director because I can see potential in his first feature length effort. It’s just going to take him a bit to get it all to gel.

If you want to view this one for yourself, then head on over to Tubi. It’s streaming there as of this writing. As for me, I kind of want my 80 minutes back.

Join me again tomorrow and we’ll continue this strange little journey down the horror rabbit hole…hopefully with some better selections.

Middleburg Review: ‘Fingernails’
Jessie Buckley, Riz Ahmed, And Jeremy Allen White Put Love To The Test In Christos Nikou's Quirky Sci-Fi Comedy

By
Travis Hopson
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If you could take a test that proves you and your partner are in love, would you do it? The more important question in Christos Nikou’s quirky, enjoyable sci-fi dark comedy Fingernails is SHOULD you do it? Set in the near future, scientists have developed a procedure that can do just that, and the ramifications are predicably extreme. Those who fail the compatability test just give up; while others who score 100% stay together, knowing they are meant to be. But there are those who don’t believe in the test and refuse to take it. And the system isn’t without its faults.

Sound pretty weird? Does it perhaps sound like it springs from the mind of The Lobster director Yorgos Lanthimos? Well, Nikou was a Lanthimos protege at one point, and this premise is definitely in the same vein. The central story is lead by the a tremendous trio of actors. Jessie Buckley is Anna, with Jeremy Allen White as her partner, Ryan. They’ve been together a while, their relationship already given the stamp of approval. They are “meant to be”, but for Anna things have gotten pretty dull and rote. An exciting night is watching nature docs while snuggling on the couch. A teacher by trade, Anna gets a new job working at The Love Institute, where the love tests are actually performed.

They could set an entire workplace comedy series at The Love Institude and I’d be happy with it. This place also offers couples lesson designed to increase their compatability prior to testing. These lessons are like something ripped from the mind of a deluded rom-com filmmaker. There are Hugh Grant movie marathons, couples skydiving, pheromone smell tests, underwater couples staring. As for the test itself…well, this is wear it gets kinda gruesome. Each person must have a fingernail ripped off, which are then placed in a microwave-esque machine that spits out the results: 0%, 50%, or 100%.

Of course, you and I know that love can’t be broken down into numbers so easily. But in this world, people are accepting it as gospel. Those who don’t end up like Anna, who is getting along breezily with her new workmate, Amir (Riz Ahmed), as they try to help other couples pass the test. The chemistry between Anna and Amir is easy, full of laughter and conversation and they make one another feel things. He’s a great dancer, a sensitive chap with ideas about love; albeit with a possible girlfriend (Annie Murphy) he seems to really like. It isn’t long before Anna begins to question her relationship with Ryan…except, the test says they are supposed to be together, right?

It’s all very confusing for Anna, even though you and I get it. One frustrating aspect of Fingernails is that it’s never explained why anyone puts stock in the test at all. We have no shortage of scams that claim to be able to help us find our soulmate, and very few of us buy into them. So why would it work in this future? Also, what’s up with the people who take the test multiple times? If they didn’t believe it the first time, why rip out another fingernail for something you don’t have any faith in?

Digging into the details of Fingernails will only cause you to dislike the movie, and I found it’s best to invest in the performances of Buckley, Ahmed, and White, who are all so believable you can ignore how false everything else feels. In particular, I found myself wanting a movie where Buckley and Ahmed just walk and talk and fall in love, Before Sunrise-style, without having to have a fingernail torn off to prove it.

Fingernails opens in select theaters on October 27th, followed by Apple TV+ streaming on November 3rd.

Middleburg Review: ‘Society Of The Snow’
J.A. Bayona's Harrowing Andes Survival Thriller Is A Triumph

By
Travis Hopson
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The story of the 1972 crash of Uruguayan Air Force Flight 571 in the Andes Mountains has been told more than once on the big screen. The most notable of those is 1993’s Alive, which featured a mostly-white cast of rising star actors (including Ethan Hawke), and became known as that movie with all of the cannibalism. Leave it to us to reduce the harrowing tale of the crash survivors to something so basic. Fortunately, filmmaker J.A. Bayona teamed with journalist Pablo Vierci for Society of the Snow, a more authentic take on this incredible tale of survival and strength of the human spirit.

Most of us know the details already, but to be honest, until you’ve seen Society of the Snow you don’t have any real idea the extent of the suffering, the vast chasm of hopelessness the survivors had to cross. The flight carried 45 passengers, many of them members of the Old Christians rugby team, aged in their early 20s. All young men with their lives ahead of them. This was meant to be a simple flight to Chile, one last adventure before many of them would go on to have careers and to lead separate lives.

Then, the crash. It is unlike any plane crash you’ll ever see depicted in a motion picture. The violent savagery of the G-forces and the cold and the wind so sharp it cuts like a razor, the amount of damage it does to a human body is all captured with ugly detail by Bayona. The Spanish filmmaker has a knack for depicting the sheer terror of nature’s fury. Even after all of the movies he’s done, his best film to date remains survival thriller The Impossible, which will leave you slack-jawed in its depiction of a tsunami hitting land. At the screening I attended the gasps echoed throughout the theater as these young ruby players, their friends and family, were tossed about and torn to shreds. When it was over I realized I was holding my breath the entire time.

What Bayona understands better than most is the silence after such a traumatic event. Along with cinematographer Pedro Luque, Bayona reveals the quiet beauty and perilous nature of the snow-covered Andes. Wide shots establish eternal sheets of white, glistening under the sunlight jewel-like that under other circumstances they’d be astonishingly beautiful. But as the survivors, 29 after the initial crash, take stock of their surroundings there’s no beauty in it, only carnage and despair.

The tricky part is not letting the film fall so far into tragedy that it can never dig its way out. This being an ensemble affair, we are introduced to the passengers in brief snippets of their lives back home. More importantly is who they become after the crash. Some are natural born leaders, like Numa (Enzo Vogrincic), who more than any other could be considered a lead character. The team aspect of their previous lives comes into play in the building of their makeshift shelfter, and they become something closer than family. Still, as conditions worsen, and they definitely do, we see their faith tested in ways that are unimaginable. And yes, there comes a point when the lack of food leads the survivors to eat whatever flesh is available, but Bayona does not make a crass meal of this terrible thing they must do.

While a bit hefty at 2 hours and 20+ minutes, Society of the Snow rarely feels stuck in place. That’s quite a feat for a film that is largely set in the same patch of icy land. Michael Giacchino’s incredible score is a definite plus, in particular has knack for knowing when music is necessary and when it isn’t. Sometimes he hits you with a silence so deafening it’ll buckle your knees, only to hit you in the face with an emotional beat as the survivors overcome one unfathomable hardship after the next. It can be exhausting the hardship these people endure, and many times you’ll think this is one thing too many. But the human will to survive is resilient, made stronger by the bonds forged with others, and out of respect to those who are lost. And in those moments of triumph, Society of the Snow is tremendous for what it reaffirms about all of us.

Society of the Snow opens in theaters this December, followed by Netflix on January 4th 2024.

Review: ‘Onyx The Fortuitous And The Talisman Of Souls’
Andrew Bowser Turns His Viral Hit Into A Surprisingly Fun Little Film With A Heart

By
Ronny Sharpes
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Most of us…scratch that, anyone who has been online in the past 5 years is more than likely familiar with Andrew Bowser. Or at the very least his fast talking, charismatic quirky somewhat irritating persona of viral Youtube fame. Notice me senpai! He gathered quite a bit of a cult following which eventually led to him being hired at Nerdist. Well, after a successful Kickstarter campaign raised a little over $600k he’s made a film and shocker, it’s actually not that bad.

Onyx the Fortuitous and the Talisman of Souls follows fledgling occultist manchild Marcus aka Onyx (Andrew Bowser) as he navigates the lonely life of a friendless fast food employee. Living with his mom (Barbara Crampton) he dreams of the day he can learn directly under the tutelage of his idol Bartok the Great (Jeffrey Combs) and become a powerful practitioner of the Dark Arts. After losing his job and life seems at its lowest he wins a contest to take part in a Satanic ritual led by none other than Bartok himself.

After arriving at Bartok’s mansion with nothing but his trusty Battlecats lunchbox in tow, he meets his fellow contest winners. Mackenzie (Rivkah Reyes) the laid back witchy one, Jesminder (Melanie Chandra) the tattoo artist plagued with visions of past lives, the suburban Christian housewife turned Satanist Shelley (Arden Myrin) and the scholarly Mr. Duke (Terrence Carson). Little do they know they are just pawns in a grand scheme Bartok and his psychic minion Farrah (Olivia Taylor Dudley) have devised to gain immortality. But there’s a prophecy. It is foretold that the “fortuitous one” could ruin their plans. Could it be that Marcus’ greater purpose is yet to be discovered?

I’m not going to lie, I went into this one with super low expectations. I mean, I had already grown tired of this YouTube celebs shtick so how entertaining could a feature length film of the same be? Surprisingly, very fun indeed! It was well acted with everyone involved understanding their assignment, playing up to the wacky vibe of the story. Combs was amazing as the over-the-top power hungry Bartok. But the scene that had me rolling was an absinthe induced dream sequence where Marcus finds himself in the music video for Meatloaf’s “I’d Do Anything for Love (But I Won’t Do That)” in full appliance makeup, crooning to Farrah. Cringe worthy comedic gold.

One of the things that caught my attention was the amazing practical effects. The soulless demons were brought to life utilizing animatronics and puppetry reminiscent of its heyday back in the 80’s. I couldn’t get over the detail taken for the sets and wardrobe too. Everything from the cavernous house full of secret passages to the ornate ceremonial garb brought this film to another level and made me actually believe that a meme can be made into a movie.

While the trope of the unsuspecting hero is a well used one, Onyx the Fortuitous and the Talisman of Souls takes that and creates an entertaining, extremely charming watch from start to finish. Prior to watching this, I never would have thought I’d be saying this but if you’re looking for a fun dark fantasy film, sprinkled with a little foul-mouthed cringe humor then look no further. This is worth the watch. You can find this one in theaters as of October 19th.

Review: ‘Upload Season 3’
The Digital Afterlife Show Continues Brilliant Satire In Its Third Season

By
Khalil Johnson
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A few years back, showrunner Jeff Daniels (of The Office and Parks and Recreation fame) introduced us to the concept of a “Digital Afterlife” in the comedy-drama show Upload on Amazon Prime. The notion of the idea of uploading your digital consciousness to a cloud-based “virtual afterlife” while science-fictiony, is not too unrealistic nowadays with the advancement of AI. The concept was explored in the Black Mirror episode “Be Right Back,” but with it being Black Mirror it was dark (of course). But with Upload, it was the perfect way to explore how our technology is changing while also making some fun satire taking a swing at our corporate consumerism culture.

Centering on computer programmer Nathan (Robbie Amell) who died in the first season of the show and joined the “Lakeview” digital afterlife, Upload has brilliantly explored various issues concerning consumerism, but also layered in a great story about relationships. Season two of Upload ended with Nathan finally able to “download” into a new cloned body his former materialistic and obsessive girlfriend Ingrid (Allegra Edwards) so that he could go back into the real world to be with his now-girlfriend (and former digital afterlife handler or “angel”) Nora (Andy Allo) and further investigate who murdered him because he was on the verge of creating a “free” digital afterlife.

Because there has never been a successful download into a new body (every time it was attempted, the downloaded person’s head exploded), Nathan and Nora are worried the same may happen to him. But now that he’s back in a new body and in the real world, he gets to explore his relationship with Nora to go beyond digital. However, the powers that be at the Lakeview Digital Afterlife company can’t admit that Nathan is gone, so they simply activate a backup copy of Nathan in the digital world. Now with two Nathans running around (who are essentially the same person with a couple of months of experience removed) Upload also gets to explore the concept of what makes you “you” based on experiences vs biology. Real-world Nathan continues to fight for uploaded people (or “uploads”) while digital Natan wants to continue his relationship with Ingrid (who is still faking that she’s dead in Lakeview and not VR-ing into the digital world).

In addition to a strange love quadrangle between the real-world and digital Nathans and their perspective girlfriends and them all trying to stick it to the man, Upload also explored other characters from the previous seasons. Aleesha (Zainab Johnson) is moving up the corporate ladder and going from “Angel” to executive and gets to see some of the dark side of middle management. She also continues to develop her friendship with Luke (Kevin Bigley), who is still dead and in Lakeview. Her friendship (and perhaps something more) with Luke as well as her new relationship with ruthless and cutthroat executive Karina (Jeanine Mason) are further explored.

Upload continues its biting satire of this new world that exists with plenty of fun Easter Eggs. While I don’t want to work for “Oscar Myer Intel,” have my Thanksgiving ham 3D printed, or tune in to Kim Kardashian’s Supreme Court hearing on C-SPAN, I wouldn’t mind voting for Steve Kerr to join the US Senate or go to the Shawn Carter (Jay Z) Memorial Hospital. Upload continues to look at our culture and just pushes it a little bit into the fantastical yet possible future in a clever and hilarious way. Upload also has something to say about the haves and have-nots as the digital afterlife is only for those with enough money for it. In fact, Natan was murdered for trying to buck the system, but in the third season of Upload, Nathan and Nora team up with one of Nathan’s former girlfriends to file a class-action suit against the corporation. Nathan also learns the downside of being “undocumented” because even though he downloaded into a cloned body, he doesn’t have any rights as he is dead. He can’t even get a job outside of cleaning up garbage on the street. Speaking of worker’s rights, the corporation is lobbying Congress to allow digital people to work (at a reduced rate) echoing how corporations use prison labor for pennies on the dollar to net even more profits.

With Upload being an Amazon show, they once again poke fun at themselves a little bit. In the middle of the season, there’s a “Discount Day” at the Lakeview Digital afterlife which feels eerily similar to how Amazon runs its annual “Prime Day” sales. While a it’s tongue-in-cheek self-referential comedy about “fake discounts” and excess consumerism, we all know Amazon does this on the regular. You really can’t criticize something you do to reap your profits, and still do it to reap your profits. That being said, I’m sure I’ll be logging in on the next Prime Day like the rest of the planet does!

The cast continues to be great and deliver from the exceptional writing of Upload. Robbie Amel absolutely is no longer a supporting cast actor and he’s successfully anchored three seasons of Upload. The standouts from the third season are Zainab Johnson as Aleesha and Kevin Bigley as Luke. While Luke is the comedic relief with him fanboying for Nathan more than Charles Boyle does for Jake, he also has some serious moments, especially as his friendship with Aleesha continues to grow. The season ends with the conclusion of the class-action suit against the corporation and does it in the most realistic manner that leaves you begging for a third season to happen. Overall Upload is a fun time!

Upload is currently available on Prime Video.

Upload

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Middleburg Review: ‘Rustin’
Colman Domingo Brings A Forgotten Civil Rights Icon To Life

By
Travis Hopson
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Biographical dramas, biopics, are the coal that drives the engine of awards season. It can be a bit of a drag watching so many that fail to find new ways to present the information of a subject’s life, because they ALL center on fascinating, worthy people at their core. Netflix’s Rustin is slightly different, though. While the presentation by director George C. Wolfe is indeed very by-the-book, its subject is someone who most people have never heard of even as his chief accomplishment, the March On Washington, is something we all know as pivotal to the civil rights movement.

Rustin shares something else in common with other biopics, and that’s an incredible lead performance. Colman Domingo enters the Oscar season race for his portrayal of Bayard Rustin, a man whose efforts have largely been erased from history. We all know the 1963 March On Washington and the iconic “I Have A Dream” speech by Martin Luther King Jr.(Aml Ameen), a close personal friend of Rustin’s, but without Rustin’s leadership, coordination, and political savvy it might never have gotten off the ground.

In 1960, Rustin is a major player in the civil rights movement, working closely with the NAACP (led by Roy Wilkins, oddly played by Chris Rock) and his good friend MLK. Rustin’s plan for a large-scale display of civil disobedience is shelved by a threat to reveal his homosexuality to the world. Rustin gambles it’ll all work out; it doesn’t, however, and he’s basically removed from the movement, feeling betrayed by MLK who did nothing to support him.

Set largely in 1963, the year of the March, Rustin follows a strict, formulaic approach. It’s easy to see why, as Julian Breece and Dustin Lance Black’s screenplay is meant to inform an audience who have likely never heard of Bayard Rustin before. They don’t know his struggle as a gay Black man, fighting for civil rights that he will only be able to see the benefits from in one respect, but not another. And yet Rustin couldn’t sit back and watch as the horrific perpetrated against Black people continued. He decided to reignite his plan for the March with or without the help of the NAACP. However, he would absolutely need to reconnect with his old friend MLK to pull off the 100,000-person, two-day event meant to force change in Washington.

Wolfe is a playwright at heart, and his film projects can feel a bit stagey and static. Rustin is no different, despite Branford Marsalis’ jazzy score. A clunky screenplay full of oddly-placed monologues and emotional shortcuts do Domingo few favors, and yet the actor prevails tremendously. The film is at its strongest when Domingo is in the center of the action, capturing Rustin’s natural charm and charisma that disarms those who might stand opposed to him, otherwise. Rustin is left to navigate the hypocrisy of civil rights leaders and their homophobia. And while a love triangle between Rustin, a staffer, and a fellow group leader is handled with kid gloves, it is nonetheless fascinating to watch Rustin negotiate his queerness in private and in public.

Rustin is always his whole, true self, which rubs a lot of people the wrong way. If he had chosen to stay quiet and closeted, Rustin’s goals would’ve been achieved much earlier, but his story would be less remarkable. It’s that he refused to hide his homosexuality and still was able to overcome the bigotry to achieve something earth-shattering that is so moving about his story. Rustin might not be the extraordinary work that Bayard Rustin truly deserves. It shows flashes of greatness here and there, but they never coalesce into a consistent whole. The one consistently great aspect to Rustin is Domingo, with a towering performance that makes you believe this one man could pull off such a herculean effort. It also makes you wonder the strings that had to be pulled to keep such a pioneering figure out of the history books.

Rustin opens in select theaters on November 3rd, followed by Netflix streaming on November 17th.

Review: ‘Night Of The Hunted’
Franck Khalfoun Injects Culture War Rhetoric Into A Sniper Thriller.

By
Ronny Sharpes
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Director Franck Khalfoun is responsible for one of my favorite remakes in recent history, Maniac (2012). Knowing the care he took to pay homage to one of my favorite genre films while also making it his own, showed me that knew what he was doing when it came to filmmaking. So when I saw his name attached to Night of the Hunted I jumped at the opportunity to check it out.

Pharmaceutical rep Alice (Camille Rowe) is picked up in the middle of the night from a hotel by her friend John (Jeremy Scippio) to head to an appointment for fertility treatments. Along the way they are pinned down at a remote gas station by a sociopathic sniper with a hidden agenda. While dodging bullets, trying to survive she’s desperately attempting to figure out exactly why he wants her dead.

There’s quite a bit to unpack in just the opening few scenes alone. The film opens with our view of a motel through the windshield of a vehicle. Military dog tags hanging from the rearview. We have Alice getting a phone call from her husband at 2am discussing fertility treatments and there seems to be a disconnect between the two, as if the relationship is on the rocks. During this we see that she is not alone in the room, there is an anonymous man sharing her bed. She slips out and hops in the car with her coworker John who seems to be an object of affection as well. Already you can kind of feel where this headed once she’s trapped in the gas station. Could the sniper be a jilted lover? But no, the viewer is thrown a curve ball once we find out that the gunman is a fringe, conspiracy-driven nut spouting buzzwords pulled directly from the headlines of the past few years. January 6th, vaccine mandates, evil pharmaceutical companies, 5g microchips and the like, feels like Khalfoun pulled his inspiration for the character directly from the Fox News headlines.

I really liked the tension Khalfoun was able to create here. He was able to draw you into the situation and put you in Alice’s shoes. The helpless feeling of being trapped in one location with a crazed gunman just out of sight and not knowing exactly where the shots are coming from. The few random people that could rescue you are gunned down before they even have a chance. A billboard proclaiming “GODISNOWHERE” towering over. There is literally no hope and the viewer feels that. It’s palpable. My only real issue with this film is the heavy-handedness of the shooter’s motives. I understand it’s a time capsule of the headline issues of 2020 to the present day. An outsider’s view of American politics, of the right vs the left, woke vs red pill-ers but it ended up feeling like a parody of what I thought could have been a great premise for a movie. I felt that Alice’s character had enough going on to fuel the shooter’s motive without making it a current event. Infidelity is a timeless trope and wouldn’t have made this something that could be watchable at any time without drawing the viewer back to the events of the past few years.

That being said, I enjoyed the movie even with the issues I had. Khalfoun really knows how to create a tense moment and a bleak feeling of helplessness. I just wish he would have taken a different route and not confined this to a specific time frame. For me, that limits the rewatchability. But I will say it’s worth the watch at least once. Night of the Hunted will be available on Shudder October 20th.

31 Days Of Horror: Day 19 ‘Blood Feast’ (1963)
Directed by: Herschell Gordon Lewis

By
Ronny Sharpes
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Synopsis: An Egyptian caterer kills various women in suburban Miami using their body parts to revive the dormant goddess Ishtar while an inept police detective tries to track him down.

By day, Fuad Ramses runs a niche catering company, by night he murders women and collects their body parts. His goal is to prepare a blood feast in order to revive the long dormant goddess Ishtar. That’s about it. There really isn’t much to this movie except what’s needed to fuel the blood and gore.

Directed by the one and only “Godfather of Gore” himself, Blood Feast is one that’s long been on my list. Some of the first movies I remember watching (at an age I probably shouldn’t have been) were directed by Lewis himself. The likes of 2000 Maniacs, The Wizard of Gore and The Gore Gore Girls are the sanguine filled shock films of 60’s and 70’s that laid the foundation for the slashers in the 80’s. They’re pure schlock made specifically for shock value and I love them. Practical effects including buckets of blood and the most ridiculously brutal gags fill the runtime and they’re rarely burdened with an extensive storyline or exposition. As a young aspiring FX artist in the 80’s, these flicks were a wet dream. Films today could never pull off what was done back then. It’s a time capsule of a specific era in genre history and probably why I tend to dislike CGI effects of the horror films of today.

These types of flicks are definitely not for everyone but if you like your horror filled with severed limbs and tons of bright red blood then look no further. Blood Feast wastes no time with its 67 minute runtime and will absolutely satisfy that itch for you.

You can find this currently streaming on Tubi as of this writing.

Join me again tomorrow as we continue this strange journey down the horror rabbit hole.

This trailer is pretty explicit so I’m going to leave it as a clickable link rather than embedding it. View it at your own discretion. You’ve been warned.

‘Saltburn’ Trailer: Barry Keoghan Gets Lost In A World Of Sin In Emerald Fennell’s New Thriller

By

Travis Hopson

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October 19, 2023

Between Rustin and now Saltburn, it seems today is the day to drop new trailers for films playing at this week’s Middleburg Film Festival, which kicks off tonight. Emerald Fennell’s follow-up up to her Oscar-winning film Promising Young Woman stars Barry Keoghan and Jacob Elordi (who can also be seen as Elvis in Priscilla) and is set on the sprawling estate of a wealthy, eccentric family.

Fennell wrote and directed the film, and also produces alongside Margot Robbie. The cast features Rosamund Pike, Richard E. Grant, Alison Oliver, Gran Turismo‘s Archie Madekwe, and Carey Mulligan who reunites with Fennell after Promising Young Woman.

Here’s the synopsis: Academy Award winning filmmaker Emerald Fennell brings us a beautifully wicked tale of privilege and desire. Struggling to find his place at Oxford University, student Oliver Quick (Keoghan) finds himself drawn into the world of the charming and aristocratic Felix Catton (Elordi), who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten.

Saltburn opens in select theaters on November 17th, with a wide release beginning November 22nd. Our review should arrive shortly.

‘Anyone But You’ Trailer: Sydney Sweeney And Glen Powell Are A Mismatched Couple With Steamy Chemistry

By

Travis Hopson

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October 19, 2023

For a supposedly dead genre, traditional rom-coms haven’t gone anywhere and are still quite popular. You just have to make sure to have the right leads, and in the case of Anyone But You, it’s tough to argue with the pairing of Euphoria breakout Sydney Sweeney and Top Gun: Maverick‘s Glen Powell.

The premise is a familiar one, as the duo plays an especially toxic pair of old college classmates who fake being in a relationship so as to deal with their exes while attending a friend’s wedding in Australia. We’ve seen this exact plot done many times before, drawing inspiration from Shakespeare’s Much Ado About Nothing.

Steering this ship is Will Gluck, a filmmaker who launched his career by catapulting Emma Stone to stardom with Easy A. He also directed Annie, Friends with Benefits, and both Peter Rabbit movies. Basically, every comedy he touches is gold at the box office. The results don’t lie.

Also in the cast are Alexandra Shipp, Bryan Brown, GaTa, Hadley Robinson, Michelle Hurd, and Dermot Mulroney. Darren Barnet and Rachel Griffiths.

Anyone But You opens in theaters on December 15th.