Los Angeles — Arrestees who say they were denied bail because they had federal immigration holds sued the Los Angeles County sheriff on Friday alleging they were illegally detained for days or months.
The American Civil Liberties Union of Southern California filed the lawsuit in federal court in Los Angeles challenging Sheriff Lee Baca's ability to detain arrestees solely on the basis of an immigration hold when they are eligible for bail or other forms of release.
Plaintiff Duncan Roy – a British film director – said he was held in jail for nearly three months because of a hold filed by Immigration and Customs Enforcement, even though he tried multiple times to post bail.
"The sheriff says, he's on an Ice hold, and the Ice people say, well, he's got to make bond," said Roy, who was eventually released after Ice removed the immigration detainer. "They keep you in this limbo where...
The American Civil Liberties Union of Southern California filed the lawsuit in federal court in Los Angeles challenging Sheriff Lee Baca's ability to detain arrestees solely on the basis of an immigration hold when they are eligible for bail or other forms of release.
Plaintiff Duncan Roy – a British film director – said he was held in jail for nearly three months because of a hold filed by Immigration and Customs Enforcement, even though he tried multiple times to post bail.
"The sheriff says, he's on an Ice hold, and the Ice people say, well, he's got to make bond," said Roy, who was eventually released after Ice removed the immigration detainer. "They keep you in this limbo where...
- 10/19/2012
- by AP
- Huffington Post
The former "Sex Rehab with Dr. Drew" star who's accused of attempting to extort a mystery victim in a threatening letter appeared in an L.A. courtroom today and pled not guilty to the crime ... TMZ has learned. TMZ broke the story ... Duncan Roy -- who directed the 2002 indy hit "Aka" -- was arrested last week for felony attempted extortion. It's still unclear who Roy allegedly tried to extort -- and what he allegedly demanded.
- 11/23/2011
- by TMZ Staff
- TMZ
Duncan Roy , a film director who appeared on "Sex Rehab with Dr. Drew," was arrested this week on charges of felony attempted extortion ... TMZ has learned. Roy was busted on November 15 by the Los Angeles Sheriff's Department. He's being held at Van Nuys Jail on an immigration hold -- which usually can happen when non-American citizens are arrested on felony charges. Roy was born in Whitstable, Kent, England. He is due in court on November...
- 11/20/2011
- by TMZ Staff
- TMZ
There’s a rather large elephant in the room and this time, I’m not talking about anybody’s peen. What exactly are we watching here? Is this a heavily manipulated reality show or a completely scripted hoax?
Duncan Roy’s tell-all blog, where he outs his date with Derek on last week's show as being fake and works to channel himself into some pretentious mountain-dwelling gas-bagish approximation of Henry David Thoreau, throws all of that into question.
Reading it flooded me with questions. Who are we? Is there a God? Why does Mad Men keep winning Emmys? I mean sure, it’s good and all. But there are tons of better shows. Why do they get to hog the spotlight year after …
Sorry. What was I saying? Oh yeah.
I’ve deployed a highly sophisticated technique when it comes to writing these recaps. I sit down, watch the show,...
Duncan Roy’s tell-all blog, where he outs his date with Derek on last week's show as being fake and works to channel himself into some pretentious mountain-dwelling gas-bagish approximation of Henry David Thoreau, throws all of that into question.
Reading it flooded me with questions. Who are we? Is there a God? Why does Mad Men keep winning Emmys? I mean sure, it’s good and all. But there are tons of better shows. Why do they get to hog the spotlight year after …
Sorry. What was I saying? Oh yeah.
I’ve deployed a highly sophisticated technique when it comes to writing these recaps. I sit down, watch the show,...
- 8/16/2011
- by BriOut
- The Backlot
Today in things that Hollywood is doing, but shouldn't be, Eddie Murphy will be voicing Hong Kong Phooey in a live action/animation film. While it was from a simpler time when we didn't notice these things as much, I caught Hong Kong Phooey the other night on Boomerang and found it quite racist.
Cats on scanners is way weirder than it sounds.
Rosanne Barr is planning a sitcom comeback with Downwardly Mobile, which will mine a lot of the same territory her old show did. I'm not sure though – in the current economy that might hit a little too close to reality to be funny.
If you decide to get into adult gay films and the family doesn't approve, Michael Musto has your back.
Naked and Famous Denim has released a pair of glow-in-the-dark jeans. Currently available at Barneys, which means that you don't want to know what they cost.
Cats on scanners is way weirder than it sounds.
Rosanne Barr is planning a sitcom comeback with Downwardly Mobile, which will mine a lot of the same territory her old show did. I'm not sure though – in the current economy that might hit a little too close to reality to be funny.
If you decide to get into adult gay films and the family doesn't approve, Michael Musto has your back.
Naked and Famous Denim has released a pair of glow-in-the-dark jeans. Currently available at Barneys, which means that you don't want to know what they cost.
- 8/11/2011
- by Ed Kennedy
- The Backlot
Dr. Drew Pinsky has responded to Sex Rehab cast member Duncan Roy's criticism that Dr. Drew didn't know anything about sex addiction by admitting that he didn't know much about sex addiction. "I learned a lot about treating sex addiction while working on the show. Knowing that I'm not an expert on sex addiction, I surrounded myself with a team of people who were. I'm leading the team, I'm organizing the team, but I'm not...
- 12/20/2009
- by Andy Dehnart
- Reality Blurred
Duncan Roy, a cast member on Sex Rehab with Dr. Drew, which ends its first season on Sunday night, says Dr. Drew didn't know anything about sex addiction, and instead would repeat what a real sex therapist said. In an essay about his experiences, Roy also claims that one cast member, Kari Ann Peniche, failed a drug test but was allowed to stay. On The Daily Beast, Roy writes that he initially "decided that a...
- 12/18/2009
- by Andy Dehnart
- Reality Blurred
Welcome back to the Pop Culture Club, where this week we visited one of my pet obsessions, Dr. Drew's latest “D-listers get the D.T.'s” series: Sex Rehab. I have been down this road with Dr. D for two Celebrity Rehabs and a Sober House, and — to use the most common pun possible for this show — I'm addicted. The dilemma I always face in watching his shows is that I can never decide whether it's exploitative or not. Do you remember, from when you were kids, the "That's good/that's bad" story? Someone would tell a long shaggy dog...
- 11/5/2009
- by Josh Wolk
- EW.com - PopWatch
AKA
Empire Pictures
NEW YORK -- There's a certain authenticity of feeling in this film, written and directed by Duncan Roy, about a young man who insinuates himself into the world of the upper class by posing as one of their own. That's because Roy performed a similar stunt between the ages of 17 and 22 and went to prison for his troubles.
Unfortunately, this film based on his experiences is not quite as compelling as the filmmaker's own story might have been, due somewhat to its lackadaisical pacing and jarring shifts of tone but mainly because of the unfortunate decision to present the entire film in a triptych format, with three separate images onscreen at the same time. As it was in recent similar efforts like Mike Figgis' "Timecode", the technique is needlessly distracting and off-putting, and this intimate story is hardly in need of such a device.
Set in the late 1970s, "AKA" presents the misadventures of Dean Page (Matthew Leitch), a handsome and articulate 18-year-old from a lower-middle-class family who has long suffered both the constraints of his upbringing and the often violent abuse of his stepfather. Inspired by his mother's rather deluded notion of being friends with the upper-class customers she waits on at the restaurant at which she works, Dean approaches one of the haughtier ones, Lady Gryffoyn (Diana Quick), and snags a job as an assistant at her gallery.
Soon, Lady Gryffoyn has taken the personable young man under her wing, even inviting him to live temporarily in her house because he has nowhere else to go. But things don't go quite as well with her jealous son, Alex (Blake Ritson), and Dean, taking the advice of his American friend Benjamin (Peter Youngblood Hills), hightails it to Paris, where he, a la "The Talented Mr. Ripley", assumes Alex's identity. He finds himself living with Benjamin and his rich lover (George Asprey), eventually taking Benjamin's place in the older man's affections and home. Meanwhile, his audacious spending on stolen credit cards has attracted the interest of the local police.
Telling his tale at a sluggish, attenuated pace, the director-screenwriter doesn't help matters with his screenplay's often artificial-sounding dialogue and stereotypical characterizations. Also problematic are the shifts in tone -- from realistic drama to comedy of manners to would-be thriller -- and the highly uneven performances. Although Leitch is quite convincing as the duplicitous Dean, several of the supporting players are allowed to indulge their character's more exaggerated traits too often.
But most deleterious is the split-screen approach, which reduces the widescreen image to three small boxes. Inconsistently shifting from framing the action from a variety of angles to simply repeating certain images to presenting other visuals entirely, the technique adds little in the way of illumination and a lot in terms of inducing a migraine. the film suffers from an overeagerness to make the action compelling, with uncertain camera placement and frantic editing at times serving to distract rather than enhance. The choreography by Laurie Ann Gibson (who has a small part as Honey's evil rival) ranges from a baffling and lifeless Tweet video, with its robotic moves and incongruous Flying by Foy, to the exuberant freestyling of the kids in Honey's class. The highlight is the kids' rehearsal for a Ginuwine video: Shot simply, the scene boasts terrific dancing and the story's most powerful dramatic moment.
HONEY
Universal Pictures
A Marc Platt/Nuamerica production
Credits:
Director: Bille Woodruff
Screenwriters: Alonzo Brown, Kim Watson
Producers: Marc Platt, Andre Harrell
Executive producer: Billy Higgins
Director of photography: John R. Leonetti
Production designer: Jasna Stefanovich
Music: Mervyn Warren
Costume designer: Susan Matheson
Editors: Mark Helfrich, Emma E. Hickox
Cast:
Honey Daniels: Jessica Alba
Chaz: Mekhi Phifer
Benny: Lil' Romeo
Gina: Joy Bryant
Michael Ellis: David Moscow
Mrs. Daniels: Lonette McKee
Raymond: Zachary Isaiah Williams
Katrina: Laurie Ann Gibson
As themselves: Missy Elliott, Jadakiss & Sheek, Shawn Desman, Ginuwine, Harmonica Sunbeam, Rodney Jerkins, Silkk, 3rd Storee, Tweet
Running time -- 94 minutes
MPAA rating: PG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
NEW YORK -- There's a certain authenticity of feeling in this film, written and directed by Duncan Roy, about a young man who insinuates himself into the world of the upper class by posing as one of their own. That's because Roy performed a similar stunt between the ages of 17 and 22 and went to prison for his troubles.
Unfortunately, this film based on his experiences is not quite as compelling as the filmmaker's own story might have been, due somewhat to its lackadaisical pacing and jarring shifts of tone but mainly because of the unfortunate decision to present the entire film in a triptych format, with three separate images onscreen at the same time. As it was in recent similar efforts like Mike Figgis' "Timecode", the technique is needlessly distracting and off-putting, and this intimate story is hardly in need of such a device.
Set in the late 1970s, "AKA" presents the misadventures of Dean Page (Matthew Leitch), a handsome and articulate 18-year-old from a lower-middle-class family who has long suffered both the constraints of his upbringing and the often violent abuse of his stepfather. Inspired by his mother's rather deluded notion of being friends with the upper-class customers she waits on at the restaurant at which she works, Dean approaches one of the haughtier ones, Lady Gryffoyn (Diana Quick), and snags a job as an assistant at her gallery.
Soon, Lady Gryffoyn has taken the personable young man under her wing, even inviting him to live temporarily in her house because he has nowhere else to go. But things don't go quite as well with her jealous son, Alex (Blake Ritson), and Dean, taking the advice of his American friend Benjamin (Peter Youngblood Hills), hightails it to Paris, where he, a la "The Talented Mr. Ripley", assumes Alex's identity. He finds himself living with Benjamin and his rich lover (George Asprey), eventually taking Benjamin's place in the older man's affections and home. Meanwhile, his audacious spending on stolen credit cards has attracted the interest of the local police.
Telling his tale at a sluggish, attenuated pace, the director-screenwriter doesn't help matters with his screenplay's often artificial-sounding dialogue and stereotypical characterizations. Also problematic are the shifts in tone -- from realistic drama to comedy of manners to would-be thriller -- and the highly uneven performances. Although Leitch is quite convincing as the duplicitous Dean, several of the supporting players are allowed to indulge their character's more exaggerated traits too often.
But most deleterious is the split-screen approach, which reduces the widescreen image to three small boxes. Inconsistently shifting from framing the action from a variety of angles to simply repeating certain images to presenting other visuals entirely, the technique adds little in the way of illumination and a lot in terms of inducing a migraine. the film suffers from an overeagerness to make the action compelling, with uncertain camera placement and frantic editing at times serving to distract rather than enhance. The choreography by Laurie Ann Gibson (who has a small part as Honey's evil rival) ranges from a baffling and lifeless Tweet video, with its robotic moves and incongruous Flying by Foy, to the exuberant freestyling of the kids in Honey's class. The highlight is the kids' rehearsal for a Ginuwine video: Shot simply, the scene boasts terrific dancing and the story's most powerful dramatic moment.
HONEY
Universal Pictures
A Marc Platt/Nuamerica production
Credits:
Director: Bille Woodruff
Screenwriters: Alonzo Brown, Kim Watson
Producers: Marc Platt, Andre Harrell
Executive producer: Billy Higgins
Director of photography: John R. Leonetti
Production designer: Jasna Stefanovich
Music: Mervyn Warren
Costume designer: Susan Matheson
Editors: Mark Helfrich, Emma E. Hickox
Cast:
Honey Daniels: Jessica Alba
Chaz: Mekhi Phifer
Benny: Lil' Romeo
Gina: Joy Bryant
Michael Ellis: David Moscow
Mrs. Daniels: Lonette McKee
Raymond: Zachary Isaiah Williams
Katrina: Laurie Ann Gibson
As themselves: Missy Elliott, Jadakiss & Sheek, Shawn Desman, Ginuwine, Harmonica Sunbeam, Rodney Jerkins, Silkk, 3rd Storee, Tweet
Running time -- 94 minutes
MPAA rating: PG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
- 7/9/2004
- The Hollywood Reporter - Movie News
AKA
Empire Pictures
NEW YORK -- There's a certain authenticity of feeling in this film, written and directed by Duncan Roy, about a young man who insinuates himself into the world of the upper class by posing as one of their own. That's because Roy performed a similar stunt between the ages of 17 and 22 and went to prison for his troubles.
Unfortunately, this film based on his experiences is not quite as compelling as the filmmaker's own story might have been, due somewhat to its lackadaisical pacing and jarring shifts of tone but mainly because of the unfortunate decision to present the entire film in a triptych format, with three separate images onscreen at the same time. As it was in recent similar efforts like Mike Figgis' "Timecode", the technique is needlessly distracting and off-putting, and this intimate story is hardly in need of such a device.
Set in the late 1970s, "AKA" presents the misadventures of Dean Page (Matthew Leitch), a handsome and articulate 18-year-old from a lower-middle-class family who has long suffered both the constraints of his upbringing and the often violent abuse of his stepfather. Inspired by his mother's rather deluded notion of being friends with the upper-class customers she waits on at the restaurant at which she works, Dean approaches one of the haughtier ones, Lady Gryffoyn (Diana Quick), and snags a job as an assistant at her gallery.
Soon, Lady Gryffoyn has taken the personable young man under her wing, even inviting him to live temporarily in her house because he has nowhere else to go. But things don't go quite as well with her jealous son, Alex Blake Ritson), and Dean, taking the advice of his American friend Benjamin (Peter Youngblood Hills), hightails it to Paris, where he, a la "The Talented Mr. Ripley", assumes Alex's identity. He finds himself living with Benjamin and his rich lover (George Asprey), eventually taking Benjamin's place in the older man's affections and home. Meanwhile, his audacious spending on stolen credit cards has attracted the interest of the local police.
Telling his tale at a sluggish, attenuated pace, the director-screenwriter doesn't help matters with his screenplay's often artificial-sounding dialogue and stereotypical characterizations. Also problematic are the shifts in tone -- from realistic drama to comedy of manners to would-be thriller -- and the highly uneven performances. Although Leitch is quite convincing as the duplicitous Dean, several of the supporting players are allowed to indulge their character's more exaggerated traits too often.
But most deleterious is the split-screen approach, which reduces the widescreen image to three small boxes. Inconsistently shifting from framing the action from a variety of angles to simply repeating certain images to presenting other visuals entirely, the technique adds little in the way of illumination and a lot in terms of inducing a migraine. the film suffers from an overeagerness to make the action compelling, with uncertain camera placement and frantic editing at times serving to distract rather than enhance. The choreography by Laurie Ann Gibson (who has a small part as Honey's evil rival) ranges from a baffling and lifeless Tweet video, with its robotic moves and incongruous Flying by Foy, to the exuberant freestyling of the kids in Honey's class. The highlight is the kids' rehearsal for a Ginuwine video: Shot simply, the scene boasts terrific dancing and the story's most powerful dramatic moment.
HONEY
Universal Pictures
A Marc Platt/Nuamerica production
Credits:
Director: Bille Woodruff
Screenwriters: Alonzo Brown, Kim Watson
Producers: Marc Platt, Andre Harrell
Executive producer: Billy Higgins
Director of photography: John R. Leonetti
Production designer: Jasna Stefanovich
Music: Mervyn Warren
Costume designer: Susan Matheson
Editors: Mark Helfrich, Emma E. Hickox
Cast:
Honey Daniels: Jessica Alba
Chaz: Mekhi Phifer
Benny: Lil' Romeo
Gina: Joy Bryant
Michael Ellis: David Moscow
Mrs. Daniels: Lonette McKee
Raymond: Zachary Isaiah Williams
Katrina: Laurie Ann Gibson
As themselves: Missy Elliott, Jadakiss & Sheek, Shawn Desman, Ginuwine, Harmonica Sunbeam, Rodney Jerkins, Silkk, 3rd Storee, Tweet
Running time -- 94 minutes
MPAA rating: PG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
NEW YORK -- There's a certain authenticity of feeling in this film, written and directed by Duncan Roy, about a young man who insinuates himself into the world of the upper class by posing as one of their own. That's because Roy performed a similar stunt between the ages of 17 and 22 and went to prison for his troubles.
Unfortunately, this film based on his experiences is not quite as compelling as the filmmaker's own story might have been, due somewhat to its lackadaisical pacing and jarring shifts of tone but mainly because of the unfortunate decision to present the entire film in a triptych format, with three separate images onscreen at the same time. As it was in recent similar efforts like Mike Figgis' "Timecode", the technique is needlessly distracting and off-putting, and this intimate story is hardly in need of such a device.
Set in the late 1970s, "AKA" presents the misadventures of Dean Page (Matthew Leitch), a handsome and articulate 18-year-old from a lower-middle-class family who has long suffered both the constraints of his upbringing and the often violent abuse of his stepfather. Inspired by his mother's rather deluded notion of being friends with the upper-class customers she waits on at the restaurant at which she works, Dean approaches one of the haughtier ones, Lady Gryffoyn (Diana Quick), and snags a job as an assistant at her gallery.
Soon, Lady Gryffoyn has taken the personable young man under her wing, even inviting him to live temporarily in her house because he has nowhere else to go. But things don't go quite as well with her jealous son, Alex Blake Ritson), and Dean, taking the advice of his American friend Benjamin (Peter Youngblood Hills), hightails it to Paris, where he, a la "The Talented Mr. Ripley", assumes Alex's identity. He finds himself living with Benjamin and his rich lover (George Asprey), eventually taking Benjamin's place in the older man's affections and home. Meanwhile, his audacious spending on stolen credit cards has attracted the interest of the local police.
Telling his tale at a sluggish, attenuated pace, the director-screenwriter doesn't help matters with his screenplay's often artificial-sounding dialogue and stereotypical characterizations. Also problematic are the shifts in tone -- from realistic drama to comedy of manners to would-be thriller -- and the highly uneven performances. Although Leitch is quite convincing as the duplicitous Dean, several of the supporting players are allowed to indulge their character's more exaggerated traits too often.
But most deleterious is the split-screen approach, which reduces the widescreen image to three small boxes. Inconsistently shifting from framing the action from a variety of angles to simply repeating certain images to presenting other visuals entirely, the technique adds little in the way of illumination and a lot in terms of inducing a migraine. the film suffers from an overeagerness to make the action compelling, with uncertain camera placement and frantic editing at times serving to distract rather than enhance. The choreography by Laurie Ann Gibson (who has a small part as Honey's evil rival) ranges from a baffling and lifeless Tweet video, with its robotic moves and incongruous Flying by Foy, to the exuberant freestyling of the kids in Honey's class. The highlight is the kids' rehearsal for a Ginuwine video: Shot simply, the scene boasts terrific dancing and the story's most powerful dramatic moment.
HONEY
Universal Pictures
A Marc Platt/Nuamerica production
Credits:
Director: Bille Woodruff
Screenwriters: Alonzo Brown, Kim Watson
Producers: Marc Platt, Andre Harrell
Executive producer: Billy Higgins
Director of photography: John R. Leonetti
Production designer: Jasna Stefanovich
Music: Mervyn Warren
Costume designer: Susan Matheson
Editors: Mark Helfrich, Emma E. Hickox
Cast:
Honey Daniels: Jessica Alba
Chaz: Mekhi Phifer
Benny: Lil' Romeo
Gina: Joy Bryant
Michael Ellis: David Moscow
Mrs. Daniels: Lonette McKee
Raymond: Zachary Isaiah Williams
Katrina: Laurie Ann Gibson
As themselves: Missy Elliott, Jadakiss & Sheek, Shawn Desman, Ginuwine, Harmonica Sunbeam, Rodney Jerkins, Silkk, 3rd Storee, Tweet
Running time -- 94 minutes
MPAA rating: PG-13>Emma: Dina Waters
Michael: Marc John Jefferies
Megan: Aree Davis
Running time -- 88 minutes
MPAA rating: PG...
- 12/16/2003
- The Hollywood Reporter - Movie News
'Method' actress: Hurley to die for in Junction film
In what will likely be her first movie role since giving birth to her son a year ago, Elizabeth Hurley is in negotiations to star in Junction Films' The Method for British director Duncan Roy. Production on the film begins in July in Romania. Written by Katie Fetting, the project is described as Day for Night meets Basic Instinct. It follows a celebrity actress (Hurley) who gets her dream role playing real-life 19th century serial killer Belle Gunness in a feature film and starts to take on the characteristics of the role onscreen and off. Junction Films' Donald Kushner and Brad Wyman are producing with Andrew Stevens of Trademark Entertainment. Trademark will act as worldwide sales agent for the film. Junction and Trademark are co-financing the project, which is budged in the $7 million range. Hurley, repped by UTA and attorney Steven Brookman, most recently starred onscreen in Paramount Pictures' Serving Sara. Her credits include Bedazzled and Austin Powers: The Spy Who Shagged Me. Roy, who is repped by Innovative Artists, wrote, directed and executive produced the indie feature AKA. The film was nominated for a BAFTA Award for best first feature this year and won the audience award at the Outfest Film Festival in October.
- 5/7/2003
- The Hollywood Reporter - Movie News
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