Kyle Gallner has joined the cast of Beautiful Creatures, the upcoming movie adaptation based on the best-selling book series by Kami Garcia and Margaret Stohl.
According to Variety, Gallner will play Larkin, the younger brother to Emmy Rossum’s character in the movie. Fans of the books know he will play a pivotol role in the events leading up to the story’s climax.
Beautiful Creatures tells the story of mysterious new girl in town Lena Duchannes (played by Alice Englert) who shakes up a small Georgia community and falls in love with local boy Ethan Wate (Alden Ehrenreich). The movie also stars Jeremy Irons, Viola Davis, Emma Thompson, and Thomas Mann.
Gallner’s credits include The Nightmare on Elm Street, Jennifer’s Body, episodes of “CSI: NY,” and the indie drama Beautiful Boy.
Beautiful Creatures has been filming for about two weeks now in New Orleans. It’s set for theatrical release in February 2013, and is garnering lots of media buzz that it could be the next big book-turned-movie franchise, following in the footsteps of such mega hits as The Hunger Games, The Twilight Saga, and Harry Potter.
The book series will wrap-up this October with the release of the fourth and final book, Beautiful Redemption.
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‘Criminal Minds’ Season 7 Episode 19 Spoilers: Matthew Gray Gubler Directing, Case Details
Criminal Minds is currently in its seventh season, and episode 19 is going to be Matthew Gray Gubler’s third time directing. There are now some case details out about what to expect, along with some casting news.
CM Season 7 Episode 19 Spoilers and Casting News
According to TV Guide, Kyle Gallner and Madeleine Martin are going to be guest starring as “siblings James and Lara, who believe the twisted delusions their dead mother passed on to them.” Does that mean that they’re the unsubs the team has to track down and keep from killing more people? It certainly sounds that way. What could those “twisted delusions” be about? What have they led the siblings to do that the BAU gets involved? It sounds like it will be a creepy episode, just by that bit alone; can you imagine how unsettling the promo will be when it’s released?
Criminal Minds season 7 episode 19 will be directed by Matthew Gray Gubler and will also be one of Paget Brewster’s last on the series. He has directed two previous episodes (season 5 episode 16 “Mosley Lane” about child abductions and season 6 episode 18 “Lauren,” which featured Prentiss’ “death” due to Brewster’s reduced episodes last year). Gubler has proven he knows what he’s doing behind the cameras just as well as he knows how to act in front of them, so of course they’re having him direct another episode.
What do you think of the Criminal Minds season 7 episode 19 spoilers and casting? Are you looking forward to another Matthew Gray Gubler-directed episode?
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Shot in Memphis last August and September with a crew heavy on local talent, the low-budget indie comedy Losers Take All will have its local debut at Playhouse on the Square Saturday at 7 p.m., on the third night of the Indie Memphis Film Festival.
The film, directed by Alex Steyermark and co-written by producers Winn Coslick and Andrew Pope (another producer, Mike Ryan, had worked in Memphis on films such as Forty Shades of Blue and 21 Grams) is set primarily in 1986 and concerns the growing pains of an unpretentious, Replacements-esque post-punk band, who form, record, and tour while struggling with various low-key triumphs and tribulations.
The band is meant to embody the era’s blend of punk —Â the orientation of lead singer Brian (Kyle Gallner) and bassist Dave (Aaron Himelstein) and metal — lead guitarist Billy (Billy Kay) and drummer Peter (Jason Burkey) —Â while the story depicts the scrappy world of indie labels, clubs, and regional touring and the era’s now-quaint dilemma about whether to stay indie or pursue a deal with a bigger record label. Serving as comic relief is clueless but enthusiastic would-be manager Greg (Adam Herschman).
Losers Take All adores this musical milieu almost to a fault. Visual and aural touchstones to bands such as Minor Threat, Black Flag, the Descendents, and Bad Brains abound, and the movie treats twin Twin Cities titans Hüsker Dü and the Replacements as almost spiritual objects. (I can relate.) Hüsker Dü’s 1985 album Flip Your Wig is the album Brian and Dave turn their more metal-oriented new bandmates onto to give them an idea of what they’re trying to do —Â “It’s not metal. It’s not really punk. And it doesn’t suck.” And a potential opening slot on a Replacements show drives the film’s climax.
There are also cuter references. The opening scene has a sign in the background suggesting Brian and Dave attended “Stinson High” (a reference to the Replacement brothers Bob and Tommy), which Greg spends time at a rehab facility in Minnesota called New Day Rising (named after a Hüsker Dü album). The entire movie feels like a fictional homage to the terrific ’80s post-punk scene study Our Band Could Be Your Life.
I don’t think the film ever specifies Memphis as a location but, unlike with 21 Grams, it doesn’t disguise the city either. There’s a shot of the band crossing the Mississippi River as they head out on tour. The band plays a local gig at the bottom of a four-band bill at the Antenna Club. And one bit features an comically over-the-top local furniture store commercial that incorporates professional wrestling — it’s hard to imagine a collision that better captures “Memphis in the ’80s.”
Other references include Dave’s work uniform (a Tops Bar-B-Q shirt) and a first gig at a pizza shop “off Park,” while identifiable locations include Midtown’s Hi-Lo Studio (also used in $5 Cover), Premiere Palace, and the Orchid Club.
On-screen, the most prominent of a few local roles is Billie Worley’s comic turn as a heavy-metal frontman whose segue into punk stands as a more opportunistic and less organic contrast to his Van Halen-loving rhythm section, who leave to join the film’s punk-oriented protagonists.
One of the film’s strengths is its original music, which was recorded locally at Scott Bomar’s Electraphonic Recording studio under the supervision of Bomar and ’80s power-pop icon Marshall Crenshaw. The music for the fictional band, the Fingers, was recorded by a local unit consisting of Steve Selvidge (guitar), John Paul Keith (guitar), Mark Stuart (bass), and Paul Buchignani (drums), with Keith and Buchignani serving as instrument coaches for the actors.
The band’s on-screen songs are convincing, the most prominent of them written by Keith (“Anyone Can Do It,” a countrified version of which appears on his recent album The Man Who That Time Forgot), and local songwriter Jack Yarber (“Everything Little Thing Goes Wrong”). Bomar (in studio) and Keith (as a club soundman) also make dialogue-free on-screen appearances.
Losers Take All is a likable film, with a believable core cast and a mostly understated but effective sense of time and place. It will be especially interesting to people as invested in this musical world as the filmmakers are, a niche market of which I am a member. But it’s hard to imagine this minor, star-free film garnering a theatrical run deep enough to bring it back to town.
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