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About six months ago, we got our first look at Andrew Garfield (The Amazing Spider-Man) in the upcoming "Silence" film, which is directed by Martin Scorsese. And now, we have a second photo, giving us a look at Liam Neeson. Check it out below. Plot: The story is set in the 17th century as two Jesuit priests face violence and persecution when they travel to Japan to locate their mentor and to spread the gospel of Christianity. The new movie is based on Shusako Endo's 1966 novel and co-stars Adam Driver, Issei Ogata, and Tadanobu Asano. A release date has yet to be announced. Photo: (click to enlarge) »
Back in May we saw the first image from Martin Scorsese’s Silence featuring Andrew Garfield alongside Japanese actor Shinya Tsukamoto [see here], and now we have another image from upcoming film, this time featuring Liam Neeson…
Silence is based on Shusako Endo’s 1966 novel, and tells the story of two Jesuit priests who travel to 17th century Japan to locate their mentor, where they are faced with violence and persecution. Also set to feature in the cast are Adam Driver (Star Wars: The Force Awakens), Tadanobu Asano (Thor) and Ciaran Hinds (Hitman: Agent 47).
Silence is currently without a release date, but is expected to arrive next year.
- Gary Collinson
It seems like a rare bird these days, but Liam Neeson is making a movie that doesn't find him employing a special set of skills to immobilize faceless baddies. The actor has reteamed with his "Gangs Of New York" director, Martin Scorsese, for the filmmaker's long brewing passion project, "Silence," and the title doesn't just refer to the Shûsaku Endô book being adapted for the big screen. Read More: First Official Image Of Andrew Garfield In Martin Scorsese's 'Silence' “[Scorsese] gives 200%. All he requires is that you give 100%. He’s intimidating,” Neeson explained at the Los Cabos Film Festival (via Variety), adding that he lost twenty pounds for his role. “He requires absolute silence on the set — if he hears one tiny sound, it shatters it for him.” Co-starring Andrew Garfield, Tadanobu Asano, and Adam Driver, the film follows two 17th-century Jesuit priests who face violence and persecution when they travel to Japan. »
- Kevin Jagernauth
Paris-based MK2 has scooped international sales rights to Joan Chemla’s feature debut, “If You Saw His Heart,” with Gael Garcia Bernal and Marine Vacth, as well as Koji Fukada’s Japanese drama “Harmonium.”
Based on Cuban novelist Guillermo Rosales’ “Boarding Home,” “Heart” is a film noir set in the Gypsy community in Marseille. Garcia Bernal (pictured above) stars as a man who is excluded from his community after the death of his best friend and drifts into crime. His life lightens up when he meets Francine (Vacth).
“Heart” is produced by Pierre Guyard for Nord-Ouest Films. Guyard, who was named a Producer on the Move at this year’s Cannes film market, made his debut with Thomas Cailley’s 2014 romantic comedy “Love at First Fight,” which won the top prize of Cannes’ Directors’ Fortnight and three Cesar awards.
- Elsa Keslassy
Ruined Heart: Another Love Story between a Criminal and a Whore
Written by Khavn De La Cruz
Directed by Khavn De La Cruz
A nobly attempted experiment in visual and sonic storytelling with virtually no dialogue, the film begins as an interesting and beautifully photographed (by esteemed cinematographer Christopher Doyle) silent film of sorts, which quickly becomes a showcase of filmic ideas set to a series of the director’s favourite songs that the scant plot and characters can barely hold together.
The story of Ruined Heart is as old as time, and purposefully so: a criminal (Tadanobu Asano) rescues a prostitute (Nathalia Acevedo) and they fall in love. They try to escape their life of criminality, but the local godfather (Vim Nadera) has designs on the prostitute and the star-crossed lovers try to flee the city. Alas, they are found and killed by the godfather’s henchmen. »
- Liam Dunn
Kadokawa Corp. is a major Japanese film company, but hardly a typical one. Unlike the other three members of the Motion Picture Producers Assn. of Japan — the organization that represents Japan’s film industry to the world — Kadokawa does not operate a big theater chain.
Also, its lineup of foreign and domestic films does not top the box office charts with the same frequency as those of rivals Toho, Shochiku and Toei. Last year only one Kadokawa release, the World War II film “Fury,” earned the ¥1.0 billion ($8.3 million) traditionally considered the mark of commercial hit in Japan.
But the company, which traces its history back 70 years to 1945 when literary scholar Genyoshi Kadokawa launched it as a small independent publisher in Tokyo, is engaged in a wide variety of media-related businesses, with publishing still as a core.
That is, unlike other association members, Kadokawa can draw on a huge backlist of bestselling novels and comics, »
- Mark Schilling
"Like Hong Sang-soo, Kiyoshi Kurosawa makes films in a stream, one feeding into the next," writes Kent Jones for Film Comment. "Journey to the Shore, based on Kazumi Yumoto’s 2010 novel, is a mourning film, at once a deepening and an extension of 2013’s Real. There is, once again, a young couple. Mizuki (Eri Fukatsu), a piano teacher living in Tokyo, is visited by her dead husband Yusuke (Tadanobu Asano)… There are passages in this film that are so exquisitely tuned and delicately heartbreaking that they seem to have been experienced and remembered rather than seen on a movie screen." We've gathered a fresh round of reviews and added the trailer and a clip. » - David Hudson »
A 40-year-old Japanese woman, Mizuki (Eri Fukatsu), begins to cook by herself, the audience assuming she’s a single career woman stuck in the middle of her daily grind, until a slight camera movement reveals Yusuke (Tadanobu Asano), her three-years-dead husband, who she greets with, disconcertingly, little surprise.
This means we’re in the world of Kiyoshi Kurosawa, one with a casual supernatural presence. Yet if in the simple touch of Yasuke’s spirit not carrying a ghostly glow (consider one of the Jedi apparitions from Star Wars), Journey to the Shore barely functions as a genre picture. If anything, it’s far more akin to Tokyo Sonata than Cure or Pulse. (The opening of a young child playing the piano against a billowing curtain makes the connection almost too apparent.) If that film, even as a domestic drama, still felt like it could’ve turned to the supernatural at any instant, »
- Ethan Vestby
Stare at the magnificent poster, and then read the official announcement of what the greatest film festival in the world is up to at the end of September.
Fantastic Fest announces the first wave programming lineup for its 11th annual celebration of exciting genre-bending films, including the World Premiere of Bone Tomahawk with Kurt Russell and Matthew Fox in attendance, a retrospective of Turkish Genre Cinema, and a special Mondo Gallery event and programming series curated by filmmaker Nicolas Winding Refn to celebrate the release of his new book Nicolas Winding Refn: The Act of Seeing, which profiles Refn’s collection of vintage exploitation-era American movie posters. “We’re very excited about this year’s mix of premieres, unique events and a retrospective theme unlike any other featuring audacious and otherworldly Turkish remakes of classic Hollywood films,” said Fantastic Fest founder Tim League.
See the full list of first »
- Jeff Bayer
Steven Spielberg’s Bridge of Spies, starring Tom Hanks, will make its World Premiere at the 53rd New York International Film Festival, running from September 25 to October 11. The film was one of 26 announced as part of the festival’s main slate, along with one of four World Premieres.
Some of the main slate highlights include Todd Haynes’s Carol, featuring Cannes Best Actress Winner Rooney Mara alongside Cate Blanchett, Miguel Gomes’s three part saga Arabian Nights, Hou Hsiao-Hsien’s The Assassin, the Us premiere of Michael Moore’s latest Where to Invade Next, Michel Gondry’s French film Microbe et Gasoil, and the World Premiere of the documentary Don’t Blink: Robert Frank, about the life of the fames photographer and filmmaker.
- Brian Welk
In today's roundup on events and screenings from coast to coast: Sundance's Next Fest in Los Angeles, Tadanobu Asano in San Francisco, samurai movies in Austin and, in New York, James Szalapski's Heartworn Highways, Michael Powell and Emeric Pressburger's The Red Shoes, Bernardo Bertolucci's Last Tango in Paris, Chang Cheh's Five Deadly Venoms and Bruce Weber's Let’s Get Lost. Back in San Francisco: Robert Montgomery's Ride the Pink Horse, Joseph H. Lewis's So Dark the Night, Seymour Friedman's Chinatown at Midnight, Leigh Jason's Dangerous Blondes and William Castle's Mysterious Intruder. » - David Hudson »
Fantastic Fest is one hell of a film festival. Each year, the lineups are impressive and entertaining, the events are fun, and there’s just something wild and unpredictable about the Austin, TX-based Fest. Making sure that this year’s upcoming Ff (running from September 24 – October 1, 2015) isn’t going to disappoint whatsoever, the lineup and a small tease of some of the events have been announced, and whether it’s the appearance of Kurt Russell, Nicolas Winding Refn signing his hardcover book full of his exploitation movie posters, or a very impressive first wave of film programming, this year is going to be one for the books, and you can count on Icons of Fright being there, bringing you coverage of the whole festival!
One of the many highlights of today’s announcement is what was said to be “a special Mondo Gallery event and programming series curated by filmmaker »
- Jerry Smith
Fantastic Fest is touted as the largest genre film fest, from experience, I can tell you the Austin week-long event still feels like an intimate gathering, for fans who love of horror, sci-fi, experimental, foreign, action, animated and just straight-up gnarly film. The curtain has rolled back on this year's first wave of programming at the Alamo Drafthouse fest, held Sept. 24 through Oct. 1 at the South Lamar location. Highlights include the world premiere of Kurt Russell-starrer "Bone Tomahawk"; a retrospective of Turkish genre cinema; and a programming series from "Drive" and "Only God Forgives" director Nicolas Winding Refn, who will be supporting his new book "Nicolas Winding Refn: The Act of Seeing." There are a few films that are crossing over with other major film fest lineups, like one-take flick "Victoria" which took home awards from Berlinale International. The initial film lineup for Fantastic Fest 2015 is below it's new poster, »
- Katie Hasty
The day has come. The reminder that Autumn is nearing and the best genre film festival in the Magnited States of America is nigh! We got the poster and the first wave of films listed below. Nicolas Winding Refn comes back and curates some obscure films and motherfuckin’ Kurt F’n Russell is coming with his new film, Bone Tomahawk! Read below and prepare for our coverage of this year’s Fantastic Fest!!!!
From the Press Release:
Austin, TX – Thursday, July 30, 2015 – Fantastic Fest announces the first wave programming lineup for its 11th annual celebration of exciting genre-bending films, including the World Premiere of Bone Tomahawk with Kurt Russell and Matthew Fox in attendance, a retrospective of Turkish Genre Cinema, and a special Mondo Gallery event and programming series curated by filmmaker Nicolas Winding Refn to celebrate the release of his new book Nicolas Winding Refn: The Act of Seeing, »
- Andy Triefenbach
Kurt Russell, Matthew Fox, and more star in the horror Western Bone Tomahawk, the closing film of Fantastic Fest 2015. Karyn Kusama's The Invitation is also included in the first wave of programming for the Austin-based festival that kicks off September 24th.
Press Release: "Austin, TX - Thursday, July 30, 2015 - Fantastic Fest announces the first wave programming lineup for its 11th annual celebration of exciting genre-bending films, including the World Premiere of Bone Tomahawk with Kurt Russell and Matthew Fox in attendance, a retrospective of Turkish Genre Cinema, and a special Mondo Gallery event and programming series curated by filmmaker Nicolas Winding Refn to celebrate the release of his new book Nicolas Winding Refn: The Act of Seeing, which profiles Refn's collection of vintage exploitation-era American movie posters. "We're very excited about this year's mix of premieres, unique events and a retrospective theme unlike any other featuring audacious and »
- Derek Anderson
'Pixels' movie with Adam Sandler. 'Pixels' movie weekend box office: Adam Sandler vs. 'Ant-Man' Despite its underwhelming domestic box office debut last weekend, Marvel's Ant-Man may turn out to be the winner in North America this weekend (July 24–26, '15) thanks to another underwhelming debut: that of the Adam Sandler Pixels movie. According to weekend box office projections found at Variety, the Chris Columbus-directed Pixels is expected to open with $25 million from 3,723 locations – following a $10 million Friday take (including $1.5M from Thursday previews). If so, that'll place Adam Sandler's latest lowbrow comedy – now in 3D – on a par with Sandler domestic disappointments like Jack and Jill and Funny People. Deadline.com, for its part, is expecting $27-$28 million by Sunday evening. Sat., July 25, update: According to studio box office estimates, Pixels underperformed on Friday, taking in $9.2 million. That's below figures for Jack and Jill and, adjusted for »
- Zac Gille
'Ant-Man': Paul Rudd as Scott Lang. 'Ant-Man' box office below expectations: Lowest Marvel Cinematic Universe domestic debut Starring Paul Rudd as a bug-like (sizewise) action hero, Ant-Man was expected to open with $60-$65 million from 3,856 U.S. and Canada locations this past weekend, July 17-19, '15. That didn't happen. A mere three days ago, Variety enthused that Ant-Man was "marching to a solid $65 million weekend at the U.S. box office." But instead of a $65 million domestic debut like those of Thor and Captain America: The First Avenger, Ant-Man bowed with a considerably more modest $57.22 million (down from the studio's $58.04 million Sunday estimate), including Thursday evening screenings. This latest Marvel Cinematic Universe entry averaged a highly disappointing – especially for an McU entry with loads of steeper-priced 3D and IMAX / Pfl screenings – $14,841 per location. But really, why "highly disappointing"? Trailing 'The Incredible Hulk' Even taking into account the fact »
- Zac Gille
TwitchFilm is honored to have the distinction of announcing the award winners from this year's edition of the the Toronto Japanese Film Festival. By all accounts the festival continues to grow in popularity, it was their biggest festival so far. Kazuyoshi Kumakiri's My Man, starring perennial TwitchFilm favorite Tadanobu Asano, took home the Jury Prize. And it is no surprise that Shinobu Yaguchi, director of crowd pleasers like Waterboys, Swing Girls and Robo-g, enchanted the crowd in Toronto with his latest film Wood Job! and won the audience award. The full press release follows. Kazuyoshi Kumakiri's My Man and Shinobu Yaguchi's Wood Job! Take Major Awards at 2015 Toronto Japanese Film Festival. Masato Harada's Kakekomi also HonouredKazuyoshi Kumakiri's My Man was selected the winner of the Grand Jury Prize...
[Read the whole post on twitchfilm.com...]
With Journey to the Shore, Kiyoshi Kurosawa returned to the Cannes and the Un Certain Regard section for the first time since 2008's Tokyo Sonata, a film that helped bridge a connection to a normal art house crowd for this director too often incorrectly pegged either as some kind of arty J-Horror filmmaker or, even worse, someone who was once good at making such films. Unsurprisingly, after the wacko minimalist version of Inception (with CGI dinosaur), Real, and a featurette comedy thriller shot in Vladivostok, the director returns to Cannes with a movie that among all his many films made for cinema and television, most closely resembles Tokyo Sonata.Its unfortunately bland English title notwithstanding, Journey to the Shore is one of the few unquantifiable movies that premiered on the Croisette, a truly odd and quite lovely ghost story. The premise is ripe for a sentimental American remake: the missing, »
- Daniel Kasman
This was the beginning of a tantalizing series of consecutive days featuring premieres by some of the great East Asian filmmakers, beginning with Kiyoshi Kurosawa, and continuing in the following days with Apichatpong Weerasethakul, Jia Zhangke, and the long-awaited new film by Hou Hsiao-hsien. Kurosawa returns to the Cannes and the Un Certain Regard section for the first time since 2008's Tokyo Sonata, a film that helped bridge a connection to a normal art house crowd for this director too often incorrectly pegged either as some kind of arty J-Horror filmmaker or, even worse, someone who was once good at making such films. Unsurprisingly, after the wacko minimalist version of Inception (with CGI dinosaur), Real, and a featurette comedy thriller shot in Vladivostok, the director returns to Cannes with a movie that among all his many films made for cinema and television, most closely resembles Tokyo Sonata.Its unfortunately bland English title notwithstanding, »
- Daniel Kasman
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