Accordingly, anyone who's been bombarded with the TV ads for Josh Trank's Fantastic Four shouldn't be chastised for sprinting away from any multiplex screening of this latest Marvel concoction. Those trailers showcase a film lacking in verbal and visual wit, actors seemingly bereft of sparkle, and disfigured creatures that wouldn't appear out of place in a Toho production of the 1950s (e.g. Half Human in 1958; Rodan in 1957). While none of those early impressions are that wide off the mark, the first 45 minutes or so of this effort, nonetheless, are promising.
Before we go down that path, let's just note for those familiar with Trank's debut feature, the pretty terrific Chronicle (2012), Fantastic Four will seem like a bloated, less imaginative revamp in comparison.
Producers Helge Sasse (Tempest Film) and Christoph Müller (Mythos Film) are in Cannes to meet potential partners for the international project which is set to have a double-digit million Euros budget.
Ruzowitzky, who has just completed shooting the Us thriller Patient Zero in London, is also writing the screenplay for the story with a setting in the late Middle Ages.
Principal photography is set to begin in late summer 2016.
Other novels by Hesse such as Siddharta, Steppenwolf and Demian were adapted by filmmakers in the past for the cinema, with German broadcaster Ard tackling his 1909 novella Die Heimkehr in 2011.
Narcissus and Goldmund is one of the first projects being planned by former Senator Entertainment CEO Helge Sasse at his new production outfit Tempest Film which he launched last summer with Solveig Fina.
Christoph Müller’s Berlin-based
I met up for coffee with the man who plays H in Joanna Hogg's Exhibition, to talk about his work as a first time actor, Cary Grant improvising for Leo McCarey with Irene Dunne in The Awful Truth, Alain Delon with Maurice Ronet interpreting Patricia Highsmith's The Talented Mr. Ripley in Purple Noon, and his newfound appreciation for the Grudge Match antics between Robert De Niro and Sylvester Stallone. Liam Gillick talked parallel lives, what cinema means to contemporary artists, and how it felt to become material. Robert Bresson and Hermann Hesse were assigned as homework by Hogg to prepare him for his role opposite Viv Albertine's D in Exhibition.
Liam had just arrived
Friday, June 21
Pow! In Theaters
Brad Pitt, big-budget zombie movie. Those are two phrases you thought you'd never hear put together by anyone not on mescaline, but "World War Z" is upon us and we must act for the preservation of our species! Pitt plays an all-purpose Un investigator/ badass named Gerry Lane who is dispatched to find patient zero in a zombie plague scorching the Earth in an all-encompassing way. Will the human race survive? Will
God. No God. Ale. Lesbian. Condom. God. Gets girl.
Imagine Animal House starring Rick Santorum. No, make that Mitt Romney. No, that's unfair. How about Donny Osmond?
Based on what I've been told is an autobiographical, 1.5 million-copy bestseller, Blue Like Jazz: Nonreligious Thoughts on Christian Spirituality by Donald Miller, the book has been adapted for the screen with lots of love -- and less skill -- by Miller, Ben Pearson, and director Steve Taylor.
What's significant here is that much of the budget for the film was raised by the book's fans on Kickstarter.
Few American publishers have been more useful to the cause of poetry. Yes, Nd has published much great prose as well, both original (notably a huge number of Henry Miller essay collections), and in translation (Hermann Hesse’s Siddhartha, the success of which funded many other projects; Jean-Paul Sartre's Nausea) or reprinted/collected (Delmore Schwartz's In Dreams Begin Responsibilities and Other Stories), but poetry -- less often supported by the major presses, especially early in a poet’s career -- is where the press has made its biggest impact.
Fred Haines lost his battle with lung cancer at his home in Venice, California on 4 May.
Haines' controversial Ulysses, which featured a cast full of Irish actors, was banned in Ireland until 2000, but, despite mixed reviews, it earned the screenwriter an Oscar nod.
Haines also adapted and directed Hermann Hesse's Steppenwolf, which became a cult success in the mid 1970s.
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