19 items from 2016
Mike Birbiglia’s “Don’t Think Twice” (The Film Arcade) is the latest mid-summer hit, joining the recent turnaround in art house fortunes. Following his template for “Sleepwalk With Me,” Birbiglia & Co. boosted box office via frequent appearances at their New York cinema. The already strong film surged to a huge initial $90,000 number with many sold out shows on multiple screens.
Woody Allen’s “Cafe Society” (Lionsgate) continued to improve on the director’s recent performance, and could end up besting two other recent strong openers. “Captain Fantastic” (Bleecker Street) and “Hunt for the Wilderpeople” (The Orchard) continue to have strong expansions; both could end up over $10 million as well.
Asian wide-audience commercial releases are performing well in domestic play, with entries from South Korea, India, the Philippines along with China continuing to deliver strong niche results.
“Don’t Think Twice” (Film Arcade) – Metacritic: 83; Festivals include: South by Southwest, »
- Tom Brueggemann
The past few years have been a treasure trove of adaptations of John Le Carré works, ranging from the terrific “Tinker Tailor Soldier Spy” and limited series adaptation “The Night Manager,” to efforts that received more mixed notices like “A Most Wanted Man” and “Our Kind Of Traitor.” But across all those projects, the material […]
- Kevin Jagernauth
Mid-summer brings the biggest limited opening of 2016, with a return to form by Woody Allen as new distributor Amazon Studios and partner Lionsgate pushed “Café Society” to numbers unseen since last December. It’s not at Allen’s top level, but a huge leap above his last two films as well as anything else so far this year.
For a totally different market, Dinesh D’Souza doc “Hillary’s America: The Secret History of the Democratic Party” had a limited opening in Middle America with strong front-loaded initial numbers. The political doc goes wider this Friday and could see a better eventual total —via an entirely different audience—than Allen’s film.
“Hunt for the Wilderpeople” (The Orchard) from New Zealand leads the films in wider release as it continues to build word-of-mouth success. “Captain Fantastic” (Bleecker Street) boasted a decent second weekend expansion and could end up at a »
- Tom Brueggemann
The Independence Day weekend tends not to be a big one for specialized audiences. Upscale viewers, particularly in the biggest cities, often pursue other interests, many of them out of town. But prime theaters still need new product, offering opportunities for new releases to take their shot.
The best among the limited openers this weekend was the Polish-French nun story “The Innocents” (Music Box), bucking the recent trend of weak subtitled films. Next best among the limited new releases was the heart-tugging Sundance autism documentary “Life, Animated” (The Orchard) which nonetheless opened a little below some other recent docs.
The limp second week expansion of “Swiss Army Man” (A24) showed »
- Tom Brueggemann
John le Carré incorporates many of the same ingredients in each of his literary recipes: espionage, intrigue, and corruption. How he uses these ingredients and a few others sprinkled in is what makes each of his dishes satisfying. Our Kind Of Traitor might be the author’s least complicated recipe. There are fewer players and even fewer entanglements than some of his recent film adaptations, such as A Most Wanted Man and the acclaimed Tinker Tailor Soldier Spy. As a result, Our Kind Of Traitor might be the most easily digestible for those looking for a more straight-forward approach to his world of international crime.
Ewan McGregor stars as a poetry teacher who dips his pen into the wrong inkwell. After a vacation in Morocco with his wife turns sour (Naomie Harris), the “professor” ends up going out on the town with a man he meets one night at a restaurant, »
- Michael Haffner
Sources tell Variety that Ink Factory has closed a deal to finance and produce Pearce’s film “Hotel Artemis.”
Marc Platt and Adam Siegel join Ink Factory founders, Simon and Stephen Cornwell, as producers. Pearce, who is writing the film, will also exec produce through his new production company, Point of No Return.
The near-future thriller, set in its own distinctive crime universe, is drawing comparisons to “Ex Machina,” “Drive” and “Looper.”
Becky Sloviter, Ink Factory’s senior VP of production and development, will oversee production.
“Drew is one of the most talented screenwriters in town and has created yet another vibrant and captivating world, peopled with the most fantastic characters. We are thrilled to be supporting his directorial debut with this terrific project, »
- Justin Kroll
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 »
This is meat-and-potatoes Le Carré given a generic spy-movie treatment, but still it reels you in
The insecurity of the modern world has brought John le Carré back out of the shadows. Following Tinker Tailor redux, A Most Wanted Man and the crackerjack hokum of TV’s The Night Manager, this mid-list potboiler finds the author trading shamelessly on western suspicions about Mother Russia, tossing troubled couple Naomie Harris and Ewan McGregor into the geopolitical cut-and-thrust after they befriend vodka-gulping heavy Stellan Skarsgård during a make-or-break Moroccan getaway.
Director Susanna White favours a generic spy-movie look: those chilly blue filters surely need resting now. Yet she works smartly with her actors: while Skarsgård wolfs down great handfuls of scenery, McGregor effectuates a thoughtful transformation from ineffectual tourist to man in the field. Not even the gifted adaptor Hossein Amini (The Two Faces of January) can convince us it’s anything »
- Mike McCahill
What's contemporary Europe got that we ain't got? Powerful, serious filmmaking like that by Christian Petzold, starring the impressive Nina Hoss. Their sixth collaboration is a loaded narrative that takes some pretty wild narrative themes -- plastic surgery, hidden identities -- and spins them in a suspenseful new direction. Phoenix Blu-ray The Criterion Collection 809 2014 / Color / 2:39 widescreen (Super 35) / 98 min. / available through The Criterion Collection / Street Date April 26, 2016 / 39.95 Starring Nina Hoss, Ronald Zehrfeld, Nina Kunzendorf, Imogen Kogge. Cinematography Hans Fromm Film Editor Bettina Böhler Original Music Stefan Will Written by Christian Petzold, Haroun Farocki from ideas in the book Le retour des cendres by Hubert Monteilhet Produced by Florian Koerner von Gustorf, Michael Weber Directed by Christian Petzold
Reviewed by Glenn Erickson
- Glenn Erickson
Six-part spy thriller “The Night Manager,” which stars Tom Hiddleston and Hugh Laurie, has been a ratings and critical success on the U.K.’s BBC, and on April 19 it premieres Stateside on AMC. The show, which is based on John le Carré’s novel, is produced by The Ink Factory, run by the author’s sons Stephen and Simon Cornwell. Variety spoke to them.
The Ink Factory was founded in 2010, and has offices in Santa Monica, California, where Stephen Cornwell is based, and London, where you’ll find Simon Cornwell. The company’s first production was Anton Corbijn’s 2014 movie “A Most Wanted Man,” a Le Carré adaptation starring Philip Seymour Hoffman. Forthcoming films include another project based on a Le Carré book, “Our Kind of Traitor,” starring Damian Lewis and Ewan McGregor, and “Billy Lynn’s Long Halftime Walk,” directed by Ang Lee and based on the novel by Ben Fountain. »
- Leo Barraclough
"You won't get another opportunity like this." Lionsgate & Roadside Attractions have released the trailer for Our Kind of Traitor, adapted from the John le Carré novel of the same name (other recent John le Carré adaptations include Tinker Tailor Soldier Spy and A Most Wanted Man). Starring Ewan McGregor and Naomie Harris, this thriller is about an unsuspecting English couple that get looped into deep Russian mafia trickery while on vacation. Also starring Damian Lewis, Stellan Skarsgård, Jeremy Northam, Alicia von Rittberg and Mark Stanley. Maybe I'm just not a big John le Carré fan, or maybe the scripts get watered down in translation, but these stories all seem a bit bland to me. I'm still curious to check it out. Here's the official Us trailer (+ poster) for Susanna White's Our Kind of Traitor, in high def from Apple: While on holiday in Marrakech, an ordinary English couple, Perry »
- Alex Billington
The Sunday night adaptation of Le Carré’s arms-trading spy thriller is a TV sensation – but how far does it blur the lines between fact and fiction?
Ever since the collapse of the Soviet Union, John le Carré has been looking for targets beyond the murky, mutual, spying of the cold war. He has directed his genuine and growing anger at more topical, straightforward, targets: a large pharmaceutical company (The Constant Gardener), extraordinary rendition (A Most Wanted Man), and Foreign Office/MI6 involvement in the work of private Us military contractors (A Delicate Truth).
Related: The Night Manager recap: episode five – 'nothing quite as pretty as napalm at night'
Related: John le Carré to reveal his 'secret world' in memoir
Continue reading »
- Richard Norton-Taylor
Exclusive: Ahead of its Berlinale debut, Screen talked to the producers behind the buzzed-about John le Carré adaptation, which cost $5m per episode.
With a budget and creative team that most film producers can only dream of, it’s easy to see why Susanne Bier’s The Night Manager is among the most anticipated projects to screen at this year’s Berlin Film Festival.
It’s a sign of the times, however, that the project isn’t a feature screening in main competition but in fact a six-part TV series whose first two episodes are showing in the glittering TV strand Berlinale Special Series.
The BBC-amc co-commission combines acclaimed source material from iconic spy novelist John le Carré, Oscar-winning director Bier, a cast including Tom Hiddleston, Elizabeth Debicki, Hugh Laurie, Olivia Colman and Tom Hollander, and in-demand screenwriter David Farr.
At $30m, The Night Manager has a budget bigger than any film playing at this year’s »
- email@example.com (Andreas Wiseman)
"I can't get involved." "I'm afraid you are involved." Studiocanal UK has debuted a trailer for the spy thriller Our Kind of Traitor, an adaptation of another John le Carré novel (other recent adaptations include Tinker Tailor Soldier Spy and A Most Wanted Man) about spies and secrets. Ewan McGregor and Naomie Harris stars as a couple drawn into a dangerous game of international espionage, caught between Stellan Skarsgard playing a mysterious money-launder, the Russian mafia, the British government, and Damian Lewis as a ruthless MI6 agent. This looks good, not great, though it's tough to pass up that cast. Here's the first official trailer for Susanna White's Our Kind of Traitor, from Studiocanal's YouTube: A couple find themselves lured into a Russian oligarch's plans to defect are soon positioned between the Russian Mafia and the British Secret Service, neither of whom they can trust. Based on John le Carré's best-selling spy novel. »
- Alex Billington
The flood of trailer drops continues today with "Our Kind of Traitor," the new film based on the spy novel by John le Carre ("Tinker Tailor Soldier Spy," "A Most Wanted Man"). "Drive" scribe Hossein Amini adapted the script while Susanna White ("Boardwalk Empire," "Generation Kill") directs the film opening May 6th.
Ewan McGregor, Stellan Skarsgard, Damian Lewis and Naomie Harris star in the film in which a couple is drawn into a dangerous game of international espionage involving a money launderer, a ruthless MI6 agent, the Russian mafia and beyond.
- Garth Franklin
Shot back in mid-2014, we’ve been waiting for the latest John le Carré adaptation for some time, and now we finally have news on when at least some audiences can see Our Kind of Traitor. Led by Ewan McGregor, Stellan Skarsgard, Damian Lewis and Naomie Harris, it’ll hit U.K. theaters on May 6th and today brings the first trailer.
Directed by Susanna White (Boardwalk Empire, Generation Kill) and adapted by Hossein Amini (The Two Faces of January, Drive), it follows a couple drawn into a dangerous game of international espionage, caught between a money-launder, the Russian mafia, the British government, and a ruthless MI6 agent. After A Most Wanted Man was well-received, hopefully this follows it up strongly. Check out the trailer, synopsis, and batch of images below.
- Jordan Raup
Audiences just can’t get enough of spies, it seems: last year saw a wealth of different super-agents on screen, from long-running heroes James Bond and Ethan Hunt, to fresher faces from “Kingsman: The Secret Service” and “Spy,” to Oscar nominee “Bridge Of Spies,” and mostly with great success financially. This year is a little quieter, but not by much, with “The Brothers Grimsby” and “Jason Bourne” among those on the way, we’re also seeing a resurgence of one of the kings of the genre, author John Le Carre. The success of “Tinker Tailor Soldier Spy” a few years ago made the veteran author hot again, and surprisingly strong box office for “A Most Wanted Man” helped to, so we’re soon to get a couple more. First up is Tom Hiddleston and Hugh Laurie in miniseries adaptation “The Night Manager,” and soon to follow is big-screen outing “Our Kind Of Traitor, »
- Oliver Lyttelton
Anton Corbijn may be one of the most unassuming film directors out there. A world-renowned photographer who by his own admission never intended to make the jump into movies, he’s been behind some of the most exciting movies of the past ten years, including Joy Division biopic Control, George Clooney thriller The American, John le Carré adaptation A Most Wanted Man (which featured Phillip Seymour Hoffman’s final lead role) and last year’s incredibly underrated Life, which documents the story behind the iconic photographs of James Dean.
To celebrate the home video release of Life (available in the UK from February 1st) we got a chance to chat with Corbijn about another late icon on film, as well as his recent career move into cinema.
When I interviewed Anton, it was mere hours after the announcement of David Bowie’s passing. He’d worked with the singer »
- Alex Leadbeater
An elegy for old-school reportage and the people who pursue it, and a journalistic procedural with a snappy rush of urgent discovery and consequence. I’m “biast” (pro): partial to stories about journalists, love the cast
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
For me, this kind of story is why we do this.” So says Liev Schreiber as Marty Baron, the editor of the Boston Globe newspaper on the eve of the publication, in January 2002, of a story the team of investigative journalists in the paper’s Spotlight department had been working on for months. It would crack open the coverup of pedophile priests in the Catholic Church in Boston, led to the revelations of similar coverups around the U.S. and across the planet, and would go on to win a Pulitzer Prize in 2003. But “this kind of story »
- MaryAnn Johanson
19 items from 2016
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