We are excited to announce that FIVE FEET APART received three nominations at the 2019 Teen Choice Awards in the following categories:

WILD ROSE

It could turn out to be be the indie sleeper of the year. As Rose-Lynn, a brazen young ne’er-do-well from Glasgow who’s fixated on going to Nashville to become a country singer, Jessie Buckley proves a tremendous actress, and maybe a born star. When Rose-Lynn gets up on stage at a local pub and lets loose, time melts away (we’re in the zone of incandescent tradition that is country), and so does every trace of her Scottishness. She becomes country, and her gift is transporting. Yet Rose-Lynn is also a spectacular screw-up, with two kids she all but ignores. The director, Tom Harper, and screenwriter, Nicole Taylor, play a bait-and-switch game. For a solid hour, they seduce you into thinking that “Wild Rose” is going to be the sort of cheeky inspirational Miramax-in-the-’90s fairy tale it turns out not to be. It’s not just that the movie gets better as it goes along — it actually knows it’s toying with you. The film seems to grow up before your eyes and find its glimmer of soul right along with its eager, talented, messed-up heroine. — OG

Cheerleading is a sport that commands attention. It whips the crowd into a controlled fervor, getting people off their feet and cheering with excitement. Unfortunately, director Zara Hayes’ “Poms” barely manages to do the same with its story about a group of retired women who reclaim their vitality and challenge societal norms by forming a cheerleading squad. Though it aims to be more than just a mashup of “Bring It On” and “Book Club,” the inherently uplifting and endearing facets of its heartfelt sentiments are overtaken by artificial packaging and stale execution.

As a pessimistic New York City transplant, Martha (Diane Keaton) faces her greatest challenge yet: living in the impossibly peppy retirement community of Sun Springs, Ga. The lavish, well-maintained property fosters cheery dispositions and relaxed lifestyles — things a cynical curmudgeon like Martha despises. But her former life in the city was unbearably lonely, so she seeks a drastically different atmosphere. Her advancing age and, more importantly, aggressive terminal cancer has made her surprisingly sentimental about her youth and paths not taken.

Martha is at first reticent to make friends, preferring to cocoon herself in her pre-fab, personality-free home instead of trying to fit in at group exercise and neighborhood get-togethers. But her world begins to change for the better once she meets next-door neighbor Sheryl (Jacki Weaver). Sheryl is Martha’s opposite with her colorful, tight-fitting wardrobe and vivacious free spirit, yet her vigor inspires Martha to rediscover her own.

The pair set out to form a cheerleading club, which is unheard of to their enclave’s small-minded residents, who include the ironically unfriendly president of the welcoming committee, Vicki (Celia Weston). Not only must the newly assembled squad find more members, which they incorrectly assume will be difficult, they must also get competition-ready in a short amount of time. The team is forced to battle their own physical limitations and a few other serious setbacks.

Heartening themes about redefining the notion of family are what give the movie its luster, as well as the idea that self-empowerment has no expiration date. It’s encouraging that screenwriter Shane Atkinson and Hayes, who shares a story by credit, focus primarily on female friendship, though they undermine and underestimate the empathy capacity of another group of women: teen girls. The super seniors’ combative relationship with antagonistic high school cheerleaders, who film their failures and mercilessly mock them, takes center stage as the main conflict. There’s no reason the heroines’ own inner demons couldn’t have driven the plot.

Perhaps the greatest disappointment is that Atkinson and Hayes never strike a good balance between all the characters in the ensemble. The film fails both in showing them as multi-faceted individuals and in capturing their group dynamics, allowing superficial character traits to define them. Consistently-upbeat Sheryl’s only worry is if the authorities find out her teen grandson Ben (Charlie Tahan) is living with her, but that’s forgotten by act two. The filmmakers become more concerned with an unnecessary romance between Ben and classmate Chloe (Alisha Boe), who betrays her own cheer team to help train his grandma’s squad. It’s a lot of hoop-jumping when a simpler solution would’ve been to eliminate Ben and the rival squad altogether, and make Chloe a visiting character who helps the ladies train.

Sultry Olive (Pam Grier), who tangos her way into the troupe, revives her waning romance with her hubby — but since we didn’t see her struggling with it in the first place, the impact is lessened. Conservative Alice (Rhea Perlman) finds her inner power after her controlling husband dies, but outside of one George Carlin-esque swearword tirade, her character fades into the background. Aerobics enthusiast Ruby (Carol Sutton), yoga instructor Evelyn (Ginny MacColl), and line dancer Phyllis (Patricia French) are dealt short shrift altogether. The lone character afforded a noteworthy performance by the lackluster material is baton-twirling Helen (Phyllis Somerville). Somerville’s small screentime is infused with a palpable, nuanced sense of anguish and anxiety over her ageist, sexist son essentially imprisoning her financially, and then physically after an injury.

For a film that’s supposed to instill confidence in the hearts of its target demographic and beyond, it lacks that same sense of bravery in its storytelling to say something genuinely moving. Time and time again, it falls back on outdated clichés and lazy contrivances. It prefers to follow predictable patterns set by many previous underdog stories, ticking off the expected emotional beats versus doing something radically different to make the emotions feel earned.

Overall, “Poms” isn’t a film that demands the audience’s attention — and that’s a shame given the breadth of skilled, seasoned talent involved. The blueprint for a genuinely inspired, warm-hearted dramedy is indeed there, it’s just that the filmmakers can’t figure out how to properly utilize what they have.

It was a blue carpet pep rally as Diane Keaton, Jacki Weaver, Pam Grier and Rhea Perlman debuted their new film “Poms” on Wednesday night in Downtown Los Angeles. But much like their characters in the film, the actresses’ cheers weren’t for sports teams. Instead, they were celebrating a Hollywood system that is hopefully becoming more inclusive for older women. Keaton and Weaver star in “Poms” as Martha and Sheryl, two senior citizens who decide to start a cheerleading club at their retirement community. “I think in this day and age, people realize that you don’t have a ‘use by’ date,” Weaver told Variety. “Some of us can keep on going. Some of us still look to the future and make the most of the present.” But as much as Hollywood has evolved, who could have ever predicted a movie featuring a “Bring It On”-style scene of a group of seniors trying out for the cheerleading squad? “[It used to be that] women are erased and invisible after they get a certain age, but once we started saying, ‘We’re not invisible — we’re full of life, we take care of kids, we’re still viable to society.’ And once you own that, then you get offered to sit at the table,” Grier said.

It’s been 45 years since her career-making turn in “Foxy Brown” and the 69-year-old actress has noticed that the industry has been changing: “I think there is a shift, but it’s an evolution and a revolution.” “Poms” follows last year’s “Book Club,” a rom-com that earned $68 million at the box office and also starred Keaton, who is 73. Perlman says the reason for the growing support for movies about mature women is simple. “Because women go to the movies, people are starting to realize that women want to see themselves up there,” Perlman said, adding that watching Judi Dench travel to India in “The Best Exotic Marigold Hotel” transformed her own views on box office possibilities for older actors. “I am so happy that it’s finally starting to happen. I mean there’s still way more white men in movies and in businesses, but slowly people are starting to take notice of who else is around them and how important it is for them to be represented as well. And how great their stories are,” the 71-year-old actress explained. “So, I’m just thrilled with how things are moving.”

After assembling the cast, which also includes Celia Weston, Charlie Tahan, Bruce McGill and “13 Reasons Why” star Alisha Boe, the ladies went through a cheerleading boot camp to help the women bond and nail those moves. “It was tough,” Weaver, 71, laughed. “You get a bit creaky at our age.” The premiere included a post-screening party at WP24, where pom-pom shaking cheerleaders lined up in a tunnel formation and welcomed guests, including Emmy winner Sarah Paulson. “Poms” hits theaters on May 10.

Veriety

In 2013 Margot Robbie turned heads in The Wolf of Wall Street as the ultra-seductive and equally feisty Naomi; later in 2016, she brought DC Comics’s disturbed girlfriend Harley Quinn to life in Suicide Squad; and now, the actress proves she’s as versatile as ever in her latest film Dreamland, which just debuted at the Tribeca Film Festival.

Serving as both the star and producer of the period piece, Robbie really does carry the film. And, according to Dreamland director Miles Joris-Peyrafitte, “She throws great parties.” Joris-Peyrafitte, sporting a slim navy suit and slicked-back hair continued, “She’s just as excited as everyone else to be there. She sets the tone for everybody else and that’s all you could ask from a producer and lead actress.”

Dreamland is part bank robbery caper, part Spaghetti Western. Set in the 1930s Dust Bowl era, Robbie stars as Allison, a mysterious and thrill-seeking bounty hunter who is surprisingly chic (refer back to the time era and situation).

In a hard-to-miss nod to Bonnie and Clyde, Allison charms the heart of the young Eugene Evans played by Slaughterhouse Rulez’s Finn Cole. Despite Robbie’s problematic actions in the film, Cole’s character remains boyishly infatuated and allows his life to be transformed entirely by the frenzied blonde who loves to drive her getaway cars with baby blue leather gloves on. But at the premiere’s red carpet, Robbie appeared the modern-day starlet in a black lace Chanel jumpsuit, which ultimately proved that there really isn’t anything she doesn’t look good in.

Vogue

Dreamland will premiere at the upcoming Tribeca Film Festival ( April 24 – May 5). The film will be included in the Spotlight Narrative section of the Network based festival. Margot Robbie will be in attendance but we will not be conducting international press at this time. The film will also be screening in the upcoming Cannes market in May.

Netflix announced the release of "Peasants' Revolution" on their platform, thus becoming the first Lebanese series to be broadcast through their network.

After the overwhelming success achieved on the local channels, the largest Lebanese historical production series included more than 100 Lebanese actors, which took eight months to be filmed.

Ranked amongst the top 5 Arabic series in Ramadan 2018 with one of the highest viewers rating statistics.

Received one of the highest trends on Twitter for 15 days.

Gained regional popularity for being daring yet respecting the cultural factor.

Critics praised the series positively and considered it to be Ramadan 2018 out of the box series for; actors’ intense performance, the surprise element, the tailored music, the mysterious sequence of events and lastly the cinematography.

AL NAHAR newspaper, a renowned Lebanese Newspaper.

The plot continues to thicken on LBCI’s latest prime time drama, PEASANTS' REBELLION, as alliances begin to form, love blooms, and betrayals are made.

It is truly a pleasure when a television series, a fully Lebanese production no less, create such a positive impact on its audience - through some do continue to negatively criticize, sans reason, even if it means finding something as ridiculous as the show’s choice of font to attack.

Al Nahar Newspaper, a renowned Lebanese newspaper, described the Peasant's Rebellion as the magnet that compelled people off the streets, leaving an echo of the social discourse that is occurring in a certain nation. A "Spark Ignites" leaving the audience wanting to relive and enjoy the authenticity of the series. I will be sharing the updated portfolios on Monday to be followed by 2019 Projects skeleton.

The Hunger Games: Mockingjay – Part 1″ shot past “Guardians of the Galaxy” to become the highest grossing domestic release of 2014. It’s the second time in a row that the dystopian franchise has topped the charts. It gives Lionsgate bragging rights as the studio with the top film in consecutive years — something no one else has achieved in over a decade. “The Hunger Games: Mockingjay – Part 1″ hit $333.2 million on Wednesday, edging past “Guardians” at $333.17 million at the U.S. box office. Unlike most major tentpole releases, the latest “Hunger Games” didn’t get the benefit of a 3D or Imax surcharge.

Patriots Day is the TOP TEN FILM winner at the National Board of Review, USA, 2016 awards and Spotlight award for the creative collaboration of Peter Berg and Mark Wahlberg

We are proud to share with you that The Hunger Games Mockingjay 1 has Won the following Awards:
Golden Camera, Germany - Best International Actress (Julianne Moore).
Golden Trailer Awards 2015 - Best Fantasy Adventure, Best Original Score Tv Spot, Best Fantasy / Adventure Poster, Best Teaser Poster, Best Wildposts.
Kids' Choice Awards, USA 2015 - Favorite Female Action Star (Jennifer Lawrence).
MTV Movie Awards 2015 - Best Musical Moment.
NewNowNext Awards 2014 - Best New Lead Film Actress (Natalie Dormer).
Teen Choice Awards 2015: Choice Movie: Sci-Fi/Fantasy, Choice Movie Actor: Sci-Fi/Fantasy (Josh Hutcherson), Choice Movie Actress: Sci-Fi/Fantasy (Jennifer Lawrence).
Women Film Critics Circle Awards 2014 - Best Female Images in a Movie.

Today, in over 25 locations around the globe THE HUNGER GAMES iconic '3-Finger salute' will be posted on high profile buildings, billboards and locations, including Times Square in New York, Westfield Centre in London, Colonne di San Lorenzo in Milan and Novy Arbat Avenue in Moscow just to name a few. The hands used in the synchronized global outdoor advertising campaign were created from 6 images of people ranging from ages 8 to 80, both men and women and from all nationalities.

Lionsgate’s Codeblack Films has struck an output deal with Middle East based distributor Eagle Films. The deal sees all films produced or co-produced by Codeblack distributed in the Middle East and North Africa, beginning with “Addicted,” based on the best selling book by Zane. Formed in 2012 as the Lionsgate’s ‘next generation’ offshoot, Codeblack has activities which span movie production and distribution through to home entertainment, TV syndication and new channel monetization. Its previous releases include “Kevin Hart: Let Me Explain,” and independent thriller “Repentance,” starring Academy Award winner Forest Whitaker. Codeblack signed a previous output deal with Times Media Films, covering South Africa, in October 2014. “Codeblack is expanding its footprint beyond the domestic marketplace,” said Jeff Clanagan, Founder, CEO and President of CodeBlack Entertainment

VANCOUVER, BC, and SANTA MONICA, CA, October 16, 2014 – Lionsgate (NYSE: LGF), a premier next generation global content leader, today unveiled plans to debut the year’s most anticipated film, The Hunger Games: Mockingjay – Part 1, in the UK, Asia and North America. The film, the third in the global blockbuster Hunger Games film franchise. All purchases on AMCTheaters.com, Cinemark.com, Fandango.com, and MovieTickets.com in the first 24 hours will receive a free download of The Hunger Games: Catching Fire on VUDU. The first Hunger Games film generated nearly $700 million at the worldwide box office. The second film in the franchise, The Hunger Games: Catching Fire, was the #1 domestic film of 2013 and the 10th highest-grossing North American release of all time, grossing over $860 million around the world and bringing the combined global box office of the first two films to over $1.5 billion. The worldwide phenomenon of The Hunger Games continues to set the world on fire with The Hunger Games: Mockingjay - Part 1.

The Ambassador's Hall of Casino Du Liban hosted the ceremony of the 7th Edition of Murex D'or on September 4th 2014, where Eagle Films' production BEBE won Best Film by Public Vote. The producer, Mr Jamal Sannan _ CEO of Eagle Films, accepted the Murex D'or.