1-20 of 28 items from 2013 « Prev | Next »
Interview With The Vampire director Neil Jordan returns to the plasma drinking undead for a more successful second bite at the bloodsucking legend. Gemma Arterton and Saoirse Ronan channel suitably ethereal, otherworldly and, in Arterton's case, erotic feminine power as two sisters living on the run in a man's (under)world, pursued by a shadowy organisation led by Sam Riley. Dark, violent, sexual and with imaginative twists on vampire lore, this is the British Let The Right One In. »
The film will be co-produced by Overett.s New Holland Pictures and UK-based Feature One. The script is by Englishman Ross Williams. No director has yet been announced. It.s set to shoot in the first half of 2014.
The project was unveiled during the Cannes Film Market. Overett said, .Pig Hunt is a project that has a clearly defined audience which is currently under-served in the market place. Working with the team at Feature One is an exciting opportunity to further explore the world of co-productions following our successful productions with Denmark, Germany, Holland, Finland and New Zealand..
The plot follows the protagonist Doug Richards as he.s forced to choose between life or death after a young couple is killed »
- Don Groves
When Only God Forgives premieres next month at Cannes, listen carefully. Some films are employing very strange instruments to get the sounds they want
Only God Forgives (2013)
What is it? It looks a bit like a large glockenspiel with sculpted metal tear drops attached.
Who built it? French instrument-makers and artists Bernard and François Baschet, in 1952.
How does it sound? It creates "a unique sense of melancholy and foreboding", says Cliff Martinez, the ex-Red Hot Chili Peppers drummer who worked with Nicolas Winding Refn on the soundtracks for Drive (2011) and Only God Forgives – which also stars Ryan Gosling, and premieres at Cannes the week after next. Both scores rely on the Cristal Baschet, which Martinez first saw at MoMA in New York when he was 10.
How do you play it? Martinez says it is "an art object that doubles as an all-acoustic, experimental instrument played with moistened »
Anticipation for ‘the next Christopher Nolan film’ is usually at fever pitch by the time casting news begins to roll in, but fans have even more cause to expect greatness on the back of Nolan’s lastest casting announcement.
Having already put pen to paper with man-of-the-moment Matthew McConaughey and recent Oscar-winner Anne Hathaway, Deadline are now reporting that two-time Academy Award-nominee Jessica Chastain is set to join the cast as the film’s third lead.
A wealth of talent though this already is turning out to be, what’s even more interesting is that Nolan is yet to cast one of his ‘regulars’. One can only assume that Michael Caine will feature somewhere, but perhaps he’s been deemed too old for space/time travel? And perhaps Marion Cotillard’s last outing in a Nolan film was just too flat to warrant a recast in his next surefire hit? »
- Matthew Smith
After the success of his adaptations of "Let the Right One In" and le Carre classic "Tinker, Tailor, Soldier, Spy," filmmaker Tomas Alfredson has settled on a film version of the children’s novel "The Brothers Lionheart" as his next project.
The $50 million project, currently targeting a Christmas 2014 release, will be the most expensive Scandinavian production in history.
Set in a magical land of the afterlife, the story follows two brothers who join the resistance against an evil ruler who enforces control over the land with a dragon.
The project looks to have taken priority over the 'Tinker' follow-up "Smiley’s People" which remains in development.
Source: MovieZine via The Playlist »
- Garth Franklin
When it was revealed in February of this year that Smiley's People, the sequel to Tinker, Tailor, Soldier, Spy, wouldn't be starting production until 2014, it opened a gap in director Tomas Alfredson's schedule. And it was not just any gap - it was a gap that would allow him to move forward on the fantasy feature The Brothers Lionheart. Swedish website MovieZine (via The Playlist) has confirmed that the Astrid Lindgren adaptation will be the next film on the slate for the Let The Right One In director. For those unfamiliar with the children's books, the plot follows two brothers who go on adventures in the afterlife. The material is best known for the way it approaches dark themes with such young characters. The source says that the movie "will become the most expensive movie ever made in Scandinavia," working with a budget of $50 million (which, by comparison, is »
After the release of his elegant period spy thriller "Tinker Tailor Soldier Spy," which received critical raves and solid box office, it was a big question of what Tomas Alfredson would do next. The director, who made a splash with his Swedish vampire movie "Let the Right One In," had a number of potential projects on the docket (including a potential Smiley sequel), and has finally settled on one – an adaptation of Astrid Lindgren's beloved 1973 children's fantasy novel "The Brothers Lionheart." What's more – the film looks to be the most expensive Scandinavian film in history, and a holiday 2014 release date has been set. Sounds magical! Alfredson snapped up the rights to "The Brothers Lionsheart" last spring and tasked his "Let the Right One In" collaborator John Ajvide Lindqvist to adapt the classic book (Lindqvist wrote the novel and screenplay for "Let the Right One In"). The story, which concerns »
- Drew Taylor
Readers answer other readers' questions on subjects ranging from trivial flights of fancy to profound scientific concepts
How do footballers 'hang' in the air?
It's because at the top of the leap the player is momentarily stationary as the initial upward velocity of the jump has been removed by the gravitational acceleration but the downward movement is yet to begin. At that moment the player has the maximum power and control over the header and seems to hang in the air.
Footballers aren't the only sportsmen to take advantage of this. A climber using momentum to extend their reach and reduce the strength needed for a move will aim to reach the hold at this "deadpoint", just as a cricketer going for a catch above their head will try to reach the ball at that point, and a basketball player going for the basket will dunk at that point.
It's more about timing. »
While Christopher Nolan is undoubtedly proud that his long-time cinematographer Wally Pfister is making his directorial debut with the sci-fi drama Transcendence, it does leave him with a bit of a problem. The Dark Knight Rises helmer is currently preparing to start production on his own next feature, Interstellar, and with Pfister busy on his own project Nolan has been forced to find a new director of photography. Today, however, he has found his man. The Dutch website Film Abides (via NolanFans) is reporting that Hoyte Van Hoytema, who served as Dp on acclaimed films such as Let The Right One In, The Fighter and Tinker Tailor Soldier Spy, has been selected as Nolan's cinematographer for Interstellar. The new film, which is set to star Matthew McConaughey and Anne Hathaway, is based on a script written by Nolan and his brother Jonah, and is said to be about a variety »
The careers of Christopher Nolan and Wally Pfister have been forever linked, with the pair first meeting in Park City as filmmakers (Pfister had lensed a movie playing Sundance, Nolan was at Slamdance with "Following") and they've been inseparable ever since. Pfister has lensed every Nolan flick to date, but now that he's embarking on his own directorial career with "Transcendence," someone else will have to get behind the camera for the Batman moviemaker and it appears he's found his man. Dutch site Film Abides is reporting that in an interview, cinematographer Hoyte Van Hoytema has revealed he'll be working on Nolan's "Interstellar." Certainly, he's got the chops. His CV boasts movies from David O. Russell ("The Fighter"), Tomas Alfredson ("Let The Right One In," "Tinker Tailor Soldier Spy") and Spike Jonze (his upcoming "Her") so he certainly knows how to adapt to a variety of styles on a variety of budgets. »
- Kevin Jagernauth
Director Christopher Nolan is encountering a couple of firsts with his next film Interstellar. Not only does it mark the filmmaker’s first venture into space-set sci-fi, but this will also be Nolan’s first film without cinematographer Wally Pfister since his debut feature Following. His close collaborator is busy with his own directorial debut, Transcendence, and will no longer be working a director of photography. As such, many were curious as to whom Nolan would enlist to shoot Interstellar given his meticulousness when it comes to pristine visuals. Well, now word comes that the filmmaker has tapped Hoyte Van Hoytema to act as the cinematographer on Interstellar. Hit the jump for more. News of Van Hoytema’s involvement comes courtesy of the Dutch website Film Abides (via Nolan Fans). The cinematographer’s previous credits include Let the Right One In, The Fighter, and Tinker Tailor Soldier Spy, and he »
- Adam Chitwood
Time Out has put its heart on its sleeve and shouted its Brief Encounter infatuation from the rooftops. Will you join them in their lovebombing of the 68-year-old classic? Or have your tastes in romantic movies moved on?
Sam played it again, now it's our turn to plug in the turntable and petition you once more for your top romance films of all time. The peg? Time Out's 100 Most Romantic Films of all Time poll, which has been announced today, and which names Brief Encounter as the title most likely to get your heart a-flutter.
But by our reckoning, the Time Out folk are cruising for a bruising; when we came to the same conclusion three years ago, the readers felt we'd done them wrong, and suggested Casablanca was Mr Right when it came to romantic movies.
Do you feel the same? Has your taste for gin joints endured over the past three years? »
Back in 2009, “Let the Right One In,” a slick, deeply felt genre piece from a far away land, played the Tribeca Film Festival and blew almost everyone (this writer included) away. It’s hard not to think about “Let the Right One In” while watching “Big Bad Wolves,” a similarly slick foreign language thriller playing at this year’s Tribeca Film Festival. It’s questionable whether or not “Big Bad Wolves” will receive the kind of attention “Let the Right One In” did (its subject matter is significantly stickier than two young vampires falling in love), but it’s every bit the triumph that film was – it’s bold, beautifully told, and surprisingly funny. The movie starts with a wordless, dreamy prologue that nods to the fairy tale nature of the film’s title – a trio of young children are playing hide and seek around what could comfortably be labeled »
- Drew Taylor
Mysjkin with Woody Allen. As close as she fears she'll get to him!We're getting to know the Film Experience community. Should this be a weekly feature? Today we're talking to Ann-Mari from Norway who goes by "Mysjkin" in the comments.
Quick what's the last movie you watched before I asked you to do this reader spotlight?
Mysjkin: I finally got around to watching Let the Right One In after finally having read the book. As a librarian I am intrigued by how page translates to screen. It's impossible to completely capture a novel, choices need to be made. Let the Right One In was to me a really well judged adaptation, focusing on what I found to be the heart of the novel; the relationship between Eli and Oscar and their fragile, violent and compelling coming-of-age.
When did you start reading The Film Experience?
Mysjkin: I discovered Tfe back »
- NATHANIEL R
The Tribeca Film Festival turns 12 this year, and like most adolescents on the doorstep of puberty, it has a voracious appetite for new experiences, little sense of its own limits, and a healthy rebellious streak: try to tell it what it is or what it should be and it’ll just slam the bedroom door in your face. It even plays videogames.
(From the pages of the April 16 issue of Variety.)
Call it an identity crisis of sorts. Certainly, few would deny that Tribeca, which generates hundreds of millions in revenue for the city, has yet to carve out as distinctive a perch in the New York festival circuit as its storied crosstown rival, Lincoln Center’s half-century-old New York Film Festival.
But what some in the media may see as drawbacks, Tribeca’s leaders see as virtues. “I think of Tribeca as a young festival that hasn’t been »
- Scott Foundas
Awful visual effects have an uncanny ability to sink a film within minutes if it’s bad enough; you need only look so far as our previous article on crappy CGI to see a mixture of movies both good and bad, and how risible effects tarnished their reputations.
This time, however, we’re focusing on films that, outside of their naff effects, are pretty damn awesome. No film can have it all, but a lot of these films got pretty damn close; some are efficient, entertaining action films, some are genre masterpieces, and in two cases, they appear to have been sabotaged by their own overzealous filmmaker in retrospect (I think you know who we’re talking about).
Here are 10 awesome movies with awful special effects…
To be fair, for the most part this stunning Swedish vampire horror flick keeps the scares minimalist and barely uses CGI at all, »
- Shaun Munro
Feature Louisa Mellor 21 Mar 2013 - 07:00
“Leave it to the French to take all the fun out of a Zombie flick, overly intellectualizing even the most base of cinema forms.” That was the light-heartedly xenophobic verdict of one critic on Robin Campillo’s 2004 Les Revenants (They Came Back), a film that stages the return of the dead not as a lead pipe ‘n’ chainsaw bludgeon-fest, but a social drama about how we’d really greet our resurrected loved ones.
Tongue-in-cheek though that line presumably is, it reveals a few commonly held presuppositions about the walking dead in fiction. The first is that the presence of zombies turns a film into a flick, a substitution that’s more than just synonym. Flicks are fun, light-weight, popcorn-spillers, ninety minute thrill-rides that »
A slightly abridged version of this review was previously published in my weekly column @ Towleroad
Thirst > Stoker
A few years ago Park Chan-wook, the acclaimed genre fabulist from South Korea, made an award winning vampire film called Thirst. With the exception of the Swedish instant classic Let The Right One In, it's the best vampire film of the past 20 years. Second best might not seem like high praise but consider the volume of competition!
In Thirst, a priest and reluctant vampire, infects a young girl with his addiction and she flips from moody troubled teen to lusty adult trouble-maker. Is she his impressionable victim or his soulmate apprentice? Or is she much harder to pin down? Having raved about Thirst when it was released (including a Best Actress nomination for Kim Ok-bin right here) and being a shameless Kidmaniac I walked into Stoker with high expectations. Despite the title's nod to Bram Stoker, »
- NATHANIEL R
Submit your vote for Reviewer of the Year!
Every year, the Classic Horror Film Board recognizes the best in the horror/sci-fi/fantasy realm with the Rondo Hatton Classic Horror Awards. Fans of the genre can vote for their favorites in over thirty categories, and this year, Cinelinx would like to ask you to vote for one of our own, staff writer Victor Medina, as Reviewer of the Year (Category 29)! We've even included the ballot below so you can vote!
Votes must be submitted by copying and pasting the ballot into your personal email, making your choices, including your name, and sending it in. Votes for Reviewer of the Year are write-in only, so you must be sure to include Vic's name yourself under Category 29 when you vote. Pre-filled ballots are not allowed, so we can't do it for you! Remember, you must write in "Victor Medina, Cinelinx.com" yourself. »
- firstname.lastname@example.org (Jordan Maison)
If love is indeed in any way how Hallmark would have us believe, then you can understand the pessimism that some of us harbour. Teddy bears,rainbows and awkwardly 'charming' romantic comedies starring Hugh Grant intravenously injecting sickly sweet schmaltz into the eyeballs? Fortunately, those of you who reading this right now know too well that cinematic romance can be much more interesting. It dosent always end with the guy getting the girl and when it does, it's usually a hell of a lot messier and weirder. Heartbreakingly tragic, funny and downright horrifying – essential ingredients for a decent modern love story, if you ask me. Love and horror go together much more than most people would care to admit and have been turning out some of greatest stories in cinema. Next time the occasion calls for a genre flick a little sweeter, try one of these on for size.
The Fly »
- Aaron Williams
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