Recently, CBS dropped the new,official synopsis/spoilers for their upcoming "Blue Bloods" episode 15 of season 6. The episode is entitled, "Fresh Start," and it turns out that we're going to see some pretty interesting and dramatic stuff take place as a cop that's gone Awol, becomes the main focus for Baez and Danny. Then we'll also see Erin suffering from a major case of guilt after she lets a guy go that is accused of killing a cop, and more! In the new, 15th episode press release: Erin Is Overwhelmed With Guilt When A Man She Recently Set Free Is Accused Of Killing A Cop, On "Blue Bloods," Friday, Feb. 19. Press release number 2: Erin will end up getting overwhelmed with guilt after a man she set free is accused of killing a cop. Also, Frank and Mayor Poole are going to continue their game of political chicken over Frank's reappointment as commissioner,...
- 2/12/2016
- by Andre Braddox
- OnTheFlix
Film to Premiere at a special one-night, invitation-only, engagement sponsored by HBO(R) on October at the AMC Empire 25 on 42nd Street
New York, NY – September 25, 2013 – (Hispanicize Wire) – ProyectoNEXT, a new showcase for emerging Latino and Urban talent sponsored by HBO, will debut next month with the New York premiere of director Henry Barrial’s “The House That Jack Built.” The one-night, invitation-only feature presentation will take place October 2 in Manhattan at the AMC Empire 25.
Hailed by The Hollywood Reporter as a “convincing portrait of a neighborhood and its Nuyorican culture,” and “a majestic journey of crime, family drama, and redemption” by The Awards Circuit, “The House That Jack Built” stars Bronx native E.J. Bonilla and features an all-Latino cast of Caribbean descent from New York, including Melissa Fumero, Leo Minaya, Flor De Liz Perez, Saundra Santiago, John Herrera, and Rosal Colon.
“HBO is extremely excited to partner in the...
New York, NY – September 25, 2013 – (Hispanicize Wire) – ProyectoNEXT, a new showcase for emerging Latino and Urban talent sponsored by HBO, will debut next month with the New York premiere of director Henry Barrial’s “The House That Jack Built.” The one-night, invitation-only feature presentation will take place October 2 in Manhattan at the AMC Empire 25.
Hailed by The Hollywood Reporter as a “convincing portrait of a neighborhood and its Nuyorican culture,” and “a majestic journey of crime, family drama, and redemption” by The Awards Circuit, “The House That Jack Built” stars Bronx native E.J. Bonilla and features an all-Latino cast of Caribbean descent from New York, including Melissa Fumero, Leo Minaya, Flor De Liz Perez, Saundra Santiago, John Herrera, and Rosal Colon.
“HBO is extremely excited to partner in the...
- 9/26/2013
- by El Mayimbe
- LRMonline.com
Jack Be Simple: Barrial’s New York Story Buoyed by Strong Performances
For his fifth feature film, indie filmmaker Henry Barrial takes to the Bronx for a familial relations drama examining notions of family, marriage, and the forced archaic notion of patriarchal authority. While The House That Jack Built is unable to completely sidestep some well-worn clichés, both of a universal nature and those particular to the community within which it is set, Barrial is able to conjure a compelling level of engagement that makes you invested in the eventual outcome. Even better, he manages to do so even with an almost wholly unlikeable lead protagonist.
Jack (E.J. Bonilla) is a hot headed and handsome young patriarchal head of his extended family, and it has long been his life’s goal to provide for them all. Still a very young man, he has purchased an entire apartment complex for his whole family to live in,...
For his fifth feature film, indie filmmaker Henry Barrial takes to the Bronx for a familial relations drama examining notions of family, marriage, and the forced archaic notion of patriarchal authority. While The House That Jack Built is unable to completely sidestep some well-worn clichés, both of a universal nature and those particular to the community within which it is set, Barrial is able to conjure a compelling level of engagement that makes you invested in the eventual outcome. Even better, he manages to do so even with an almost wholly unlikeable lead protagonist.
Jack (E.J. Bonilla) is a hot headed and handsome young patriarchal head of his extended family, and it has long been his life’s goal to provide for them all. Still a very young man, he has purchased an entire apartment complex for his whole family to live in,...
- 6/16/2013
- by Nicholas Bell
- IONCINEMA.com
Upon the Los Angeles Film Festival announcing their 2013 roster I was excited to see a title familiar to me that would be having its world premiere there. That film is 'The House That Jack Built' – from a screenplay written by Joseph B. Vasquez (Hangin' With The Homeboys) that I'd read close to 15 years earlier as an intern and it was rumored that it would be a Spike Lee/John Leguizamo collaboration. The film itself is a 20 year old journey in the making for the producers. The story revolves around Jack, a Puerto Rican drug dealer who yearns for those long gone memories of what was once a happy, united family where he remembers everything as ethereal-like. So he decides to buy a tenement where they can all be under the same roof in hopes of re-creating that joy, when in reality it will never be the same again as his well intentioned gesture tests the families bond to the point of irreparable dysfunction.
The joy for me at the time was reading the last screenplay written by Joe before he passed away in 1995. My friends and I used to quote the hell out of 'Hangin' With The Homeboys' and laugh at the way he wrote these richly drawn urban characters that could walk a very fine line and he was never afraid to push a few buttons when it came to sex, race and class. He knew the comedy in tragedy. The melancholy in reading his last screenplay was that it was his last screenplay.
Born to drug addicted parents in the South Bronx, Joseph started making movies on a Super 8mm camera at the age of 12. Eventually this would lead him to study film at City College in New York where he honed his craft and would later make a low budget, gritty, if not unwatchable film called 'Street Story' (later barely released as 'Street Hitz') where according to Joe, he was writer, director, cinematographer, editor, sound editor, gaffer, negative cutter and music editor. Working with a slightly larger budget and a little more experience his next film would be 'The Bronx War' (which I own on DVD courtesy of a spot on 125th st). It was another film with a story line firmly cemented in the street life that he was familiar and comfortable with. 'The Bronx War' would be the one to catch the attention of New Line Cinema. After all, there weren't many Puerto Rican/Black filmmakers coming out of the Bronx, especially ones that spoke to the surging urban market like he did. They would decide to finance a semi-autobiographical screenplay he wrote in about three days called 'Hangin' With The Homeboys' about an epic, odyssey-like guys night out in New York City with four friends. Each of the four characters represented a different part of Vasquez. He was now making a film for a studio and not paying for it out of his own pocket. But Joseph's life played out much like one of his screenplays. During the shoot, he was slashed down the middle of his forehead to his nose by a homeless man as he took the subway to the set, ending what he believed could have been another career as an actor. The tension on the set was unbearable according to his leads. Still, the film was completed and premiered at the '91 Sundance Film Festival to great success and even walked away with a best screenwriting award. Joseph, suffering from severe Bi-polar disorder started to grow wary of studios like New Line Cinema, the very studio that helped him achieve the success he had enjoyed and started turning down projects such as 'House Party 2', citing that the films had gotten too big and were slipping away from his creative and artistic grasp. Instead he opted to do things his own way as before. A result was 'Manhattan Merengue'. This film, understandably failed to move his career to the next level and Joseph began suffering from manic depression when the offers that once presented themselves to him stopped coming in. Once thought to be the next Spike Lee (a comparison he didn't care for), he alienated those around him and at some later point claimed to be Jesus. His behavior became increasingly erratic and drew great concern from those around him as his health deteriorated. At the time no one knew he had AIDS, to which he would succumb to far from the South Bronx he loved and wrote about. At aged 33 he passed away in San Diego, CA. penniless but with his mother, who got clean, by his side.
Producer Mike Lieber, who had known Joe for many years including during his tumultuous times, held on to the script of 'The House That Jack Built', hoping that one day he could finally get it made. It was something he promised Joseph on his death bed that he would do. After attaching Cuban-American, Henry Barrial (Pig) to direct, they raised a budget that was enough to cover a shoot on HD and raised the rest on Kickstarter to bring it home. Casting was primarily done in the Bronx with E.J Bonilla (Four, Mamitas) cast to play 'Jack' and joined by an all Latino cast that includes Melissa Fumero, Leo Minaya, Saundra Santiago, John Herrera, Flor De Liz Perez and Rosal Colon.
Mike Lieber fulfilled his promise and Joseph Benjamin Vasquez' new film will premiere at The Los Angeles Film Festival which runs June 13-23. Tickets can be bought at http://www.lafilmfest.com . Give them a “Like”: https://www.facebook.com/thehousethatjackbuiltmovie.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
The joy for me at the time was reading the last screenplay written by Joe before he passed away in 1995. My friends and I used to quote the hell out of 'Hangin' With The Homeboys' and laugh at the way he wrote these richly drawn urban characters that could walk a very fine line and he was never afraid to push a few buttons when it came to sex, race and class. He knew the comedy in tragedy. The melancholy in reading his last screenplay was that it was his last screenplay.
Born to drug addicted parents in the South Bronx, Joseph started making movies on a Super 8mm camera at the age of 12. Eventually this would lead him to study film at City College in New York where he honed his craft and would later make a low budget, gritty, if not unwatchable film called 'Street Story' (later barely released as 'Street Hitz') where according to Joe, he was writer, director, cinematographer, editor, sound editor, gaffer, negative cutter and music editor. Working with a slightly larger budget and a little more experience his next film would be 'The Bronx War' (which I own on DVD courtesy of a spot on 125th st). It was another film with a story line firmly cemented in the street life that he was familiar and comfortable with. 'The Bronx War' would be the one to catch the attention of New Line Cinema. After all, there weren't many Puerto Rican/Black filmmakers coming out of the Bronx, especially ones that spoke to the surging urban market like he did. They would decide to finance a semi-autobiographical screenplay he wrote in about three days called 'Hangin' With The Homeboys' about an epic, odyssey-like guys night out in New York City with four friends. Each of the four characters represented a different part of Vasquez. He was now making a film for a studio and not paying for it out of his own pocket. But Joseph's life played out much like one of his screenplays. During the shoot, he was slashed down the middle of his forehead to his nose by a homeless man as he took the subway to the set, ending what he believed could have been another career as an actor. The tension on the set was unbearable according to his leads. Still, the film was completed and premiered at the '91 Sundance Film Festival to great success and even walked away with a best screenwriting award. Joseph, suffering from severe Bi-polar disorder started to grow wary of studios like New Line Cinema, the very studio that helped him achieve the success he had enjoyed and started turning down projects such as 'House Party 2', citing that the films had gotten too big and were slipping away from his creative and artistic grasp. Instead he opted to do things his own way as before. A result was 'Manhattan Merengue'. This film, understandably failed to move his career to the next level and Joseph began suffering from manic depression when the offers that once presented themselves to him stopped coming in. Once thought to be the next Spike Lee (a comparison he didn't care for), he alienated those around him and at some later point claimed to be Jesus. His behavior became increasingly erratic and drew great concern from those around him as his health deteriorated. At the time no one knew he had AIDS, to which he would succumb to far from the South Bronx he loved and wrote about. At aged 33 he passed away in San Diego, CA. penniless but with his mother, who got clean, by his side.
Producer Mike Lieber, who had known Joe for many years including during his tumultuous times, held on to the script of 'The House That Jack Built', hoping that one day he could finally get it made. It was something he promised Joseph on his death bed that he would do. After attaching Cuban-American, Henry Barrial (Pig) to direct, they raised a budget that was enough to cover a shoot on HD and raised the rest on Kickstarter to bring it home. Casting was primarily done in the Bronx with E.J Bonilla (Four, Mamitas) cast to play 'Jack' and joined by an all Latino cast that includes Melissa Fumero, Leo Minaya, Saundra Santiago, John Herrera, Flor De Liz Perez and Rosal Colon.
Mike Lieber fulfilled his promise and Joseph Benjamin Vasquez' new film will premiere at The Los Angeles Film Festival which runs June 13-23. Tickets can be bought at http://www.lafilmfest.com . Give them a “Like”: https://www.facebook.com/thehousethatjackbuiltmovie.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 5/15/2013
- by Juan Caceres
- Sydney's Buzz
How the Garcia Girls Spent Their Summer
PARK CITY -- In answer to the question posed in the title of How the Garcia Girls Spent Their Summer, know that the three women experience life in ways that audiences should find amusing, touching and thoroughly enjoyable.
This one is a treat, although be forewarned that the rhythms of life in a small, sun-blasted Arizona town in mid-summer are slow. People take their time; there's nothing much to do other than to gossip or become the subject of that gossip. Fortunately, the Garcia girls do the latter.
A film that speaks about three generations within a Latino family and about female desire clearly has several audiences. Those who enjoyed the 2002 Sundance winner Real Women Have Curves will certainly embrace this one. Perhaps it's no coincidence that lovely and likable America Ferrera stars in both pictures.
Writer-director Georgina Garcia Riedel makes her feature debut here by expanding one of her short films. The title is tongue in cheek for the "girls" are actually the matriarch of the Garcia family, Dona Genoveva (Lucy Gallardo), a 70-year-old who decides old dogs can learn new tricks; her middle-aged daughter Rosa (Elizabeth Pena), a bitter divorcee grappling with loneliness; and one real girl, Rosa's 17-year-old daughter Blanca (Ferrera), just awakening to womanhood.
Grandmother starts life anew by purchasing a used car. She has never driven, but her gardener, Don Pedro (Jorge Carver Jr.), who is about her age, volunteers to teach her. The town soon takes notice of the two lurching through the back streets.
Then Rosa, fighting off depression and discouragement in her butcher shop, finds herself under romantic siege by the video shop owner (Steven Bauer) across the dusty street. What she fails to notice is the warm affection her butcher Jose Luis (Rick Najera) has for her.
A newcomer to town with a notorious reputation, Sal Juarez (Leo Minaya), cruises by Blanca in his cousin's pick-up often enough that one day she gets in. He turns out to be more sensitive and attentive than she imagined.
Riedel weaves the three plot strands together so each reflects and plays off the others. Seldom has sexual desire by women found its way to the screen with such poignancy and power. That a teen has hormones buzzing inside her is no surprise. But Riedel dares to depict a much older woman still in desperate need for the physical expression of affection.
Clearly her three actresses trusted her in areas where much could go wrong. Their reward is three indelible performances that speak to the yearnings of women of all ages. The tenderness with which Riedel shows the sometimes comical, sometimes emotional inner lives of the Garcia girls is doubly refreshing at a time when cinema seemingly can explore every side to sexuality except that of love.
Riedel possesses a rigorous though unhurried style that gives the sleepy town a hazy beauty. She favors few camera angles per scene and is content to let actors dwell within the frame in virtually still poses. Movement is kept to a minimum as the play of emotions happens in the actors' faces and in the sharp dialogue.
All tech credits are first rate.
HOW THE GARCIA GIRLS SPENT THEIR SUMMER
Loosely Based Pictures
Credits:
Writer/director: Georgina Garcia Riedel
Producers: Georgina Garcia Reidel, Olga Arana, Jose C. Mangualo
Executive producers: Nieves Riedel, David Riedel
Director of photography: Tobias Datum
Production designer: Elizabeth Calienas
Costume designer: Swinda Reichelt
Editor: Sean Robert Olson
Cast:
Lolita: Elizabeth Pena
Blanca: America Ferrera
Dona Genoveva: Lucy Gallardo
Don Pedro: Jorge Cevera, Jr.
Sal Juarez: Leo Minaya
Victor Reyes: Steven Bauer
Jose Luis: Rick Najera
No MPAA rating
Running time -- 128 minutes...
This one is a treat, although be forewarned that the rhythms of life in a small, sun-blasted Arizona town in mid-summer are slow. People take their time; there's nothing much to do other than to gossip or become the subject of that gossip. Fortunately, the Garcia girls do the latter.
A film that speaks about three generations within a Latino family and about female desire clearly has several audiences. Those who enjoyed the 2002 Sundance winner Real Women Have Curves will certainly embrace this one. Perhaps it's no coincidence that lovely and likable America Ferrera stars in both pictures.
Writer-director Georgina Garcia Riedel makes her feature debut here by expanding one of her short films. The title is tongue in cheek for the "girls" are actually the matriarch of the Garcia family, Dona Genoveva (Lucy Gallardo), a 70-year-old who decides old dogs can learn new tricks; her middle-aged daughter Rosa (Elizabeth Pena), a bitter divorcee grappling with loneliness; and one real girl, Rosa's 17-year-old daughter Blanca (Ferrera), just awakening to womanhood.
Grandmother starts life anew by purchasing a used car. She has never driven, but her gardener, Don Pedro (Jorge Carver Jr.), who is about her age, volunteers to teach her. The town soon takes notice of the two lurching through the back streets.
Then Rosa, fighting off depression and discouragement in her butcher shop, finds herself under romantic siege by the video shop owner (Steven Bauer) across the dusty street. What she fails to notice is the warm affection her butcher Jose Luis (Rick Najera) has for her.
A newcomer to town with a notorious reputation, Sal Juarez (Leo Minaya), cruises by Blanca in his cousin's pick-up often enough that one day she gets in. He turns out to be more sensitive and attentive than she imagined.
Riedel weaves the three plot strands together so each reflects and plays off the others. Seldom has sexual desire by women found its way to the screen with such poignancy and power. That a teen has hormones buzzing inside her is no surprise. But Riedel dares to depict a much older woman still in desperate need for the physical expression of affection.
Clearly her three actresses trusted her in areas where much could go wrong. Their reward is three indelible performances that speak to the yearnings of women of all ages. The tenderness with which Riedel shows the sometimes comical, sometimes emotional inner lives of the Garcia girls is doubly refreshing at a time when cinema seemingly can explore every side to sexuality except that of love.
Riedel possesses a rigorous though unhurried style that gives the sleepy town a hazy beauty. She favors few camera angles per scene and is content to let actors dwell within the frame in virtually still poses. Movement is kept to a minimum as the play of emotions happens in the actors' faces and in the sharp dialogue.
All tech credits are first rate.
HOW THE GARCIA GIRLS SPENT THEIR SUMMER
Loosely Based Pictures
Credits:
Writer/director: Georgina Garcia Riedel
Producers: Georgina Garcia Reidel, Olga Arana, Jose C. Mangualo
Executive producers: Nieves Riedel, David Riedel
Director of photography: Tobias Datum
Production designer: Elizabeth Calienas
Costume designer: Swinda Reichelt
Editor: Sean Robert Olson
Cast:
Lolita: Elizabeth Pena
Blanca: America Ferrera
Dona Genoveva: Lucy Gallardo
Don Pedro: Jorge Cevera, Jr.
Sal Juarez: Leo Minaya
Victor Reyes: Steven Bauer
Jose Luis: Rick Najera
No MPAA rating
Running time -- 128 minutes...
- 1/25/2005
- The Hollywood Reporter - Movie News
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