1-20 of 124 items from 2016 « Prev | Next »
Penélope Cruz returns as the beloved movie star Macarena Granada in Fernando Trueba’s comedy-drama “The Queen of Spain.” The first teaser trailer for the Spanish-language film was released by Universal Spain’s Twitter account, showing the actress dressed in lavish period pieces and greeting fans as she disembarks a private plane.
“La Reina De España,” as it’s originally titled, follows Macarena, who flees from the glitz and glamour of 1950s Hollywood to return to Madrid, where she signs on to star in an epic Hollywood film.
The movie is a sequel to Trueba’s 1998 drama “The Girl Of Your Dreams,” also starring Cruz and set during the Spanish Civil War. The feature won Cruz her first Goya Award and took home seven Goyas total.
This is the third time that the director and Cruz work together. »
- Liz Calvario
Pedro Almodóvar is arguably the most influential Spanish filmmaker working today, but no auteur is an island. The Academy Award winner (Best Original Screenplay for “Talk to Her,” who also won Best Director at the Cannes Film Festival for “All About My Mother,” has compiled a list of Spanish movies that inspire him for the British Film Institute, with choices ranging from “The Executioner” to “Poachers.” Check out the full list below.
“‘Calle Mayor’ is a major work that has not only stood the test of time but has consolidated its reputation.”
“It Happened in Broad Daylight” (“El cebo,” 1958)
“‘El cebo’ is one of the few examples of a film in which a diverse mix of nationalities and talents crystallises into something beautiful and personal.”
“The Executioner” (“El verdugo,” 1963)
“‘The Executioner »
- Michael Nordine
The characters fortunate enough to survive the blood-splattered brawl at the end of Season 2 will return in the upcoming third season of From Dusk Till Dawn: The Series, and to help hold over fans with a culebra-like thirst for new episodes, Miramax and El Rey Network have revealed Season 3’s directors and additional cast members.
Press Release: June 7, 2016 (Los Angeles, CA / Austin, TX) – Miramax® and El Rey Network released today the list of directors that will helm the 10 episodes of From Dusk Till Dawn: The Series season three. Additionally, Nicky Whelan (House of Lies, The Wedding Ringer) and Maurice Compte (Breaking Bad, Narcos) have joined the cast of season three. Compte will play Brassa a mysterious Rasputin-like figure who takes on the Gecko brothers. Whelan’s character will be revealed on air.
The list of directors includes several newcomers to the series including Eagle Egilsson, who is known for »
- Derek Anderson
Dir: Joel Schumacher
112 mins, cert 18. Empire etc.
Dir: Bigas Luna
94 minutes, cert 18. Metro, Camden Plaza, MGM Tottenham Court Rd, Screen/Baker St etc.
Continue reading »
- Derek Malcolm
There are a handful of franchises that actors just want to be part of. If your agent can get you a read for a Star Wars sequel, or a Marvel chapter, you’re likely going to do your best to shine for the casting reps. Several months ago, Saturday Night Live rolled out a skit of “celebrities” reading alongside real-life Star Wars: The Force Awakens stars Daisy Ridley and John Boyega. The skit went over so well, they’ve now decided to release additional footage of celebs being weird, and SNL players doing their best impressions: This skit gives us a fresh new look at what might have been, had the Lucasfilm offices really opened their minds to potential casting. I mean, Matthew McConaughey really does have a “Lando voice,” doesn’t he? And the idea of Javier Bardem trying his best »
Put up your space hand if you like any of these, J.J. Abrams. “Saturday Night Live” just released bonus footage from a recent “Star Wars” chemistry test sketch, which included tryouts from the real Daisy Ridley, John Boyega, Matthew McConaughey, Jon Hamm and Emma Stone. There were also plenty of impressions, courtesy of the “SNL” cast. Some of the highlights include Janelle Monae (Sasheer Zamata) trying to dance somberly while surrounded by death, Kyle Mooney‘s temperamental Shia Labeouf, and Javier Bardem (Beck Bennett) trying his best to have sex with Stone. Also Read: Why 'Star Wars' Matters: A Former Obama Official Explains. »
- Tony Maglio
Saturday Night Live may be wrapped for the season, but new footage will help ease the wait for season 42 - not to mention the next Star Wars film. In a bonus clip, Emma Stone, Matthew McConaughey and Jon Hamm do their best to land spots in The Force Awakens. However, they have some competition from SNL celebrity impersonators and actual Star Wars actors John Boyega and Daisy Ridley.Ridley almost flubbed her audition when Janelle Monáe, played by cast member Sasheer Zamata, turned their scene into a dance party. Stone probably lost the role because of her screen test with »
- Stephanie Petit, @stephpetit_
After scooping up Best Screenplay and Best Actor honors for The Salesman at the Cannes Film Festival, Iranian auteur Asghar Farhadi has swiftly landed two more international prizes for his next film: Penélope Cruz and Javier Bardem. The Oscar-winning couple reuniting onsceen is only the half of it; as previously announced last year, they join producers Pedro and Agustín Almodóvar for Farhadi’s first Spanish-language project. If you place the emphasis on the first word in “cinematic universe,” this is the sort of continent-crossing collaboration of which one dreams. As the superheroes behind A Separation, Volver, No Country for Old Men, All About My Mother, and Wild Tales coalesce and move towards production, we can’t wait to see what kind of direction they take the project.
- Daniel Crooke
Described as an Agatha Christie-esque psychological thriller, the story revolves around a family of winemakers living in rural Spain. Memento Films and El Deseo will produce the project which is currently in development and will seek a major American star to complete the cast.
Farhadi is currently finishing the script and will visit Spain next month to scout for locations. Shooting is expected to begin next summer or early fall. The Iranian director just won two awards at Cannes for his Tehran-set drama "The Salesman" (Forushande).
Source: Variety »
- Garth Franklin
Even if our man on the ground didn’t much respond to Asghar Farhadi’s recent Cannes premiere, The Salesman, our anticipation and admiration remain high — but so it is for one of our age’s greatest filmmakers. (Really appreciating The Past makes some lukewarm reactions much easier to take.) Consider us pleased, then, that his Penélope Cruz-led, Almodóvar-produced, Spain-set project is steadily advancing: per Variety, it’s looking to add none other than Cruz’s husband, Javier Bardem — fun fact: also an actor — is nearly complete, script-wise, and will roll cameras “next summer or early fall.”
It’s hardly surprising that Farhadi’s written another film marked by moral intrigue and sundry complications, yet there’s already some sense of new territory: it follows “a family of wine growers living in rural Spain,” has been called, by producer Alexandre Mallet-Guy, “a psychological thriller with a dash of Agatha Christie in it, »
- Nick Newman
This month, “The Past” and “A Separation” director Asghar Farhadi returned to the Cannes Film Festival with “The Salesman.” And while it didn’t receive the same level of raves as his previous efforts, the filmmaker still walked away with a Best Screenplay prize, with Shahab Hosseini taking home Best Actor. All this to say, Farhadi’s heat […]
- Kevin Jagernauth
Paris — Iranian director Asghar Farhadi, who just won two awards at Cannes for his Teheran-set drama “The Salesman” (Forushande), is resetting his untitled Spanish-language movie with Penelope Cruz and Javier Bardem in advanced talks to star.
The project was born out of Penelope Cruz and Farhadi’s mutual wish to work together, explained Mallet-Guy, who produced Farhadi’s last two movies, “The Past” and “The Salesman,” which just won Cannes’ best screenplay and actor (for Shahab Hosseini) awards.
Farhadi is currently finishing the original screenplay and will visit Spain next month to scout for locations that could feed into the script. Shooting is expected to begin next summer or early fall.
The plot, which remains mostly under wraps, as always with Farhadi’s films, »
- Elsa Keslassy and John Hopewell
As juror László Nemes (“Son of Saul”) said at the start of the Cannes Film Festival, juries are by their nature random. One thing you can count on is that the actors on the jury will shift the conversation. From the start, this year’s actors said they were looking for emotion. And that’s what the two top winners boast in abundance. “It was a collective decision,” said Miller of his “nine-headed beast,” describing the awards process as like creating a painting. “We looked at every variable, it’s not like ticking off a vote for the Oscars…we were looking at the awards like a totality. It took so much time, so much rigor, it was exhausting, emotionally, as everyone was talking so passionately.”
Thanks to jury chief Miller, it was Mel Gibson (whose “Blood Father” played well as a Cannes midnight movie) who presented the Palme d’Or to 79-year-old British director Ken Loach, winning for the second time (2006’s “The Wind that Shakes the Barley”); he’s won many other prizes over 18 films selected for Cannes. By far the most emotional movie of the festival, “I, Daniel Blake” (Sundance Selects) brought audiences to wrenching tears, including this writer. Based on research into England’s public welfare crisis, the film is a fictionalized story set in Newcastle about a joiner (Dave Johns) who can’t seem to convince the state to give him the disability he needs after a heart condition makes it impossible for him to work.
“The festival is very important for the future of cinema,” said Loach. “When there is despair, the people from the far right take advantage. We must say that another world is possible and necessary.”
Read More: The 2016 Indiewire Cannes Bible: Every Review, Interview and News Item Posted During the Festival
Many critics did not respond to Loach’s overtly political film because they didn’t think he was doing anything different from what he had done before. But they really didn’t like Xavier Dolan’s very theatrical “It’s Only the End of the World,” which won the consolation prize, the Grand Prix, which means that the jury responded very differently to this heartfelt adaptation of a play about a dysfunctional family, who scream in French in extreme closeup. (Dolan won the jury prize in 2014 for “Mommy.”)
“Thank you for feeling the emotions of the film,” said Dolan (who attacked the critical reaction to his film) in a speech during which he cried, lips trembling, and chewed on his hands. Maybe it will now be picked up for the U.S., although it won’t be a crowdpleaser.
Co-winner of the director prize, Romanian Cristian Mungiu (“Graduation”), had also won the Palme d’Or, for 2007’s “4 Months, 3 Weeks, 2 Days,” and his actresses shared the Actress prize for “Beyond the Hills.” Mungiu’s “Graduation” (Sundance Selects) sends a controlling father (Adrian Titieni) into a tailspin when his long-held post-graduation plans for his daughter (Maria Dragus) go terribly awry. Mungiu points out each individual’s role in doing the right thing when corruption and compromise often rule the day.
Co-winner Olivier Assayas, on the other hand, accepted his first Cannes award for “Personal Shopper” (IFC Films), his second English-language film starring Kristen Stewart (Cesar winner for “Clouds of Sils Maria”), whose character acquires fashionable clothes for a rich client. She tries to use her skills as a medium to communicate with her twin brother, who has recently died, when mysterious texts suddenly appear on her iPhone. It was a great Cannes for Stewart, who was well-received in Woody Allen’s “Cafe Society” (Amazon) as well, and for IFC/Sundance Selects, which is releasing “I, Daniel Blake,” “Graduation” and “Personal Shopper.”
Those who thought that the women who dominated the Cannes would come home with multiple awards were sorely disappointed. British director Andrea Arnold took home the jury prize for the third time for her daring American road movie “American Honey” (A24), a coming of age story starring Shia Labeouf and unknown Sasha Lane, making Arnold three for three at the fest after 2006’s “Red Road” and 2009’s “Fish Tank.”
Critics adored the film, which was shaped by the American midwestern landscape as well as the editing room. The film was vastly different from its original script and unlike anything else at Cannes this year. “Five hours ago I was sitting in my neighbor’s garden drinking tea,” Arnold said in her acceptance speech, thanking her cast and crew for the “team effort” on their “great adventure.”
Meanwhile, critics’ fave and the winner by a mile of the Screen International Critics Poll (see below), German director Maren Ade’s exquisite father-daughter comedy “Toni Erdmann” (Sony Pictures Classics), came home empty-handed. At the jury press conference jury chief Miller cited a “passionate” and long jury deliberation (which Mikkelsen described as “difficult”) on 21 films, directors, writers and many more actors as well as arcane jury rules that demand that the top three winners cannot win a second prize. Miller and Mads Mikkelsen both stated that they judged the films on their excellence, not on the sex of who directed them. “Each film was judged on its merits,” said Miller. “Filmmaking is filmmaking. It did not come up, we were looking at other issues.”
The jury defended the choice of Best Actress Jaclyn Jose for “Ma’ Rosa,” from Philippine director Brillante Mendoza, which some critics had suggested was a supporting role in a sprawling ensemble. “The critics were wrong,” said Donald Sutherland. “It’s a big-time leading role.”
“She’s the film,” said Arnaud Desplechin. “She broke my heart.”
The jury admitted that there were many strong actress contenders including “I, Daniel Blake”‘s Hayley Squires and Romanian actress Maria Dragus (“Graduation”), but they couldn’t award more than one prize for winners of the top three awards.
Asghar Farhadi’s “The Salesman” (Amazon/Cohen Media) was another surprise winner, taking home two prizes, for Best Actor and Best Screenplay. Shahab Hosseini plays an actor who is in the midst of moving apartments and starring in Arthur Miller’s “Death of a Salesman” when his wife (Taraneh Alidoosti) is assaulted in the shower of their new domicile by a man who assumes that she is the former tenant, a prostitute. When the door buzzes, the wife thinks she is letting in her husband, but winds up in the hospital with more than wounds to her head and psyche — her husband is hellbent on revenge.
The Honorary Palme d’Or went to Jean-Pierre Leaud, who came to the festival with his first film “The 400 Blows” in 1959 when he was 14 years old, and was hugged by Jean Cocteau. Juror Arnaud Desplechin presented the award. Leaud said this was the most joy he had felt since Francois Truffaut told him to take the script for “The 400 Blows.”
Among those who did not need to attend the closing ceremony were Isabelle Huppert, who earned raves for Paul Verhoeven’s provocative thriller “Elle” (Sony Pictures Classics), in which she plays a videogame entrepreneur who refuses to allow her violent rape in her own home to ruin her life. Verhoeven’s first French-language film is likely to play better in North America.
Read More: Cannes 2016: Complete List of This Year’s Winners
Also left out of the awards were “Paterson” (Amazon), American auteur Jim Jarmusch’s spare and austere portrait of a bus driver poet (Adam Driver) and his wife and muse (Golshifteh Farahani), as well as Jean-Pierre and Luc Dardennes’ “The Unknown Girl” (Sundance Selects), starring Adèle Haenel as an empathetic doctor who ignores a late-hour doorbell at her private practice and finds out that the young woman was murdered nearby. She embarks on a mission to identify the girl and inform her family of her death. Park Chan-Wook’s gorgeously wrought erotic drama “The Handmaiden” (Amazon) starring Kim Min-hee and newcomer Kim Tae-ri as secret lesbian lovers was also overlooked.
Among the anticipated films that disappointed the critics at Cannes (not to mention the jury) were Sean Penn’s aid worker romance “The Last Face,” starring Javier Bardem and Charlize Theron, which was seeking a North American buyer, and Nicolas Winding Refn’s “Neon Demon” (Amazon), starring Elle Fanning, who discovers that starving models in the Los Angeles fashion world literally eat each other alive. In one memorable scene, when one x-ray model known as the bionic woman (because she has altered so much of her body) throws up an eyeball, her best friend pops it into her own mouth. (With five films at the festival, Amazon won no awards.)
At the “Neon Demon” party, when I asked Cannes director Thierry Fremaux why so many movies wound up in Competition that the critics did not like, he said that the festival was not set up for the critics, although they clearly play an important role. He said that how movies played for audiences was important too. Clearly that included the Cannes jury.
Stay on top of the all the latest headlines! Sign up for our Daily Headlines email newsletter here. Related storiesCannes Film Festival Awards 2016Cannes Today: New Talent EmergesHow Will the Cannes Film Festival Impact the Rest of the Year in Film? (Podcast) »
- Anne Thompson
★★☆☆☆ "Why do they always have to be entertained before they listen?" asks Javier Bardem's Dr. Miguel at the opening of Sean Penn's new film The Last Face, which is showing in competition at the 69th Cannes Film Festival. This pointed dig at the indifference of audiences is doubly mendacious because Penn's film doesn't entertain greatly nor does it have much coherent to say.
- CineVue UK
Every year at the Cannes Film Festival, there are films that are universally praised, others that cause a sharp divide, and then those that get a critical torching. And this year, Sean Penn‘s “The Last Face” seemed to be that film. Our critic in the field hated it, and he wasn’t the only one, as […]
- Kevin Jagernauth
The 69th annual Festival du Cannes wraps up this weekend with reprise screenings of competition titles and the closing ceremony tomorrow evening at 7:15 Pm (Cannes time so a handful of hours earlier here in NYC). Sean Penn's The Last Face starring Javier Bardem and Charlize Theron (pictured in all her androgynous chic, left, at the premiere), Asghar Farhadi's The Salesman (which takes its title from an in movie amateur production of Death of a Salesman), and Paul Verhoeven's Elle starring Isabelle Huppert were among the last titles to premiere. Don't expect The Last Face, which was met with hostility to show up in the prizes.
Here are the 21 competition titles loosely grouped by your hosts vague perceptions of how well received they were (you might group them differently as its my policy not to read full reviews from Cannes - which tend to be spoiler filled »
- NATHANIEL R
Charlize Theron and Sean Penn reunited at the photcall for their new film, The Last Face, at the Cannes Film Festival on Friday. The former couple, who called off their engagement in June 2015 after nearly two years together, kept their distance while posing for photos with Javier Bardem, Adèle Exarchopoulos, Zubin Cooper, and Jean Reno and also managed to avoid standing near each other at the movie's red carpet premiere later that evening (Charlize stars in the film with Javier and Adèle, while Sean is the director). Sean did stick close to his 25-year-old daughter, Dylan Penn, and son 22-year-old Hopper, whom he shares with ex-wife Robin Wright, and he and Charlize eventually shared a sweet hug and kiss at the top of the staircase before heading inside. Coincidentally, it was at last year's Cannes Film Festival that Charlize first showed off the massive diamond engagement ring that Sean gave »
- Brittney Stephens
On the penultimate day of Screen’s Cannes 2016 Jury Grid, scores came to a grinding halt with both of the day’s new entries.
With one rating yet to be submitted, the score marks it as a 13-year low for the Grid, placing it beneath last year’s The Sea Of Trees (0.6) and 2003 titles The Brown Bunny (0.5) and Les Cotelettes (0.3).
Sean Penn‘s “The Last Face” is going to need a binding UN Resolution to keep the critics from tearing it apart any worse than they already have. The actor and filmmaker directed the romance about the head of an international aid organization (Charlize Theron) and a relief aid doctor (Javier Bardem) falling in love as they work to bring peace to the African continent and highlight the plight of refugees. But early reviews out of Cannes are savaging the film, even going so far as to criticize the opening title card, which compares the conflict in South Sudan to the love “between a. »
- Joe Otterson
Well, the timing of this first look is certainly…curious. Sean Penn and his cast of “The Last Face” (our review) which includes Charlize Theron, Javier Bardem, and Adèle Exarchopoulos, are currently reeling from the rough reception the film received at the Cannes Film Festival. But at least one of those talents has something to offer as a counterpoint […]
- Kevin Jagernauth
1-20 of 124 items from 2016 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners