detour the movie : Brea Grant is an actress best known for her role on the hit NBC series, HEROES, the Showtime original series, DEXTER, and Rob Zombie's HALLOWEEN 2. -

Brea Grant is an actress best known for her role on the hit NBC series, HEROES, the Showtime original series, DEXTER, and Rob Zombie's HALLOWEEN 2. Brea grew up in Marshall, Texas and earned a BA and MA in American Studies from the University of Texas. She has received national attention for both her acting work as well as her use of social media and "geek" stardom in The New York Times,, Entertainment Weekly, Nylon Magazine, Geek Magazine, and Regard Magazine.

The release date of the movie Detour is set to January 20, 2016 (In theaters, On Demand, on Amazon Video and iTunes). :)

It’s at this point that the movie, perhaps suspecting it’s worn out its welcome with anyone who’s sick of this kind of played-out contemporary genre nonsense, says “But wait! Can I interest you in a TRICKY STRUCTURAL DEVICE?” When Johnny Ray and Cherry show up at Harper and stepdad’s nifty mansion the next morning to initiate Operation Vegas Road Trip, writer/director Christopher Smith, who’s been laying it on with the wide-angle shots and split-screen stuff throughout, splinters the movie into two narratives, just like, um, “Sliding Doors?” Yeah, I guess so.  In one narrative, Harper goes with Johnny Ray and Cherry, and in the other, he stays at the mansion and confronts his stepdad (who’s named “Victor,” of all things) with less than optimum results. He also spends some time, because he’s a film buff, watching “Detour,” the grimy 1945 no-budget noir directed by Edgar G. Ulmer. Smith draws a direct connection between the hard-edged sexiness of that film’s star Ann Savage and the Offbeat Good Looks of Powley, whose hair here is platinumized, and who would look drawn even if the side of her face wasn’t sporting a fresh scar.

Glauber Rocha has nothing on Edgar G. Ulmer’s aesthetics of hunger. This threadbare bondage-noir masterpiece grinds Double Indemnity into powdered milk, moving from one magnificently decomposing shot to another until its roads and rooms become the stuff of nightmares. "Fate, or some mysterious force, can put the finger on you or me for no good reason at all." "Your philosophy stinks, pal!" A genuinely haunted film, a whirlpool in a shoebox, a trance.

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Dwight and I came up with the idea of a man trapped in a basement after his house in the hills gets besieged by a landslide.  It was something we could afford to do, outside of the Hollywood machine.  Both, the story, and the act of making this into a film, involved that survival instinct I mentioned previously.  I needed to make a film, that's what I came to LA to do, and I wasn't going to wait for anyone, or any institution, to give me permission to do just that.  Writing DETOUR, something I could go out there and make myself, gave me all the permission I needed.  With that in mind, there is a lot of me in DETOUR's Jackson Alder.  Jackson must learn how to survive on his own in a world that's most certainly not on his side.  He's got to fight hard against the antagonistic world of unpredictable natural disasters, to persuade the ground to move in his direction, but if he can't convince the earth to swing its vote, well, he has no choice but to dig his way right through it - even if it means certain death.

Soon, Harper is in a seedy bar, drowning sorrows in whiskey and overhearing the braggadocio of criminal Johnny Ray, played by Emory Cohen, here taking a step back from his excellent work in “Brooklyn” and landing in the swamp of damaged masculinity from which he first emerged in “The Place Beyond the Pines,” a terrible movie that nevertheless looks like “East of Eden” next to this one. Here we realize the movie takes place in a not too distant suburb of Tarantinoville, a magical place where a movie heavy can tell his stripper/maybe prostitute girlfriend Cherry (Bel Powley) to “f**k off” while taking a swipe at her, and no feminist movie critic will raise a ruckus about it, because no feminist movie critic would be stupid enough to sit through more than ten minutes of this, and the menacing happens fifteen minutes in. In addition to all this delight, Harper drunkenly solicits Johnny Ray’s assistance in getting rid of the evil stepfather.

The latest in a seemingly burgeoning mini-genre that includes such recent similarly themed efforts as Wrecked and Buried (starring Adrien Brody and Ryan Reynolds respectively), Detour is a tautly efficient thriller that fully succeeds in making the viewer identify with its hapless protagonist's desperate plight.

All the films from all the editions, including those subsequently removed, presently totalling 1235. An easy way of seeing how…

Neil is best known for his recurring role on LOST, playing Liam, the heroin-addicted rockstar brother of Charlie (Dominic Monaghan). His other TV credits include recurring roles on the Emmy-Award nominated BIG LOVE and the Paul Haggis series, CRASH; as well as a wide variety of guest starring roles on MY NAME IS EARL, THE GHOST WHISPERER, CSI:NY, CRIMINAL MINDS and NCIS, to name a few.

On 7 December 1971, he was released on parole from imprisonment, having served exactly six years to the day. Eight months later, Tom Neal was dead of heart failure.

Neither narrative is particularly compelling, but the road trip one has an edge, because travel’s always fun. There’s a diner scene and a scene in which they’re pulled over by a state trooper whom they subsequently turn the tables on and stow in their trunk. (Director Smith demonstrates just how much of a you-know-what he doesn’t give about YOUR politically correct pieties by casting an African-American (Gbenga Akinnagbe) as the humiliated cop.) There’s also a lot of Johnny Boy demonstrating his severe ambivalence over the state of his relationship with Cherry. This dilemma grows more fraught on a visit to one Frank (played by John Lynch, who here looks so much like former Mothers of Invention sax played Bunk Gardner that I wanted to maybe crowdfund a biopic around the actor), to whom Johnny Ray is in heavy debt. Frank will accept Cherry as payment, but Johnny just Can’t Let Go.

Really good & suspenseful noir. It’s very short but it works well. Loved the rear projections & the pulpy dialogue. Tension between the 2 leads builds well throughout. I also really enjoyed the narration & performance by Tom Neal.

We’ve got our hands on the first official pictures of Detour, the upcoming psychological thriller movie starring Tye Sheridan, Bel Powley, and Emory Cohen:

Claustrophobics would be advised to steer clear of William Dickerson's micro-budgeted debut feature set almost entirely inside a car buried under a mudslide.

"the world is full of skeptics." pure fiery, sadsack noir; brutal and miserable right up until its final frame.

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There are new pictures for Detour, the upcoming psychological thriller movie written and directed by Chris Smith and starring Tye Sheridan, Bel Powley, and Emory Cohen:

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