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Nicholas Verso.s Boys in the Trees has won the award for Best Narrative Feature at the Austin Film Festival. "I first attended the Austin Film Festival back in 2013 to attend the Writers Conference clutching my own script, desperately wanting to turn it into a film,. said Verso on accepting the award. .So it was incredibly exciting to return to Austin, not just for the Us premiere but to also receive this award.. Being acknowledged among their industry greats and emerging talents that have given me so much inspiration is truly an honour. .I especially wanted to thank John August and Craig Mazin at Scriptnotes for their wise tips and wisecracks at my accent as well as Rick Dugdale and Dan Petrie Jnr at Enderby Entertainment for their ongoing support and introducing me to this festival.. . The film.s producer, Mushroom Pictures. John Molloy said the »
- Staff Writer
Everyone goes through a midlife crisis eventually. Some people will resolve it with purchasing a new car, getting a new career, or even obtaining a new wardrobe.
Not for Burt Squire. He goes on an adventure in the middle of the ocean.
The misadventures follows a family man as he embarks on a dream sailing vacation, but ends up shipwrecked in the Atlantic Ocean with a charming, but unhinged sea captain who’s off his meds.
Wme represented Bolea and brokered a mid-six figure deal.
“Ben’s script is riveting. This story is incredibly funny and smart, reminding me of classic 1980s buddy comedies like Planes, Trains And Automobiles and Midnight Run. »
- Gig Patta
The remake of the 1992 classic “will keep many of the musical elements of the original” and is described as “an ambitious and non-traditional take” on the material, which will incorporate Ritchie’s signature non-linear style. The report goes on to state that the approach to the Genie – portrayed by the late Robin Williams in the animated movie – is still to be determined.
See Also: A rundown of all of Disney’s live-action remakes in development
This is the second live-action related Aladdin project in the works at Disney, with the studio also developing the prequel Genies, which is based upon a script by Damian Shannon and Mark Swift (Freddy vs. Jason, Friday the 13th) and will “focus »
- Gary Collinson
Disney now has two live-action movies about mythological, wish-granting spirits in the works. The first is called Genies and while we don't know a ton about it yet, in the past it's been described as a movie about different genies and how they wind up in lamps. The second is a live-action remake of Aladdin, and after today's news it seems like it may be the first of the two to get off the starting line. The Hollywood Reporter broke the news that Disney has hired Guy Ritchie to direct the remake, which will be co-produced with Dan Lin who was also a producer on Ritchie's highly successful Sherlock Holmes reboot. They'll be working from a script by John August (Big Fish), though we don't know at this time if it's going to be a new tale or a strict...
- Peter Hall
Guy Ritchie will direct the live-action version of Aladdin for Disney, according to this report over at The Hollywood Reporter. The news comes just days after it was announced that Jon Favreau would redo The Lion King in live-action form for the studio.
Ritchie’s version, from a script by John August, will apparently retain a lot of the famous songs from the classic animated movie, which include the likes of ‘Arabian Nights’, ‘A Whole New World’ and ‘Friend Like Me’.
The 1998 classic featured the voice of the legendary Robin Williams, a truly unique performance that will be hard to top.
The trade reports that the plan is to make it non-linear, a move right out of the Ritchie playbook’, a bit like Ritchie’s previous efforts Lock, Stock and Two Smoking Barrels and Snatch.
Aladdin joins a long list of animated movies getting the remake treatment at Disney – the »
- Paul Heath
Disney is in the business of giving audiences a "live-action" version of everything. THR is reporting that 1992's animated film Aladdin will get the live-action treatment, with Guy Ritchie in negotiations to helm the project. With this we've now had "live action" versions of Maleficent, Cinderella, The Jungle Book, and Beauty and the Beast on the way and now we got Lion King, Mulan in development. And more will come.
Sources tell the site that John August wrote the script for the live-action version, and will keep many of the musical elements of the original. In the 1992 movie the genie was voiced by Robin Williams and how they will approach the Genie this time around is still to be determined. Williams won audiences over with his unrestrained performance, making Aladdin the highest-grossing film of the year.
Director Guy Ritchie
The film followed Aladdin a poor street urchin who spends his »
- Kellvin Chavez
Guy Ritchie, well-known for creating such eccentric films as Snatch, Robert Downey Jr.'s Sherlock Holmes movies, The Man from U.N.C.L.E., and the upcoming King Arthur reboot is being tabbed by Disney to take on what Disney calls "an ambitious and non-traditional take on Aladdin".
To further this approach, Ritchie's former Holmes colleague, Dan Lin, has already signed on as a producer via his Lin Pictures brand. Jonathan Eirich will be serving as Executive Producer under Lin and Lin Pictures behalf.
Aladdin, the animated film, debuted in 1992 as one of Disney's many animated musicals. The movie, set in the Middle-East, followed a street-rat who is given 3 wishes, used to raise him to prominence. It starred the »
- firstname.lastname@example.org (Matt Malliaros)
Disney has brought on director Guy Ritchie to take the helm on the studio's upcoming live action remake of their 1992 animated hit Aladdin. John August has been set to write the script, with Dan Lin producing through his Lin Pictures company. The project has been described as an "ambitious and non-traditional" take on the beloved story.
The original 1992 animated movie followed a young man who finds a magical lamp and is granted three wishes by the genie inside, as he is pursued by the nefarious villain who wants the lamp for his own evil ends. The Hollywood Reporter reveals that this new project will still keep several musical elements of the original movie, but the story will be told through a non-linnear narrative, an approach Guy Ritchie is certainly familiar with. The studio is also deciding ow to approach the iconic genie, who was voiced by the late great Robin Williams in the original movie. »
Simon Brew Oct 11, 2016
Lock Stock And Two Smoking Barrels director Guy Ritchie is set to bring Disney's live action Aladdin to the screen...
I think we can safely call this one just a little leftfield.
It’s been known for some time that Disney was planning a live action take on its animated hit Aladdin, with the plan mooted to be an origin story by the name of Genies. That would then potentially roll into a full live action take on Aladdin, although all of this is news from the summer of 2015. Since then, little has been heard.
Well, chums, there’s now been progress.
It’s being reported that Guy Ritchie, currently finishing off the new King Arthur movie for Warner Bros, has been hired by Disney to direct the film. He’ll work from a new draft of the screenplay from John August.
It’s unclear as of »
If you’ve grown weary of Disney’s ongoing series of live-action remakes, it might be time to avert your eyes. Guy Ritchie is in talks to direct “Aladdin,” which would follow on the heels of “Cinderella” and “The Jungle Book,” not to mention the upcoming “Beauty and the Beast,” “Mary Poppins Returns,” “Mulan” and “The Lion King.”
Ritchie is best known for his early films “Lock, Stock and Two Smoking Barrels” and “Snatch,” which eventually led to the high-profile “Sherlock Holmes” series starring Robert Downey, Jr. in the title role. He recently wrapped production on “King Arthur: Legend of the Sword,” with Charlie Hunnam as the legendary British monarch of yore.
Read More: ‘King Arthur: Legend of the Sword’ Trailer: Guy Ritchie Brings His Dynamic Style to the Classic Tale
- Michael Nordine
Another of Disney’s many, many, many live-action remakes is moving forward. Aladdin has conjured up a new director in Guy Ritchie, who’ll work from a script by John August. The news follows last week’s reveal of a Mulan release date and last month’s announcement of a Lion King remake. Disney’s animated Aladdin was part of the “Disney Renaissance” of the 1990s. Based […]
The post Disney’s Live-Action ‘Aladdin’ Remake Conjures Director Guy Ritchie appeared first on /Film. »
- Angie Han
The Lion King and Mulan aren’t the only high-profile reboots to gather pace at Disney; The Hollywood Reporter has learned that Guy Ritchie, director of Sherlock Holmes and Snatch, is in line to helm the live-action rendition of Aladdin for the House of Mouse.
First unearthed in the summer of last year, it’s understood that the studio’s latest modern redo boasts a script from Big Fish scribe John August while Dan Lin, best known for his work on The Lego Movie at Warner Bros., is attached to produce. Ritchie, on the other hand, is coming off fantasy epic King Arthur: Legend Of The Sword.
Dubbed an “ambitious and non-traditional take” on the beloved 1992 classic, THR notes that Disney’s overhaul of Aladdin will still retain many of the musical elements from the original, dancing to the same tune – no pun intended – as Jon Favreau’s wildly successful reboot of The Jungle Book. »
- Michael Briers
Disney is in talks with Guy Ritchie to direct its live-action “Aladdin” movie.
John August wrote the new “Aladdin” script.
The original animated movie was released in 1992 as a comic take on the folk tale of a young man granted three wishes by a genie trapped in a lamp. The genie was voiced by the late Robin Williams.
“Aladdin” was the top grosser of 1992 and won Academy Awards for best score and best song for “A Whole New World.”
- Dave McNary
Guy Ritchie is in talks with Disney to direct Aladdin, the latest in the studio’s efforts to re-imagine classic properties for contemporary audiences. Big Fish scribe John August has written the script, and The Lego Movie‘s Dan Lin is producing. Those franchise launches have included Maleficent, Cinderella and most recently the $965 million global grosser The Jungle Book. The hope is to start a new franchise here. Ritchie, who directed the first two Sherlock Holmes films… »
Among the many political leaders and ideals alluded to at the Democratic National Convention this week, one stood out as something of a non sequitur: the “Police Academy” movies. Former President Bill Clinton’s love of the comedy franchise came out during the DNC, which of course led to instant chatter on Twitter and even a callback in a later speech. Steve Guttenberg, one of the series’ stars, is pretty stoked: “We are all thrilled that both Bill and Chelsea let the secret out,” he wrote yesterday on CNN.
“The great thing is that it is the truth,” the actor adds. “These are the films he likes.” Guttenberg then recalls meeting the then-president while filming “Home for the Holidays.” “One of the stories he told, was that he had had a challenging few days, and turned to the six-movie package »
- Michael Nordine
John August, who counts Big Fish and Charlie and the Chocolate Factory among his screenwriting adaptations, has just made a deal to author three books targeted at middle-grade children. The first will be Arlo Finch in the Valley of Fire, set to be published in early 2018 by with Roaring Brook Press, an imprint of the Macmillan Children's Publishing Group. It follows a boy who joins a mountain scouting troop and discovers that his fellow campers aren’t just training in… »
Roald Dahl famously loathed all the movie adaptations of his books, including the 1971 classic “Willy Wonka and the Chocolate Factory” starring Gene Wilder. So when the beloved author died in 1990, his widow Felicity (who goes by Liccy) was torn about what to do with his catalogue. It was a time, following the hit comedy “Home Alone,” where the major studios were vigorously chasing family-friendly tales, and many of Dahl’s stories fit the bill. But Liccy didn’t want celebrated bestsellers such as “Matilda” or “James and the Giant Peach” falling into the wrong hands.
Dahl’s publisher at Penguin Books set up a few meetings, and she eventually connected with literary agent Michael Siegel. They bonded right away. “I don’t want there to be bad movies,” Liccy told him. They came up with an unorthodox, boutique approach. “Rather than sell the stories directly to the studios, we would »
- Ramin Setoodeh
There’s something inherently remarkable about the field of animation: that, with just a paper and pen, one can use infinite imagination to create a world unbound by physical restrictions. Of course, in today’s age it goes far beyond those simple tools of creation, but it remains the rare patience-requisite medium in which a director’s vision can be perfected over years until applying that final, necessary touch.
With Pixar’s 17th feature arriving in theaters, we’ve set out to reflect on the millennium thus far in animation and those films that have most excelled. In picking our 50 favorite titles, we looked to all corners of the world, from teams as big as thousands down to a sole animator. The result is a wide-ranging selection, proving that even if some animation styles aren’t as prevalent, the best examples find their way to the top.
To note: we only stuck with feature-length animations of 60 minutes or longer — sorry, World of Tomorrow, and even Pixar’s stunning Piper — and to make room for a few more titles, our definition of “the 21st century” stretched to include 2000. We also stuck with films that don’t feature any live-action (for the most part) and that have been released in the U.S. thus far, so The Red Turtle and Phantom Boy will get their due on a later date. Check out our top 50 below and let us know your favorites in the comments.
50. The Lego Movie (Phil Lord and Christopher Miller)
Admit it: When The Lego Movie was announced, you did not expect it to wind up any best-of-the-year lists. But, against all odds, Phil Lord and Chris Miller’s first smash hit of 2014 is an unadulterated pleasure. This bold, original film has a wildly clever script (by the directors) with a message of creativity that made it a glorious surprise. It is also well-cast: Lego is the first movie to fully make use of Chris Pratt’s essential sweetness, and offered Elizabeth Banks, Will Ferrell, Liam Neeson, and Morgan Freeman their freshest parts in years. It is not often that a “kids” film entertains adults as much as their children, but The Lego Movie is far more than a piece of entertainment for the young ones. What could have been a headache-inducing, cynical creation is instead a pop treat. Everything is, indeed, awesome. – Christopher Schobert
49. 5 Centimetres per Second (Makoto Shinkai)
Makoto Shinkai’s emotional tour de force is the embodiment of the Japanese term “mono no aware,” which describes a wistful awareness of life’s transience. In the way its characters are haunted by bygone moments in the face of a vast and shapeless future, 5 Centimetres per Second could function as a spiritual companion to the oeuvre of Wong Kar-wai, but whereas Wong’s lovelorn protagonists are stuck in the past, Shinkai’s move forward, steadily, in a state of melancholic acceptance. Time is itself a character here, a fact brought to our attention by shots of clocks, the evolution of technology alongside the characters’ aging, and scenes where narrative stakes ensure that the passing of each second is palpably felt. And yet it is precisely the ephemerality of these seconds that lends them elevated significance —fittingly, the film’s animation is breathtakingly detailed and tactile, allowing us to identify with the characters by having us inhabit each, vivid moment before it vanishes. – Jonah Jeng
Leave it to Steven Spielberg to eke more thrills out of an animated feature than most directors could with every live-action tool at their disposal. The Adventures of Tintin is colored and paced like a child’s fantastical imagining of how Hergé’s comics might play in motion, and the extent to which viewers buy it depends largely on their willingness to give themselves over to narrative and technical flights of fancy. Me? Four-and-a-half years later, I’m still waiting for a follow-up with bated breath. – Nick Newman
It’s the movie that took down Don Bluth, netted Fox a $100 million loss, and starred the young voices of Matt Damon and Drew Barrymore. From a script by Joss Whedon, John August, and Ben Edlund, Titan A.E. is a swashbuckle-y tale with stirring visuals and moments of sheer originality that now feels like a more-accomplished precursor to something such as Guardians of the Galaxy. If you’re going to go down, this is an impressive picture to sink with. – Dan Mecca
46. Metropolis (Rintaro)
Metropolis has more than a little in common with the apocalyptic orgy of violence of 1988 anime touchstone Akira, as the story follows the tragic inevitability of mans’ relationship with overwhelming power. But Rintaro’s Metropolis — which is based on Osama Tezuka’s manga and Fritz Lang’s canonical film — is also a story of overwhelming kindness in its central relationship between Kenichi, a well-intentioned and naïve child, and Tima, a cyborg capable of immense destruction. Distinguished by its washed-out watercolor character designs and its inventive cast of characters, Metropolis is a distinctly lighter take on the characteristically dreary dystopia genre. – Michael Snydel
Animation has never shied away from grief. It’s the bedrock of everything from Grave of the Fireflies to the majority of Pixar’s filmography, but it’s rarely been as unbearably beautiful as in 2014’s unfairly overlooked Song of the Sea. Animated with a mythic tableau style, steeped in Celtic folklore, and filled with a cast of characters worthy of Hayao Miyazaki, Tomm Moore’s work is the rare heartwarming family film that knows it doesn’t need to compromise genuine emotion with fake-outs or Hollywood endings. – Michael Snydel
While much of Studio Ghibli’s popularity focuses on the adored writer-director Hayao Miyazaki, some works from other directors deserve equal praise. One of them — which, yes, cheats a bit because Miyazaki scripted it — is The Secret World of Arrietty by first-time helmer Hiromasa Yonebayashi. The film follows a little boy’s fascination with the Borrowers — small humans that live in our world — and weaves the story of him and his family with Arrietty, one of the Borrowers. There are intensely dramatic moments as the Borrowers are constantly striving to survive amidst this world of luxury and easy life that the larger humans enjoy. Much like some of the best of Ghibli’s work, the film works on multiple levels and layers and thus becomes one of the studio’s most beautiful, enjoyable, and enduring works. – Bill Graham
43. ParaNorman (Chris Butler and Sam Fell)
A story of bullies and the bullied, Laika Studios’ second stop-motion film, ParaNorman, was unfortunately overshadowed by their astounding previous effort, Coraline. But time has been kind, and ParaNorman feels ahead of its time in both the exploration of darker themes (witch hunts, child murder, bigotry) and its juxtaposition of a Puritan New England ghost story and a vividly supernatural present. Buoyed by Jon Brion’s characteristically thoughtful score and an inventive reconfiguration of horror movie iconography, ParaNorman is a coming-of-age story that recognizes that even the “bad guys” have their reasons. – Michael Snydel
42. Wallace and Gromit: Curse of the Were Rabbit (Nick Park and Steve Box)
Wallace and Gromit: Curse of the Were Rabbit, Aardman Animation’s second feature collaboration with DreamWorks, brings Nick Park‘s brilliant claymation series about an absentminded inventor and his mute canine companion to the big screen. Working as humane pest removal specialists, Wallace and Gromit have hatched a plan to brainwash every hungry rabbit in town to dislike vegetables, preventing Gromit’s prized melon from being ruthlessly devoured. But the experiment backfires and the Were-Rabbit, a monstrous beast with an unquenchable appetite for veggies, is unleashed on the lush gardens of Tottington Holl. On par with the most uproarious shorts of Park’s career (working this time out with co-director Steve Box), the film slyly evokes fond memories of Abbott and Costello Meet Frankenstein in never treating its goofy leads as seriously as its surprisingly effective scares. It’s a shame that Park has announced the titular duo are likely retired, due to the failing health of voice actor Peter Sallis. Wallace and Gromit: Curse of the Were Rabbit is a light-hearted and whimsically clever gem that also works as a charming introduction to the horror genre for young cinema-lovers. – Tony Hinds
41. Lilo & Stitch (Chris Sanders and Dean DeBlois)
What other film can pull off starting with an all-out sci-fi adventure and transition into a heartful ode to culture and family? Before they delivered an even more impactful variation on a similar sort of creature-human bond with How to Train Your Dragon, Chris Sanders and Dean DeBlois created this touching tale. Featuring a return to watercolor-painted backgrounds for Disney, as well as a reliance on 2D animation, it’s one of the company’s last in this era to have that long-missed tangibility. As often repeated in the film, “Family means nobody gets left behind,” and, by the end credits, you’ll feel like you’ve added a few new members to your own. – Jordan Raup
- The Film Stage
It's been 21 years since Vertigo released the first issue of Garth Ennis and Steve Dillon's blasphemous horror/action/comedy mash-up comic Preacher, and 20 since a screenwriter first attempted the seemingly impossible task of adapting it for the screen. Over the last two decades, Ennis watched his baby pass through many hands, none of them quite knowing what to do with it, before the improbable team of Seth Rogen, Evan Goldberg, and Breaking Bad vet Sam Catlin turned it into an actual show, which debuted on AMC on Sunday night. (Due to Memorial Day weekend, AMC will be rerunning the premiere this Sunday at 9, followed by the debut of the Chris Hardwick-hosted Talking Preacher. The second episode will debut June 5 at 9 p.m.) I liked the TV take on Preacher quite a bit, even though it takes many enormous liberties with the source material. (Roth Cornet and I recently »
- Alan Sepinwall
The Marvel Cinematic Universe is bigger than ever these days, with a slew of popular and successful movies such as this past weekend's Captain America: Civil War, and a number of hit TV shows like Agents of S.H.I.E.L.D. and Daredevil. Marvel's parent company Disney now has plans to make this universe even bigger, by bringing one of the McU's most popular movies, Guardians of the Galaxy, to Disney's California Adventure theme park. A new report claims that the company is planning on replacing The Twilight Zone Tower of Terror ride with a Guardians of the Galaxy ride.
While Disney hasn't officially announced these plans, the Disney blog Micechat has confirmed earlier rumors are true, that Guardians is replacing Tower of Terror in California Adventure. This latest report claims that the entire Twilight Zone back story of the ride will be replaced by a Guardians of the Galaxy story, centering on The Collector, »
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