Seraphim Falls- click for larger version

Seraphim Falls premiered as the U.S. #11 rental and #1 for limited theatrical release films for the week ending May 20th.  In it's 4th week as of June 10th, it remains in the Top 20 and in it's 6th week as of June 24th holds at #2 for limited releases.  In it's 10th week, as of July 22th the film holds at #6 for limited releases.

Official Website

Seraphim Falls on DVD & Blue-Ray
  • Behind the Scenes of Seraphim Falls feature
  • Commentary with Pierce Brosnan, Writer/Director David Von Ancken & Prod. Designer Michael Hanan

October 13, 2012:  Media updated

May 24: A Winner of the Best Specialty Stunt at the Taurus World Stunt Awards

April 4: Articles updated.

October 22: David Von Ancken nominated for Breakthrough Director by the Gotham Awards.

October 16:  Premieres on U.S. TV on the Hallmark Channel on Nov 17th. It premieres on TV in France on Oct 12th; Arrives to DVD in the UK on December 24th (art in Gallery)

August 3-October 16:  Reviews and articles from Ireland and UK added.  Irish Times interview with Pierce & Liam added. Film opens in Ireland on Aug 3rd in 20 theaters and the UK  on Aug 24th in 53 theaters.  Opens in Argentina on Sept 20th. Reviews from Argentina added.

July 14 -30:  40 plus photos from last years Toronto Film Festival added to Gallery.  Articles updated with Times interview with Liam Neeson & Times & Telegraph articles on the return of the Western.
 
July 4-6:  UK poster added to Gallery. Reviews added. Film opens in the UK & Ireland 
August 24th. ICON Serapahim Falls (UK) site online

June 26:  Seraphim Falls to close the The 19th Galway Film Fleadh (July 10-15)

Seraphim Falls- UK Poster

April 24- June 13:  Media: link to behind the scene video from the DVD. DVD Reviews & Article added. 

April 13-16:  Release dates added.  Gallery updated.  DVD Reviews added.

Feb 22-March 24:  Reviews added. Gallery updated. Opens in Las Vegas Feb 23rd.  In Portland OR, Salt Lake City UT, Santa Cruz CA, Ellensburg WA, San Antonio & Lubbock TX on March 2, at Bozeman, MT on March 23.

Jan 20-Feb 15:  Articles & Reviews -including Junket reports.  Sony's Seraphim Falls site lists theaters for Jan 26 opening.  Media: Conan: Neeson, Today, E!Online, ABC News & ROO: Brosnan & Neeson, Hollywood.com & ABC News: Brosnan interviews added . Ebert & Roeper Review & Premiere Live Podcast (downloadable).  NYC Premiere images added to Gallery

Jan 13: Hi Res trailers online at IGN and links added to Media. 

Jan 9:Pierce's Personal Album of Seraphim Falls set photos up at Pierce Brosnan.com

Jan 8:Gen Art Special Advance Screenings: Chicago (Jan 16), San Francisco (Jan 17), NYC (Jan 22), L.A. (Jan 25)

Jan 3 -7, 2007:  Official Website up.  Gallery & Links updated.  New poster released and added to Gallery along with new publicity photos.  Articles updated.

Dec 18 - 31:  Trailer online at MSN & Hollywood.com. Also downloadable in Quicktime Mov form.  Movies.com has ten clips from the film.  Video from the TIFF.  Gallery updated.

Nov 1- Dec 13: Articles, Review

October 27:  Seraphim Falls will open in the U.S. on January 26, 2007 in limited release and be distributed by Samuel Goldwyn Films. Source: Coming Soon

Sept 13-22:  Articles, Reviews, Media & Gallery updated.  Press Conference available.

Sept 6:   Articles updated

August 25:  Seraphim Falls will premiere on Wed, Sept 13th at 9m and have another airing Friday, Sept 15 at 3pm at the Toronto International Film Festival (Sept 7-16)

August 10:   Announced that Seraphim Falls will have it's World Premiere at the Toronto International Film Festival (Sept 7-16)

July 14:   Articles updated

April 28- May 17, 2006:  Articles updated


Chicago Tribune:  Seraphim Falls is a movie some will relish and others will find a bit anachronistic. It's a violently exciting Western with a vision of the West that's grand, mythic and also full of near-surreal menace, starring two Irish-born leading actors, Liam Neeson and Pierce Brosnan, who here often seem born to the saddle. - Michael Wilmington 

Time Out:  [T]he beauty of Seraphim Falls is not to be found in what the story is about but rather in how it is about it; less about the screenplay than the style with which those printed words are brought to life. And to that end, there’s a patient, almost understated quality to the film that allows the story to evolve into something far more interesting than just a thriller about two men with guns.

As the landscape solely shifts around them, almost without their noticing, there’s something profound about these two men - something awesome about their obsessions to kill and survive, and something sobering about how misguided it all seems in the end.  - Steven Snyder


Maxim:  It's a proud motion picture genre, proven once again with this magnificently photographed and acted big-star effort. It is primal time for Pierce Brosnan and Liam Neeson as they deliver performances that are tough as nails in what really amounts to a western version of The Fugitive (and it's every bit as exciting). Refreshingly devoid of special effects and CGI gimmickry, this is a survival story that is bare to the bones and all the better for it. Check it out. Seraphim Falls is the kind of big, beautiful widescreen action-adventure we just don't get to see much anymore.  - Pete Hammond 


New York Magazine:  Seraphim Falls is an antiwar Western in which one man (Liam Neeson) pursues another (Pierce Brosnan) through frigid snow-capped mountains, high deserts, and dry lake beds under a scorching sun: primal landscapes, primal emotions, primal men in a primal fight to the death. There, I’ve used the word primal more than my press kit does. Given that the movie is one long chase—Neeson’s motive withheld until the end, the monotony broken only by the slaying of one member of his posse after another—the film is surprisingly gripping. The director, David Von Ancken, and his cinematographer, John Toll, do magical things with the ever-shifting light, and there are splendidly weird turns from Anjelica Huston as a snake-oil salesperson and Tom Noonan as a wagon-train Evangelist. - David Edelstein


Premiere:  But damned if Seraphim Falls didn't hold my attention all the way through. The extended mountain pursuit, which lasts close to a half-hour, pulls you into the picture immediately. Then Neeson and Brosnan, along with the beautiful location photography from DP John Toll, keeps you involved even when Von Ancken's heavy-handed direction threatens to bog the proceedings down. The stars are crucial to the film's success, accomplishing the difficult feat of communicating their characters' individual and shared histories with a minimum of expository dialogue. Brosnan's haunted eyes and disheveled appearance clearly reveal a tortured soul, while Neeson's cold stare instantly marks him as a man who has little left to live for beyond revenge. - Ethan Alter


New York Press:   Seraphim Falls actually takes viewers through the heart of mankind’s darkness—revenge—yet seeks the light. 

Seraphim Falls uses the western more intelligently than Clint Eastwood exploits the war movie in his dour diptych Flags of our Fathers and Letters from Iwo Jima. Instead of a facile modern-day allegory, Von Ancken addresses the timelessness of man’s inhumanity. Brosnan and Neeson ruggedly convey the suffering inherent in a culture of violence (even lending echoes of historic Irish conflict). Whether obsessed with escape or the hunt, these men are caught up in notions of masculine pride and primitive, social aggression. They’re presented as equally strong, intelligent and resourceful. And although they are bound by the same dread Civil War history, their obsession makes them equally doomed. Yet Seraphim Falls never suggests that Von Ancken is content with man’s downfall or with genre degeneration. He seeks to understand and sympathize through genre practice. That’s what justifies Seraphim Falls as an Art-Western.  - Armond White


Entertainment Weekly:  Brosnan, swathed in a Grizzly Adams beard, makes you feel every frigid shiver, every tremble of his hands. As he performs surgery on himself in a scene that we've all seen a hundred times before, he doesn't wing it with a wince; he brings the pain home. This is more than an acting stunt — it plugs you right into the movie. 

Brosnan has never looked this spooked. He gets you on his side, even though it's not until the end that we learn if Gideon is a good man. Neeson, who has more presence doing nothing than most actors do playing Hamlet, gives Carver hints of a psycho drive beneath his righteous scowl. He and Brosnan are supremely well-matched foils. - Owen Gleiberman


USA Today: Seraphim Falls is ambitious: a Western revenge saga/mystery with an overarching sense of redemption. But the film's overall anti-war message resounds loudly. An escalating spiral of violence only begets more bloodshed, bringing into clear focus the tragic futility of revenge. - Claudia Puig


Variety: Of the two rugged Irish stars, Brosnan, for all his character's discomfort, seems to be having the better time. His lankiness sometimes reminding of James Coburn, whose turn in "The Magnificent Seven" also comes to mind thanks to Gideon's skill with a knife, Brosnan appears to relish his moments in the saddle as well as the gruff, minimal dialogue. - Todd McCarthy


Austin Chronicle:  Meditative, beautifully shot, and blessed with a healthy dose of cynicism, Seraphim Falls is a morality play without the morality and a Western Purgatorio that, in the end, demands its protagonists resign themselves to their loneliness and brutality and avail themselves of the redemptive power of sheer exhaustion. - Josh Rosenblatt 


Seattle Stranger:  For devotees of gonad cinema, there may not be a better time to be had at the movies right now than the first 20-ish minutes of Seraphim Falls, in which Pierce Brosnan's outlaw mountain man evades capture from a bounty-hunting posse led by Liam Neeson at his prickliest. Brutal, gritty, and virtually silent (save for Brosnan's increasingly ragged, leather-lunged vocal imitation of a wildebeest/Harvey Keitel), this opening is the sort of thing that you can imagine Jack London and Chuck Bronson tearfully tipping a 40 to in the afterlife.


Christian Science Monitor:  I'm not sure that this film needed the star wattage of Brosnan and Neeson to get its point across, but both men look ruggedly at home in the harsh terrain. Brosnan, in particular, is so weather-beaten that he seems to have been shaped – gnarled – by the heat and wind. He's as far from 007 as he can get, and he looks happy about it. - Peter Rainer


Las Vegas City Life:  When Stephen Frears made a western, The Hi-Lo Country, he lamented his inability to find actors whose faces conveyed character…. No such problem here. Life experience is etched deeply into the countenances of Neeson, who can terrify without raising his voice, and Brosnan, who grows in gravitas from film to film. Seraphim Falls is set in magnificent landscapes whose palpable harshness is superbly captured by John Toll's camera and that act as a co-equal protagonist. The further Carver pursues Gideon, the more deeply desolate and inhospitable the land becomes, winding up in a Death Valley-like moonscape. But before this last plunge into hell, we are flashed back to the incident that set Gideon and Carver upon their desperate course: an avoidable tragedy in an autumnal paradise. As the film's title suggests, Carver and Gideon are fallen angels, and like true tragic antagonists, their descent inspires both terror and pity. - David McKee


Helio: A first time feature from writer/director David Von Ancken, Seraphim Falls has all the earmarks of a masterwork. A psychedelic chase film/Western starring Liam Neeson and Pierce Brosnan, the film is lean and beautiful and cunning, its plot keenly drawn and its dialogue untouchable. It's rare to witness a small film that packs this large of a punch, but Seraphim Falls delivers, bringing back the raw brutality of the 70s Western and taking it somewhere wholly fresh and new.


New York Sun:  Some will see the new Civil War era drama Seraphim Falls as a tale of vengeance and hatred. That it surely is, but others will see something more profound churning away underneath — nothing short of a metaphor for the human condition and a contemplation of its utter insignificance. - S. James Snyder


New York Newsday:  In Seraphim Falls, a hugely absorbing period manhunt drama from first-time director David Von Ancken, Liam Neeson plays an embittered Southerner chasing former Union Army officer Pierce Brosnan all over kingdom come. Along the way, they bump up against hostile settlers, corrupt transcontinental railroad builders, traveling Jesus freaks, a medicinal elixir saleslady, a conniving water-hole guru and extreme climate conditions.

Von Ancken and Jaques are not out to reinvent the wagon wheel so much as to re-examine the Western's relevance at a time of raging overseas civil war and polarization at home. You can, if you so choose, read the film as a lesson in the futility of violent conflict as a means toward a peaceful end. Or you can let it just wash over you, fast and pounding, like a waterfall. - Jan Stuart


DVD Talk: Seraphim Falls is a western with a foundation of simplicity. Imagine that, no rotund subplots, no twist endings, and no tail-chasing. It's just two great actors dashing around the countryside trying to slice each others' throats 

"Falls" is a stark, icy chase film that exploits the western genre wonderfully as it rolls out a story that's fat-free and assuredly told. Director David Von Acken, along with ace cinematographer John Toll ("Legends of the Fall"), creates claustrophobia out of wide open spaces, using the treacherous mountains and deserts of America as the bear trap that constantly thwarts Gideon's escape plans. This is an arresting film, eschewing traditional Civil War desolation for the freezing dangers of the snow and the slow drain of the sun.  - Brian Orndorf


The Guardian:  Writer-director David von Ancken makes a very impressive feature debut with this brutal western revenge thriller, set just after the US civil war: an old-fashioned film with something of the fierce survival stories of Cormac McCarthy.  [T]he elemental contest between these two men, in the freezing snow and then the burning sun, is gripping. And the cunning, resourceful, ruthlessly violent Brosnan gives his best performance for a long time. It's a terrific-looking movie, too, thanks to Oscar-winning cinematographer John Toll.  - Peter Bradshaw


Toronto International Film Festival:   We are in the American Rockies. Snow covers everything, dampening sound and colour. Gideon (Pierce Brosnan), a bearded figure cloaked in fur, contemplates a fire. Shots pierce the quiet. Gideon, convulsed with fear, is hit by a bullet and moves quickly away.

Soon we learn why his fear is so acute: Gideon is a hunted man. Colonel Morsman Carver (Liam Neeson), a Confederate officer, has hired several mountain trackers to find and kill him to avenge a terrible wrong committed at the end of the Civil War.

So Gideon stumbles away, bleeding profusely. A manœuvre on a river bank succeeds in throwing the hunters off. He takes his brief respite to remove the bullet from his arm and cauterize the wound - in a scene not for the faint of heart - and proceeds down the valley.

And so the chase begins. From the snowy peaks, we descend into the savannahs - full of rapacious traders, vicious railway foremen and overly-welcoming Christian missionaries - and move finally into the desert, where the two men challenge each other in the face of Mother Nature at her harshest, with surreal visitations from the world of superstition to guide them to their final confrontation.

Brosnan and Neeson are sublime. Both convey the swagger and intensity of former soldiers, with unsettling cores of, respectively, fear and hate. These tough, spare performances are captured in breathtaking fashion by first-time feature director David Von Ancken. He is assisted by two of cinema's most artistically gifted technicians.

Academy Award-winning editor Conrad Buff perfectly captures the rapid changes in the film's mood, from quiet intensity to frightening violence and suspense. The brilliant cinematographer John Toll evokes the full range of poetic resonances from the multiple landscapes featured in the film. This is as beautiful and austere a portrait of the American West as one can hope to find. - Noah Cowan /Festival Co-Director 


Created:  Janaury 15, 2006

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Updated:  October 13, 2012


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