Photo: Jocelyn Hudon, Dan Jeannotte Credit: ©2024 Hallmark Media/Photographer: Courtesy of Johnson Production Group
Hallmark Channel has now released details of its new, original movie, Falling in Love in Niagara, starring Jocelyn Hudon and Dan Jeannotte.
Airing as part of the network’s annual Spring into Love programming event, the movie features a recently dumped fiancée and her tour guide finding the hidden wonders of Niagara Falls together.
Read on to find out more about the movie and its cast and see images taken from the film set and a fun trailer.
Falling in Love in Niagara coming to Hallmark Channel Photo: Maša Lizdek, Jocelyn Hudon Credit: ©2024 Hallmark Media/Photographer: Courtesy of Johnson Production Group
According to the official synopsis, Maddie (Jocelyn Hudon) is a recently dumped fiancée who decides to take her sister, Harley (Maša Lizdek) on her planned honeymoon to Niagara Falls. While there, Maddie meets Mike (Dan Jeannotte), a tour guide,...
Hallmark Channel has now released details of its new, original movie, Falling in Love in Niagara, starring Jocelyn Hudon and Dan Jeannotte.
Airing as part of the network’s annual Spring into Love programming event, the movie features a recently dumped fiancée and her tour guide finding the hidden wonders of Niagara Falls together.
Read on to find out more about the movie and its cast and see images taken from the film set and a fun trailer.
Falling in Love in Niagara coming to Hallmark Channel Photo: Maša Lizdek, Jocelyn Hudon Credit: ©2024 Hallmark Media/Photographer: Courtesy of Johnson Production Group
According to the official synopsis, Maddie (Jocelyn Hudon) is a recently dumped fiancée who decides to take her sister, Harley (Maša Lizdek) on her planned honeymoon to Niagara Falls. While there, Maddie meets Mike (Dan Jeannotte), a tour guide,...
- 4/4/2024
- by Anne King
- Celebrating The Soaps
In today’s roundup, National Geographic announced the ensemble cast joining “Genius: Aretha” and Comedy Central has ordered eight episodes of Bobby Moynihan’s digital series “Loafy.”
Casting
Malcolm Barrett, Patrice Covington (“The Color Purple”), Kimberly Hébert Gregory (“Vice Principals”), Rebecca Naomi Jones (“The Big Sick”), Sanai Victoria (“Black-ish”) have been cast alongside Cynthia Erivo in National Geographic’s “Genius: Aretha.” Also, Emmy, Golden Globe and BAFTA TV award-winner Anthony Hemingway joined the anthology series as executive producer and pilot director.
Quinn Copeland, Lauren Donzis, Oliver De Los Santos and Noah Cottrell have been cast as series regulars in Peacock’s “Punky Brewster” pilot. From Ucp and Universal Television, the multi-camera/hybrid continuation of the ’80s sitcom follows Punky (Soleil Moon Frye), now a single mother of three trying to get her life back on track when she meets Izzy (Copeland), a young girl who reminds her a lot of her younger self.
Casting
Malcolm Barrett, Patrice Covington (“The Color Purple”), Kimberly Hébert Gregory (“Vice Principals”), Rebecca Naomi Jones (“The Big Sick”), Sanai Victoria (“Black-ish”) have been cast alongside Cynthia Erivo in National Geographic’s “Genius: Aretha.” Also, Emmy, Golden Globe and BAFTA TV award-winner Anthony Hemingway joined the anthology series as executive producer and pilot director.
Quinn Copeland, Lauren Donzis, Oliver De Los Santos and Noah Cottrell have been cast as series regulars in Peacock’s “Punky Brewster” pilot. From Ucp and Universal Television, the multi-camera/hybrid continuation of the ’80s sitcom follows Punky (Soleil Moon Frye), now a single mother of three trying to get her life back on track when she meets Izzy (Copeland), a young girl who reminds her a lot of her younger self.
- 10/28/2019
- by BreAnna Bell
- Variety Film + TV
Screened at South by Southwest
As Conversations With Other Women begins, the screen is split in half. One side watches Aaron Eckhart, seemingly in Lothario mode, as he stalks a wedding party guest he intends to approach; the other watches his prey, Helena Bonham Carter.
Nice way to jump into the action, you think: The camera establishes our identification with Eckhart from within (the POV shots) and without; when the image goes full-screen, we'll know who the protagonist is in this pas de deux.
A few minutes later, though, you're still waiting -- and an overtly clever device starts to become a serious distraction from the tale it's trying to tell. Director Hans Canosa continues the split screen throughout the film, often keeping us from identifying with the drama as we otherwise would. Although the technique occasionally serves some interesting purpose, it is almost certain to be a stumbling block with audiences, limiting the commercial appeal of an already intimate film.
The two protagonists are never named, and the script (by Gabrielle Zevin, who worked with Canosa on the festival-circuit film Alma Mater) is coy about their histories. We quickly learn that this is no straightforward pickup: The two have met before, years ago, under similar circumstances. As they flirt, one side of the screen will sometimes flit back to that earlier meeting, where two younger actors play the pair. We see enough to know that they met more than once, maybe that they were lovers. Why is their conversation not acknowledging this?
One obvious reason is to make things more interesting for us. Viewers who don't find the conceit too contrived will be drawn into the reasonably witty banter, forgetting about the split-angle distraction until Canosa does something particularly distracting: settling the cameras into two nearly parallel views, say, or sending an extra to pass between us and the actors, jostling our sense of the angles involved. He does this fairly often.
At other times the filmmakers do more profitable things with the dual frames. They show us what a character is thinking, in romantic flashback or quick slices of foreshadowing; late in the game, as the pair begin to make decisions with consequences, they use the extra screen to show alternate line readings, roads considered and not taken. Those glimpses become freighted with melancholy as the tale becomes a reflection on the passing of time and the vicissitudes of love. Both performances are strong, though the film continues to favor Eckhart, who may be harboring deep emotions beneath his glib charm.
Eckhart grows alternately peevish and desperate as things don't go his way. Bonham Carter, on the other hand, seems to allow herself to be led around, more preoccupied with a sudden sense of her age than with her old flame. The characters are not completely convincing as scripted, but the actors skate past this with enough charisma that we don't pause to ask questions. (Why is Bonham Carter at the wedding, for example? The explanation offered in the opening scenes becomes less satisfactory the more we learn.)
That the movie holds viewers' attention despite its contrivances is a testament to the script and acting. Whether audiences will respect the film the morning after the seduction is an open question.
CONVERSATIONS WITH OTHER WOMEN
Fabrication Films
Gordonstreet Pictures
Credits:
Director: Hans Canosa
Screenwriter: Gabrielle Zevin
Producers: Ram Bergman, Bill McCutchen, Kerry Barden
Executive producers: Kwesi Collisson, Mark R. Harris, Kjehl Rasmussen, Glen Reynolds
Director of photography: Steve Yedlin
Production designer: Jodie Lynn Tillen
Music: Chris Violette, Starr Parodi, Jeff Eden Fair
Co-producers: Wendy Reeds, Mark Tchelistcheff
Costumes: Douglas Hall
Editor: Hans Canosa
Cast:
Woman: Helena Bonham Carter
Man: Aaron Eckhart
Young Woman: Nora Zehetner
Young Man: Erik Eidem
Videographer: Thomas Lennon
Bridesmaid: Olivia Wilde
No MPAA rating
Running time -- 84 minutes...
As Conversations With Other Women begins, the screen is split in half. One side watches Aaron Eckhart, seemingly in Lothario mode, as he stalks a wedding party guest he intends to approach; the other watches his prey, Helena Bonham Carter.
Nice way to jump into the action, you think: The camera establishes our identification with Eckhart from within (the POV shots) and without; when the image goes full-screen, we'll know who the protagonist is in this pas de deux.
A few minutes later, though, you're still waiting -- and an overtly clever device starts to become a serious distraction from the tale it's trying to tell. Director Hans Canosa continues the split screen throughout the film, often keeping us from identifying with the drama as we otherwise would. Although the technique occasionally serves some interesting purpose, it is almost certain to be a stumbling block with audiences, limiting the commercial appeal of an already intimate film.
The two protagonists are never named, and the script (by Gabrielle Zevin, who worked with Canosa on the festival-circuit film Alma Mater) is coy about their histories. We quickly learn that this is no straightforward pickup: The two have met before, years ago, under similar circumstances. As they flirt, one side of the screen will sometimes flit back to that earlier meeting, where two younger actors play the pair. We see enough to know that they met more than once, maybe that they were lovers. Why is their conversation not acknowledging this?
One obvious reason is to make things more interesting for us. Viewers who don't find the conceit too contrived will be drawn into the reasonably witty banter, forgetting about the split-angle distraction until Canosa does something particularly distracting: settling the cameras into two nearly parallel views, say, or sending an extra to pass between us and the actors, jostling our sense of the angles involved. He does this fairly often.
At other times the filmmakers do more profitable things with the dual frames. They show us what a character is thinking, in romantic flashback or quick slices of foreshadowing; late in the game, as the pair begin to make decisions with consequences, they use the extra screen to show alternate line readings, roads considered and not taken. Those glimpses become freighted with melancholy as the tale becomes a reflection on the passing of time and the vicissitudes of love. Both performances are strong, though the film continues to favor Eckhart, who may be harboring deep emotions beneath his glib charm.
Eckhart grows alternately peevish and desperate as things don't go his way. Bonham Carter, on the other hand, seems to allow herself to be led around, more preoccupied with a sudden sense of her age than with her old flame. The characters are not completely convincing as scripted, but the actors skate past this with enough charisma that we don't pause to ask questions. (Why is Bonham Carter at the wedding, for example? The explanation offered in the opening scenes becomes less satisfactory the more we learn.)
That the movie holds viewers' attention despite its contrivances is a testament to the script and acting. Whether audiences will respect the film the morning after the seduction is an open question.
CONVERSATIONS WITH OTHER WOMEN
Fabrication Films
Gordonstreet Pictures
Credits:
Director: Hans Canosa
Screenwriter: Gabrielle Zevin
Producers: Ram Bergman, Bill McCutchen, Kerry Barden
Executive producers: Kwesi Collisson, Mark R. Harris, Kjehl Rasmussen, Glen Reynolds
Director of photography: Steve Yedlin
Production designer: Jodie Lynn Tillen
Music: Chris Violette, Starr Parodi, Jeff Eden Fair
Co-producers: Wendy Reeds, Mark Tchelistcheff
Costumes: Douglas Hall
Editor: Hans Canosa
Cast:
Woman: Helena Bonham Carter
Man: Aaron Eckhart
Young Woman: Nora Zehetner
Young Man: Erik Eidem
Videographer: Thomas Lennon
Bridesmaid: Olivia Wilde
No MPAA rating
Running time -- 84 minutes...
- 3/30/2006
- The Hollywood Reporter - Movie News
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