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Lucasfilm is working to change things up with Rogue One: A Star Wars Story. Ever since it was announced that they'd be releasing these movies every year until the end of time, one of the interesting highlights has been the reveal of the Anthology films. These were standalone pictures that would be set within the Star Wars universe, though unlike the traditional Saga films, these Anthologies would not be bound by the plot of the Saga, nor would they be bound by the genre, tropes, and tone of those movies. These would be their own thing.
“One of the things we’re doing with these Star Wars stories is embracing the uniqueness of the different genres, and we’re very deliberately leaning into the various styles »
- Joseph Medina
The film, which is still to be titled, will be based on a screenplay by Mark Boal, and according to The Hollywood Reporter, will be a crime movie set against the backdrop of Detroit’s devastating riots that took place over five summer days in 1967, with the film seeking to explore the systemic racism in the city. The roll call is described as an ensemble piece.
Shooting will commence in Detroit and Boston this summer according to the trade. No studio is attached as yet, but Annapurna Pictures are behind the project with Megan Ellison, Matthew Budman and Colin Wilson producing.
More as we get it.
The post John Boyega has signed to star in Kathryn Bigalow’s next appeared first on The Hollywood News. »
- Paul Heath
Annapurna Pictures is financing what will be Bigelow’s tenth film as director and principal photography is scheduled for this summer. Annapurna International handles sales outside the Us.
Details remain scarce, although representatives for Untitled Detroit Project said it will take place against the backdrop of Detroit’s five-day riots in the summer of 1967.
No Us distributor is attached although Annapurna has targetted a summer 2017 release to coincide with the 50th anniversary of the disturbances.
- email@example.com (Jeremy Kay)
After signing up for Pacific Rim 2, Star Wars: The Force Awakens and Attack the Block star John Boyega has found his next role. He revealed on Twitter (seen below) that he’ll take part in Kathryn Bigelow‘s follow-up to her Oscar-winning Zero Dark Thirty. Penned by Mark Boal (Zero Dark Thirty, The Hurt Locker), the currently untitled film will be set in Detroit during the 5-day riots that took place there in 1967, and will explore the systemic racism of the city. With plans to shoot this summer in Boston and Detroit, the film is slated as an ensemble piece with Hannah Murray (God Help the Girl, Game of Thrones) also on board.
I've teamed up with Kathryn Bigalow for a movie based on the Detroit riots in 1967. #12thstreet
— John Boyega (@JohnBoyega) June 21, 2016
- Mike Mazzanti
John Boyega is on a roll.
Weeks after it was announced that the Star Wars: The Force Awakens breakout star had signed on for the lead role in the sequel to Guillermo del Toro’s Pacific Rim, it is announced that the British actor has been cast in Kathryn Bigelow’s next film.
Continue reading »
- Nigel M Smith
“Star Wars: The Force Awakens” star John Boyega has been cast in Kathryn Bigelow‘s upcoming film about the 1967 Detroit riots. Oscar winner Bigelow will once again work with her producing partner and screenwriter Mark Boal on the project, which marks the pair’s highly anticipated followup to their acclaimed 2012 drama “Zero Dark Thirty.” They also worked together on 2009’s Best Picture winner, “The Hurt Locker.” As of now, no studio is attached to distribute the film, which is currently dubbed “Untitled Detroit Project,” but producers are aiming for a 2017 release date. Also Read: 'Star Wars' Star John Boyega »
- Meriah Doty
The ensemble piece is set against the backdrop of Detroit's devastating riots that took place over five summer days in 1967, with the film seeking to explore the systemic racism in the city.
Source: THR »
- Garth Franklin
Details about the Detroit project remain scarce other though it’s known to be a crime drama set against the backdrop of Detroit’s devastating riots that took place over five haunting summer days in 1967. Although no studio is yet attached, producers are targeting a release in 2017, the 50th anniversary of the riots.
Boyega’s role in the film is unknown.
- Justin Kroll
Star Wars star John Boyega has been cast in Kathryn Bigelow’s untitled Detroit project. Bigelow is directing the crime drama, her first feature since 2012’s Zero Dark Thirty. It is being financed by Annapurna Pictures and has an original script by her frequent collaborator Mark Boal. Details of the project are unknown, but the story is set against the backdrop of Detroit’s devastating riots that took place over five summer days in 1967, with the film seeking to explore the systemic racism in the city. The roll call is described as an ensemble piece. A summer shoot in Detroit and
- Borys Kit
RelatedFall TV’s First Scoops: A Grey’s Baby, Vampire Diaries’ New Big Bad and More Early Intel From 18 Returning Series
“You know, it’s a bloodbath. As usual,” co-showrunner Jonah Nolan told me of Tuesday’s episode, which caps “five glorious seasons.” But it’s also the finale that was plotted out many years ago. »
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.
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.
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.
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.
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.
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.
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.
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.”
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.
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.
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 »
HBO is hoping to hit pay dirt with the filthy rich.
RelatedBill Hader’s Barry Greenlit at HBO
Written by Peep Show co-creator Jesse Armstrong, Succession revolves around a fictional, American global-media family that is not only wealthy and influential but also exceptionally dysfunctional. The series will explore such topics as loyalty, international business and the perils of power in the 21st century. Frank Rich (Veep) and McKay’s Funny or Die »
HBO has given pilot orders to two provocative dramas with Oscar-winning auspices: Succession, directed and executive produced by The Big Short‘s Adam McKay; and Mogadishu, Minnesota (formerly know as The Recruiters), executive produced by Zero Dark Thirty and The Hurt Locker‘s Kathryn Bigelow. Succession is written/executive produced by Peep Show co-creator Jesse Armstrong and exec produced by Will Ferrell, Frank Rich and Kevin Messick, while Mogadishu, Minnesota is… »
Netflix has released the first trailer for The Fundamentals of Caring, an adaptation of Jonathan Evison’s 2012 novel The Revised Fundamentals of Caregiving. The film garnered generally positive reviews upon premiering at the Sundance Film Festival earlier this year and boasts an impressive cast that includes the likes of Paul Rudd (Captain America: Civil War), Craig Roberts (Red Oaks) and Selena Gomez (Neighbors 2: Sorority Rising). Watch the funny and heartwarming trailer below…
The Fundamentals of Caring follows Ben, a retired writer who becomes a caregiver after suffering a personal tragedy. After 6 weeks of training, Ben meets his first client, Trevor, a foul-mouthed 18-year-old with muscular dystrophy. One paralyzed emotionally, one paralyzed physically, Ben and Trevor take an impromptu road trip to all the places Trevor has become obsessed with while watching the local news, including their holy grail: the World’s Deepest Pit. Along the way, they pick up »
- Justin Cook
Memorial Day is that time Americans set aside each year to remember and honor the sacrifices of our fallen military veterans. But it's also a day off from work, and for those who want to spend the day in front of their TV without feeling unpatriotic or ungrateful — relax, we've got you've covered. We've scoured the streaming services and digital rental outlets, and we've found nine movies (and one mini-series) that'll fill your entire holiday with thoughtful, provocative, appropriate entertainment. By the time you're done, our nation's fighting forces may »
“Louis Drax” marks the screenwriting debut of Max Minghella, whose acting credits include “The Social Network” and “The Internship.” Adapted from the Liz Jensen bestseller and directed by Alexandre Aja (“The Hills Have Eyes”), the film stars Jamie Dornan (“50 Shades of Grey”), Aaron Paul (“Breaking Bad”), Sarah Gadon (“Dracula Untold”), Oliver Platt (“X-Men: First Class”), Molly Parker (“House of Cards”), Barbara Hershey and Aiden Longworth (“A Christmas Story 2”) in the titular role.
“Louis Drax” tells the story of a brilliant doctor drawn into a mysterious web of reality and deception after the near fatal fall of 9-year-old Louis Drax.
- Leo Barraclough
The Lonely Island is known for, above all else, their slick musical style, which is usually mixed in with some comedically sick metaphors. Well their latest song for the Andy Samberg fronted mockumentary Popstar: Never Stop Never Stopping has quite the twisted tale to tell. It's about a boy, a girl, and the desire to have sex so brutal it recalls the closing moments of Zero Dark Thirty. You truly have to see it to believe it, so here's the music video for Connor4Real's "Finest Girl (Bin Laden Song.)" This video is totally Nsfw, because of harsh language, so don't play it loud in your office. Fair warning! The Lonely Island's YouTube channel dropped the video recently, and it's pretty much everything you'd expect from their musical catalog. Using his Connor4Real persona, Andy Samberg depicts a love story about a very patriotic woman who loves two things: »
Thanks in large part to James DeMonaco’s cult Purge franchise, Captain America: Civil War alum Frank Grillo is fast becoming a bankable lead star for Hollywood studios – a streak that has spurred Netflix into action at the ongoing Cannes Film Festival.
Making its first acquisition on the Croisette, The Hollywood Reporter confirms that the online giant has snapped up rights to Wheelman, a high octane action-thriller that thrusts Grillo into the role of a daring getaway driver. No further details were disclosed in terms of casting, but we understand the Frank Grillo will also produce the feature alongside Joe Carnahan and Myles Nestel of The Solution Entertainment Group. J. Todd Harris, Chady Mattar and Scott Silver will executive produce.
- Michael Briers
Just a few days ago we reported that The Solution Entertainment Group was doing a project called Wheelman, starring Frank Grillo and Joe Carnahan producing, and now Netflix has gotten the rights for it.
Netflix has acquired worldwide rights to the high-concept action thriller Wheelman starring Frank Grillo. Joe Carnahan (The Grey, The A-Team) is producing the film alongside The Solution Entertainment Group’s Myles Nestel (The November Man, Machete) and Grillo who is making his producing debut. Wheelman is written and directed by Jeremy Rush and is scheduled to commence principal photography in fall 2016. J Todd Harris, Chady Mattar and Scott Silver are executive producing.
The Wheelman is Grillo - a getaway driver thrust into a high stakes race-to-survive after a bank robbery goes terribly wrong. With a car full of money and his family on the line, the clock is ticking to figure out who double-crossed him, and »
- Kellvin Chavez
Whiskey Tango Foxtrot, 2016.
Bored, desk-bound TV journalist Kim Baker (Tina Fey) throws caution to the wind and takes up a three month assignment to cover the war in Afghanistan. Three months turn into two years, during which she learns to cope with an alien culture, unforgiving weather and the possibility of danger around every corner.
The phonetic alphabet title needs no explanation. And this is a Tina Fey film, so put the two together and this has to be a military comedy, doesn’t it? Surprisingly, no. It’s a film with some humour, true, but it doesn’t set out primarily to make you laugh. The journalist’s-eye-view of Catch-22 or M*A*S*H it isn’t.
Based on The Taliban Shuffle: »
- Freda Cooper
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