Fury 2014
April, 1945. As the Allies make their final push in the European Theatre, a battle-hardened army sergeant named Wardaddy (Brad Pitt) commands a Sherman tank and his five-man crew on a deadly mission behind enemy lines. Outnumbered and outgunned, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.
User Reviews:
"Ideals are peaceful. History is violent."
These words, delivered by Brad Pitt's scarred and battle-weary Sgt. Don Collier, are meant to bring some level of comfort to Norman Ellison (Logan Lerman), the young man who found himself snatched unceremoniously out of the clerk's office and placed under Collier's command in the final days of WWII. Despite having no combat training to speak of, Ellison has been assigned as the new assistant driver of Fury, the Sherman tank that Collier and his men call home. Ellison has spent most of the war behind a desk, hammering out correspondence at 60 words per minute, but over the last few hours he's been gunning down Nazis in spectacularly gory fashion, and he's struggling to make sense of the carnage.
Collier offers no other thoughts on the subject, having already forgotten about the previous battle and instead thinking about the skirmishes yet to come. He's a fierce figure who inspires confidence and loyalty among his men, who affectionately refer to him as "Wardaddy." But he's also terrifying to someone like Ellison, who finds himself woefully unprepared for the demands of his new vocation. During one of the film's early battle sequences, Ellison hesitates just long enough for tragedy to occur, and his subsequent brow-beating by Collier is followed by one of the most frightening and gut-wrenching scenes ever depicted in a war film. Ellison is quite literally forced to shun his own moral code and forsake any shred of humanity he still clings to, because Collier knows that if he doesn't, everyone in the unit will be dead.
And what a unit it is, a motley crew of the highest order, comprised of a deeply religious gunner (Shia LeBeouf), a pugnacious redneck with a severe mean streak (Jon Bernthal), and a driver (Michael Pena) who drowns the filth and death in bottle after bottle of whatever booze he can find. But these soldiers are bound together by the sort of brotherhood that can only exist between men who have seen combat together: each is more than willing to die for the other, and the introduction of Ellison into their group is met with a hefty amount of resistance. The kid is an unknown, a variable they hadn't anticipated, and viewed as little more than a liability.
But after proving his mettle during a nail-biting engagement with a superior German tank, Ellison gets the seal of approval from the rest of the boys. Collier even takes Ellison with him to explore an American-occupied village, and the two stumble upon a small apartment and its two female tenants. The film takes an interesting turn at this point, allowing the audience a glimpse into the exhaustion and sadness behind Collier's rugged exterior. A bath, a shave, and a nice dinner are a welcome respite from the day's butchery, but it's the second half of this sequence that truly shows how even the best of men can be transformed by the horror of war.
Every member of the cast is at the top of their game here, even LeBeouf, whose well-documented public meltdowns feel like a distant memory. Despite being hampered by a script that regulates everyone but Collier and Ellison to skin-deep characterizations, the actors make the absolute most of it, bringing depth to characters that could very easily have been one-note portrayals. Pitt and Lerman, on the other hand, are given plenty to work with, and their dialogue exchange during the final moments of the film is one of the most emotionally gripping cinematic moments of the year.
Director David Ayer does a superb job with some of the more human moments in Fury, but his skills are best showcased in the thrilling battle sequences, the majority of which were filmed using actual working tanks from the era. Interior shots are skin-crawlingly claustrophobic, especially when surrounded by the shouts, explosions and machine-gun fire that signify the chaos of battle. Exteriors are also handled well, although the film's frequent use of tracer ammunition makes some of the combat resemble the major clashes in the Star Wars films. Yes, it's historically accurate, but sometimes it's more distracting than engrossing.
While Fury never quite ascends to the level of excellence offered by other WWII epics such as Saving Private Ryan or Cross of Iron, it remains a relentless, unflinching account of the unspeakable nature of war. To quote LeBeouf's character, "Wait til you see what a man can do to another man." When we see it, it's certainly not pleasant, and yet we can't look away.
Video Format:
General:
Format.......: Matroska
File Size....: 2.95 GiB
Duration.....: 2h 14mn
Bitrate......: 3 136 Kbps
Subtitles....: English
Encoder".......JYK
Video:
Video Format......: AVC
Video Codec.......: x264 core 142 r2431 ac76440
Bitrate...........: 2 750 Kbps
Frame Rate........: 23.976 fps
Width.............: 1 280 pixels
Height............: 532 pixels
aspect ratio......: 2.40:1
Audio #1:
Format..........: AC-3
Bitrate.........: 384 Kbps
Channels........: 6 channels
Sampling Rate...: 48.0 KHz
Language........: English
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Twilight Zone: The Movie (1983)
Four directors collaborated to remake four episodes of the popular television series 'The Twilight Zone' for this movie. The episodes are updated slightly and in color (the television show was in black-and-white), but very true to the originals, where eerie and disturbing situations gradually spin out of control.
User Reviews:
It is very hard to think of another film anywhere that had such a great potential as TWILIGHT ZONE: THE MOVIE had, only to have a senseless and totally preventable tragedy--the deaths of actor Vic Morrow and two illegally hired Asian child actors--mar the impact. Aside from that, and some heavy-handed moralizing that even the original show's creator Rod Serling would have had problems with, this is a fairly good tribute to what was perhaps the best TV series in history.
The prologue (with Dan Aykroyd and Albert Brooks) and Segment 1 are both originals, written and directed by John Landis. The segment deals with a very embittered white man (Morrow) who, after being dealt the denial of a promotion at work in favor of a Jew, unleashes his bigotry at a bar. But when he steps outside, he soon gets a dose of his own bitter medicine: persecution by the Nazis in Vichy France circa 1943; stalked by the KKK in Alabama in 1956; attacked by US soldiers in Vietnam circa 1969. Landis' penchant for hamfisted dialogue and erratic direction dilute what could have been an effective piece; and the tragedy that occurred on his watch taints not only this segment but much of the rest of the movie.
Segment 2, a remake of the 1961 episode "Kick The Can", directed by Steven Spielberg, stars Scatman Crothers as an elderly magician who brings a sense of youth to the residents of a senior citizens home, though over the objections of a veritable old fuddy-duddy (Bill Quinn). Spielberg has often been attacked, mostly unnecessarily, for his tendency toward sloppy sentimentality, but here a lot of the attacks may be justified, despite the best of intentions. He is still my favorite director, but this is one of his weakest.
Segment 3 remakes "It's A Good Life." Under the inventive hands of director Joe Dante (THE HOWLING), this film stars Jeremy Licht as a boy with the power to enslave and terrorize his family when he comes to feel that they hate him. Kathleen Quinlan stars as the teacher who unintentionally gets caught up in the melee, only to wind up volunteering to teach Licht how to better use his powers before they become too big for him to control (a la CARRIE). Dante's use of inventive special effects (courtesy of Rob Bottin) and black comedy enliven this segment, despite some weird overacting from the rest of the segment's cast (including William Schallert and Kevin McCarthy).
Segment 4 is a reworking of the famous episode "Nightmare At 20,000 Feet." With George Miller (MAD MAX) at the director's helm, the segment stars John Lithgow as an incredibly anxious passenger with a morbid fear of flight who constantly sees a monstrous gremlin tearing apart at the wings of his plane during a severe storm. His anxiety explodes into terror and madness, and the other passengers think he is certifiable. But when the plane lands, and the damage is inspected...
The final score on this is that Landis and Spielberg, who also produced, come up with the weaker segments, and Dante and, especially, Miller come up with the best ones. Miller's segment is a truly kinetic piece of suspense and terror, though I did find the little girl (Christina Nigra) an extremely obnoxious and unnecessary presence. Lithgow, who takes over for William Shatner (who had the role in the TV episode), gives a bravura performance, arguably paving the way for his role in "2010" as an astronaut deftly afraid of heights.
Jerry Goldsmith's usual efficient score and some good special effects work help to make TWILIGHT ZONE: THE MOVIE not only an above-average tribute to a great TV show, but also a good anthology film that combines fantasy, suspense, and mystery. It is a shame that the film is tainted by a pointless tragedy. But if one can ignore that, there are rewards to be had by seeing this.
Video Format:
Movie Title: Twilight Zone: The Movie (1983)
Director: Joe Dante, John Landis, George Miller, Steven Spielberg
Stars: Dan Aykroyd, Albert Brooks, Vic Morrow, Doug McGrath
Release Date: 24 Jun 1983
Genres: Horror, Sci-Fi
Format: MatRoska (Mkv)
File Size: 850MB
Resolution: 1280x716
Runtime: 01:41:15
Language: English
Subtitles: N/A
Encoder: MkvCage (MC) Team
Source: 720p.WEB-DL.AAC2.0.H264-RARBG
Screen Shoot:
Trailer:
Director: Joe Dante, John Landis, George Miller, Steven Spielberg
Stars: Dan Aykroyd, Albert Brooks, Vic Morrow, Doug McGrath
Release Date: 24 Jun 1983
Genres: Horror, Sci-Fi
Format: MatRoska (Mkv)
File Size: 850MB
Resolution: 1280x716
Runtime: 01:41:15
Language: English
Subtitles: N/A
Encoder: MkvCage (MC) Team
Source: 720p.WEB-DL.AAC2.0.H264-RARBG
Full movie:
Electric Slide 2014
It's 1983 Los Angeles - beautiful girls, luxurious mansions, glamorous parties and Eddie Dodson, a very hip, very charismatic dealer of high-end antique furniture for the rich and famous. When Eddie meets the cool and aloof Pauline, the attraction is instant and the two live out each other's fast-paced fantasies. That is until Eddie's high-rolling life catches up with him and loan sharks start knocking on his door. To pay off his debts, Eddie and Pauline begin a spree of bank robberies across LA, charming tellers at over 60 banks to hand over the cash. Now the lovers are not only on the run from loan sharks but also have the police hot on their trail.
User Reviews:
Dodson owns a furniture store and aspires to a glamorous lifestyle he cannot afford. He borrows money from the bank and then a loan shark. As repayment pressures mount he resorts to bank robbing to fund his debts. He also teams up with a vacant blonde who likes to spout movie dialogue rather than talk with real feeling and their love story is a meaningless sidebar. The problem for me is Dodson is an unlikable man, he steals from friends and wants things without working for them. Sturgess portrays Dodson as ineffectual rather than charismatic which leaves you wondering why the bank tellers he robbed all liked him. I felt no emotional attachment to any of the characters.
The score also misses a trick opting to use generic synth music rather than some of the definitive 80s tunes. Its a stylish enough film but has no emotional core. The period is evoked sufficiently to feel like a period set piece. Could have been better with the talent involved.
The score also misses a trick opting to use generic synth music rather than some of the definitive 80s tunes. Its a stylish enough film but has no emotional core. The period is evoked sufficiently to feel like a period set piece. Could have been better with the talent involved.
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Sonali Cable (2014)
Sonali, a spunky self-made internet operator, proudly runs a small outfit along with her band of ghetto boys catering to a sprawling Mumbai suburb. Complications arise when Sonali's childhood sweetheart, Raghu returns from the United States and helps bring her small enterprise into the twenty first century. But not all forces of modernization are as kind and as loving as Raghu. SHINING INC, a huge corporation wants her out to complete their monopoly of Shining Broadband in the city. Sonali refuses... and it's war! This is a character driven, edgy survival drama of an ordinary girl, a sizzling love interest and her rag-tag family of internet cable technicians for whom Sonali Cable Centre is more than a livelihood.
User Reviews:
It is laborious to sit through the 127 minute-long film, and soon you are left wondering if director-writer Acharya bit off far more than what he could chew with this one. After watching the film, one gets the feeling that he put way too many issues on his plate, and when it came to arranging his full plate, he couldn't handle the task. Simply put, he fails miserably in establishing his credibility as someone who is serious about handling the issues.
Ditto for the emotions, the obvious by-product of any big versus small player fight: Acharya, it seems, just forgot the cardinal rule that one needs to build the tempo if you want those vulnerabilities to resonate with the audience.
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Taking Lives 2004
The film starts in the early 1980s. Young Martin Asher took a bus for Canada. He meets another teen on the bus Matt Soulsby. When the bus broke they decided to rent a car and drive to Seattle. On the road the car gets a flat tire, and Matt starts changing the tire Martin comments on how he and Matt are about the same height and he quickly pushes Matt in the way of an oncoming truck causing a huge accident where Matt and the driver both die. He took Matt's guitar and left singing like Matt did. Twenty years later, an FBI profiler, Illeana Scott comes to Canada to help hunting down a serial killer Martin Asher who killed multiple men and lived by their identities. Martin's mother claims that she saw Martin in Quebec city and she tells the police that Martin is evil. The police also has an eyewitness James Costa who saw Asher kill his last victim
User Reviews:
Taking Lives is a police procedural about a serial killer whose M.O. is to `take' his successive victims' identities as well as their lives. He does this because he doesn't like who he is. His mother (a campy Gena Rowlands) preferred his twin brother and he vents his resentment about this over and over in his life of gruesome crime. This approach to sequential murder is the point of originality in what otherwise in most ways is a quite conventional film. It's directed by D.J. Caruso, a director of many TV cop flicks whose previous full-length movie, The Salton Sea, was a tweaker saga with Val Kilmer and Vincent D'Onofrio that was rich in cheesy atmosphere. This one makes more sense and carries some respectable thrills, but it's not certain it's altogether an improvement.
The movie begins with an intriguingly stylized prologue that shows the young teenage killer on his maiden voyage. He has probably already killed his twin brother. Now he has hit the road armed with a big wad of cash acquired by selling his mother's stolen jewelry, though we don't know all that till later. All we see is a sly, strange boy who meets another youth on a bus, hears his life story, and when the bus gets stuck on the highway, buys a cheap used car for them to continue traveling in. While they're fixing a flat, he pushes his traveling companion in front of a passing truck and his life of murderous identity theft begins.
The staging of this segment is edgy, the lighting baroque, the boys and the landscape vivid. While the filmmakers have our attention they create an original atmosphere that's not ever quite equaled when the story skips forward to the present.
For those of us weaned on Miss Marple, it's a bit of a shock to have a head dick as distractingly pretty as Angelina Jolie, she of the lips. Whether this was a smart career choice for Ms. Jolie is debatable. She works hard to be convincing. Another wrinkle - hardly a new one, though - is that once the killer has been `made', he constantly points out his similarities with her. She's FBI, but she's as focused on killing as he is. She dines and sleeps with photos of bashed heads and lopped limbs perched in front of her: she's a bit ghoulish in her obsession with her work. But serial killers and their chief investigators always bond, if we're to go by the Hannibal Lector stories.
Iliana (Jolie) has been called in by French Canadian homicide detectives, one of whom, Olivier Martinez, has lips as voluptuous as hers. His boss, Tchéky Karyo, is suave and European; but the best of the three, Jean-Hugues Anglade, is merely beat-up looking and real. It's another minor twist that this movie was not only shot in Canada, but is actually set there, though the filmmakers insist on perversely saying it's Montreal, while constantly showing views of Quebec City as establishing shots. All three French actors speak an English that's hard to understand. I could have done without Martinez's glam looks in favor of someone with clearer diction. His mumbles may have worked for him as Diane Lane's Euro-hunk lover in Unfaithful, but for a police procedural, they don't.
As time goes on the baroque cinematography, which casts three quarters of every scene in deep shadow, begins to be as murky as the staccato Frenchified dialogue. Nonetheless the movie is stylish and watchable, up to a point. Ethan Hawke appears as a nervous witness who tries to save one of the murder victims and makes a drawing of the killer. His role evolves into one of the edgiest things he's done. Already ravaged and gaunt from his impending breakup with Uma, poor chap, he gives this his tortured all. It's been a long way from the bland schoolboy role in Dead Poets Society that first brought him notice. Kiefer Sutherland does a turn that has become a cliché for him. The obvious surprises nonetheless still seem surprising, though the finale is pure camp, shameful really. A sudden car chase is irritating and unnecessary, though happily brief.
Since we began with a close look at the killer, throughout the rest we miss his point of view. Even when we get close to him we're teased into thinking we don't know who he is. The audience is left longing for a more intimate picture of the criminal psychopathic mind (Ã la Highsmith), the sort of thing that the flashback opening sequence hinted at. Throughout one feels that director Caruso is reaching for something a little bit original. He even has a score by Philip Glass, which used to be a distinction. It hardly is any more. There are three movies with Glass music showing right now: this, Secret Window, and The Fog of War. Taking Lives has been widely reviled by critics whose impatience with the genre makes them overlook the fact that it's really a bit above average - if we ignore the crappy final scene.
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The Judge 2014
Hank Palmer is a successful defense attorney in Chicago, who is getting a divorce. When His brother calls with the news that their mother has died, Hank returns to his childhood home to attend the funeral. Despite the brittle bond between Hank and the Judge, Hank must come to his father's aid and defend him in court. Here, Hank discovers the truth behind the case, which binds together the dysfunctional family and reveals the struggles and secrecy of the family.
User Reviews:
"My father is a lot of unpleasant things, but murderer is not one of them."
The Judge may not be the highly effective powerhouse courtroom drama we were expecting when we first heard about the pairing of Robert Downey Jr and Robert Duvall, but it isn't the terrible film some critics are describing it as either. Most of us had high expectations for The Judge but once the first reviews started coming in my expectations were lowered so I went into this with moderate expectations. It is a somewhat effective melodrama when it centers on the father and son family dynamics, but when it tries to include other subplots like the courtroom drama scenes and the relationship with a former lover, the film falls flat and feels overlong.
Director David Dobbin succeeds when he gets Robert Downey Jr and Robert Duvall in a room together. Those are the most effective scenes of the film and they standout because both actors are on the top of their game. Dobbin however fails when he tries to cram other dramatic elements into this film, and he does so way too often. At 144 minutes, The Judge could have been more effective if it were cut short and centered exclusively on the family dynamics rather than on the rest of the subplots that Dobbin is cramming into the film. The problem is that Dobbin is trying too hard to make a serious film since this is his first time directing a non-comedy.
Audiences who were expecting a Grisham style courtroom drama will be disappointed because that aspect of the story falls flat, but as a film centering on a dysfunctional father and son relationship it succeeds thanks to the two lead actors. When the two Roberts get together The Judge pulls at your heart strings effectively, but the rest of the scenes do feel clichéd and manipulative (especially the scenes involving those home movie projections). I also enjoyed this as a character study of the different family dynamics and I appreciated the films intentions about giving an honest portrayal of aging through Duvall's character. There are some powerful scenes, but they are ruined sometimes by the clichés the film follows.
Aside from Robert Downey Jr and Robert Duvall's powerful performances (they are both at their best here), there is also a very interesting supporting performances from Vincent D'Onofrio. His scenes with Downey are relevant as well and he holds his own. Billy Bob Thornton doesn't really get much character development considering the court case is simply included as an excuse to keep this family together. Farming is a wonderful actress and she gives a strong performance as well, but her scenes really don't add anything to the film and their subplot could have been left out.
The premise of the film isn't anything we haven't seen before either. The story centers on a hot shot lawyer from a big city who is returning to the small town he grew up and ran away from, for his mother's funeral. He doesn't want to stay long because his relationship with his father is a disaster and we get a glimpse of it early on. Those scenes are powerful but not entirely original. Downey plays the smart mouth witty son to perfection, while Duvall is the uptight and stern father who he can easily play in his sleep. The only moment where Duvall and Downey were on screen together that didn't work for me was when they begin discussing their personal issues while his father stands on trial. That was just one example of a forced moment where melodrama seemed more important than authenticity. There are several moments like this that hurt this film, but the few authentic moments are powerful enough to recommend this it. The Judge isn't a bad film, it's just one that had the potential to be so much more.
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Foxcatcher.2014
Based on true events, Foxcatcher tells the dark and fascinating story of the unlikely and ultimately tragic relationship between an eccentric multi-millionaire and two champion wrestlers. When Olympic Gold Medal winning wrestler Mark Schultz (Channing Tatum) is invited by wealthy heir John du Pont (Steve Carell) to move on to the du Pont estate and help form a team to train for the 1988 Seoul Olympics at his new state-of-the-art training facility, Schultz jumps at the opportunity, hoping to focus on his training and finally step out of the shadow of his revered brother, Dave (Mark Ruffalo). Driven by hidden needs, du Pont sees backing Schultz's bid for Gold and the chance to "coach" a world-class wrestling team as an opportunity to gain the elusive respect of his peers and, more importantly, his disapproving mother (Vanessa Redgrave). Flattered by the attention and entranced by du Pont's majestic world, Mark comes to see his benefactor as a father figure and grows increasingly
User Reviews:
"Foxcatcher" is anything but a wrestling drama. Although based on the true story of Olympic gold medalist Mark Schultz and his brief years of training under multi-millionaire John du Pont, "Foxcatcher" expands well beyond the wrestling ring into the minds of two men longing to find greatness.
So those expecting anything close to director Bennett Miller's last film, "Moneyball," should be forewarned. This is not a sports movie, but a slow-burning character study (like Miller's first acclaimed film, "Capote") in which the wrestling serves as the visual, physical expression of the psychological struggle between the characters.
When we first meet Mark, played by Channing Tatum, whose versatility continues to amaze, it's 1987 and he is living in the faded glory of his 1984 gold medal. Despite his success, he is living a rather lonely life and itching to accomplish more; his brother, Dave (Mark Ruffalo), also won gold and Dave feels that leaves him with something to prove. So when John du Pont (Steve Carell) contacts him about paying him to come train at his top-notch facility on his family's estate, Foxcatcher Farm, he sees his opportunity.
Mark and du Pont's philosophies about striving to be the best align, and the two form a close, almost father-and-son bond, though more so because they both feel pressure to live up to others' expectations. Du Pont, in particular, wants to prove himself to his mother (Vanessa Redgrave), who breeds world class horses and finds wrestling barbaric. John's desperation, bottomless checkbook and unresolved family issues make for a dangerous combination, and his relationship with Mark slowly begins to change for the worse. Further complicating the matter is Dave, the only man capable of saving Mark from his demanding expectations of himself and whose coaching expertise intimidates du Pont.
The often unspoken psychological warfare between the three (and, perhaps most importantly, du Pont and his mother) is the driving force of the story more than anything that actually happens on screen. Mark's ups and downs as he competes at the '87 World Championships and '88 Olympic trials are symptomatic of his mental state and the state of his relationship with the other men. As such, "Foxcatcher" is a long, at times brooding film that can drag in spite of the brilliant character development and internal drama.
E. Max Frye and Dan Futterman's script is quiet and doesn't have a lot of big juicy moments for its actors to lean on, so the fact that Carell is totally haunting and captivating in this role says a lot. Du Pont is an incredibly complex character whose back story is mostly implied so as to keep him as unpredictable as possible. Even with all the makeup on, Carell gives the epitome of an understated performance, something you would never dream possible from a guy who has made a career out of big acting and abrasive characters. Undoubtedly some credit goes to Miller, who has churned out acting nominations and wins for his previous casts, and gets Carell and Tatum to pause and linger at all the right moments.
With those two in transforming roles, it's easy to overlook Ruffalo (who always seems to get overlooked). Dave is the comparison point for both these men. He's a family man who is smart, has accomplished a lot and knows what it truly means to work hard. Ruffalo brings his trademark authenticity to his part as the "good guy" and does it so well.
Even when it's too quiet and languishes, "Foxcatcher" is a fine piece of cinema and Miller has established himself as a true auteur. It certainly does not satisfy in the mainstream sense, but its purposeful use of imagery, total avoidance of melodrama and magnifying glass on the human condition make it an undeniably sharp and intelligent art film to be sure.
About Movie Format:
General Information
Sample Included......: No
DXVA Compliant.......: No
Chapters Included....: No
Source...............: 720p-CPG MANY THANKX!!
Container............: MP4
Length...............: 2h 8mn
Size.................: 1.29 GiB
Total Bitrate........: 1 436 Kbps
IMDb Information.....: http://www.imdb.com/title/tt1100089/
Genre................: Biography | Drama | Sport | Thriller
Audio Info
Codec................: AC3
Bitrate..............: 256 Kbps
kHz/bit..............: 48.0 / 16bits
Channels.............: 2
Language.............: English
Subtitles............: HC arabic it seems throughout film
Video Info
Codec................: x264
Type.................: HC WEBRiP
Format Profile Level.: High@L4.1
Resolution...........: 720 x 384
Aspect Ratio.........: 1.85:1
Bitrate..............: 1 178 Kbps
Framerate............: 25.000 fps
Plot
The greatest Olympic Wrestling Champion brother team joins Team Foxcatcher lead
by multimillionaire sponsor John E. du Pont as they train for the 1988 games in
Seoul - a union that leads to unlikely circumstances.
Cast
Channing Tatum ... Mark Schultz
Steve Carell ... John du Pont
Mark Ruffalo ... David Schultz
Sienna Miller ... Nancy Schultz
Vanessa Redgrave ... Jean du Pont
Anthony Michael Hall ... Jack
Guy Boyd ... Henry Beck
Brett Rice ... Fred Cole
Jackson Frazer ... Alexander Schultz
Samara Lee ... Danielle Schultz
Francis J. Murphy III ... Wayne Kendall
Jane Mowder ... Rosie
David Bennett ... Documentary Director
Lee Perkins ... Corporal Daly
Robert Haramia ... Banquet Guest
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