Indie Actor Spotlight: Tim Jacobs – star of the upcoming indie sci-fi ‘District C-11’

I’m always intrigued by indie sci-fi films and today I have the privilege to highlight an up-and-coming indie actor, who happens to be the boyfriend of my good friend/colleague Ashley. If you remember in 2013 I posted an interview with Tim Jacobs when he was working as an extra on RIPD.

Tim has been one of my consultants for my script, as the two main characters are stage actors and so a large part of it involves scenes in a theatrical play. So I’m more than happy to feature him on my blog in the hope that this role will get him more film and/or tv work in the future. This time around Tim is the co-lead in an indie sci-fi thriller District C-11.


District C-11 is a action-packed, plot twisting sci-fi. The story is of two cops in the not too distant future is who are tasked to patrol the streets of Boston at night in a city being broken by corruption and a villain named Stanton Creed. As they get closer to the source of the city’s woes, they find themselves closer to death asking themselves two questions. Do they fight for whats right and risk their lives? Or do they join the bad guys and become part of the problem?

Starring: Corey Spencer, Tim Jacobs, Richard C. Bailey, Lance Williams, Alaina Gianci, Jordan Lloyd & Mark Resnik
Directed By Wes Williams II
Written By Ralph Celestin
Produced by Camp 9 Films

Check out the trailer:

The film is set in Boston and it will have its premiere at
Boston Common Lowes Movie Theater on Thursday 4/21.


Here’s my Q&A with Tim about the film, as well as his background as an actor and the challenges & experience working in theater vs feature films.


How did you get involved with this project?

That is quite an interesting story. I saw the audition notice on multiple social media channels and thought it sounded like a good story. I went to the open auditions and read for the part of Grey Gideon. At the end of the first round of auditions, I was told that they loved me, but I was too tall. Later that month I received a call asking me to come back for another round of auditions. Again, they gave me great feedback, but again were unsure about my height. At the third and final callback, it was down to me and another incredible actor (Nicholas DiMaio) and after some great readings with different scenes partners, we were left without a verdict. Wes Williams II (the director) called me 3 weeks later as I was on the phone with another director and offered me the part after again telling me how my height was restrictive. I accepted and could finally breathe a sigh of relief.

On set with Corey Spencer

Close up shot hitting the ground

Tell us about your character and how it fits into the story?

Grey is a hell of a character. He is a good cop, a good partner, and good friend… mostly. He upholds the law, but is ultimately driven by revenge for the death of his parents. He has a substance abuse problem and doesn’t like to let people get too close to him. His partner Trenton (Corey Spencer) is the one real exception to that rule. In the movie, things don’t always go Grey’s way and it tends to get a little… messy.

Being that you’ve done small supporting work in big-budget films (RIPD), how’s your experience been like in an independent film but in a more prominent role?I’ve now worked on multiple big budget films and TV shows (Spotlight, The Girl on the Train, Allegiant part 1) and it is always a toss up whether the set is going to be friendly and organized, or harsh and chaotic. Without mentioning specific productions, I have seen some of the worst set management in the bigger budget films. Thankfully, the crew of District C-11 and the most of the smaller movies i’ve worked on have been really professional. I know that i’m lucky because I have heard horror stories from many of my actor friends.

A shot of most of the crew after the last shot of the day
A shot of most of the crew after the last shot of the day

Having a more prominent role is a rush. You are always getting called for something (hair, make-up, rehearsals, etc) so you really take advantage of the down time you have. I loved being in the thick of it and being able to collaborate with the director and Director of Photography (Rajah Samaroo) regarding different takes on shots and scenes. It really is a labor of love because there are times when you are waiting for lights to be set up or lenses to be changed and all the extras have been let go for the night and it’s just you, your scene partner, and the freezing temperatures.You question why you are doing this at all, but if you really love what you are doing, and believe in the project, those thoughts don’t last too long.


Q: What’s one of the most memorable experiences making this film for you?

So many. The first time action was called. I wasn’t even really in the scene, but it was an incredible high. Working with our fight choreographer (Sisouk Vongbandith) and getting to know all the incredible film people in Boston. I did have a favorite scene to shoot though. It was my partner Trenton, Franchesca (Alaina GIanchi) and myself in a car driving around. The cameras were on rigs so there was no crew around at all with the exception of the poor sound tech (Jack Garrett) ducking in the back seat. It was real, honest work between just the actors with nobody interrupting us. We drove back and forth on an abandoned road for about 30 minutes just doing a bunch of takes. It was so different from what we had been used to and was a great experience.

Q: You mentioned you worked as an extra in ‘The Girl on the Train’ (which trailer has just dropped). What was the experience like working on that?

I was a passenger on the train 😛 I sat a few rows behind Emily Blunt. Unfortunately it was the last days of shooting so i didn’t really get a chance to network much. It was a really fun set though. The director [Tate Taylor] was wonderful and the entire crew seemed great to work with… that could also have been because it was the last couple days… I didn’t know a whole lot about the story going in so it was fun to pick up what was going on by listening to the director talk to Emily between takes. All in all it was a very professional and courteous set.

Q: You have a pretty extensive experience in theater, which do you prefer between making feature films & theater work?

They are so different! The first answer that came to my head was theatre. There is nothing like live theatre. If you mess up, you have to find a way to fix it right then and there. There are no second takes, no redos. What you give is what the audience gets. The adrenaline is incredible. It’s also nice to do the script in chronological order. You always know where you are and what you’re supposed to be doing/dressed like/ what scars are where. Not so in film. In District C-11 we shot the second to last scene on our second day of filming. It took a little getting used to. However, I also love the ever changing always moving nature of film. It keeps you on your toes and the chance at second takes allows you to explore many different ideas and options. I guess i don’t have a clear answer for you there.

Getting a touch-up between takes
Getting a touch-up between takes

Q: What’s next for you after this film? 

I moved to NYC last year and am pursuing work here. I’ve done a few smaller projects and been on some big budget TV shows. I haven’t been on Law and Order SVU yet, so according to my actor friends, I’m haven’t been inducted into NYC television acting yet. I’m hoping this movie showcases me and can help propel me higher up. I’m working with a few people I know and getting in with the right people. It won’t be long before I get another great part!

Photos courtesy of PERSONIFYD MEDIA

For more info, check out District C-11‘s official website and on Facebook

Hope you enjoy the interview. Thoughts about Tim and/or ‘District C-11’? 

Spotlight on indie dramedy Night Owls’ and interview with writer/director Charles Hood


Night Owls is one of the wonderful indie films screened at Twin Cities Film Fest back in October. Though I didn’t get a chance to see it then, I did meet its writer/director Charles Hood at one of the After Party Mixers. Well, we reconnected via email recently to chat about his film.

I really enjoyed this one, it’s a witty indie comedy/drama that takes place over a single night. The dialog is sometimes raunchy, but there’s a genuine chemistry between the two leads and the script is refreshingly honest and has a natural flow to it. Rosa Salazar won TCFF’s 2015 Indie Vision Breakthrough Performance Award and I think it’s well-deserved.

Now, before I get to the interview, I want to mention that TCFF is showing this at its December Encore Screening at Showplace ICON Theatre today (Wednesday), so if you’re in the area, be sure to grab your tickets! Who says date movies have to be on a Friday night, right?


You worked on your first feature in 2007 and then you did two short films. Do you prefer making shorts or features?

Charles: I prefer making features. I think it’s more difficult to make a good short. It’s harder to show a character grow or change in that short period of time. I like being able to spend some time with the characters and get to know them.

How did you get into the film industry?

Charles: My aunt and uncle work in the film business and they made a home movie with me and my cousins when I was ten years old. It was a pirate movie we made at my grandparents’ little cottage on a lake in Wisconsin. From that point I was totally hooked. I hijacked my parents’ video camera when I got home and started making movies with my friends. I’ve been working at it non-stop ever since then. I went to film school at USC in Los Angeles and met a lot of my collaborators there, in addition to my friends with whom I grew up.

I’m always intrigued by movies that take place over a single day. How did you and your co-writer Seth Goldsmith come up with this story? Was there something that inspired either of you to write this?

Charles: I LOVE movies that take place over a single day. Die Hard, The Ref, The Breakfast Club, the Before Sunrise trilogy, Clue, Rope, The Poseidon Adventure, and the list goes on and on. Those are some of my favorite movies. Seth and I were trying to come up with something that could be done in a single location. We were just trying to be practical for what we knew would be a small budget. We wanted a story that could be done in a contained way like this.

The idea of a character overdosing on sleeping pills and the other character keeping him or her awake all night came up. Then we recalled that scene in Billy Wilder’s The Apartment where Jack Lemmon has to keep Shirley MacLaine awake all night. We figured why can’t that be an entire movie? And from there we had to figure out the reasons why he couldn’t take her to a hospital and that’s where the other side of the story came about. I always like to keep that a surprise for viewers because we did our best to let the mystery unravel as people watch it.


This is the kind of movie that rest on the chemistry of the two actors. Could you share a bit about the casting process for both Adam Pally & Rosa Salazar, and also Peter Krause?

Charles: When we finished the script, our agent asked us to make a list of ten actors we’d want for this. My co-writer Seth had the idea to put Adam Pally on the list. Adam read it and liked it so I met with him and we were on our way. Once Adam got on board, it felt like we had a movie. In addition to being hilarious, he’s a really dedicated actor and just an overall great guy. It was such a pleasure to work with him.

As for Rosa Salazar, Adam was the one who recommended her. They had done a couple of scenes together in another movie and he thought she was fantastic. I was not familiar with her work, but I met with her and immediately was struck by how amazing she is. She’s going to be a star very, very soon. The two of them together have such great chemistry. We were so fortunate to have these two in our movie. They’re just perfect.

Peter Krause is amazing! Seth and I wanted him very badly for the role. We wrote him a letter and sent him the script. It helped that Rosa had a recurring role on his show Parenthood. He is a big fan of Rosa’s so he was excited for her. Plus he liked the script enough that he came on board.


What’s been some of the biggest challenges in making this movie? Please share one of the most memorable moments on the set.

Charles: I think the biggest challenge was finding a way to keep the audience entertained in a movie where it’s mostly just two people in a house talking. On the script level, my co-writer and I made sure to move the plot along and keep revealing new things about the characters throughout the film. We also did our best to explore every inch of the house from scene to scene. When it came time to shoot the movie, my cinematographer Adrian Correia and I worked really hard to move the camera as much as possible. We wanted a more elegant look than handheld so we pushed ourselves to do a lot of dolly moves and I think it really paid off. We also tried to do a bunch of interesting long takes, which I think is fun for the actors and it’s a great way to showcase their chemistry. We have one shot in the middle of the movie that’s over 3 minutes long. The camera slowly pushes in on the two of them and it’s really just their performances holding your attention.

The whole movie basically takes place in this one house and we actually found the place on Air BnB. It was in Topanga Canyon, which is just outside of LA. Most of the crew would commute to set but there were seven of us that actually lived in the house throughout production. It was me, Adam, Rosa, and few of our department heads. It was kind of insane. Our production designer Ayse called it Real World Topanga. It was kind of a logistical nightmare with us living on our set, but it was so much fun. We were shooting mostly nights so at dawn we’d all drink a glass of whiskey, talk about the next day’s shoot, and then go to bed. Those are some very memorable moments for me.

Adam and Rosa on the set of Night Owls

What’s next for you? You’ve done mostly comedies, is there another genre you’re interested in doing?

Charles: I think I’ll mostly stick in the comedy realm. It’s usually somewhere in the comedy-drama spectrum for me. That being said, Seth and I just finished writing a comedy-drama that leans pretty hard on a science fiction premise so that’s pretty fun. But I’d also like to try other genres. At some point it’d be fun to do an action movie or a kung fu movie or a horror movie. It’s just about finding the right story and characters.


Check out the trailer:

Here’s a list of theaters Night Owls is playing at…

  • NYC — Cinema Village
  • Los Angeles — Los Feliz 3
  • Chicago — Facets Cinematheque
  • Detroit — Cinema Detroit
  • Atlanta — Plaza Theatre
  • Denver — Kress Cinema
  • Cleveland — Tower City Cinemas
  • Dallas — Texas Theatre
  • Tampa — The Cinema 6
  • Seattle — Far Away Entertainment

…and VOD outlets:

  • iTunes
  • Amazon Instant Video
  • Google Play
  • Xbox
  • PlayStation
  • Vudu
  • Time Warner Cable Movies on Demand
  • Comcast Xfinity Movies on Demand
  • Shaw (CA)
  • Rogers (CA)
  • Bell (CA)
  • …and many other MVPDs

THANKS for taking the time to chat, Charles!

Hanging out w/ filmmaker Charles Hood who made "Night Owl' and my pal Kirsten Gregerson
Me and my pal Kirsten Gregerson hanging out w/ Charles at TCFF After Party


Spotlight on indie drama A Year & Change + interview with director Stephen Suettinger


I always love stories of redemption and I think a smaller film can often tell such stories in a more sincere, heartfelt way. A Year and Change is a slice-of-life film of a divorcee named Owen who after a failed marriage is a bit lost and drifting aimlessly through life. After falling off the roof at a New Year’s Eve house party, Owen decides that it’s time to make some wholesale changes in his life. In the course of one year, he tries to regain control of his life and in the process he finds new love again. Romance is a big part of the film but it’s not everything this film is about, it’s more about a man’s journey of overcoming the hurdles in his life that keeps him from making the most of his life.

I’ve never seen any film of Bryan Greenberg before and suddenly I saw two of his films where he played the lead. He’s definitely got the gentle charisma as a leading man, but I love the authentic way he portrays the role of Owen. A lot of actors might have the charisma, but not necessarily the sincere vulnerability that make a certain character sympathetic and relatable. The bittersweet romantic drama is a solid directorial debut from Stephen Suettinger. I like how he tells Owen’s story in an understated way and nary of grating over-sentimentality.  The film also deals with dark subjects but without resorting to being overly gloom and doom.


The film has a terrific supporting cast: Claire Van Der Boom, T.R. Knight, Jamie Chung, Jamie Hector and Marshall Allman. Interesting that he’s shared some scenes with Jamie again whom he co-starred in It’s Another Tomorrow in Hong Kong. The script is engaging and the pacing is just right, plus it’s got a pretty cool soundtrack that fits the tone and mood of the story.

I’m glad to hear that the public will be able to see this soon! Vision Films will release the film across North America on DVD and VOD this Thanksgiving November 24th 2015.

Check out the trailer:


TCFF Screening Time(s): 
10/27/2015 (8:15 PM)

I had the privilege of chatting with director Stephen Suettinger about making the film, so thanks so much Steve for the wonderful and entertaining insights!


Q. How did you come to collaborate with Emily Ting? Did you work together before this project?

A couple of years ago, Emily produced one of Jim Beggarly’s scripts called ‘The Kitchen’ which also happened to star Bryan Greenberg. So when Bryan attached to AYAC, I went straight to Emily to see if she’d be interested in coming on board to produce. Thankfully she joined the project or else we may never have gotten the movie made!

Q. I’m always interested in films about second chances in life or starting over, how did you and/or Jim Beggarly come up with the story? I think this is the first time I come across a film with a vending machine owner as the protagonist.

Jim sent me the original script back in 2006. Yes, it took 9 years (!) to finally get it to the screen. To put that in perspective, I’ve had 4 kids since I first read the original draft of Jim’s script which used to be called ‘Dear Jen.’ After reading it back then, I fell in love with the characters. They reminded me of people I knew growing up in Maryland (Jim also grew up here). I was a big fan of Owen being a vending machine owner because there’s this natural paradox of him being in a position to help people (even if just to satisfy their hunger) and yet it’s this very solitary kind of job. He’s often alone, even within a crowd of people.

Bryan with T.R. Knight

I knew I loved the characters, but I didn’t find my way ‘in’ to the story until after my Mom passed away in 2011. They say that when a parent dies, you take one step into the grave with them. Luckily I have a supportive family that made sure that I didn’t spiral into depression. AYAC’s lead character Owen, I realized, didn’t have that kind of support system. So after the many tragedies that he’s lived through (the loss of his parents, the dissolution of his marriage), he’s just kind of ‘stuck’. It became clear to me that AYAC should be a story about Owen surrounding himself with a surrogate family. So that’s the direction that we ultimately took with the story.

Q. You’ve worked as an AD as well as in Special Effects (for Avatar, wow!!), how did you get into the film industry?

My first job in the industry was as an Editor’s PA on the movie ‘Contact.’ I helped set up the editing bays and a screening room in Washington DC when the crew came here to shoot on location. One of the perks of the job was that I got to watch dailies with the director (Robert Zemeckis), the actors, the DP, the editors, and the Producers. It was my first time ‘seeing behind the curtain’ of a movie, and I was instantly hooked. From there I worked as a PA on a bunch of movies that came through the DC/Baltimore area before working as a Production Coordinator for the Discovery Channel.

I directed my first short called ‘Writing Wrongs’ and it was a great experience – but I learned quickly that I didn’t know some of the basic fundamentals of filmmaking. So I went back to grad school at USC’s School of the Cinematic Arts and tried to learn a bit about every discipline involved in the craft of filmmaking. Upon graduating, I reached out to my friends from ‘Contact’ and got a job on Robert Zemeckis’s new motion capture movie ‘Beowulf.’ My job was basically to take Bob Z’s notes and to help out the script supervisor. From there, I moved onto ‘Avatar’ where I was taking James Cameron’s notes and was also on the 3D implementation team for a couple of years. But my dream was always to direct this little script that a playwright from NYC had sent me in 2006 – and after 3 weeks of shooting in December 2013, we finally got it in the can. And now here we are.


Q. How did you come to cast Bryan Greenberg? Would you share about the casting process?

At the premiere of ‘The Kitchen,’ my understanding is that Bryan asked Jim what else he was working on. Jim called me and asked if he could give the script to Bryan. I’ve long been a fan of Bryan’s work so of course I said “please do!” Bryan read it on the plane back to LA, and loved it. I flew out to meet with him shortly after that and we hit it off. He happened to be friends with some of the people I had in mind for the other roles, so it worked out perfectly. Bryan is such a wonderful guy that people really wanted to work with him, so once he came on board, casting moved forward quickly.

Q. You shot your film on location in Montgomery County, MD, which was your hometown. I saw that you shot it during Autumn, my favorite season. What’s been the best moments as well as challenges of making your first feature?

It’s hard to shoot a movie that takes place over an entire year on a very limited budget and a three week production schedule. In order to make Maryland look like any season (but pre-dominantly Fall/Winter since the bulk of the movie takes place in these months), we knew that we’d either have to shoot in December or March. To be honest, we got incredibly lucky with the weather. There’s a saying in Maryland that if you don’t like the weather, wait 10 minutes. There were days when it snowed 6+ inches, which was perfect for the winter scenes, and there were days where it was 60 degrees outside which was perfect for the Spring/Summer scenes. Incredibly, the weather cooperated with us for the most part. Of course there were several occasions where I had to re-write a scene to take place indoors when it was supposed to be an exterior scene, on the night before shooting it – but that happens all the time with low budget independent film-making.


We went to great lengths to shoot during the hiatuses of the big shows that film in Maryland (House of Cards and Veep) so that we could hire some of their crewmembers. We’re very fortunate to have experienced industry professionals as well as vendors (rental houses, post facilities, sound facilities, etc) in the area who are always willing to lend a hand to local filmmakers.

Since I knew we’d be shooting in Maryland, I tailored the script to take place in some of the locations that I knew and loved. But that can be both a blessing and a curse. One of the biggest lessons I learned along the way is that I should try very hard not to shoot in my own house (displacing my family of 5 – including 3 young kids at the time), my in-law’s house, my father’s house, my sister’s house, etc… They were very supportive and we wouldn’t have been able to make the movie without their generosity, but filming in your loved one’s houses brings a whole other set of worries to the table.

Autumn is my favorite season too! It was one of the things I missed most about the East coast while living in LA.

Thanks again Emily and Stephen for chatting w/ me yesterday!


What are your thoughts of A Year and Change? 

Indie Review: Caesar Must Die (2012)


Inmates at a high-security prison in Rome prepare for a public performance of Shakespeare’s “Julius Caesar.”

I have to admit I haven’t seen too many Shakespeare’s plays in my day but even if I did, this would probably stand as the most unique of all of them. That’s because it’s set in Italy’s Rebibbia Prison and performed by its inmates. Directing brothers Paolo and Vittorio Taviani was apparently inspired by a prison production of Dante’s Divine Comedy which prompted them to go back to that facility and work with its resident theater director Fabio Cavalli. Mr. Cavalli plays himself in the film and the performers in this Julius Caesar play are all convicts or former convicts [per NPR]

The film began with the conclusion of the play, which gets a standing ovation from the audience. Then it goes into flashback mode to several months earlier to show us how the play was constructed. The film switches from color to stark black and white, not sure why but perhaps to contrast that with the actual performance itself. The mood of the film is dark and unsettling, though the audition part is quite lively and at times hilarious. During the audition, we learn their names, where they’re from and the serious crimes that got them to this high security prison, which includes drug trafficking and even murder. The rest of the film capture the rehearsal process, which takes place in various parts of the prison—the corridors, cells, courtyard—as they’re being watched by the other inmates. At times during the rehearsal, one of them would ‘break’ out of character and reflect on his past.


The entire time I was watching this I kept pondering how the inmates must’ve been feeling. I was struck by the contrast of how liberating it was for them to be able to perform and express themselves, but yet they’re constantly reminded of their confined lives. I think the striking dichotomy is what makes this film inherently intriguing and it kept me engaged despite the rather slow pace. The finale is definitely a rousing one. The inmates are ecstatic and jubilant seeing how well-received their performance was and it felt so refreshingly real that we can’t help but being happy for them. Then comes the contrast that each and every single one of those performers must return to their cell. It’s heart-wrenching stuff.

I was struck by how good these inmates are as actors. Even during rehearsals, with the way the scenes are filmed, it’s hard to separate them from their characters. It’s said that the performers could use their own Italian dialects/accents for their own character, but since I don’t understand any Italian, I don’t really notice the difference. The Caesar assassination scene, which I’ve seen numerous times in TV shows and films, has a dramatic impact unlike any other. I think the actors playing Caesar, Brutus and Marc Antony stand out the most, but among the three, Salvatore Striano as Brutus is my favorite. I guess he’s the most experienced actor of the bunch as he has also starred in Gomorrah.

Caesar Must Die is certainly one of the most unique films I’ve seen, both in concept and execution. It’s definitely worth the hype and merits the Berlinale’s Golden Bear win.

4 out of 5 reels

Has anyone seen this film yet? If not, what are your thoughts of this concept?

Poster of the Week: indie romance drama HERE

Boy I haven’t done a poster post in ages, nor have I paid Impawards site a visit recently. But a couple nights ago I came across this gorgeous poster of Ben Foster’s upcoming romance drama HERE. I first saw the trailer over at Castor’s post last week and the story appeals to me. It’s rare to see a full-on romance that isn’t a rom-com or something dark and depressing these days.

I love the unconventional layout of this poster, and the shot and colors have that dreamy, melancholic feel. It seems to suggest that the movie will be well-photographed of Armenia as it was shot on location.

Here’s the premise:

Cartographer Will Shepard hits the road for his latest job: to create a new, more accurate satellite survey of Armenia. During his assignment, he forms a bond with an Armenian expatriate and art photographer.

I quite like Ben Foster, I think he’s one of today’s brightest young actors. I first saw him in a small role in X-Men 3 and then in 3:30 to Yuma, both of which showed what he’s capable of. I haven’t seen him in a drama so I’m looking forward to seeing what he’d do with that. He kinds of reminds me of Ryan Gosling when he was doing The Notebook, but I kind of like Foster more as he’s still somewhat obscure (for now anyway).

This is also Braden King’s feature film debut and it’s been previewed in 2011 Sundance and Berlin Film Festival. One of the Sundance reviews praised the film, “Visually sumptuous and with areal literary beauty in both its narrative structure and dialogue…” Sounds like one of those films where the location is almost a character in itself.

Will this be a journey worth taking? I’d be willing to give it a try if it ever comes to my neck of the woods.

What do you think folks? Does this movie appeal to you?

Conspicuous Trailer of the Week: Wish You Were Here

I first caught the still photo from this film at the I Luv Cinema site and it reminded me of a market setting of my homeland Indonesia. Since this is an Australian production, it’s very much possible. Turns out the film is set in Cambodia.

Check out the trailer:

Here’s the plot:

Four friends lose themselves in a carefree South-East Asian holiday. Only three come back. Dave and Alice return home to their young family desperate for answers about Jeremy’s mysterious disappearance. When Alice’s sister Steph returns not long after, a nasty secret is revealed about the night her boyfriend went missing. But it is only the first of many. Who amongst them knows what happened on that fateful night when they were dancing under a full moon in Cambodia?

I must say the trailer looks pretty gripping and I like the fact that they don’t give too much away. Mysterious trailers are really the way to go, especially in a thriller like this. It kind of reminds me of Brokedown Palace a bit that was set in Thailand, which also dealt with drug smuggling. But of course this one might have its own twist.

The only actor I’m familiar with here is Joel Edgerton and I actually have not seen anything he’s in, apart from the Animal Kingdom and Warrior trailer. I’m hoping to see both of those soon, and the 37-year-old Aussie looks pretty compelling in both. I know this is probably a silly comparison but he strikes me as a cross between Guy Pearce and Russell Crowe, not so much in looks but in the way he acts. He’s got a quiet grace about him, that still intensity, that I find appealing. I’m looking forward to seeing him as Tom Buchanan in the adaptation of F. Scott Fitzgerald’s novel The Great Gatsby due out next year.

Anyway, I probably won’t catch this on the big screen as small indies like this might not even make it to my neck of the woods, but definitely a rental.

What do you think folks? Any interest in this one?