1-20 of 44 items from 2016 « Prev | Next »
That’s according to the writer-director-actor himself, who revealed the tonal differences with Disney and Jon Favreau’s The Jungle Book in an interview with Vulture. There, Serkis likened Origins‘ target audience to that of Fox’s lucrative Apes franchise, bringing it closer to the tone found in Kipling’s original story.
As such, it seems safe to assume the 2018 release will be aligning itself with a PG-13 rating, and here the performance maestro touched base on how it’ll differ from this year’s The Jungle Book.
“Ours is for a slightly older audience,” Serkis said. “It’s a PG-13, more a kind of ‘Apes’ movie, a slightly darker take, closer to Rudyard Kipling’s. It’s great to scare kids in a safe environment because it’s an important part of development, »
- Michael Briers
Marc Abraham's career has known box office success as well as critical lionising, with films such as Children of Men and Spy Game standing out for attention on a resume which covers over twenty years in the business. Having made the transition from producer to director with 2008's Flash of Genius, his latest film I Saw The Light is a study of country legend Hank Williams. He spoke with CineVue's Tom Duggins, making his infectious passion for William's writing apparent from the get-go in an interview that focused on the folklore of country and the difficulty of representing pop stars on screen.
- CineVue UK
With the eagerly anticipated release this week of I Saw The Light, the biopic of legendary country musician Hank Williams, Flickering Myth’s Scott J. Davis sat down with its director Marc Abraham to talk about the film and all things Tom Hiddleston.
I Saw The Light marks the sophomore directorial effort from Abraham, who is a renowned producer of such films as Children of Men, The Commitments and Air Force One, and it was his love of Williams that made him grab the opportunity to direct with both hands to make a slightly different biopic:
“I loved Hank Williams’ music from the early times so I was really interested in it…I never wanted to make a cradle to grave movie and it’s interesting that many people didn’t understand what I was doing and say ‘Why didn’t you show him as a little boy?’… What I »
- Scott J. Davis
Earlier on this week, we caught up with the film’s writer, producer and director Marc Abraham to talk about his new film. As well as I Saw The Light, Abraham is the producer behind films like Air Force One, the remake of The Thing, Children Of Men, and Dawn Of The Dead (amongst many others).
“I Saw the Light,” the story of the legendary country western singer Hank Williams, who in his brief life created one of the greatest bodies of work in American music. The film chronicles his meteoric »
- Paul Heath
Daniel Crooke here. Just in time for the newest season of Game of Thrones, Sen. Ted Cruz and Gov. John Kasich’s presidential aspirations are officially, swiftly deceased – leaving the door open for a brave new world even more horrific than some of the worst doomsday scenarios we’ve seen on the big screen. Now that Donald Trump has ostensibly become the presumptive Republican presidential nominee, science fiction has officially become reality. When you consider the inherent havoc in a candidate who makes light of civilian casualties, discards women, ensures bigotry and violence, and endorses straight-up rights snatching – not to mention his microscopic, ahem, vocabulary – many cinematic dystopias and alternate realities once thought to be cataclysmically dreadful begin to sound imminently habitable if he were to actually be elected. Next to the fascist plunder-land of Trump’s America, living in these broken worlds would be downright nirvana.
Dr Strangelove or: »
- Daniel Crooke
From “Gravity” to “Children of Men,” director Alfonso Cuarón and cinematographer Emmanuel Lubezki have created some of the most visually arresting and emotionally compelling movies of modern times. They’ve won Oscars and fans across the globe, and their reliance on long, seamless tracking shots has inspired a rising generation of filmmakers.
But their collaborations didn’t always result in celluloid magic. In a public discussion about their careers at the Tribeca Film Festival on Wednesday, Cuarón and Lubezki dismissed 1998’s “Great Expectations,” a modernized retelling of the Charles Dickens novel, as a black mark on their resumes.
“I think it’s a complete failed film,” said Cuarón, while Lubezki agreed that it was “the least satisfying of our movies.”
The film followed “A Little Princess,” a critically beloved children’s story that both men found immensely satisfying to make. They lacked the same connection to the story of an »
- Brent Lang
How do you ensure that your film gets off to a good start? Make the opening scene unforgettable. These are our picks for the 10 best opening scenes in film.
Spring is upon us, and what better way to celebrate the beginning of brighter days than to celebrate the best film beginnings of all time! Check back all month long as we look at the films with the best beginnings.
Check out the previous entries into this series here:
Top 10 Opening Shots in Film
Top 10 Opening Title Sequences in Film
So far this month we’ve looked at the best opening shots and the best title sequences in film. But although those aspects of a film can be important, they pale in comparison to what an opening scene can do to a film. An opening scene is what officially starts a film. It sets up the story, introduces characters, allows the »
- email@example.com (G.S. Perno)
For years, video games have stolen characters, imagery and set pieces from cinema (I’m looking’ at you Dead Space!); with this week’s Hardcore Henry, the film industry is striking back. Director Ilya Nashuller and producer Timur Bekmambetov (auteur of the awesome Night Watch series) team up to create the first action flick shot entirely with a subjective camera. So, does it work? And will gamers, used to controlling said camera, approve?
The film starts off with a bang when Henry (played by…us?) is woken up by his scientist lover Estelle (Haley Bennett) to realize he has no memory. It’s quickly deduced that he’ll have to regain his identity (which includes his voice; Henry is virtually speechless for much of the movie) and take down a warlord who plans to bio-engineer soldiers. If you’re even a casual gamer, all of this will feel oddly familiar. »
- Earthworm Jim
Cannes — Post-Apocalypse Noir, linking three of France’s powerhouses – it’s a Canal Plus original series, produced by Luc Besson’s EuropaCorp TV and sold by Vivendi/Canal Plus’ Studiocanal, a powerful combo – with Olivier Marchal, a distinguished film director (“36 Quai des Orfevres”), auteur also of Canal Plus’ brutal, downbeat cop original series “Braquo,” one of its biggest hit original series and export successes. Set in a world just some years in the future, after societal breakdown, melding elements of French “polar” crime thriller and, as EuropaCorp’s Edouard de Vesinne says, crepuscular Western, “Section Zéro” turns on a cop, Sirius Becker, who still has a code of honor in a world of class-cordoned urban dystopia, crime and corruption, ruled by a bottom-line-obsessed Corporation. Defined by his work – I’m very good at my job, he retorts in knee-jerk reaction when criticized by his daughter — he pays a terrible price »
- John Hopewell and Elsa Keslassy
British actress Clare-Hope Ashitey, who may be most known in the USA for her role in "Children of Men," as well as Tristan Wilds, Aisha Hinds, Richard Dreyfuss, Helen Hunt, Stephen Moyer, Jill Hennessey and Will Patton have all booked roles in "Shots Fired," the new Fox event TV series from Gina Prince-Bythewood and Reggie Rock Bythewood, that examines the dangerous aftermath of racially charged shootings in a small town in Tennessee. They join the previously-cast Sanaa Lathan and Stephan James who play the female and male leads in the series, as well as DeWanda Wise in a series regular role. The drama stars Lathan as an expert investigator who digs into the cases, alongside a special prosecutor (to be played by Stephan James) sent to the town by the Department of Justice. The pair must navigate the media attention, public debate and the social unrest that comes with such volatile cases, »
- Tambay A. Obenson
British actress Clare-Hope Ashitey, who may be most known in the USA for her role in "Children of Men," as well as Tristan Wilds, Aisha Hinds, Richard Dreyfuss, Helen Hunt, Stephen Moyer, Jill Hennessey and Will Patton have all booked roles in "Shots Fired," the new Fox event TV series from Gina Prince-Bythewood and Reggie Rock Bythewood, that examines the dangerous aftermath of racially charged shootings in a small town in Tennessee. They join the previously-cast Sanaa Lathan and Stephan James who play the female and male leads in the series, as well as DeWanda Wise in a series regular role. The drama stars Lathan as an expert »
- Tambay A. Obenson
K5 Media Group producing and financing next project from the director of Gattaca.
In Anon, Owen (Children of Men, Closer) plays a detective in the psychological thriller set in a world with no privacy or anonymity. But when the detective stumbles on a woman (Seyfried) with no digital footprint and invisible to the police, he discovers it may not be the end of crime but the beginning.
Owen is next »
- firstname.lastname@example.org (Michael Rosser)
Exclusive: The Mark Gordon Company will produce and finance an adaptation of Blood’s A Rover, the 2009 crime novel by L.A. Confidential author James Ellroy. A script has been written by Mark Fergus & Hawk Ostby, who were Oscar nominated for Children of Men and scripted Iron Man. Gordon will produce with Vincent Sieber — whose Midnight Road Entertainment developed the script with the scribes — and Clark Peterson. The film’s being packaged to shoot at year’s end with Sara… »
With his best cinematography win for Alejandro G. Inarritu’s “The Revenant” Sunday night, lenser Emmanuel Lubezki entered the record books as the first director of photography to claim the prize three years in a row. He also won for “Gravity” and “Birdman.”
Lubezki was already in elite company with the “Birdman” win, joining an exclusive club whose ranks had not been breached in nearly two decades. Leon Shamroy (“Wilson,” “Leave Her to Heaven”), Winton Hoch (“Joan of Arc,” “She Wore a Yellow Ribbon”) and John Toll (“Legends of the Fall,” “Braveheart”) were the only other cinematographers to have won competitive Oscars in consecutive years, though Howard Greene received special commendations for color photography in its early days, for 1936’s “The Garden of Allah” and 1937’s “A Star is Born.” Both films were shot via the three-strip Technicolor process, with “Allah” being just the third film to use the technique »
- Kristopher Tapley
Justin Chang: Guy, we started this deep-dive conversation about the best picture race less than an hour after Alejandro G. Inarritu clinched the Directors Guild of America’s top prize for “The Revenant,” which was pretty much the last confirmation we needed — after the Producers Guild picked “The Big Short” and the Screen Actors Guild opted for “Spotlight” — that this really is the wildest, craziest, most confoundingly unpredictable best-picture Oscar race in years. Exciting, isn’t it? I’d be more excited if this recent turn of events didn’t seem to favor “The Revenant,” which now has extraordinary momentum on its side. There we were, hoping the film’s Golden Globe triumphs would simply be an isolated HFPA fluke — but then it came roaring back with a vengeance, not unlike that easily distracted CGI bear at its center, ready to sink its teeth back into the race and not let go this time. »
- Justin Chang and Guy Lodge
After 63 years somebody has taken a crack at Arthur C. Clarke's monumental sci-fi novel. This interpretation throws the emphasis way out of whack but succeeds too frequently to ignore. Charles Dance is the alarming Overlord Karellen, who comes from the stars to escort humanity through its next stage of development... and to announce the end of the world as we know it. Childhood's End Blu-ray Universal Studios Home Entertainment 2015 / Color / 1:78 widescreen / 247 min. / Street Date March 1, 2016 / 34.98 Starring Charles Dance, Mike Vogel, Osy Ikhile, Daisy Betts, Georgina Haig, Ashley Zukerman, Hayley Magnus, Charlotte Nicdao, Peretta, Lachlan Roland-Kenn, Julian McMahon, Colm Meany, Robert Morgan. Cinematography Neville Kidd Film Editor Sean Albertson, Yan Miles, Eric A. Sears Original Music Charlie Clouser Written by Matthew Graham from the novel by Arthur C. Clarke Produced by Nick Hurran, John C. Lenick, Paul M. Leonard Directed by Nick Hurran
Reviewed by Glenn Erickson
This is »
- Glenn Erickson
The Weinstein Company
As modern movie-goers, we’re all kind of obsessed with the apocalypse.
Time and time again, filmmakers are finding new and interesting ways to depict the end of civilization as we know it… and audiences continue to lap it up in their masses. There’s no limit, apparently, to the number of times one person can watch a city reduced to ashes.
What is it about the apocalypse that interests us all so much, then? Does it stem from a deep-seated or innate desire to watch society crumble, thus freeing us from the confines of modern life? Does our lust for global destruction hark back to our animalistic instinct to survive at any cost? Or do we just like to watch stuff getting blown up and destroyed?
Whatever the reason, there’s no denying the inherent appeal of the apocalypse film. But what about those films set after the apocalypse, »
- Sam Hill
Emmanuel Lubezki celebrated his fifth win in the feature category at the awards show on Sunday and is favored to win this year’s best cinematography Oscar
The Revenant cinematographer Emmanuel Lubezki won the top honor at the 30th annual American Society of Cinematographers Awards on Sunday night for his acclaimed work on Alejandro G Iñárritu’s award-winning survival thriller. It marked his fifth triumph in the feature film category at the Asc awards, following wins for Children of Men, The Tree of Life, Gravity and Birdman.
Related: The tracking shot: film-making magic - or stylistic self-indulgence?
Continue reading »
- Nigel M Smith in Los Angeles
The Mexican cinematographer on The Revenant confirmed his status as frontrunner for a third Oscar in a row with Sunday’s American Society Of Cinematographers win in Los Angeles.
John Toll received the lifetime achievement award. »
- email@example.com (Jeremy Kay)
As expected Oscar frontrunner Emmanuel Lubezki ("The Revenant") won the American Society of Cinematographers award for Best Feature Film at the 30th annual edition of these kudos on Sunday (Feb. 14). Also contending for this top guild honor were three other Oscar nominees -- Roger Deakins ( "Sicario" ), Ed Lachman ("Carol") and John Seale ("Mad Max: Fury Road") -- as well as Janusz Kaminski ("Bridge of Spies"). The Oscar race is rounded out by Robert Richardson ("The Hateful Eight" ). -Break- Subscribe to Gold Derby Breaking News Alerts & Experts’ Latest Oscar Predictions Lubezki has now gone five for seven with the Asc, including wins last year for "Birdman" and in 2013 for "Gravity" (he also won Oscars for those) as well as "Children of Men" (2006) and &q »
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