Sexy Beast (2000) - News Poster



‘War for the Planet of the Apes’ Deserves to Win the VFX Oscar

‘War for the Planet of the Apes’ Deserves to Win the VFX Oscar
The time has come for the Academy to finally give the VFX Oscar to “War for the Planet of the Apes.” Twice denied for “Rise” and “Dawn,” Weta Digital’s remarkable work on Caesar (Andy Serkis) culminated with a Shakespearean finale. It’s undeniably the best of the field. And coinciding with the 50th anniversary of the original “Planet of the Apes” would make it even sweeter. The Visual Effects Society obviously got the importance of the work, honoring the entire Caesar trilogy, now we’ll see if the Academy makes amends with “War.”

However, “Apes” has been denied before (with the acting branch, in particular, having a bias against Serkis and performance capture) and there is other noteworthy character animation to choose from, including the stunning CG Rachael from “Blade Runner 2049,” the creepy Snoke (Serkis) from “Star Wars: The Last Jedi,” Ego and the de-aged Kurt Russell from
See full article at Indiewire »

Paramount Pictures Hires Marketing Veteran Liz West

Paramount Pictures has hired veteran executive Liz West as executive vice president of marketing communications for international theatrical marketing and worldwide home entertainment.

West most recently served as VP of global publicity at the Walt Disney Company. She will report to Mary Daily, president of international theatrical marketing and worldwide home media entertainment. Paramount said the newly created role calls for West to work closely with senior executive teams to drive worldwide key marketing initiatives, including digital and publicity campaigns for international territories.

“As our slate expands and our business grows we are looking to make sure we have a strategic, lifecycle approach to our movies and integrated consumer-facing communications across these areas,” Daly said. “Liz, who is a known strategist with the invaluable combination of both international theatrical and home entertainment experience, is the perfect executive to help lead these efforts.”

West will begin her new role at Paramount on Feb. 26. During her Disney tenure,
See full article at Variety - Film News »

Horror-On-Sea 2018 Interview: Jamie Cymbal & Ryan Simons talk ‘Seizure’

Seizure is new gangster horror from Jamie Cymbal and Ryan Simons, which has been selected to play at the Horror-on-Sea Film Festival on Sunday 21st January. I got chance to ask them a few questions about what we can expect, their influences for the film, and the process of working together both in front and behind the camera.

What can we expect from the film Seizure?

Jamie – A fast paced, entertaining gangster horror that’s well acted and puts people on edge of their seats.

Ryan – A fast paced ghost story seen through the eyes of gangsters who wonder whether they’re losing their minds.

What was your inspiration for writing the film Seizure?

Jamie – Ryan and I had played around with a few scripts ideas over the years and to be totally honest very few were horror. I grew up loving the obvious Robert De Niro classics, Once upon a time in America (1984), Goodfellas,
See full article at Blogomatic3000 »

‘Star Wars: The Last Jedi’: How Rian Johnson and the VFX Team Created the Porgs, Snoke, and More

  • Indiewire
‘Star Wars: The Last Jedi’: How Rian Johnson and the VFX Team Created the Porgs, Snoke, and More
For his first time out with the “Star Wars” universe, Rian Johnson populated “The Last Jedi” with a slew of new and old friends and foes, including several creature standouts: the adorable Porgs, the elegant Vulptices, the majestic Falthiers, the sinister Snoke, and the return of Master Yoda.

Read More:‘The Last Jedi’ Opens to $220 Million, No Matter What Disappointed Fanboys Say

“To the extent that I deal with visual effects, since I don’t have the technical know how, it’s on the design side,” Johnson said. “And I like simplicity of design. You don’t ever want the audience using unnecessary brain power figuring out what they’re looking at. So many of our conversations about the design stuff weren’t about making it look cool, they’re always going to make it look cool [at Industrial Light & Magic]. It was about knowing what we’re looking at.”

The Porgs

While scouting
See full article at Indiewire »

'Midnight, Texas' Recap: Can the Gang Fend Off a Succubus?

  • BuddyTV
'Midnight, Texas' Recap: Can the Gang Fend Off a Succubus?
After four episodes of Midnight, Texas, the writers are getting a little more creative with their "big bad of the week." In the fourth episode, titled "Sexy Beast," the Midnighters have to fight off a succubus posing as a hot blonde while still trying to figure out why all this evil is coming to Midnight. Oh, and there's some kissing too.

Here's a run-down of the most important happenings in this episode of Midnight, Texas.
See full article at BuddyTV »

Ian McShane Brings Intensity & Legitimacy To Hellboy Reboot

Ian McShane is a revered and accomplished British actor whose career dates back to the early 1960s. His breakout role came in 2000, when he played the amoral, serpentine mob boss, Teddy Bass, in Sexy Beast, a brutal crime thriller that also starred Ray Winstone and Ben Kingsley (in one of his most thoroughly entertaining roles). American audiences probably knew him best as the infamous (and quasi-historical) Al Swearengen in David Milch's classic anti-Western Deadwood -- a role now firmly entrenched in American pop culture.

McShane is undoubtedly one of the greatest character actors working today, he's played everything from pirate to hitman to martial arts tiger to the Norse God Odin himself, all with one thing in common: they're all take-no-shit, total badasses! THR's announcement of McShane joining Neil Marshall's Hellboy reboot is absolutely huge news, which vaults this film to the top of my must-see movies of
See full article at LRM Online »

The directors who can take cinema forward over the next decade

Tom Jolliffe on the directors who can take cinema forward over the next decade…

There’s a cinematic crossroads on the horizon. As the market gets swallowed up by a core consumer taste leaning toward spandex and radioactive arachnid bites, there’s a need for modern thinking, engaging directors to offer something different. After all, there’s only so long the Marvel cow can be milked. It will dry out. It’s the way of things. Studios now bank on billion dollar returns. These seem safe bets now, but for how long? Ultimately it will become a huge gamble.

We’re still seeing interesting film-makers doing their best to re-invigorate or subvert genres. Edgar Wright just smashed it out of the park with Baby Driver. There was a degree of hyperbole about marking him as a cinematic master (until he improves his depiction of women in films, that may allude
See full article at Flickeringmyth »

‘Under The Skin’ Visionary Jonathan Glazer Has Finished Writing His Next Movie

‘Under The Skin’ Visionary Jonathan Glazer Has Finished Writing His Next Movie
English director Jonathan Glazer has been a feature filmmaker since 2000, but he’s only made three movies in 17 years: Breakout debut “Sexy Beast,” the criminally overlooked Nicole Kidman psychodrama “Birth” and the modern classic “Under The Skin.” 9 years separated the releases of his last two movies, so many of us have been worried that it would be another decade until Glazer delivered a follow-up to 2014’s “Under The Skin,” but it appears we won’t have to wait that long after all.

Read More: Why Jonathan Glazer’s ‘Under the Skin’ Took a Decade to Make

Speaking to the Nottingham Post (via The Playlist) after picking up his honorary doctorate from Nottingham Trent, Glazer revealed he is starting pre-production on his new movie after working on the script for the past year. The screenplay is finished and will mark his first solo outing as a writer. Glazer co-wrote “Under The Skin
See full article at Indiewire »

DVD Review – Security (2017)

Security, 2017.

Directed by Alain Desrochers.

Starring Antonio Banderas, Ben Kingsley, Liam McIntyre, Chad Lindberg, Katherine de la Rocha, and Gabriella Wright.


A shopping mall security guard has to protect a female trial witness from a psychopathic criminal and his gang of soldiers looking to stop her testifying against them.

And so the run of direct-to-dvd action movies starring **ahem** older action movie actors continues with Security, a film that stars Antonio Banderas (Desperado/The Expendables 3) and could be neatly summed up as ‘Die Hard in a shopping mall’ and left at that. However, the whole ‘Die Hard in a…’ thing was done with a long time ago and these days not even the Die Hard franchise itself can claim to be anything like those halcyon days of likeable everyday characters taking extraordinary measures to stop the bad guys, so why not delve back into that mindset of late
See full article at Flickeringmyth »

Brother Can You Spare a Dime

It’s 1930s America as seen in the movies, through music, and the evasions of newsreels. Franklin Delano Roosevelt preaches prosperity while James Cagney slugs out the decade as a smart-tongued everyman — in a dozen different roles. Director Philippe Mora investigates what was then a new kind of revisionist info-tainment formula: applying old film footage to new purposes.

Brother Can You Spare a Dime


The Sprocket Vault

1975 / B&W / 1:33 flat full frame / 106 min. / Street Date ?, 2017 / available through The Sprocket Vault / 14.99 (also available in Blu-ray)

Film Editor: Jeremy Thomas

Research by Michael Barlow, Jennifer E. Ryan, Susan Winslow

Produced by Sanford Lieberson, David Puttnam

Directed by Philippe Mora

Years before he was briefly sidetracked into sequels for The Howling, Philippe Mora was an accomplished artist and documentary filmmaker. Backed by producers Sanford Lieberson and David Puttnam, his 1974 documentary Swastika pulled a controversial switch on the usual historical fare about
See full article at Trailers from Hell »

The Hatton Garden Job review – a swift and methodical theft of everyone's time

Matthew Goode and Phil Daniels do their best as toughened crims in a story of the real-life 2015 heist, but they can’t rescue this geezer opera from trite tedium

The Hatton Garden safe deposit burglary in 2015 was the largest in English history, carried out by ageing veterans. When news of this caper broke, I – along with every other film journalist in the country – speculated about what the inevitable film version would look like and, in a spasm of sentimental optimism, I even invoked Jonathan Glazer’s masterpiece Sexy Beast, also about a safe deposit job.

A Working Title production with Michael Caine and Jim Broadbent is in the works. In the meantime here is another film – and it’s a most-expense-spared production, ropey and depressing, which fails to keep faith with the grey power ethos by inventing a sexy young crim leader for the older crew: Matthew Goode roughens up his vowels for the part.
See full article at The Guardian - Film News »

Hollywood Shines at the BAFTA Awards

Hollywood Shines at the BAFTA Awards
Prior to 1999, the British Academy Film and Television Awards were seen as the poor, but perfectly respectable, country cousin of their high-wattage American brethren. There were a number of reasons for this, chief among them the four-month time lag between U.S. and U.K. release dates, which saw a bizarre hike in prestige releases during April, when the BAFTA ceremony was traditionally held.

Until 1997, the event also included an extensive roll of television awards, which made for a long night, with the top film awards inevitably going to the same films honored by the Academy of Motion Picture Arts and Sciences two months earlier. The BAFTAs felt stale.

In 1999, however, the BAFTAs stepped up the glamour offensive. Elizabeth Taylor was honored with a BAFTA fellowship, presented by Michael Caine, while the likes of Gwyneth Paltrow, Cate Blanchett, and Christina Ricci walked the red carpet outside North London’s dowdy Business Design Centre.
See full article at Variety - Film News »

Every Oscar Nominee and Winner of Color in Acting Categories Post-2000

By: Carson Blackwelder

Managing Editor

The Oscars have been a source of contention for the last two years — but that is poised to change this year. At the source of the controversy is a lack of non-white performers among the 20 slots in the best actor, best actress, best supporting actor, and best supporting actress categories. Let’s see just how many minorities — of black, Asian, and hispanic descent — have been honored by the Academy since 2000.

#OscarsSoWhite is the term that has been used to describe the phenomenon of having non-white thespians completely shut out of the acting categories at the 2015 and 2016 ceremonies. Nearly all of Hollywood and the press have spoken out about this occurrence, though it looks like the 2017 ceremony could shape up to be one of the most diverse in history. Here is a breakdown of every nominee and winner post-2000:

For the 2000 ceremony, there was one minority for each acting category.
See full article at Scott Feinberg »

Video Essay Details The Art Of Cursing In Cinema

Ah, swear words! We’re taught from such a young age to abstain from using profane language that the desire to use it becomes almost inherent the older we get. An f-bomb here, a slip of the tongue there, these words have been cultivated to be an important part of our modern day vernacular, no matter how taboo they’ve been considered historically.

In film, swear words are the difference between a PG-13 or an R-rating; they’re the unforgettable final line muttered by a scorned Rhett Butler in “Gone With The Wind,” or in a whirlwind performance by Ben Kingsley in Jonathan Glazer‘s terrific “Sexy Beast.” In a new video essay from Now You See It, we learn more about the aesthetics of cursing in film.

Continue reading Video Essay Details The Art Of Cursing In Cinema at The Playlist.
See full article at The Playlist »

Toronto Film Review: ‘Brotherhood’

Toronto Film Review: ‘Brotherhood’
A decade ago, “Kidulthood” — a tough, multiracial British teen drama, written by and starring eventual BAFTA winner Noel Clarke — was justly praised for its vibrant energy; two years later, follow-up “Adulthood” saw the actor-scribe step up to add directing duties to the mix. Opening with a montage sketching the salient events of the story so far, third installment “Brotherhood” sees the return of West Londoners Sam Peel (Clarke), nemesis Uncle Curtis (Cornell John) and other familiar faces from the first two films. In this par-for-the-course conclusion to Clarke’s “‘Hood” saga, the key transition is the evolution of the main character’s philosophy: From a trenchant warning not to mess with a boy that has nothing to lose, to the realization that perhaps “the only person more dangerous than someone with nothing to lose is someone who stands to lose everything.”

Having served his time for killing a boy with
See full article at Variety - Film News »

Criterion Close-Up – Episode 49 – Twilight Time Appreciation Show

We change things up by focusing on a boutique label, Twilight Time, that has found success through a unique business model. Mark and Aaron happen to be big fans, and feel that we have directly contributed towards some of their profits. We talk about the company, their business model, why they have succeeded, and we address some common critiques. We also review a few discs each, and finally count down our favorite Twilight Time titles.

About Nick Redman:

London-born Nick Redman, one of Hollywood’s leading producers of movie music, is also an award-winning documentary filmmaker. An Academy Award nominee as producer of the 1996 Warner Brothers documentary, The Wild Bunch: An Album in Montage, he went on to write, produce, and direct A Turning of the Earth: John Ford, John Wayne and The Searchers (1998), which became a prize-winner at multiple film festivals.

As a consultant to the Fox Music
See full article at CriterionCast »

Ben Kingsley: why I now know that women make the best directors of men

The veteran actor’s new film, Learning to Drive, is directed, written and produced by women. He explains why it’s an experience he’s keen to repeat

He has won world renown – and an Oscar – for his roles in films by some of the greatest male directors. Now Sir Ben Kingsley, star of Gandhi and Sexy Beast, says he is determined to produce and star in movies directed by women – because they are better at understanding male vulnerability.

Related: Learning To Drive: a modest drama with a big heart

Continue reading...
See full article at The Guardian - Film News »

Ian McShane To Play Mr. Wednesday in 'American Gods'

Starz and FremantleMedia North America announced today that Ian McShane (“Deadwood,” “Ray Donovan”) has been cast as Mr. Wednesday in the upcoming adaptation of Neil Gaiman’s acclaimed contemporary fantasy novel, American Gods. The series will begin shooting in April.

Neil Gaiman said

“When you write a beloved character (beloved with, or despite, or because of all his faults) like Mr. Wednesday, you get to watch the internet trying to cast the role. I've seen a hundred names suggested, but few make me grin like Ian McShane does. I've already been lucky enough to have him in one film (he was bright blue in it, animated, and probably Polish). Now I count myself even luckier: he's made the journey from ‘Lovejoy’ to ‘American Gods.’ Yesterday was Super Tuesday. Today is Wonderful Wednesday.”

Commented Bryan Fuller and Michael Green:

“Actor. Icon. And now god. It is a goddamn delight to
See full article at LRM Online »

Vertigo takes Johnny Harris boxing drama for UK

Vertigo takes Johnny Harris boxing drama for UK
Jawbone has added Ian McShane to its cast, which also includes Ray Winstone and Michael Smiley.

UK distribution outfit Vertigo Releasing has picked up UK rights to Thomas Napper’s boxing drama Jawbone.

As previously revealed by Screen, Johnny Harris (This Is England ’86) penned the film’s screenplay and also stars alongside Ray Winstone (Sexy Beast) and Michael Smiley (Kill List), while musician Paul Weller is composing the score.

Ian McShane (Pirates Of The Caribbean: On Stranger Tides) has since joined the ensemble cast of the drama, which tells the story of a former youth boxing champion who, after hitting rock bottom, returns to his childhood boxing club.

Emu FilmsMike Elliott (The Goob) will produce with Revolution’s Andrew Eaton (Rush) and BBC Film’s Christine Langan (Philomena) on board as executive producers.

Retired boxer Barry McGuigan and trainer Shane McGuigan are consulting on the film to prepare Harris for his role.

London-based Independent
See full article at ScreenDaily »

Watch: 'A Brief History Of Swearing In Movies' In Less Than 3 Minutes

When I think of a good ol’ fashion cussfest, Ben Kingsley’s Oscar-nominated performance as Don Logan in Jonathan Glazer’s terrific “Sexy Beast” comes to mind, dropping profanities faster than you can blink an eye. Since sound and picture merged together into the spectacular form we are familiar with in 1927, the history of shameful language has been quite zigzagged. This new video from Movie Munchies gives you a precise and speedy look back into the progression of bad language in film — it’s start at the word damn in 1929, the establishment of the MPAA in 1934 (they caught on fast!), and the return of the word damn in 1939’s technicolor paragon, “Gone With The Wind.” Read More: Watch This 5-Minute Supercut Of Actors Acting Opposite Themselves Now though the producers of “Gone With The Wind” received what would have been an $85,000 fine today, it was clear that some alterations needed
See full article at The Playlist »
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