Jump to content

Andrew Davis (director)

From Wikipedia, the free encyclopedia

Andrew Davis
Davis in 2024
Born (1946-11-21) November 21, 1946 (age 78)
Chicago, Illinois, U.S.
Alma materUniversity of Illinois at Urbana-Champaign (B.A., 1968)
Occupation(s)Film director, producer, screenwriter, cinematographer
Years active1969–present
FatherNathan Davis
RelativesRichie Davis (brother)
Websiteandrewdavisfilms.com

Andrew Davis (born November 21, 1946) is an American filmmaker, known for having directed several successful action and thriller films during the 1980s and 1990s.[1] His best known works include Above the Law (1988), Under Siege (1992), The Fugitive (1993), Chain Reaction (1996), A Perfect Murder (1998), and Holes (2003). He was nominated for a Golden Globe Award for Best Director and a Directors Guild of America Award for Outstanding Directing – Feature Film for The Fugitive.

Early life and education

[edit]

Davis was born on the south side of Chicago, Illinois, and has directed several films using Chicago as a backdrop. He is the son of actor Nathan Davis and Metta Davis, and the brother of musician Richard "Richie" Peter Davis (co-founder of the cover band Chicago Catz) and Jo Ellen Friedman. Davis had his father fill out many character roles throughout the years, notably as the grandfather to Shia LaBeouf's character in the Disney film Holes. Davis' paternal grandparents were Romanian Jewish immigrants.

After attending the Harand Camp of the Theater Arts summer camp program and Bowen High School, Davis went on to study journalism at the University of Illinois at Urbana-Champaign where he was issued a degree in journalism in 1968.[2] It was not long before his interest in civil rights and anti-war issues converged with his growing interest in filmmaking.

Davis was mentored by cinematographer and director Haskell Wexler,

Career

[edit]

1969 - 1978: Early works to directorial breakthrough

[edit]

For the 1969 film Medium Cool, Davis was mentored by cinematographer and director Haskell Wexler with whom he worked on Medium Cool. Wexler and Davis reunited in 2014 to discuss the film before a screening at the Pollock Theater on the campus of the University of California, Santa Barbara.[3]

Davis continued his film career as a director of photography for the films Cool Breeze (1972),[4] Private Parts (1972),[5] Hit Man (1972),[6] and The Slams (1973).[7]

In 1975, Davis was credited for his writing, cinematography, and producing for the family film Paco, directed by Robert Vincent O'Neil and starring José Ferrer and Allen Garfield.[8]Also in 1975, Davis was the director of photography for Menahem Golan's Lepke.[9]

Afterwards he worked on two Charles Band films Mansion of the Doomed (1976) as cinematographer,[10] and Crash! (1977) as director of photography.[11]

On this period of his life Davis said "when I went to work for Gene Corman for Cool Breeze, Hit Man, Private Parts , and The Slams, they had small $300,000 budgets or less. It allowed me to see what it took to make a movie. I worked with first time directors, learned with them, and could recommend things, so I was able to get my hands in the works. Everybody was a character. When I worked with Menahem Golan for Lepke, I got to shoot in 35mm anamorphic Panavision and Tony Curtis was a big actor. There were fancy sets and arclights, so it was a big deal for me. I worked on some other really small movies with Charles Band like Crash! and Mansion of the Doomed. I did this because I wanted to see what it was like to make a movie for very little money. This allowed me to later say ‘let’s try to make Stony Island’."[12]

In 1978, Davis released his directorial debut his semi-biographical musical drama film Stony Island.[13] The genesis of the film came about while Davis was working on Lepke a few years earlier, when he met one of its screenwriters, Tamar Hoffs, also from Chicago, and they bonded over having musicians as brothers and a shared nostalgia for their hometown's atmosphere.[14] Davis explains "I wanted to make a film that was to me what Mean Streets was to Martin Scorsese and American Graffiti was to George Lucas, a film about my roots, I wanted to make a film about what it was like to grow up in Chicago as a musician. It's important to show black and white kids working together. You can't even draw lines anymore between blacks and whites, musically."[15] He added that "after Lepke I flew to Chicago and spent about three months with my brother and his friends. He's the last white kid on the block."[16] Once in Chicago, Davis followed his brother Richie Davis, a guitarist, and his friend Edward 'Stony' Robinson, a singer, who would go on to play the leads. Davis recorded, and photographed the pair hanging out with their musician friends. After compiling a slideshow, he presented it to Hoffs, and together they decided to make a film about Chicago musicians.[14] Stony Island centered on young musicians forming a band in their impoverished south side neighborhood. The film co-stars include veteran musicians Gene Barge and Ronnie Barron, as well as Dennis Franz, Rae Dawn Chong, Meshach Taylor, and Susanna Hoffs.[17][18] After completion, the film was screened in art houses and urban cinemas.[19] Stony Island was praised by critics as a vibrant, heartfelt debut that captures the essence of Chicago's late-’70s culture and music scene. Critics praised its authentic portrayal of the city’s neighborhoods and its blend of urban grit with a soulful, semi-documentary feel. The film’s story of a biracial band forming against a backdrop of changing neighborhoods resonates with themes of integration and ambition. Featuring natural performances by real musicians and a jazzy, energetic soundtrack, the movie balances personal moments, raw emotion, and cultural commentary with charm and sincerity, solidifying its legacy as a vivid portrait of its time and place.[17][18][20][21][22][23][24] Davis recouped two-thirds of the budget and started gaining interest from film studios for urban-themed projects.[19]

1979 - 1985: continued career and action film breakthrough

[edit]

Moving forward, Davis was credited as director of photography for the film Hot Rod (1979),[25] Over the Edge (1979),[26] and Angel (1983).[27] He was a second unit cinematographer on Robert Downey Sr.'s 1980 film Up the Academy.

In 1983, Davis directed a horror film titled The Final Terror, about young campers navigating a remote forest stalked by a deadly presence.[28] Davis explained that screenwriter Ronald Shusett, impressed by his previous work, recommended him for the film.[29] He added that producer Joe Roth also hired him as the cinematographer, crediting him under the pseudonym 'Andreas Davidescu' to bypass union restrictions.[30] Davis explained that before filming, he and Roth scouted various locations, including the Mount St. Helens area in Washington.[31] He stated that most of the cast, which includes John Friedrich, Rachel Ward, Daryl Hannah, Adrian Zmed, Mark Metcalf, Akosua Busia, and Joe Pantoliano, were relatively inexperienced or new to acting. According to Davis, Australian actress Rachel Ward was cast as the lead after he saw a modeling portrait of her in Roth's office.[32] He also recalled that Pantoliano secured his role after arriving at the audition in character, impressing him with his commitment.[33] Davis noted that the film was completed in 1981 but struggled to find a distributor due to its low body count. He explained that, as a result, two additional murders were filmed without his authorization.[34] The later rise to fame of several cast members helped the film secure a distributor, and it was released in October 1983.[28] In the intervening years, the film has developed a cult following.[35]

Also in 1983, Davis was hired to direct and co-write Beat Street, a rap musical showcasing breakdancing and the street music culture of early 1980s New York City. However, during filming, reports emerged that Davis was replaced due to 'creative differences' but they kept his writing credit.[36] Davis said that afterward producer "Mike Medavoy looked at the footage and said ‘there’s nothing wrong with this footage. I like this footage, and I’m going to hire this guy to do an action movie.’"[37]

On October 2, 1984, Davis began principal photography on his action film debut, Code of Silence, which was shot in Chicago at his recommendation.[38] It stars martial artist-turned-actor Chuck Norris. At the time, Norris was primarily known for leading roles in martial arts films, making Code of Silence a departure due to its complexity and dramatic depth.[39] The film is about a cop who is ostracized for refusing to support a corrupt cop who killed an innocent bystander, while protecting the daughter of a mob boss.[38] Davis described Norris as "easy to work with and very supportive."[40] Released by Orion Pictures on May 3, 1985,[38] and received generally positive reviews, with critics praising its slick direction, strong performances, and engaging action. It was regarded as a standout in Norris's career, with many considering it his best film to date.[39][41][42][43] Ric Burrous of the Daily Journal said "Davis deserves a lot of credit for the success of 'Code.' While Norris handles his acting chores well, it's Davis who keeps the whole story flowing with the kind of street-wise rhythm that fits the mood of Chicago's seamier side of life. He keeps Norris's penchant for karate fight scenes to a minimum, making them a small part of the picture rather than the climax they have been in such other Norris films."[44] The film debuted at number 1 with an opening weekend gross of $5.5 million and ultimately earned a total of $20.3 million at the US box office.[45] Davis credits the film's success with establishing him as an action film director.[40]

1986 - 1993: Major successes and wide recognition

[edit]

Davis co-wrote, produced and directed a film titled Above the Law for Warner Brothers in 1988.[46] This film is most notable for being the feature film debut of Steven Seagal. Davis then went back to Orion with his project The Package, working with Gene Hackman and Tommy Lee Jones.

Davis brought Jones with him to his next project, which was originally titled Dreadnaught but eventually carried the title Under Siege. In the picture Davis re-teamed with Seagal to create the top grossing fall film of 1992.

His 1993 film The Fugitive received seven Academy Award nominations including Best Picture, while Jones won for Best Supporting Actor, which is his only Oscar win to date. The Academy ultimately gave the 1993 Best Picture award to Schindler's List. That year Davis was also honored with a Golden Globe nomination for Best Director by the Hollywood Foreign Press. The Directors Guild of America nominated him for Outstanding Directorial Achievement in Theatrical Direction.

Roger Ebert reviewed The Fugitive in 1993. He commented: "Andrew Davis' The Fugitive is one of the best entertainments of the year, a tense, taut and expert thriller that becomes something more than that, an allegory about an innocent man in a world prepared to crush him." Ebert observed that "Davis paints with bold visual strokes" and that he "transcends genre and shows an ability to marry action and artistry that deserves comparison with Hitchcock, yes, and also with David Lean and Carol Reed."[47]

1995 to 2019: Subsequent films

[edit]

Davis continued directing big budget adventures throughout the 1990s including Steal Big Steal Little, Chain Reaction, and A Perfect Murder.

In the fall of 2001, Davis was set to release Warner Brother's Collateral Damage starring Arnold Schwarzenegger. However, the initial release date was pushed in an effort to be sensitive to the tragedies of 9/11, as the film's plot and content too closely echoed the tragedy. The film was finally released theatrically in 2002.[48]

In 2003, Davis directed Holes, an adaptation of Louis Sachar's book by the same name, for the Walt Disney Company starring Shia LaBeouf, Sigourney Weaver, Patricia Arquette, Tim Blake Nelson, and Jon Voight.[49] The film is about a boy who is sent to a mysterious juvenile detention camp where he uncovers buried secrets. Davis chose to direct Holes to show he was capable of making more than action films such as The Fugitive and Collateral Damage. He encouraged author Sachar to participate in the production and adapt the novel into a screenplay. To break down the novel's action into a film, Davis and Sachar storyboarded over 100 scenes on 3-by-5 note cards, each of which had specific time allotments. Sachar said Davis "went through and said, 'Now as you rewrite it, this card should take half a minute, this one should take three minutes, this one should take one minute, and so on.'"[50] The film went on to receive favorable reviews.[51] A.O. Scott's review in The New York Times called it "the best film released by an American studio so far this year".[52] In the US the film grossed $67,406,573 theatrically, and $56.2 million on home video.[53]

Davis filmed the Disney/Touchstone feature film, The Guardian in 2006. The film focuses on the Rescue Swimmers of the U.S. Coast Guard and stars Kevin Costner and Ashton Kutcher. Costner plays a legendary rescue swimmer who returns to the training facility to bring up the next generation of swimmers, including a rescue swimmer played by Kutcher. Production was halted when the film's New Orleans location was ravaged by Hurricane Katrina. The real-life Coast Guard advisers on the film were immediately deployed to rescue victims of the storm.

2020 to present: Current work

[edit]

In 2020, Davis released his documentary Mentors—Toni & Santi at the Santa Barbara International Film Festival.[54] It is the relationship between two renowned photographers, Santi Visalli, 87, and Tony Vaccaro, 97, characterized by friendship and a mentor-protégé dynamic. Davis made Mentors: Tony & Santi as a labor of love, After an encounter where Visalli credited Vaccaro as a pivotal influence on his life. It moved Davis, who recognized the opportunity to explore not only their relationship but also the broader themes of mentorship and creativity. With access to their vast photographic archives, Davis crafted a documentary that celebrates their personal and professional journeys while reflecting on the profound impact of mentorship on art.[55] Matt Fagerholm of RogerEbert.com called it "a gem" and explained that Davis enriches Mentors with endearing moments of the subjects' personalities, like playful banter and lighthearted remarks, instead of being strictly biographical. Fagerholm also pointed out the opening, and said that Davis powerfully captures the emotional warmth of a reunion between two friends and collaborators.[54]

In April 2024 in France at the Reims Polar Film Festival, Davis was the guest of honor with a career tribute ceremony. Stony Island was also featured at the 25th anniversary of Ebertfest in Champaign Illinois in April 2024 featuring a live performance by the films costar and Davis’ brother Richie Davis, and his band, The Chicago Catz.

In 2024, Davis published his first novel, which he co-wrote with Jeff Biggers, named Disturbing the Bones.[56] The book is a political thriller about a scheme to sabotage a global peace summit in Chicago, intersecting with a civil rights case tied to an archaeological discovery. Davis explained that the concept of the story "started as a screenplay and based upon the archaeological dig that I had heard about many years ago, where it one site they found 26 layers going back 13,000 years. And then when I did The Package, it triggered me (to wonder) what we would be remembered as. When everything is gone, we’ll have our missile silos and our bunkers under the ground."[57] On working with Biggers and how the screenplay became a novel, Davis added "Jeff and I met 10 years ago and I had been thinking about this for maybe 15 or 20 years in terms of just the setting and the story and the dynamics. And I, and so we started working on a screenplay and decided that we wanted to put so much in it, let's write the novel and then we'll extract the best for the screenplay."[58] The book received good reviews, and the overall consensus is that it’s a compelling, fast-paced political thriller with rich detail and thought-provoking themes. Reviewers praised its suspenseful moments, well-drawn characters, and exploration of social and political issues.[59][60][61][62][63][64] Chicagoan filmmaker Michael Mann, a contemporary of Davis, gave it high praise and said it is “a knife-edged investigation that morphs into a political thriller about a world on the brink. An ingenious page turner.”[65]

Filmography

[edit]

Film

[edit]
Year Title Director Producer Writer Other notes
1975 Paco No Associate Yes Also cinematographer
1978 Stony Island Yes Yes Yes
1983 The Final Terror Yes No No Also cinematographer
1985 Code of Silence Yes No No
1988 Above the Law Yes Yes Yes
1989 The Package Yes Co-producer No
1992 Under Siege Yes No No
1993 The Fugitive Yes No No
1995 Steal Big Steal Little Yes Yes Yes
1996 Chain Reaction Yes Yes No
1998 A Perfect Murder Yes No No
2002 Collateral Damage Yes No No
2003 Holes Yes Yes No
2006 The Guardian Yes No No
2020 Mentors - Tony & Santi Yes No Yes Documentary

Cinematographer only

[edit]
Year Title Director Other notes
1972 Cool Breeze Barry Pollack
Private Parts Paul Bartel
Hit Man George Armitage
1973 The Slams Jonathan Kaplan
1975 Lepke Menahem Golan
1976 Mansion of the Doomed Michael Pataki
The Stronger Lee Grant Short film
1977 Crash! Charles Band
1979 Over the Edge Jonathan Kaplan
Hot Rod George Armitage
1980 Up the Academy Robert Downey Sr. 2nd unit photography
1984 Angel Robert Vincent O'Neil

Bibliography

[edit]

Awards and honors

[edit]
Institution Year Category Work Result
Chicago Film Critics Association 1994 Best Director The Fugitive Nominated
Chicago International Film Festival 1978 Gold Hugo Stony Island Nominated
Directors Guild of America Awards 1994 Outstanding Directing – Feature Film The Fugitive Nominated
Golden Globe Awards 1994 Best Director Nominated

References

[edit]
  1. ^ Weinraub, Bernard (October 26, 1992). "The Talk of Hollywood; Director Who Blends Action With a Bit of Art". The New York Times. Retrieved December 14, 2010.
  2. ^ Kagan, Jeremy (April 26, 2000). "Biography 1994". Directors Close Up. USA: Focal Press. p. 223. ISBN 0240804066 – via Internet Archive.
  3. ^ Flores, Gilberto (November 27, 2013). "'Medium Cool' Revisited". The Bottom Line. Associated Students of the University of California, Santa Barbara. Retrieved February 25, 2014.
  4. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 1, 2025.
  5. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 1, 2025.
  6. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 1, 2025.
  7. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 1, 2025.
  8. ^ "Paco". TVGuide.com. Retrieved February 1, 2025.
  9. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 1, 2025.
  10. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 1, 2025.
  11. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 1, 2025.
  12. ^ "Made in Chicago: Andrew Davis on his Career and Disturbing the Bones (CIFF 2024)". FilmInt.nu. November 13, 2024. Archived from the original on January 28, 2025. Retrieved January 28, 2025.
  13. ^ "Stony Island". TVGuide.com. Retrieved February 7, 2025.
  14. ^ a b Benson, Sheila (November 15, 1979). "Rocky path to 'Stony Island'". Los Angeles Times. pp. Part IV: 30 - 31.
  15. ^ Addiego, Walter V. (July 3, 1979). "The film has two titles: one for inner cities, one for campuses". The San Francisco Examiner. p. 20.
  16. ^ Ressner, Jeffrey (November 16, 1979). "An Island of Sanity". L.A. Weekly. p. 50.
  17. ^ a b Ebert, Roger (November 24, 1978). "Stony Island". RogerEbert.com (Review). Archived from the original on January 28, 2025. Retrieved February 25, 2014.
  18. ^ a b Murray, Noel. "Stony Island". AV Club. Archived from the original on January 28, 2025. Retrieved January 28, 2025.
  19. ^ a b Donahue, Suzanne Mary (1987). American film distribution : the changing marketplace. UMI Research Press. p. 247.
  20. ^ Bensoua, Joseph (November 9, 1979). "'Stony Island' another 'Rocky'". The Daily Breeze. pp. E7.
  21. ^ Champlim, Charles (November 7, 1979). "'Stony Island': Low Budget Creativity". Los Angeles Times. pp. Part IV: 1 -17.
  22. ^ McCabe, Bruce (June 11, 1980). "'Stony', Bold and Independant". Boston Globe. p. 55.
  23. ^ Bey, Lee (April 4, 2012). "Revisiting 'Stony Island': Soulful 1970s Chicago cult film hits the streets again". WBEZ91.5. Archived from the original on June 5, 2013. Retrieved May 3, 2013.
  24. ^ Warren, Bill (November 8, 1979). "Frame by frames". The Enterprise. pp. 3A-6A-7A.
  25. ^ "Hot Rod". TVGuide.com. Retrieved February 1, 2025.
  26. ^ "Over the Edge". TVGuide.com. Retrieved February 1, 2025.
  27. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 1, 2025.
  28. ^ a b "The Final Terror". AFI Catalog of Feature Films. Los Angeles, California: American Film Institute. Archived from the original on February 3, 2020.
  29. ^ Davis 2014, event occurs at 2:35.
  30. ^ Davis 2014, event occurs at 11:32.
  31. ^ Davis 2014, event occurs at 0:44.
  32. ^ Davis 2014, event occurs at 5:14.
  33. ^ Davis 2014, event occurs at 6:19.
  34. ^ Davis 2014, event occurs at 0:22.
  35. ^ Yanick, Joe (July 15, 2014). "The Final Terror (US Blu-Ray review)". Diabolique Magazine. Archived from the original on March 21, 2023.
  36. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 6, 2025.
  37. ^ "Made in Chicago: Andrew Davis on his Career and Disturbing the Bones (CIFF 2024)". FilmInt.nu. November 13, 2024. Archived from the original on January 28, 2025. Retrieved January 28, 2025.
  38. ^ a b c "AFI|Catalog". catalog.afi.com. Archived from the original on February 7, 2025. Retrieved February 7, 2025.
  39. ^ a b Ebert, Roger (May 3, 1985). "Code of Silence". Chicago Sun-Times. Ebert Digital LLC. Archived from the original on December 9, 2024. Retrieved March 6, 2020 – via RogerEbert.com.
  40. ^ a b Alter, Ethan (August 4, 2023). "'The Fugitive' director says Harrison Ford needed 'a little convincing' to match wits with Tommy Lee Jones in the 1993 action classic". Archived from the original on January 2, 2025.
  41. ^ Maslin, Janet (May 3, 1985). "SCREEN: CHUCK NORRIS IS A CHICAGO POLICE INSPECTOR IN 'CODE OF SILENCE'". The New York Times. Retrieved February 2, 2021.
  42. ^ Canby, Vincent (May 12, 1985). "FILM VIEW – CHUCK NORRIS – THE PUBLIC HAS MADE HIM A STAR". The New York Times. Retrieved March 6, 2018.
  43. ^ Gene Siskel (May 3, 1985). "Chuck Norris Breaks The Stereotype In 'Code Of Silence'". Chicago Tribune. Retrieved January 27, 2021.
  44. ^ Burrous, Ric (May 16, 1985). "Norris passes; Reynold fails". Daily Journal. p. 4.
  45. ^ "Code of Silence". Box Office Mojo. Retrieved February 7, 2025.
  46. ^ "AFI|Catalog". catalog.afi.com. Retrieved February 28, 2025.
  47. ^ Ebert, Roger (August 6, 1993). "The Fugitive" (Review). RogerEbert.com. Retrieved March 14, 2018.
  48. ^ Ebert, Roger (February 8, 2002). "Collateral Damage". RogerEbert.com (Review). Retrieved February 26, 2014.
  49. ^ "AFI|Catalog". catalog.afi.com. Archived from the original on January 27, 2025. Retrieved January 27, 2025.
  50. ^ Debruge, Peter (April 18, 2003). "Dig Deeper". The Austin Chronicle. Archived from the original on February 10, 2023. Retrieved February 10, 2023.
  51. ^ Holes at Rotten Tomatoes
  52. ^ Scott, A. O. (April 18, 2003). "Holes (2003) Holes (2003) FILM REVIEW; Not Just for Children, a Suspenseful Allegory of Greed, Fate and Racism". The New York Times. Retrieved June 23, 2022.
  53. ^ "Year End 2003 Top-selling titles (combined VHS and DVD)". variety.com. December 31, 2003. Archived from the original on January 27, 2025. Retrieved June 8, 2024.
  54. ^ a b "SBIFF 2020: The Night, Mentors—Tony & Santi | Festivals & Awards | Roger Ebert". www.rogerebert.com. January 19, 2020. Archived from the original on January 27, 2025. Retrieved January 27, 2025.
  55. ^ Woodard, Josef (January 15, 2020). "SBIFF: Andrew Davis Interviewed". The Santa Barbara Independent. Archived from the original on January 27, 2025. Retrieved January 27, 2025.
  56. ^ "Chicago filmmaker Andrew Davis debuts first thriller novel 'Disturbing the Bones'". ABC7 Chicago. October 23, 2024. Archived from the original on January 28, 2025. Retrieved January 28, 2025.
  57. ^ "DISTURBING THE BONES: FILMMAKER ANDREW DAVIS BRIDGES PAST, PRESENT AND POLITICAL IN RIVETING DEBUT NOVEL | ChicagoFilm". chicagofilm.com. November 8, 2024. Archived from the original on February 10, 2025. Retrieved February 10, 2025.
  58. ^ "A detective, an archaeologist and a general: How they connect in Andrew Davis' debut novel". KJZZ. December 3, 2024. Archived from the original on February 10, 2025. Retrieved February 10, 2025.
  59. ^ Hemphill, Jim (October 23, 2024). "The Director of 'The Fugitive' Returns to What He Does Best — but Not on the Big Screen". IndieWire. Archived from the original on February 1, 2025. Retrieved February 1, 2025.
  60. ^ "Andrew Davis gave us 'The Fugitive,' now he brings forth a novel, 'Disturbing the Bones'". Chicago Tribune. October 15, 2024. Retrieved February 10, 2025.
  61. ^ Guynn, Pam (September 28, 2024). "Disturbing the Bones". Mystery and Suspense Magazine. Archived from the original on February 10, 2025. Retrieved February 10, 2025.
  62. ^ "Disturbing the Bones Review". www.crimereview.co.uk. Archived from the original on December 10, 2024. Retrieved February 10, 2025.
  63. ^ Singer, Dale (October 27, 2024). "Cinematic Thriller is set among archeological remains in Cairo, Illinois". St. Louis Post-Dispatch. pp. B5.
  64. ^ Weiss, Murray. "Disturbing the Bones by Andrew Davis, Jeff Biggers". www.publishersweekly.com. Archived from the original on February 10, 2025. Retrieved February 10, 2025.
  65. ^ Writer, Staff (October 14, 2024). "Authors Andrew Davis and Jeff Biggers to Discuss Disturbing the Bones at Diesel: A Bookstore". SM Mirror. Archived from the original on February 10, 2025. Retrieved February 10, 2025.

Sources

[edit]
[edit]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Andrew_Davis_(director)&oldid=1278302762"