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Amazon Prime Day is here, and with it, a bevy of deals for your entertainment-loving heart. In order to plow through the massive list of deals being offered to Amazon Prime members — it is called Amazon Prime Day for a reason — we’ve narrowed down some of the many offerings for 18 tried and tested IndieWire favorites, spanning both film and television, available with some very special streaming deals today only. Take a look, and start saving now.
“Edge of Tomorrow” ($0.99, 80% off)
In a summer full of lousy Hollywood fare, go back to 2014 and re-experience Doug Liman’s brilliant sci-fi romp. Written by master screenwriter Chris McQuarrie, “Edge of Tomorrow” pushes Tom Cruise to rock bottom and kills him off in the first 10 minutes. And then does it again, and again and a few dozen more times. Consider it a video game movie that doesn’t need video game source material to make it work, »
- Russell Goldman and Sarah Colvin
Jason from Mnpp here using the ocassion of another's week's "Beauty vs Beast" to give good goblin love to one of our favorite 80s kid's movies: Jim Henson's Labyrinth is turning 30 today! The film was released on June 27th 1986, and to folks my age it became pretty much an instant classic. Labyrinth tells a tale as old as time - girl babysits, girl wishes baby away to David Bowie, David Bowie's innappropriate bulge mesmerizes an eight-year-old me, so on and so forth. What's not to love? I saw Jennifer Connolly on the subway once and it took all the restraint inside of me not to yell, "Your mother is a fraggin' aardvark!" at her.
Previously It was the start of the endless summer season last week so what better way to 'celebrate" than by looking back at the romantic-comedy that dragged it out to (500) Days - in the »
They’ve made some of the best thrillers of the past six years. We list some of the best modern thriller directors currently working...
Director Guillermo del Toro once described suspense as being about the withholding of information: either a character knows something the audience doesn’t know, or the audience knows something the character doesn’t. That’s a deliciously simple way of describing something that some filmmakers often find difficult to achieve: keeping viewers on the edges of their seats.
The best thrillers leave us scanning the screen with anticipation. They invite us to guess what happens next, but then delight in thwarting expectations. We can all name the great thriller filmmakers of the past - Alfred Hitchcock, Carol Reed, Brian De Palma - but what about the current crop of directors? Here’s our pick of the filmmakers who’ve made some great modern thrillers over the past six years - that is, between the year 2010 and the present.
To think there was once a time when Jeremy Saulnier was seriously quitting the film business.
“To be honest," Saulner told us back in 2014, “Macon and I had really given up on our quest to break into the industry and become legitimate filmmakers. So what we were trying to do with Blue Ruin was archive our 20 year arc and bring it to a close. Really just revisit our stomping grounds and use locations that were near and dear to us and build a narrative out of that.”
Maybe this personal touch explains at least partly why Blue Ruin wound up getting so much attention in Cannes in 2013, signalling not the end of Saulnier and his star Macon Blair’s career, but a brand new chapter. But then again, there’s more than just hand-crafted intimacy in Saulnier’s revenge tale; there’s also its lean, minimal storytelling and the brilliance of its characterisation. Blue Ruin is such an effective thriller because its protagonist is so atypical: sad-eyed, inexperienced with guns, somewhat soft around the edges, Macon Blair’s central character is far from your typical righteous avenger.
Green Room, which emerged in the UK this year, explores a similar clash between very ordinary people and extraordinary violence. A young punk band shout about anarchy and aggression on stage, but they quickly find themselves out of their depth when they’re cornered by a group of bloodthirsty neo-Nazis. In Saulnier’s films, grubby, unseemly locations are matched by often beautiful locked-off shots. Familiar thriller trappings are contrasted by twists of fortune that are often shocking.
Here’s one of those directors who can pack an overwhelming sense of dread in a single image: in Sicario, his searing drug-war thriller from last year, it was the sight of tiny specks of dust falling in the light scything through a window. That single shot proved to be the calm before the storm, as Villeneuve unleashed a salvo of blood-curdling events: an attempted FBI raid on a building gone horribly awry. And this, I think, is the brilliance of Villeneuve’s direction, and why he’s so good at directing thrillers like Sicario or 2013’s superb Prisoners - he understands the rhythm of storytelling, and how scenes of quiet can generate almost unbearable tension.
Another case in point: the highway sequence in Sicario, where Emily Blunt’s FBI agent is stuck in a traffic jam outside one of the most violent cities in the world. Villeneueve makes us feel the stifling heat and the claustrophobia; something nasty’s going to happen, we know that - but it’s the sense of anticipation which makes for such an unforgettable scene.
Prisoners hews closely to the template of a modern mystery thriller, but it’s once again enriched by Villeneuve’s expert pacing and the performances he gets out of his actors. Hugh Jackman’s seldom been better as a father on the hunt for his missing child, while Jake Gyllenhaal mesmerises as a cop scarred by his own private traumas.
Ramsay’s We Need To Talk About Kevin may be the most effective psychological thriller of recent years. About the difficult relationship between a mother (Tilda Swinton) and her distant, possibly sociopathic son (Ezra Miller), Ramsay’s film is masterfully told from beginning to end - which is impressive, given that the source novel by Lionel Shriver is told via a series of letters. Ramsay takes the raw material from the book and crafts something cinematic and highly disturbing: a study of guilt, sorrow and recrimination. Tension bubbles even in casual conversations around the dinner table. Miller is an eerie, cold-eyed blank. Swinton is peerless. One scene, in which Swinton’s mother comes home in the dead of night, is unforgettable. Here’s hoping Ramsay returns with another feature film very soon.
Morten Tyldum - Headhunters
All kinds of thrillers have emerged from Scandinavia over the past few years, whether on the large or small screen or in book form. Morten Tyldum’s Headhunters is among the very best of them. The fast-paced and deliriously funny story of an art thief who steals a painting from the wrong guy, Headhunters launched Tyldum on an international stage - Alan Turing drama The Imitation Game followed, and the Sony sci-fi film Passengers is up next. It isn’t hard to see why, either: Headhunters shows off Tyldum’s mastery of pace and tone, as his pulp tale hurtles from intense chase scenes to laugh-out-loud black comedy.
Granted, Joel Edgerton’s better known as an actor, having turned in some superb performances in the likes of Warrior, Zero Dark Thirty and Warror. But with a single film - The Gift, which he wrote, directed, produced and starred in - Edgerton established himself as a thriller filmmaker of real promise. About a successful, happily married couple whose lives are greatly affected by an old face from the husband’s past, The Gift is an engrossing, unsettling movie with superb performances from Jason Bateman and Rebecca Hall as well as Edgerton.
A riff on the ‘killer in our midst’ thrillers of the 80s and 90s - The Stepfather, The Hand That Rocks The Cradle and so on - The Gift is all the more effective because of its restraint. We’re never quite sure who the villain of the piece is, at least at first - and Edgerton’s use of the camera leaves us wrong-footed at every turn. The world arguably needs more thrillers from Joel Edgerton.
If you haven’t seen The Gift yet, we’d urge you to track it down.
David Michod - Animal Kingdom
The criminals at play in this true-life crime thriller are all the more chilling because they’re so mundane - a bunch of low-level thieves, murderers and gangsters who prowl around the rougher parts of Melbourne, Australia. Writer-director David Michod spent years developing Animal Kingdom, and it was worth the effort: it’s an intense, engrossing film, for sure, but it’s also a believable glimpse of the worst of human nature. Ben Mendelsohn and Jacki Weaver play villains of different kinds; the latter a manipulative grandmother who looks over her brood of criminals, the former a spiteful thief. Crafting moments of incredible tension from simple exchanges, Michod launched himself as a formidable talent with this feature debut.
Affleck’s period drama-thriller Argo won all kinds of awards, but we’d argue his earlier thrillers were equally well made. Gone Baby Gone was a confident debut and an economical adaptation of Dennis LeHane’s novel. The Town, released in 2010, was a heist thriller that made the most of its Boston setting. One of its key scenes - a bank robbery in which the thieves wear a range of bizarre outfits, including a nun’s habit - is masterfully staged. With Affleck capable of teasing out great performances from his actors and staging effective set-pieces, it’s hardly surprising he’s so heavily involved in making at least one Batman movie for Warner - as well as playing the hero behind the mask.
The quiet, almost meditative tone of Anton Corbijn’s movies mean they aren’t necessarily to everyone’s taste, but they’re visually arresting and almost seductive in their rhythm and attention to detail. Already a celebrated photographer, Corbijn successfully crossed over into filmmaking with Control, an exquisitely-made drama about Joy Division lead singer Ian Curtis. Corbijn took a markedly different direction with The American, a thriller about an ageing contract killer (George Clooney) who hides out in a small Italian town west of Rome. Inevitably, trouble eventually comes calling.
Corbijn’s direction remains gripping because he doesn’t give us huge action scenes to puncture the tension. We can sense the capacity for violence coiled up beneath the hitman’s calm exterior, and Corbijn makes sure we only see rare flashes of that toughness - right up until the superbly-staged climax.
A Most Wanted Man, based on the novel by John le Carre, is a similarly astute study of an isolated yet fascinating character - in this instance, the world-weary German intelligence agent Gunther Bachmann, brilliantly played by Philip Seymour Hoffman. Tragically, the film proved to be one of the last before Hoffman’s death in 2014.
Mention Greengrass’ name, and the director’s frequent use of handheld cameras might immediately spring to mind. But time and again, Greengrass has proved a master of his own personal approach - you only have to look at the muddled, migraine-inducing films of his imitators to see how good a director Greengrass is. Part of the filmmakers’ visual language rather than a gimmick, Greengrass’ camera placement puts the viewer in the middle of the story, whether it’s an amnesiac agent on the run (his Bourne films) or on a hijacked aircraft (the harrowing United 93). While not a huge hit, Green Zone was an intense and intelligent thriller set in occupied Iraq. The acclaimed Captain Phillips, meanwhile, was a perfect showcase for Greengrass’ ability to fuse realism and suspense; the true story of a merchant vessel hijacked by Somali pirates, it is, to quote Greengrass himself, “a contemporary crime story.”
We can’t help thinking that, with a better marketing push behind it, Triple 9 could have been a much bigger hit when it appeared in cinemas earlier this year. It has a great cast - Chiwetel Ejiofor, Norman Reedus, Anthony Mackie and Aaron Paul as a group of seasoned thieves, Kate Winslet cast against type as a gangland boss - and its heist plot rattles along like an express train.
Hillcoat seems to have the western genre pulsing through his veins, and he excels at creating worlds that are desolate and all-enveloping, whether his subjects are period pieces (The Proposition, Lawless) or post-apocalyptic dramas (The Road). Triple 9 sees Hillcoat make an urban western that is both classic noir and entirely contemporary; his use of real cops and residents around the film’s Atlanta location give his heightened story a grounding that is believable in the moment. Nowhere is this more in evidence than in the scene in which Casey Affleck’s cop breaches a building while hunkered down behind a bullet-proof shield. Hillcoat places us right there in the scene with Affleck and the cops sneaking into the building behind him; we sense the claustrophobia and vulnerability.
Hillcoat explained to us in February that this sequence wasn’t initially written this way in the original script; it changed when the director and his team discovered how real-world cops protect themselves in real-world situations. In Triple 9, research and great filmmaking combine to make an unforgettably intense thriller.
Jim Mickel - Cold In July
Seemingly inspired by such neo-Noir thrillers as Red Rock West and Blood Simple, 2014‘s Cold In July is a genre gem from director Jim Mickle (Stake Land, We Are What We Are). Michael C Hall plays an ordinary guy in 80s America who shoots an intruder who breaks into his home, and becomes drawn into a moody conspiracy that takes in crooked cops, porn and a private eye (who's also keen pig-rearer) played by Don Johnson. Constantly shifting between tones, Mickel’s thriller refuses to stick to genre expectations. In one scene, after Hall shoots the burglar dead, Mickel’s camera lingers over the protagonist as he cleans up the blood and glass. It’s touches like these that make Cold In July far more than a typical thriller.
Mickel’s teaming up with Sylvester Stallone next; we’re intrigued to see what that partnership produces.
As a filmmaker, Scorsese needs no introduction. As a director of thrillers, he’s in a class of his own: from Taxi Driver via the febrile remake of Cape Fear to the sorely underrated Bringing Out The Dead, his films are full of suspense and the threat of violence. Shutter Island, based on the Dennis LeHane novel of the same name, saw Scorsese plunge eagerly into neo-noir territory. A murder mystery set in a mental institution on the titular Shutter Island, its atmosphere is thick with menace. Like a combination of Robin Hardy's The Wicker Man and Adrian Lyne’s cult classic Jacob’s Ladder, Shutter Island’s one of those stories where we never know who we can trust - even the protagonist, played by Leonardo DiCaprio.
After the trial by fire that was Alien 3, David Fincher found his footing in the 90s with such hits as Seven and The Game. In an era where thrillers were in much greater abundance, from the middling to the very good, Seven in particular stood out as a genre classic: smartly written, disturbing, repulsive and yet captivating to look at all at once. Fincher’s affinity for weaving atmospheric thrillers continued into the 2010s, first with The Girl With The Dragon Tattoo, a superb retelling of Stieg Larsson’s book which didn’t quite find the appreciative audience deserved, and Gone Girl, an even better movie which - thankfully - became a hit.
Based on Gillian Flynn’s novel (and adapted by the author herself), Gone Girl is both a gripping thriller and a thoroughly twisted relationship drama. Fincher’s mastery of the genre is all here: his millimetre-perfect composition, seamless touches of CGI and subtle yet effective uses of colour and shadow. While not a straight-up masterpiece like the period thriller Zodiac, Gone Girl is still a glossy, smart and blackly funny yarn in the Hitchcock tradition. If there’s one master of the modern thriller currently working, it has to be Fincher.
See related John Hillcoat interview: Triple 9, crime, fear of comic geniuses Jim Mickle interview: Cold In July, thrillers, Argento Jeremy Saulnier interview: Green Room, John Carpenter Jeremy Saulnier interview: making Blue Ruin & good thrillers Denis Villeneuve interview: Sicario, Kurosawa, sci-fi, ugly poetry Morten Tyldum interview: The Imitation Game, Cumberbatch, Headhunters Paul Greengrass interview: Captain Phillips & crime stories Movies Feature Ryan Lambie thrillers 15 Jun 2016 - 06:11 Cold In July Triple 9 Shutter Island Gone Girl David Fincher Martin Scorsese John Hillcoat Directors thrillers movies »
2K have announced that their hit turn based strategy, Xcom 2, is coming to Xbox One and Playstation 4 this September. The PC edition of the game was released earlier this year and has been met with huge success.
Xcom 2 is set 20 years after the original story, it is a future where humanity lost the war against the aliens. There is just one new world order in place, one where humans are at the mercy of the plans of the aliens. The former secret paramilitary organisation known as Xcom is forgotten but not gone altogether and players must strike from the shadows at the very heart of the aliens and liberate the Earth from the alien’s evil plans.
Console gamers have been desperate to play Xcom 2 with forums, Youtube videos and other social media having many comments along the lines of ‘When is it coming to console?’. These comments have not »
- Andrew Newton
Console fans of Xcom who felt left out in the cold by the sequel's PC only release last year can now rest easy, as Firaxis has revealed console ports of the strategy title will be arriving this September. Come inside to check out all the details and a new trailer.
Due to hardware limitations, most of my gaming is done on consoles. As such, I watched PC gamers the world over enjoying Xcom 2 with a great deal of sadness and frustration. Strategy titles have long been my bread and butter in gaming, with Xcom Enemy Unknown/Within being among one of my favorites. So imagine my joy and surprise this morning when 2K and Firaxis announced Xcom 2 is arriving on PS4 and Xbox One on September 6, 2016.
2K announced today that Xcom® 2 is coming to the PlayStation®4 computer entertainment system and Xbox One on September 6, 2016 in North America and September 9, 2016 internationally for $59.99. Additionally, »
- email@example.com (Jordan Maison)
Jennifer Morrison – star of Once Upon A Time – is gearing up for the next phase of her career by filling out the cast of her feature-length directorial debut with an impressive roster of talent. Having already cast Ed O’Neill and multiple award-winning Allison Janney, Morrison has now added Melissa Benoist (Supergirl) and Michael Angarano (The Knick) to the list of stars set to appear in Sun Dogs.
Written by Anthony Tambakis (Warrior, Jane Got A Gun), the film will see Jennifer Morrison branch out with her own production banner – Apartment 3C Productions. Sun Dogs will be the first of two collaborations between Tambakis and Apartment 3C, and will start Morrison’s directing career off with a comedic look at duty, ambition and homeland security.
Ned (Michael Angarano) is a young man desperate to enlist in the U.S Marines and serve his country. Failing repeatedly, and then once more, »
- Sarah Myles
Exclusive: Michael Angarano, Melissa Benoist, Allison Janney and Ed O'Neill have come aboard to star in Sun Dogs, the feature film directorial debut of Once Upon A Time star Jennifer Morrison that was penned by Anthony Tambakis (Warrior). Fabrica De Cine, which just closed a mega-deal in Cannes to produce and finance Martin Scorcese’s The Irishman, will co-finance Sun Dogs along with Caviar (Diary Of A Teenage Girl). The comedy, the first for Morrison’s newly launched Apar… »
Just a few days ago we reported that The Solution Entertainment Group was doing a project called Wheelman, starring Frank Grillo and Joe Carnahan producing, and now Netflix has gotten the rights for it.
Netflix has acquired worldwide rights to the high-concept action thriller Wheelman starring Frank Grillo. Joe Carnahan (The Grey, The A-Team) is producing the film alongside The Solution Entertainment Group’s Myles Nestel (The November Man, Machete) and Grillo who is making his producing debut. Wheelman is written and directed by Jeremy Rush and is scheduled to commence principal photography in fall 2016. J Todd Harris, Chady Mattar and Scott Silver are executive producing.
The Wheelman is Grillo - a getaway driver thrust into a high stakes race-to-survive after a bank robbery goes terribly wrong. With a car full of money and his family on the line, the clock is ticking to figure out who double-crossed him, and »
- Kellvin Chavez
This one comes from Warrior director Gavin O’Connor, and sees Affleck co-star with Anna Kendrick, J K Simmons, Jon Bernthal, Jeffrey Tambor and John Lithgow. It follows the story of a seemingly mild-mannered man – an accountant, as luck would have it – who has a little bit of a sideline in, er, assassinating people.
A trailer and a synopsis for the film have been released, so let’s hand over to them. Here’s the trailer first…
And here’s the synopsis…
After bringing the iconic superhero Batman back to life on the big screen this spring with Batman v Superman: Dawn of Justice, Ben Affleck takes on a much more sinister role this fall in Warner Bros.' The Accountant. The studio released the first trailer for this thriller today, which shows Ben Affleck playing a brilliant math genius who is leading a dangerous double life. This thriller could end up being one of the hottest movies hitting theaters this fall, with Ben Affleck leading a stellar cast that also includes Anna Kendrick and J.K. Simmons.
The trailer from Warner Bros. UK YouTube showcases Christian Wolff (Affleck), a math savant with more affinity for numbers than people. Behind the cover of a small-town Cpa office, he works as a freelance accountant for some of the world's most dangerous criminal organizations. With the Treasury Department's Crime Enforcement Division, run by Ray King »
"Warrior" helmer Gavin O'Connor takes on the assassin genre with "The Accountant," a new thriller in which Ben Affleck plays a math savant who works as a freelance accountant for some of the world's most dangerous criminal organizations. The film opens on October 14th.
With the Treasury Department's Crime Enforcement Division, run by Ray King (J.K. Simmons), starting to close in, he takes on a legitimate client: a state-of-the-art robotics company where an accounting clerk (Anna Kendrick) has discovered a discrepancy involving millions of dollars. A body count begins to stack up.
- Garth Franklin
Action superstar Frank Grillo (Captain America: Civil War, Kingdom, The Purge franchise) will take on the title role in the high-concept action thriller Wheelman written and directed by Jeremy Rush. Joe Carnahan (The Grey, The A-team) is producing the film alongside Myles Nestel (The November Man, Machete) for The Solution Entertainment Group and Grillo, making his producing debut.
The Solution’s Lisa Wilson & Josh Deitell are handling international rights to the high-octane thriller and will introduce the film to buyers at Cannes. CAA will represent the film’s U.S. rights.
Frank Grillo is the Wheelman - a getaway driver thrust into a high stakes race-to-survive after a bank robbery goes terribly wrong. With a car full of money and his family on the line, »
- Kellvin Chavez
Exclusive: Once Upon A Time star Jennifer Morrison has launched her own production banner, Apartment 3C Productions, and will kick things off with her feature film directorial debut in Sun Dogs, a comedy penned by Warrior scribe Anthony Tambakis. The pic follows a young misfit with three failed attempts to join the Marines under his belt. Taking a Marine officer’s advice to “protect the homefront” a little too seriously, he sets his sights on a casino manager who may or… »
Related: Jane Got a Gun – but most women in westerns still don't
Actually, Jane is demurely reliant on old-fashioned menfolk getting their guns to protect her in this laborious and solemn western, hampered by teaser flashbacks and finally saddled with a ridiculous ending: it showcases a very stately performance from its producer-star, Natalie Portman. This project got bogged down three years ago when its original director Lynne Ramsay walked out due to disagreements on casting and creative autonomy. The reins are now in the hands of Gavin O’Connor, who directed the martial-arts movie Warrior, with Joel Edgerton and Tom Hardy; Brian Duffield’s original and widely admired screenplay appears to have received a number of revisions. Portman plays Jane Hammond, a tough frontierswoman whose husband, Bill (Noah Emmerich »
- Peter Bradshaw
Jane Got A Gun review: Has the troubled production doomed this once promising western?
Jane Got A Gun review
There’s simply no escaping the controversy surrounding the making of Jane Got A Gun. So much news came out so fast as the film struggled to get under production, and although it was shot back in 2013, it is only now that the film has arrived. Originally set up as a vehicle for Lynne Ramsay to direct, she failed to show up on set due to reported unhappiness with not having final cut. She was soon replaced by Warrior director Gavin O’Connor, only for Jude Law to walk from the production as he signed on specifically to work with Ramsay. Jude Law had replaced Michael Fassbender, »
- Luke Ryan Baldock
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This special bonus edition of the Flickering Myth Podcast contains the full-length audio from Scott Davis’ interview with the director of Midnight Special, Jeff Nichols, where he talks about the movie, working with Michael Shannon, and Adam Drivers bright future. Enjoy.
Subscribe for new episodes every Wednesday.
Read our ★ ★ ★ review of Midnight Special here.
Roy (Michael Shannon) is a father desperate to protect his uniquely gifted, eight-year-old son in this genre-defying thriller which proves once again that director Jeff Nichols is one of the most compelling storytellers of our time. As father and son go on the run, an intense chase ensues as they are hunted down by a mysterious cult and a clandestine government agency – the outcome of which could bring about a world-changing event.
- Oli Davis
To co-incide with this week’s release of the stunning sci-fi drama Midnight Special, we have a tie-in merchandise pack to give away to two lucky competition winners. The packs comprise of a black t-shirt with glow effects, a Maglite Solitaire touch, Headphones and radio transmitter (*details below)
From acclaimed filmmaker Jeff Nichols (Take Shelter, Mud) comes a genre-defying thriller starring long-time collaborator Michael Shannon (Take Shelter, 99 Homes) alongside a brilliant ensemble cast including Adam Driver (Star Wars: The Force Awakens, Girls), Kirsten Dunst (Fargo, Spider-Man), Joel Edgerton (Warrior), Sam Shepard (Bloodline, Mud) and talented newcomer Jaeden Lieberher (St Vincent).
Roy (Michael Shannon) is a father desperate to protect his uniquely gifted eight-year-old son in this gripping take on the sci-fi movie, which proves once again that director Jeff Nichols is one of the most compelling storytellers of our time. As father and son go on the run, an intense »
- The Hollywood News
In the build-up to WrestleMania 32, the Flickering Myth writers look back at previous installments of the ‘Show case of the Immortals’.
Diesel vs. The Undertaker w/Paul Bearer
WWF Title Match: Shawn Michaels vs. Bret ‘The Hitman’ Hart (60-minute Ironman Match)
Mercifully, on WrestleMania Xii’s entire card there is really only one match that can be considered disappointing. I’m personally of the opinion that Squash Matches (while extremely useful promotion tools) have no place on a ‘Mania show. Having said that, the beauty of hindsight as turned this particular example into the most amusing squash match of all time.
Ultimate Warrior is »
- Jackson Ball
Following his acclaimed 2008 thriller "The Square," stuntman turned actor and filmmaker Nash Edgerton has begun shooting his currently untitled second feature (previously called "American Express") for Amazon Studios.
Edgerton has enlisted an impressive cast including Charlize Theron, David Oyelowo, Amanda Seyfried, Thandie Newton and his brother Joel Edgerton for the dark kidnap comedy-drama which is filming in Chicago and Mexico City.
Source: The Australian »
- Garth Franklin
There were many conversations surrounding Richard Linklater’s Boyhood, most of them bad, and among the more interesting concerned its star, Ellar Coltrane — one of the “what now?” variety. (This interested me so much, in fact, that I asked him about it during an interview in the summer of 2014.) It didn’t take long to get an answer: in September of last year, he signed for James Ponsoldt’s The Circle, putting him in a co-starring position with Tom Hanks, Emma Watson, and John Boyega. And now there’s an update from Variety: the actor’s joined Barry, an Obama biopic-of-sorts concerning the future President’s time at Columbia University in 1981.
They share no details about who Coltrane’s playing, though it’s at least known that Devon Terrell (of Steve McQueen’s unsuccessful HBO pilot Codes of Conduct) will step into the main role; Anya Taylor-Joy (The Witch, M. Night Shyamalan »
- Nick Newman
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