Some of Hawthorne's tales are simply depictions of pastoral New England life; describing a child’s view of her small town in “Little Annie’s Ramble,” or observing village courtship as a storm approaches in “Sights from a Steeple.” Morality inspires and buoys almost all of his substantial stories, often in rather surprising ways. When writing about the Puritans, whose culture is based on infamously rigid moral standards,
When The Monk was unleashed, the literary world had already been introduced to Radcliffe and Walpole’s gloomy melodramas, along with Romantic works from Germany and France. None of these stories contained the moral quandaries, the viciousness, or the sex and violence of Lewis’ novel. It tells the story of Ambrosio, the titular Monk, who is considered the holiest man in all of Madrid, until he
The great Bryan Cranston talks to us about his new film Wakefield, his signature role in Breaking Bad, and lots more...
Despite being one of the most in demand actors on the planet, we were lucky enough to catch up with Bryan Cranston while he was over in the UK to promote his new film Wakefield, a dark, literate tale of midlife crisis and male entitlement. Our interview took place mere hours after the Breaking Bad star scandalised the nation’s breakfast tables by casually dropping the word ‘shite’ in an interview on Good Morning Britain with a star struck Kate Garraway. Of course, Bryan Cranston being Bryan Cranston, nobody really minded all that much.
See related Arrow season 5 finale: John Barrowman reacts Arrow exclusive: Kevin Smith talks Onomatopoeia
It’s this butter-wouldn’t-melt, all-pervading likeability that is used to killer effect in Wakefield, the story of
“I don’t need oranges,” we hear her thinking to herself. “I need to scream. I need to grab the nearest machine gun.”
Could any actress other than Mad Men’s Elisabeth Moss say that line with such a precise distillation of despair and scorn, fire and ice?
She’s perfect in this fascinating Hulu adaptation of The Handmaid’s Tale, the famous
Thanks for taking the time to answer some questions for us, Pamela. What attracted you to telling this story by Adam and Matt Rager?
Pamela Romanowsky: Well, the first question for me was “why a horror film?” I like films across lots of genres, but I’m not a horror buff, so this was a first for me. The horror films I do love are genre blending, movies that are character-based and explore things that are dark but still based in reality, and in the dark corners of human psychology. I’ve never really been scared of the supernatural, but people are certainly capable of terrifying and very dark things.
Though Vincent Price would eventually garner a well-deserved reputation as Hollywood’s preeminent bogeyman, it was only really with André De Toth’s House of Wax (1953) that the actor would become associated with all things sinister. In some sense the playful, nervously elegant Price was an odd successor to the horror film-maestro throne: he was a somewhat aristocratic psychotic who shared neither Boris Karloff’s cold and malevolent scowl nor Bela Lugosi’s distinctly unhinged madness or old-world exoticism.
His early film career started in a less pigeonholed manner: as a budding movie actor with a seven year contract for Universal Studios in the 1940s, the tall, elegant Price would appear in a number of semi-distinguished if modestly-budgeted romantic comedies and dramas. His contract with Universal was apparently non-exclusive, and his most memorable roles for the studio were his earliest. In a harbinger of things to come,
Daisy Ridley and Elizabeth Debicki have been cast in a live-action/animated hybrid Peter Rabbit movie.
The upcoming Peter Rabbit movie is set to mix live action and animation to bring the venerable children’s book series from Beatrix Potter to life on the big screen. And we've got some new casting information.
For the Peter Rabbit movie has added Daisy Ridley and Elizabeth Debicki to the cast. Neither the identity of the duo’s roles nor the capacity in which they play them were confirmed. However, what is clear is that Ridley and Debicki will be supporting players in the family film extravaganza, since America-dwelling talk show carpooler James Corden is already confirmed to provide the voice of the film’s titular, carrot-crunching hole-dweller and actress Rose Byrne will field the co-lead as a character named Bea.
Peter Rabbit will be directed by Will Gluck, helmer
Adapted from an E.L. Doctorow short story published by the New Yorker three months after the
Some brilliant scores accompany movies that don't always deserve them. Here are 25 examples...
Can a film soundtrack rescue a movie that is otherwise a lost cause? One thing’s for sure: throughout the history of cinema, music has often been the redeeming feature of many an underwhelming movie. Here are 25 amazing film scores composed for films that, frankly, didn’t deserve them.
25) Meet Joe Black (Thomas Newman, 1998)
This somnambulistic three hour romantic drama should really feature an extra screen credit for star Brad Pitt’s fetishised blonde locks. Rising way above the torpid melodrama of the plot is one of Thomas Newman’s most hauntingly melodic and attractive scores, one that leaves his characteristic quirkiness at the door to paint a portrait of death that is both melancholy and hopeful. The spectacular 10-minute finale That Next Place remains one of Newman’s towering musical achievements.
24) Timeline (Brian Tyler,
Deadline reports that Boone is set to direct and has written the screenplay for a feature film adaptation of Revival, King's 2014 novel about a preacher's dangerous dealings with the healing powers of electricity—a nerve-jangling journey witnessed by his younger assistant. The completed script is now awaiting the green light at Universal, with Boone hoping to hit the gas pedal on the project and begin filming later this year with backing from producer Michael De Luca.
Prior to turning his attention to Revival, Boone was (and still is
The sensational, overlooked film scores from the years 1990 to 1999 that really are well worth digging out...
The movies went through tumultuous and exciting changes in the nineties. Quentin Tarantino exploded onto the scene with Reservoir Dogs, Generation X gave rise to slacker marvels like Clerks, and blockbusters like The Matrix put the awe back into special effects.
However, the 90s was also a sensational decade for film music, gifting us classics including the likes of Jurassic Park, Titanic, Total Recall, Braveheart and countless others. But the sheer quality of these soundtrack treasures shouldn’t overshadow those undervalued hidden gems that demonstrate the extraordinary range and versatility of our finest film composers, ones that may have passed you by. So here’s our selection of those incredible works: ranging from the earworming to the unsettling, the melodic to the chaotic, these are the scores that simply demand your attention.
Reviewed by Glenn Erickson
A Sam Goldywyn film through and through, Howard Hawks' Barbary Coast could almost be a template for a standard 'golden age' Hollywood movie.
We’ve seen Bryan Cranston teeter on the edge of insanity in Breaking Bad, but the first slew of set photos for Wakefield showcase the Emmy award-winning actor like we’ve never seen him before.
Hunched over on a park bench clutching some food, Cranston’s groggy appearance reflects the nature of his character in the drama. You see, he’s set to play a successful and married lawyer living in New York. With seemingly everything in place for a happy life, his life is suddenly sent into a tail-spin when his wife discovers he’s been having an affair with a young woman, triggering a nervous breakdown that condemns him to live in his attic for several long and gruelling months.
After being shunned from his family home, Cranston’s lead decides to live in secrecy in the attic, emerging only at night in order to rummage for food.
Production has started in Los Angeles. Bonnie Curtis and Julie Lynn are producing through their Mockingbird Pictures banner with Broadway producers Wendy Federman and Carl Moellenberg.
The film is based on a short story of the same name by E.L. Doctorow — which is a retelling of a story by Nathaniel Hawthorne, also called “Wakefield” — about a man who unexpectedly leaves his wife for an extended period of time.
Cranston revealed the project during a November interview on “The Howard Stern Radio Show,” explaining that he will play a married Manhattan lawyer who sees a raccoon in the attic of his home and winds up staying in the attic for several months due to a nervous breakdown. He also said his character will become romantically involved with a younger
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.