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J.C. Chandor, who raced from Margin Call to All Is Lost to A Most Violent Year, has left the director’s chair of the upcoming film Deepwater Horizon. The reason? Our old friend “creative differences,” at least as far as the official knowledge base goes. Now, coming in to replace him, is Peter Berg, whose most […]
- Russ Fischer
One of the most fascinating filmmaking voices of the moment, and certainly one of the most prolific, J.C. Chandor has been moving from project to project — "Margin Call," "All Is Lost," "A Most Violent Year" — shifting from one genre to the next with ease. He had been on track to get his biggest project yet going, "Deepwater Horizon" starring Mark Wahlberg, but the director's participation has sunk. Chandor has exited the movie over the standard "creative differences." Instead, Wahlberg's "Lone Survivor" bud Peter Berg has stepped in to helm, and yeah, "creative differences" starts to make a whole lot of sense now. Penned by Matthew Sand and Matthew Carnahan, the film is based on the true events that occurred on an oil rig in the Gulf of Mexico on April 20, 2010, and chronicles the courage of those who worked on the Deepwater Horizon and the extreme moments of bravery and survival »
- Kevin Jagernauth
Despite its title, A Most Violent Year is not about St. Louis in 2015 but about New York City in its most crime-ridden year of 1981. Oscar Isaac stars as ambitious Colombian immigrant Abel Morales, who began his career as a truck driver for a heating oil biz run by a mobster whose daughter Anna (Jessica Chastain) he eventually married. Abel took over ‘Standard Heating Oil’, and grew it quickly – but too quickly in the eyes of his competitors. As the movie opens, Abel and his attorney (Albert Brooks) are on the verge of a big move – borrowing a million and a half dollars to buy two oil tanks in a prime area of Queens. With 30 days to secure the cash needed to close the deal, it’s a risky investment, but if all goes according to Abel’s plan, he will eventually be able to store and move fuel on a larger scale. »
- Tom Stockman
Director: J.C. Chandor
Run Time: 125 minutes
Synopsis: During the cold winter of 1981, an honourable and ambitious immigrant is forced to fight and protect his business and family from the corruption and unscrupulousness sweeping New York City.
Margin Call’s J.C Chandor continues to prove how masterful he is at balancing understated boldness with restrained menace in his latest film A Most Violent Year. The film’s metaphoric contradictions will have you transfixed from the get go: attentively attuned to the thrilling, fast-paced action one second and then… Bam! You’re frustrated beyond belief because the pace of this gripping film is so sluggishly steady it’ll have you begging the screen ‘C’mon – give me something’! It’s The Godfather in warm yellow tones, but not. It’s about principled capitalism, »
- Sacha Hall
★★★★☆ With just three films J.C. Chandor has managed to prove himself a director capable of morphing to suit his subject matter. Margin Call (2011) was dialogue-heavy and cerebral, reflected in the computer screens and shimmering steel and glass of the surroundings. In the far more elemental All Is Lost (2013) the sea was the ever-shifting landscape for Robert Redford's near-wordless toil. Most recently, the director has turned his hand to a crime drama of sorts, adopting a grimy, muted aesthetic in keeping with the tumultuous setting of New York in 1981. The scintillating A Most Violent Year (2014) highlights what has been the through-line of Chandor's terrific career to date; the struggle to survive.
- CineVue UK
Not as violent as the title would imply, this is a sterling essay in inner strength.The story is set in New York City in 1981, in what we are told is the most violent year in the city’s history. Before we go any further, it should be noted that J.C. Chandor’s wonderfully transporting story is not a particularly violent one. His previous hit “Margin Call” was much more violent, at least emotionally violent and his recent “All is Lost” is just a violent as is this movie.In fact, “A Most Violent Year” has much in common with “All is Lost.” […] »
- Ron Wilkinson
It's often the case that period stories can tell us more about our current society than those set in the present day. In his first non-contemporary script, writer-director Jc Chandor probes at urgent ideas about gun control and proportional response within the framework of a brooding, meticulous crime drama.
In the grim winter of 1981, statistically one of the most crime-ridden years in New York's chequered history, principled oil entrepreneur Abel (Oscar Isaac) is trying to forge a righteous path amidst the chaos. His oil trucks are being hijacked at gunpoint, attracting the kind of attention he doesn't need from the district attorney (David Oyelowo), and he's on the brink of losing a crucial real estate deal thanks to his snowballing misfortune.
The idea of man wrestling with forces beyond his control is common throughout Chandor's work, »
A Most Violent Year, 2014.
Written and Directed by J.C. Chandor.
In New York City 1981, an ambitious immigrant fights to protect his business and family during the most dangerous year in the city’s history.
How far do you go to chase your American Dream while all around you is being torn asunder in the most violent year in the history of the greatest city in the world? For Abel Morales (Oscar Isaac, Inside Llewyn Davis), an immigrant who has worked his hands to the bone to become the city’s premium purveyor of oil, he will go as far as being decent and upstanding will take him. Along with his wife Anna (Jessica Chastain, Interstellar), they have worked their way to the top, but despite Abel’s best intentions of keeping his business clean, »
- Scott J. Davis
Filmmaking careers are born at Sundance, as evidenced by directors Kevin Smith (“Clerks”), J.C. Chandor (“Margin Call”) and Damien Chazelle (“Whiplash”). This year’s festival features plenty of returning artists as well as new voices with something fresh to say. TheWrap talked to buyers and sellers before whittling down this list of 10 buzzworthy filmmakers on the eve of Sundance. Something tells us we’ll be hearing about them for years to come.
Nikole Beckwith, »
- Jeff Sneider
The Museum Of Modern Art and the Film Society Of Lincoln Center announced the first nine films in the long-lived showcase for new work. They include Myroslav Slaboshpytskiy’s winner of the Critics’ Week grand prize at Cannes, which is set in a Ukrainian school for deaf and mute coeds and is told entirely in sign language, with no subtitles. The Tribe is one of four films that will make their way to Manhattan from Park City, Utah, where they’re also on the Sundance roster: Charles Poekel’s Christmas, Again, about a heartbroken Christmas-tree salesman; Rick Alverson’s Entertainment, a follow-up to The Comedy, about a broken-down comedian doing stand-up across the Mojave Desert and Kornél Mundruczó’s White God, winner of the Un Certain Regard prize at Cannes about a dog’s journey back to its owner after being abandoned in the city.
Representing 11 countries from around the world, »
- The Deadline Team
I think a good way to judge whether or not you thought the past year of film was a good one is how difficult it was to compile your top ten of the year. Did you struggle to fill spots or were there a bunch of films vying for positionsc 2014 ended up in the latter category for me, which is a very good thing. I was impressed with the slate of films released this year, mainly from the smaller side. Major Hollywood studios did manage to crank out a couple of high quality, blockbuster entertainments, like Edge of Tomorrow and X-Men: Days of Future Past, which, in my opinion, is two more than they usually produce. Obviously, we are not far away enough to know how remembered 2014 will be, and if it is, for whatc Will people remember this as the year Marvel could put out whatever and people would »
- Mike Shutt
Having made his debut with the smart, striking Wall Street drama Margin Call, writer-director Jc Chandor returns to Manhattan after a period at sea for character-driven crime thriller A Most Violent Year.
The year in question is 1981, and Abel (Oscar Isaac) is an ambitious but principled immigrant whose efforts to protect his business become increasingly desperate amidst the violence and decay that surrounds him. It's set up like a traditional fall-from-grace mobster narrative, but plays out in none of the ways you expect.
Digital Spy sat down with Chandor to discuss subverting expectations, exploring modern gun control through a period lens, and crafting the most human action sequence of the year.
A Most Violent Year subverts a lot of our expectations for this kind of narrative, which is set up as a good man being corrupted. Were you consciously riffing on those expectations?
Absolutely. The film is structured around these »
There’s an old Hollywood truism that good movies are made from second-rate books, not the classics. On Broadway, the new musical “Honeymoon in Vegas,” which opened Thursday at the Nederlander Theatre in New York, uses a second-rate movie from 1992 for its source material. Have its makers been able to turn it into a good musical? Or is this one effort that should have stayed in Vegas?
- Robert Hofler
Bruce Willis (Die Hard film franchise) will star in John Pogue's (The Quiet Ones) action thriller Wake, produced by Michael Benaroya (Lawless, Margin Call) of Benaroya Pictures, Tobin Armbrust (A Walk Among the Tombstones, Begin Again), David Alpert (upcoming American Ultra, AMC's The Walking Dead) and Chris Cowles (The Numbers Station, Autobahn). The screenplay is written by Christopher Borrelli (upcoming The Vatican Tapes) with revisions made by Pogue. The announcement was made today by International Film Trust's (Ift) co-founder Michael Benaroya and Ift's President Christian de Gallegos who will handle international rights to the film.
CAA is representing the domestic sales rights. Set to start shooting in Cleveland on February 16, Wake tells the story of Red Forrester (Willis), a sociopath with no fear, who returns to his childhood home on a remote island for his brother's wake. When the island comes under siege, Red must save the very family »
If you’re surprised by the critical acclaim J.C. Chandor’s A Most Violent Year is receiving, then you obviously haven’t been paying attention to the meteoric rise of both leading stars. While Chandor’s film is a gritty period piece written and directed by a talented individual, it’s Isaac and Chastain who leave audiences on the edge or their seats scene after scene. Between Chastain’s protective wife/mother and Isaac’s forcibly-crooked business owner, these two deliver punchy performances that showcase a commitment to character you just don’t see in every movie these days.
A Most Violent Year is the third film to come from J.C. Chandor, following Margin Call and All Is Lost, but it’s easy to see why people immediately started buzzing after only a few press screenings. While it’s not exactly a gangster piece, there are definite notes coming from »
- Matt Donato
Break.com will offer more than 200 Lionsgate films on its free streaming service “Movies on Break,” Defy Media announced Wednesday.
The library currently provides 80 films in eight categories such as “Pulse-Pounding Action,” “Screen Junkies Approved,” “Overlooked Gems” and “Before They Were Famous.” New categories are slated to debut weekly.
The ad-supported feature is available on the web, mobile app for iOS and Android and Roku. The service will soon be featured on the Xbox gaming console. “Winter’s Bone,” starring Jennifer Lawrence, and director J.C. Chandor’s “Margin Call” are featured in the library.
Also read: Break Media, Alloy Digital to Merge
- Alicia Banks
Lionsgate has licensed a 200-film library to Break, a humor-centric digital brand in which the studio has a minority equity stake.
The free ad-supported content is available at Break.com and apps in the iOS, Android and Roku platforms. Xbox is expected to soon add the Break app as well.
The pact marks the entry of Break, a property owned by Defy Media, into long-form programming licensing, which could eventually include film from other studios and/or TV programming. Break has already moved into original programming that can run anywhere from two to 50 minutes per episode. The brand started out as a website for user-generated humor video content but has gotten more ambitious in recent years.
Break is »
- Andrew Wallenstein
The Interview itself may not be an amazing film, but it made history. It became the first movie pushed out of major theaters by terrorist threats, and it landed on VOD to potentially change how Hollywood uses the home platform. Previously, VOD is where studios sent low-budget material like indies and B-movies, but The Interview cost $44 million, and now Deadline reports that the comedy has earned $31 million from "4.3 million transactions from film rentals and sales between December 24 and January 4." That's more than six times its limited theatrical release, which has so far pulled in $5 million. Hit the jump for more. According to Deadline, the numbers for The Interview far surpass previous VOD hits Snowpiercer ($8.2 million), Arbitrage ($14 million), and Margin Call ($8 million). Granted, these three films didn't have the benefit of nationwide controversy where even the President said that the studio should release the film. The Interview was released under a »
- Matt Goldberg
Last week, Sony Pictures announced that their controversial comedy The Interview has earned $15 million from online sales and rentals, and an additional $2.8 million in its limited theatrical release over its first five days. The studio released even more sales figures today, revealing that the Seth Rogen/James Franco comedy has earned $31 million in online and VOD sales and rentals, between December 24 and January 4, and $5 million in theaters in that same time frame. The $36 million total is just under half of $75 million Sony spent to produce and market the comedy.
The studio announced that The Interview, "is Sony Pictures' #1 online film of all time," with over 4.3 million online transactions in the first week and a half in release. The comedy, which follows a TV journalist (James Franco) and his producer (Seth Rogen) tasked with assassinating North Korean leader Kim Jong-Un (Randall Park), was initially slated to be released in over 3,000 theaters on Christmas Day, »
Cable, satellite, telecom, and online VOD numbers are in for Sony’s The Interview, and surprise! Seth Rogen and James Franco’s controversial comedy “is Sony Pictures’ #1 online film of all time,” the studio trumpeted today. While Sony’s limited theatrical release brought in $5 million, The Interview notched a whopping $31 million with 4.3 million transactions from film rentals and sales between December 24 and January 4. All hail the new distribution future?
Consider it a bittersweet win for embattled Sony, which spent the hectic holiday break playing fast and loose with The Interview’s distribution strategy. Initially pulled from wide release following alarming threats to public safety from cyberterrorists, the $44 million-budgeted comedy was reset for a Christmas Day release in 300+ independent theaters before unveiling a last-minute digital rollout on December 24.
That 11th hour VOD release raked in $15 million in its first weekend from Apple’s iTunes, YouTube Movies, Google Play, Microsoft’s Xbox Live network, »
- Jen Yamato
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