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Malick’s first film since 2012’s To The Wonder, Knight of Cups stars Oscar winners Christian Bale (The Dark Knight), Cate Blanchett (Blue Jasmine) and Natalie Portman (Black Swan) and premiered at this year’s Berlin Film Festival. Broad Green Pictures are releasing the film.
Bale plays a “bewildered man in a life of Hollywood excess.” Antonio Banderas (Automata), Brian Dennehy (Romeo & Juliet), Jason Clarke (Terminator Genisys), Imogen Poots (She’s Funny That Way) and Joel Kinnaman (Suicide Squad) are set to co-star in the film, if they make the cut through Malick’s rigorous editing process.
Knight of Cups is released on March 6th, 2016.
- Scott J. Davis
While also assuming the most compelling draw — from casting to the just-aired fifth episode — on the second season of “True Detective,” actress Rachel McAdams forms the emotional bedrock of Antoine Fuqua’s newest film, the boxing drama “Southpaw.” A tale of a father trying to regain custody of his young daughter, it owes this to Jake Gyllenhaal and McAdams. Both play Bronx-bred orphans who grew up together, fell in love, and now operate as an efficient team — he as the boxing pro, she as the strategic brains behind the operation. Fair warning: a glance at the trailer is quick to spoil why McAdams isn’t around for long, but rest assured it’s a plot point that’s earned in the actual film. Regardless, you can catch plenty of McAdams elsewhere in one of her diverse projects over the past few years (“To The Wonder,” “A Most Wanted Man,” “Passion »
- Charlie Schmidlin
“Knight of Cups” premiered at the Berlin Film Festival in February.
Nicolas Gonda, Sarah Green and Ken Kao are producing. Malick’s last film, “To the Wonder,” starred Ben Affleck and Olga Kurylenko and grossed less than $3 million worldwide. His 2011 film, “The Tree of Life,” took in more than $50 million worldwide.
Variety‘s Justin Chang called the film “flawed but fascinating” in his review at Berlin.
Year-old Broad Green, which specializes in adult-oriented dramas such as “99 Homes,” also set awards-season releases for two other titles — an Oct. 23 release date for suburban drama “I Smile Back, »
- Dave McNary
Film clips include "Gone Girl", "Runner Runner", "Argo", "The Town", "To The Wonder", "The Company Men", "Hollywoodland", "State Of Play", "He's Just Not That Into You", "Smokin' Aces", "Gigli", "The Third Wheel" and "Daredevil".
Click the images to enlarge and Sneak Peek Ben Affleck...
- Michael Stevens
Broad Green Pictures chief Gabriel Hammond tells Thompson On Hollywood that "we want to have the longest run possible not for money’s sake, but so we can get as many people to share the experience" which is why they've decided to release the picture in 2016, most likely in the Spring like Malick's last film "To the Wonder".
Then there's the question of Malick's other film, the ensemble drama set against the Austin music scene starring Christian Bale, Cate Blanchett, Natalie Portman, Ryan Gosling, Rooney Mara and Michael Fassbender.
The site says there were rumours the film would be call "Weightless" which is Not the case. It also sounds like the film will Not be coming out »
- Garth Franklin
It looks like the pattern of filmmaker Terrence Malick debuting a movie at a film festival and then waiting a year for a theatrical release will continue. In 2013, Malick premiered “To The Wonder” at the 2012 Venice Film Festival and then the Ben Affleck/Rachel McAdams/Olga Kurylenko,-starring movie didn’t surface until the following year in the spring of 2013. The same plan is being put into play for Malick’s upcoming film, “Knight Of Cups,” but instead of the nine-month delay between festival premiere and theatrical bow on ‘Wonder,’ we might be waiting over a year. Read More: Berlin: Christian Bale Was Given No Script For Terrence Malick’s ‘Knight Of Cups,’ Cast Was “Torpedoed” Into Scenes According to a Thompson On Hollywood interview with Broad Green Pictures distributors Daniel and Gabriel Hammond, “Knight Of Cups” won’t hit theaters until 2016. The movie debuted at the Berlin Film Festival »
- Rodrigo Perez
The cast holds nothing back in Gaspar Noe’s “Love,” but it’s the ever-provocative writer-director who exposes the most in his sexually explicit, semi-autobiographical Cannes scandal-in-the-making, a courageously personal account of an aspiring filmmaker torn between the mother of his child and the one that got away. The helmer of such transgressive pics as “Irreversible” and “Enter the Void,” Noe resolved to make a relationship movie that was honest about human sexuality, and though the stereoscopic 3D result thrusts plenty of the old bump-and-grind in audiences’ faces, it would be disingenuous to pretend that other directors haven’t gotten there first — and to more revealing effect. Still, you’ve gotta hand it to Noe for leaving no taboo unturned, and for putting so much of himself into a film that’s bound to leave titillation seekers resenting its creator during the long stretches of wallowing introspection between climaxes.
- Peter Debruge
This week Neil Calloway looks at what winning the Palme d’Or can do to your box office…
So we are in the middle of the Cannes Film Festival, and it’s easy to dismiss it as a two-week publicity vehicle for beautiful actresses to get photographed next to middle-aged European film directors on the Croisette, or a time for oligarchs and their trophy wives to entertain fading Hollywood stars on their super yachts. However, the importance of the festival to the film industry cannot be understated.
Cannes is the biggest film industry event of the year; the Oscars comes close but that only lasts one night. It is, in fact, one of the biggest annual events of any kind. As William Goldman points out in Hype and Glory, his entertaining memoir of sitting on the juries for both Cannes and the Miss America Pageant, the World Cup and Olympics are bigger, »
- Neil Calloway
Hanan Townshend might be best known at the moment for his work with Terrence Malick. He contributed material to "The Tree Of Life," before being promoted to the main gig of scoring the director's "To The Wonder," his upcoming "Knight Of Cups," as well as the Malick-produced "The Better Angels." That certainly opened some doors for Townshend, who scored the upcoming wartime drama "Echoes Of War," and today we have exclusive preview of three tunes from the soundtrack. Read More: Hanan Townshend Reunites With Terrence Malick To Score 'Knight Of Cups' James Badge Dale, Maika Monroe, Ethan Embry, and William Forsythe star in the Kane Senes-written and directed movie that follows a soldier who returns home to Texas haunted by the Civil War, only to spark up a conflict between his family and a cattle rancher neighbor. Across the three tracks below is more evidence of Townshend's »
- Kevin Jagernauth
Take another look @ footage from actor Ben Affleck's past films, plus a trailer from his latest film "Gone Girl", to give you an idea of his ability to play 'Batman' in director Zack Snyder's "Man Of Steel" sequel, "Batman v Superman: Dawn Of Justice":
Film clips also include "Runner Runner", "Argo", "The Town", "To The Wonder", "The Company Men", "Hollywoodland", "State Of Play", "He's Just Not That Into You", "Smokin' Aces", "Gigli", "The Third Wheel" and "Daredevil".
Click the images to enlarge and Sneak Peek Ben Affleck...
- Michael Stevens
By winning the Best Cinematography Oscar for a second year in a row, "Birdman" director of photography Emmanuel Lubezki has joined a truly elite club whose ranks haven't been breached in nearly two decades. Only four other cinematographers have won the prize in two consecutive years. The last time it happened was in 1994 and 1995, when John Toll won for Edward Zwick's "Legends of the Fall" and Mel Gibson's "Braveheart" respectively. Before that you have to go all the way back to the late '40s, when Winton Hoch won in 1948 (Victor Fleming's "Joan of Arc" with Ingrid Bergman) and 1949 (John Ford's western "She Wore a Yellow Ribbon"). Both victories came in the color category, as the Academy awarded prizes separately for black-and-white and color photography from 1939 to 1956. Leon Shamroy also won back-to-back color cinematography Oscars, for Henry King's 1944 Woodrow Wilson biopic "Wilson" and John M. Stahl »
- Kristopher Tapley
Scott Foundas: Hi Peter. Well, we’ve officially reached the midpoint of the 2015 Berlin Film Festival, although the most hotly anticipated event in this cold, cold town is still another day away. I’m talking, of course, about the world premiere of “Fifty Shades of Grey,” which isn’t the kind of movie one typically thinks of as festival fare, but which events like Berlin and Cannes need as a kind of palate cleanser from the steady parade of world-class arthouse cinema from countries like Iran, China and Chile. Those movies may get you lots of ink in Variety, but it’s only a “Fifty Shades” that can get your red carpet splattered all over the picture pages of Vogue and Vanity Fair.
- Scott Foundas and Peter Debruge
“We can only try to believe that there’s meaning to this,” murmurs Charlotte Gainsbourg midway through “Every Thing Will Be Fine” — voicing viewers’ thoughts for the first and only time in Wim Wenders’ labored, lumbering melodrama. An inglorious return to narrative filmmaking for the German master, this protracted study in grief and forgiveness does little to suggest his time hasn’t been better spent making documentaries for the past seven years. Imprisoning James Franco in the role of an emotionally constipated writer taking 10 years to process a fatal car accident, “Fine” is unlikely to arouse much empathy from auds, who may instead spend most of the running time wondering why Wenders chose to dramatize these dingy proceedings in advanced 3D. Despite this arthouse novelty and a name cast, the conviction of the title will not be echoed by’s conviction.
Coming from many other veteran auteurs, a film as »
- Guy Lodge
From the Berlin International Film Festival, Adam Cook and Daniel Kasman continue our series of festival dialogues. Terrence Malick's Knight of Cups had its world premiere in the Berlinale's Competition.
Daniel Kasman: I must admit it's a bit difficult to begin speaking of this overwhelming film so immediately after seeing it, and especially in the atmosphere here in Berlin of almost immediate derision. I remember the boos that instantly followed the final shot of The Tree of Life's in Cannes and here I'd swear I felt that negative energy going into the giant Berlinale Palast, the anticipation of yet more Malick. Whatever that means. Few still describe well his method as a filmmaker, and whatever you may think of his last film, To the Wonder, it certainly revealed more about how Terrence Malick, a very unique filmmaker, thinks about cinema as a language, and how his cinema "works"—moves, »
When Terrence Malick showed his last film, To the Wonder, at the Venice film festival two years ago it seemed to me a bold and heartfelt movie about the possibilities of rapture in everyday lives. It was indulgent, certainly, but visually striking, ambitious, a thoroughly worthwhile companion-piece to his great award-winner The Tree of Life - and moreover able to withstand noisy denigration from pundits who seemed to receive all sorts of identikit movies elsewhere in respectful quiet.
With his latest film Knight of Cups, however, Malick has frankly declined. There are moments of visual brilliance here, moments of reverence and even grandeur. He is always distinctive, and anything he does must be of interest. But his style is stagnating into mannerism, cliche and self-parody. Where once »
- Peter Bradshaw
You go into a Terrence Malick movie expecting a gorgeous collage of sound and image, but not necessarily the sight of a neon-lit strip club, a Caesars Palace pool party, or a fashion shoot where a model is told to pose like “a dirty f—ing housewife.” In other words, there’s something at once vividly familiar and strikingly different about “Knight of Cups,” a feverish plunge into the toxic cloud of decadence swirling around a Los Angeles screenwriter gone to seed. Having made contemporary American life seem both recognizable and alien in “To the Wonder,” Malick now extends that film’s tender romantic ballet into a corrosive critique of Hollywood hedonism — a poisoned valentine to the industry by way of a Fellini-esque bacchanal. Those who have had their fill of the director’s impressionistic musings will find his seventh feature as empty as the lifestyle it puts on display; for the rest of us, »
- Justin Chang
When you look at a beautiful thing, do you ponder its electrons? Have you ever tried to take love apart to see how it works? When you think of the world, do you ache for all the moments of meaning that must go unseen? If so, you are already a Terrence Malick fan, "To the Wonder" was probably a masterpiece, and his latest film, "Knight of Cups" will delight you, as it has many. But if you are anything less than enraptured by these concepts, or if you feel like the ambitious desire to shred a whole life's worth of memories, images, regrets, hopes, and losses into fine slices, the better to pack them all into a two-hour box, seems quixotic at best, you may be less engaged. Those of us who had hoped that "Knight of Cups" might see Malick changing tack a bit after the progressive steps toward »
- Jessica Kiang
Terrence Malick's recent burst of work — starting with "The Tree of Life" in 2011 and continued with 2012's "To the Wonder" — has shown an increasing disinterest in the boundaries of conventional narrative. "Knight of Cups" is no exception. The gorgeous, meandering portrait of empty Hollywood-fueled hedonism and a burnt-out screenwriter (Christian Bale) struggling to escape its clutches pushes the abstract qualities of the director's late period output to its extremes. Filled to the brim with whispery voiceover narration, roaming camerawork and an unending collage of lush images to evoke its forlorn character's desire to escape the clutches of vapidity, "Knight of Cups" is always lovely to regard — but only diehard Malick fans may not tire of watching the same tropes rearranged indefinitely for this two hour montage of denial, regret and spiritual yearning. Read More: 'Knight of Cups' Plays Berlin: Terrence Malick Follows Christian »
- Eric Kohn
Having swung so far out of orbit on To the Wonder to have been sucked into a creative black hole, Terrence Malick makes it about half-way back to terra firma with Knight of Cups. A resolutely poetic and impressionist film about creative paralysis, indecision, father and sons, female muses and life slipping away as surely as water down a river, the seventh feature from this takes-his-time writer-director is far more partial to free association and stream-of-consciousness notations than to conventional storytelling. The upshot is a certain tedium and repetitiveness along with the rhythmic niceties and imaginative riffs. But whereas his last work of
- Todd McCarthy
Having had its premiere over the last weekend at the Berlin Film Festival, the first poster for Terrence Malick’s (Badlands, Tree of Life) new film Knight of Cups has now been revealed by FilmNation Entertainment…
See Also: Watch the first trailer for Knight of Cups
Rick (Bale) is a slave to the Hollywood system. He is addicted to success but simultaneously despairs at the emptiness of his life. He is at home in a world of illusions but seeks real life. Like the tarot card of the title, Rick is easily bored and needs outside stimulation. But the Knight of Cups is also an artist, a romantic and an adventurer.
In Terrence Malick’s seventh film a gliding camera once again accompanies a tormented hero on his search for meaning. Once again a voiceover is laid over images which also seek their own authenticity. And once again Malick seems »
- Scott J. Davis
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