Posts Tagged ‘Ben Affleck’

Damon & Affleck: Two Roads to Stardom

Monday, March 7th, 2011

While I was watching the middling, but not altogether unenjoyable The Adjustment Bureau, I was struck but how many other films it reminded me of.  Dark City, for sure.  A little bit of The Matrix, no doubt.  A big dose of The Lost Room, absolutely.  But the film I was most reminded of while watching it was John Woo’s 2003 film Paycheck, starring Ben Affleck.  I remember it was around that time when I realized that Matt Damon had the better career of the two best friends, that Damon cared more for the craft and Affleck for the stardom.  It’s impossible not to compare their careers, because they make a fascinating case-study of two young, intelligent, and attractive young actors who both make it big at the same time for the same film.  To see where the went from there makes for a great reference for future young actors everywhere of what to do (or not to do).  I mean, take a look at the choices they made following Good Will Hunting:

1998 – Damon works with Steven Spielberg (Saving Private Ryan) and John Dahl (Rounders) while Affleck works with Michael Bay (Armageddon)

1999 – The both star in Kevin Smith’s Dogma.  Damon also works with Anthony Minghella on the brilliant The Talented Mr. Ripley while Ben Affleck works with Bronwen Hughes on the Sandra Bullock-starring Forces of Nature.  Affleck also has a small part in 200 Cigarettes.

2000 – Damon makes a couple of missteps, but at least works with Robert Redford (The Legend of Bagger Vance) and Billy Bob Thornton (All the Pretty Horses).  Affleck, meanwhile, makes the worst film of John Frankenheimer’s career (Reindeer Games, and yes it’s worse than The Island of Dr. Moreau), but also works with up-and-comer Ben Younger (Boiler Room) and Don Roos (the mediocre Bounce).

2001 – Damon works with Steven Soderbergh and a whole host of great actors and movie stars in Ocean’s Eleven, a perfect example of how to do a studio blockbuster right.  Affleck re-teamed with Michael Bay to star in Pearl Harbor, a perfect example of how to do a studio blockbuster wrong.

2002 – Here’s where their careers truly diverged.  Damon makes an intelligent thriller called The Bourne Identity with emerging filmmaker Doug Liman.  Affleck stars in a boring reboot of the Jack Ryan franchise, The Sum of All Fears.  BUT – Affleck also starred in the very underrated and engaging Changing Lanes, giving one of his best performances to date.  At this point in their history, Damon seemed like the “serious one” already while Affleck could have gone either way.

In the years that followed, Damon worked with directors like  Soderbergh, Terry Gilliam, Martin Scorsese, Gus Van Sant, Robert De Niro (in The Good Shepherd, one of Damon’s finest portrayals), Clint Eastwood, The Coens, Paul Greengrass, and Stephen Gaghan.  Meanwhile Affleck starred in one colossal misfire after the other, like Gigli, Jersey Girl, the aforementioned Paycheck, Surviving Christmas, and He’s Just Not That Into You.

But things changed for me recently.  With The Adjustment Bureau being so Paycheck-like and the disappointments of Hereafter, Green Zone, and Invictus, Damon is reminding me an awful lot of post-Pearl Harbor Ben Affleck.  Meanwhile, Affleck has written and directed two very good – almost great – films in Gone Baby Gone and The Town, as well as given a deeply nuanced performance in The Company Men.  Now Affleck has just wrapped a starring role in Terrence Malick’s untitled next feature.  It seems the tide has turned, no?

Well, no, not exactly.  The truth of the matter is that Affleck is just catching up to Damon, who has movies in the can or in pre-production by Soderbergh and Cameron Crowe – no slouches, they.  And the bottom line is that while Damon has been in some stinkers (hello, Stuck on You), he’s never given a truly bad performance.  Meanwhile, Affleck has given quite a few (hello, Gigli and Jersey Girl).  But the bottom line is that there was a point in Affleck’s career where he wanted desperately to be a movie star at any cost, including starring in a terribly scripted Daredevil film that Damon has recently said he passed on because of “script issues” and the fact that he didn’t believe in Mark Steven Johnson as a filmmaker.  If you look at the filmographies of both stars, Damon rarely works with first-time filmmakers, opting instead to go with proven commodities and artists while Affleck had previously not seemed to care much about the man behind the camera.

Look, I can’t get too down on Affleck for starring in films directed by Martin Brest or his buddy Kevin Smith, but at a certain point no matter how great the director is, it’s a matter of writing – something that Affleck and Damon should know a lot about, considering their Oscar for screenwriting.  Damon, despite not always choosing the most commercial scripts, wound up having a more direct path to movie stardom.  The fateful choice, in my eyes, is his choosing The Bourne Identity (a production that was plagued with problems), which became a lucrative franchise.  Meanwhile, Affleck turned down a part in Ocean’s Eleven and saw more commercial potential in the more conventionally commercial Jack Ryan franchise.  Damon followed his heart while Affleck followed the dollar signs.  But I never would have guessed that Affleck would save his career by becoming one of the more exciting directors out there.  Maybe that’s why he didn’t necessarily care too much about who his directors were – he was already the best one on most sets.

Side-note: The Adjustment Bureau, for what it’s worth, is a completely fine film.  It’s seriously flawed and the whole sci-fi aspect is pretty dumb and overly-expository.  However, the love story at the center of it is refreshing and engaging, due to the fact that Matt Damon and Emily Blunt imbue their characters with such commitment and heart that we can’t help but root for them to wind up together against all odds.  I liked the story of these two people and how their romance blossoms and I would have much preferred a film that focused on that rather than spending the bulk of its running time explaining why John Slattery and Anthony Mackie are always around.  I’d rather not have to spend my time questioning how these all-powerful agents can move things with their mind yet can’t somehow give a bus a flat tire.  I’d rather spend that time getting to know these two characters even better.  It’s the rare sci-fi, big-budget blockbuster where the characters and the romance is much more enjoyable than the effects and the action.

DVD Geek: The Town

Wednesday, January 26th, 2011

Ben Affleck’s expansive crime drama about a Boston bank heist crew, The Town, has been released on a Blu-ray by Warner Home Video, containing both the 125-minute theatrical release and a 153-minute ‘Extended Director’s Cut.’  There is, interestingly, one scene in the director’s cut that repeats aspects of a conversation that occurs previously in the film, but it is actually like real life, where someone asks you the same question again because they don’t remember asking it before, and it is a nice little moment that never really happens in movies that are pared to the bone, even on director’s editions.  The longer version of the film is the more satisfying version because it has more time to explore the characters, and that is the point of the movie.  The theatrical version makes an efficient action film, but the Extended Cut keeps all of the action while letting it mean more because you know the characters better.  Affleck also stars, and in some ways the film is one of those wish fulfillment projects where, through his character, the director/star gets to live out a macho daydream.  But where directors like Steve Martin and Woody Allen have used this device to imagine that young women are attracted to them because of their personalities, Affleck is still young enough himself to believably get the girl, and instead gets to pretend that he’s a successful, high-adrenaline crook.  Giving the best performance in the film, Rebecca Hall plays a bank manager who is abducted during one of the heists and then released, with Affleck’s character, who had been disguised, then looking her up and striking up a relationship with her.  It’s absurd, but necessary to get the plot going, and since most of the film is relatively absurd anyway, if you accept these small exaggerations, you can have a very good time with how the story then plays out among the characters.  In another inspired piece of casting, John Hamm is the FBI agent heading the task force that is trying to bust the crew.  Curiously, there is one really nice sequence in the theatrical version near the end, showing how Affleck’s character evades some police checkpoints, that has been removed for no apparent reason from the Extended Cut, making his actions a little more confusing. 

The picture is presented in letterboxed format with an aspect ratio of about 2.35:1.  The color transfer is sharp and accurate.  The DTS sound mix has some nice moments, especially once the shooting begins.  The theatrical version comes with alternate French and Spanish tracks in 5.1 Dolby Digital.  A second platter is included that contains a copy of the film on DVD and a copy that can be downloaded onto handheld viewing devices.  The BD has alternate English, French and Spanish subtitles, and 30 minutes of passable production featurettes.  An option also allows the featurettes to pop up in appropriate spots as the film is unfolding. 

Affleck supplies a commentary track on the theatrical version and the same track with additional comments on the Extended Cut.  Along with discussing his approach and technique in various scenes, he talks a lot about the Boston locations and Boston culture being explored in the film, and about the research he did with the real bank robbers who operate or have operated in the past in the area of Boston where the film is set.  At one point in the movie, the robbers put on uniforms to escape detection because, Affleck explains, “People see a uniform and not a person.  I always wondered about that until we had to shoot the piece going to the train on the end, and I actually decided to take the subway from where we were to South Station, where the train was, wearing this outfit, and not a single person said anything to me.”  Except one old woman, who came up to ask him for directions.

Frenzy on the Wall: Downsized and Dispirited, The Company Men Still Has Feeling

Monday, January 17th, 2011

The Company Men is a satisfying film, but not an altogether successful one. However, I’m inclined to give it a pass for a lot of its faults because its cause is such a noble one. The film will serve as a time-capsule for future generations to be able to look back and pinpoint this particular time in our nation’s history, a time when we were all so terrified about the economy, when stock prices mattered more than employing people, and when lay-offs became more and more common.

DP/30 Sneak: Ben Affleck Talks About Getting Pete Postlethwaite To Make “The Town”

Monday, January 3rd, 2011

Ben talked to us about The Town and during the chat, talked about the late great Postlethwaite

The Town, co-writer/director/actor Ben Affleck

Wednesday, November 10th, 2010

Wilmington on Movies: The Town, Easy A, Never Let Me Go, Mademoiselle Chambon, and Catfish

Thursday, September 16th, 2010

The Town (Three and a Half Stars)
U.S.; Ben Affleck, 2010

The Boston, Massachusetts, of Ben Affleck‘s new movie The Town – and of The Departed, Mystic River, Gone Baby Gone and other recent thrillers, Dennis Lehane-derived or not  — is decades away from the morally bent city of that great under-seen 1973 neo-noir The Friend of Eddie Coyle. But it has a similarly chilly temperature, the same clipped sense of smart-ass New England doom and Kennedy-accented cynicism welling up from the mean, sullen streets.

The Town, based on “Prince of Thieves” by Chuck Hogan (and scripted by Affleck, Aaron Stockard and Peter Craig), is a more of a movie-movie than any of the others. It has three (count ’em) rock ’em sock ‘em action heist set-pieces, each carefully spaced through the story, each increasingly violent, eye-blasting and showcase set-piecey, until the last one, a post-Heat busted heist and shootout at Fenway Park, with cops and crooks drenching each other with  automatic gunfire, that all but smashes you, French Connection-like, out of your seat.

But it still seems like a real city, a real community soaking itself into the bones of the characters, seeping out through their casual, slangy patter. The Friends of Eddie Coyle, directed by the British thriller specialist Peter Yates, and featuring one of Robert Mitchum‘s best, least typical roles (as Coyle), was written by a Boston lawyer, George V. Higgins, and it feels as real as a fight across the street, with an ending that shreds naiveté like a fast gut-punch. The Town is an entertainment and a romance, which finishes the way you want a good entertaining movie to end. (A good tough-minded movie, not a clichéd one.) But the world it creates — thanks partly of course to the memories of director-co-writer-star and ex-New Englander Affleck — is as convincing as the drizzly Paris of Rififi, gray and grim, tough and soulful.

The Town is set in Charlestown (maybe that would have been a better title) — which, we’re told, produces more bank robbers per block than anywhere else in America, a place where stickups are a sort of neighborhood tradition, passed on from father to son. Small wonder then, that one of the main characters, Affleck’s   Doug MacRay, seems so good at his job, yet so morally dissonant from what should be the calloussed feelings of the career robber he plays, Doug MacRay, while another, his psychopathic buddy Jem Coughlin (Jeremy Renner of The Hurt Locker), is hard as a crushed fender, a born thief, and maybe a born killer too.

We first see Doug, Jem and their two regular accomplices, holding up a bank, with casual ruthless organization and skill, leaping over barriers, forcing everyone to the floor, eerily wearing horror movie skull masks. (Later, in the second heist, even more eerily, they wear the masks of cadaverous nuns). Doug is hard-nosed, efficient, but strangely considerate, especially to the pretty bank manager, Claire Keesey (Rebecca Hall), who has to open the vault for him. Jem is vicious and unpredictable, repeatedly smashing one hapless banker on the floor, then deciding to kidnap Claire, then releasing her.

 Jem is still worried though, that she’ll screw them up somehow, especially since she actually lives in their area (the posher part)  — which is why Doug, to save them from an unnecessary rub-out, hooks up with Claire at the Laundromat, and why (the sort of thing Higgins wouldn’t write), he falls in love with her and she apparently with him. Jem, the voice of neo-noir and a buddy probably envious of his pal‘s conquests, is properly disgusted, acidly wondering, “You gonna fuck all the witnesses?”

From then on, it’s partly the roller-coaster ride we expect, punctuated with shootouts, a mad speeding-Bullitt of a car chase (through packed streets) and those regular, explosive heists — and partly the more touching romantic/neighborhood drama that feeds our interest. There are two sets of villains here (not counting Jem): a couple of evil gang guys and robbery-facilitators who work in a florist shop (shades of Sternberg’s Underworld), including a dour chap named Fergie Colm, the meanest, scariest bastard Pete Postlethwaite has ever played (Colm has a voice like Irish metal chips, rattling together), and an urbane, amiably nasty young FBI agent, Adam Frawley (Jon Hamm), who reminded me  of Eddie Coyle‘s streetwise young cop Richard Jordan. (Hamm steals so many scenes, that, like Renner, he hints at Oscar nomination possibilities.)

On the movie’s other plot-strand, the star-crossed lovers track, Affleck and Hall suggest a couple who belong together, fit perfectly, a tall eye-catching credit to the neighborhood. (Their kids may be college basketball stars.) They’re terse and knowing, but passionate, and watching them –jealously, hurt — are Jem and Jem’s sister, Doug‘s hooker ex-squeeze, Christa (Blake Lively). That’s pretty much the dramatis personae, except for Doug’s unforgettably bitter jailbird dad Stephen (Chris Copper), who’s there to remind us what happens when life goes sour and the Charlestown bank party is over.

There’s not a role here that could have been played better, not an actor, including the much-dissed Ms. Lively, who could have been cast better (though, for old time’s sake, we might have liked to see Matt Damon as Jem).  I think both this movie and the withering Gone, Baby, Gone (from Lehane) prove director Affleck loves his actors and tries to do his best by them. He’s also pretty damned smart about local color and atmosphere.

The style of the movie fits its characters, and though this is a savvy genre piece, it’s also a strong character show. Affleck‘s visual plan is unsentimental, cool and clear, with the aches and twinges buried underneath, his timing in the drama scenes just slow and methodical enough to keep you hooked, and not too jumped up or aggravated, like the usual Street Western.

Watching The Town, I rarely felt a step going false, a note out of place. (Of course, I never lived in Boston, though I almost took a job there once, at the old Real Paper.) And I enjoyed the action scenes, even if they kept going increasingly over-the-edge. If the characters are deep enough, the story compelling enough, the action can get crazy and you‘ll buy it, or at least ride through it (as you can’t, for example, in a crock like Takers). And there’s something about those automatic rifles, raking across a row of cars, about two guys just standing up and shooting away, about all hell exploding by Fenway Park, that maybe brings out the mean N.R.A. boy in us. It’s fun to watch.

But The Town didn’t kill me at the end, and maybe that was because Affleck is trying hard here not just to make a good movie, but a commercially successful one. (That was Clint Eastwood’s strategy for much of his career, and Eastwood‘s is a name/comparison some critics have dropped here.)  Affleck doesn’t betray his material. But he doesn’t transcend it either. He makes a good movie that does its job, and grips us, scares us, twists the emotional knife, and gives us something extra. That’s enough for now. Charlestown should be proud. Matt Damon should be proud. Casey Affleck should be proud. And, by the way, never buy any flowers from Pete Postlethwaite.


Easy A (Two and a Half Stars)
U.S.: Will Gluck, 2010

Emma Stone, the star of Easy A has the kind of sharp camera sense, acting smarts, knowing eye action,  and willowy bod that make her a camera magnet, plus a brainy delivery that belies much of her material. I’m afraid, for me, it belied Easy A too — which is a high school variation on Nathaniel Hawthorne‘s “The Scarlet Letter”  that seems to be obsessed with being both Clueless (a high school variation on Jane Austen‘s “Emma”) and Juno (a high school “Catcher in the Rye”-ish show with a pregnant Holden Caulfield).

The plot is obvious, but a little goofy. Stone plays Olive, a virginal but tart-mouthed teen at East Ojai High, who accidentally gets overheard in the john by the school bible-thumping bitch Marianne (Amanda Byrnes), while Olive tells her best friend a juicy lie about her sex life. For reasons never very clear or very plausible to me, Olive decides then to keep up the pretense of being a slut (though she has the rep and the notoriety anyway), and soon she’s peddling lucrative fibs about putting out, lies paid for by a lot of virginal local boys, including one gay guy and a lot of dweebs, the ones who also want a rep for what they’re not doing.

This bizarre pretense reaches its first climax, sort of, at a party where Emma and a client pretend to be doing it, moaning, carrying on and jumping on the springs in a bedroom, with a lot of the rest of the party-goers, ears pressed to the door, kibitzing on the other side. Sure.  

Soon, Olive has plastered a big red A on her top and the sham is reaching epic proportions. Pulled into the fray are Olive’s favorite teacher and his hot-pants guidance counsellor wife (Thomas Haden Church and Lisa Kudrow, both tantalizing but wasted),  the smirking principal (Malcolm McDowell, t. but w. too), the school team Woodchuck mascot (t. but w.c.) and everybody else within a cell-phone of the rumors.

Puzzlingly unconcerned are Olive’s unsquare parents, Stanley Tucci and Patricia Clarkson, though it‘s explained that Olive’s mom led a wild life. (Remember, Clarkson got part of her start dating Dirty Harry in The Dead Pool.) Olive herself never gets to be a female Holden Caulfield, though Stone could have managed it. (Remember , the name Holden Caulfield probably comes from William Holden, Joan Caulfield and Dear Ruth. And don’t get me started on the movies, or My Foolish Heart.)

Actually, very little of Easy A made any sense to me at all.  (It has great titles though.) Most of the cast, tantalizing or not, seemed wasted, or at least too cutesy. (except the wonderful Ms. Stone.) The dialogue was all smarty-pants rib-nudging stuff. The sexy plot twists seemed to me inexplicable. At that high school party, for example, I would have guessed that the people on the other side of the door would have busted it open and piled on the bed, and not just because I‘ve been brainwashed by Judd Apatow. Furthermore, why is everybody keeping did-she-or-didn’t-she secrets like this — especially high school guys, who, no matter how much money they’ve shelled out, usually can’t keep secrets about sex at all?  Why does Olive make her best friend her enemy and vice versa? Is East Ojai High really this sexually retarded? Why didn’t Church and Kudrow and Tucci and Clarkson just forget all this, find another script and break out a bottle of pinot noir with Paul Giamatti and Emma? Cheers!

Bert V. Royal’s script reminded me uncomfortably of all those ‘60’s Doris Day-Rock Hudson, Norman Krasna/Stanley Shapiro sort of gelded sex comedy scripts, those phony-promiscuous shows where people were supposed to be screwing but weren‘t, or the gal was supposed to be doing it but wasn’t, or the guy was supposed to be gay but wasn’t, and nothing was really going on, but the supporting actors, or at least Tony Randall and Paul Lynde, were constantly leering over everything.

I accept the fact that I just don’t understand the younger generation, or at least this version of it. (Or the older generation too, apparently. Or sex. Or woodchucks.) And though I never laughed once at Easy A, a lot of people around me were chuckling, tittering, having a ball.  Aw, they were easy.


Never Let Me Go (Two and  Half Stars)
U.K.; Mark Romanek, 2010

This adaptation of an austere,  melancholy science fiction novel by Kazuo Ishiguro (who wrote the book from which Merchant-Ivory-Jhabvala made the splendid Remains of the Day) gives us a world where test tube babies are bred to become organ donors for the terminally ill. Icy premise, awful world. In scenes well-written by Andrew Garfield, well-directed by Mark Romanek (who made the 1985 sleeper Static), and very well-acted by all, we follow three of the donors-to-be —  big-hearted Kathy (Carey Mulligan), her howling great love Tommy (Andrew Garfield) and her sexy over-competitive friend, and Tommy’s seducer, Ruth (Keira Knightley) — through lively but troubling school years (Charlotte Rampling is their cool headmistress), with broken hearts haunted by a cassette with Helen Monheit singing, pleading Never Let Me Go, to a mournful adulthood, full of recurring, cloudy ocean-side beach scenes where a somber sky is spread above abandoned sands, and waves lap, lap the shore.


I confess I am one of those viewers who finds this very well-made movie somewhat unaffected and even alienating because nobody makes a break for it — because we never even seem to hear a false rumor of revolt, but instead watch these sympathetic people walk placidly, inexorably, toward what’s called completion. Is it a Holocaust analogue? Is it programmed cloning? Is it the worst example of the secret psychic chains of the old British class system? Is it some warped desire not to be accused of excessive melodrama by upper-class British literary critics?  Is it incomplete writing?


Whatever, it inhibits empathy. For me, at least. And as someone who would have liked very much to donate a kidney to his dying mother, I find health care nightmares devastating.     


Mademoiselle Chambon (Three Stars)
France; Stephane Brize, 2009

Of all sad words of tongue and pen, the saddest are these: It might have been. So says the poet John Greenleaf Whittier. So  perhaps, for much of  Mademoiselle Chambon, says Stephane Brize, the director/co-writer of this Brief Encounter-ish tale of a somewhat happily married house builder, Jean (Vincent Lindon) who falls in love with his little boy‘s schoolteacher, Mademoiselle Veronique Chambon (Sandrine Kiberlain). Thanks to Lindon, Jean goes very believably heartstruck when Mlle. Chambon plays the classical violin (especially Edward Elgar), and then also must deal with her approaching departure, his own strongly moral nature and the fact that his wife, Anne-Marie (Aurore Atika) is both blameless (even if she is ignorant about direct objects in French grammar) and pregnant.

Lindon and Kiberlain, both exemplary actors, are an interesting couple — she’s brainy, wispy and interested, he‘s brawny, good with his hands and shy. And this adaptation by Brize and co-writer Florence Vignon of Eric Holder‘s novel, wrings as many drops  of erotic tension, as many moony stares and averted eyes, pregnant silences and yearning almost-touches, as it can. Most of the passion is sub-surface, as it was in David Lean and Noel Coward’s postwar classic of Rachmaninoff-drenched repression. (See above).  The visual style is chaste too. When young, smart-ass media neo-conservatives bitch about French movies, this may be part of what bothers them. Sex mixed with principles isn‘t their cuppa, and neither are movies that take romance seriously.

But in many great love stories, it’s the difficulties that make the drama, the frustrations that feed the passion. And that‘s the case here, too. Thanks to Lindon and Kiberlain, we feel again what it means to suffer, silently. Chambon is not great, but its certainly good. Wispy, but good. (French, with English subtitles.)


Catfish (Three Stars)
U.S.; Henry Joost/Ariel Schulman, 2010

  Time is running out. So it’s a relief to be faced with a movie, where it’s best that I tell you absolutely nothing about what happens in it — except this. Catfish is a super-indie mini-budget movie shot by young filmmakers Ariel Schulman and Henry Joost about their N. Y. roommate, and Ariel’s brother, photographer Yaniv (Nev) Schulman, and his Facebook relationship with Abby Pierce, an 8-year-old artist living in Minnesota, her teen sister Meg, and their remarkable mother Angela.

Or is it?

Watch it. Trust me. Trust us all. The movie is riveting. The people are (sometimes) irritating and (often) fascinating. The end-credits are killers. The world is changing, and this film is a document of that change — witty, scary, sad. And though there are rumors that this is one of those I’m Still Here deals, by Ben Affleck’s brother Casey, where much of it may be fictional and faked, all I can say is: If these guys made up this story and executed it like this, then their talent is even more impressive.

I Just Flew Into Toronto, and Boy, Are My Arms Tired

Wednesday, September 8th, 2010

After a full day of travel, I finally landed in Toronto around 10PM tonight. I spent part of the flight watching screeners — I’ll have a review of Swedish film Behind Blue Skies up soonish, but in brief: it’s kind of a Swedish Holy Rollers (the Jesse Eisenberg, Hasidic Jews smuggling ecstasy flick), set in the ’70s, and stars Bill Skarsgård (Son of Stellan) in a soulful, impressive lead performance.

TIFF Preview, Part Two

Saturday, September 4th, 2010

Previously, I wrote about what you might consider the more “indie” sections of the Toronto International film fest: Contemporary World Cinema, Discovery, and docs, plus Canada First!, which is always interesting.

Now let’s take a peek at the Galas and Special Presentations, plus everyone’s favorite late night, wild ‘n’ crazy section, Midnight Madness.

Postering The Town

Wednesday, August 18th, 2010

“This photo shows Meghan Longobardi standing next to Ben Affleck at the Bass Pro Shop in Broken Arrow on Tuesday.” On The Trail Of Malick’s Latest In Bartlesville, Oklahoma

Monday, August 16th, 2010

“This photo shows Meghan Longobardi standing next to Ben Affleck at the Bass Pro Shop in Broken Arrow on Tuesday.”
On The Trail Of Malick’s Latest In Bartlesville, Oklahoma