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New arrival worked at Stay Gold, Wild Bunch, The Weinstein Company
At Stay Gold Features, Konvitz was involved in Sundance breakout Patti Cake$ that sold to Fox Searchlight, as well as A24’s upcoming Under The Silver Lake from David Robert Mitchell, and SXSW award winner The Strange Ones.
The hire comes as Lacy’s division enjoys a purple patch, having recently sold Cannes Director’s Fortnight hit The Florida Project to A24, Cory Finley’s Sundance selection Thoroughbred to Focus Features, and Charlie McDowell’s The Discovery to Netflix.
“Our department is in the midst of a banner year, and we want to continue to grow our team with »
- email@example.com (Jeremy Kay)
The screening took place 13 months after the film won the top U.S. feature award at Tribeca and was bought by CBS Films — and six years after he began work on the project, which he produced, directed, wrote and starred in. The shoot took 21 days on an $800,000 budget with another $150,000 in post-production and re-shoots.
Film Review: ‘Dean’
“I feel like I beat the odds, just getting domestic distribution at all,” he said. “The reality of doing a low-budget film hits you pretty hard once you start so by the time I got to Tribeca, all I wanted to do was just not be embarrassed.”
The genesis of “Dean” stems from Martin losing his own »
- Dave McNary
Protagonist Pictures has come on board to handle worldwide sales on Cannes Directors’ Fortnight title “The Rider,” written and directed by Chloé Zhao, Protagonist CEO Mike Goodridge said Wednesday. This is Zhao’s second feature and second film selected for Directors’ Fortnight.
Based on the true story of Brady Jandreau, the film stars Jandreau along with Tim Jandreau, Lilly Jandreau, Lane Scott and Cat Clifford. While visiting the Pine Ridge Reservation in South Dakota for her first feature, “Songs My Brothers Taught Me,” Zhao connected with a group of Lakota cowboys, including Brady, and wrote “The Rider” around his “tragic and ultimately universal story.”
“Once a rising star of the rodeo circuit, young cowboy Brady is warned that his competition days are over after a tragic riding accident. Back home, Brady finds himself wondering what he has to live for when he can no longer do what gives him a »
- Leo Barraclough
Last week, in response to the news that Netflix had finally cracked the Cannes competition lineup (a breakthrough that inspired the Federation of French Cinemas to question if a movie that skips theaters should even be considered “a cinematographic work”), I wrote about the streaming giant and how they’ve performed as a distributor. My conclusions were, uh, not super favorable. Criticizing the company’s penchant for pricing out the competition, hoarding the hottest indies on the festival circuit, and burying them on their site without the benefit of a proper release, I argued that Netflix isn’t a distributor so much as “a graveyard with unlimited viewing hours,” and that “it doesn’t release movies, it inters them.” It’s a problem that extends to the well-funded features that Netflix produces themselves, a problem that’s only going to get worse as those titles continue to get better.
See MoreNetflix Keeps Buying Great Movies, »
- David Ehrlich
As Richard Hendricks, the creator of a data compression start-up, the actor often had a thankless role to play in the first couple of seasons. While the center of the series, Richard is a constant worrier and very much a straight man to louder characters, such as Erlich Bachman (T.J. Miller), an arrogant entrepreneur and partner in Richard's company, and the increasingly zany and subversive Donald "Jared" Dunn (Zach Woods).
But as season three proved with a first-ever Emmy nomination for Middleditch (and season four will expand upon), Richard can be very funny -- especially when the actor gets to put his physical comedy chops on display. Last season, the character was very much at the center of the laughs, thanks »
The Cinemaholics are family at this point, so it makes sense that they’d review The Fate of the Furious, which is the eighth installment of the Fast and Furious franchise. In addition to that, Jon Negroni, Will Ashton and Maveryke Hines also dig into reviews for Free Fire, Sandy Wexler, 13 Reasons Why and The Discovery.
This week’s show kicks off with some shop talk about Universal’s juggernaut franchise as a whole, including some quick rankings and reflections on the movies and their future. Then, during the Mini Review segment, Jon and Will spend some extra time debating whether or not Sandy Wexler, Adam Sandler’s latest Netflix movie, is total garbage or redeemable schlock. Later on, Jon and Will unite against Maveryke in their liking of The Discovery, which is Charlie McDowell’s sophomore effort as a feature film director.
For more, here are the links to »
- Jon Negroni
When Cristian Mungiu goes to the Cannes Film Festival, he’s an internationally renowned filmmaker, with the distinction of being the first Romanian to win the venerated Palme d’Or. That was over a decade ago, when Mungiu’s abortion thriller “4 Months, 3 Weeks and 2 Days” took the festival’s top prize. His subsequent features, “Beyond the Hills” and “Graduation,” have also played in its Official Selection. Mungiu continues to travel the world and land raves for his sociopolitical cinema, which explores the country’s problems on an intimate scale.
But that hasn’t made it any easier to get his movies seen back home.
Read More: Cristian Mungiu’s ‘Graduation’ Trailer: Father-Daughter Relations Get Tense In The Cannes-Bound Family Drama
Ever since the success of his sophomore feature “4 Months,” Mungiu has self-distributed his work in Romania, reviving a caravan-style approach to screening movies in small towns that was once used »
- Eric Kohn
The Discovery Review Podcast. FilmBookCast Ep. 56 – The Discovery (2017), is an audio podcast review in which FilmBook contributor Mike Smith and his co-host Mike DeCriscio discuss their thoughts on the newest film from director Charlie McDowell, The Discovery. The Discovery is a movie directed by Charlie McDowell and starring Jason Segel, Rooney Mara, Robert Redford, Jesse Plemons, and Riley Keough, among others. The […] »
- Michael Smith
“I think the exact email I got from my agent was, ‘This might be too weird, but it might be the right weird,'” the actress recently told IndieWire when asked about her first introduction to the project. “I read it and it felt like it the right weird.”
An innovative blend of high concept sci-fi and romcom tropes, “Colossal” gives “Kong: Skull Island” a run for its money as the disaster movie of the year, which is why it’s somewhat of a shock to consider that it almost didn’t get made at all. Vigalondo first gained exposure among genre fans for his labyrinthine time-travel comedy “Timecrimes,” but it has taken years for him to make a more widely-accessible crowdpleaser. »
- Kate Erbland
‘The Discovery’ Hides Purgatory Behind a Promising PremiseWhy prove there’s an afterlife if you don’t engage with it?
Sometimes you hear a premise that’s worth seeing through even if you know the film can’t possibly live up to it. Netflix’s The Discovery, the second film by writer/director Charlie McDowell, is one of those. Science has proven, beyond doubt, that we exist beyond life. Brainwaves have been measured and in some peer-reviewed sense, the afterlife exists. The only problem is — if it’s even a problem at all — the suicide rate has skyrocketed. People have some certainty so they’re getting out while the getting’s good. What’s on the other side, what they’re escaping the pain and suffering of this mortal coil into, well, that’s something the scientists haven’t quite gotten to yet.
McDowell’s debut film The One I Love has a similarly tantalizing premise that »
- Jacob Oller
The Discovery. 2017
Written and Directed by Charlie McDowell
A love story set one year after the existence of the afterlife is scientifically verified.
While browsing the selection of available Sundance Film Festival titles to check out, The Discovery stood head and shoulders above the rest of the wide variety of offerings, solely for its heavy (possibly offensive to some) premise of an alarming increase in suicides due to scientific proof of the existence of an afterlife. Sci-fi is about exploring the impossible, challenging the mind, and diving into deep discussions regarding moral ethics, so it’s sufficient to say that the thought of watching a movie about characters potentially contemplating suicide to rejoin loved ones or push the reset button on a disappointing life, is exploding with intrigue. The Discovery might have the »
- Robert Kojder
Even five years ago, it would have been hard to imagine Jason Segel, the Muppet-loving, butt-baring star of modern comedy classics like “Forgetting Sarah Marshall” and “Knocked Up” as some kind of Sundance darling, but that’s exactly how the actor found his unexpected second act.
When Segel was picked to star as the lauded and immensely troubled late author David Foster Wallace in James Ponsoldt’s “The End of the Tour,” the filmmaker’s decision to cast the lovably goofy “This is 40” and “How I Met Your Mother” star was met with plenty of skepticism. Segel, however, dove deeply into preparing for the role, listening to the recordings of journalist David Lipsky (played by Jesse Eisenberg in the 2015 drama) and watching clips of Foster online to get a sense of the writer’s presence. He even started his own book club to read and discuss Foster’s “Infinite Jest. »
- Kate Erbland
I was standing outside the hotel room of a movie icon, unsure quite what I would find on the find on the other side of the door. It was the final day of the 2016 Cannes Film Festival, and after a week of frantic coordinating with various schedulers, I’d finally managed to land an interview with Jean-Pierre Léaud. He had just played the lead role in “The Death of Louis Xiv,” and still endured the impact of enacting his death for the cameras.
Léaud became one of international cinema’s most famous faces at 14, when he starred in Francois Truffaut’s seminal French New Wave debut “The 400 Blows.” As the adolescent Antoine Doinel, who spends much of the movie acting out at school and at home while witnessing the dissolution of his parents’ marriage, Léaud quickly became the defining face of angst-riddled youth. The movie’s memorable closing freeze-frame »
- Eric Kohn
If the existence of an afterlife were scientifically proven beyond doubt, would you commit suicide to get there? This is the question facing the world in The Discovery, where Robert Redford’s Dr. Thomas Harber has discovered concrete proof of consciousness leaving the mind upon death. Upon publicizing this revelation, the mass suicides begin. After all, if you’ve got problems, why try to solve them when you can take the plunge and start afresh in the next world?
The film is set two years after the discovery, and by now, millions of people have shuffled themselves into the hereafter (the government helpfully keeps count by putting the death total on Led billboards). Writer/director Charlie McDowell quickly establishes a humanity that’s going out with a yawn rather than a bang. The roads are empty, there are enough seats on a public transport to put your feet up, hospitals are unmanned, »
- David James
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.
Two Very Different Movies Look to Divide Up the Weekend Box Office Business
With Disney’s Beauty and the Beast continuing to dominate at the box office with $90 million this past weekend, and Saban’s Power Rangers (Lionsgate) also doing exceedingly well with $40 million in second place, you wouldn’t think anyone would try to release a movie that might get overshadowed by those two blockbusters.
That said, what’s interesting about this weekend is the fact there are two very different movies that are competing very heavily for second place with DreamWorks Animation’s latest animated family film, The Boss Baby (20th Century Fox), taking on the live action English remake of Ghost In The Shell (Paramount), starring Scarlett Johansson. In most cases, »
- Edward Douglas
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The Blackcoat’s Daughter (Osgood Perkins)
Osgood Perkins’ debut feature, The Blackcoat’s Daughter – originally known as February at its premiere at Tiff last year – is a stylish exercise in dread, teasing out its slow-drip horrors with precision, and building a deliriously evil presence that hovers along the fringes. However, there’s a thin line between mystery and vagueness in storytelling, and it becomes difficult to decide where a »
- The Film Stage
The Discovery, Charlie McDowell’s Sundance-approved Twilight Zone weepie, fits neatly into a subgenre one might call The Brit Marling Movie. No, it doesn’t actually feature the statuesque star of Another Earth, Sound Of My Voice, and I Origins. But like those indie sci-fi brainteasers, which hit some strange middle ground between mumblecore and Ray Bradbury, it wraps a fantastical conceit around a human-scaled drama, attempting to simultaneously blow minds and connect with hearts. The Discovery comes a little closer than any real Marling vehicle to pulling off that genre tightrope act. At the very least, its central mystery keeps you guessing, right up until a final turn that’s nearly as clever as it is convoluted.
- A.A. Dowd
Coinciding with its arrival on Netflix this Friday, six new images have arrived online from the upcoming sci-fi romance The Discovery. Directed by Charlie McDowell, the film received its world premiere earlier this year at the Sundance Film Festival and features a cast that includes Robert Redford, Rooney Mara, Jason Segel, Riley Keough, and Jesse Plemons; take a look below…
See Also: Watch the trailer for The Discovery here
One year after the existence of the afterlife is scientifically verified, millions around the world have ended their own lives in order to “get there”. A man and woman fall in love while coming to terms with their own tragic pasts and the true nature of the afterlife.
The Discovery is set to premiere on Netflix on March 31st. »
- Amie Cranswick
The Austin Film Festival’s original series “On Story” is known for giving viewers an inside look at the creative process of film and TV, featuring intimate conversations with stars and behind-the-scenes talent. Season seven will have 20 all-new episodes featuring visitors to Aff like Jason Segel, who last year explained his childhood obsession with being a superhero.
“What we’ve always wanted to do with ‘On Story’ is give a peek behind the magic of filmmaking,” series co-producer and filmmaker Miguel Alvarez said in a statement. “Every week we’re bringing the writers, directors, and actors from our favorite films and television shows to our viewers and we think that’s something special.” The series won a Lone Star Emmy Award for Best Arts/Entertainment Program in 2014.
Aff’s “On Story” will air on »
- Graham Winfrey
(Warning: There will be spoilers) When Charlie McDowell’s mysterious film The Discovery debuted at Sundance last January, its distributor, Netflix, premiered a teaser trailer along with it — a good strategy, considering the film’s intriguing premise (that science has proven the existence of an afterlife) and its abundance of plot twists. No spoilers, please! A beautiful piece of promotion for a dark sci-fi romance ostensibly about life after death but essentially about a person looking for his soul mate, the teaser uses Roy Orbison’s “Only the Lonely” for an 88-second music-driven montage (a song not used in the film but well-suited for […] »
- Stephen Garrett
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