1-20 of 35 items from 2016 « Prev | Next »
Netflix's Stranger Things is the hit of the summer, and that's thanks in part to the nostalgia it brings to mind for a lot of people. You probably noticed a lot of nods to films of the past while watching but check out this side-by-side comparison. Besides its fantastic cast and the nostalgia factor, I also really appreciated Stranger Things' score (which, funny enough, made me think a lot of AMC's Halt and Catch Fire score). Vimeo user Ulysse Thevenon utilizes the main theme by the group Survive (Kyle Dixon and Michael Stein, who also worked on Adam Wingard's The Guest) in his video detailing just a few of the many '70s and '80s films referenced in the series. While it leaves out more modern movie references, this is a pretty fun project. The most obvious newer film that comes to mind for me is Jonathan Glazer »
- Jill Pantozzi
Chicago – She’s conquered the box office as the top grossing female star of all time, and she’s had a series of big superhero and prestige films. The Gene Siskel Film Center honored Scarlett Johansson with their Renaissance Award, at the Ritz Carlton in Chicago on June 20th, 2016.
Photo credit: Joe Arce of Starstruck Foto for HollywoodChicago.com
Johansson was born in New York City, and studied acting at the Professional Children’s School in Manhattan. She made her film debut at the age of nine in “North” (1994), and rose steadily through the ranks as a child/teenage actress in such films as “Manny & Lo” (1996), “The Horse Whisperer” (1998) and “Ghost World” (2001).
- firstname.lastname@example.org (Adam Fendelman)
This week, Neil Calloway argues that the success of Scarlett Johansson’s films isn’t down to the actress herself…
This week it was revealed that Scarlett Johansson was the highest grossing actress in the world. That’s not highest paid (that honour goes to Jennifer Lawrence), but the woman who has appeared in the films that have accumulated the highest box office gross.
Cumulatively, Johansson’s films have earned $3.3 billion at the box office; an impressive feat at first glance, but as the cliché goes, there are lies, damn lies and statistics.
For male actors, Harrison Ford (total $4.8 billion) recently overtook Samuel L. Jackson ($4.6 billion) as the highest grossing actor. Now, you could make an argument that people go to see the films that have put Ford on top because he is in them, but you can’t really say the same for Jackson and Johansson. Did you go »
- Neil Calloway
Exclusive: Hot Cannes package You Were Never Really Here has secured a UK deal; shoot due to get underway late summer.
Studiocanal has swooped on UK rights to Lynne Ramsay’s anticipated thriller You Were Never Really Here which will star Joaquin Phoenix as a damaged war veteran who becomes a freelance rescuer of women trafficked into the sex trade.
Shoot is due to get underway in New York in late summer on the film which has attracted significant heat from buyers since its launch at Cannes where North American rights were snapped up by Amazon in a multi-million dollar deal.
Ramsay, whose last feature was the 2011 Golden Globe-nominated Tilda Swinton-starrer We Need to Talk About Kevin, will direct from her own adaptation of a novella by Jonathan Ames, who created the HBO show Bored To Death.
In the film, a storm of violence and corrupt power is unleashed against Phoenix’s character after the extraction »
- email@example.com (Andreas Wiseman)
There is no doubt that Scarlett Johansson has been a big, bright spot for women in Hollywood for quite some time now. Not only is she a well respected, award worthy actress, but she has also been one of very few females at the front and center of the superhero movie revolution, with her portrayal as Black Widow in the Marvel Cinematic Universe. Her part in those movies has now made her the new queen of the box office.
Box Office Mojo recently updated their list of the highest grossing actors and actresses of all time, and because of the massive success of Captain America: Civil War, Scarlett Johansson came out on top. To date, her movies have grossed more than $3.3 billion at the domestic box office alone. Her nearest competition is Cameron Diaz, who has a major boost thanks to her voice work in the Shrek franchise.
Johansson is »
The list of the highest grossing actors of all-time has long been a male-dominated field thanks to the likes of Samuel L. Jackson, Robert Downey Jr., Tom Cruise, Johnny Depp and more, but the beautiful and badass Scarlett Johansson is here to finally break up the boys’ club. According to Box Office Mojo’s running list, Scarlett Johansson has entered the Top 10 with a total gross of $3.3 billion and counting, coming in ahead of Gary Oldman, Robin Williams and Bruce Willis.
Johansson’s role as Black Widow in the Marvel Cinematic Universe has no doubt helped propel her into the top 10. The actress has played the character in five Marvel blockbusters, beginning with her first appearance as Black Widow in 2010’s “Iron Man 2” and most recently in this summer’s “Captain America: Civil War.” Other »
- Zack Sharf
Our national nightmare is over: After more than a decade of dystopian futures, obtuse love triangles, and weak Charli Xcx singles, Hollywood’s flash-in-the-pan love affair with Ya film adaptations has finally run its course. You can feel it in the air, and you can see it in the dwindling box office returns. The climactic installments of “The Maze Runner” and “The Divergent Series” are still on the horizon, and an unusually promising adaptation of John Green’s “Looking for Alaska” continues to percolate in pre-production, but bodies tend to wriggle for a little while after they’re officially pronounced dead. The fact of the matter is that Voldemort has been vanquished, the people of District 12 have overthrown The Capitol, and Bella Swan has stopped pouting. There will always be movies made for the tween audience, but make no mistake: The Ya world as we know it has come to an end. »
- David Ehrlich
This Möbius strip of a story by Tom McCarthy is both intriguing and alienating
The feature debut from the Israeli-born, Berlin-based visual artist and film-maker Omer Fast is a slippery, enigmatic adaptation of the novel by Tom McCarthy. Following a young man (Tom Sturridge) along a Möbius strip of a story from a traumatic brain injury through the recovery of his memories, the film invites comparison with Synecdoche, New York, Donnie Darko and Memento. The glossy chill of the tone is both intriguing and alienating – it draws us in, but holds us at arm’s length.
Sturridge’s character – he is never named – receives a massive payout following a freak accident. He uses it to recreate the fragments of memory from a past life – an apartment building, an elderly lady who endlessly cooks liver, a trio of cats on a roof, a boy. All of this is achieved with the help of a super fixer, »
- Wendy Ide
★★★★☆From Innocence director Lucile Hadžihalilović, Evolution is another one word title that provokes as much as it suggests. An enigmatic stone of a film, it's a glowing entry in the sub-genre of fabulist science fiction of Never Let Me Go and Under the Skin. We first meet young Nicolas (Max Brebant) underwater. He floats above us, an alien presence visiting a strange and magical underwater world. Nicolas lives with his mother (Julie-Marie Parmentier) in a small rustic village of white houses on a black sanded volcanic island. There doesn’t appear to be any technology - no cars, telephones, or televisions - and Nicolas' bedroom is as beautifully spare as a Flemish painting of an empty room. »
- CineVue UK
My, what a treat it’d be to spend even five nanoseconds in the mind of Nicolas Winding Refn. Neon strobes, vile torture, cannibalistic corpse-kissing nymphos – Refn’s style blends sinister sleaze with posh, club-centric pop artistry that glows a vibrant, sadistic hue. We all knew The Neon Demon would submerge Los Angeles’ modeling scene in a dead-sexy taste of dog-eat-dog warfare, but with such little storytelling? Even for Refn? Don’t get me wrong, he’s the master of style over substance – and that’s coming from an Only God Forgives apologist – yet his latest piece of work comes off as egotistically narrow-minded.
If you need to be reminded how important that whole “substance” thing is, here’s a perfect example.
Elle Fanning stars as Refn’s muse, a not-quite-legal midwestern beauty with dreams of becoming runway model royalty. As soon as she arrives in town, Fanning’s supple »
- Matt Donato
"Don't let it out." 20th Century Fox has unveiled a teaser trailer for a mysterious new sci-fi horror thriller called Morgan, with the tagline "what is Morgan?" It's obviously not "who", but "what", making me wonder if this is some weird alien creature they've captured that is pretending to be human. A bit like Under the Skin but if that film was made by Hollywood and not Jonathan Glazer. Morgan is the first feature directed by Ridley Scott's son Luke Scott, and stars Kate Mara as a corporate troubleshooter sent to investigate this "person". The full cast also includes Anya Taylor-Joy, Toby Jones, Rose Leslie, Boyd Holbrook, Michelle Yeoh, Jennifer Jason Leigh, and Paul Giamatti. I'm certainly intrigued, this is a good tease. Here's the first teaser trailer (+ poster) for Luke Scott's Morgan, direct from Fox's YouTube: A corporate troubleshooter (Kate Mara) is sent to a remote, top-secret location, »
- Alex Billington
The 30th anniversary of Aliens got me thinking about Sci-Fi thrillers. Not every one is a home run, but there are so many that are! So while revisitng Aliens, maybe check out some of these other classics, too!
This is one of the most beautiful and most frightening looks at a future that is right around the corner: parents given the ability to genetically manipulate a fetus so that it contains the best traits of its lineage, everyone else be damned. Uma Thurman, Ethan Hawke, and Jude Law play the pretty people and those who just miss the mark.
Buy Gattaca here!
Scarlett Johansson as an unnamed sexy alien who picks up and seduces men in a creepy black, liquid void. More something to just take in versus a straight-ahead narrative, Under The Skin will get under yours, even if you don’t understand it all! »
- Harker Jones
I was initially overwhelmed by the Scarlett Johansson-starring Under The Skin as the psychological aspect did exactly that to my mind. This new poster for Hadzihalilovic‘s Evolution continues to stir and share that similar mysteriousness plus it fits so well with its creepy trailer.
While the critics continue to love it, words like ‘haunting‘ and ‘mesmerising’ come to mind, that’s reflected in this new poster for the film that opens in the UK on 6 May. Below is also the official synopsis and the trailer…
10-year-old Nicolas lives with his mother on a remote island, in a village inhabited solely by women and young boys. In a hospital overlooking the ocean, all the boys are subjected to a mysterious medical treatment. Only Nicolas questions what is happening around him. He senses that his mother is lying to him, and is determined to find out what she does with the other women at night, »
- Dan Bullock
Channel 4 Chief Executive David Abraham has announced that Daniel Battsek will join the corporation as Director of Film4, following the news that David Kosse is to step down to join Stx Entertainment.
Battsek will join Film4 in July, relocating to the UK from New York after fulfilling his contract as President of Cohen Media Group - where he has overseen the acquisition and release of projects including back-to-back Oscar® nominees "Timbuktu" and "Mustang," as well as a development and production slate of films that includes John Williams’ renowned novel Stoner, a co-production with Film4. Prior to this role Daniel was President of National Geographic Films, and before that President, Filmed Entertainment at Miramax Films.
Battsek will inherit the increased spend announced by David Abraham and David Kosse in February 2016 of £25 million for the year, with the ambition of maintaining similar increased levels of Film4 funding in future years.
Under Battsek’s leadership, Film4 will continue to seek out new partnerships like those announced with Fox Searchlight and Fp Films in February, which allow the company to take a greater stake in certain projects, with a view to seeing more of the returns flowing back to Film4 for investment in the company’s future slate.
Battsek also inherits a development slate which includes new work from Lenny Abrahamson, Yorgos Lanthimos, Andrew Haigh, Steve McQueen, Martin McDonagh, Clio Barnard, Bart Layton, Garth Davis and Mike Leigh. as well as completed or near completed films from Andrea Arnold, Ben Wheatley, Ang Lee, Paddy Considine, Susanna White, John Cameron Mitchell, acclaimed theatre director Benedict Andrews, newcomer Toby Macdonald and Danny Boyle.
Channel 4 Chief Executive David Abraham commented: “Daniel Battsek’s passion for independent, filmmaker driven cinema, and experience in film production, development and distribution at the highest level in both the Us and UK markets, are second to none. He’s a perfect fit for the Film4 brand. We’re thrilled to bring this talented British executive back to the UK.
“As demonstrated by our record breaking year at both the Oscars and the BAFTAs, Daniel will inherit a Film4 business in fine creative and commercial health from David Kosse. We’re sad he couldn’t have been with us longer but he’s had an incredible impact in the time he has led the division. Both the exciting upcoming slate and the increased funding for original film we announced earlier this year are testament to the successful strategy implemented by David. I’m delighted that he will be working alongside Daniel on a smooth transition over the summer and ensuring that it is business as usual for Film4 over this period.”
Daniel Battsek added: "I am hugely honored to have been offered this opportunity. My career began with so many of Film4's early productions and I have retained strong ties with British filmmakers throughout my time in the Us. Joining Film4 feels almost like coming full circle. I look forward to returning to the UK and putting the experience I've gained on both sides of the Atlantic to good use."
David Kosse said: "Film4 is a unique organization and a very special brand and it was a difficult decision to leave, but joining Stx at this stage is an opportunity that I couldn't pass up. Over almost two years, I'm incredibly proud to have put in place a new strategy for Film4 which has boosted funding for the film industry to a record level and to have introduced an exciting new slate of high quality productions and developments with a diverse group of filmmakers. David Abraham and the Channel 4 leadership team have been fantastic partners since day one and I look forward to continuing to work with them over the coming months."
Having worked at the cutting edge of the independent sector on three continents, Battsek brings 30 years’ production, development and distribution experience to Film4. For the last three years Battsek has served as President of New York based Cohen Media Group, where he has overseen the acquisition and release of arthouse/crossover releases including back-to-back Oscar® nominees "Timbuktu" and "Mustang," as well as a development and production slate of films that includes John Williams’ renowned novel Stoner, a co-production with Film4. Prior to that he spent 2½ years at National Geographic Films, where as President he acquired projects for development and production including the Oscar® nominated documentary Restrepo, as well as National Geographic branded large screen and Imax 3D projects.
Battsek relocated from the UK to New York in 2005, where he served for five years as President, Filmed Entertainment at Miramax Films. Projects he greenlit and/or acquired there included Oscar® winners "The Queen," "No Country For Old Men" and "There Will Be Blood" and Oscar® nominees "The Diving Bell and the Butterfly" and "Happy-Go-Lucky". From 1991 to 2005, Battsek held the position of Evp and Managing Director, UK Distribution and European Production & Acquisitions at Buena Vista International, UK, where he oversaw all aspects of UK distribution for 18-25 releases per annum from Walt Disney Studios and their partners including Pixar and Miramax Films. At Bvi, Battsek also set up a Comedy Production Label in 2001 which financed and produced three films, including "Calendar Girls" and "Kinky Boots." Prior to that, Battsek spent six years as Managing Director of Palace Pictures, where he was responsible for the acquisition and distribution of quality independent titles from around the world for release in the UK, and he also spent three years as a Sales & Marketing Executive for Hoyts Entertainment in Australia, where he first cut his teeth in distribution.
Film4 is Channel 4 Television’s feature film division, which develops and co-finances films and has an established track record for working with the most distinctive and innovative talent in UK and international filmmaking. Film4 has developed and/or co-financed many of the most successful UK films of recent years - Academy Award-winners such as Steve McQueen’s "12 Years a Slave," Danny Boyle’s "Slumdog Millionaire," Lenny Abrahamson’s "Room," Alex Garland’s "Ex Machina," Asif Kapadia’s Amy, Andrew Haigh’s "45 Years" and Phyllida Lloyd’s "The Iron Lady," in addition to critically-acclaimed award-winners such as Mike Leigh’s Mr. Turner, Chris Morris’ "Four Lions," Shane Meadows’ "This is England," Martin McDonagh’s "Seven Psychopaths," Yann Demange’s "71," Ben Wheatley’s "High-Rise," Clio Barnard’s "The Selfish Giant," Jonathan Glazer’s "Under the Skin" and David Mackenzie’s "Starred Up." »
- Sydney Levine
As well as critically acclaimed turns in smaller movies like Her and Under the Skin, Scarlett Johansson is making quite the name for herself as an action star. Not only is she Black Widow in the Marvel Cinematic Universe, but Luc Besson’s Lucy grossed close to $400 million worldwide when it was released back in
The post First look at Scarlett Johansson in live-action Ghost in the Shell appeared first on HeyUGuys. »
- Josh Wilding
Of all of the impressive details to appear on screen in Disney’s live-action adaptation of “The Jungle Book,” none is more startling than a title card at the close of the end credits reading: “Filmed in Downtown Los Angeles.” So immersively does the film’s visual-effects team craft every tree, waterfall and flower of Rudyard Kipling’s fantastical subcontinental setting, and so carefully are the talking CGI animals rendered, it almost beggars belief that the whole thing was shot in a 12-story building overlooking the 110 freeway. But aside from investing in top-drawer digital craftsmanship, perhaps the canniest move Disney made on this film was hiring Jon Favreau to helm it. Maintaining the buoyant heartbeat beneath all the digital flash, Favreau never loses sight of the fact that he’s making an adventure story for children — no small matter in a kid-pic landscape flooded with inappropriately gritty reboots and frenetic »
- Andrew Barker
This is a reprint of our review from the 2015 Sundance Film Festival. It’s a lonely and unforgiving road to take, but daring filmmakers often like to box us into challenging places. Michael Haneke has made an entire career based on bracing confrontation, and some of the best films of 2014 were engrossingly austere and demanding in presentation and form (“Under The Skin,” “Foxcatcher,” Enemy”). But we rarely see such taxing audacity from first-time filmmakers. Making his debut feature-length effort with “Take Me To The River,” Matt Sobel borrows a page from the uncomfortable school of filmmaking, but colors it with his own peculiar, but distinct, perspective. Controlled and self-assured, Sobel’s mysterious film is interested in the odd sensations of confusion, misperception, and misunderstandings. Played out like a genuinely strange waking dream, “Take Me To The River” plunges you into the cloudy waters of “what the fuck is going on? »
- Rodrigo Perez
Indie distributor A24 has brought us some of the wildest, most innovative films of the last several years, with titles like Spring Breakers, Under the Skin, Ex Machina and The Witch offering up startling visions from filmmakers who aren't afraid to push the artistic envelope. The studio's next release, Jeremy Saulnier's Green Room, looks similarly provocative, partially for the way it perverts one of cinema's most beloved icons: Patrick Stewart, here playing the leader of a Neo-Nazi gang that lays siege to a punk rock band in a backwoods Oregon club. Given the buzzworthy value of Stewart's unlikely turn, it's no surprise that his character has been made the focus of the film's second trailer (embedded below, along with a Patrick Stewart-centric motion poster), which sees the lovable thesp growling such lines as, "Shoot who's left...let 'em bleed." Which is not something Professor X would ever say. »
- Chris Eggertsen
In a commendable effort to save forgotten genre items either cloaked in obscurity or in danger of disappearing completely due to degrading source materials, distributor Arrow Video releases its first volume of a new series called American Horror Project. Fans of vintage indie horror from a game changing golden era should be enthused for this trio of inventive efforts even if not all live up to the excitement promised by the vibrant packaging. Lurid, carnivalesque, and even tawdry, it’s a new formidable platform for films unfairly dismissed upon release and deserving of another opportunity to provoke.
The earliest film here is the ungainly titled Malatesta’s Bucket of Blood, the 1973 debut and solo feature of Christopher Speeth. The plot synopsis promises palpable weirdness, concerning a middle aged couple, Mr. and Mrs. Norris (Paul Hostetler, Betsy Henn) who show up seeking employment at a seedy, run down carnival. Their zeal is a ruse, »
- Nicholas Bell
Here's your daily dose of an indie film, web series, TV pilot, what-have-you in progress -- at the end of the week, you'll have the chance to vote for your favorite. In the meantime: Is this a project you’d want to see? Tell us in the comments. Ray & Liz Logline: On the margins of society the Billingham family perform extreme rituals, breaking cultural taboos, muddling through lives decided by factors beyond their control. Elevator Pitch: "Ray & Liz" is Deutsche Börse Prize winning artist Richard Billingham’s first feature film. With cinematographer Daniel Landin ("Under the Skin"), Billingham returns to the iconic, sometimes shocking photographs he captured of his family during Thatcher-era Britain to tell a universal story of everyday conflicts, loneliness, love and loss in three episodes: Ray lies in bed alone, imprisoned by alcohol, as flies crawl up the walls around him. Liz beats Ray's brother Lol to »
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