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Nicole Kidman Joins Colin Farrell in Yorgos Lanthimos’ ‘The Killing of a Sacred Deer’

15 June 2016 4:40 PM, PDT | Indiewire | See recent Indiewire news »

Nicole Kidman is joining Yorgos Lanthimos’ follow-up to “The Lobster,” according to the Hollywood Reporter. “The Killing of a Sacred Deer” will also reunite the Greek filmmaker with Colin Farrell, who starred in the Cannes prizewinner (Jury Prize, or third place) and specialty-box-office hit. Lanthimos is directing and co-writing with frequent collaborator Efthimis Fillipou.

Read More: ‘The Lobster’ Director Yorgos Lanthimos Reunites With Colin Farrell for ‘The Killing of a Sacred Deer’

Kidman will play the wife of Farrell’s character, a surgeon who tries to bring a teenager into his family with poor results. Anyone familiar with Lanthimos’ prior works — which, in addition to his English-language debut “The Lobster,” include “Alps” and the Oscar-nominated “Dogtooth” — knows how much he can do with such a simple setup and how dark the final result is likely to be. Lanthimos is also developing a historical drama called “The Favourite” with Emma Stone, Olivia Colman and Rachel Weisz (the latter two having also appeared in “The Lobster”) that delves into the reign of British monarch Queen Anne.

Read More: ‘The Lobster’ Quiz: If You End Up Alone, What Animal Should You Be?

“The Killing of a Sacred Deer” is expected to go into production later this summer, with A24 set to handle domestic distribution. They’re likely excited about this continuation of their relationship with Lanthimos: “The Lobster” has made $5.8 million in just over a month.

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Related stories'The Lobster' Director Yorgos Lanthimos Reunites With Colin Farrell for 'The Killing of a Sacred Deer'Review: Jason Bateman's Endearing & Satisfying 'The Family Fang' With Nicole Kidman'The Family Fang' Exclusive Photos: New Look at Jason Bateman, Nicole Kidman and Christopher Walken »

- Michael Nordine

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These shows would make great Emmy nominees

14 June 2016 6:00 AM, PDT | Hitfix | See recent Hitfix news »

Yesterday, the Academy of Television Arts & Sciences opened voting for this year's Emmy nominations, including the public release of ballots showing who submitted themselves and in what categories. That means it's time for my annual thought exercise, where I pretend that I'm an Academy member and try to figure out how I would fill out my ballot in the major categories. The whole thing becomes trickier with each passing year, just because there are so many shows and performances worthy of at least consideration: when I made my first run through the ballot, jotting down contenders in each big category, I wound up with 26 potential Outstanding Comedy Series nominees, for instance. It does give me a sense of how challenging this must be for the actual Emmy voters, especially since most of them have much less time to actually watch TV than I do. I'm using the same rules as usual: 1)I only consider shows and performances that were submitted. So even if I wanted to put, say, Hugh Dancy on my ballot for his work in the final season of Hannibal, I couldn't, because he only submitted his work on Hulu's The Path. 2)I can't move things into other categories to suit my preference. I can't treat Horace and Pete like a limited series, even though that's clearly what it was, because the Academy let Louis C.K. submit it in the drama categories, and I can't take a largely dramatic half-hour like Transparent or Togetherness out of the comedy categories. 3)I don't consider shows and performances that I didn't watch much, if at all, this season. Based on the last time I was a regular viewer of Penny Dreadful and Orphan Black, for instance, I suspect Eva Green and Tatiana Maslany would both be incredibly strong contenders for the drama lead actress category, but I haven't seen a second of either show's eligible season. Back in the days before Peak TV, it would make me crazy when actors were obviously nominated based on their work from previous seasons, rather than anything they had done in the current year, so I'm not going to make any nominations based on similar assumptions. Also, because so much of the biggest action this year is in the limited series categories (even sans Horace and Pete), I'm going to make picks there, when usually I've stuck with the comedy and drama fields. So here we go... Outstanding Comedy Series black-ish (ABC) Master of None (Netflix) Review (Comedy Central) Transparent (Amazon) Veep (HBO) You're the Worst (FX) As I alluded to above, this was a tough one, especially since there are so many different kinds of "comedy" up for consideration. I could have surrounded Transparent and You're the Worst with a bunch of other half-hours that trended more towards the dramatic this year (say, Casual, Baskets, Togetherness, and Girls), or put on both of the CW's delightful Monday hour-long comedies in Jane the Virgin and Crazy Ex-Girlfriend, or loaded up on the resurgent broadcast network comedy scene and paired black-ish with the likes of The Grinder, The Carmichael Show, Brooklyn Nine-Nine, and Fresh Off the Boat. And I haven't even mentioned Broad City or Lady Dynamite or Catastrophe or Silicon Valley or Unbreakable Kimmy Schmidt or a bunch of others that I'm not happy to not have on my final list. But these six were ultimately the ones that stuck with me the most, in some cases very long after they first aired. Outstanding Drama Series The Americans (FX) Better Call Saul (AMC) Happy Valley (Netflix) Horace and Pete ( The Leftovers (HBO) UnREAL (Lifetime) Because so many great shows like Fargo and American Crime and The People v. O.J. Simpson have gotten themselves categorized as limited series, this wasn't quite as impossible a category to cull down to six choices, even if I changed my mind five different times between including UnREAL, Mr. Robot, or Halt and Catch Fire for that last spot. The Leftovers was my favorite show of last year, and assuming its final season gets bumped to 2017, Horace and Pete and The Americans are the two front-runners to finish atop my best of list for this year. With Mad Men gone, and limited series more competitive, I'm holding out the faintest of hope that Americans can follow the Friday Night Lights pattern and start getting nominated late in its run after being largely ignored early on. Outstanding Limited Series American Crime (ABC) Fargo (FX) The People v. O.J. Simpson: American Crime Story (FX) Roots (History) Show Me a Hero (HBO) What an amazing resurgence for a format the rest of the TV business had all but ceded to HBO for the last decade. All six of these projects were extraordinary in different ways, and any one of them would be a more than deserving winner, though I'm assuming People v. O.J. is going to sweep its way through most of the limited series categories. Outstanding Lead Actor In A Comedy Series Anthony Anderson, black-ish Andrew Daly, Review Chris Geere, You're the Worst Rob Lowe, The Grinder Fred Savage, The Grinder Jeffrey Tambor, Transparent Some years, I set a rule that I will only nominate one actor per show, but I couldn't choose between the two Grinder leads, who were as perfect a crazy man/straight man pairing as TV has had in quite some time. Anderson and Geere did great work flipping back and forth between silliness and pathos this year (I still choke up thinking about Dre's Obama speech from the black-ish episode about how to talk to your kids about black people being shot by cops), Tambor was once again stunning in a largely dramatic performance (that is, again, eligible here, in a category that isn't Funniest Actor in a Comedy Series), and Daly's absolute commitment to the awfulness of Forrest MacNeil's life made the second Review season even funnier, and darker, than the first. Outstanding Lead Actor In A Drama Series Steve Buscemi, Horace and Pete Louis C.K., Horace and Pete Rami Malek, Mr. Robot Bob Odenkirk, Better Call Saul Matthew Rhys, The Americans Justin Theroux, The Leftovers Horace and Pete was another case of my inability to choose between two actors from the same show, as by the end, C.K.'s work was just as nuanced and devastating as the more experienced Buscemi's. Malek was so riveting that he made a lot of pieces of Mr. Robot work that would have failed utterly in the hands of an even slightly less gifted performer, Theroux's work in the last few Leftovers season 2 episodes left me a wreck, Odenkirk continues to demonstrate surprising depths as a dramatic actor, and it's absurd that Matthew Rhys has yet to be nominated for all he does on Americans. Outstanding Lead Actor In A Limited Series Or Movie Bryan Cranston, All the Way James Franco, 11.22.63 Oscar Isaac, Show Me a Hero Regé-Jean Page, Roots Courtney B. Vance, The People v. O.J. Simpson: American Crime Story Patrick Wilson, Fargo Cranston and Franco both gave tremendous performances in ultimately flawed projects. Isaac somehow made all the exposition and policy wonkery of Show Me a Hero entertaining and tragic, Page and Vance were enormously charismatic as men who were flashy on the outside and deeply pained on the inside, and Patrick Wilson basically turned into Gary Cooper and became the powerful, still center around which all the craziness of Fargo season 2 could orbit. Outstanding Lead Actress In A Comedy Series Rachel Bloom, Crazy Ex-Girlfriend Aya Cash, You're the Worst Gillian Jacobs, Love Ellie Kemper, Unbreakable Kimmy Schmidt Julia Louis-Dreyfus, Veep Michaela Watkins, Casual Louis-Drefyus will — deservedly — keep winning this category until either Veep ends or she pulls a Candice Bergen and withdraws herself from consideration. So it almost doesn't matter who gets nominated alongside her. But the other performances I chose were all wonderfully nuanced and complicated as they painted very different portraits of women who are all damaged in some way, and any of them would make an incredibly deserving winner if Louis-Dreyfus were to pull a Larry David and somehow offend everyone in Los Angeles at the same time. Outstanding Lead Actress In A Drama Series Shiri Appleby, UnREAL Kerry Bishé, Halt and Catch Fire Carrie Coon, The Leftovers Sarah Lancashire, Happy Valley Krysten Ritter, Jessica Jones Keri Russell, The Americans The Pov structure of Leftovers season 2 rendered everyone but Theroux a supporting player, but since Coon submitted herself here, I'm picking her, because when she was on screen, she was spectacular. Bishé was the highlight of the much-improved second season of Halt, Lancashire remains indelible on Happy Valley, Ritter lived up to all of my hopes for Jessica Jones, and refer to my Matthew Rhys comment when it comes to his TV spouse. The real surprise of the group is Appleby, who had never suggested the kind of depth and force that her role on UnREAL has allowed her to play. Outstanding Lead Actress In A Limited Series Or Movie Kirsten Dunst, Fargo Felicity Huffman, American Crime Riley Keough, The Girlfriend Experience Rachel McAdams, True Detective Sarah Paulson, The People v. O.J. Simpson: American Crime Story Lili Taylor, American Crime As with the corresponding male category, we've got a couple of performances here (Keough and McAdams) that transcended iffy shows. You could argue that any or all of Dunst, Huffman, and Taylor belong in the supporting field, but they were all wonderful, even if they all understandably seem destined to lose to Paulson. Outstanding Supporting Actor In A Comedy Series Louie Anderson, Baskets Andre Braugher, Brooklyn Nine-Nine Jaime Camil, Jane the Virgin Christopher Meloni, Wet Hot American Summer: First Day of Camp T.J. Miller, Silicon Valley Timothy Simons, Veep Honestly, I could make this an all-Veep category — say, with Simons, Tony Hale, Kevin Dunn, Gary Cole, Sam Richardson, and Matt Walsh (or swap any two of them out for Hugh Laurie and Reid Scott) — and it would be a completely respectable list. Instead, I decided to limit myself to one guy, and the New Hampshire election story has given Simons a chance to shine like never before. As for the others, Braugher is a national treasure, Camil may be playing the most reliable joke machine on television, Meloni stole First Day of Camp the same way he stole the original movie, and Miller got to add some surprising emotion to Erlich Bachman's usual hilarious buffoonery. And Anderson is, like Tambor, giving an almost entirely dramatic performance (and also playing a woman), but in a way that never feels like a gimmick. Outstanding Supporting Actor In A Drama Series Alan Alda, Horace and Pete Dylan Baker, The Americans Jonathan Banks, Better Call Saul Kevin Carroll, The Leftovers Peter Dinklage, Game of Thrones Lance Reddick, Bosch Even if the Academy at large didn't watch Horace and Pete, I expect Alda will be nominated on name recognition alone, and when they see him give the performance of his career, he'll hopefully win. Baker sketched out a complicated and tragic character in the space of 13 episodes, Banks continued finding new gravitas inside Mike Ehrmantraut, Carroll knocked me out as much as his more well-known co-stars, Dinklage remains so much fun that he can even carry a long scene where he's acting against thin air disguised as CGI dragons, and Reddick also did the best work of his career on the largely unheralded Bosch. Outstanding Supporting Actor In A Limited Series Or Movie Sterling K. Brown, The People v. O.J. Simpson: American Crime Story Ted Danson, Fargo Connor Jessup, American Crime Hugh Laurie, The Night Manager Zahn McClarnon, Fargo Bokeem Woodbine, Fargo Unfortunately, I assume John Travolta has one of these spots in the bag. And the only reason Jessup is here and not in the lead category is because he's young and relatively unknown. But this is still one of the most competitive groups in the whole field, and I'd love to see one of the more unheralded actors eligible win it, even though Danson and Laurie were both superb in the kinds of roles they don't usually play. Outstanding Supporting Actress In A Comedy Series Loretta Devine, The Carmichael Show Kether Donohue, You're the Worst Allison Janney, Mom Kate McKinnon, Saturday Night Live Amanda Peet, Togetherness Kristen Schaal, Last Man on Earth Janney, like Louis-Dreyfus, may have a stranglehold on her category for a while, and she's terrific enough — at both the light and dark parts of Mom — that I can't get too annoyed with it. This is another extremely deep category, which I tried to cover with a variety of different kinds of performances from different kinds of shows. There's Devine playing extremely big — and yet still human enough to be at the center of an episode about clinical depression — on Carmichael (where David Alan Grier would also be a fine nominee on the male side), McKinnon carrying SNL, Donohue and Peet doing a mix of utter silliness and something much messier, and Schaal turning out in time to be the very best part of Last Man. I'd have liked to find room for some of the Transparent actresses or Zosia Mamet or a bunch of others, but you've gotta make choices when you play this game. Outstanding Supporting Actress In A Drama Series Amy Brenneman, The Leftovers Ann Dowd, The Leftovers Regina King, The Leftovers Rhea Seehorn, Better Call Saul Alison Wright, The Americans Constance Zimmer, UnREAL Nope. Not gonna leave out one of the three Leftovers ladies here. (As a past winner, King is the most likely to get an actual nomination.) Seehorn, meanwhile, essentially became co-lead for much of Saul season 2, and was so likable and vulnerable and interesting that it felt like she was adding to Jimmy's story rather than taking away from it. Wright was stronger than ever on Americans, even though Martha was in crisis throughout, and Zimmer was every bit Shiri Appleby's dramatic equal as part of the UnREAL two-hander. Outstanding Supporting Actress In A Limited Series Or Movie Olivia Colman, The Night Manager Rachel Keller, Fargo Regina King, American Crime Cristin Milioti, Fargo Anika Noni Rose, Roots Jean Smart, Fargo Another category where I went with three from one show, reflecting both the great work of Keller, Milioti, and Smart, but also the relative shallowness of this particular field. King is one of several actors this year who, thanks to the proliferation of limited series and shows with shorter seasons, has a realistic shot at being nominated for two different performances. Colman had a bunch of great moments during The Night Manager (particularly the monologue about why her character was so interested in taking down Hugh Laurie), and Rose was one of the best parts of the outstanding Roots ensemble. What does everybody else think? What nominations are you most hoping to see? Alan Sepinwall may be reached at »

- Alan Sepinwall

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Writer-Director Will Sharpe’s Career Blooms with Seeso’s ‘Flowers’

11 June 2016 10:16 AM, PDT | Variety - TV News | See recent Variety - TV News news »

One of the most curious comedies to emerge on both sides of the Pond this year is “Flowers,” which features Olivia Colman and Julian Barratt in a dark look at a dysfunctional family. Think “Arrested Development” as brought to life in the pages of a Roald Dahl book.

Flowers,” which bowed in April on the U.K.‘s Channel 4 and is available on NBC’s Seeso comedy streaming service, is the brainchild of Will Sharpe, the multi-hyphenate who has a supporting role in the show, produced by Endemol Shine’s Kudos banner.

Barratt plays a renowned children’s book author, Maurice Flowers, who is battling severe depression as he tries to sort out his not-quite-complete divorce from his delusional, music teacher wife Deborah, limned by Colman. The couple’s two adult children, twins Donald (Daniel Rigby) and Amy (Sophia Di Martino), have their own considerable quirks. Sharpe plays an energetic Japanese illustrator, Shun, who works with Maurice.

The show’s first season is easily consumed in a quick binge — six half-hour episodes (written and directed by Sharpe) that take the Flowers clan and their bizarro associates in an English country town on quite a journey through the canyons of their minds. “Flowers” plays for laughs but also demonstrates a sensitivity to mental health issues that has earned praise for the show and for Barratt’s performance. Colman, as ever, impresses with her dexterity in a role far removed from the dramatic fare she’s best known for in the U.S., such as “Broadchurch” and “The Night Manager.”

“It’s a show about melancholy,” Sharpe explains. “We’re not making fun of their pain. I want people to see it as an ultimately uplifting show that in the end leaves you with a feeling of hope.”

Flowers” amounts to an “I’ve arrived” statement for Sharpe, 29, who has always balanced his acting work with his ambition as a writer and director.

Sharpe grew up in Japan until the age of 8 — his mother is Japanese, his father British — when his family moved to the London area. He attended Cambridge University and was a member of the school’s Footlights acting troupe.

After graduating in 2008, Sharpe did a mix of standup comedy and a year a half stint with the Royal Shakespeare Co. He landed a role on the long-running U.K. sudser “Casualty” in 2009. The following year, he co-wrote and directed his first feature, the murder mystery “Black Pond,” which nabbed a BAFTA nom.

Sharpe spent a lot of time sketching out the world of “Flowers” before pitching it to Kudos. To his surprise, Channel 4 “got it” and commissioned a pilot. (Seeso came on board as a partner after the pilot.) He was equally surprised and grateful when his script attracted notable stars in Colman and Barratt.

“The best thing for me about making the show was working with a cast that was all so good,” he said. “Julian is so controlled and really good. Olivia can always deliver what you need to achieve.”

Although Sharpe’s career focus is more on writing and directing than acting, he crafted a role for himself in “Flowers” because he wanted to infuse it with the over-the-top broad humor found in Japanese films and TV shows.

“I wanted that flavor to be in the show somehow and the Shun character is the conduit,” he says. “He’s quite an un-British character and I quite like holding him up against the more British characters.”

Sharpe was keenly aware going in that there was no assurance “Flowers” would live on past its initial six-episode commission. He designed the ending to work as the end of the family’s story — or not.

“I think it could definitely carry on. I don’t think for ages and ages but I feel like there is more to find out about characters,” he says. “There’s a feeling of conclusion to the series but a lot of it is left open-ended.”

(Pictured: Olivia Colman in “Flowers”)


- Cynthia Littleton

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BBC Worldwide North America Acquires Tom Hardy’s Action Drama London Road

10 June 2016 12:01 PM, PDT | ShockYa | See recent ShockYa news »

Tom Hardy is examining the tragedy of Ipswich in the upcoming mystery movie, ‘London Road,’ whose U.S. rights have been acquired by BBC Worldwide North America. The action movie, which is the film adaptation of the ground-breaking National Theatre play of the same name, is scheduled to be released in theaters in September. The musically-driven ‘London Road’ marks the feature film writing debut by Alecky Blythe, who also contributed to the lyrics of the project’s songs with Adam Cork. The movie was directed by ‘Broken’ helmer, Rufus Norris. In addition to Hardy, the mystery film features an ensemble cast that includes Olivia Colman and Anita Dobson. The drama also features  [ Read More ]

The post BBC Worldwide North America Acquires Tom Hardy’s Action Drama London Road appeared first on »

- Karen Benardello

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Us Briefs: Outfest announces full programme line-up

8 June 2016 5:38 PM, PDT | ScreenDaily | See recent ScreenDaily news »

Plus: Gkids executives join Angelina Jolie on The Breadwinner as executive producers; and more…

Outfest top brass announced the complete line-up of 162 films from 19 countries on Thursday ahead of the July 7-17 festival.

Opening the festival is Samuel Goldwyn FilmsThe Intervention, Clea Duvall’s directorial and screenwriting feature debut, while Vertical Entertainment’s Other People closes the event.

“I am proud and honoured to present a program that focuses on the most talented queer voices across all media – from film to television to the web,” said Outfest executive director Christopher Racster.

For full details click here.

Slamdance Presents will release Claire Carré’s directorial debut Embers, which closed the 2016 Slamdance Film Festival, on August 5 at the ArcLight Hollywood. The Orchard will release the film at the same time on VOD.Gkids announced that CEO and founder Eric Beckman and senior vice-president of distribution David Jesteadt will serve as executive producers alongside Angelina Jolie Pitt and others »

- (Alec Govi)

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Tom Hardy Musical ‘London Road’ Lands Distributor

8 June 2016 1:02 PM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

You’d think with National Theater director Rufus Norris (“Broken”) and stars Tom Hardy and Olivia Colman on board, the movie adaptation of the British musical stage phenomenon “London Road” would be a cinch for a North American pickup.

Well, while you have to give Hardy points for joining this ambitious sung musical—and pulling off his role, which is small—the London subject matter may be too arcane for a crossover arthouse hit. But I am happy to report that BBC Worldwide North America is bringing the movie, which debuted at last fall’s Toronto International Film Festival, to theaters in September.

In fact this ground-breaking theater musical helped to put Norris on the map—and landed him the directorship at the National.  The debut film by writer Alecky Blythe, with music by Adam Cork and lyrics by Alecky Blythe and Adam Cork, “London Road” features an ensemble mostly comprised of its original stage cast, who had the necessary chops to deliver it.

Read More: National Theater Directors Nick Hytner and Rufus Norris Hit the Movies

Astonishingly, the play used Blythe’s verbatim transcripts from people she interviewed who were involved in tracking a serial killer of prostitutes on London Road—she edited them into a sung musical, which the actors had to execute precisely. BBC Films backed the film, with the National Theatre executive producing; by the time they shot it, Norris had been appointed as the next director, in a clear vote for innovation.

The National, in one of its “experimental provocations,” threw Blythe together with composer Adam Cork in a kind of shotgun marriage in a workshop to write and compose together. And then Alecky went back to Ipswich in 2006 and started meeting people, and it built up from there. Norris decided to turn the hit play into a workable movie, altering the structure and adding one key song that performs the feat of moving the viewer into a musical.

Norris could only have pulled off the low-budget movie with actors who knew the material inside out, but they did add several cinema players to help get it made: Colman and Hardy. When “London Road” hits theaters, do check it out. You’ve never seen anything quite like it.



Related storiesTIFF Review: Musical 'London Road' Starring Olivia Colman, Paul Thornley, Tom Hardy, MoreWatch: First Trailer For Musical 'London Road' Starring Olivia Colman & Tom HardyTom Hardy Joins Musical 'London Road,' Ryan Reynolds Visits 'Woman In Gold' & More »

- Anne Thompson

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Tom Hardy Musical Thriller ‘London Road’ Nabbed by BBC Worldwide North America (Exclusive)

8 June 2016 9:00 AM, PDT | Variety - Film News | See recent Variety - Film News news »

BBC Worldwide North America has acquired U.S. rights to the musical thriller “London Road,” starring Tom Hardy, Olivia Colman and Anita Dobson.

The film, directed by Rufus Norris and written by Adam Cork and Alecky Blythe, is based on the National Theatre musical of the same name about the 2006 Steven Wright killings in Ipswich. “London Road,” which screened in the City to City section of last year’s Toronto Film Festival, will hit theaters in September.

The movie also features the play’s original cast members, including Clare Burt, Rosalie Craig, James Doherty, Kate Fleetwood, Hal Fowler, Linzi Hateley, Nick HolderClaire Moore, Michael Shaeffer, Nicola Sloane, Paul Thornley, Howard Ward and Duncan Wisbey.

The pic follows the residents of London Road, who struggle for years with frequent soliciting and curb-crawling on their street. When a local resident is convicted of a string of murders, the community grapples with »

- Dave McNary

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Movie Review: The Lobster

26 May 2016 10:08 PM, PDT | CinemaNerdz | See recent CinemaNerdz news »

Having not seen Greek writer/director Yorgos Lanthimos’ critically lauded 2009 film Dogtooth, I legitimately had no expectations going into his latest film. Upon leaving the theater I was glad I knew nothing, because it only enhanced the strange and hypnotic, fever-dream-like viewing experience that was The Lobster.

The film is set not so far in the future, where everyone without a partner is forced to move into a hotel and find a suitable mate in a relatively short period of time. Should they fail, they are turned into an animal of their choosing. We follow David (Colin Farrell), who is forced to check in after his wife leaves him. First the hotel manager (Olivia Coleman) allows David to choose his animal, the lobster, in case he fails to find a partner. In the hotel he meets a man with a list (John C. Reilly), a heartless woman (Angeliki Papoulia), a »

- Rocco Tenaglia

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Rachel Weisz: A Brewing Renaissance?

26 May 2016 8:00 AM, PDT | FilmExperience | See recent FilmExperience news »

Currently on screen in Yorgos LanthimosThe Lobster, Rachel Weisz has so many upcoming movies, she got Murtada wondering if a renaissance is brewing...

My Cousin Rachel

The Lobster is doing gangbusters in limited release and with critics. To these eyes it is uneven and Weisz is absent from its best part. In fact her performance is so bland, it weakens the second half of the movie particularly in comparison with the highly entertaining first act where Colin Farrell and particularly Olivia Colman are exultingly funny. Even when Weisz is front and center she seemed lost, not sure of the rhythm of the film. A supporting player like Lea Seydoux, with much less screen time, was more in sync with Lanthimos and the rest of the cast and outshines Weisz in the section they share »

- Murtada Elfadl

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Broadchurch: Third and Final Season Begins Filming; Two Join Cast

23 May 2016 6:58 PM, PDT | | See recent TVSeriesFinale news »

Broadchurch is back. This week, ITV announced filming has begun on the series' third and final season. Additionally, Sir Lenny Henry and Roy Hudd have joined the cast.

In April, we reported that season three of the crime drama would be the last one. The first two seasons of the series star David Tennant and Olivia Colman as two detectives investigating the murder of a young boy in a small English town.



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Lenny Henry Joins "Broadchurch" S4 Filming

23 May 2016 11:01 AM, PDT | Dark Horizons | See recent Dark Horizons news »

BAFTA winner Lenny Henry has joined the cast of the third season of hit ITV crime drama "Broadchurch" which just began production today. The series will mark the final outing for David Tennant and Olivia Colman in their famed roles as detectives Hardy and Miller.

In the new eight episode season, the pair reunite to investigate a serious sexual assault. The season looks at the emotional cost for all of those involved and the irreparable damage to friendships and relationships.

Roy Hudd, Julie Hesmondhalgh, Georgina Campbell, Sarah Parish, Charlie Higson and Mark Bazeley also join the cast this time while returning members include Jodie Whittaker, Andrew Buchan, Arthur Darvill, Carolyn Pickles, Charlotte Beaumont and Adam Wilson.

Source: Deadline »

- Garth Franklin

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Lenny Henry Joins ‘Broadchurch’ As Filming Starts On Third & Final Season

23 May 2016 7:38 AM, PDT | Deadline TV | See recent Deadline TV news »

Shooting began today on the third season of hit ITV crime drama Broadchurch. This is the last go-round for David Tennant and Olivia Colman (hot off The Night Manager) as Detective Inspector Alec Hardy and Detective Sergeant Ellie Miller. The pair reunites in Season 3 to investigate a serious sexual assault. Just added to the cast are 2016 honorary BAFTA winner Lenny Henry (The Pirates! Band Of Misfits, The Syndicate) and Roy Hudd (Robot Overlords, Coronation Street). As… »

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Fleabag: Amazon Prime Adds New Comedy Series

18 May 2016 6:21 PM, PDT | | See recent TVSeriesFinale news »

Amazon Prime has picked up the Fleabag TV show comedy written by and starring Broadchurch's Phoebe Waller-Bridge. The series is based on her play of the same name. Fleabag is directed by Harry Bradbeer and executive produced by Harry Williams and Jack Williams.

Fleabag is decribed as, "a hilarious and poignant window into the mind of a dry-witted, sexual, angry, grief-riddled woman (Waller-Bridge), as she hurls herself at modern living in London." The cast also includes: Brett Gelman, Olivia Colman, Bill Paterson, Hugh Dennis, Hugh Skinner, Jamie Demetriou, Jenny Rainsford, and Sian Clifford.

Here is more from the Amazon press release.



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‘Fleabag’ Series From ‘Broadchurch’ Alum Joins Amazon’s Fall Prime Video Lineup

18 May 2016 12:54 PM, PDT | Deadline TV | See recent Deadline TV news »

Amazon has added the six-episode half-hour series Fleabag to its fall Prime Video lineup in the U.S. Written by and starring Broadchurch and Crashing alumna Phoebe Waller-Bridge and based on Waller-Bridge’s award-winning play, Fleabag is described as a a hilarious and poignant window into the mind of a dry-witted, sexual, angry, grief-riddled woman (Waller-Bridge), as she hurls herself at modern living in London. Brett Gelman (Twin Peaks), Olivia Colman (Peep Show), Bill… »

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The Many Faces Of Rachel Weisz

13 May 2016 8:00 AM, PDT | Twitch | See recent Twitch news »

This week sees the wide release of Yorgos Lanthimos' weird satiric drama The Lobster, in which single people need to find love or get changed into animals. In his review, Jason Gorber voiced his disappointment about ending up not loving the film, though other people did. Divisive or not, everyone agrees the film has a stellar cast, which includes the likes of Colin Farrell, John C. Reilly, Léa Seydoux, Ben Whishaw, Olivia Colman... and Rachel Weisz. And although each of these people sure deserve a quiz, we here at Twitch quickly settled on Rachel Weisz, so once again I'm going to use eleven pictures of one of my favourite thespians to make a quiz. Click through the images, and guess which movies or shows they're...

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Amazon buys 'The Night Manager'

12 May 2016 9:32 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Amazon Prime Video will stream the critically acclaimed TV series in the Us, UK and Japan.

Amazon has picked up rights to The Night Manager, Susanne Bier’s acclaimed contemporary re-telling of John le Carre’s spy novel, for streaming in the Us, UK and Japan.

The programme will be available as part of user’s subscriptions to the service in the three territories. In Japan, Prime Video will be the exclusive place to watch the series.

Striking the deal with sales company Img and production outfit The Ink Factory, the series will be available to stream and download later this year.

Starring Tom Hiddleston as the titular protagonist who becomes a spy for the British secret service after witnessing a murder, the six-parter co-stars Hugh Laurie and Olivia Colman.

Playing on BBC One in the UK, the show recently premiered in the Us on network AMC. »

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“The Lobster” is one of the most unique films this year

11 May 2016 1:00 PM, PDT | | See recent news »

For anyone who has seen Dogtooth, it’s no secret that filmmaker Yorgos Lanthimos has one hell of a unique outlook on the world. He’s also a brilliantly talented director and writer, so anything he puts out into the world is well worth taking notice of. This week, after a fruitful festival run last year, his English language debut The Lobster hits theaters, and I can vouch for it being one of the best things to come out so far in 2016. It’s a special work, much like Dogtooth, and to a lesser extent Alps, one well suited to our current time and highly worthy of the praise that it’s about to receive. The movie is a black comedy at its core. Basically, in the very near future, single people are essentially breaking the law. When a relationship ends, they are taken to a hotel of sorts, where »

- Joey Magidson

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Cannes: Colin Farrell Reunites With Yorgos Lanthimos for ‘The Killing of a Sacred Deer’ (Exclusive)

11 May 2016 2:53 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Colin Farrell is set to reunite with “The Lobster” director Yorgos Lanthimos in the Greek helmer’s latest project “The Killing of a Sacred Deer.”

Project, which is expected to begin lensing in August, sees Lanthimos re-team with co-writer Efthymis Filipou and producers Element Pictures and Film4. Hanway Films is shopping the hot title to foreign buyers in Cannes.

CAA is repping domestic rights, which have already been snapped up by A24 in advance of the festival.

It’s a fitting announcement on the Croisette this year, given last year saw Lanthimos’ click “The Lobster,” which also starred Farrell, snap up the Cannes Jury Prize at the fest.

Lanthimos co-writes and directs the project, inspired by a Euripides tragedy, which centers on Steven, a charismatic surgeon and a teenage boy who seeks to integrate him into his broken family. When the boy’s actions become increasingly sinister, Steven’s ideal »

- Diana Lodderhose

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Why working-class actors are a disappearing breed

8 May 2016 1:00 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

Once we had gritty TV dramas such as Boys from the Blackstuff; now we have glossy thrillers with public school-educated stars. How did British screens become dominated by the privileged few? And does it matter?

The BBC’s recent hit drama The Night Manager, a thriller about a spy who infiltrates an arms dealer’s network, is the sort of show that’s sometimes described as “aspirational” – not because most people aspire to hang out with the kind of foreign despots liable to gas their own people, but because it’s the sort of world that features private jets and five-star hotels and characters called things like “Dickie Onslow Roper” and “Lord Langbourne” and the kind of long-necked women who drape themselves languidly over business tycoons’ arms.

It is, to use another piece of shorthand, posh; a world of money and privilege – and apart from two overworked civil servants trying »

- Carole Cadwalladr

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Why working-class actors are a disappearing breed

8 May 2016 1:00 AM, PDT | The Guardian - TV News | See recent The Guardian - TV News news »

Once we had gritty TV dramas such as Boys from the Blackstuff; now we have glossy thrillers with public school-educated stars. How did British screens become dominated by the privileged few? And does it matter?

The BBC’s recent hit drama The Night Manager, a thriller about a spy who infiltrates an arms dealer’s network, is the sort of show that’s sometimes described as “aspirational” – not because most people aspire to hang out with the kind of foreign despots liable to gas their own people, but because it’s the sort of world that features private jets and five-star hotels and characters called things like “Dickie Onslow Roper” and “Lord Langbourne” and the kind of long-necked women who drape themselves languidly over business tycoons’ arms.

It is, to use another piece of shorthand, posh; a world of money and privilege – and apart from two overworked civil servants trying »

- Carole Cadwalladr

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