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Second edition of event for aspiring creatives reveals line-up.
The two-day event will take place at Bafta’s Piccadilly venue in London between May 6-7 and Glasgow’s Centre for Contemporary Arts on May 6, featuring creatives from the worls of film, TV and gaming.
The events will feature talks on telling stories for film, making a debut feature film, pitching and freelancing »
Author: Jon Lyus
Join Pinewood Cinema at Pinewood Studios and HeyUGuys on Sunday 30th April for a special ‘black & chrome’ screening of Mad Max: Fury Road, featuring an exclusive Q&A with the film’s Executive Producer, Iain Smith, hosted by me.
An acclaimed producer, Iain is known for producing and executive producing such films as Children of Men, The Fifth Element, Spy Game, The Killing Fields and Seven Years in Tibet. As well as enjoying the full monochrome force of George Miller’s Mad Max: Fury Road we’ll be asking Iain about his experience with the film, his work at Pinewood and his career in Film.
One lucky person, who will be chosen at random on the night, will also receive a signed Mad Max: Fury Road Black and Chrome poster from Iain.
Book your tickets now – click here for details Screening Details
Sunday, 30th April
18.15pm | Q »
- Jon Lyus
The ominous prologue of Kevin Phillips’ “Super Dark Times” arrives like a shiver, and that chill lingers until the bitter end, continuing to sink into your skin even as the rest of the film begins to melt into the atmosphere. A slow-burn high school thriller that’s like a tortured cross between “Stand By Me” and “Donnie Darko” (with a bit of Dostoyevskian madness thrown in there for good measure, Phillips’ feature-length debut begins by welcoming us to a grey Hudson Valley town that’s lost in the barren phantom zone between fall and winter.
The place looks practically post-apocalyptic, the shattered window of a classroom evoking “Children of Men.” But it’s not the end of the world, just a petrified buck who’s gotten himself into a spot of trouble. Some cops stand over the animal as it lies dying on the floor between the desks, the men »
- David Ehrlich
For better or worse, the date April 20th infamously sparks an eternal flame in the hearts of potheads across the world in celebration over their vice of choice – and the canon of cinematic stoners is certainly no exception. Hash-loving hippies have long cropped up in motion pictures as anti-establishment icons, quasi-kings of interminable philosophy, and occasionally as crutches for comic relief or character development. While the presence of marijuana in the movies holds a certain time capsule cache in relation to broader anxieties over cultural identity within era-defining films such as Easy Rider or American Beauty or even Children of Men – not to mention its propagandist roots in cautionary tales such as Reefer Madness – it has chiefly acted as a dispensary for daffy, dippy diversions in cannabis-centric comedies like Harold & Kumar Go To White Castle, Half Baked, or Cheech and Chong.
Occasionally, a film strikes Humboldt gold and elevates the »
- Daniel Crooke
The actor has made a career out of musclebound oddballs.
Charlie Hunnam gets a bad rap. The former model has attempted to make a name for himself as a leading man, but his unique brand of meatheadedness is quite different to the competent and suave badasses making up the A-list of action. He’s no Jason Bourne. There’s no way he’d pull off billionaire/playboy/superhero. That’s not what he’s after. His characters all — like the man himself — strain against their muscles as physical limitations to their introspective spirits. They want to be poets and writers and academics, but find themselves damned by their bodies, faces, lifestyles, and fates. In performing these roles, Charlie Hunnam has perfected the long-suffering wannabe-intellectual tough guy. He does this to great effect in the gorgeous slow-burn adventure The Lost City of Z, which expands this weekend, but first, let’s look at how he got here.
- Jacob Oller
As the world has generally, if not universally, improved its lot for women, feminism — the sociopolitical doctrine that women are people, too — has seemed so mainstream and vague as to be, potentially, obsolete. Now the emphases of feminism are in pondering the roots of gender identity and expression, or in the intersectionality of gender equality with racial, economic, and religious equality. Mere equality for women is so obvious, it’s retro.
Enter the Hulu adaptation of Margaret Atwood’s landmark feminist novel “The Handmaid’s Tale,” with its almost hyperbolic imagining of a dystopian American future where women are officially downgraded to second-class citizens. In 1986, when “The Handmaid’s Tale” was first published, authoritarianism and feminism had a rather different context than they do today. Or did they? The story of 2017 has been one of global movement towards conservatism, even as the language of progressivism has become increasingly more sophisticated. Violence »
- Sonia Saraiya
His recent political leanings aside, Sir Michael Caine remains one of the surviving legends of British and indeed American cinema of the last fifty years, and this weekend’s Going in Style–a heist caper directed by none other than Scrubs‘ Zach Braff–sees him share top billing with fellow aged legend Morgan Freeman for what seems the first time in a while. Over recent years the iconic British figure–known for his slick Cockney accent which bore fruit with numerous catchphrases in more than one seminal British film–has become more widely known to audiences as a character actor, heavily used in Christopher Nolan’s body of work since appearing as Alfred Pennyworth in Batman Begins.
So began a certain career resurgence for the man born Maurice Micklewhite under the sound of bow bells, but as Sir Michael–now into his 80’s »
- Tony Black
A new video painstakingly recreates shots from the anime in the real world.
Is it too late to talk about the utter shitshow that is the live-action remake of Ghost in the Shell? What’s that? Oh, it is? Dead horse, you say. All right, well, how about I talk about the original, beloved anime version? Specifically how well it captured the reality of Hong Kong as a place and a character.
A pause: before you start angry tweeting me, I know Ghost in the Shell is a Japanese film set in Japan, but when making the film, director Mamoru Oshii used Hong Kong as his visual inspiration for the fictional city of Niihama, even going so far as to recreate actual landmarks. So we cool? Okay.
- H. Perry Horton
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
Quick, name the last great science fiction TV show you've seen. HBO's Westworld might count, though that's almost as much western as it is sci-fi. Orphan Black and Black Mirror have some of sci-fi elements, sure, but they aren't quite representative of the genre. You may have to go all the way back to Battlestar Galactica, which went off the air in 2009, to find a show that's done for sci-fi what Game of Thrones has done for fantasy or The Walking Dead has done for horror.
But here's the thing: »
In addition to announcing a fourth and final season of 12 Monkeys, Syfy also renewed The Expanse for a 13-episode third season that will debut in 2018.
Press Release: New York – March 16, 2017 – Syfy today announced a Season 3 pickup of The Expanse, the drama series called the “best sci-fi show on TV” by io9 and recognized for “transforming TV” by Wired. The 13-episode third season will premiere on Syfy in 2018. From Alcon Television Group, The Expanse is currently airing new Season 2 episodes every Wednesday at 10/9c on Syfy.
“The Expanse is a gorgeous, thrilling, emotional series that has quite simply raised the bar for science fiction on television,” said Chris McCumber, President, Entertainment Networks for NBCUniversal Cable Entertainment. “We, along with the fans, are looking forward to continuing the journey with our partners at Alcon Television Group and the series’ brilliant cast and crew.”
The Expanse unfolds across a colonized galaxy 200 years in the future, »
- Derek Anderson
Syfy’s “The Expanse” has been renewed for season three, Variety has learned.
The sci-fi series will get another 13-episode season, to premiere in 2018. Season two, currently airing on Wednesdays on the NBCUniversal-owned cable net, has drawn reasonable critical praise, if not necessarily a massive linear audience. Its current season average is a 0.2 rating in the 18-49 demographic and 600,000 viewers in Nielsen’s Live+Same Day Ratings.
The story unfolds across a colonized galaxy 200 years in the future, when two strangers become unwittingly swept up in a vast conspiracy. Based on the New York Times bestselling book series collectively known as “The Expanse,” written by Daniel Abraham and Ty Franck (under the pen name James S. A. Corey), “The Expanse” stars Steven Strait, Shohreh Aghdashloo, Dominique Tipper, Cas Anvar, Wes Chatham and Frankie Adams.
“‘The Expanse’ is a gorgeous, thrilling, emotional series that has quite simply raised the bar for science fiction on television,” said »
- Oriana Schwindt
He’s worked on every Alfonso Cuarón film, except for Harry Potter and the Prisoner of Azkaban, and it looked like Emmanuel Lubezki would reteam with the director for his follow-up to Gravity, but it turns out that won’t be the case. The Children of Men director recently wrapped up production on his next drama, Roma, and we’ve got details both on his new cinematographer and the story.
It was previously known the small-scale drama chronicles a year in the life of a middle-class family in Mexico City in the early 1970s. In a press conference this week, as filming wrapped, the director announced the drama will feature a major setpiece depicting The Corpus Christi Massacre, in which student protesters were assaulted by paramilitary forces, with a death toll estimated to be around 50 people.
Cuarón also talked about his deep ties to the project, which incorporates many experiences from his childhood, »
- Jordan Raup
Alfonso Cuarón, the creative mind behind Children of Men and the Oscar-winning Gravity, has officially wrapped filming on Roma, an intimate Mexican drama that has spent the past 16 years simmering on the back-burner.
The filmmaker, who spoke at a new conference in Mexico City (via The List), echoed the advice given to him by friend and colleague Guillermo del Toro when explaining his decision to circle back to his native homeland, before teasing that Roma is a 1970s period drama loosely inspired by Cuarón’s own experiences as a child and his Mexican identity. Beyond that, there are precious few details available for the director’s deeply personal project – no casting announcement, no synopsis – but sources claim it will involve the infamous Corpus Christi Massacre, an event in which soldiers killed liberal student protesters in Mexico City circa 1971, in some capacity.
Working in tandem with production designer Eugenio Caballero (Pan »
- Michael Briers
It’s ugly, it’s violent, it’s graphic novelist Frank Miller’s nasty vision through and through. Scream Factory’s Collector’s Edition brings out the amazing backstory of the production of this stop-motion- intensive first sequel to RoboCop. Druglord Caine is a menace, but we’re just as appalled by the film’s vivid depiction of a greater terror: Predatory Privatization.
Shout! Factory / Scream Factory
1990 / Color / 1:85 widescreen / 117 min. / Collector’s Edition / Street Date March 21, 2011 / 34.93
Cinematography: Mark Irwin
Production Design: Peter Jamison
Original Music: Leonard Rosenman
Produced by Jon Davison
Directed by Irvin Kershner
I wish I could say that 1990’s RoboCop 2 has been »
- Glenn Erickson
Consensus around the film Logan has been nothing but excellent. I’ve already predicted that it will be the highest grossing R-rated movie of all-time. Not that it was hard to predict considering it’s already close to being a third of the way there. The movie’s been getting a ton praise for its Western feel, attention to family values, and giving a very real picture of tormented lives who are haunted by their past but must face a potentially dismal future. However, there’s something pretty disturbing that came out today. Is the entire movie simple a retold version of another movie
Did Logan Steal Its Entire Plot from Children of Men? »
- Nat Berman
[Editor’s Note: This post is presented in partnership with Spectrum. Catch up on this year’s Awards Season contenders and the latest films On Demand. Today’s pick is “Desierto.”]
Following his beloved apocalyptic thriller “Children of Men,” Cuaron decided that for his next project, he wanted to go to space. The problem was, to get him there new technology would have to be invented. Instead of throwing in the towel, Cuaron and his team worked tirelessly for four-and-a-half years to make Cuaron’s dreams a reality.
The result has been hailed by critics as the best space-set film since Stanley Kubrick’s “2001: A Space Odyssey,” and is now up for a whopping 10 Oscars, including Best Picture and Best Director. Just this weekend he won the Directors Guild of America’s prestigious Outstanding Directorial Achievement in Feature Film prize.
- Nigel M. Smith
MaryAnn’s quick take… The X-Men series — the entire superhero genre — has never seen a film like Logan before: raw, rageful, tormented, human. Best of the series yet. I’m “biast” (pro): mostly love the X-Men movies; love Hugh Jackman and Patrick Stewart
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
With their extended metaphor about mutation as a stand-in for all the many reasons humans find to be bigoted toward other humans, the X-Men stories have always been perhaps the most grounded of the superhero universes, at least in their exploration of what it means to be “super” in a world where “super” is feared and hated, where “super” is ostracized. The mutants of X-Men are just ordinary people with unusual talents that, for the most part, they have to hide, and the movies in this series — of which we have had 10, counting this one, »
- MaryAnn Johanson
Mark Harrison Feb 27, 2017
“Last one to die, please turn out the light.”
The tenth anniversary of Children Of Men came at the end of a tumultuous year in politics. You don't have to look far on the web for thinkpieces about how the results of the Brexit referendum or the election of Donald Trump as Us President have brought us closer to the grim forecast of Alfonso Cuarón's superb dystopian thriller, but rewatching it now, the film feels a triumph of preparation rather than prescience.
Based on Pd James' novel, the film takes place in the year 2027, in the midst of a global epidemic of infertility. Britain has closed its doors to immigrants and refuses to acknowledge the status of 'fugees' as human beings. The day after the »
So, going into the final stretch before the Oscars are announced, I have a question: if you like—no, love this year’s front-running La La Land, does that make you a bad person, or just deluded? Don’t laugh—there may be people at your own Oscar party who will have already come to their own conclusion on that conundrum. This year’s presumptive favorite is so presumptive that people are talking about the film as if it had already won and are projecting as to whether it’s an enduring classic or just another meh-fest to be thrown on the mediocrity pile along with Crash, Chicago, Argo, The Artist and about half of the rest of Oscar’s Best Picture winners since the Academy started handing out awards at the Hollywood Roosevelt Hotel in 1929. It is hard to deny, no matter how much you like or dislike La La Land, »
- Dennis Cozzalio
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