1-20 of 603 items from 2014 « Prev | Next »
Over the years, Russell Crowe's worked with some big names, including Ridley Scott, Ron Howard, Darren Aronofsky, Peter Weir, Curtis Hanson, Sam Raimi and more. So obviously the actor’s picked up a thing or two. While Crowe’s helmed documentaries and videos, he's never directed a feature-length narrative film until now. Titled “The Water Diviner,” Crowe’s directorial feature debut is a historical drama set in 1919, about an Australian man who travels to Turkey four years after the Battle of Gallipoli to locate his three missing sons—one of them reported missing in action. The film stars Crowe, Olga Kurylenko, Jai Courtney, Cem Yılmaz and Yılmaz Erdoğan, and we haven’t heard much about it since it was first announced last year. Written by Andrew Anastasios and Andrew Knight, the Weinstein Company took domestic rights to the film during Cannes after watching 12-minutes of footage that unspooled in the buyers market. »
- Edward Davis
Crime of the Century has been in development since 2011. The project is being produced by Chris Morgan, who wrote the last five Fast & Furious sequels, and has also teamed up with Alex Kurtzman to reboot Universal's classic monster franchise (which includes Dracula, Frankenstein, the Bride of Frankenstein, the Wolf Man, the Mummy, Invisible Man and Creature from the Black Lagoon).
Lately, Dauberman has been very active reworking scripts at New Line. He worked on Into The Storm, Watching Hour and the latest installments of Nightmare on Elm Street and Final Destination. Dauberman broke into the business by selling his spec script Burst, about a group of people get holed up in a remote lodge during a blizzard and must figure out »
- Laura Frances
Way back in 2011, fledgling director Dan Trachtenberg’s first short, Portal: No Escape, became a viral sensation – and captured Hollywood’s attention. It wasn’t long before Universal and writer-producer Chris Morgan snapped up his next pitch, entitled Crime Of The Century. Hard at work developing the feature with writer Daniel Kunka (12 Rounds), Trachtenberg also took on his directorial debut project, Valencia, for Bad Robot. Whether or not this has slowed progress on Crime, it’s unknown. But Universal have hired Gary Dauberman to come aboard.
The scribe behind New Line’s upcoming The Conjuring spinoff, Annabelle, Dauberman has been busy working for the last decade in the horror genre. Mainly doing uncredited rewrites. He’s polished up a number of high-profile flicks, including Nightmare On Elm Street, Into The Storm and Final Destination. His biggest solo win so far was when he sold his original spec script, Burst. Sam Raimi »
- Gem Seddon
Dauberman wrote the upcoming “Conjuring” spinoff “Annabelle,” set for an Oct. 3 release by New Line. The scribe has been active at New Line, working on “Into the Storm,” “Watching Hour” and the latest installments of “Nightmare on Elm Street” and “Final Destination.” He broke into the business by selling his spec “Burst” to Mandate and Sam Raimi.
The logline for “Crime of the Century” is under wraps, but has been described in the past as a group of thieves using time travel. Trachtenberg is attached to direct and is currently in pre-production on his debut feature for Bad Robot at Paramount.
Universal-based Morgan wrote the last »
- Dave McNary
Reviewed by Kevin Scott
Invaders from Mars (1986)
Directed by: Tobe Hooper
The best that I can tell, nostalgia runs on a thirty year cycle. I can speculate that what everybody watches as children, shapes them into adults with a deep seated desire to emulate it or watch it being emulated. A select few make it to a position where they can actually interject that nostalgia into the contemporary mainstream, and satisfy both the fans of the original material, but also put such a spit shine on the old premise that even the youngsters dig it, and have no idea that it’s based on something way older than they are. In the 1980’s we »
Sometimes it’s just a joke, sometimes it has hidden meaning, and sometimes it’s simply the director showing off their eclectic taste in all things celluloid (read: Quentin Tarantino). But one thing’s for sure: the annals of cinema history are littered with movie-in-movie moments.
The granddaddy of movie-in-movie moments comes from The Shawshank Redemption – released twenty years ago today. So in honour of its anniversary, we thought we’d go all “meta” by looking back at ten of the most memorable movie-in-movie moments to grace the multiplex.
Though it’s probably a little bit cruel to show prison inmates Rita Hayworth at her finest, this 40’s classic plays a prominent role in the film’s plot as Andy later uses a poster from the 1946 noir to cover the entrance to the tunnel that he’s painstakingly carved out of the prison walls.
- Daniel Bettridge
People Are People: Genz’s English Debut a Satisfactory B-Grade Noir
Expectations may a bet set a bit too high for Danish filmmaker Henrik Ruben Genz’s descent into the English language with his adaptation of Markus Sakey’s novel, Good People. Considering that 2008’s Terribly Happy, the director’s last film to play stateside, drew comparisons to the Coen Bros. and David Lynch, this latest effort pales severely in comparison, resembling more of a kitchen sink noir drowning in its own sea of dirty dishwater. Bereft of any vicious underpinnings or subversive class commentaries that would have at least presented something to chew on, we’re treated to the kind of deceptive web that doesn’t seem altogether probable from all its various angles.
- Nicholas Bell
Altitude Film Entertainment sinks teeth into Australian zombie thriller, which world premieres today.
Mostly self-financed, and using a social media campaign, the film was finished with the support of completion funding from Screen Australia.
Studiocanal has acquired distribution rights to Australia, New Zealand and UK. North American Rights are handled by Xyz Films.
“Australia makes such great genre films,” said writer-director Kiah Roache-Turner. “Films like Mad »
- email@example.com (Michael Rosser)
Not much is known about Alex Kurtzman’s Venom film for Sony, apart from the fact that it will feature the famous Spider-Man villain in an anti-hero role. Kurtzman recently talked about how the character provides a darker entry point into the Spidey franchise, as “there are certain lines that Spider-Man won’t cross… Venom, in a weird way, is the representation of every line that will get crossed.” While some characters provide straight-forward adaptation possibilities, Venom is a bit of a different story, because there have been a handful of different versions over the years.
The Venom symbiote has been worn by several characters in Spider-Man lore throughout the years and in various forms of media, the most notable of which are Peter Parker, Eddie Brock, Mac Gargan a.k.a. The Scorpion, Flash Thompson, and Harry Osborn.
Making Eddie Brock the Venom of choice is perhaps the safest bet, »
- James Garcia
Sony is trying to differentiate itself in the shared superhero universe game by leaving its flagship superhero (Spider-Man) alone for a bit, in favor of exploring the darker side of things via two villain-centric movies, Venom and Sinister Six.
While everyone is curious as to how a blockbuster villain team-up film is going to play with audiences, the character of Venom actually got a live-action movie adaption in Sam Raimi’s Spider-Man 3 - to almost universal disappointment amongst fans. That being the case, the Venom movie is under a ton of scrutiny, as fans wait to see how director Alex Kurtzman (co-screenwriter of Star Trek Into Darkness) and writer Ed Solomon (Now You See Me, Men in Black) are ...
- Kofi Outlaw
"Excalibur" was a formative theatrical experience for me. It was one of the first R-rated films I specifically decided I wanted to see in a theater. I'd seen other R-rated films before that, but always at random and because someone else decided I was going to see it. With "Excalibur," I was crazy to see it, and the film landed on me like a ton of bricks. Surreal, violent, beautiful, explicit, and for a mythology nut, seeing how the film dealt with each of the characters, each of the Arthurian archetypes, I was in love. One of the guys who made an impression in the film was a young Liam Neeson, and for the rest of the '80s, he racked up a number of performances where, good film or bad, he made an impression. How could he not? No one else looked like him. Slightly over eight feet tall, »
- Drew McWeeny
Drew Struzan might be the name you first think of when someone mentions movie poster artist, but few can argue that the work of John Alvin is not a equally iconic. Alvin’s art has be collected in great effort into one tight package in The Art of John Alvin by his wife Andrea Alvin. The high quality coffee table book collects the late artist’s film poster art in their final form and in the earliest stages when he was just starting to figure out the layouts for some of the posters that would go on to be some of the most iconic of all time.
An introduction gives a brief overview of his life and his earliest experiences painting images from the films that made him fall in love with the art, like 1954’s 20,000 Leagues Under the Sea and 1960’s Spartacus. It details his life, marriage, and sudden »
- Max Molinaro
It’s not exactly a secret that the new rebooted Spider-Man franchise has failed to live up to all the expectations brought on by the fact that a) both movies thus far have been directed by 500 Days of Summer’s Marc Webb and b) star Andrew Garfield as the titular hero. Despite the fact that Sam Raimi’s Spider-Man 3 was viewed as enough of a failure (creatively, not financially) to warrant rebooting the entire franchise, The Amazing Spider-Man movies have either felt invariably stale and/or too familiar, or have reprised so many of that picture’s colossal mistakes that it’s hard to know how to take it.
Spider-Man is arguably the most popular superhero of all, so it’s surprising that – with so much brilliant source material to work with and such an eager fanbase – so much of the new franchise has felt entirely lackluster. »
- Sam Hill
The ranks of female film directors are about to swell a little more, as Katie Holmes confirms her plan to helm the upcoming adaptation of the debut novel from Annie Weatherwax – All We Had. The script is being written by Josh Boone (Stuck In Love, The Fault In Our Stars), with Holmes starring and pulling producer duties alongside Jane Rosenthal (Little Fockers) and Berry Welsh (NYC 22).
The story is described as ‘wry and sharply observed’ by publishers Simon And Schuster, and centres on a mother and 13 year old daughter, who find themselves existing on the verge of poverty in small town America, after their old life implodes. Holmes will play the role of the mother, but there is no news yet on wider casting.
While this news will almost certainly be met in many quarters with derision, it is important to note that, of late, Holmes has finally begun to come into her own. »
- Sarah Myles
Star Trek co-writer Alex Kurtzman is currently developing a Venom movie for Sony Pictures that he will direct. Venom is a crazy and cool character and one of my favorites in Spider-Man's universe. I like his dark personality and what he brings to the stories that he's in. Kurtzman discusses this stuff in a recent interview with MTV, and talks about why he wanted to work with the character.
"Well, Venom is sort of the flip side in that there are certain lines that Spider-Man won’t cross because he’s Peter Parker and Peter Parker will only do certain things and Venom is an entirely different character. Venom, in a weird way, is the representation of every line that will get crossed. He’s a much darker character. I wouldn’t even really say more complicated because I think they’re both very complicated characters, but I think »
- Joey Paur
The Spider-Man films have represented a diminishing set of returns, for Sony on the domestic financial front (though we don’t have all data for long-tail revenue) and for audiences in terms of satisfaction. The Amazing Spider-Man 2 often felt surprisingly derivative of Sam Raimi’s own Spider-Man 2. When it did explore new territory, the story threads were unconvincing. […]
- Russ Fischer
So far, all movie audiences have seen of Spider-man's fearsome foe Venom is the rather slapdash attempt at the character in Spider-Man 3, which in no way did the character justice. The antithesis of Spider-Man, was quite a dark character, and his many appearances and solo books really put forward how terrifying a character he was, something completely lost in the third part of Sam Raimi's Spider-Man franchise. With the announcement that the villain is getting his own spin-off from The Amazing Spider-Man, putting him in the role of anti-hero, the sins of Spider-Man 3 (in relation to Venom at least. That movie as a whole is unredeemable) may be erased, with director and co-writer Alex Kurtzman promising to bring the character back to his comic book roots, and make him dark and scary again. Speaking to MTV, Kurtzman said, "Well, Venom is sort of the flip side »
- firstname.lastname@example.org (Tom White)
It’s no secret that the superhero film genre has expanded significantly over the last decade. Thanks to the likes of Sam Raimi’s Spider-Man trilogy, 20th Century Fox’s X-Men franchise, Marvel’s expansive cinematic universe, and Christopher Nolan’s The Dark Knight trilogy, superhero films and comic book adaptations are the hottest comodities in Hollywood right now.
That trend will only quicken over the next few years, too. Marvel is showing no signs of stopping and will soon release three films a year up until at least 2028. Warner Bros. is building an entire DC Cinematic Universe off of last year’s Man of Steel, that includes Batman V Superman: Dawn of Justice in 2016 and nine untitled projects slated for release from 2016 to 2020. Fox has finally hit its stride with Bryan Singer’s X-Men: Days of Future Past, which will give way to a sequel in 2016 and various spin-offs »
- James Garcia
Marvel have been pumping out movies on a regular basis for years. Whether it’s through their own studio or via other studios that have the rights to their characters, the comic book giants are very prolific with regards to the number of movies based on their titles.
Now, more than ever, with three ongoing franchises – Marvel Studios’ own Marvel Cinematic Universe, Fox’s X-Men (and soon to be Fantastic Four) franchise and Sony’s Amazing Spider-Man franchise – they are firing on all cylinders with regards to movie releases.
Other Marvel titles over the years have included (but are not limited to) Howard the Duck, three Punisher movies, three Blade movies, Daredevil, Elektra, two Ghost Rider movies, Sam Raimi’s Spider-Man trilogy, Ang Lee’s Hulk movie and Fox’s first attempt at a Fantastic Four series of movies (as well as some cheap non-theatrical released movies like Man-Thing »
- Kev Stewart
After last week’s news about Netflix securing The Blacklist for a record fee, a similar story came to light this week concerning the pre Batman prequel series Gotham. Now rather than getting it day and date after Us broadcast as per Breaking Bad and From Dusk Till Dawn, Gotham’s entire run will just arrive on Netflix after it’s finished its TV broadcast. Worse news is that this means you have to wait for Channel 5 to get their finger out and schedule it on one of their three channels and then muck it around the schedule just to confuse you further and for it to finish its run there. Kind of takes the wind out the sails doesn’t it? I wouldn’t expect to see Gotham on Netflix until this time next year at best but we will see.
In better news David Wain’s relatively well »
- Chris Holt
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