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Out in theaters this weekend is J.D. Dillard’s Sleight, which premiered last year during the Sundance Film Festival and is making its way to the big screen now courtesy of Bh Tilt and WWE Studios. A bit of a genre mashup that brings together the worlds of magic and science fiction, Sleight follows a street magician named Bo (Jacob Latimore), who, after getting mixed up in a dangerous world of crime, realizes that his only way out is through the utilization of his unique abilities.
Daily Dead recently chatted with Dillard about the project, and he discussed his approach to the story of Sleight with co-writer Alex Theurer and his thoughts on his incredibly talented ensemble, which includes the aforementioned Latimore, Dulé Hill, Sasheer Zamata, Storm Reid, and Seychelle Gabriel. Dillard also talked about his possible involvement on the upcoming reboot of The Fly and how he’d create »
- Heather Wixson
Given that he doesn’t necessarily look or act like a traditional idea of a leading man, the enduring stardom of Jesse Eisenberg is a pleasing thing. It’s now 15 years since we first saw him on screen, in Dylan Kidd’s “Roger Dodger,” and he’s consistently made strong choices that have kept him on the A-list, whether it’s working with acclaimed auteurs like Woody Allen, Noah Baumbach and David Fincher, excelling in smaller indies like Kelly Reichardt’s “Night Moves,” Richard Ayoade’s “The Double” or James Ponsoldt’s “The End Of The Tour,” or selling out while holding onto his credibility in “Now You See Me” or “Zombieland” (though we’ll skip over ‘Batman v Superman‘).
- Oliver Lyttelton
Deal builds on preview Summit-only arrangement.
The new agreement will encompass Otto Bathhurst’s Robin Hood starring Jamie Foxx and Taron Egerton, and the action thriller Granite Mountain featuring Josh Brolin, Jennifer Connelly, Miles Teller, Jeff Bridges and Taylor Kitsch.
Other films include Lionsgate and CBS Films’ American Assassin with Michael Keaton and Dylan O’Brien, supernatural crime thriller Kin starring Jack Reynor, James Franco and Zoë Kravitz, and Chaos Walking, based on the Ya book trilogy and starring Daisy Ridley and Tom Holland.
Lionsgate has expanded its output agreement with Russian distributor Central Partnership for the distribution of Lionsgate and Summit Entertainment films in Russia and the Commonwealth of Independent States.
The previous agreement covered only Summit titles. The new agreement will encompass both Lionsgate and Summit films, including Otto Bathurst’s “Robin Hood” — the contemporary reboot starring Jamie Foxx and Taron Egerton — and the action thriller “Granite Mountain,” featuring Josh Brolin, Jennifer Connelly, Miles Teller, Jeff Bridges and Taylor Kitsch. Sony recently took U.S. rights to “Granite Mountain.”
Its other pics include Lionsgate/CBS Films’ “American Assassin” with Michael Keaton and Dylan O’Brien; the supernatural crime thriller “Kin,” starring Jack Reynor, James Franco, and Zoe Kravitz; and “Chaos Walking,” toplined by Daisy Ridley and Tom Holland.
- Dave McNary
Lionsgate has sealed an output deal with Russian distributor Central Partnership for the distribution of Lionsgate and Summit Entertainment films in the territory. Central Partnership had previously distributed only Summit titles in Russia and the Cis including Now You See Me, Now You See Me 2, the Divergent franchise, John Wick: Chapter Two as well as La La Land. The new deal will encompass both Lionsgate and Summit titles including Otto Bathhurst's Robin Hood, the… »
Every year, the Sundance Film Festival introduces audiences to bright new filmmaking talent on both sides of the camera. That was certainly the case in 2016 when J.D. Dillard’s crime-thriller Sleight was picked up at Sundance by Jason Blum’s Bh Tilt and WWE Studios for co-distribution.
The movie stars Jacob Latimore (The Maze Runner) as Bo, a young teen living in Los Angeles with his younger sister Tina (Storm Reid), who uses his abilities as a street magician to support them after the death of their parents. On the side, Bo deals designer drugs for Angelo (Dulé Hill), but Bo’s need to make more money to get himself and Tina out of town leads him to use his magic skills to make extra money without Angelo finding out.
One day while doing magic, Bo meets the pretty Holly (Seychelle Gabriel) and the two start seeing each other, but »
- Edward Douglas
J.D. Dillard’s Sleight is an anomaly for many reasons – least of which involves a body-hacking Iron Boy. How about perennial goofball Dulé Hill passing for a drug kingpin (which he does)? Or Jacob Latimore’s ability to wield magic with a coolness that escapes most street magicians? Seriously. How many dudes have ever successfully sparked a relationship with card tricks? Somehow Dillard makes it all work in this criminal caper about territory, respect and escaping the streets, turning sideshow gags into legitimate superhero escapism. It’s like Now You See Me, but with actual stakes. No Horsemen, just desperation cornered by circumstance.
Latimore plays Bo, an orphaned dropout whose sole focus is caring for little sister Tina (Storm Reid). By day, he stuns passerbys with sleight-of-hand illusions, and by night he deals drugs for Angelo (Dulé Hill). It’s not the life Bo chose – leaving an engineering scholarship behind »
- Matt Donato
The only way Elizabeth Bennet could be more over gender roles and pointless class divisions is if she was somehow forced to participate in a Texas debutante ball. Sadly for Lizzie — but happily for us — that’s the premise of Jonah Lisa Dyer and Stephen Dyer’s novel “The Season.” Deadline reports that Warner Bros. has obtained the feature rights to the the modern retelling of Jane Austen’s classic “Pride and Prejudice.”
“The Season” follows Megan, “a clever tomboy and soccer star who’s forced into the elite Dallas debutante season by her mother,” the source summarizes. “The teen’s rebellious behavior and sharp tongue quickly put her on probation. While navigating the cutthroat debutante culture, Megan also juggles a tumultuous romance and a complicated relationship with her perfect twin sister.”
According to Deadline, Temple Hill Entertainment’s Marty Bowen and Wyck Godfrey are set to produce the proect. Julia Spiro (“Now You See Me”) originally brought the book to Warner Bros. and Jaclyn Huntling Swatt will oversee development on behalf of Temple Hill. Dyers’ novel was published by Viking Children’s Books in summer 2016.
“Pride and Prejudice” was first published in 1813 and traces the passionate sparring and eventual romance between Miss Lizzie Bennet and Mr. Fitzwilliam Darcy. The beloved book has received dozens of screen adaptations and retellings including the 1995 miniseries toplined by Jennifer Ehle and Colin Firth, the 2005 feature film starring Keira Knightley, and Sharon Maguire’s 2001 romantic comedy “Bridget Jones’s Diary.” Its most recent iteration was last year’s “Pride and Prejudice and Zombies,” a supernatural-horror take on the novel toplined by “Downton Abbey’s” Lily James.
Modern Retelling of “Pride and Prejudice” Acquired by Warner Bros. was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
“Both Olive and Nirokhi bring a sharp and distinctive eye, whipsmart taste, and have shown great ability to spot talent early on, to find exciting IP and to work with the best and most dynamic new voices in our business,” said Erik Feig, co-president of the motion picture group.
Uniacke began her career as a production assistant on the Harry Potter franchise, and “X-Men: First Class.” She assisted producer Neal Moritz on “Fast 6” in London, joined management company 42 and worked on “The Autopsy of Jane Doe” and “The Titan.” She is an associate producer on Netflix’s “Sand Castle,” “Collide” and “In Darkness.”
“She’s really energetic, »
- Dave McNary
While many other high-profile festivals have made strides towards closing the gender gap in their programming, Cannes is infamous for lagging behind the times. Last year, just three of 21 films competing for the Palme d’Or were women-directed, and in 2015, two of 17 films featured in the Main Competition were helmed by women.
Undoubtedly one of the world’s most prestigious and well-known film festivals, Cannes has a well-documented woman problem. Female filmmakers have historically been underrepresented at the event, and yet, we continue to hope for change. We’ve assembled 15 films directed and co-directed by women that we’re hoping to see on the program. This list is by no means exhaustive — there are dozens of other female-helmed titles from around the world that stand a shot. These are just some of the titles to catch our eyes, and that have a realistic chance of being completed in time to be unveiled at the fest, which runs from May 17–28.
Cannes will announce its 2017 lineup April 13.
Two of Sofia Coppola’s previous films, “Marie Antoinette” and “The Bling Ring,” have screened at the fest, she served as a juror in 2014, and her newest film, “The Beguiled,” promises to bring big stars to Cannes’ red carpet: Nicole Kidman, Kirsten Dunst, Elle Fanning, and Colin Farrell. Set during the Civil War, the film centers on a Confederate girls’ boarding school that is thrown into chaos after taking in an injured Union soldier (Farrell) to convalesce.
Considered one of Latin America’s most successful female directors, Lucrecia Martel has a highly anticipated epic on the way. Set in the 17th century, “Zama” tells the story of a Spanish officer in Asunción, Paraguay who awaits his transfer to Buenos Aires. Two of Martel’s previous films have screened in Competition — 2004’s “The Holy Girl” and 2008’s “The Headless Woman” — and she served as a juror in 2006.
Urszula Antoniak’s new drama tackles a hot topic: Emigration. The film follows a Berlin-based Polish lawyer who receives an unexpected visit from his father. The plot is giving us “Toni Erdmann” vibes, and let’s not forget that Maren Ade’s Oscar-nominated dark comedy made its world premiere at Cannes. Antoniak’s 2011 drama “Code Blue” screened in Cannes’ Directors’ Fortnight sidebar, and she won the Golden Leopard at the 2009 Locarno Film Festival for “Nothing Personal.”
Clio Barnard is on a hot streak. She followed up her acclaimed experimental doc “The Arbor” with another critical darling, “The Selfish Giant.” The narrative feature adaptation of the Oscar Wilde story debuted at Cannes 2013 in the Directors’ Fortnight program. Her latest offering, “Dark River,” is led by rising star Ruth Wilson (“The Affair”), who plays a woman returning home for the first time in 15 years to take over the family farm.
“Cobain,” Nanouk Leopold’s fifth feature, centers on a 15-year-old boy who struggles to help his pregnant, self-destructive mother get her act together. Leopold’s “Guernsey” screened in the 2015 Directors’ Fortnight program, and her two latest films, “The Brownian Movement” and “It’s All So Quiet,” both made big splashes at the Berlinale.
“Galveston” — Melanie Laurent
While Melanie Laurent is best known in North America as an actress in films such as “Now You See Me,” “Beginners,” and “Inglourious Basterds,” she’s also an accomplished writer-director with multiple feature credits. Her second feature, “Breathe,” screened in the 2014 Critics’ Week Section at Cannes, and she hosted the opening and closing ceremonies of the 2011 edition of the fest. Galveston marks Laurent’s English-language debut, and centers on a hitman (Ben Foster, “Hell or High Water”) diagnosed with lung cancer at 40. Elle Fanning and Lili Reinhart (“Riverdale”) co-star.
“Radiance” — Directed by Naomi Kawase
A seasoned Cannes vet, Naomi Kawase has previously screened six films at the fest: “Suzaku,” “Shara,” “The Mourning Forest, “ “Hanezu,” “Still the Water,” and “Sweet Bean.” “Suzaku” won the Camera d’Or, “The Mourning Forest” took home the Grand Jury Prize, and Kawase herself was honored with the Carrosse d’Or in 2009. Her latest project, “Radiance,” is about Misako, a film voiceover writer, and her friendship with Masaya, an older photographer who is slowly going blind.
“Kings” marks Deniz Gamze Ergüven’s follow-up to “Mustang,” her Oscar-nominated feature debut about repressed sisters living in a small Turkish town. Her new drama is set against the backdrop of the 1992 Los Angeles race riots and stars Halle Berry. “Mustang” made its world premiere in the Directors’ Fortnight in 2015, where it won the Europa Cinemas Label Award.
Anne Fontaine’s latest, “Marvin,” follows a gay man who fled his hometown and family after being shunned by them, an experience that inspired his smash-hit autobiographical play. Isabelle Huppert co-stars in the drama. Fontaine’s films regularly screen at top international film festivals including Locarno and Venice, and her comedy “Augustin” screened in Cannes’ Un Certain Regard program back in 1995.
Set in 1959 in a small English town, Isabel Coixet’s “The Bookshop” follows a woman who opens a bookshop despite opposition from conservative locals. The prolific filmmaker debuted “Map of the Sounds of Tokyo,” a thriller about a contract killer, at Cannes back in 2009.
The third Elle Fanning-starrer on our list. In Haifaa al-Mansour’s follow-up to her award-winning debut, “Wadjada,” the “20th Century Women” actress plays “Frankenstein” author Mary Shelley. The biopic centers on 17-year-old Shelley’s tumultuous relationship with the married poet Percey Shelley and the work of writing her enduring masterpiece. Shelley was just 21 when “Frankenstein” was published.
If you loved “Prevenge,” Alice Lowe’s deliciously unconventional portrayal of pregnancy, you’ll want to keep an eye on “Good Manners,” another horror-inspired birth story. Co-directed by Juliana Rojas, the film follows another woman’s mysterious pregnancy. This one eventually gives birth to a violent werewolf. Rojas previously screened a short film at Cannes 2012, “Doppelgänger.”
“I Am Not a Witch”
Set in present-day Africa, Rungano Nyoni’s “I Am Not a Witch” centers on a nine-year-old girl accused of being a witch. The satire marks Nyoni’s feature debut. In 2012, she received a BAFTA nomination for Best Short Film for “Mwansa the Great,” the story of a boy who accidentally breaks his sister’s mud doll.
“Demain Et Tous Les Autres Jours” — Directed by Noemie Lvovsky
Noemie Lvovsky’s follow-up to “Redoubled” — which won the Directors’ Fortnight prize at Cannes in 2012 — follows Mathilde as she cares for her mother, who is struggling with dementia. Isolated and lonely, Mathilde finds happiness again whens she befriends her mother’s talking bird. Lvovsky also snagged Cannes’ France Culture Award in 2000 for her film “Life Doesn’t Scare Me.”
The first film from Oscar-winning actress Alicia Vikander’s Vikarious Productions, “Euphoria” marks Lisa Langseth’s English-language directorial debut and her third collaboration with Vikander. The two previously worked together on Langseth’s “Pure” and “Hotel.” “Euphoria” is a drama about two sisters (Vikander and Eva Green) struggling to get along as they travel across Europe.
Cannes 2017: Women-Directed Films We’re Tracking for This Year’s Festival was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Women and Hollywood
Despite competition from Sony’s animated “Smurfs: The Lost Village,” in this weekend’s continued box-office battle of the PGs, DreamWorks Animation’s “The Boss Baby” (20th Century Fox) again beat out live-action “Beauty and the Beast” (Disney). During the week “Beauty” actually outgrossed “Baby” by about $1 million, which means it’s playing beyond the kiddie crowd.
Though hardly stellar, Warners’ “Going in Style” remake with senior Oscar-winners Morgan Freeman, Alan Arkin and Michael Caine exceeded low expectations and could sustain a smaller than usual second weekend drop.
The third opener, Christian title “The Case for Christ” (Pure Flix), while based on a pre-sold bestseller and marketed in churches ahead of Holy Week, earned less than $4 million. Religious audiences, sparked by group sales, often come out on Friday night, but the 15 per cent Saturday drop suggests poor word of mouth. But it could get a boost over the Easter holiday weekend. »
- Tom Brueggemann
While the final design for Doomsday in Batman v Superman: Dawn of Justice came in for a lot of criticism, it seems that a much more comic book accurate version of the villain was considered during pre-production, with illustrator Jerad S. Marantz sharing a piece of his concept artwork for the film, along with a look at one of the concept model designs. Take a look here (via Batman-News)…
What do you make of the concept art? Do you prefer it to the final design? Let us know your thoughts in the comments below…
Fearing the actions of a god-like Super Hero left unchecked, Gotham City’s own formidable, forceful vigilante takes on Metropolis’s most revered, modern-day savior, while the world wrestles with what sort of hero it really needs. And with Batman and Superman at war with one another, a new threat quickly arises, putting mankind in greater »
- Gary Collinson
On Sunday's Last Week Tonight, a flabbergasted John Oliver continued his ongoing report on the ties between President Trump and Russia – which the show dubbed "Stupid Watergate" – because it "has all the potential consequences of Watergate, but everyone involved is really stupid." In a hilarious segment, Oliver recapped the activities of California Congressman and House Intelligence Committee Chair Devin Nunes, "the most Devin Devin in the history of Devins."
Last week, Nunes asserted that President Obama may have incidentally surveilled Trump's transition team and the president's personal communications. "That initially »
Sideshow has unveiled a batch of promotional images Prime 1 Studio’s Batmobile from last year’s DC blockbuster Batman v Superman: Dawn of Justice. The collectible is limited to 750 pieces and is available to pre-order now, priced at $1499.99; take a look here…
See Also: Pre-order via Sideshow Collectibles
Sideshow and Prime 1 Studio are proud to present The Batmobile from Batman v Superman: Dawn of Justice. Single-handedly designed and fabricated in near complete seclusion by Batman, this infamous pursuit and capture vehicle earned its reputation as the apex predator on the mean streets of Gotham City. Over powered with an unmatched hybrid of prototype military and civilian performance technologies, this top machine has been estimated to reach speeds of up to 205 mph. The Batmobile’s imposing defense capabilities, supported by Wayne Enterprises technologies, have been integrated with the latest in covert military grade armaments, stealth, and active protection systems. This 1: »
- Amie Cranswick
Going In Style is the hilarious new comedy directed by Zach Braff, arriving in UK cinemas on April 7. The film stars Morgan Freeman, Michael Caine and Alan Arkin and to celebrate the release, you have the chance to win a terrific prize bundle inspired by the film.
Oscar winners Morgan Freeman (“Million Dollar Baby”), Michael Caine (“The Cider House Rules,” “Hannah and Her Sisters”) and Alan Arkin (“Little Miss Sunshine”) team up as lifelong buddies Willie, Joe and Al, who decide to buck retirement and step off the straight-and-narrow for the first time in their lives when their pension fund becomes a corporate casualty, in director Zach Braff’s comedy “Going in Style.”
Desperate to pay the bills and come through for their loved ones, the three risk it all by embarking on a daring bid to knock off the very bank that absconded with their money.
This renowned »
- Paul Heath
Friday a.m. update: Last night, Paramount's Ghost in the Shell brought in $1.8 million from Thursday night previews in 2,229 locations starting at 7 p.m. This isn't an uncommon result and actually matches one of our comparisons from our weekend preview below as Edge of Tomorrow also brought in $1.8 million and went on to open with $28.7 million in June of 2014. A closer comparison is also from Paramount as 10 Cloverfield Lane also brought in $1.8m in Thursday previews before opening with $24.7 million last March. Other comparisons used in our weekend preview are listed below: Lucy - $2.74m Thursday / $43.9m Opening Weekend Now You See Me - $1.5m Thursday / $29.3m Opening Weekend The Maze Runner - $1.1m Thursday / $32.5m Opening Weekend Fox and Dreamworks' The Boss Baby wasn't too far behind, grossing a strong $1.5 million from ~2,700 theaters on Thursday evening with screenings beginning at 5Pm. As always with animated titles, it isn't easy to draw »
- Brad Brevet <firstname.lastname@example.org>
Dave Franco is continuing to keep (mostly) mum about his under-the-radar wedding to actress Alison Brie. The “Now You See Me” star did spill a few subtle details to Et at CinemaCon in Las Vegas on Wednesday, admitting that the pair absolutely aimed to keep the ceremony “low-profile.” Related: Dave Franco and Alison Brie Are […] »
- Brent Furdyk
The Now You See Me star did spill a few subtle details to Et while promoting The Lego Ninjago Movie at CinemaCon in Las Vegas on Wednesday, admitting that the pair absolutely aimed to keep the ceremony "low-profile."
"It was great, it was really special," Dave, 31, shared with Et. "It was intimate, and it was really fun."
Alison's reps confirmed the nuptials to Et in early March, with any other details remaining under wraps. Since announcing their engagement in 2015, the couple has remained non-committal about divulging any wedding plans.
"We're pretty lax about the whole thing," Dave told Et last June. "It'll happen when it happens."
When asked if either of his older brothers, James and Tom, would stand by his side during the ceremony, Dave confessed, "I don't know »
House of Cards star Michael Kelly has signed with Wme for representation in all areas. Best known for his role as chief of staff Doug Stamper in Netflix’s praised political drama series House of Cards, which launches its fifth season in May, Kelly also has had key roles in features Everest, Changeling, The Adjustment and Now You See Me. His previous TV credits include The Sopranos, Generation Kill and Person of Interest. Kelly’s other most recent projects include his… »
Back in October, Dalian Wanda Group chairman Wang Jianlin had to admit that, after years of exponential growth, the China box office was slowing. The numbers proved him right: 2016’s worldwide box office of $38.6 billion rose just 1 percent, mostly because of a drop in China. While 71% of the global box office is international, it’s now North America that’s growing.
If those are our bragging rights, they come at a very high cost. After several years of massive, 30 percent-40 percent growth, China seemed like the answer to the nagging problem of North America’s thoroughly mature theatrical market. DVDs might be dead, theater chains aren’t growing, admissions are stagnant — but hey, China has more than 1.3 billion people! And suddenly, “Now You See Me” was a global franchise.
Now, the 2016 box office decline in China ($6.6 billion, down from $6.8 billion in 2015) may not bode well for the studios’ current »
- Anne Thompson
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