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British director Stephen Daldry’s “Trash,” about a trio of charismatic kids living next to a Rio garbage dump who stumble upon evidence certain to bring down a corrupt politico, took the top nod at the recently reconfigured Rome Film Festival where, instead of a jury, prizes are decided by paying ticket holders, to serve as a testing ground for distributors.
“Trash,” a South American answer of sorts to “Slumdog Millionaire,” world-preemed in Rio. Scripted by Richard Curtis, it features turns by Martin Sheen and Rooney Mara, alongside a mostly Brazilian cast. Universal will be releasing worldwide.
The Mondo Genre section prize went to “Haider, »
- Nick Vivarelli
Academy usual suspect Stephen Daldry's much-anticipated thriller "Trash," starring Rooney Mara, is skipping the Oscars this year. But the Working Title film, which was shot with hand-held cameras on garbage dumps in Brazil and has yet to book stateside festival slots, did pick up the Audience Award at the Rome Film Festival (full winners list below). Cinephiles are eager to see the film after a well-received early teaser (below). Focus Features plans a 2015 release. Per Rt, the heart-tugger has been well-received across the board. Variety wrote: "Cleanly scripted in pure Hollywood fashion by Richard Curtis... 'Trash' won’t be confused for a real Brazilian production: Its storyline, staging and inevitably positive spin unmistakably mark it as offshore, notwithstanding the participation of Fernando Meirelles’ 02 Filmes. A South American answer of sorts to 'Slumdog Millionaire,' the pic features a trio of charismatic kids living next to a Rio garbage dump who. »
- Anne Thompson and Ryan Lattanzio
Director: Christian Ditter; Screenwriter: Juliette Towhdi; Starring: Sam Claflin, Lily Collins, Christian Cooke, Tamsin Egerton, Suki Waterhouse, Jaime Winstone; Running time: 102 mins; Certificate: 15
Will they? Won't they? Can men and women ever just be friends? Are they going to make it to the airport on time? Just about every romantic comedy cliché gets ticked off in Love, Rosie, a new British film based on Cecelia Ahern's novel Where Rainbows End. The destination may never be in doubt, but thanks to likeable performances from stars Lily Collins and Sam Claflin this predictable film has a heart and soul that keeps it watchable for the duration.
The two up-and-coming leads play Alex and Rosie, school pals whose tight bond is more brother/sister than boyfriend/girlfriend. A kiss between them on Rosie's birthday is forgotten thanks to the effects of alcohol, and the duo carry on as normal, making plans to »
Even before the credits had rolled on his second Doctor Who episode, Flatline, people were asking if writer Jamie Mathieson would be back for series 9 of the show. But Mathieson's path to Doctor Who goes right the way back to his original pitch in 2004, via a feature film screenplay (Frequently Asked Questions About Time Travel, his writing on Being Human and a further, unsuccessful Who pitch.
A Doctor Who pitch meeting is fairly banal really. »
A full quarter-century has passed since Nora Ephron deftly articulated the pitfalls of platonic friendship between men and women in “When Harry Met Sally…”. Yet if “Love, Rosie” is to be believed, a whole new generation of adults has arrived at much the same conclusion Ephron did: In the movies, at least, the sex part always gets in the way. A thoroughly likeable English-language debut for German comedy helmer Christian Ditter, this marzipan-sweet adaptation of Cecelia Ahern’s 2004 bestseller “Where Rainbows End” is elevated by vibrant visuals and the winsome chemistry of Lily Collins and Sam Claflin. Cast as childhood BFFs who dance around their true feelings for each other through multiple decades, countries and partners, this inordinately pretty star pairing lends youthful appeal to a rom-com that could also woo the adult chick-lit crowd.
With its twelve-year narrative timeframe, comfy middle-class Britishisms and sparky pairing of striving, pure-hearted girl and raffish, »
- Guy Lodge
There's a moment in The Rewrite when a nostalgic Keith Michaels (Hugh Grant) heads to YouTube to relive his Academy Awards winners' speech for screenwriting. It's an archive clip of Grant himself picking up a prize, he's floppy-haired, charming and reminds you of just how good he was back in the Notting Hill height-of-fame era.
There have, of course, been great roles for Grant since then. 2002's About a Boy represents a career high, while the criminally-underseen Cloud Atlas saw him in chameleon mode, switching effortlessly between six different characters.
The Rewrite is Grant's fourth starring role for Marc Lawrence (putting the filmmaker in Richard Curtis territory in terms of collaborations), but when their last outing was Did You Hear About the Morgans?, you can guess where this one is going. »
Rio De Janeiro — Stephen Daldry’s Rio-set, young-adult thriller “Trash” — a groundbreaking movie in concept, financing and distribution — world premiered Tuesday night at the swish Cinepolis Lagoon in Rio de Janeiro to large applause.
There was also gleeful local appreciation of Daldry’s swings, from a Richard Curtis screenplay, at Brazil’s corruption-sodden elite, the police, its religious powers, even a Brazilian soccer association.
Such appreciation matters. Working Title’s Tim Bevan and Eric Fellner and Kris Thykier at Peapie Productions produced “Trash,” in association with Fernando Meirelles’ Sao Paulo-based O2 Filmes in Brazil. Distributed by Universal Pictures Intl., it adapts a novel by Brit Andy Mulligan. Martin Sheen – as the tippling world-weary Father Julliard – and Rooney Mara – Olivia, a learning-the-ropes Ngo worker – co-star.
- John Hopewell
Hugh Grant has revealed that he never prepares for a movie role.
The actor told Good Morning Britain that he rarely researches for a part, preferring to deal with it on the day.
"I've barely ever done any research for a film," Grant said. "I just turn up and say the lines and hope they sound convincing."
He went on to say that he wouldn't be interested in playing a high-profile action role like Jason Bourne or James Bond because he finds acting in such films "boring".
"I mean you sit around all day, your stuntman does most of your work, and occasionally you say, 'Noooo!' and that's the end of your day," he explained.
Grant recently revealed that he was the last choice for the lead role in Four Weddings and a Funeral, claiming that producers considered him too "hoity-toity".
Writer Richard Curtis responded to Grant's comments by »
But the parts he’s played of late not only underscore the illustrious thesping company he keeps, but just how far Latinos have come in sloughing off Latino type-casting.
Santoro wrapped two weeks ago his first TV series, playing an outlaw on the pilot for HBO’s “Westworld,” helmed by Jonathan Nolan for Bad Robot and Warner Bros. TV, and a series inspired in concept by the Yul Brynner movie classic.
He features in Steven Bernstein’s “brilliantly written” “Dominion,” produced by Richard Gladstein, with Rhys Ifans as Welsh bard Dylan Thomas, living out his last day on earth, and John Malkovich as his doctor, shot over the summer in Montreal. Santoro plays “a mysterious character who will reveal himself.” Santoro’s character is called Carlos, »
- John Hopewell
Red Arrow Intl., which is the global distribution arm of Red Arrow Entertainment Group, is a mini-studio with major ambitions, which are reflected in its sales slate at the content market Mipcom in Cannes.
The distributor, which is celebrating its 10th anniversary, is following the strategic objectives set out by its umbrella group, and those of its powerful parent, European broadcast network ProSiebenSat.1 Group.
The focus of its Mipcom slate is English-language taped shows that can travel, and formats — both scripted and unscripted — that are adaptable for markets in every continent.
The lineup is headlined by three scripted shows that demonstrate the strength of its ambitions.
First there’s “Roald Dahl’s Esio Trot,” which the Weinstein Co. has picked up in the U.S. It stars Dustin Hoffman and Judi Dench, and was adapted by Richard Curtis and is produced by Hilary Bevan Jones, who worked with Curtis previously »
- Leo Barraclough
Are we ready for the "Brazilian answer to 'Slumdog Millionaire?'" Rio Film Festival audiences quickly granted "Trash," the latest from "The Hours" director Stephen Daldry, that label after the the film pleased crowds with comedy, child wonder, and "offshore" energy (as trades love to refer to it). Polling attendees after the film's applause-filled premiere, a Variety reporter found many locals agreed that, despite "Trash" not being a true Brazilian movie, "it is not non-Brazilian in the best sense." Many praised it for being more entertaining than most "favela" (or, Latin America slum) dramas. Whether Americans will ever see it is up in the air. Based on Andy Mulligan's young adult novel of the same name, "Trash" tells the story of three “dumpsite boys," who "make a living picking through the mountains of garbage on the outskirts of a large city." Their lives spiral out of control when »
- Matt Patches
Cleanly scripted in pure Hollywood fashion by Richard Curtis (with Felipe Braga translating it into Portuguese), Stephen Daldry’s “Trash” won’t be confused for a real Brazilian production: Its storyline, staging and inevitably positive spin unmistakably mark it as offshore, notwithstanding the participation of Fernando Meirelles’ 02 Filmes. A South American answer of sorts to “Slumdog Millionaire,” the pic features a trio of charismatic kids living next to a Rio garbage dump who stumble upon evidence certain to bring down a corrupt politico. Audience-friendly to a fault, “Trash” should be a modest money earner for Universal Intl., which will no doubt pitch it along “Slumdog” lines.
Andy Mulligan’s source novel was geared toward adolescents, but the film feels like more adult fare simply because young teens aren’t exactly known for their attraction to subtitles. English makes up a small percentage of the dialogue, mostly coming from Martin Sheen and Rooney Mara, »
- Jay Weissberg
Screenwriter Richard Curtis has revealed that he was against Hugh Grant taking the lead role in Four Weddings And A Funeral, and he actually voted against the actor when it came to deciding who got the part. Considering it was the performance that wound up founding Grant's career, that's a pretty astonishing fact. After his performance in the romantic comedy, which was written by Curtis and directed by Mike Newell, Grant went on to become an international star, and he later paired together with Curtis for 1999.s Notting Hill too, which helped to cement his place as England.s most famous actor of the 90s. Grant recently revealed Curtis. original decision when he declared that the writer had done "everything in his power" to stop him from taking the breakthrough part, and Curtis has now gone on to add some more detail to the tale, insisting that he only tried »
A Waits track was influential in the development of Notting Hill, the filmmaker revealed.
"When I was writing Notting Hill, that was all I listened too. There was something I sensed in the background and in the tone and in the mood of that song which is what I wanted to reach at the best moment of the film.
"Songs have always been an incredibly important bit of the inspiration for me."
He said that the song "seems to me to completely say how you want to feel about how extraordinary Christmas is".
"In a way, »
The writer and director revealed that he was disappointed with the film and wishes he'd had longer to work on it.
According to the Radio Times, Curtis spoke at the Cheltenham Literature Festival yesterday (October 4), saying: "The only nightmare scenario that I've been caught in was Love Actually, which worked at the read-through, and when we finished the film and I watched it edited, it was...a catastrophe."
He added that the film was difficult to manage because it was so vast in scale.
"Because there were 12 stories, [finding the right order] was like three-dimensional chess. And that was enormously difficult to finish or get right," he said.
The writer and director went on to say that he wished he'd had more time to work on the film, saying: "You could have played with it for all time – but it had to be out by Christmas. »
He said: "I think they wanted someone rather more middle of the road and thought I was too hoity-toity posh. But I got the part in the end because I don't think they could find anyone else!"
While speaking at the Cheltenham Literature Festival, Curtis told the crowd that it was true he didn't want Grant for the role – but not because he was too posh.
"The absolutely key thing for that film when I was writing it was that the person who was playing the lead would not be good looking," Curtis explained. "That was the absolute starting thesis of the film.
"So when finally »
It is believed that Alan Rickman was originally wanted to play the part of Charles, before Grant got the role.
Commenting on the movie, Grant said: "I had to audition and in fact I was very much unwanted. Richard Curtis did everything in his power to stop me getting the part after the audition. I remember it was a very traumatic audition.
"It was in the Jim Henson studio for some reason and in front of the writer, director, producer and 50 full size Muppets, which was unsettling. I read the speech I had made at my brother's wedding, »
Ahead of the 58th BFI London Film Festival, American Express has teamed up with some of Britain’s most influential movie bloggers – including us – to produce a new bank of film trivia celebrating British cinemas rich history.
“There’s so much to celebrate about British film, from iconic locations, multi-award winning production and creative teams to some of the world’s best loved stars,” states Melissa Weber, Vice President Brand and Communications, American Express “People love talking about film and this list should fuel some great discussion, enabling people across the country to get into the spirit of this year’s Film Festival.”
A selection of the facts have been turned into Vine videos to be hosted on Twitter via @AmexUK, using #BritFilmTrivia and will be calling for enthusiasts to trade their favourite facts. Meanwhile, a video has been released with Alex Zane, which you can see below, along with a selection of the trivia… »
- Gary Collinson
The male cast is largely in place. The question now for True Detective fans – who will play the female lead? While Rachel McAdams has been high on the production team’s wishlist for a while, her involvement is getting close to reality with the news she is in talks to join the second season. The diverse range of actresses mooted for the part have included Rosario Dawson and Jessica Biel but reportedly McAdams is the name that will shortly be announced to join Colin Farrell and Vince Vaughn. Taylor Kitsch is also said to be about to sign on the dotted line.
Recently following her turn in Richard Curtis’s About Time with John Le Carre’s A Most Wanted Man, McAdams is one of those high profile talents who is keen to take on different types of roles. That shouldn’t be a problem here as she’s wanted to play Ani Bezzerides, »
- Steve Palace
Since festival audiences have already exhausted the “Spring is like…” comments over every form of social media (Spring is like Before Sunrise meets H.P. Lovecraft, for example), I’ll just plainly say that Spring is romantically horrific bliss, achieving perfection through tragedy and soul. Is there a subgenre of horror equatable to the “Mumblecore” scene yet? If not, filmmakers Justin Benson and Aaron Moorhead have pioneered it, throwing together a loving tale that’s aided by a creature-feature subplot akin to a Troma production on super-steroids.
There’s something so primal and affectionate about Spring. It strikes an honesty that’s notably reminiscent to Richard Linklater’s or Joe Swanberg’s crowning work. It’s the most regal of Shakespearean epics meets the most sinister Joe Dante feverdream, striking a wealth of emotional riches while also utilizing beastly effects reminiscent of Landis’ An American Werewolf In London and many other skin-tearing affairs. »
- Matt Donato
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