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Welcome to Death Row being shopped as a sequel to Straight Outta Compton
Given the box office success of Straight Outta Compton, it’s no surprise that Hollywood is looking to capitalise on the hip-hop market, and according to THR, agency Apa has put together a package based upon S. Leigh Savidge’s book and documentary Welcome to Death Row, which it is shopping around as a sequel to Compton.
Welcome to Death Row charts “one of the most explosive and controversial periods in music history, when rappers like Dre, Snoop Dogg and Tupac Shakur forged mega-solo careers and Death Row Records’ Suge Knight reigned as the most powerful and feared hip-hop executive in the business.”
The $28 million-budgeted Straight Outta Compton has pulled in $145 million since its release in August, and is still to open in many international markets.
- Gary Collinson
‘The Transporter Refueled’ Revs Up $365,000 at Thursday Night Box Office
“The Transporter Refueled” revved up a modest $365,000 at the Thursday night previews on 2,200 screens. The action thriller is expected to make between $8 and $9 million over the four-day Labor Day weekend. In the fourth film in the “Transporter” franchise, newcomer Ed Skrein takes over for Jason Statham as a European deliveryman with highly specialized action-hero skills. The film also stars Ray Stevenson, Yuri Kolokolnikov and Loan Chabanol. Also Read: Newbie 2-Punch vs. 'Compton': Can 'Transporter' Reboot, Redford Drama Break N.W.A Biopic's Streak? The $22 million production is the first wide release from Relativity EuropaCorp Distribution, a joint venture between the French company. »
- Beatrice Verhoeven
Johnny Depp Holds Court as ‘Black Mass’ Lights Up Venice Film Festival
Venice – Johnny Depp starrer “Black Mass” world-preemed to positive response Friday at the Venice Film Festival where a relaxed Depp held court musing on the challenges of playing Boston gangster James “Whitey” Bulger in a natural fashion. Talking about his dramatically receding hairline, he said he feels risky physical transformations are part of his duty to give audiences “something new each time.”
Director Scott Cooper’s biopic of Bulger, who became an FBI informant and used this status to eliminate criminal competition during the 1970s, ’80s and early ’90s, was greeted with applause at the Venice press screening and the press conference was packed to the rafters.
Depp downplayed the purely criminal component of Bulger, whom he described as a man of “very proud Irish immigrant stock, who was loyal to his neighborhood. He would help a little old old lady groceries into her home and then a few minutes »
- Nick Vivarelli
Sequel Bits: ‘Mad Max,’ ‘Maze Runner,’ ‘Wolverine,’ James Bond
We’ll lead off this edition of Sequel Bits with a clip from a Mad Max: Fury Road special feature that focuses on the creation of one of the most attention-getting aspects of the film: the Doof Wagon and its accompanying rider/musician/standard bearer, Coma the Doof Warrior. In addition to that footage, we’ve got the following: […]
The post Sequel Bits: ‘Mad Max,’ ‘Maze Runner,’ ‘Wolverine,’ James Bond appeared first on /Film. »
- Russ Fischer
11 Craziest Things That Have Happened During the Making of Werner Herzog's Films
Read More: Watch: Nicole Kidman is the 'Queen of the Desert' in Trailer for Werner Herzog Epic German filmmaker Werner Herzog has always nurtured an affection for lunacy. His continual recasting of the outrageous actor Klaus Kinski serves as an obvious example of this, as does Herzog's on-foot trek across Europe (from Munich to Paris, in the middle of winter) to see film critic Lotte Eisner when she was dying. He has long displayed an aggressive rejection of bourgeois, behavioral norms. You might consider him deranged, potentially detrimental to himself and those around him; the cold, deliberate German accent in which he says many a sadistic thing does not always reveal his sardonic sense of humor. Herzog famously allows his actors and crew to attempt certain chancy stunts only after he himself has tried them. He doesn't like to work in studios, something he feels kills spontaneity. Studio-filming »
- Anya Jaremko-Greenwold
Anomalisa review: sex and depression in Charlie Kaufman's superb stop-motion breakdown
With the animated tale of a motivational speaker struggling to cope with his isolation in the universe, the Telluride film festival has screened a future classic
Charlie Kaufman’s return to directing seven years after Synecdoche, New York is, it turns out, significant. It gives Kickstarter, which is how it was funded, and the 2015 Telluride film festival, where it has premiered, their first real masterpieces. It innovates with stop-motion in ways your brain struggles to compute. Kaufman and co-director Duke Johnson offer images so moving and yet also so filthy Anomalisa might just make the first R-rated best animation Oscar winner.
And it addresses in new and fruitful ways the kinds of questions cinema sometimes aspires to answer. What does love look like? How does it feel to be deeply disconnected from the rest of the race? And, to quote its hero: “What is it to be human? To ache? »
- Catherine Shoard
Venice Fim Review: ‘The Danish Girl’
A year after Eddie Redmayne proved his incredible capacity for reinvention in “The Theory of Everything,” the freckle-faced Brit pulls off the ultimate identity overhaul as “The Danish Girl,” portraying gender-reassignment trailblazer Lili Elbe, nee Einar Wegener, who was one of the first to make a “sex change” via surgery. For an actor, there can be few more enticing — or challenging — roles than this, in which the nature of identity, performance and transformation are all wrapped up in the very fabric of the character itself, and Redmayne gives the greatest performance of his career so far, infinitely more intimate — and far less technical — than the already-stunning turn as Stephen Hawking that so recently won him the Oscar. Reuniting with “Les Miserables” director Tom Hooper in a return to the handsome, mostly-interior style of the helmer’s Oscar-winning “The King’s Speech,” Redmayne finds himself at the heart — one shared by Alicia Vikander, »
- Peter Debruge
Venice Review: Tom Hooper's 'The Danish Girl' With Eddie Redmayne & Alicia Vikander
Is it permissible to be glad that a film exists, admiring of some of its elements, delighted that it will get a massive release, even Ok with it probably winning a million bajillion awards, and to not like it? Tom Hooper's "The Danish Girl" is so inarguably Oscar-ready that already in the frenzied minutes after its Venice premiere the debate has whipped past the seemingly obvious nominations, like Eddie Redmayne for Best Actor, and currently hovers somewhere around whether Alicia Vikander should be campaigned as Supporting, where she'll have a better chance, or Lead, where she belongs. Mind you, we'll probably be beyond that again in a few paragraph's time. But while it's easy to be sniffy in an "obvious awards bait is obvious" kind of way, the fact is that both actors are very good, even if trapped in the amber of Hooper's overweeningly tasteful direction. And if the affectations of his style, »
- Jessica Kiang
Steve Jobs' widow pulled out of documentary on late Apple chief, claims film-maker
Alex Gibney says Laurene Powell agreed to help – then tried to dissuade potential interviewees from taking part
Were the people who gathered at candlelit vigils at Apple stores around the world grieving for Jobs, or the perceived loss of a future that seemed to promise an endless procession of gadgets and devices each more extraordinary and innovative than the last?
Continue reading »
- Edward Helmore
Watch: French Auteur Agnes Varda’s Prada-Financed Short Unveiled At Venice Days
Venice – Influential French auteur Agnes Varda has unveiled a ten-minute short at Venice titled “Les Tres Boutons” featuring non-professional actors and sponsored by Prada women’s-only label Miu Miu as part of its partnership with the fest’s independently run Venice Days section on “The Miu Miu Women’s Tales” initiative.
Varda latest work portrays a 12-year-old girl named Jasmine who lives and works on a farm where she raises goats and questions herself out loud about typical teen issues. Travelling from the country to the city her daydream continues as the she looses three buttons, each with its own significance.
At a press conference Varda, 87, described herself as “the grandmother of the Nouvelle Vague” and said that when she started out there were very few woman directors, while today their number in France has increased considerably. “But there are still plenty of women who need to find their voice in the world, »
- Nick Vivarelli
The Danish Girl review - Eddie Redmayne's swan neck is best thing in pain-free transgender melodrama
The story of Danish gender reassignment pioneer Einar Wegener and her transformation into Lili Elbe becomes a handsome but over-tasteful film in director Tom Hooper’s hands
The point about The Danish Girl, of course, is that it has two Danish heroines - and that one of them started life as a Danish boy. Adapted by Lucinda Coxon from David Ebershoff’s novel, Tom Hooper’s film retells a true-life story: that of painter Einar Wegener, who underwent a pioneering gender reassignment operation in the 1930s to become Lili Elbe. Einar/Lili is played by Eddie Redmayne, who is certain to reap plentiful laurels in the forthcoming awards season, with another role – following his Stephen Hawking in The Theory of Everything – about a slow process of physical and psychological transformation. And no doubt this sumptuously mounted, high-minded and unabashedly Oscar-baiting undertaking will overall emerge dripping with honours. But well-meaning and polished as it is, »
- Jonathan Romney
Equals review - Kristen Stewart and Nicholas Hoult fail to compute in moribund sci-fi parable
Set in a future world where emotions are banned and relationships outlawed, Drake Doremus’ venture into science-fiction falls flat
American director Drake Doremus made his name with Like Crazy and Breathe In, a pair of films about obstacle-strewn relationships filmed in a distinctively raw, improvisational style. He brings the same sense of frustrated yearning and jittery, unmediated tenderness to this film – but, rather remarkably, Doremus has gone all sci-fi with – if we’re being honest – a not entirely successful outcome. Equals resembles George Lucas’s classic fable of white-suit futurism Thx 1138 as if reshot as a perfume commercial: Oppression, by Calvin Klein.
Nicholas Hoult and Kristen Stewart play Silas and Nia, two cogs in the machine of a post-apocalyptic society that has essentially outlawed emotions of any kind: relationships are illegal, friendship non-existent, and any behaviour other than automaton-like functionality is considered deviance worthy of reporting to the authorities, »
- Andrew Pulver
Telluride Film Festival: ‘Suffragette’, ‘Malala’, ‘Carol’, Aretha Prove Women Rule On First Day Of Fest
You might say it was women power out in force that dominated the Telluride Film Festival’s first day Friday although Suffragette co-star Meryl Streep balked when I used that term with her. “I am so tired of hearing about female empowerment, ” she told me at the Focus Features party at Arroyo following the World Premiere of the film at the Herzog Theatre Friday night. ” I just want women to be included.” Indeed. And they certainly were in the first day’s programming… »
Venice Film Review: ‘The Wait’
Apart from the image of Jesus hanging from the cross — which, incidentally, is the first thing we see in Italian director Piero Messina’s “The Wait” — perhaps the most instantly recognizable scene in all Christian art is the Pietae, or the lamentation of Christ, in which the Virgin Mary cradles her lifeless son in her arms. While not a religious film per se, Messina’s profoundly dolorous debut — the sort that suits festivals just fine, but makes for depressing arthouse fare — could easily be seen as the visually gifted director’s reinterpretation of this iconic moment, casting Juliette Binoche (since “Blue,” cinema’s most gifted griever) as a mother awaiting the return (or resurrection?) of her absent son.
A clear disciple of Italian master Paolo Sorrentino, the film-school-trained Messina served as assistant director on “The Great Beauty,” and he adopts many of his mentor’s stylistic predilections on his first feature. »
- Peter Debruge
Oscars 2016: 10 early predictions for this year's Best Picture nominations
Summer is over, and you know what that means in Hollywood – time to dust off those statuettes and start lobbying. Film festival season is about to kick off in earnest, with Venice, Toronto and New York all taking place back-to-back over the next month, which means that we'll soon have a clear(ish) picture of the 2016 Oscar race.
Specifically, we'll have a sense of which would-be frontrunners are shaping up to be this year's Birdman and Whiplash, and which look more like this year's Unbroken and Big Eyes. In the meantime, Digital Spy has rounded up ten of 2016's most likely contenders for Best Picture.
Premiering at Cannes this year to rapturous praise and multiple standing ovations, Todd Haynes's period romance is already one of the year's most acclaimed releases. Based on Patricia Highsmith's long-banned novel of the same name, Carol stars Cate Blanchett as a mysterious »
A Royal Night Out: princesses on the prowl
A fearless exposition of the truth behind the night Princesses Elizabeth and Margaret joined the Ve day crowds. That and a few bits to make it feel like Titanic
As newsreel footage plainly demonstrates, Ve Day marked not only the end of the second world war in Europe, but the beginning of the UK’s all-time biggest piss-up, as a million revellers poured on to the streets to join together and do the Lambeth Walk as if their lives depended on it. Among the masses were two faces rarely seen outside of listed buildings: Princesses Margaret and Elizabeth, who – in celebration of the Nazi defeat – were allowed to roam incognito through the crowd.
Now on DVD, A Royal Night Out posits a more fanciful version of the story, in which the future queen and her sister elude their royal escorts and embark upon a whistle-stop tour of London’s wildest night spots, »
- Charlie Lyne
‘Malala,’ ‘Time to Choose’ Mark Doc-Heavy Start to Telluride
Telluride, Colo. — While Sydney Pollack’s “Amazing Grace” was being muzzled by Aretha Franklin and a Denver judge in Telluride Friday, a number of other documentaries dotted the schedule. Laurie Anderson’s “Heart of a Dog,” Evgeny Afineevsky’s “Winter on Fire: Ukraine’s Fight for Freedom,” Kent Jones’ “Hitchcock/Truffaut” and Jennifer Peedom’s “Sherpa,” among others, offered a wide range of topics for audiences to absorb, representing a certain on-going parity with the fest’s narrative selections, as longtime attendee Ken Burns put it.
I caught a pair of them: Davis Guggenheim’s “He Named Me Malala” (the annual press and patrons screening to kick off the fest) and Charles Ferguson’s “Time to Choose.” Both come from previous Oscar winners concerned with meaty zeitgeist issues, though they make for a stark contrast. Guggenheim’s portrait of Nobel laureate Malala Yousafzai feels unfocused, a missed opportunity to reconcile »
- Kristopher Tapley
Venice Film Review: ‘In Jackson Heights’
When taken as a whole, Frederick Wiseman’s U.S.-set documentaries are a celebration of sorts of sloppy American democracy in action: The system may be flawed at the top, but its grassroots pugnacity is consistently admired from the director’s iconic, unobtrusive viewpoint. Jackson Heights is a multiethnic neighborhood in Queens, and “In Jackson Heights” is a classic example of Wiseman’s affinity for this type of subject, full of community organizers and advocacy meetings in which citizens and aspiring citizens learn to use their civic voices. In truth, the camera lingers longer than necessary in these gatherings, but the film has rewards on the macro and micro levels, sure to delight the helmer’s devoted fans.
- Jay Weissberg
‘Straight Outta Compton’ Battles For Fourpeat Against Ever Faithful ‘War Room’ Audience In Lackluster Weekend
It just might be a fourpeat for Universal’s Straight Outta Compton which is battling to keep its No. 1 spot during what is turning out to be a neck-in-neck Friday with Sony’s faith based sensation War Room having the edge (at least tonight). Director F. Gary Gray’s film about the rise of N.W.A. should rise up for the weekend though and gross over $15oM when the dust clears Monday morning in what is a lackluster Labor Day holiday weekend. The last time a film was No. 1… »
A town woke up to a load of Minion bins after a graffiti prankster went wild
It's not quite Banksy, but someone has been transforming the bins in Peacehaven, East Sussex with a special touch of their own.
With a lick of yellow paint, the graffiti prankster has turned a total of 10 bins all over the town into Peacehaven's very own collection of Minions.
— Tracy Morgan (@tracymadmorgan) August 31, 2015
Whoever's behind the prank has even gone to the trouble of sticking on arms and attaching the character's famous goggle eyes with a couple of creative additions.
Even the council are impressed with the creativity, hoping it will encourage people to use the bins - or 'Binions' as they're now known.
A Lewes District Council spokesperson told The Mirror: "These bins have certainly drawn attention and brought comments and smiles from people passing by.
@CreativeReview The other 4 #Binnions pic.twitter.com/9ZE5NFB7SC
— Daniel Moon (@dmoonuk) September 2, 2015
"Anything that encourages people »
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