contingency. And sadly, once it breaks that spell of omnipotence, the movie turns even more predictable — car chases, shoot outs, a manic hunt for terror suspects.
“Shadow Recruit” is a January movie, which lowers expectations considerably. If they’d had much hope for it, the film would have merited a Christmas or late spring release. But that said, Branagh & Co. keep up appearances with a thriller that works mainly because all of its parts — locations, fights and plot twists — are well worn from all the thrillers they’ve been in before.
　
MPAA Rating: PG-13 for sequences of violence and intense action, and brief strong language
Cast: Chris Pine, Keira Knightley, Kevin Costner, Kenneth Branagh, Mikhail Baryshnikov
Credits: Directed by Kenneth Branagh, written by Adam Kozad and David Koepp. A Paramount release.
Running time: 1:45

A little Kevin Hart goes a long way in “Ride Along,” a dull buddy picture
engineered as a vehicle for the mini motor mouth and the perma-sneering Ice
Cube.
It’s mismatched cops on patrol in Atlanta in this “48 Hours/Bad
Boys/Showtime/The Hard Way” action comedy where four screenwriters tried to find
funny bug-eyed rants for the normally-amusing Hart to deliver in between shoot
outs and chases. But as producers of assorted Jim Carrey, Will Ferrell and Eddie
Murphy movies could have told them, just pointing the camera at a funny guy is
never enough to save a lame, worn out idea. 
Cube, whose career seemed over after one too many “Are We There Yet?”
sequels, is cranky cop James whose pursuit of a mysterious villain named Omar is
interrupted by his sister’s fiance. That would be Ben (Hart), a video
game-addicted school security guard who longs to bring his wise-cracking/voice
cracking banter to the Atlanta P.D. James drags Ben on a ride-along just to
convince the dude he isn’t cut out for police work and that he isn’t good enough
for Jame’s supermodel sister (Tika Sumpter, all legs and shorts and cleavage and
hair products).
James figures sis should dating an Atlanta Falcon, an Atlanta Brave “or even
somebody from the Hawks.” Instead, she’s hooked up with this sweet talking
shrimp who’s “about one chromosome away from being a midget.”
No, James isn’t politically correct.
He drags Ben along for a “Training Day” of botched interventions with bikers,
silliness at the shooting range and a strip club shootout. Because there’s no
such thing as a cop buddy movie without a trip to a strip club.
Even by the standards of this well-worn genre, “Ride Along” is a lazy movie,
insulting the audience by letting us stay five steps ahead of the hack
screenwriters.

At several points, Hart takes center stage, plants his feet and unloads on a
student headed down the wrong path, on a biker moll who has more facial hair
than he can manage, etc. Sometimes, he finds a laugh or two. Often, these
ranting monologues run out of gas before they start. His girlish shrieks at the
first sign of danger are funnier, but not by much. And you start to wonder if
Ice Cube’s feigned irritation with him involved any acting at all.
Hart has been funny in one concert film and in supporting parts — a few
killer scenes where he comes in, lands laughs, and splits — in everything from
TV’s “Freak and Geeks” to “Think Like a Man” and last summer’s “This is the
End.” But as this film, and his boring bit part in “Grudge Match” proved, a
little of the little man is pretty much all we can stand unless he finds
somebody who can write for him.

MPAA Rating: PG-13 for sequences of violence, sexual content and brief strong
language
Cast:  Kevin Hart, Ice Cube, John Leguizamo, Tika Sumpter, Bruce McGill,
Laurence Fishburne

Credits: Directed by Tim Story, written by Greg Coolidge, Jason Mantzoukas,
Phil Hay and Matt Manfredi. A Universal release. 
<Running time: 1:40

Here are your Golden Raspberry (Razzie) nominations for the calendar year 2013.

As I have mentioned elsewhere, it was a banner year for not just good movies, but really bad ones as well.

I used to vote in this “contest,” but a couple of times it has seemed as if the crew in charge has been corrupted, c-opted or maybe just drunk as they consider the field of potential nominees. That year that Sandra Bullock showed up to accept, seeing as how she was about to win the Oscar for “Blind Side” and thus could be magnanimous (and show us she doesn’t take herself seriously) was kind of a shark jumping moment.

This year, the “34th Razzies?”  Pretty close to on the money. I doubt if Johnny Depp shows up to accept. Or Salma Hayek. Well, maybe Salma. Adam Sandler ought to be up for some sort of lifetime achievement honors. But maybe that’s just me

WORST PICTURE

• After Earth

• Grown Ups 2

• The Lone Ranger
• 
A Madea Christmas

• Movie 43

WORST ACTOR

• Johnny Depp: The Lone Ranger
• Ashton Kutcher: Jobs
• Adam Sandler: Grown Ups 2
• Jaden Smith: After Earth
• Sylvester Stallone: Bullet To The Head, Escape Plan, Grudge Match

WORST ACTRESS

• Halle Berry: Movie 43, The Call
• Selena Gomez: Getaway
• Lindsay Lohan: The Canyons
• Tyler Perry: A Madea Christmas
• Naomi Watts: Diana, Movie 43

WORST SUPPORTING ACTRESS

• Lady Gaga: Machete Kills
• Salma Hayek: Grown Ups 2
• Katherine Heigl: The Big Wedding
• Kim Kardashian: Tyler Perry’s Temptation
• Lindsay Lohan: In-App-Propriate Comedy, Scary Movie 5

WORST SUPPORTING ACTOR

• Chris Brown: Battle Of The Year
• Larry the Cable Guy: A Madea Christmas
• Taylor Lautner: Grown Ups 2
• Will Smith: After Earth
• Nick Swardson: A Haunted House, Grown Ups 2

WORST DIRECTOR

• The 13 People Who Directed Movie 43
• Dennis Dugan: Grown Ups 2
• Tyler Perry: A Madea Christmas, Temptation
• M. Night Shyamalan: After Earth
• Gore Verbinski: The Lone Ranger

WORST SCREEN COMBO

• The Entire Cast of Grown Ups 2
• The Entire Cast of Movie 43
• Lindsay Lohan & Charlie Sheen: Scary Movie 5
• Tyler Perry & EITHER Larry the Cable Guy OR That Worn-Out Wig & Dress: A Madea Christmas
• Jaden Smith & Will Smith on Planet Nepotism: After Earth

WORST SCREENPLAY

• After Earth: Screenplay by Gary Whitta and M. Night Shyamalan, Story by Will Smith
• Grown Ups 2: Written by Fred Wolfe & Adam Sandler & Tim Herlihy
• The Lone Ranger: Screen Story & Screenplay by Ted Elliott, Justin Haythe & Terry Rosso
• A Madea Christmas: Written by Tyler Perry
• Movie 43: Written by 19 “Screenwriters”

WORST REMAKE, RIP-OFF or SEQUEL

• Grown Ups 2
• 
Hangover III

• The Lone Ranger
• 
Scary Movie 5

• Smurfs 2

If you’re going to make cartoons about critters, the late  Chuck “Looney
Toons” Jones used to preach, build them around the animal’s chief concern —
survival. Bugs Bunny and Daffy Duck are always avoiding the shotgun and the stew
pot. Wile E. Coyote is desperate for a dinner of road runner.
That principle pays off in “The Nut Job,” a surprisingly simple, funny and
often cute slapstick comedy about a squirrel planning a nut heist so that he’ll
have enough food to last through winter.
Surly (Will Arnett, the perfect voice for cartoons) has always lived just for
himself, which irks the other animals of Liberty Park. Chipmunks and mice, moles
and groundhogs, they all stock up for the winter, collectively, in a system
overseen by Racoon (Liam Neeson). But Surly and his silent rat pal Buddy are
every animal-for-himself guys. Surly’s schemes never involve sharing.
“I don’t need anybody.”
Contrast Surly with his fellow squirrel Grayson (Brendan Fraser), because the
red squirrel Andie (Katherine Heigl) and every other animal in the park does.
The dashing, dopey Grayson is all about heroics, and looking good as he saves
the day.
An epic failure to steal a street vendor’s nut cart gets Surly labeled “a
clear and present danger” to the others, so he is banished from the park. He
destroyed the other animals’ winter survival stash. Is Surly — con artist,
thief and bully to pigeons — anxious to make good on what he’s cost everyone?
Not on your life.
And when he runs across the shop that the nut cart came from, he figures this
huge stash is his. It’ll take blackmail by Andie, or worse, to get him to share.
But Surly’s caper runs right up against what the human owners of the nut shop
have in mind. They’re wise guys out to rob the bank across the street. The
animals, with Surly’s grudging cooperation, must race the robbers to see who can
pull off his heist first.
The sight gags have a marvelous thunder-clap suddenness to them. Yeah, we can
see the squirrel smacked against the windshield stuff coming. But animated
movies live and die on their pace, and this one clips along.
The one-liners aren’t the best — “Is that mange, or Bubonic Plague you’re
wearing?” But there are just enough of them to get by.
Visual riffs on cops and donuts, the poor choice of pug as guard dog (Maya
Rudolph), a violently testy Girl Scout and plenty of “throw nuts and squirrels
at the 3D screen” jokes make “The Nut Job” kid-friendly.

And if that fails to do the trick, throw in a few cut-the-cheese jokes. Yeah,
groundhogs are flatulent.

Veteran animator Peter Lepeniotis, a Pixar vet expanding a short film he made
years ago, ensures that the animation is quite good. And there’s an adorable
closing credits dance-off that underlines the film’s Korean production lineage.

So no, it’s not Pixar or Dreamworks or Disney or Blue Sky. But “The Nut Job”
is still better than any animated film released in the doldrums of January has a
right to be.

MPAA Rating: PG for mild action and rude humor
Cast:  The voices of Will Arnett, Katherine Heigl, Maya Rudolph and Liam
Neeson
Credits: Directed by  Peter Lepeniotis, written by Lorne Cameron, Daniel Woo
and  Peter Lepeniotis. An Open Road release.
Running time: 1:25

He got his start in the films of his pal Neil LaBute, has had better than a decade of stardom, but still hasn’t had that marquee hit that would ensure his bankability as a movie star.

Aaron Eckhart was Harvey Dent and has fleshed out movies from “The Pledge” and “Erin Brockovich” to “Rum Diary” and done it with skill and style.

“I, Frankenstein” is a January movie, a creature feature and an updating of the monster myth and he’s got the title role.

And…again it’s a January movie. Future Frankenstein battles demons and gargoyles in an Earthly dystopia. We’ll talk about that and who knows what else?

Questions for Mr. Eckhart? Comment below.

Ralph Fiennes brings the many colors and contradictions of the writer Charles Dickens to glorious life in “The Invisible Woman,” a melancholy biography about Dickens’ affair with a much younger woman while at the height of his fame.

Period perfect, but with tragic overtones which rob it of romance and warmth, it is one of the most sedate and chaste melodramas ever to earn an R-rating. And built as it is upon a sterile performance by Felicity Jones (“Hysteria,” “Brideshead Revisited”), we are left wondering just what it was that the older man saw in her save for youth and beauty. Especially since the reason he gives for their affair is that his dull, matronly wife (Joanna Scanlan) bores him.

In 1883, Nelly (Jones) teaches at a boys’ school in Marsgate. She’s married, apparently well thought of, is directing a play co-written by Dickens, and seems uncommonly familiar with the author’s intentions. Of course, her husband (Tom Burke) gushes. She knew the great writer “when she was a child.”

But during the flashbacks she experiences on her haunted walks along the beach, Nelly remembers she was no child at all. She was an 18 year-old actress, least talented among a family headed by her widowed mother (Kristin Scott Thomas). And working with Dickens as he acted, toured and gave readings as the most celebrated writer of his day threw them together.

Fiennes captures Dickens’ charisma, his sympathy and his eager-to-please workaholism. The poverty he knew is just beneath the surface of this frantic, disciplined writer. The need to keep his dour wife, his large brood of children, his cast of actors, his friends and his collaborator (Tom Hollander) happy is in his manic manner — viewed in a rowdy opening night party that is straight out of “A Christmas Carol.”

“Life is nothing without good company,” he preaches. “To love and be loved is life itself,” he writes. He believes it. You can tell.

“The rewards of our profession are rarely monetary,” she confesses, and the work is “hard enough, even if you have talent.”

Nelly must reconcile herself to something she finds abhorrent, and Dickens must cope with the risk of great scandal that comes when you’re the most famous man in Britain and you’re seeing a woman who isn’t your wife.

The story stumbles back and forth between the 1883 present, when a disturbed Nelly fights off the memories of her past, and that 1865 past — which is handsomely realized but entirely too tame for this man who saw himself as above “convention.”
And there simply is no heat in the relationship, not in any modern sense. The survival strategy of being “kept” explains that, but Jones’ colorless performance makes one long for something more to grab hold of in Dickens’ fixation upon her. He was 53 to her 18. Even then, that was a huge gap.

But Fiennes holds it all together by force of what he does show us about the man, his kindness tempered with cruelty, the charity he practiced and preached, the morality he could never live up to. It’s the visible great man who makes “The Invisible Woman” worth watching.

MPAA Rating: R for some sexual content

Cast: Felicity Jones, Ralph Fiennes, Kristin Scott Thomas, Tom Hollander

Credits: Directed by Ralph Fiennes, written by Abi Morgan, based on the book by Claire Tomalin. A Sony Pictures Classics release.

Running time: 1:50

“Life of a King” is a warm and likable “make a difference” melodrama about an ex-con who teaches inner city kids about how chess can change your life.

Like “The Butler,” it’s a reminder that no, Cuba Gooding Jr.’s Oscar was no fluke, even if he’s had precious few roles over the decades to justify that opinion.

Gooding is Eugene Brown, who takes the advice of the fellow inmate, The Chess Man (Dennis Haysbert) to heart as he’s taking his leave of a D.C. penal institution where he’s spent 17 years.

“Just keep your eye on the end game…Take care of the king. Everything else follows.”

It’s a message Brown passes on to the kids stuck in detention in the failure factory known as Maud Alton High School, where Brown finds a job as a janitor and finds purpose in monitoring those unruly kids in the detention hall.

Co-writer/director Jake Goldberger has turned this “true story” into an uplifting formula film with obstacles popping up, like clockwork, every so often in the script. We can’t fret too much over what Brown does to support himself once the janitor job ends, over the lack of actual chess and chess instruction that supposedly turns these kids from newbies to champs, or Brown’s abrupt transformation from ex-con who’s been “Scared Straight” into a teacher demanding that these kids “Stand and Deliver.”

Yeah, it’s like that.

But Gooding brings just enough streetwise credibility to make Brown work. The kids are distinct and believably troubled, particularly Malcolm H. Mays as a promising convert who could go good or bad, and Kevin Hendricks as a true believer student whose idealism Brown must live up to every day.

And Haysbert, in just a couple of scenes, brings a world weary gravitas to the lifer known as The Chess Man. As predictable as everything that happens between his first scene and his last may be, Haysbert sells the idea of what the game means to him and how important mastering it should be to these kids.

“Only my mind gets out” of prison, he confesses, “every time I open a board.”

MPAA Rating: PG-13 for thematic elements, some drug content and brief violent images – all involving teens

Cast: Cuba Gooding Jr., Malcolm H. Mays, LisaGay Hamilton, Dennis Haysbert, Rachae Thomas, Richard T. Jones

Credits: Directed by Jake Goldberger, written by Jake Goldberger, David Scott, Dan Wetzel. A Millennium Entertainment release.

Running time: 1:41