30 year old Amber (Devin Dunne Cannon) has decided to leave her husband, Ethan (Daniel Fox). The two share custody of their daughter Emily. Soon after leaving, Amber finds herself falling for Logan (Bridget Barkan), and embarking on her first relationship with a woman, but their relationship is tested both by Amber’s nervousness to acknowledge it in public and by outside pressures.
The most evocative moments in Walk With Me come right at the beginning. When Amber announces, perhaps two minutes in, that she’s leaving her husband it comes out of the blue and without explanation. It’s effective, as is a shot of him standing in place as her packed boxes slowly dissolve from the frame, as if turning his back on what’s happening might stop it being real, at putting us in his shoes. Minutes later, a shot of Amber moving into the middle of her...
The most evocative moments in Walk With Me come right at the beginning. When Amber announces, perhaps two minutes in, that she’s leaving her husband it comes out of the blue and without explanation. It’s effective, as is a shot of him standing in place as her packed boxes slowly dissolve from the frame, as if turning his back on what’s happening might stop it being real, at putting us in his shoes. Minutes later, a shot of Amber moving into the middle of her...
- 3/17/2022
- by Sam Inglis
- HeyUGuys.co.uk
New York disco outfit Escort unveiled an expertly detailed and hilariously precise shot-for-shot remake of Journey’s notorious “Separate Ways” video for their new song “Outta My Head.” The track will appear on the band’s upcoming LP, City Life, out April 12th.
Released in 1983, the “Separate Ways” video found Journey performing the song — or, more infamously, pretending to perform the song on air instruments — on a dock while a stylish woman walked around, oblivious to them. At the end, it’s revealed that the woman was asleep and listening to the song on headphones.
Released in 1983, the “Separate Ways” video found Journey performing the song — or, more infamously, pretending to perform the song on air instruments — on a dock while a stylish woman walked around, oblivious to them. At the end, it’s revealed that the woman was asleep and listening to the song on headphones.
- 4/10/2019
- by Jon Blistein
- Rollingstone.com
New York disco outfit Escort bring their party to the club, the subway and the park in the video for their new song, “City Life,” the title track from their forthcoming album, out April 12th.
“City Life” is a thumping ode to late-night revelry that features vocals from club legend Fonda Rae (“Over Like a Fat Rat”). The Bridget Barkan-directed video for “City Life” follows Escort’s new lead singer Nicki B as she travels around New York City, dancing and singing the song on a subway platform, in...
“City Life” is a thumping ode to late-night revelry that features vocals from club legend Fonda Rae (“Over Like a Fat Rat”). The Bridget Barkan-directed video for “City Life” follows Escort’s new lead singer Nicki B as she travels around New York City, dancing and singing the song on a subway platform, in...
- 2/26/2019
- by Jon Blistein
- Rollingstone.com
The Meeting hosted by Justin Sayre, the acclaimed comedyvariety show, will return to Joe's Pub at The Public Theater on Sunday, October 25 at 930 Pm to continue the Fall 2015 Season. The October 2015 show will feature a celebration ofthe cult film Practical Magic for Halloween, with special guests Bridget Barkan, Isaac Oliver, Angela Dicarlo, Salty Brine, Carol Lipnik and Marc Dommu. Tracy Stark serves as the show's Music Director.
- 10/22/2015
- by BWW News Desk
- BroadwayWorld.com
The Meeting hosted by Justin Sayre, the acclaimed comedyvariety show, will begin the three-month engagement at Joe's Pub at The Public Theater on Thursday, January 16 at 930 Pm with a celebration of Rock legend David Bowie. After a highly-successful season at 54 Below, the show is returning to its downtown roots this year. The January show will feature special guests Michael Musto, Molly Pope, Joseph Keckler, Bridget Barkan, Michael Cavadias and Raquel Cion.
- 1/8/2014
- by BWW News Desk
- BroadwayWorld.com
Continuing on with featuring black web series…the last one, and still currently being feature, Issa Rae’s Awkward Black Girl series, has been well-received by you all, and is apparently doing very well across the web.
Here’s another… this one is called Rhyme Animal. I forget who sent this to me… but its synopsis reads: “an ambitious hip-hop DJ rides the coattails of an up-and-coming rapper. One problem: the rapper might also be a cannibalistic serial killer.”
How’s that for a plotline?
Its stars Al Thompson, Craig “muMs” Grant and Bridget Barkan; written by Jorge Rivera, Aaron F. Schnore, Billy Fox; and directed by Phil Roc.
Watch below the first 3 episodes of the HBO/Nyilff Pitch-a-thon 2009 winner, and Mabff 2010 Winner for Best Web Series; and as with the last time, your comments will determine whether we continue to feature the series on this site, so have at...
Here’s another… this one is called Rhyme Animal. I forget who sent this to me… but its synopsis reads: “an ambitious hip-hop DJ rides the coattails of an up-and-coming rapper. One problem: the rapper might also be a cannibalistic serial killer.”
How’s that for a plotline?
Its stars Al Thompson, Craig “muMs” Grant and Bridget Barkan; written by Jorge Rivera, Aaron F. Schnore, Billy Fox; and directed by Phil Roc.
Watch below the first 3 episodes of the HBO/Nyilff Pitch-a-thon 2009 winner, and Mabff 2010 Winner for Best Web Series; and as with the last time, your comments will determine whether we continue to feature the series on this site, so have at...
- 3/25/2011
- by Tambay
- ShadowAndAct
PARK CITY -- Freedom's just another course for everything else to lose. In this story of a young woman just released from prison who tries to recon-nect with her young daughter, "freedom" entails the possibility of returning to drugs. Starring Maggie Gyllenhaal, "Sherrybaby" might find its widest audience on the Lifetime network.
In this hu-mane and vital story, filmmaker Laurie Collyer has captured the horror of having a life go out of control. In addicts' terms, Sherry (Gyllenhaal) has a lot of "wreckage": things she must clean up in her life caused during her drugging and jailing. When Sherry is released on parole to a halfway house, she makes a full-hearted attempt to re-enter her daughter Alexis Ryan' Simpkins) life. Not surprisingly, the little girl is wary, and it's evident that her brother (Brad Henke) and sister-in-law (Bridget Barkan) have bonded strongly with Alexis.
It's a daunting undertaking for someone as fragile as Sherry, especially because she doesn't clearly see the fine line of her addiction. Socially and psychologically, it's survival one day at a time. Enduring the abrasions of the halfway house as well as the hostilities of her parole officer (Giancarlo Esposito), Sherry inevitably lets the pressures get to her: a sip of beer, and it's straight back down that slippery slope.
Buoyed by Gyllenhaal's hauntingly complex portrait of the vivacious but addictive Sherry, the film is no mere by-the-numbers chronology of addiction. Gyllenhaal's sympathetic and charismatic performance binds us to the horror of Sherry's personal demons. In true addict fashion, Gyllenhaal bounds between euphoria and despair.
Under Collyer's understanding hand, other performances are exemplary, most prominently Danny Trejo as a weather-beaten but life-driven addict.
Technical contributions cap off the intelligent storytelling: Cinematographer Russell Lee Fine's incisive framings clue us to the delicate personal relationships, while composer Mark Livesey's edgy sounds nudge us to the horrors that one weak moment can wreak.
SHERRYBABY
Sherry Films
Credits:
Screenwriter-director: Laurie Collyer
Producers: Marc Turtletaub, Lemore Syvan
Executive producer: Jeb Brody
Director of photography: Russell Lee Fine
Production designer: Stephen Beatrice
Music: Jack Livesey
Costume designer: Jill Newell
Editors: Curtiss Clayton, Joe Landauer
Cast:
Sherry: Maggie Gyllenhaal
Bobby: Brad Henke
Parole Officer Hernandez: Giancarlo Esposito
Bob Sr.: Sam Bottoms
Lynette: Bridget Barkan
Alexis: Ryan Simpkins
Marcia: Kate Burton
Andy: Rio Hackford
Dean: Danny Trejo
No MPAA rating
Running time -- 96 minutes...
In this hu-mane and vital story, filmmaker Laurie Collyer has captured the horror of having a life go out of control. In addicts' terms, Sherry (Gyllenhaal) has a lot of "wreckage": things she must clean up in her life caused during her drugging and jailing. When Sherry is released on parole to a halfway house, she makes a full-hearted attempt to re-enter her daughter Alexis Ryan' Simpkins) life. Not surprisingly, the little girl is wary, and it's evident that her brother (Brad Henke) and sister-in-law (Bridget Barkan) have bonded strongly with Alexis.
It's a daunting undertaking for someone as fragile as Sherry, especially because she doesn't clearly see the fine line of her addiction. Socially and psychologically, it's survival one day at a time. Enduring the abrasions of the halfway house as well as the hostilities of her parole officer (Giancarlo Esposito), Sherry inevitably lets the pressures get to her: a sip of beer, and it's straight back down that slippery slope.
Buoyed by Gyllenhaal's hauntingly complex portrait of the vivacious but addictive Sherry, the film is no mere by-the-numbers chronology of addiction. Gyllenhaal's sympathetic and charismatic performance binds us to the horror of Sherry's personal demons. In true addict fashion, Gyllenhaal bounds between euphoria and despair.
Under Collyer's understanding hand, other performances are exemplary, most prominently Danny Trejo as a weather-beaten but life-driven addict.
Technical contributions cap off the intelligent storytelling: Cinematographer Russell Lee Fine's incisive framings clue us to the delicate personal relationships, while composer Mark Livesey's edgy sounds nudge us to the horrors that one weak moment can wreak.
SHERRYBABY
Sherry Films
Credits:
Screenwriter-director: Laurie Collyer
Producers: Marc Turtletaub, Lemore Syvan
Executive producer: Jeb Brody
Director of photography: Russell Lee Fine
Production designer: Stephen Beatrice
Music: Jack Livesey
Costume designer: Jill Newell
Editors: Curtiss Clayton, Joe Landauer
Cast:
Sherry: Maggie Gyllenhaal
Bobby: Brad Henke
Parole Officer Hernandez: Giancarlo Esposito
Bob Sr.: Sam Bottoms
Lynette: Bridget Barkan
Alexis: Ryan Simpkins
Marcia: Kate Burton
Andy: Rio Hackford
Dean: Danny Trejo
No MPAA rating
Running time -- 96 minutes...
- 1/23/2006
- The Hollywood Reporter - Movie News
HBO Films
NEW YORK -- Filmmaker Jim McKay, known for his well-observed, miniaturist dramas of New York life ("Girls Town", "Our Song"), has come up with another winner in this drama about the imminent closing of a beloved Brooklyn diner. Touching on themes of race relations, gentrification and upward mobility, "Everyday People" resonates with generous warmth for all of its complicated characters. The film serves as the opening-night attraction for this year's New Directors/New Films series, co-presented by the Museum of Modern Art and the Film Society of Lincoln Center.
Taking place over the course of a single long day, the film is set at Raskin's, a fictional Brooklyn diner bearing no small resemblance to the legendary Junior's (it was actually filmed at another N.Y. dining institution, Ratner's, on the Lower East Side). Ira (Jordan Gelber), the diner's young Jewish owner, is closing a deal to sell the struggling restaurant to a real estate consortium, represented by Ron (Ron Butler), an aggressive black businessman who believes that the intended redevelopment will serve to upgrade the depressed area.
Arthur (Stephen McKinley Henderson), Raskin's maitre d' and longest-lasting employee, is given the task of informing the staff that their jobs will last but three more weeks, and the news is predictably not taken well. Particularly irate is Sol (Stephen Axelrod), a former doctor who became a junkie and went to prison and who counts on his admittedly menial employment to help him keep his life together.
As the news resonates among the staff, we are introduced in greater detail to the various characters, including cashier Joleen (Bridget Barkan), a single mother trying to make ends meet; waitress Erin (Sydnee Stewart), who's working to support herself while she pursues her dream of becoming a poet; Betty (Iris Little-Thomas), Erin's mother, a successful businesswoman; and kitchen worker Samel (Billoah Greene), who's about to begin college.
Perhaps the film's most arresting figure is Akbar (played in riveting fashion by Reg E. Cathey), a customer who spends his days in front of the restaurant hawking ribbons promoting black identity and haranguing passersby.
McKay's screenplay, developed from improvisational workshops with dozens of actors conducted by the filmmaker and executive producer Nelson George, has its stereotypical aspects -- certainly, the central story line feels overly familiar -- but it has an undeniable authenticity in its characterizations and situations and an empathy that is all too rare even in independent cinema. The ensemble cast, featuring a mixture of veterans and newcomers, deliver nary a false note in their performances, and Russell Lee Fine's cinematography evocatively captures the diner's Old World ambiance.
NEW YORK -- Filmmaker Jim McKay, known for his well-observed, miniaturist dramas of New York life ("Girls Town", "Our Song"), has come up with another winner in this drama about the imminent closing of a beloved Brooklyn diner. Touching on themes of race relations, gentrification and upward mobility, "Everyday People" resonates with generous warmth for all of its complicated characters. The film serves as the opening-night attraction for this year's New Directors/New Films series, co-presented by the Museum of Modern Art and the Film Society of Lincoln Center.
Taking place over the course of a single long day, the film is set at Raskin's, a fictional Brooklyn diner bearing no small resemblance to the legendary Junior's (it was actually filmed at another N.Y. dining institution, Ratner's, on the Lower East Side). Ira (Jordan Gelber), the diner's young Jewish owner, is closing a deal to sell the struggling restaurant to a real estate consortium, represented by Ron (Ron Butler), an aggressive black businessman who believes that the intended redevelopment will serve to upgrade the depressed area.
Arthur (Stephen McKinley Henderson), Raskin's maitre d' and longest-lasting employee, is given the task of informing the staff that their jobs will last but three more weeks, and the news is predictably not taken well. Particularly irate is Sol (Stephen Axelrod), a former doctor who became a junkie and went to prison and who counts on his admittedly menial employment to help him keep his life together.
As the news resonates among the staff, we are introduced in greater detail to the various characters, including cashier Joleen (Bridget Barkan), a single mother trying to make ends meet; waitress Erin (Sydnee Stewart), who's working to support herself while she pursues her dream of becoming a poet; Betty (Iris Little-Thomas), Erin's mother, a successful businesswoman; and kitchen worker Samel (Billoah Greene), who's about to begin college.
Perhaps the film's most arresting figure is Akbar (played in riveting fashion by Reg E. Cathey), a customer who spends his days in front of the restaurant hawking ribbons promoting black identity and haranguing passersby.
McKay's screenplay, developed from improvisational workshops with dozens of actors conducted by the filmmaker and executive producer Nelson George, has its stereotypical aspects -- certainly, the central story line feels overly familiar -- but it has an undeniable authenticity in its characterizations and situations and an empathy that is all too rare even in independent cinema. The ensemble cast, featuring a mixture of veterans and newcomers, deliver nary a false note in their performances, and Russell Lee Fine's cinematography evocatively captures the diner's Old World ambiance.
HBO Films
NEW YORK -- Filmmaker Jim McKay, known for his well-observed, miniaturist dramas of New York life ("Girls Town", "Our Song"), has come up with another winner in this drama about the imminent closing of a beloved Brooklyn diner. Touching on themes of race relations, gentrification and upward mobility, "Everyday People" resonates with generous warmth for all of its complicated characters. The film serves as the opening-night attraction for this year's New Directors/New Films series, co-presented by the Museum of Modern Art and the Film Society of Lincoln Center.
Taking place over the course of a single long day, the film is set at Raskin's, a fictional Brooklyn diner bearing no small resemblance to the legendary Junior's (it was actually filmed at another N.Y. dining institution, Ratner's, on the Lower East Side). Ira (Jordan Gelber), the diner's young Jewish owner, is closing a deal to sell the struggling restaurant to a real estate consortium, represented by Ron (Ron Butler), an aggressive black businessman who believes that the intended redevelopment will serve to upgrade the depressed area.
Arthur (Stephen McKinley Henderson), Raskin's maitre d' and longest-lasting employee, is given the task of informing the staff that their jobs will last but three more weeks, and the news is predictably not taken well. Particularly irate is Sol (Stephen Axelrod), a former doctor who became a junkie and went to prison and who counts on his admittedly menial employment to help him keep his life together.
As the news resonates among the staff, we are introduced in greater detail to the various characters, including cashier Joleen (Bridget Barkan), a single mother trying to make ends meet; waitress Erin (Sydnee Stewart), who's working to support herself while she pursues her dream of becoming a poet; Betty (Iris Little-Thomas), Erin's mother, a successful businesswoman; and kitchen worker Samel (Billoah Greene), who's about to begin college.
Perhaps the film's most arresting figure is Akbar (played in riveting fashion by Reg E. Cathey), a customer who spends his days in front of the restaurant hawking ribbons promoting black identity and haranguing passersby.
McKay's screenplay, developed from improvisational workshops with dozens of actors conducted by the filmmaker and executive producer Nelson George, has its stereotypical aspects -- certainly, the central story line feels overly familiar -- but it has an undeniable authenticity in its characterizations and situations and an empathy that is all too rare even in independent cinema. The ensemble cast, featuring a mixture of veterans and newcomers, deliver nary a false note in their performances, and Russell Lee Fine's cinematography evocatively captures the diner's Old World ambiance.
NEW YORK -- Filmmaker Jim McKay, known for his well-observed, miniaturist dramas of New York life ("Girls Town", "Our Song"), has come up with another winner in this drama about the imminent closing of a beloved Brooklyn diner. Touching on themes of race relations, gentrification and upward mobility, "Everyday People" resonates with generous warmth for all of its complicated characters. The film serves as the opening-night attraction for this year's New Directors/New Films series, co-presented by the Museum of Modern Art and the Film Society of Lincoln Center.
Taking place over the course of a single long day, the film is set at Raskin's, a fictional Brooklyn diner bearing no small resemblance to the legendary Junior's (it was actually filmed at another N.Y. dining institution, Ratner's, on the Lower East Side). Ira (Jordan Gelber), the diner's young Jewish owner, is closing a deal to sell the struggling restaurant to a real estate consortium, represented by Ron (Ron Butler), an aggressive black businessman who believes that the intended redevelopment will serve to upgrade the depressed area.
Arthur (Stephen McKinley Henderson), Raskin's maitre d' and longest-lasting employee, is given the task of informing the staff that their jobs will last but three more weeks, and the news is predictably not taken well. Particularly irate is Sol (Stephen Axelrod), a former doctor who became a junkie and went to prison and who counts on his admittedly menial employment to help him keep his life together.
As the news resonates among the staff, we are introduced in greater detail to the various characters, including cashier Joleen (Bridget Barkan), a single mother trying to make ends meet; waitress Erin (Sydnee Stewart), who's working to support herself while she pursues her dream of becoming a poet; Betty (Iris Little-Thomas), Erin's mother, a successful businesswoman; and kitchen worker Samel (Billoah Greene), who's about to begin college.
Perhaps the film's most arresting figure is Akbar (played in riveting fashion by Reg E. Cathey), a customer who spends his days in front of the restaurant hawking ribbons promoting black identity and haranguing passersby.
McKay's screenplay, developed from improvisational workshops with dozens of actors conducted by the filmmaker and executive producer Nelson George, has its stereotypical aspects -- certainly, the central story line feels overly familiar -- but it has an undeniable authenticity in its characterizations and situations and an empathy that is all too rare even in independent cinema. The ensemble cast, featuring a mixture of veterans and newcomers, deliver nary a false note in their performances, and Russell Lee Fine's cinematography evocatively captures the diner's Old World ambiance.
- 4/13/2004
- The Hollywood Reporter - Movie News
HBO has greenlighted Brooklyn, an HBO Films original movie about the interactions among the diverse group of visitors and workers at a struggling Brooklyn diner during a single day. Jim McKay (Our Song) wrote the script, inspired by personal experiences submitted by viewers via e-mail, and will direct. The film's ensemble cast includes Reg E. Cathey (HBO's Oz), Iris Little-Thomas (HBO's Boycott) and up-and-comers Bridget Barkan, Ron Butler, Jordan Gelber (Riding in Cars With Boys), Billoah Greene (Levity), Stephen Henderson and poets muMs (Oz) and Sydnee Stewart. Brooklyn native Nelson George, Sean Daniel and Caldecot Chubb are executive producing Brooklyn, with Effie T. Brown producing. Filming has begun, with an aim for a 2004 premiere.
- 4/25/2003
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.