15 items from 2017
Entitled Dave Allen at Peace, the one-hour drama is being directed by Andy De Emmony (Fantabulosa!) from a script by Stephen Russell (We’re Doomed: The Dad’s Army Story) and will be framed around Gillen’s Allen perched on a stool as he looks back over his life and his 40-year career.
As per Deadline, it will ” explore how his comedy genius was shaped by the tragic loss of his father, his brother — and his finger — and how he survived decades of the Roman Catholic Church’s wrath, death threats from the Ira and a ban by Irish and Australian TV.”
Filming on Dave Allen »
- Gary Collinson
There are Alzheimer’s movies that cut to the quick, like “Still Alice,” and then there are Alzheimer’s movies that pander to the worst sort of cheaply-manipulative old-folks cutesiness, like “The Leisure Seeker.” Maybe if there were one crumb of genuine flavor in this stale cheese, it could have passed muster, but this is ersatz curd, dressed up by the presence of Helen Mirren and Donald Sutherland without doing credit to either. The bite of Italian director Paolo Virzì’s best films (such as “Human Capital”) is completely absent, replaced not even by dentures but a kind of pandering gumminess.
With a script that signals every progression as obviously as the large-lettered signs used in homes for people with dementia, viewers can guess after 10 minutes exactly how this predictable story is going to end. Still, with these two pros above the title, distributors should be able to attract the blue-rinse crowd at least.
- Jay Weissberg
By Farah Cheded
Aidan Gillen's next role is very un-Littlefinger-like.
- Farah Cheded
According to Deadline, Game of Thrones star Aidan Gillen is set to take on the role of celebrated Irish writer James Joyce in the upcoming drama James and Lucia, which is being written and directed by Robert Mullan (Mad to Be Normal).
The film will explore Joyce’s heroic struggle to protect and support his beloved daughter Lucia, a professional dancer, as her mental health deteriorates after a failed romance with playwright Samuel Beckett, and a diagnosis of schizophrenia.
- Gary Collinson
With his time as Littlefinger now at an end, “Game of Thrones” star Aidan Gillen will next appear as famed Irish novelist James Joyce in the upcoming biopic “James and Lucia,” which will begin filming early next year. Written and directed by Robert Mullan, the film will follow the final years of Joyce’s life in the late 1930s as he writes his famed novel, “Finnegan’s Wake.” As his health declines, so does that of his daughter, Lucia, a schizophrenic whose mental health worsened after a failed relationship with the famed playwright Samuel Beckett. As he finishes his novel, »
- Jeremy Fuster
Exclusive: Aidan Gillen, whose seven-season run on HBO’s epic drama Game Of Thrones hit its apex during Sunday’s equally epic season finale, has been set to play James Joyce in Robert Mullan’s new film James And Lucia. Gillen played the scheming yet somehow likable Lord Petyr “Littlefinger” Baelish on GoT, and without giving too much away his character was a key plot point in Sunday’s Season 7 finale that was the series’ most-watched episode ever. The movie, written and… »
Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.Much of David Lynch's work is about regression, or regressiveness, about people who are most comfortable when indulging (really, hiding behind) their baser instincts. An acid-jazz saxophonist with murder on his mind might take refuge in the body and soul of a teenage delinquent (Lost Highway), or a midwestern girl who has played and lost the Hollywood game might concoct a candy-colored dream-life in which she finally attains Tinseltown stardom (Mulholland Dr.). But these escapes always prove to be traps, and cyclical ones at that. What goes around comes around. What has happened before will happen again. Even Blue Velvet's Dorothy Vallens (Isabella Rossellini), finally liberated from her abusive sexual relationship with Frank Booth (Dennis Hopper), "still can see blue velvet through my tears. »
Never tell Hollywood it can’t do something. Over the years, the entertainment industry has gamely (and, often, unwisely) taken on projects that have been deemed unadaptable, often by their very own authors and creators. Such a film is bound for the big screen later this week, when Nikolaj Arcel’s already embattled “The Dark Tower” arrives, attempting to prove to audiences that adapting a sprawling Stephen King opus into a movie and television franchise after nearly a decade of starts and stops is, in fact, a good idea. It’s hardly the only example of such a gamble, and few similar attempts have managed to pay out, either financially or creatively.
Read More‘The Dark Tower’ Tested So Poorly That Sony Considered Replacing Director — Report
Sometimes “unadaptable” is just that, and perhaps even the best of books simply isn’t suited for a splashy filmed version. While it remains »
- Kate Erbland
Ryan Lambie Jul 7, 2017
To tie in with the Into The Unknown exhibition, on now at London's Barbican, we look at how sci-fi has become a major cultural force...
It's not always easy being geeky. The celebrated genre writer Ray Bradbury knew this all too well; as a kid growing up in the 1920s and 30s, he was intoxicated by all things otherworldly and imaginative: classic horror movies, pulp sci-fi stories about Mars, comic strips detailing the exploits of Buck Rogers. Eventually, Bradbury's peers teased him mercilessly, until, in a bid to fit in, he ripped his Buck Rogers comics to shreds. But far from helping the young Bradbury draw a line under his obsessions, the destruction of his beloved comics left him feeling unhappy and soulless.
François Truffaut’s adaptation of Ray Bradbury’s dystopian, illiterate future looks better than ever, but the scary part is that some of its oddest sci-fi extrapolations seem to be coming true. It’s a movie that truly grows on one. The Bernard Herrmann music score is one of the composer’s very best.
1966 / Color / 1:85 widescreen / 112 min. / 50th Anniversary Edition / Street Date June 6, 2017 / $14.98
Cinematography: Nicolas Roeg
Film Editor: Thom Noble
Original Music: Bernard Herrmann
Directed by François Truffaut
- Glenn Erickson
The actress is mostly remembered for her good looks, but what about her impressive performances?
In Richard Dyer’s book Heavenly Bodies: Film Stars and Society, he writes that Marilyn Monroe was “the most visible star”: an actress whose life was put on display, and remains so over 50 years after her death. She is one of the most iconic Hollywood stars of all time, her face instantly recognizable to even those who have never seen any of her movies. She is a symbol of beauty, glamor, cinema, femininity, blondness, sexuality, and tragedy. While the world speculates about her personal life — who was she romantically involved with? How did she die? What was she really like? — her career as an actress is overshadowed by her fame.
While she may not have been the greatest actress of all time, she certainly had her fair share of talent and intelligence, and always worked incredibly hard to bring her »
- Angela Morrison
Andrew Haigh’s quiet, two-person relationship tale won a lot of friends last year. A revelation from the past changes everything in the marriage of Charlotte Rampling and Tom Courtenay. We read the faces, read the gestures — just like we do in our own close relationships.
The Criterion Collection 861
2015/ Color / 1:85 widescreen / 95 min. / available through The Criterion Collection / Street Date March 7, 2017 / 39.95
Cinematography: Lol Crawley
Film Editor: Jonathan Alberts
Production Designer: Sarah Finlay
From the short story by David Constantine
Produced by Tristan Goligher
Written and Directed by Andrew Haigh
Most filmmakers must find a way to chop down 800-page novels and still retain some semblance of the original. Others have the opposite problem, fleshing a short story to fill a feature length movie. The classic example is Ernest Hemingway’s The Killers, which is less than three thousand words in length. »
- Glenn Erickson
Regularly, in articles and essays, in posts and tweets, Virginia Woolf's quote, “...on or about December 1910 human character changed,” gets bandied about as the coming of the modern age. It is claimed, by such a writer as Edward Mendelson, that her statement was a serious joke. And according to him, her pronouncement was a hundred years premature. “Human character changed on or about December 2010, when everyone, it seemed, started carrying a smartphone,” he wrote in a recent New York Review of Books article. That is a serious joke, too. Each is probably not right; besides, trying to pinpoint something as elastic and elusive as human character is better left to the hacks. Few persons living or dead would attest to these dates when asked about human character, which most people probably think falls under the rubric we call life. Someone much more divested than Woolf or Mendelson, Thich Nacht Than, »
Untitled. © Lotus-FilmA pretty amazing aspect of the Berlinale is that a lot of the festival venues are multiplexes usually devoted to blockbusters, meaning that smaller films from the sidebars are often screened in theaters with gigantic screens and state-of-the-art sound systems. It’s in one such cinema that I got to experience the chromesthetic delirium of Ulysses in the Subway by Marc Downie, Paul Kaiser, Flo Jacobs and Ken Jacobs. And, let me tell you, it was mind-blowing. Describing the film is about as difficult as describing a drug trip—indeed, watching Ulysses in the Subway is what it might be like if you were to drop acid and ride around the New York subway with your eyes closed. With the intention of visualizing sound, the four artists took an audio recording Ken Jacobs made of a long subway ride home (Jacobs used the same recording in live performances of »
Volker Schlöndorff’s scalding film of The Tin Drum shared the Palme d’Or with Apocalypse Now in 1979. The director turns 78 next month and is no longer at the peak of his powers. But Return to Montauk proves that he still has it in him to startle and wrongfoot an audience.
What appears to be a clunky, tasteful, middle-aged rehash of Before Sunset, with two former lovers reunited after one of them writes a novel about their affair, turns out at the eleventh hour to have a sting in its tail. Schlöndorff and the novelist Cólm Toibín wrote the screenplay, which is adapted in part from the memoir Montauk by the late Swiss playwright and novelist Max Frisch, to whom the picture is dedicated. »
- Ryan Gilbey
15 items from 2017
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