Tag: Naomie Harris

Review: Black Bag

By the time you finish this sentence, Steven Soderbergh may have released another film. Since ending his so-called retirement nearly a decade ago, the ever-prolific filmmaker has delivered over a dozen features and several television projects. BLACK BAG follows Presence as his second film of 2025—and it might just be one of the year’s best so far.

With a screenplay by David Koepp—who recently collaborated with Soderbergh on Kimi and Presence—this spy thriller appears deceptively simple at first. George Woodhouse (Michael Fassbender) and Kathryn St. Jean (Cate Blanchett) are a married spy duo working for the British government. When a top-secret asset vanishes, George is tasked with rooting out a mole—who may very well be his wife.

Koepp sets this twisty tale in motion with an almost stage-like economy, beginning at a dinner party in George and Kathryn’s stunning London home. (It’s truly gorgeous—clearly, I’ve chosen the wrong career). The guests are two pairs of colleagues: Clarissa Dubose (Marisa Abela) and Freddie Smalls (Tom Burke), along with Dr. Zoe Vaughan (Naomie Harris) and Col. James Stokes (Regé-Jean Page). They’re also couples—and all are suspects.

Like George himself, Soderbergh’s lens oscillates between cool detachment and uncomfortable intimacy. After all, he’s a master of this kind of up-close grilling, a skill he’s honed since his 1989 debut, Sex, Lies, and Videotape. As the opening dinner party spirals into a bloodier take on Who’s Afraid of Virginia Woolf?, it cracks open a warehouse of secrets—ones that Koepp and Soderbergh spend the rest of the taut runtime sifting through.

What truly sets BLACK BAG apart from other spy dramas is its stellar cast. Fassbender plays George as a closed book, revealing only flickers of his relentless pursuit of the truth. Blanchett, by contrast, brings a charged energy that crackles in their scenes together. The only thing that smoulders more are the withering looks of disdain spy boss Pierce Brosnan casually drops whenever an underling displeases him.

To say much more would be criminal—it’s best left sealed in the titular black bag. From its quiet moments to its nerve-shredding climax, BLACK BAG is a slick, sophisticated thriller that knows exactly how long to stick around.

2025 | USA | DIRECTOR: Steven Soderbergh | WRITERS: David Koepp | CAST: Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, Pierce Brosnan | DISTRIBUTOR: Universal Pictures | RUNNING TIME: 94 minutes | RELEASE DATE: 13 March 2025 (Australia), 14 March 2025 (USA)

March 12, 2025
Review: Venom – Let There Be Carnage

Cast your minds back to the Before Times of 2018. Prince Harry and Meghan Markle got married. The #MeToo movement went global. Venom became a surprise hit, joining Spider-Man: Into the Spider-Verse in an attempt at putting Sony’s mini Marvel universe back on the map.

Cut to 2021. As the MCU rapidly expands, and the multiversal Spider-Man: No Way Home is just on the horizon, the unlikely duo of Tom Hardy and a sentient pile of black alien goo are back to win our hearts and minds. For a major studio comic book film, it’s a surprisingly insular world that takes every opportunity to celebrate the delightful weirdness of a certain era of comics.

When we left journalist Eddie Brock (Hardy), he was interviewing serial killer Cletus Kassidy (natural born killer Woody Harrelson). This film picks up more or less where that left off, via a flashback to St. Estes Home for unwanted children. A young Kassidy meets and falls in love with the super-powered Frances Barrison (Naomie Harris), who is later taken away to Ravencroft Institute. In the present day, an encounter between Brock and Kassidy leads to the latter being infected with his own symbiote known as Carnage. When he busts loose from death row, all hell breaks loose on the path to a final showdown.

In fact, it doesn’t take long for the 1990s pairing of Venom and Carnage to come to loggerheads. As with the first film, it’s chaos on wheels, but this time it’s a little bit self-aware and as a result, a lot more fun. Very consciously acknowledging of its own limitations, this sequel serves the shameless fanservice machine nicely, as it veers from introduction to final fight with scant regard for any development in between. It does give us a terrific set-piece, including Carnage’s prison escape sequence.

Yet more than anything, the true joy to this film is in the weird romantic comedy leanings. Yes, there’s the will they/won’t they subplot with Eddie and Anne (Michelle Williams), although her affable fiancé Dan (Reid Scott) is genuinely likeable (albeit occasionally superfluous) as a comic foil. However, it’s the odd couple of Eddie and Venom that bring the most joy to the film, constantly squabbling and denying their bond. In a truly bizarre sequence, Venom (inhabiting another body) goes to a nightclub and gives a heartfelt speech about pride.

Even so, director Andy Serkis — a name synonymous with bringing humanity to motion capture — can’t entirely avoid some of the pitfalls of this kind of picture. Despite the two big stars in the lead, and the clear visual influence from Todd McFarlane and Carnage co-creator Mark Bagley, the final battle is effectively a black CG blob fighting a red one. The effects are top notch and state of the art and all that, and I’m not going to pretend the comic geek in me wasn’t digging some of it, but an engaging narrative it is not.

Still, as we come to conclusion that wouldn’t seem out of place in a rom-com, it’s hard to not have some affection for this truly and endearingly odd film. As the MCU has done with Ant-Man, Sony have created a lower stakes and mostly self-contained set of pictures that want nothing more than to fill you eye sockets for a few hours. Yet as the mid-credits sequence points to a bigger story in Brock’s future, Venom may just have to learn to share him with the superhero world.

2021 | USA | DIRECTOR: Andy Serkis | WRITER: Kelly Marcel | CAST: Tom Hardy, Michelle Williams, Naomie Harris, Reid Scott, Stephen Graham, Woody Harrelson | DISTRIBUTOR: Sony Pictures | RUNNING TIME: 97 minutes | RELEASE DATE: 24 November 2021 (AUS)

November 21, 2021
Review: No Time to Die

In October 2005, Eon Productions announced the casting of Daniel Craig. As the sixth actor to take on the role of James Bond in their successful film series, the announcement was not immediately embraced. Anti-fan sites launched campaigns that foreshadowed more commonplace social media assaults a decade later. Yet after Casino Royale was released in 2006, the critics were (mostly) silenced. Now, after 15 years and five outings, Craig’s self-contained saga comes full circle in a satisfying conclusion.

Picking up sometime after Spectre, Bond and Madeleine Swann (Léa Seydoux) are hanging out in Southern Italy in extramarital bliss — until things go boom. Feeling betrayed, Bond leaves her on a train and disappears. Five years later, when an MI6 scientist is kidnapped, it’s unveiled that M (Ralph Fiennes) has been involved in the development of a programmable bioweapon with deadly accuracy. It gets into the hands of Safin (Rami Malek), a terrorist leader with ties to Madeleine’s past and his own agenda.

NO TIME TO DIE wastes very little of its time setting the scene before plunging us into the action. Opening with a gloriously shot prelude sequence that plays like a wintery horror western, the pre-title sequence involves an explosion, a bike chase and a bullet-riddled Aston Martin. It’s an acknowledgement of the things that make audiences turn up in droves, continually escalating through a kinetic Cuba sequence (with a wonderful cameo from Ana de Armas) to the inevitable secret lair showdown.

Yet more than anything, it’s about character. Not since George Lazenby’s short-lived stint in On Her Majesty’s Secret Service — a film that is referenced several times in this outing — has the notion of Bond been so thoroughly interrogated on screen. It’s there overtly, of course, in the presence of Nomi (Lashana Lynch) as the inheritor of the 007 mantle during Bond’s retirement. Yet in the film’s final act, where Safin characterises their dichotomy as “two heroes in a tragedy of their own making,” the film directly address who James Bond is when you strip away the armour.

The rest of the cast is impeccable, with only a handful of new friends joining a cast of familiars. Lynch is unquestionably the standout of the new faces, a capable equal for Bond and an indicator of where the series can go from here. Indeed, good money will be contributed to the Kickstarter that teams up de Armas and Lynch in a buddy spy film.

If director Fukunaga’s film stumbles, other than in the field of judicious editing, it is in the development of the villains. A key sequence featuring the return of Christoph Waltz as Blofeld is an excellent coda to Spectre, although it’s at the expense of the ostensible primary villain. Malek has a surprisingly small amount of screen time in the 163 minutes we spend in 007’s orbit, and we learn little beyond his appropriation of Japonisme as an aesthetic. Similarly, most of Seydoux’s progression seems to happen offscreen.

Is it territory we’ve seen partially covered before? A little, especially when you compare it with Skyfall. Is it way too long? As the longest film in the franchise history, undoubtedly. Yet as Daniel Craig’s last outing in the tux, it earns every inch of its blockbuster presence. As an unabashed fan of all things Bond, it satisfied a core part of my being while allowing me to bid farewell to arguably one of the greatest portrayals of the character in his 68 year history. So, yes, it’s a farewell of sorts, but you can always count on one thing: James Bond will return.

2021 | UK, USA | DIRECTOR: Cary Joji Fukunaga | WRITER: Neal Purvis, Robert Wade, Cary Joji Fukunaga, Phoebe Waller-Bridge | CAST: Daniel Craig, Rami Malek, Léa Seydoux, Lashana Lynch, Ben Whishaw, Naomie Harris, Jeffrey Wright, Christoph Waltz, Ralph Fiennes | DISTRIBUTOR: Universal Pictures | RUNNING TIME: 163 minutes | RELEASE DATE: 11 November 2021 (AUS)

November 10, 2021
Review: Collateral Beauty

Director David Frankel is no stranger to emotionally manipulative films, with his credits ranging from dog movie Marley & Me through to inspiration porn One Chance. With COLLATERAL BEAUTY, he pulls back the curtain to reveal the wizard in a story that consciously plays with those susceptible strings. The premise is profoundly silly, but it takes us on a sentimental journey for a message that isn’t entirely unwanted in our darkening times.

Passionate advertising executive Howard Inlet (Will Smith) believes marketing can change the world by appealing to three basic tenants: love, time, and death. However, when his daughter tragically dies, he is reduced to a near catatonic state. His business partners Whit Yardshaw (Edward Norton), Claire Wilson (Kate Winslet), and Simon Scott (Michael Peña) are worried about his ability to run the company, especially when they discover Howard is writing breakup letters to his trio of abstract concepts. So in order to bring his diminished capacity to light, they hire three actors to play Love (Kiera Knightley), Time (Jacob Latimore) and Death (Helen Mirren) and confront him.

As far as convoluted plots go, COLLATERAL BEAUTY certainly takes the cake. It’s difficult to put the morality of it all to one side, and it really is a cruel plot with dubious intentions. Yet what we are left with at the heart of Allan Loeb’s script is a reflection on a man’s life, loosely modelled on the formula Frank Capra perfected almost eight decades earlier. Frankel doesn’t get anywhere close to the sincere Americana of the master, even if Maryse Alberti’s photography is a visual love letter to New York.

Saccharine dialogue, mostly from Knightley’s Love, is expected and forced. However, Loeb’s screenplay mostly falters in its attempts to overload the brief film with far too many narrative thread. As the triptych of actors begin working with each of Howard’s partners, all three of them develop their own issues, such as Claire’s desire to have a baby or Whit’s relationship with his estranged daughter. It detracts from a very low-key Smith as the nominal lead, meaning that the primary storyline has to wrap up in a neat bow ridiculously quickly.

It’s difficult to be too harsh on a film that takes a ‘love conquers all’ attitude to life, even if it is in the name of commercial success. Ultimately, COLLATERAL BEAUTY is a film devoid of any real emotion. Indeed, the plot is a meta reference to the production itself, replacing the big themes of love and death with reasonable facsimiles that stand in for the real thing.

[stextbox id=”grey” bgcolor=”F2F2F2″ mleft=”5″ mright=”5″ image=”null”]2016 | US | DIR: David Frankel | WRITER: Allan Loeb | CAST: Will Smith, Edward Norton, Keira Knightley, Michael Peña, Naomie Harris, Jacob Latimore, Kate Winslet, Helen Mirren | DISTRIBUTOR: Roadshow Films | RUNNING TIME: 97 minutes | RELEASE DATE: 12 January 2017 (AUS), 21 December 2016 (US) [/stextbox]

January 16, 2017
Review: Moonlight

How do you define your own identity? For most of us, it’s a chore to find where we fit in the world. For a diminutive and withdrawn black child in gangland Miami, discovering the first notions of his sexuality, its a lifelong struggle. Barry Jenkins’ second feature is a powerhouse of performance and mood, a mellow musing on the very stuff that makes us who we are.

Based on a play by Tarell Alvin McCraney, MOONLIGHT is divided into three acts. We meet the shy Chiron (Alex Hibbert), relentlessly teased and beaten by his classmates, and labelled ‘Little’ for his size. Living with his substance-abusing mother Paula (Naomie Harris), his only solace is classmate Alex and de facto father figure Juan (Mahershala Ali), a local crack dealer who lives with his girlfriend Teresa (Janelle Monáe).

Opening with a long 360 degree shot of Chiron’s neighbourhood, Jenkins’ camera visually guides us into his worldview. Frequently shifting in and out of focus, Jenkins and cinematographer James Laxton (Yoga Hosers) show Chiron’s disconnection. In fact, almost nothing is overtly spoken or shown: a reddish glow from Chiron’s mother’s room, for example, is our first indication that she’s a sex worker. Segues through three act structure take the form of short flashes of multicoloured lights, putting full stops on critical moments and transitioning us into the next phase of Chiron’s life. It reinforces the importance of these defining moments in a life, but is mellow enough to suggest that they can sometimes be informative rather than transformative.

Following the emotional gut-punch of the first act, with a powerhouse performance by Ali playing across the young Hibbert, the teenage Chiron (Ashton Sanders) is openly harassed by a classmate, but he is still close to Kevin (Jharrel Jerome). Two key sequences define this section of the film, each at either end of the emotional spectrum. The first is a tender moment on the beach between Chiron and Kevin, bathed in the soft and comfortable lighting of night that suggests both intimacy and trepidation. It’s almost immediately followed by a violent clash, a life-changing moment that ends Chiron’s youth.

The third act is perhaps the strongest in terms of its immediacy. In a section entitled ‘Black,’ referring to Kevin’s teenage nickname for Chiron, the adult Chiron (Trevante Rhodes) is now a much harder and physically imposing drug dealer. In reconnecting with Kevin (André Holland), Chiron finally allows himself to examine who he really is. The notion of inventing and reinventing “self” is reflected in Kevin, now a cook in a diner, and Chiron’s mother, who is recovering from addiction. Jenkins’ script lets us figure out the spaces between the dots, and how much pain reaching these points has caused his players.

“At some point, you gotta decide for yourself who you gonna be,” Juan advises a young Chiron early in the film. What that sage bit of advice doesn’t encompass is the number of selves we decide to be at various stages in our lives. Jenkins’ tale is a deeply personal narrative, one that doesn’t necessarily get Chiron to that place of self-assuredness by the end, but it does provide hope to the hopeless.

[stextbox id=”grey” bgcolor=”F2F2F2″ mleft=”5″ mright=”5″ image=”null”]2016 | US | DIR: Barry Jenkins | WRITER: Barry Jenkins | CAST: Trevante Rhodes, André Holland, Janelle Monáe, Ashton Sanders, Jharrel Jerome, Naomie Harris, Mahershala Ali, Alex Hibbert | DISTRIBUTOR: Roadshow Films | RUNNING TIME: 110 minutes | RELEASE DATE: 26 January 2017 (AUS), 21 October 2016 (US) [/stextbox]

January 13, 2017
Review: Spectre

One of the themes central to SPECTRE is the question of whether the 00 Section of MI6 is still relevant in the 21st century, particularly in the wake of the literal and figurative explosions that rocked the British secret service following the events of Skyfall. It’s a question highly relevant to the James Bond franchise itself, a series that has now racked up 24 films and has proudly worn its misogyny and Cold War politics on its sleeve for over half a century.

On some levels, SPECTRE treads over some old territory, despite an incongruous and wailing opening song by Sam Smith and more tentacles groping naked women than an erotic Japanese anime film. A rogue James Bond (Daniel Craig) defies the orders of new section head M (Ralph Fiennes) and “C” (Andrew Scott), the head of a new privately-backed intelligence organisation that aims to merge MI5 with MI6 and eliminate the 00 agents, tracking down his own leads on a network that connects all of the world’s terror organisations.

Bookending the ‘origin story’ that began with Casino Royale, SPECTRE recreates one of Bond’s most famous villains, and in the grand tradition of all reimaginings, gives the bad guy (Christoph Waltz) a personal connection. All of the giant tick-boxes that you’d expect in a 007 film are there, from lavish locations to women (this time, Léa Seydoux and the age-appropriate Monica Bellucci) falling for the suave agent’s piercing baby blues.

The opening sequence around the Mexican Día de Muertos is absolutely stunning, with impeccable costuming (via the award-winning Jany Temime), and Hoyte van Hoytema’s photography gets to linger long on London, Rome, and the gorgeous Sölden region of Austria. What might surprise some is how measured the film’s pacing is, with long scenes paying great attention to the mise en scène, allowing director Sam Mendes and the cast to play with the expected.

It’s not an entirely even experience, but the film gives us enough thrills to answer its own question: there is still room for James Bond, especially one that has more than two dimensions.

2015 | UK/US | Dir: Sam Mendes | Writers: John Logan, Neal Purvis, Robert Wade, Jez Butterworth | Cast: Daniel Craig, Christoph Waltz, Léa Seydoux, Ben Whishaw, Naomie Harris, Dave Bautista, Monica Bellucci, Ralph Fiennes | Distributor: Sony| Running time: 148minutes | Rating:★★★¾ (7.5/10)

November 16, 2015
Review: Skyfall

A measured and stylish Bond film that takes us back to the very roots of the character and the franchise.

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Director: Sam Mendes

Writer: Neal Purvis, Robert Wade, John Logan

Runtime: 143 minutes

Starring: Daniel Craig, Judi Dench, Javier Bardem, Ralph Fiennes, Naomie Harris, Bérénice Marlohe, Ben Whishaw, Albert Finney

Distributor: Sony

Country: UK/US

Rating (?): Highly Recommended (★★★★)

More info

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In the first four decades of James Bond films, the various filmmakers have taken us on a journey from the sublime to the ridiculous, increasingly upping the ante on explosive mayhem and gadgetry. Indeed, it was at the point where the films had become a parody of themselves that 007 got a post-Bourne refresh and were brought back down to some semblance of reality with Casino Royale (2006) with the introduction of Daniel Craig to the role of Bond. Having now successfully carved out a niche for the series as serious action dramas once again, Skyfall aims it take it up a notch with Academy Award winning director Sam Mendes injecting unexpectedly dark drama into the twenty-third outing of the world’s most famous spy on his fiftieth anniversary.

On a mission in Turkey to retrieve a stolen data packet containing the details of all of the undercover NATO agents in terrorist organisations, James Bond (Daniel Craig) is accidentally shot by fellow agent Eve (Naomie Harris) and goes missing, presumed dead. As a result of the leaks, MI6 head M (Judi Dench) comes under fire from the government, with Intelligence and Security Committee Chairman, Gareth Mallory (Ralph Fiennes) urging her to retire. However, when former MI6 agent Silva (Javier Bardem) attacks the very heart of MI6 in London, Bond comes in from the cold to fight once more as a solider of the British Empire. Yet like M, he begins to struggle with his place within a modern world, wondering if he still has what it takes to hunt in the shadows.

Thoroughly and unapologetically British, Skyfall mostly takes place within the borders of the Queen’s domain, apart from three particularly spectacular sequences in Turkey, Shanghai and Macau. It’s part of a broader approach of stripping Bond back to his most basic elements, from his love of Empire to his old-fashioned nature in a world of modern espionage. It’s not the first time that Bond’s relevance in the 21st century has been questioned, but it may be the first time since On Her Majesty’s Secret Service (1969) that somebody has asked what would happen if Bond was stripped elements at his core. More than this, it forcibly knocks out the rarefied air that the Bond films have breathed for the last fifty years, ensuring that not just Bond but the whole MI6 organisation has to become accountable to the real world. In the light of some very recent scandals in British and America spy politics, this firmly grounds Skyfall within reality, just as Casino Royale set out to do over half a decade ago. While the film skirts dangerously close to making it seem a little too procedural at times, screenwriters Neal Purvis, Robert Wade and John Logan (two-thirds of whom co-wrote Craig’s first two Bond outings) keep the film above water by using this reality to heighten the dramatic tension.

On the opposite end of the scale is Bardem’s villain, delightfully scene-chewing and practically cat-stroking his way through one of the more outlandish Bond villains of the modern era, a deformed mix of Hannibal Lecter and allegedly Bond’s own historical villain Jaws (Richard Kiel). With a hairstyle only rivalled by his singular coif in No Country For Old Men (2007), his Silva gleefully tells Bond that “Mummy has been very bad” while making sexual advances on the captive 00 agent. Indeed, this is a well-rounded cast, where even the smallest of parts makes a significant contribution to the whole, and in some cases sets up future developments for the series. Fiennes’ minor antagonist makes several dramatic changes throughout the film, surprising. The new Q (Ben Whishaw) is ideally cast as a young tech-geek, making a clear break from the befuddled quartermasters before him. Bond girls come in the typically feisty (Harris) and fatale (Bérénice Marlohe) variety, and for once are there for the overall betterment of the narrative.

For long-time Bond fans, there are many rewards to be found in the deliberately delayed final act. In many ways, it is a distinct entity from the rest of the film, taking place almost entirely in Scotland and giving the film a clear line-of-sight to Sean Connery. The film characteristically lurches from high-concept to the slicker demands of suits and cocktail parties. Yet as Skyfall works its way to a DIY siege in the final reels, Mendes and his team prove that Bond still has a few surprises up his tuxedo sleeve after all these years.

Skyfall is released in Australia on 22 November 2012 from Sony.

November 17, 2012
New James Bond Skyfall Featurette Introduces Naomie Harris and Berenice Marlohe

“I don’t think it’s enough to just look pretty anymore,” says Bond Girl Naomie Harris in this new featurette that focuses on her and co-star Berenice Marlohe in the latest James Bond film Skyfall. This featurette comes hot on the heels of the new that both ladies will be visiting our Australian shores with James Bond himself, Daniel Craig, in November this year.

Daniel Craig is back as Ian Fleming’s James Bond 007 in Skyfall, the 23rd adventure in the longest-running film franchise of all time. In Skyfall, Bond’s loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost.

The 23rd Bond film also marks the 50th anniversary of the franchise that began with Dr. No in 1962.

Skyfall is released in Australia on 22 November 2012 from Sony.

September 21, 2012
Daniel Craig and Cast Attend the Australian Premiere of Skyfall in November

Sony has announced that Jame Bond himself, Daniel Craig, along with Bond girl co-stars Naomie Harris amd Bėrėnice Marlohe and producer Barbara Broccoli, will be in Sydney on the evening of Friday November 16 to attend the Australian Premiere of the 23rd Bond film, Skyfall.

This will be the third visit by the 007 star Daniel Craig who attended Australian Premieres for previous entries Casino Royale in 2006 and Quantum of Solace in 2008. The Australian Premiere will be held at the prestigious State Theatre in Sydney.

The world premiere will happen several weeks earlier in London as part of a royal gala featuring His Royal Highness Prince Charles and The Duchess of Cornwall. Bond was recently seen in the 2012 Olympic Opening Ceremony escorting another Royal, Her Majesty the Queen, during a skydiving stunt directed by Danny Boyle.

Daniel Craig is back as Ian Fleming’s James Bond 007 in Skyfall, the 23rd adventure in the longest-running film franchise of all time. In Skyfall, Bond’s loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost. The film is from Albert R. Broccoli’s EON Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment. Directed by Academy Award winner Sam Mendes. Produced by Michael G. Wilson and Barbara Broccoli.

September 11, 2012
Two New Trailers for Skyfall Arrive

Coming Soon and Sony have released new US and international (Australian) trailer respectively for the latest James Bond film, Skyfall. In them, we get our first look at a blonde Anton Chigurh…er…Javier Bardem as the new Bond villain Silva. Sony has also sent us a hi-res photo of Bardem in character.

Bond’s loyalty to M (Judi Dench) is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost. Daniel Craig returns as James Bond, and is joined by Naomie Harris, Berenice Marlohe, Ralph Fiennes, Albert Finney, Ben Whishaw, Helen McCrory, Ola Rapace and Tonia Sotiropoulou.

Skyfall will be released in Australia on 22 November 2012 from Sony.

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Australian Trailer:

August 1, 2012