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Film which follows the presidential couple on their first date through Chicago’s South Side in the late 80s has already received positive reviews
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- Benjamin Lee
"Pretty good setting to bring a girl..." Roadside Attractions has debuted a fantastic trailer for Southside with You, the film from Sundance this year that retells Barack Obama's first date in Chicago in 1989. Parker Sawyers plays Obama, and Tika Sumpter plays Michelle Robinson, and they're perfect together in this - they have chemistry that just works wonders. The film is being compared to Before Sunrise and you'll see why with this trailer - there are many gorgeous shots of them strolling around Chicago, and it has that magical romantic feeling every frame. It's a wonderful film - read my Sundance review. Don't miss this. Here's the first official trailer for Richard Tanne's Southside with You, direct from YouTube: Inspired by Barack and Michelle Obama’s first date, Southside with You recounts the eventful summer day in 1989 when a young law firm associate named Barack Obama (Parker Sawyers) tried »
- Alex Billington
Exclusive: Ethan Hawke is one of those few actors who can segue comfortably between playing the sensitive guy (Before Sunrise, Reality Bites) and man at his most primal (the upcoming The Magnificent Seven, Training Day). In The Phenom, the four-time Oscar-nominated actor portrays an ex-con father, whose tough love has turned into a head game for his major league pitcher son Hopper Gibson (Johnny Simmons). When the rookie is demoted to the minor leagues, he looks to an… »
Richard Linklater has enjoyed an enviably idiosyncratic career since his 1991 Sundance breakout "Slacker." He's moved through a wide range of budgets and subjects, from animated "Waking Life" and the walking and talking, Oscar-nominated "Before Sunrise" series to "Dazed and Confused." Back in 1993 Universal couldn't figure out how to sell a Texas coming-of-age film with a young indie filmmaker and no-name cast (including Ben Affleck and Matthew "all right, all right" McConaughey) at the box office. "Dazed and Confused" eventually emerged as a cult midnight movie that stayed in theaters for over a year as well as a double Platinum album and homevideo classic that keeps selling new DVD and Blu-ray editions. Linklater estimates that finally Universal made more than $50 million on the film. After Linklater made commercial hit "School of Rock" in 2003 at Paramount, the studio developed the 1980 Austin college comedy »
- Anne Thompson
R-rated local thriller “Insane” debuted on top of the Korean box office, ousting “Batman v Superman: Dawn of Justice.” Earning $2.6 million from 355,000 admissions between Thursday and Sunday, the picture accounted for 30% of the total weekend box office.
“Insane” recounts the story of a woman taken to a psychiatric hospital against her will in broad daylight.
“Zootopia” remained in second. The Walt Disney animation made $1.59 million between Friday and Sunday, extending its total to $26.7 million after eight weekends.
Opening on Thursday, newcomers “10 Cloverfield Lane,” “Eddie the Eagle” and “Trumbo” landed in third, fourth and sixth places, respectively. Distributed by Lotte Entertainment, “Cloverfield” earned $1.7 million over four days. “Eddie” scored $985,000. “Trumbo” earned $233,000.
“Batman v Superman” tumbled to fifth, with a drop of 70%. The superhero movie earned $781,000 between Friday and Sunday, for a total of $15.9 million after three weekends.
Re-released after 20 years, “Before Sunrise” opened in seventh. The melodrama earned $157,000 between Thursday and Sunday. »
- Sonia Kil
If I had to estimate how many times I’ve seen Richard Linklater’s Dazed & Confused since it was released in 1993, I’d be willing to bet it’s over three dozen by now. I adore the film, and it’s one of those movies that has grown over time for me. The more I’ve gone back to it, the longer I’ve lived with it, the more I’ve found in it. That movie has a cast that was largely unknown at the time but that has gone on to look almost overstuffed with star power. It is a remarkable ensemble, and even the kids who didn’t go on to further work or bigger stardom did work that has aged beautifully. I never got around to seeing a trailer for this one. In fact, it almost feels like Paramount’s sneaking it out. It just premiered at SXSW, »
- Drew McWeeny
It was just about two years ago when filmmaker Richard Linklater finally unveiled his long brewing passion project Boyhood to the world and finally became the awards magnet that many thought he would eventually turn into. The thing about Linklater is, no matter what he’s currently up to, he has something very different planned, so while Boyhood was a prestige outing, not far from the Before trilogy (Before Sunrise, Before Sunset, and Before Midnight), what he has coming to us this week is a spiritual sequel to his stoner classic Dazed and Confused. Yes, I’m talking about Everybody Wants Some, though for this piece, I’m really just focusing on Linklater himself. He’s as fascinating a director as there is in the business, so it’s always a pleasure to look at his filmography and talents, no question there. I’m seeing Linklater’s new film Everybody Wants Some later on today, »
- Joey Magidson
Starting with 1995's "Before Sunrise," Richard Linklater and Ethan Hawke have formed a deep creative, collaborative bond, turning that first picture into a trilogy, and working on a variety of pictures from the Oscar nominated, indie smash hit "Boyhood" to the down-and-dirty, underrated "Tape." And like anyone who works together over the years, there are always projects that manage to slip away, and a particularly interesting one eluded the pair over a decade ago. While Hawke is currently in theaters playing jazz legend Chet Baker in "Born To Be Blue" (our review), in a recent chat on "Wtf with Marc Maron," Hawke reveals that many years ago, he had worked with Linklater on a different biopic focusing on another era of the artist's life. "I was here in La one time, and Brad Pitt apparently dropped out of some Chet Baker project. This is about fifteen, sixteen years ago. And »
- Kevin Jagernauth
Ethan Hawke is fiddling with a spoon. It’s late afternoon this March 21 and the Oscar-nominated actor (Before Sunrise, Boyhood) has just finished a press junket at the swanky London West Hollywood hotel for Born to Be Blue, in which he plays jazz great Chet Baker. He’s restless — and who can blame him? He tries to grip the spoon with one eye, then the other eye, and even covers his mouth with it. But that doesn’t prevent Hawke, 45, from chatting about the character he’s longed to play since he was 18, when Dead Poets Society launched his
- Pamela McClintock
The night before the SXSW Film Festival got under way, Michael Barker, co-president of Sony Pictures Classics, defended his communal love of film in theaters. "In pursuing the new future, we cannot decimate the past," he said in his acceptance speech as one of the honorees at the Texas Film Awards, the annual benefit for Richard Linklater's now 30-year-old Austin Film Society.
Watching the Sony Classics reel, the crucial art films I grew up on over the decades sped past. From Truffaut's "The Last Metro" and Merchant/Ivory's "Howards End" to more recent Oscar-winners "Blue Jasmine," "Alice" and "Son of Saul," I felt a twinge of loss. SXSW is all about change, and forward motion. But in our rush toward digital immediacy, we lose something too.
While Barker and partner Tom Bernard's Sony Classics remains the very model of a theatrically driven and adaptive studio specialty subsidiary, the world is changing around them. 35 mm is no longer a viable exhibition format, directors have to fight to shoot with celluloid, and distributors are increasingly challenged to lure consumers away from mobile and home-viewing options in favor of a theater.
Also fighting the good fight is Linklater. He announced construction on the Austin Film Society's new two-screen theatre, "showing repertory, international and arthouse films every day of the week," which will boast a 35 mm projector. Meanwhile, more local exhibitors are turning to alternative content like TCM Classic Movies to grab their customers—most of whom are well over 30, if not 60.
Linklater has enjoyed an enviably idiosyncratic career since his pre-sxsw 1991 Sundance breakout "Slacker" (picked up by Barker and Bernard). He's moved through a wide range of budgets and subjects, from animated "Waking Life" and the walking and talking "Before Sunrise" series to "Dazed and Confused," which Alphaville's Sean Daniel and Jim Jacks made with Universal chairman Tom Pollock. Universal couldn't figure out how to sell a Texas coming of age film with a young indie filmmaker and no-name cast (including Ben Affleck and Matthew "all right, all right" McConaughey) at the box office; "Dazed and Confused" eventually emerged as a cult homevideo classic.
After Linklater made commercial hit "School of Rock" in 2003 at Paramount, the studio developed the 1980 Austin film that became "Everybody Wants Some!!" And, as he said at his New York pre-sxsw party, it was still tough to get it made. The film took a decade to go into production, just as "Boyhood" hit big and headed for awards contention. However, it may be deja vu all over again: Cast with unknowns, the movie is hugely entertaining, shot with the same "Dazed and Confused" aesthetic (and many of the same crew, including long-time Linklater editor Sandra Adair), and Paramount is hedging its bets: "Everybody Wants Some!!" will go out via platform release April 1.
It's a struggle that speaks to why, these days, emerging film directors tend to find more work in television, from SXSW stars the Duplass brothers, who keep their film budgets low, to director-actress Amy Seimetz ("The Killing," "The Girlfriend Experience") and Lena Dunham, whose HBO series "Girls" launched SXSW Film's move into television premieres. These are now major draws, from "Broad City" panels to the outdoor preview exhibit “Welcome to Annville," which ties to AMC’s supernatural comic-book drama, "Preacher" (November) starring Dominic Cooper (from executive producers Seth Rogen and Evan Goldberg); that will premiere at SXSW March 14.
As for the movies at SXSW, buzz has started as film buffs spread the word on opening-night titles like Joey Klein's bleak romance "The Other Half," starring real-life couple Tatiana Maslany and Tom Cullen. But it can be tough for the film side of SXSW to grab attention from the rest of the festival — even after President Obama had left town.
At SXSW 2016, everyone hovers on street corners searching for their Uber or Lyft drivers. Downtown Austin resembles San Diego's Comic-Con with its countless showrooms, meet-up tables, and brand marketing opportunities like the "Mr. Robot" ferris wheel, Capital One House, and pedicabs bedecked with HBO's "Game of Thrones.
As at Comic-Con and Sundance, the noise of the corporate world trying to nab a piece of the smart digital-driven demo at SXSW has gotten a lot louder. Interactive was SXSW's growth engine for four years, but attendance stabilized in 2015 and 2016 (2015 attendance included 30,000 music, 33,000 interactive and 20,000 film participants). "'Twas the night before SXSW and all through this hotel lobby bar there are Interactive nerds drinking wine talking about Macs and Minecraft," tweeted The Daily Beast's @jenyamato.
SXSW attendees lined up around the block to get into fashion and lifestyle site Refinery29's opening night high-school-themed "The School of Self Expression" party, serving miniaturized high school snacks on molded cafeteria trays to guests including Kate Bosworth.
"SXSW is about youth and the future," eight-year SXSW veteran and Refinery29 cofounder Philippe von Borries told me. "It's forward looking, but it's a dude-centric world. SXSW events used to attract diehard geeks who love technology. It then became about big marketing events, as brands started coming in. That's blown up in the last few years. Now there’s a much larger female presence, more style, more creativity in the air."
Targeted to millennial women, Refinery29 lures 150 million visitors a month with content ranging from horoscopes to in-depth interviews with Hillary Clinton, pushed out via social platforms like Facebook and Instagram. "It's about self-expression and empowering women, bringing content from incredible female voices from around the world: style, fashion, beauty, global issues, health, wellness," said Von Borries.
And it may be companies like Refinery29 that will shape the future of SXSW. Video is driving Refinery29's next evolution; at Sundance, it announced the "Shatterbox Anthology," a 12-part series of shorts directed by women. Produced by Killer Films' Christine Vachon and Pam Koffler, it will debut this spring with "Kitty," the directing debut of actress Chloe Sevigne. And Von Borries is proud of Jill Soloway's darkly irreverent six-part comedy series "The Skinny," about a young woman with an eating disorder, which "goes to places other media companies are not going."
- Anne Thompson
While presenting her latest film “Lolo” at the New York Rendez-Vous with French Cinema, Julie Delpy spoke about “On The Verge,” a series she’s developing as a writer with a prominent U.S. streaming service.
Set in the U.S., the English-language comedy series will turn on a group of forty-something woman tackling singlehood and will depict their relationships with men. “We usually picture women in their forties at peace with themselves, but that’s not how they are in real life. I’d like to show them in a way that we haven’t seen them before — show how crude and crazy they can be when they talk about men, sex and relationships.”
The series, which is still at script stage, will mark Delpy’s first foray into TV drama.
- Elsa Keslassy
Love is dumb. Love is irrational. Love defies all logical arguments against it. It can make you act in terribly self-destructive ways. It's not math. It's love, and when you feel it, nothing else matters. Which brings us to Netflix's Love, a romantic comedy series created by Judd Apatow, Lesley Arfin, and Paul Rust, starring Rust and Gillian Jacobs as a pair of Angelenos who meet awkward, date even more awkwardly, and seem determined to make a go of things despite ample evidence warning them not to. (Its 10-episode first season debuts Friday; I've watched the whole thing.) Love is messy. It's shaggy. It takes weird detours that only sometimes work, and on occasion it seems to be daring its audience to not only root against the central couple, but to question how many more episodes they might want to watch. I can see all those issues, and more. I just don't care. »
- Alan Sepinwall
Exclusive: The Wounded Angel director is planning a series of films about modern nightlife in Almaty, Kazakhstan.
Kazakh director Emir Baigazin is already planning a second film trilogy as his second feature The Wounded Angel has its world premiere in Berlin’s Panorama section on Tuesday (Feb 15).
”Harmony Lessons and The Wounded Angel are the first two parts of a trilogy about teenagers and their complex relationships with the world and themselves,” producer Anna Vilgelmi of Kino Company told Screen exclusively.
“Emir’s new project Over The City will be the opening for a new trilogy about the modern nightlife in Almaty, his monument to the city and the real life of young people. When people think of Kazakhstan and Central Asian cinema, they think of sheep and mountains, but there’s also something else.”
- email@example.com (Martin Blaney)
Here's the basic plotline of producer and now first-time writer-director Emily Ting's immensely charming romance Already Tomorrow in Hong Kong, boiled down to its basic essence. A man and a woman meet, and -- spoiler alert -- fall in love over the course of two separate nights in an alluring, non-us city, in this case, as you probably gathered from the title, Hong Kong. Ok, so let's address the cinematic elephant in the room right off the bat. Yes, of course Richard Linklater's Before Sunrise and its two sequels are unavoidable talking points with respect to Already Tomorrow in Hong Kong. And to her credit, Ting doesn't try to deny or walk away from these obvious antecedents. But continually harping on this anxiety-of-influence angle, as too many commentators on...
[Read the whole post on twitchfilm.com...]
Title: Already Tomorrow in Hong Kong Director: Emily Ting Starring: Jamie Chung, Bryan Greenberg, Sarah Lian, Jaden Cheng, Richard Ng, Linda Trinh. Director Emily Ting is a groundbreaking female filmmaker. Her analysis of the prelude to love can recall that of Richard Linklater: ‘Already Tomorrow in Hong Kong’ could very well be the Asian adaptation of the trilogy ‘’Before Sunrise-Before Sunset-Before Midnight.’ In Ting’s spirited romance, Ruby, a Chinese American toy designer from Los Angeles, visits Hong Kong for the first time on business. Finding herself stranded, she meets Josh, an American expat who shows her the city. While both are Americans, Josh has been living in Hong Kong for [ Read More ]
The post Already Tomorrow in Hong Kong Movie Review appeared first on Shockya.com. »
- Chiara Spagnoli Gabardi
Sundance Film Festival marks a fresh start to the film calendar. Just as awards season is winding down, new artistic agendas are kicking off all over Park City.
Sundance is a festival unsullied by headline-sucking studio ‘out-of-competition’ launches, making it purely about the programming line-up, split neatly between docs and dramatic, world and Us, premieres and competitive. In that sense, there was one big winner: Nate Parker’s The Birth Of A Nation, which won the Grand Jury Prize in the Us Dramatic section and also walked away with the Audience Award and a record-breaking $17.5m deal from Fox Searchlight.
Netflix had actually offered more for the confrontational, provocative, agenda-changing film which will be pushed for next year’s awards to put a halt to Oscars-being-so-white. In fact, Netflix and Amazon were active throughout Sundance, chasing down quality, prestige English-language projects as opposed to bulk-buying. (This isn’t cable programming; this is taste-making. If a film »
- firstname.lastname@example.org (Fionnuala Halligan)
“Southside With You” is a low-key romance with one heck of a hook, following a up-and-coming corporate lawyer named Michelle Robinson as she spends one summer day in Chicago in 1989 with one of her firm’s interns: Harvard student Barack Obama. The whole “two people walk around a city and fall in love” plot has been done — most notably by Richard Linklater with his “Before Sunrise”/“Before Sunset”/“Before Midnight” trilogy — but by making his young lovers into the future President and First Lady of the United States, writer-director Richard Tanne easily clears one of the biggest hurdles facing anyone trying to grab an audience. No one can reasonably ask, “Why should I care about these two schmoes?” Still, don’t underestimate the degree of difficulty to what Tanne’s attempting here. Not only did he have to cast a credible Barack and Michelle, he also had to know that »
- Noel Murray
Once upon a time, there was a young, ambitious lawyer named Michelle Robinson from Chicago's Southside, who lived with her parents to help care for her father, who ailed from Ms. In the summer of 1989, Robinson spent an afternoon with a charismatic, cigarette-addicted summer associate from Hawaii named Barack Obama, strolling the steamy streets of their beloved city. They made, and make, a delightful couple, which is why filmmaker Richard Tanne decided to re-create the early days of their romance in his Sundance entry, Southside With You. The film has been compared, favorably, to Before Sunrise, and it traces the Obamas' adorable very-first date, from clashing dessert choices and Michelle's ample skepticism to holding hands during a screening of Do the Right Thing. It will also, as Vulture Kyle has pointed out, be one of the only movies of 2016 (if it gets released this year) to feature a black »
- Stacey Wilson Hunt
40 years ago today, Penny Marshall and Cindy Williams schlemiel-schlamazeled their way into TV history when “Laverne & Shirley” premiered on ABC. Laverne DeFazio and Shirley Feeney, two roommates who worked as bottle-cappers in Milwaukee, had made their debut on “Happy Days” the November before their own spin-off started airing on January 27, 1976. The zany antics of “Laverne & Shirley” quickly shot to No. 1 in the ratings, even surpassing the viewership of “Happy Days.” Williams departed the show after she became pregnant with her first child. As to why she left instead of scheduling around the birth of her baby, Williams has said, “When it came time for me to sign my contract for that season, they had me working on my due date to have my baby. And I said, ‘You know, I can't sign this.’ And it went back and forth and back and forth and it just never got worked out. »
- Emily Rome
ost of us, if we're extremely lucky, will never be caught in the middle of a highly publicized media-circus frenzy. Any folks who go into Weiner, the documentary that covers Anthony Weiner's 2013 mayoral run-cum-second chance at a viable political career — and the subsequent flame-out that happens when a second scandal emerges — looking for, say, Hilary Clinton dirt, or proof that Team Clinton meddled with the film's editing, will be sorely disappointed. (At the premiere's Q&A, co-directors Josh Kriegman and Elyse Steinberg went on the record as saying »
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