1-20 of 48 items from 2017 « Prev | Next »
After making a profound impression in Zodiac, The Invitation, Shutter Island, and more, John Carroll Lynch has stepped behind the camera as a director for the first time with Lucky. Led by Harry Dean Stanton, it follows his character on a spiritual journey towards enlightenment as he meets a whole host of others along the way. Following a SXSW premiere and ahead of a release this fall, the first trailer has now landed.
As one can seen in the screencap above, Lucky also reteams Stanton with David Lynch, who pops up in a supporting role. Reviews for the film have been mighty strong since it premiered earlier this year and we look forward to seeking it out this September. Also starring Ron Livingston, Ed Begley Jr., Tom Skerritt, and Beth Grant, check out the trailer below.
Lucky follows the spiritual journey of a 90-year-old atheist and the quirky characters that »
- Jordan Raup
David Fincher’s Zodiac, which debuted in March of 2007, is a perfect example of blending genres. At its core, it’s a drama built on obsession. It’s also a police and newspaper procedural, family drama, and what we’re going to be… Continue Reading →
- David Baker
Anghus Houvouras on the contemporary Masters of Cinema…
Sometimes a good movie conversation can lead you to interesting places. Take the discussion around the wildly overpraised Baby Driver; a good movie that’s being called a ‘masterpiece’ (it’s not). During the discussion my friend Simon Columb posted this on Twitter:
Edgar Wright ain't no "master". Bloomin' eck pic.twitter.com/4HJzn2sS8X
— Simon Columb (@screeninsight) July 2, 2017
I love Edgar Wright. I’ve watched the entire catalog of his work many, many times. Hell, I’ve watched the two series of Spaced At Least a dozen times. The man has an amazing sense of style and kinetic storytelling that feels uniquely his own. But even with a gun to my head I would not list him among the modern contemporary masters of cinema (even one that shoots cars). But, thanks to that hyperbolic burst of circle-jerk fandom, a thought came to mind? »
- Anghus Houvouras
“Baby Driver,” Edgar Wright’s hotly anticipated summer car heist, hits theaters today, and the buzz surrounding the movie has been growing steadily since its SXSW premiere. But there’s at least one person even more excited than we are for the action flick: Guillermo del Toro. The director took to Twitter to unleash a string of praise on Wright’s latest (in what has now become something of a tradition), calling it “breathtaking,” “flawlessly executed,” and “earnest and unprotected.”
Read More: Guillermo del Toro’s Guide to Creating the Perfect Movie Monster: ‘No Element Must be Accidental’
Comparing Wright to the great Walter Hill, del Toro argued that “Baby Driver” combined the action chops of “The Driver” with the fable-like qualities of “Mean Streets.” Not bad praise from the guy who made “Pan’s Labyrinth.”
“The key to understanding it fully — at least for me — is in the fact that it is a fable, »
- Jude Dry
The British writer-director behind the "Three Flavours Cornetto" trilogy – consisting of Shaun of the Dead (2004), Hot Fuzz (2007), and The World's End (2013) – and also the director behind 2010's Scott Pilgrim vs the World, Edgar Wright, is known for his unique, kinetic, energetic cinematic style. Unlike most comedy directors working today, Wright finds humor in the filmmaking, utilizing framing, lighting, mise-en-scène, camera movement, editing, and sound to pull as much comedy out of a scene as possible. With his latest film, Baby Driver, Wright has not only improved upon his signature style, but matured with it. Like David Fincher, Wright is honing his craft with every film he makes, relying less on his style and more on imbuing the style with substance. If his early works are similar to those of Fincher's (Se7en, The Game, Fight Club), then Baby Driver is his Zodiac — a disciplined and elegantly orchestrated thriller that feels both effortless and impossibly intricate. »
- Adam Frazier
Few acting resumes include as many visionary, boundary-pushing auteur filmmakers as Chloë Sevigny’s. A selected list of the directors she’s worked with could easily fill an IndieWire top ten: Harmony Korine, Vincent Gallo, Lars Von Trier, Whit Stillman, Kimberly Peirce, Olivier Assayas, and David Fincher — to name a few. In fact, as IndieWire co-founder Eugene Hernandez put it at a sit-down with the actress at the Provincetown International Film Festival last weekend, Sevigny was at the epicenter of the independent film renaissance of the late 1990s and early 2000s that inspired IndieWire’s creation in the first place.
“It was the work of Chloe and so many of her collaborators…that inspired the site we created. So without even knowing it, Chloe, you were part of what helped inspire us to do what we did at IndieWire,” said Hernandez in his introduction.
Sevigny was in Provincetown showing her short film, “Kitty,” the actress’ first foray into directing. It’s a visually lush and fantastical film based on a short story by Paul Bowles, whose work once led her to travel to Marrakech with Korine in the mid-’90s, “Just kind of following in his footsteps.” As the festival presented her with their Excellence in Acting Award, Sevigny and Hernandez sat down for a career-spanning talk that included some eyebrow-raising anecdotes from her days working with indie cinema’s most lauded (and eccentric) directors.
Here are seven things you may not have known about Sevigny’s most memorable films, and some of the greatest (and most controversial) indies of the last twenty years, according to her:
“Drew Barrymore had actually approached Harmony and she wanted to play [Brandon Teena] and she wanted me to play Lana in her version. There were some weird initial meetings around that, which obviously didn’t go very far. She sent in these kind of Herb Ritts photos of herself done up as a boy. She looked really attractive, but it wasn’t gonna work. And then I actually went and auditioned for the [Brandon Teena] part. Kimberly Peirce said, ‘You’ve never wanted to be a boy, have you?’ And I said, ‘No,’ and she was like, ‘Why don’t you come back in and try out for the other part?’ So I did, and I got it.”
“I only got the part because Sarah Polley passed. That happened to me a lot in the ’90s. She got a lot of parts that I wanted.”
3. The reaction to that infamous blow job scene in Vincent Gallo’s “The Brown Bunny” still haunts her.
“I thought it would just kind of play to an art house audience, I don’t know why I thought it would just go under the radar. Vincent’s a real character. I love ‘Buffalo 66.’ I put my faith in him, believed in him. He’s also very seductive, as you can imagine… I think it was a way of kind of reclaiming myself, which sounds odd, but after the celebrity and stuff, being like: ‘No, that’s not who I am, I’m this other thing, and this is what I stand for.’ Or wanting to push the envelope. Like John [Waters], who’s here.” Sevigny gestured to Waters, who called out from the audience: “I loved the ‘The Brown Bunny’! The insects on the windshield…”
4. “The Brown Bunny” didn’t hurt her career, but it did hurt some relationships.
“I got my first studio film after that. I’d never been offered a studio film. It was ‘Zodiac.’ I don’t think it really hurt me, necessarily. I mean, it hurt me, in a lot of ways… Some relationships have had trouble with it. Of course, my mom and I don’t talk about it.”
5. Whit Stillman is terrifying.
“He’s very precise, and he also likes to do things a lot… It becomes surreal. Not as much as Fincher — he does full takes. Whit just wants you to say one line or one word again and again and again in a series. It’s terrifying. So scared of that man. And yet I keep going back. Glutton for punishment.”
“I think that Lars tortures the main actresses, and the supporting players get a free ride. He was really into spanking me. But in a playful way. He’d always tease me, like I had to be punished. And he knew I was into Black metal so he was always teasing me about like going off and burning churches. We had a funny rapport. But I think he was harder on Nicole [Kidman].”
7. The Chloe videos hurt her feelings.
“Ugh, I have a really complicated relationship with those. I don’t want to say I’m offended, ’cause that’s such a strong word. But I don’t enjoy them. I think because he’s a comedian. If he was more of a drag performer, I would feel like less – they hurt my feelings. Maybe I should be tougher, I don’t know. But they do.”
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- Jude Dry
Hostel and Knock Knock director Eli Roth now has two projects in the works at Amblin Entertainment. The newly announced pic, The House With A Clock In Its Walls, will star Jack Black and be produced by James Vanderbilt (Zodiac). It’s an adaptation of John Bellairs and illustrator Edward Gorey‘s 1973 novel, which is a part of a 12-part series. Below, learn more about the new Eli Roth Amblin […]
- Jack Giroux
From music videos to film, David Fincher’s work has a cinematic quality that is instantly recognizable. His collaborations with Brad Pitt have given us two of the most iconic movies of the 1990s, namely “Se7en” and “Fight Club”, while “The Curious Case of Benjamin Button” offered jaw-dropping visual effects that garnered several well-deserved Academy Award wins, as well as a Best Director nomination for Fincher himself.
Read More: David Fincher: Discover The Hidden Visual Effects in His Greatest Films — Watch
Considering his storied film career, it’s perhaps no surprise that some incredible films have had a great influence on Fincher’s career over the years and have been imprinted in many of his films. Traces of “All the President’s Men” can be found in the obsessive journey undertaken in “Zodiac,” another real-life quest to uncover the truth at any cost. Travis Bickle’s lonely and unhinged »
- Jamie Righetti
Principal photography has begun in Lima, Ohio, with Nick Kellis directing from his own script. Lance Paul is producing and April Kennedy is executive producing. Production companies are Paul’s Ginger Knight Entertainment and Kellis’ new Flyover State Productions.
Smith portrays a Los Angeles exec who must return to Ohio after his mother dies and face the daunting task of signing away his family’s factory to Baldwin’s character. He must confront a labor-strike led by his high school wrestling buddies and a legal battle over the impending sale of the factory, brought on by his high school sweetheart, played by Bratcher. Forced to search his soul and embrace his broken past, »
- Dave McNary
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The asylum-based film is a fairly interesting mini-genre to deconstruct. These movies almost always deal with perceptions of reality, questions of the self, and an innate fear of those in positions of power who operate in worlds of the ethereal. The question of the protagonist’s madness is almost always central, and the uncertainty over whether their paranoia is unfounded or justified is »
- The Film Stage
When we think of CGI, we don’t exactly think of David Fincher. Known for labyrinthine mystery thrillers, Fincher is unwavering in his dedication to detail, as this gripping new video essay explains. Kaptain Kristian charts Fincher’s obsessive eye, uncovering how the director has used visual effects to achieve a historically accurate skyline or a meticulous timeline of events. But Fincher never sacrifices story for the sake of flashy effects; he only uses CG techniques to enhance his storytelling.
One example is in “Zodiac,” the 2007 murder thriller set in 1960s San Francisco. Fincher used CGI in almost every background shot in order to achieve the most accurate view of the city as it was. Additionally, Fincher rarely uses make-up blood, preferring CGI splatters. In the bathroom scene in »
- Jude Dry
Quality, not quantity, that’s what Netflix’s new additions looks like in June of 2017. While you won’t find a ton of new films to Netflix and chill to, there’s a few really solid gems that’s going to make the month worthwhile. Not only will you be able to watch David Fincher’s masterpiece, Zodiac, over and over, […] »
- Brad Miska
Netflix has announced the list of films that will be available to stream in June. The list includes new never-before-seen original films, as well as documentaries, comedies, animated titles and some classic movies.
1. “The Sixth Sense” (available June 1)
2. “Saving Banksy” (available June 2)
The documentary follows a New York-based art collector as he attempts to save the street work of graffiti artist Banksy. The film features interviews with some of the top names in the street art and graffiti world, including Ben Eine, Risk, Revok, Niels “Shoe” Meulman, Blek Le Rat, Anthony Lister, Doze Green, Hera, and Glen E. Friedman.
3. “Shimmer Lake” (available June 9)
The Netflix original drama follows a local sheriff as he attempts to solve the mystery »
- Yoselin Acevedo
German filmmaker Fatih Akin returns to the Cannes competition lineup with “In the Fade,” above, a contemporary drama about a woman who takes revenge after her husband and son are murdered by the neo-Nazi group National Socialist Underground (Nsu).
Q: Is the Nsu still active in Germany?
A: We have this very strange case, a scandal right now, involving neo-Nazis and right-wing extreme right groups in the German army. German soldiers, whose political background is extreme right, created fictional personalities. Pretending to be Syrian refugees, they were planning bomb attacks, in order to blame the refugees as terrorists, so the state wouldn’t let refugees in anymore. That was their aim. These things are happening right now, this week.
Q: In what ways is this a personal film for you?
A: I am somehow “the other” in this country with my background. I have black hair, my parents are from Turkey. »
- Alissa Simon
The Cannes Film Festival generates more attention and excitement than any other film festival in the world, but each year is an unpredictable journey. The Official Selection, alongside the sidebars of Directors Fortnight and Critics Week, offer up a tightly-curated into a range of international cinema from both familiar sources and surprising newcomers. This year’s edition is a reliable combination of top-tier directors whose work will be shown at Cannes until the end of time, notable filmmakers who usually deliver something worthwhile, and unproven quantities with a lot of potential.
Read More: 17 Shocks and Surprises from the 2017 Cannes Lineup, From ‘Twin Peaks’ to Netflix and Vr
In order to work through all of these different possibilities, we’ve broken down our list of anticipated Cannes titles into three categories: A-list auteurs, Discoveries and Safe Bets. Every day of Cannes will bring new updates on the latest films, some of »
- Indiewire Staff
Although 2014’s “Gone Girl” turned out to be the biggest hit of David Fincher’s career to date, the acclaimed “Zodiac” and “The Social Network” director hasn’t had the best few years. He was all set to have not one but two HBO series, the semi-autobiographical ’80s music video world comedy-drama “Videosyncrazy” and UK conspiracy thriller remake “Utopia” with Rooney Mara, but the former was shut down midway through production, and the latter had the plug pulled just before filming, in both cases reportedly because of issues over budgets.
- Oliver Lyttelton
David Fincher is nearing a deal to direct the long-in-the-works “World War Z” sequel for Paramount Pictures and Skydance Productions, Variety reports. The director’s name has been in contention for the last several months, but sources say it’s close to a done deal. The move would reunite Fincher with Brad Pitt for the fourth time, following efforts “Seven,” “Fight Club” and “The Curious Case of Benjamin Button.”
According to Variety, Pitt has been in talks with Fincher since last summer about signing on to direct and apparently has an idea strong enough to bring him on board. Fincher has been wary of sequels ever since the notorious production of “Alien 3,” but it would appear he’d have the freedom he needs on “World War Z” under »
- Zack Sharf
Author: Zehra Phelan
It comes as no surprise that some of our most heinous historical world events have become the subject of a cinematic depiction. As audiences wanting their thirst for great cinema and intrigue in world issues grow we have had, in the naughties alone, Roman Polanski deliver The Pianist in 2002 and more recently László Nemes’ Son of Saul to quench our desire. Even this week, we have the release of Terry George’s The Promise which tells the story of the Armenian Genocide in the final years of the Ottoman Empire with Oscar Isaac, Charlotte LeBon and Christian Bale hitting our cinemas.
Whether these events are genocides, horrific murders, acts of terrorism or even demonic paranormal activities, our quest for knowledge, understanding and feeling has inspired filmmakers for years. Their films set out to shine a light on the atrocities and suffering of man, and act to empower »
- Zehra Phelan
Mark Allison Apr 18, 2017
10 years ago was was a high watermark in Hollywood - and British - filmmaking. We've been looking at why...
Ten years on, and 2007 must surely be remembered as one of the finest years in English-language film-making, quite possibly the best of this century so far. Like 1939, 1976, or 1994, it was one of those years in which a succession of veritable classics came into being. So many, in fact, that some of the best examples were cruelly overlooked by the hype machine of the day. A decade later, it’s high time to look back at 2007 for both its celebrated landmarks and forgotten masterpieces.
Occasionally, Twitter is a beautiful thing — like when it delivers epic diatribes on creating the perfect movie monster from someone who knows best — “Pan’s Labyrinth” director Guillermo del Toro. The director had some down time while waiting “on a bench in Paris,” so he took to Twitter to dole out some sage musings on cinematic golems, as one does. This is the latest in the famed director’s unofficial Twitter series, which always begin: “13 Tweets on…”
“When an artist has an imbalance between beauty and tragedy, or rage, in his/her sense of self, it becomes quite likely that she/he will look inwards and find monsters as a way to reconcile the two,” he wrote. “Monster creation, to me, is one of the hardest forms of creation. »
- Jude Dry
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