The exhibition is the largest gathering of EC original art in an accredited museum and is on view from May 14 to July 10, 2016

“Aliens, Monsters, and Madmen: The Art of EC Comics” celebrates the achievements of the most artistically and politically daring American comic-book company of the twentieth century: Bill Gaines’s “Entertaining Comics,” better known to fans all over the world as EC. Organized by Ben Saunders, associate professor, English Department, and director of the UO Comics Studies minor, the exhibition is on view from May 14 to July 10, 2016, and opens with a free reception on Friday, May 13, from 6 to 8 p.m. at the Jordan Schnitzer Museum of Art on the University of Oregon campus.

EC specialized in comic-book versions of popular genres—particularly Crime, Horror, War, and Science Fiction—adapting the conventions of those genres to the comics medium. With such legendary Science Fiction and Horror titles as “Weird Science” and “Tales from the Crypt” the creators at EC shaped the young imaginations of a generation of Americans. Writers such as Stephen King and R. L. Stine, filmmakers such as George Lucas, John Carpenter, George Romero, and Stephen Spielberg, and musicians such as Jerry Garcia and Alice Cooper, all cited EC as a formative influence upon their own work. The company also broke new ground in the realm of satire as the publisher of “MAD,” an experimental humor comic that parodied the very stories that were elsewhere its stock in trade.

EC offered a controversial mix of sensationalism and social provocation, mixing titillating storylines and imagery with more overtly progressive material. Alongside comics about beautiful alien insect-women who dine on unsuspecting human astronauts, for example, they also tackled subjects that other popular media of the era avoided, including racism, McCarthyism, and the failures of the criminal justice system. As a result, the company attracted the disapproval of parents, politicians, and moralists everywhere, and was ultimately driven out of business as the result of a conservative “anti-comics” backlash. Only “MAD” survived by becoming a magazine in the mid-1950s; it remains in print today.

“EC comics and artwork now constitute highly valued collectibles,” says Saunders. “This exhibition is around key examples of the original production art — unique and rarely seen objects of extraordinarily detailed craftsmanship by some of the most influential comics artists of the 20th century.”

Starring Natalie Portman, Joel Edgerton, Noah Emmerich and Ewan McGregor

Academy Award winner Natalie Portman (Black Swan, Star Wars Episodes I-III, The Professional) stars in Gavin O’Connor’s action-packed western Jane Got a Gun, available on Digital HD April 15 from Starz Digital, and on Blu-ray, DVD and On Demand from Anchor Bay Entertainment April 26.

Hailed as a “sturdy, well-crafted genre piece” by the Los Angeles Times, Jane Got a Gun also stars Joel Edgerton (Black Mass, The Gift, The Great Gatsby), Ewan McGregor (August: Osage County, The Island), Rodrigo Santoro (Focus, 300: Rise of an Empire), Noah Emmerich (TV’s “The Americans”, Little Children), and Boyd Holbrook (Gone Girl, Run All Night). The screenplay is written by Brian Duffield (Insurgent), Anthony Tambakis (Warrior) and Joel Edgerton, with story by Brian Duffield.

Jane Hammond (Natalie Portman) has built a life on the rugged western plains with her husband Bill "Ham" Hammond (Noah Emmerich) and young daughter. When Ham stumbles home riddled with bullets after a run-in with the relentless John Bishop (Ewan McGregor) and his gang, she knows they will not stop until her family is dead. In desperation, Jane turns to Dan Frost (Joel Edgerton), a man from her past, for help. Haunted by old memories, Jane’s past meets the present in a heart-stopping battle for survival.

Hey, Chuckie Baby! From the dangerous mind of Chuck Barris comes one of the most infamous motion pictures ever – The Gong Show Movie! Long absent from home video formats, this one-of-a-kind cult film has at last taken its act to Blu-ray, debuting March 29, 2016, from Shout! Factory.

Long before America’s current fascination with talent shows came “The Gong Show.” Inspired by the beloved TV talent(less) show, The Gong Show Movie presents a week in the life of beleaguered game show producer and Gong Show host Chuck Barris (played by Mr. Barris himself, in a masterstroke of casting). Between a ratings-obsessed executive, out-of-control contestants and judges, and a seemingly endless string of auditions and encounters with “fans,” Chuck’s got his hands full… which leaves him no way to keep a grip on his own sanity. Can he get it together before the gong is struck on both his private life and his career?

Universal / Released 2/16/16

Witness the founder of Apple like never before. Steve Jobs paints an intimate portrait of the brilliant man at the epicenter of the digital revolution, backstage in the final minutes before three iconic product launches. Directed by Academy Award winner Danny Byole (Slumdog Millionaire), written by Academy Award winner Aaron Sorkin (The Social Network) and starring Michael Fassbender, Kate Winslet, Seth Rogan and Jeff Daniels. Extras include commentary and making of.

Last Word: When I heard there was another biopic film coming out about Apple’s greatest captain my first reaction was, “Another one?  Why?” Didn’t Hollywood just do one with Ashton Kutcher? Wasn’t there one in the 90’s that followed the rivalry between Jobs and Gates.

I know he was an influential figure in the tech world, but how many movies about Steve Jobs do we really need? Then, I saw Michael Fassbender was playing Jobs.  Okay, that could be interesting.  Oh, Aaron Sorkin wrote the screenplay. Well, that’s a good sign. Wait, Danny Boyle is directing.  Done. Sign me up. So, how many Steve Jobs movies do we need? Just this one.    

Steve Jobs is brilliant.  The film Steve Jobs essentially works like a 3-act play.  Each act is a snapshot of Job’s life set in juxtaposition with the media launches of his pet projects; The Macintosh in 1984, The Next in 1998, and the iMac in 1998.  Director Danny Boyle and his masterful cast craft a film that takes dialog heavy script that could be inherently boring and turn it into  a riveting, visceral experience.

The cast of this film makes you wish the Academy gave an Oscar for best ensemble.  Michael Fassbender brings Steve Jobs to life, warts and all.  His balance of heart and hubris is astounding.  Fassbender makes the viewer understand how such a colossally, self-involved, megalomanic could charm and command the loyalty of so many brilliant people.  His passion and belief in his vision of the world was contagious.  Fassbender makes it tangible.  Kate Winslet stands toe-to-toe with Fassbender as Joanna Hoffman, Job’s right-hand and friend.  She is the no nonsense Jiminy Cricket that guides Jobs along his path.  Just as her real life counterpart  could hold her own with Jobs, Winslet can balance a scene with Fassbender.  Each of their performances are better for it. Seth Rogan is perfectly cast as Steve Wozniak, Job’s college friend, colleague, and head of the Apple 2E division of Apple.  He is the sweet to Job’s salty that pinpoints Job’s dynamic with people.  Sorkin allumn Jeff Daniels rounds out the stellar cast as Job’s mentor John Sculley.

It would be easy for Boyle and Sorkin to either demonize or deify Steve Jobs.  However,  they solidly come down on the side of Jobs being a human being, complex in his relationships, capable of growth and change, limited in his own ways.  The story of Jobs' relationship with his daughter shows a man stretching himself outside of what he knows.  It was one of the nuggets in the film that kept me from forming a 2D portrait of the man. For a man who felt that technology should be packaged in excellent design, making it a work of art, Steve Job’s would be happy with this film.  Boyle’s team of cinematographer Alwin H. Küchler and editor Elliott Graham have made a beautiful looking film.  Kuchler’s framing is masterful and Graham’s editing makes the actors performance’s dance.  The combination is hypnotic. 

All these elements together transform a film where a bunch of people stand around and talk about computers and child support into a gripping, multi-tiered story of a man’s life’s work. Steve Jobs, love him or hate him, you can’t deny he has left his mark.  (– Elizabeth Robbins)

Disney / Released 2/23/16

From the innovative minds of Disney-Pixar comes a hilariously heartwarming adventure about the power of confronting and overcoming your fears and discovering who you are meant to be. The Good Dinosaur asks the question: what if the asteroid that forever changed life on Earth missed the planet completely, and giant dinosaurs never became extinct? In this epic journey into the world of dinosaurs, an apatosaurus named Arlo makes an unlikely human friend. While traveling through a harsh and mysterious landscape, Arlo learns the power of confronting his fears and discovers what he is truly capable of. Extras include featurettes, deleted scenes and short film, Sanjay's Super Team.

Last Word: In a fictional reality the asteroid that possibly destroyed the dinosaurs misses Earth. This causes dinosaurs and humans to coexist. One day a young outcast Apatosaurus gets lost and along his journey back makes an unlikely friend.

The Good Dinosaur was truthfully a sub-par PIXAR film. Sorry to tell the readers out there looking forward to this film, but it fell short of becoming a PIXAR masterpiece. It starts out in typical “Disney” fashion with the birth of a main character and that character already exhibiting problematic traits. Arlo the Apatosaurus is small, fragile, and afraid of everything, but clearly just wants to fit in. As time goes by, Arlo grows up and goes with his father to the nearby river. A storm breaks loose, leading to flash flooding and Arlo’s dad is taken by the storm. Another “Disney” staple is the death of one or both parents resulting in dramatic changes for the main character. It is incredibly similar to other Disney and PIXAR films, which is a bad sign.

The writing left a lot to be desired. The true villain of this film was nature, yet certain things did not make sense. While Arlo’s father may have been taken by flash flooding, Arlo was as well at another point in the film, and even went over a waterfall, but he survived. There were a couple odd plot holes like that one but nothing too major. Truthfully, the whole story was unimpressive. Arlo was taken far from home and had a journey to return and met some odd characters along the way. It’s painfully similar to Finding Nemo with some role reversal, like instead of the Mom dying it was the Dad and instead of the parent trying to find the child it was the child trying to make it back home. PIXAR usually puts so much focus on developing the characters with relatability and growth during the story, but there was not much of that in The Good Dinosaur. The Good Dinosaur is just that…a “good” dinosaur. Arlo is just a good natured young dinosaur who only wants to help out and fit in. While he learns lessons throughout the film like courage, confidence, and trust, he, as a character, does not greatly change. Arlo’s entire journey is rather fruitless and long, so much so that it felt like a chore to get through the whole two hours of it.

There was some good though, and the “good” of this film was truly great. It was breathtaking. The animation is simply incredible; the most stunning that PIXAR has ever created. The landscapes are truly visual candy and look as though they were hand crafted by Mother Nature herself. The mountains have brilliant snow caps and amazing texture, the river beds feel muddy and rocky, the forests felt dense and rich, and the clouds were a force to be reckoned with. PIXAR developed new tech dealing with the clouds as in most, if not all, of their past features they have painted the clouds into the landscape. However, for The Good Dinosaur, they created the clouds in their animation programs and used global illumination for the lighting and then animated them into the scenes. This brought another whole dimension to the realism of this film. It is clear that this film seems set in what would be the Northwestern United States: from as far south as Colorado to as far north as Montana, the landscape has all the same features as that of the Rockies, the Tetons, Yellowstone. PIXAR made an odd decision to give the characters brighter colors and be a little too cartoon-y for the landscapes they were in. The contrast between characters and backgrounds in this film is incredibly obvious and also somewhat distracting as viewers’ eyes are attracted to the bright colors and seemingly out of place objects when all they really want to see are the landscapes.

Another good note is that PIXAR did do some creative things with the animation of the characters. While the humans were simple-minded cave-people and sometimes walked on all fours, the dinosaurs had some differences from how one might think they moved. The Apatosaurus design had these knobby knees that almost seemed more like elbows than knees. Their legs bent more and needed to do more than what was theorized about dinosaurs. This was creative in the sense that the story took place millions of years after when the dinosaurs were supposed to go extinct, so they probably evolved. The T-Rexs were also quite creative as they were cowboys or rather ranchers in this film, so when they ran, their lower halves moved like galloping horses and their top halves moved like cowboys riding horses. This awkward separation in their animation helped create an interesting illusion and further push the idea of the T-Rexs being cowboys. Another fun note is that the velociraptors in the film had feathers, which is interesting because dinosaurs probably had feathers, at least some of them, and on some parts of their bodies.

Again, as with PIXAR tradition, the casting goes a long way. They haven’t really ever failed at that, but have definitely hit some bumps in the road. Since the original director, Bob Peterson, left the project after a while and others stepped up briefly, the film had been re-imagined and probably rewritten. However, since it was two-thirds completed, the voices had already been recorded. Some members of the original voice cast got dropped, their recordings hit the editing room floor, and they were replaced as their characters changed into other characters in the new story line. Of course John Ratzenberger makes a voice appearance, but among the other voices are Steve Zahn, Sam Elliot, Anna Paquin, Jeffrey Wright, and Francis McDormand. Also, while normal PIXAR Easter Eggs seem hard to find in this film, there is one that stares the viewer in the face the whole time.

Arlo is an Apatosaurus and that particular dinosaur has appeared elsewhere in PIXAR films. The gas station in the first Toy Story film is a “Dinoco” gas station with an Apatosaurus logo. Dinoco also appears in the Cars films. Dinoco was a nod to the old Sinclair gas stations with their Brontosaurus logo, another sauropod that is actually bright green. These things aside, the truth of the matter is that The Good Dinosaur would have worked very well as an animated short and not a feature length film. Perhaps too much time was spent on it, perhaps too little, but in either case, it just wasn’t quite right.

Speaking of animated shorts, the one paired with The Good Dinosaur, titled Sanjay’s Super Team, is an extremely fantastic short film that should not be missed. It shows the struggle between a father and son; one needs to do his daily ritual of meditation and prayer and the other wants to watch super hero cartoons. Sanjay’s father wants him to not watch cartoons and instead pray and meditate, but Sanjay has difficulty understanding that. During his meditation, he daydreams the Hindu gods are like super heroes and are a super hero team. The animated battle they have is really cool and so brightly colored and intricately designed. There are strong Indian influences in the design of the characters and it is gorgeous. This daydream helps Sanjay overcome his less favorable obligation and he learns to like it, while his father learns to appreciate him practicing with him so they watch the show and play together. It really was a great short with a great message and truly felt like what PIXAR has always been about. (– Joel Siegel)

Universal / Released 2/23/16

Michael Keaton, Mark Ruffalo, and Rachel McAdams lead a critically acclaimed cast in this gripping true story about the Pulitzer Prize-winning investigation that uncovered a scandal that rocked one of the world's oldest and most trusted institutions. Delving into allegations of child abuse within the local Catholic Archdiocese, a tenacious team of Boston Globe reporters exposes a decades-long cover-up that reaches the highest levels of Boston's religious, legal, and government establishment. Spotlight is a powerful and riveting drama. Extras include featurettes and roundtable.

Last Word: In today’s society, almost overwhelmingly saturated with click-bait articles and slideshows of celebrity shopping list items, it’s easy to forget that not long ago people used to take the idea of news seriously. Granted, the internet has become the foremost perpetrator to this steep decline in respectable reporting, but if you think back over the past decade, it’s depressing to see how little attention is given to the hard truth-finding people of the printed press these days. On the other hand, it almost seems like every generation gets a film on such a topic that also happens to be a masterpiece, such as the 1970’s All the President’s Men, and Ace in the Hole in the 1950s. It’s the tail end of 2015, so it’s time for our generation’s landmark printed news film to arrive.

Enter Spotlight, by established director Tom McCarthy. Spotlight is a confident work that ignores the fluff so often packed into journalistic prose to instead focus on the meaty subject at hand. In fact, it’s almost surreal to see a film that so reflects what it’s about, something that possesses all the qualities portrayed in itself. Had it been anything different, it could’ve been the butt of many a journalistic joke, but because Spotlight nails its point so remarkably well, it only aids itself in being something truly right for the moment.

The year is 2001, and “Spotlight” is a tiny organization within the Boston Globe, amidst the oncoming of a blistery winter. It is led by Rob, played by Michael Keaton, and made up of Sacha, Matt, and Mike, played by Rachel McAdams, Brian James, and Mark Ruffalo, respectively. It’s not a large group because the Globe doesn’t feel the need to expand them, so they work with what and whom they have to turn the “spotlight” on certain topics often ignored by the bigger outlets. These topics have a range, but the topic in question here is arguably the biggest they’ve had in decades: the topic of child molestation by local priests in the area. When the crew focuses the light on the sickening reality of the situation, they find there to be more scattering cockroaches than they could’ve imagined.

Child molestation, especially by priests, is a sensitive subject for any information medium, as it can pertain to just about anybody and is something so often suppressed by victims and shoved out of the mind of those ignorant to it. This was hugely prevalent in 2001, but, sadly, has only gotten slightly more attention in today’s society. The looming onset of winter in the film could be seen as a metaphor for the impending explosion of information regarding this terrible crime, as more of the exploration into this cold subject reflects the feeling more literally around Boston. While the film is, at times, almost unbearably realistic, the world surrounding Spotlight and its crew seems just as cold as the temperatures, with so many interviewees seemingly hiding something, afraid to let it get out, for the safety of themselves and others. As Rob and his crew dig deeper into the problem, the audience is introduced to more people who seem legitimate on the outside but harbor more corrupt intentions when the spotlight (hard to avoid this term) is shown on them. The way McCarthy handles this is a more realistic approach to filmmaking. No explosions, no fistfights, no crazy camera movements; just a static camera and a dialogue-heavy style of shooting. It’s a necessary approach, keeping the camera close up to the characters, to keep things intimate and controlled. To beat a dead horse, it’s as if McCarthy was holding the camera like an actual spotlight, shining it close to the character’s faces as they’re being interviewed. Like All The President’s Men, it’s like a documentary without the narrator.

This is an ensemble cast, with no real character being a “lead,” despite the different ranks within the Globe. The performances are big, but subdued; the camera doing the work of embellishing them without the actors themselves having to overdo it. When your script and narrative as a whole run primarily on dialogue, it’s easy for the performers to quickly run away with their craft, but because of the way it’s shot, each actor gets their own time to shine without having to delve into Laurence Olivier territory. While the central performers all knock it out of the park, I found myself more absorbed by the performances of the supporting characters. Stanley Tucci is both menacing and manipulative as ferocious attorney Mitchell Garabedian. On the other side of the personality, Marty Baron, a more quiet but opinionated new higher up at the Globe played by Leiv Schreiber. Billy Crudup does a fantastic job as Eric MacLeish, an attorney keeping information from Spotlight, and Neal Huff shows a particularly heartbreaking and great performance as Phil Saviano, a victim of molestation by a priest and an advocate for change and justice for all victims of the same crime. The film is a fantastic showcase of what can happen when you give a tight script to a set of fantastic actors at the height of their power.

There isn’t much more to be said about Spotlight that hasn’t been championed all around any news medium. At just over two hours, this is a film almost playing a façade, a grand epic taking place nowhere but small rooms and Boston homes, an action film using no other weapons than words and arguments. It should absolutely open the eyes of audiences either too ignorant to notice or too weak to examine a subject that, while certainly gaining steam in today’s society, needs the right kind of push to stand at the front of the crowd. Spotlight is that film. ( – Steve Carley)

Warner Bros. / Released 2/16/16

In 1970s South Boston, FBI agent John Connolly (Joel Edgerton) persuades Irish mobster James "Whitey" Bulger (Johnny Depp) to collaborate with the FBI in order to eliminate their common enemy: the Italian mob. Black Mass tells the story of this unholy alliance, which spiraled out of control, allowing Bulger to evade law enforcement while escalating his power to become one of the most notorious gangsters in U.S. history. Extras include featurettes.

Last Word: For those of you who have been living under  rock for the last forty years, Black Mass is the story of one time FBI informant turned FBI Most Wanted Man, James “Whitey” Bulger as he takes his standing as a small time South Boston Irish gangster and turns it into one of the most powerful and feared man in the city, all thanks to a deal cut with the FBI in the mid seventies to bring down the North End Italian Mafia.

For twenty plus years Bulger murdered, extorted, dealt drugs and laundered money hand over fist while the FBI turned a blind eye. This tentative alliance fell apart when a new DA was brought in and began unraveling just how deep and twisted Bulger had his hnds in the pockets of the FBI, namely his old time friend and agent John Connolly and his team.

With no one to protect him he went on the run for over 12 years only to finally be captured and charged with 19 counts of murder, conspiracy, narcotics distribution, extortion and shoplifting. He is serving two consecutive life sentences plus five years.

In Black Mass, Johnny Depp finally brings in a performance that all but obliterates the memory of the past Tim Burton mishaps and staggering Capt. Jack-scapades. Sporting a receding hairline that would give low tide at Wollaston Beach a run for it’s money and Jimmy’s crystal blue peepers, Depp all but becomes Bulger. And is damn scary.

The cast of Black Mass is spectacular and it is one of those films that makes you wish they gave an ensemble award at the Oscar’s. Along with Depp, Edgerton and Cumberbatch, the rest of the cast which features, Dakota Johnson as Bulger’s girlfriend Lindsey Cyr, Kevin Bacon as FBI agent Charles McGuire, Peter Sargaard as Bulger associate Brian Halloran, Jesse Plemons as Winter Hlll Member turned stool pigeon Kevin Weeks, Rory Cochrane as Bulger’s muscle Steve Flemmi, David Harbour as Agent John Morris, Adam Scott as straight shooting FBI Agent Robert Fitzpatrick all shine in their respective roles as does all of the supporting cast as well.

Director, Scott Cooper has brought together this amazing cast and gotten a fine tuned screenplay by Mark Mallouk and Jez Butterworth. Cinematographer, Masanobu Takayanagi photographs Boston with the love as if he was born here.

Somehow, however the film itself falls flat. In some aspects it is as amazing and unbelievable as Bulger’s story itself. In other ways, it is a very pedestrian bio pic that is indistinguishable from a Biography Channel documentary.  With a story like Bulger’s, one that was in the headlines off and on for decades and with a “trial of the century” circus that just ended not too long ago,. this film doesn’t add anything new or innovative to what we saw on the evening news or online. Maybe it was out of some misplaced respect to the victims. Maybe the director wasn’t up to the challenge, but I left the film, acting performances not withstanding, feeling a bit let down.

Two things struck me as I watched this. The film focuses more on FBI Agent John Connolly than it does “Whitey” and the Winter Hill Gang and Martin Scorsese did it much better in both Goodfellas and The Departed. It really isn’t fair to compare the three films. Not many people can be Martin Scorsese. Most don’t even try. But when you are running in the same genre as him you either have to bring something new to the race or really be able to pace him. Cooper does neither.  Don’t get me wrong. He made a fine film, but with a subject like Bulger and a source material coming from the book of the same name, fine just doesn’t cut it. I wanted the film to match the performances I saw in Depp and company. I wanted a film worthy of the infamous and reviled, “Whitey”. (– Benn Robbins)

THE ALL-NEW ANIMATED SPECIAL IS FROM  WARNER BROS. CONSUMER PRODUCTS, DC ENTERTAINMENT,  WARNER BROS. ANIMATION AND MATTEL

Tune into Boomerang on Saturday, March 19 at 10 a.m. for an action-packed hour with Super Hero High, a special featuring the stellar lineup of female Super Heroes from DC Super Hero Girls, the new comic universe from Warner Bros. Consumer Products, DC Entertainment, Warner Bros. Animation and Mattel. In addition to the special, exclusive shorts inspired by this fun and immersive world that encourages girls to discover their own super-heroic potential are also now available to view on the Cartoon Network video app.

Super Hero High is buzzing with excitement over new student, Supergirl. But when Supergirl crash lands into the cafeteria, it's evident that though she has incredible power, she has a long way to go before she becomes a Super Hero. Too intimidated by the other supers to ask them for assistance, Supergirl turns to helpful I.T. girl, Barbara Gordon. Barbara takes Supergirl under her wing and introduces her to the sweet, old librarian, Granny Goodness. As Barbara helps Supergirl learn to harness her powers, Wonder Woman joins them and becomes a mentor and friend to Supergirl. Meanwhile, the Junior Detective Club (The Flash, Bumblebee and Hawkgirl) investigates a mysterious rash of security breaches centered around the teleportation “Boom Tubes.” Could it all be because of reformed Super-Villain and Super Hero High Vice-Principal Gorilla Grodd – or something far worse?

Episodes Available for Next-day Download (Mar. 14 & 15) on iTunes, Amazon Instant Video, Vudu, and other platforms; DVD/Blu-ray release on April 19th

Acorn, an RLJ Entertainment, Inc. brand that specializes in curating and distributing the best of British television in North America, has acquired the Electronic-sell-through (EST) and home video rights in North America to And Then There Were None, the critically-acclaimed new adaptation of the best-selling crime novel of all-time.

And Then There Were None’s impressive ensemble features Aidan Turner (Poldark, The Hobbit trilogy), Charles Dance (Game of Thrones), Anna Maxwell Martin (Midwinter of the Spirit, The Bletchley Circle), Sam Neill (Jurassic Park), Miranda Richardson (Harry Potter films, Sleepy Hollow), Douglas Booth (Great Expectations), Maeve Dermody (Serangoon Road), Burn Gorman (TURN: Washington’s Spies, Torchwood), Toby Stephens (Black Sails, Jane Eyre), and Noah Taylor (Peaky Blinders, Game of Thrones). The gripping four-hour miniseries makes its U.S. premiere on Lifetime on Sunday, March 13 and Monday, March 14 with next-day availability on Monday, March 14 and Tuesday, March 15 for download on multiple platforms including iTunes, Amazon Instant Video, Vudu, Google Play, Xbox Video, and Sony Entertainment Network. RLJ Entertainment’s Acorn brand will also release And Then There Were None on DVD and Blu-ray on April 19, 2016, while RLJE’s Emmy-nominated streaming service Acorn TV will add the miniseries in September 2016.

FROM ACADEMY AWARD-WINNER CHARLIE KAUFMAN COMES ONE OF THE MOST CRITICALLY ACCLAIMED FILMS OF THE YEAR

Hailed by critics as a “stop-motion marvel” (Scott Tobias, GQ), “staggeringly inventive” (Chris Nashawaty, Entertainment Weekly) and “the most human film of the year” (Matt Patches, Esquire), the singularly “unforgettable” (Peter Debruge, Variety) ANOMALISA debuts on Digital HD March 15, 2016 from Paramount Home Media Distribution. The film arrives On Demand March 29 and on Blu-ray Combo Pack May 3.

Written by Charlie Kaufman, the visionary behind Eternal Sunshine of the Spotless Mind and Being John Malkovich, and co-directed with stop-motion specialist Duke Johnson (“Moral Orel,” “Community”), ANOMALISA received an Academy Award nomination for Best Animated Feature Film and was named one of the top 10 films of the year by the New York Times, Associated Press, Newsday, The Hollywood Reporter, Rolling Stone, and many more.