Ashley lives in the fast lane until a handyman invades her life and she's directing a Christmas play for underprivileged kids. She runs into her ultimate soul mate. They may live happily ever after unless her step brother gets her killed.
Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
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Eighteen-year old Ashley's life is headed in the wrong direction. She's been hanging out with a bad crowd and seeking an escape from the drama at home. Everything begins to change when a handyman working on the family's house encourages her to volunteer for a Christmas play with underprivileged children. Ashley finds purpose by helping people in need and uses that to help heal her troubled family. Together, they discover the impact one person can make through the gift of giving. Written by
The scenes of the teen dance club were shot at historic Cain's Ballroom's Bob's Place. Cain's Ballroom is the music venue in Tulsa which has hosted famous musicians including Bob Wills, Leon Russell and many others. Cain's Ballroom manager, Chad Rodgers, generously even allowed the production to use the historic Cain's logo in the shots. See more »
You'll make a terrific Virgin Mary.
Shut up! And who said I was a virgin?
I was talking about the play. And being a virgin is bad because, why?
Because nobody else is.
There may be one or two...
See more »
I've been a fan of Eric "King of the B-movies" Roberts ever since I
caught The Ambulance and Hit-man's Run on cable in the 1990s, and I've
been a fan of General hospital since 1984. I never really understood
the persistent appeal of soaps and B-movies until Alexandra Danielle
"Lexi" Ainsworth graced my television set with ten minutes or more of
screen time a day as mafia brat Kristina Corinthos, when the lightbulb
went off: like minor-league baseball, soaps and B-movies offer the
chance to watch greatness in the making, literally to catch a rising
star before the world does, in generous doses. Ainsworth, offered this
role within seconds of hanging up the phone after being told she was
fired from General Hospital because they wanted an older, "hotter"
Kristina as their romantic lead only to decline a return to the role
when GH realized the error of its ways with her replacement entered
this film like a batter who tore up the minors with a .427 batting
average now facing big-league pitching. How would she fare? This fan's
opinion of her work was strong enough for me to gamble $14.98 on the
For Ainsworth, my standards were much higher than for the film. Any
holiday film is going to be restricted by the parameters of the genre.
For the actress, however, I was looking for signs of whether or not she
could carry a film, and if she could score points for more than just
avoiding the garden-variety acting mistakes which were absent in her
performances on General Hospital, like in the scenes where she
flourished, either by staring down an intimidating Bruce Weitz without
saying a word, or by humbling soap vet Maurice Benard at the tender age
of sixteen. Where other actresses would have cried, screamed, yelled,
and moved their extremities like traffic cops, Ainsworth's instinctive
understanding of when to let the scene do the talking strongly
suggested she could handle this step up in class like a champion. My
bigger question was whether director Richard Foster, and the writers,
could handle her. On whole, I would say she gave the better accounting
This is a good, but not a great film. It is worth the purchase price,
and will definitely be worth the time spent watching should it land on
cable or Netflix, if only for Ainsworth's performance alone. In the
film, eighteen year-old Ashley Lane (Ainsworth) is put in the position
of media-res narrator, which allows her to showcase her talents. Within
minutes, we are shown where the film winds up, leaving the question not
what will happen, but why, who will be involved, and how. Casino was
the textbook film on how to pull this off, and this film does so
adequately. Fans who were wondering if Eric Roberts and Vivica A. Fox
could sing will get their answer.
The film's saving grace, if one pardons the pun, is the director's
astute use of third-billed Ainsworth, clearly the star of the film,
with screen time to match. The lesser talents in the cast are relegated
in direct proportion to their ability, except for Roberts, who is
seriously underutilized. Fox gives a good accounting as the mother, but
the blended family is more of a gratuitous political statement, as if
to say we've come so far against racism that no one bats an eye at a
racially mixed family. The message is useful, but not really central to
the film. What is central is Ashley's journey of self-discovery, played
flawlessly by Ainsworth, to the point where, by the end of the film, it
Is rather clear she has outstripped the writing, and does not just
belong in the majors, but needs to be traded to a championship team, or
to have one built around her.
The other actors in the film are competent, with Danielle Vega
(Angelina) giving an exceptional performance in a limited supporting
role. Her physical resemblance to Ainsworth is a bit confusing, so pay
attention; absent Ainsworth, she could have played the lead more than
adequately, and her scenes were among the best of the film. Glee's
Titus Makin (Jason) shows competence, but not greatness, while Fox and
Roberts are not given enough to do until near the end. Bryan Massey
(Mac) plays the "white Magical Negro," who assist the lead in her
journey of self-discovery, a job on which the writers fell down a peg
or two. Justin Avery (Jon) plays the romantic fodder, but is otherwise
superfluous and stereotypical. Ainsworth is left stranded by the
writing, not because the film is poorly written, but because of her
amazing talent. There is only so much one can do with a film like this.
Very early on in the film, Ainsworth mows down the "movie star"
checklist: flawless body language and voice tone, the ability to slip
into character convincingly, a rare level of attention to detail,
exceptional range which exceeded the writing, and a sexuality which,
while not the typical "bombshell" variety, would leave one hard-pressed
to find a man who would reject her, and which, even while
front-and-center, is never gratuitous or crude. Surround her with
top-shelf talent, and she can and will go anywhere in film, or in
series television; perhaps ABC will reconsider Ainsworth and Jennifer
Beals's pilot "Westside" on which they foolishly passed.
For all its many good points, the film needed a stronger compass,
particularly with regard to what makes Ashley tick, and why she
transformed into a good girl without much resistance, but these are
minor plot issues that detract very little from an excellent
performance in a decent film, one which could have ruined my afternoon
off, leaving me feeling like I wasted my $14.98, but which definitely
did not. I highly recommend this film. My primary question was
answered: Lexi Ainsworth is more than capable of carrying a film. I
look forward to her future work.
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