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A couple of days ago Colin Farrell revealed that he has signed on to star in the second season of Nic Pizzolatto’s acclaimed drama series True Detective, and now HBO has officially announced that both Farrell and Vince Vaughn are on board, as well as offering up the first plot details.
According to Variety, the story “will revolve around three cops and career criminal who navigate a web of conspiracy after a murder. Farrell plays Ray Velcoro, a compromised detective whose allegiances are torn between his masters in a corrupt police department and the mobster who owns him. Vaughn plays Frank Semyon, a man in danger of losing his criminal empire when his move into legitimate enterprise is upended by the murder of a business partner.”
- Gary Collinson
Back in July it was reported that Colin Farrell had entered talks with HBO about joining the cast of True Detective for its second season, and now the actor has confirmed his involvement with the critically acclaimed show during an interview with Irish newspaper Sunday World.
“I’m doing the second series. I’m so excited. I know it will be eight episodes and take around four or five months to shoot. I know very little about it, but we’re shooting in the environs of Los Angeles which is great. It means I get to stay at home and see the kids.”
Other names reportedly in the frame for roles in the second season of True Detective include Taylor Kitsch (Battleship), Vince Vaughn (Delivery Man), Elisabeth Moss (Mad Men), Jessica Chastain (Zero Dark Thirty), Rachel McAdams (About Time), Brit Marling (The Keeping Room), Oona Chaplin (Game of Thrones), Jaimie Alexander »
- Gary Collinson
Contrary to reports citing that actresses like Elisabeth Moss (Mad Men) and Rachel McAdams (About Time) were close to signing deals to appear on the hotly anticipated second season of True Detective, their names do not appear on a new shortlist released by TheWrap. Today the site revealed the names of seven actresses currently vying to fill one of the series’ leading roles.
The actresses in question are, Brit Marling (The Keeping Room), Oona Chaplin (Game of Thrones), Jaimie Alexander (Thor), Kelly Reilly (Eden Lake), Malin Akerman (Watchmen), Rosario Dawson (Sin City: A Dame to Kill For) and Jessica Biel (Total Recall).
The actresses have reportedly been “invited back to read this week for the coveted role.” Moss and McAdams could very well still be in the running, but with writer/creator Nic Pizzolatto now focusing on auditioning a new group of actresses, he’s clearly taking all options into consideration. »
- James Garcia
Robert Connolly has directed the Australian family film.
Ed Oxenbould stars as an 11-year-old fighting to win Australia's National Paper Plane Championships.
Worthington stars as his dad.
The film will be released in Australia and New Zealand on January 15, 2015. A UK and Us release date are yet to be announced. »
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In “The Keeping Room”, two sisters and a slave girl defend their plantation from a pair of violent Union soldiers in the waning days of the Civil War. A brutal and unsentimental portrait of the cruelties of war not only on the battlefield, but also at home, the film opens with an ominous scene of violent cruelty, setting the tone for what gradually becomes a bleaker and bleaker (but always captivating) viewing experience. Dark and almost belligerently atmospheric, the film stars indie queen Brit Marling as Augusta, a woman who, alongside little sister Louise (Hailee Steinfeld), and family slave Mad (Muna Otaru), keeps her South Carolina farmstead going in the absence of her Confederate »
- Zeba Blay
“War is cruelty,” Daniel Barber‘s The Keeping Room reminds us as the Civil War-set film begins to unspool, thanks to a pre-credits coda that shares one of Union Army General William Tecumseh Sherman’s most memorable quotes about war in general and the American Civil War specifically. (Sherman is also credited for such bangers as “war is a terrible thing!” and “if they want eternal war, well and good” and yes, even the inimitable “war is hell” — for a lauded general, Sherman sure hated war a lot.) War is indeed cruelty, and although Barber drives that point home (again and again), The Keeping Room does it with grace, care and an appealing spirit that place it a cut above other war-set films that don’t involve a battle field-set rager. Penned by Julia Hart (the film is the screenwriter’s first feature, and what a fine start it is), The Keeping Room chronicles what happens to »
- Kate Erbland
He might not have made major headlines, but Sam Worthington has been in a handful of movies playing the Toronto International Film Festival this year. He antagonized Brit Marling in "The Keeping Room" (review here), comforted Jennifer Aniston in "Cake" (review here) and now helps a kid fly (metaphorically) in the family film "Paper Planes." Directed by Robert Connolly ("Underground: The Julian Assange Story"), the film tells the sweet story of an eleven year-old kid who works to get into the National Paper Plane Championships. All the familiar family movie markers are here, from the chubby sidekick to the shitty mean kid, and this is clearly made for a specific demographic and will probably do the job its supposed to (no surprise, this is screening in the Tiff Kids section of the program). No U.S. distro for this one yet, but the film has its final public screening at »
- Kevin Jagernauth
Daniel Barber’s The Keeping Room begins with a quote from Union General William Tecumseh Sherman: “War is cruelty, there is no use trying to reform it; the crueler it is, the sooner it will be over.” The Keeping Room takes place during war, but it is not about war, at least not in the traditional sense of soldiers on a battlefield. It is more about cruelty; specifically, the cruelty visited upon women. The threat of rape pervades the entire story, and Barber maintains the tension without ever feeling exploitative. Although the dialogue can be a little too on the nose, the weight of the narrative and Brit Marling’s powerful performance make the dread palatable throughout this painfully relevant tale. Set in the American South in 1865, Augusta (Marling), Louise (Hailee Steinfeld), and their former slave Mad (Muna Otaru) scrape by on their small homestead. Augusta and Louise’s brother »
- Matt Goldberg
A potentially gripping story of empowerment through armed resistance is almost totally undermined by studied, self-conscious storytelling in “The Keeping Room,” Working from Julia Hart’s 2012 Black List screenplay about three Southern women — two sisters and their loyal but not entirely subservient slave — who must defend themselves against two brutish Union Army scouts during the waning days of the Civil War, director Daniel Barber (“Harry Brown”) devotes entirely too much time to a languidly paced buildup that is heavy on portentous atmospherics, mumbled dialogue and aggressively striking visuals. The violent payoff arrives much too late to provide satisfying catharsis, or to enhance the film’s commercial appeal.
Barber employed a similarly elliptical approach to narrative in “The Tonto Woman,” his 2008 Oscar-nominated short — based on an Elmore Leonard short story — about a Mexican horse thief drawn to a white woman who, after being freed from captivity by Indians, has been ostracized from polite society. »
- Joe Leydon
We have seen many Civil War movies depicting the horror of battle, the swaths of men left dead on either side, and the idealogical rift that nearly split the country in two. But Julia Hart's 2012 Black List script takes an approach that's refreshing, setting the film during the fading days of the war, on the home front in South Carolina, where silence is a comfort and terror arrives with the sound of approaching horses. There are no grand battleground speeches or widescreen vistas of hundreds of men rushing towards their death. Instead, "The Keeping Room" attempts a blend of sexual curiosity, home invasion horror and elegiac drama, that doesn't quite work, but whose ambitions are nonetheless compelling. On their own at the family farm, Augusta (Brit Marling), her sister Louise (Hailee Steinfeld) and slave Mad (Muna Otaru) have forged a survivalist domesticity to last out the war. They rarely, »
- Kevin Jagernauth
The title sounds like a grim horror movie, but The Keeping Room is actually a revisionist siege Western, examined from an atypical female point of view. Centered by a haunted yet tough performance from Brit Marling, the film comes from a screenplay by Julia Hart that got the Black List endorsement as one of the best unproduced scripts of 2012, and its setting and distinctive Americana twist alone make it of interest. But what might have looked intriguing on paper appears to have been largely pared away in the artsy mannerisms and loaded silences of Brit director Daniel Barber’s self-
- David Rooney
If you're eager to see movies about strong women who might actually exist in the real world, check out anything starring brainy actress Brit Marling, who plays yet another sharp role in Toronto world premiere and acquisition title "The Keeping Room," a Civil War drama that mixes a character study with the home invasion genre. Marling has been charting her own course ever since she broke out at Sundance 2011 as the writer-producer-lead of two indies, Mike Cahill's "Another Earth" and Zal Batmanglij's "Sound of My Own Voice." She went on to play smart daughters in both Robert Redford's "The Company We Keep" and "Arbitrage," opposite Richard Gere; she collaborated again with Batmanglij on eco-terrorist thriller "The East," and with Cahill on twisty science film "I, Origins." (Watch: Toh! Marling video interview on "The East.") This time, a friend sent Marling a script from an unlikely source, »
- Anne Thompson
Brit Marling’s body of work is mounting into an accomplished resume. A multihyphenate if ever there was one, the actress has also written, produced and directed a chunk of titles from that resume – but not this one. In Daniel Barber’s The Keeping Room, Marling is solely in front of the camera alongside a Hailee Steinfeld and Muna Otaru. The story surrounds two sisters and the family slave at the tale end of the American Civil War. The women tend to the family farm after the male family members have all presumably perished in battle. When two Yankee scouts come into their lives, it turns out there’s more to be afraid of than whether or not one of the dairy cows has got a septic udder.
The first clip looks like the film will be a performance-rich piece, that’ll probably land a few awards nods. Augusta (Marling »
- Gem Seddon
The 39th edition of the Toronto International Film Festival is underway, in case you haven't noticed our previews and reviews of films screening there this year. Among the always impressive slate of high-profile films making their world premieres at the festival, are a few that we've been tracking on this blog, including a feature film Nicole Beharie was initially attached to co-star in (when the project was first announced in late 2012), but she apparently exited the project, and was replaced by Muna Otaru. Otaru co-stars in the Civil War drama titled "The Keeping Room," alongside Brit Marling and Hailee Steinfeld, in a film that tells »
- Tambay A. Obenson
Exclusive: Courting sales at Toronto this week is Civil War suspense drama The Keeping Room, the tale of three Southern women – Augusta (Brit Marling), her sheltered sister Louise (Hailee Steinfeld), and their long-silent family slave Mad (Muna Otaru) – defending themselves and their isolated farmhouse in the waning days of the war. Sam Worthington and Anna Karenina’s Kyle Soller also star as a pair of marauding Union soldiers in the film. Daniel Barber (Harry Brown) directs from Julia Hart’s 2012 Black List script.
Here’s how Barber sets up Deadline’s exclusive clip: “When Julia and I were working on the script for The Keeping Room, we tried very hard to imagine how the characters would behave with each other. We wanted their relationships to be very real, very natural and unforced. Augusta had this incredible strength of character, she was such a force of nature, she was so headstrong. »
- Jen Yamato
If the acquisitions frenzy and precedent-setting deals struck in Berlin and Cannes is going to continue, it will surprise many of the sellers who’ve come to the Toronto Film Festival to fill slots in their 2015 slates. Maybe it’s because there were so many spectacular deals this year, of perhaps it’s because Toronto 2014 is so stocked with studio films that star the likes of Robert Downey Jr, Bill Murray and Denzel Washington. Whatever the reason, acquisition titles seem to be lower key than last year, when Can A Song Save Your Life and Bad Words prompted overnight auctions and $7 million deals, and just about every movie that played here found distribution.
The deal action got underway yesterday and today with Relativity’s acquisition of The Woman In Black 2 and Saban Entertainment’s deal for fest title Tracers. All the ingredients for a continued buying surge seem to be there, »
- Mike Fleming Jr
Autumn has always been my favorite time of year, and for the past few years, the pleasure of the arrival of crisp air and turning leaves has been increased, because it means that London Film Festival time has come around again. Though the public festival runs for 12 days — this year it’s October 8th though 19th — for the press it runs for a full month. (Press screenings will start on September 22nd.) It is a veritable orgy of cinema, and I love it. It’s exhausting, but I love it.
Yesterday morning the full program for the 58th BFI London Film Festival was announced. I already knew that two of my most anticipated films of the fall were on the slate: The Imitation Game, Headhunters director Morten Tyldum’s film about Alan Turing and the WWII Enigma codebreaking project, starring Benedict Cumberbatch as the mathematician; and Fury, »
- MaryAnn Johanson
Fury (David Ayer)
[via the BFI]
The programme for the 58th BFI London Film Festival launched today, with Festival Director Clare Stewart presenting this year’s rich and diverse selection of films and events. The lineup includes highly anticipated fall titles including David Ayer’s Fury, Bennett Miller’s Foxcatcher, the Sundance smash Whiplash, Jean-Luc Godard’s Goodbye to Language 3D, The Imitation Game starring Benedict Cumberbatch, Mike Leigh’s Mr. Turner, Jason Reitman’s Men, Women and Children and Jean-Marc Vallee’s Wild.
As Britain’s leading film event and one of the world’s oldest film festivals, it introduces the finest new British and international films to an expanding London and UK-wide audience, offering a compelling combination of red carpet glamour, engaged audiences and vibrant exchange. The Festival provides an essential profiling opportunity for films seeking global success at the start of the Awards season, promotes the careers of British and »
The Telluride Film Festival is over and done with and Venice is coming to a close, but we’ve got the Toronto International Film Festival on the way and the New York Film Festival coming up right after. On top of that, the lineup for the 58th BFI London Film Festival was just announced. The list includes a bunch of titles that are already making the festival rounds like the event opener, The Imitation Game, as well as Gala selections Foxcatcher, Whiplash, Wild and Mr. Turner. In addition, we’ve also got Testament of Youth starring Alicia Vikander, Kit Harington, Hayley Atwell, Emily Watson and Dominic West making its world premiere as well as The Falling with Maisie Williams, Silent Storm with Andrea Riseborough and Damian Lewis, and Serena with Jennifer Lawrence and Bradley Cooper. Hit the jump for more on the 2014 BFI London Film Festival lineup. The event begins »
- Perri Nemiroff
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