TIL DEATH DO US PART
From the creator of Final Destination and Directed by Emmy® Award Winner Timothy Woodward Jr., Til Death Do Us Part portrays the grim reality that not every romance story ends with happily ever after. After running away on her wedding day, a bride-to-be must fight for survival against her former fiancé and his seven deadly groomsmen. In the ultimate horror showdown, the groomsmen soon discover that she has no intention of going back to the life she left behind.
When a bride flees her wedding day, the groomsmen track her down, shall we say, to address the problem she has created for everyone involved. Director Timothy Woodward Jr. gives audiences an action-packed romp in TIL DEATH TO US PART.
Pancho Moler and Neb Chupin deserve your attention. This pairing is a buddy comedy in the making. Orlando Jones has fantastic chemistry with Gigandet. He is effortlessly charming. Cam Gigandet nails the villain role with a deliciously overconfident and definitively slimy aura. The camera loves him. His delivery is chef’s kiss. I would be delighted to watch a spinoff film featuring Jones and Gigandet in a heartbeat. Hell, TIL DEATH DO US PART earns a franchise series. Maybe call it THE GROOMSMEN? *now I feel I’ve earned a producer credit*
Ser’Darius Blain is elegant as The Groom. His presence is genuinely beguiling. Jason Patric elevates the film with his captivating storytelling. It’s a killer turn. Natalie Burn holds her own against this primarily male cast. Quite literally sticking it to the patriarchy, Burn is tailor-made for this genre.
Markos Keyto’s production design is phenomenal. The fight choreography is entertaining as hell. The soundtrack is a character all its own. Together they are the perfect marriage of camp and kick ass. Shout out to the practical fx team. There is a brilliant moment with a chainsaw. The editing keeps things interesting, forcing you to pay attention to the story as it unfolds. Comparisons to Mr. and Mrs. Smith are inevitable, but this film has an unexpected nuance from writers Chad Law and Shane Dax Taylor. Besides the runtime feeling a little long, TIL DEATH DO US PART is an undeniably fun action-thriller.
TIL DEATH DO US PART
Releases Exclusively in Theaters Nationwide on August 4
Key cities the film is opening in include New York, Los Angeles, Charlotte, Chattanooga, Columbus, Durham, Houston, Jacksonville, Kansas City, Knoxville, Las Vegas, Long Beach, Nashville, Ontario (Canada), Louisville, Miami, Oklahoma City, Portland (OR), San Diego, Tampa, Tucson, Wichita, Westbrook (CT) and many more.
All theaters: https://www.
Directed by: Emmy® Award Winner Timothy Woodward Jr.
Starring: Cam Gigandet (Twilight, Never Backdown), Jason Patric (The Lost Boys, Speed 2: Cruise Control), Natalie Burn (Black Adam, The Enforcer) and Orlando Jones (The Time Machine, Drumline).
Co-written by Chad Law (Black Water) and Shane Dax Taylor (Isolation), Til Death Do Us Part also stars Ser’Darius Blain (Jumanji: Welcome to the Jungle), D.Y. Sao (Everything Everywhere All at Once), Neb Chupin (Mindcage, Acceleration) and Pancho Moler (3 from Hell). The film is produced by Jeffrey Reddick (Final Destination), Woodward Jr./Status Media and Entertainment and Burn/Born To Burn Films. Reddick and Woodward Jr. previously collaborated on the popular horror films The Final Wish &The Call, both starring genre legend Lin Shaye. The film’s Executive Producers include Matthew Helderman and Luke Taylor, with Thomas Mann and Neb Chupin acting as Co-Executive Producers.
There is a ton of potential in The Shadow Effect. Stars Cam Gigandet and Jonathan Rhys Meyers are both absolutely on point with their performances. They try very hard with the material provided, so it’s not really their fault that the film’s inconsistent moments of great and not so good cannot match up to the caliber of their talents. The editing is the guilty culprit. There are moments in the first half of the film with stellar use of speed dynamics that set up the plot, but the CG is downright awful. Some of the action sequences, including punches, are ill-timed and/or missing the proper sound effect. It’s incredibly distracting. The Shadow Effect might have been better off as a series on SyFy network. The script is intriguing enough to hold your attention, but I yearned for more. There is so much we’re missing or quickly glazed over that I think multiple episodes would have done a better job at delving into the past of all the characters. Trying to shove everything into about a 95-minute run doesn’t do any one plot line the justice it deserves.
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