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2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009

13 items from 2016


American Pastoral's Poster & Trailer Are A Beauty

27 June 2016 9:33 AM, PDT | FilmExperience | See recent FilmExperience news »

Manuel here. American Pastoral, adapted from the Pulitzer Prize-winning novel by Philip Roth has a trio of leading performers that I find myself often rooting for—despite early buzzy career moves, each have become underrated and/or undervalued players: Jennifer Connelly, Dakota Fanning, and Ewan McGregor who's doing double duty here. American Pastoral marks his directorial debut.

I initially wanted to share the beautiful new poster for it which is haunting and simple; a perfect example of a one sheet that establishes quickly the mood of the piece. Roth's title and the film's tagline "A radically ordinary story" surely help. This is the American Dream engulfed in flames which means the nuclear family at the core of McGregor's film (Connelly playing his wife, Fanning his daughter) will be anything but ordinary.

And then I found the trailer had dropped and 30 seconds in I was already sold (which would've made a »

- Manuel Betancourt

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Ewan McGregor Makes Directorial Debut In Trailer for Philip Roth Adaptation ‘American Pastoral’

23 June 2016 12:46 PM, PDT | The Film Stage | See recent The Film Stage news »

It seems impossible, or maybe just stupid: adapt what is perhaps the most acclaimed novel by perhaps our greatest living novelist as your directorial debut, which you’ll also star in as a character with whom, based on the many and very critical descriptions from said most-acclaimed-novel-by-greatest-living-novelist, you don’t even have the greatest resemblance. Here we are, then, with Ewan McGregor‘s American Pastoral, an adaptation of Philip Roth‘s Pulitzer-winning, meta-fictional masterpiece of grieving, complex generational rifts, and glove-making — not exactly a Sundance-premiering dramedy.

I very much hope not to look like a fool in four months’ time when I say, now, that the first preview points towards something with character — perhaps rather good, even. Early days, yes (hence the disclaimer), yet this is a fine sampling of period-evoking design, shots and palette that evoke some sense of visual purpose — hello, The American and Control Dp Martin Ruhe — and, »

- Nick Newman

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13 great modern thriller directors

14 June 2016 9:59 AM, PDT | Den of Geek | See recent Den of Geek news »

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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.

Jeremy Saulnier - Blue Ruin, Green Room

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.

Denis Villeneuve - Sicario, Prisoners

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.

Lynne Ramsay - We Need To Talk About Kevin

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.

Joel Edgerton - The Gift

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.

Ben Affleck - The Town, Argo

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.

Anton Corbijn - The American, A Most Wanted Man

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.

Paul Greengrass - Green Zone, Captain Phillips

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.”

John Hillcoat - Lawless, Triple 9

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.

Martin Scorsese - Shutter Island

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.

David Fincher - The Girl With The Dragon Tattoo, Gone Girl

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 »

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Ridley Scott to Receive American Cinematheque Honor

7 June 2016 11:08 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Director-producer Ridley Scott will receive the 30th American Cinematheque award.

The presentation will take place on Oct. 14 at the Beverly Hilton.

Scott received Academy Award director nominations for “Black Hawk Down,” “Gladiator” and “Thelma and Louise.” Othe directing credits include “Alien,” “Black Rain,” “Blade Runner,” “The Duelists,” “Exodus: Gods and Kings,” “G.I. Jane,” “Kingdom of Heaven,” “Legend,” “The Martian,” “Matchstick Men,” “Prometheus,” “Robin Hood,” “Someone to Watch Over Me” and “White Squall.”

The American Cinematheque is extremely pleased to honor Ridley Scott as the 30th recipient of the American Cinematheque award at our celebration this year,” said American Cinematheque Chairman Rick Nicita. “To state it simply, Ridley Scott is one of the greatest directors in the history of the motion picture.”

“From his first feature, ‘The Duelists,’ to his most recent, ‘The Martian,’ the films of Ridley Scott have combined keenly observed humanity with dazzling state-of-the-art effects and design in »

- Dave McNary

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Film Review: Approach of ‘Money Monster’ is Pure Fraud

12 May 2016 6:50 PM, PDT | HollywoodChicago.com | See recent HollywoodChicago.com news »

Chicago – In our society there is one eternal truth…the rich will Always win, that’s one of the reasons that they are rich. So when “Money Monster” attempts to take them down a peg with a ridiculous fantasy story, it’s as fraudulent as what they think they’re bringing down. An oligarch watches this, and laughs at us.

Rating: 1.0/5.0

What was surprising, and distressing, was that George Clooney was involved in this project. He has made reliably stick-it-to-the-man films for years (“Confessions of a Dangerous Mind,” “Good Night, and Good Luck,” “The American”), but in this one he doesn’t have a character, or at least a character that has a placeholder in reality. Everything else is just window dressing – the direction from Jodie Foster, the horrid screenplay by three writers. and a throwaway role for Julia Roberts that someone like Téa Leoni could have done, and that »

- adam@hollywoodchicago.com (Adam Fendelman)

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George Clooney: His best performances to date

10 May 2016 11:02 AM, PDT | Hollywoodnews.com | See recent Hollywoodnews.com news »

When it comes to movie stars, few actors in Hollywood better encapsulate what you want out of a veteran A-lister than George Clooney. Not only is he an accomplished actor with an Academy Award on his mantle, he’s a highly regarded writer and director, with an Oscar for producing under his belt as well. He’s a jack of all trades, and with a new star vehicle out on Friday in Money Monster (which I actually see tomorrow), I thought it was high time to go over his best performances to date. There’s no shortage of quality on Clooney’s permanent record, so finding his top works so far won’t be hard, on top of being a pleasure. He’s had a great career that’s only about at the midway point, so there’s not only tons to look at, but plenty more to come as well! »

- Joey Magidson

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Recommended Discs & Deals of the Week: ‘The Hateful Eight,’ Chantal Akerman, ‘Bicycle Thieves,’ and More

29 March 2016 7:13 AM, PDT | The Film Stage | See recent The Film Stage news »

Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.

Bicycle Thieves (Vittorio De Sica)

Hailed around the world as one of the greatest movies ever made, the Academy Award–winning Bicycle Thieves, directed by Vittorio De Sica, defined an era in cinema. In poverty-stricken postwar Rome, a man is on his first day of a new job that offers hope of salvation for his desperate family when his bicycle, which he needs for work, is stolen. With his young son in tow, he sets off to track down the thief. »

- TFS Staff

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James Dean, Life And Leaving Photography Behind – Exclusive Interview With Anton Corbijn

29 January 2016 10:20 AM, PST | Obsessed with Film | See recent Obsessed with Film news »

EntertainmentOne

Anton Corbijn may be one of the most unassuming film directors out there. A world-renowned photographer who by his own admission never intended to make the jump into movies, he’s been behind some of the most exciting movies of the past ten years, including Joy Division biopic Control, George Clooney thriller The American, John le Carré adaptation A Most Wanted Man (which featured Phillip Seymour Hoffman’s final lead role) and last year’s incredibly underrated Life, which documents the story behind the iconic photographs of James Dean.

To celebrate the home video release of Life (available in the UK from February 1st) we got a chance to chat with Corbijn about another late icon on film, as well as his recent career move into cinema.

When I interviewed Anton, it was mere hours after the announcement of David Bowie’s passing. He’d worked with the singer »

- Alex Leadbeater

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Flickering Myth’s Big, Fat Movie Checklist of 2016

23 January 2016 1:31 PM, PST | Flickeringmyth | See recent Flickeringmyth news »

Now that 2015 is over, there are plenty of ‘Best Of’ lists pronouncing the movies you should have seen already. Hell, even we did it at Flickering Myth. But by the end of the year, it’s too late. You suddenly have 50+ films you missed out on to catch up with. Where were the ‘Best Ofs’ as the year was in progress? That’s where Flickering Myth’s Big, Fat Movie Checklist of 2016 comes in.

Suicide Squad is released on 5th August, 2016.

While there are many retrospective lists online, there are very few resources updated regularly for the movies of the year.

Below are the movies worth watching in 2016, based on their current UK release dates (which these days is pretty similar to the Us). Most of the January releases have already come out, many upcoming ones will be pushed back or brought forward. We’ll update the list monthly to »

- Oli Davis

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Christian Carion’s ‘Come What May’ Rolls Out Sales (Exclusive)

12 January 2016 6:14 AM, PST | Variety - Film News | See recent Variety - Film News news »

Paris – Acquired by Cohen Media Group for the U.S., the Pathe Intl.-sold “Come What May,” directed by France’s Christian Carion, (Oscar-nominated “Merry Christmas,” “Farewell”), one of France’s most ambitious historical filmmakers, has closed pre-sales and early sales.

Sales unveil comes as Pathe has announced a highlight of the 18th UniFrance Rendez-Vous, the French cinema showcase kicking off Jan. 14: A private visit on Jan. 15 of the Cezanne collection at Paris’ Orsay Museum to set in context “Cezanne et Moi,” directed by Daniele Thompson (). Starring Guillaume Gallienne (“Yves Saint Laurent,” “Me, Myself and Mum””) as Cezanne and Guillaume Canet (“Tell No One,” “Jappeloup”) as Emile Zola, his lifelong friend from the age of 13, “Cezanne et moi” is shaping up as one of Pathé’s big 2016 late summer big fest bets.

A father-son love story set against the Fall of France, when from May 1940 about eight million French »

- John Hopewell

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Christian Carion’s ‘Come What May’ Rolls Out Sales

12 January 2016 3:58 AM, PST | Variety - Film News | See recent Variety - Film News news »

Paris – Acquired by Cohen Media Group for the U.S., the Pathe Intl.-sold “Come What May,” directed by France’s Christian Carion, (Oscar-nominated “Merry Christmas,” “Farewell”), one of France’s most ambitious historical filmmakers, has closed pre-sales and early sales.

Sales unveil comes as Pathe has announced a highlight of the 18th UniFrance Rendez-Vous, the French cinema showcase kicking off Jan. 14: A private visit on Jan. 15 of the Cezanne collection at Paris’ Orsay Museum to set in context “Cezanne et Moi,” directed by Daniele Thompson (). Starring Guillaume Gallienne (“Yves Saint Laurent,” “Me, Myself and Mum””) as Cezanne and Guillaume Canet (“Tell No One,” “Jappeloup”) as Emile Zola, his lifelong friend from the age of 13, “Cezanne et moi” is shaping up as one of Pathé’s big 2016 late summer big fest bets.

A father-son love story set against the Fall of France, when from May 1940 about eight million French »

- John Hopewell

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Art Directors Guild Nominations Revealed! Yup, "Star Wars" Is Among the Nominees!

5 January 2016 8:56 AM, PST | Manny the Movie Guy | See recent Manny the Movie Guy news »

The Art Directors Guild has unveiled the nominees of its 20th anual Excellence in Production Design Awards and "Star Wars: The Force Awakens" is one of the contenders in the Contemporary Feature Film category. But it may be hard for the force to beat the magical "Cinderella!"

And as a big Madonna fan, yup I'm a Rebel Heart, it's heartwarming to see the icon as one of the nominees in the Short Format category for her "Ghosttown" music video! The only music video nominated!

Winners will be announced on January 31. Here's the full list of nominees of the Art Directors Guild Awards:

Excellence In Production Design For A Feature Film In 2015

Period Film

Bridge Of Spies

Production Designer: Adam Stockhausen

Crimson Peak

Production Designer: Thomas E. Sanders

The Danish Girl

Production Designer: Eve Stewart

The Revenant

Production Designer: Jack Fisk

Trumbo

Production Designer: Mark Ricker

Fantasy Film

Cinderella

Production Designer: »

- Manny

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‘Star Wars,’ ‘Mad Max,’ ‘Martian’ Nominated for Art Directors Guild Awards

5 January 2016 7:55 AM, PST | Variety - Film News | See recent Variety - Film News news »

Star Wars: The Force Awakens,” “Mad Max: Fury Road,” “The Martian” and “The Revenant” have been nominated for the Art Directors Guild Excellence in Production Design Awards.

The winners will be announced at the guild’s 20th annual awards show on Jan. 31 at the Beverly Hilton Hotel. Owen Benjamin will host.

Nominees in the period films category are Adam Stockhausen for “Bridges of Spies,” Thomas E. Sanders for “Crimson Peak,” Eve Stewart for “The Danish Girl,” Jack Fisk for “The Revenant” and Mark Ricker for “Trumbo.” Stockhausen won the Academy Award for art direction last year for “The Grand Budapest Hotel.”

Nominees for the fantasy films category are Dante Ferretti for “Cinderella,” Edward Verreaux for “Jurassic World,” Colin Gibson for “Mad Max: Fury Road,” Rick Carter and Darren Gilford for “Star Wars: The Force Awakens” and Scott Chambliss for “Tomorrowland.”

Nominees in the contemporary film category are Mark Digby for “Ex Machina, »

- Dave McNary

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2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009

13 items from 2016


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