Andrew Dominik - News Poster


David Fincher to return as director for Mindhunter season 2, with Andrew Dominik in tow

David Fincher is due to hop back into the director’s chair for his Netflix crime series Mindhunter in its second season, with fellow movie maestro Andrew Dominik set to join him.

According to The Playlist, Fincher will helm the opening and finale episodes of what is believed to be an eight episode season. Andrew Dominik, best known for The Assassination of Jesse James by the Coward Robert Ford, will take charge of two episodes and House of Cards veteran Carl Franklin is set to direct the rest.

Dominik, who was last seen directing Nick Cave documentary One More Time With Feeling, is connected with Fincher via Brad Pitt, who has worked with both directors on numerous occasions.

See Also: Why Mindhunter Is One of Netflix’s Greatest Ever Shows

Starring trio Jonathan Groff, Holt McCallany, and Anna Torv will return for the second season of Mindhunter, which will follow
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‘Mindhunter’ Season 2: David Fincher Returning to Direct, Joined by Andrew Dominik and More — Report

‘Mindhunter’ Season 2: David Fincher Returning to Direct, Joined by Andrew Dominik and More — Report
Details surrounding “Mindhunter” Season 2 have been quiet over the last several months, but a new report from The Playlist brings some exciting news about the next batch of episodes. David Fincher, who executive produces the show and directed two episodes in the first season, will reportedly be back behind the camera for the Season 2 premiere and finale. Directors Andrew Dominik and Carl Franklin will join Fincher for Season 2.

Dominik is an indie favorite after directing “The Assassination of Jesse James by the Coward Robert Ford.” His other credits include the Nick Cave documentary “One More Time with Feeling” and the drama “Killing Them Softly,” which starred Fincher favorite Brad Pitt. Franklin, meanwhile, is a television veteran with directing credits on “13 Reasons Why,” “The Leftovers,” and Fincher’s own “House of Cards.” Dominik is reportedly filming two episodes, while Franklin will direct the remaining Season 2 episodes.

The Playlist notes Season 2 will only have eight episodes,
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Mindhunter Season 2 Directors Include Andrew Dominik & Carl Franklin

Netflix’s serial killer drama Mindhunter is gearing up for season 2 and in doing so has lined up some serious talent behind the camera by bringing on Andrew Dominik and Carl Franklin to direct episodes. The pair will join David Fincher in the ongoing exploration of deviancy and the criminal mind, as FBI agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany), along with Dr. Wendy Carr (Anna Torv), try to create a new standard for tracking, anticipating, and understanding perpetrators of some of the most heinous crimes ever committed.
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Underbelly Files: Chopper – gratuitous crime drama butchers logic and style

Nine’s attempt to carve a sympathetic likeness of the notorious Melbourne gangster is a crime against good taste

It takes about 10 seconds of watching actor Aaron Jeffery play Mark “Chopper” Read in Underbelly Files: Chopper before it becomes painfully clear that, sadly, his performance will not hold a candle to Eric Bana’s portrayal of the same character in the 2000 classic film, Chopper. It takes three or four minutes of running time to ascertain that this two-part mini-series, from director Peter Andrikidis (Pulse, Alex & Eve) and writer Justin Mojo (Jungle, Spear) will also crumble in comparison with Andrew Dominik’s film.

And it takes about half an hour to fully comprehend the ineptitude of this gratuitous, phoney-baloney depiction of the famous earless criminal, a violent blowhard named after a cartoon bulldog. Exploring how Chopper “always wanted to be a legend,” veteran crime journalist John Silvester reflected on his
See full article at The Guardian - TV News »

‘Not Directed by Terrence Malick’ Shows the Master Filmmaker’s Huge Influence — Watch

  • Indiewire
‘Not Directed by Terrence Malick’ Shows the Master Filmmaker’s Huge Influence — Watch
Terrence Malick is one of the most influential filmmakers alive, with everyone from Christopher Nolan and David Gordon Green to John Hillcoat and Andrew Dominik citing him as an inspiration. To show the extent to which the “Badlands,” “The Thin Red Line,” and “The Tree of Life” director has left his mark on a generation of directors, Vimeo user Jacob T. Swinney made a video called “Not Directed by Terrence Malick” made up of shots from other filmmakers whose work bears a distinct resemblance to Malick’s. Watch below.

Read More:Terrence Malick-Produced ‘Awaken’ Trailer: Awe-Inspiring Doc Follows Humans’ Relationship With Technology — Watch

Borrowing the music that graced the trailer for “To the Wonder,” the strikingly made video cuts between Malickian footage from a range of films: “Ain’t Them Bodies Saints,” “George Washington,” even “Man of Steel” (whose first teaser had a heavy Malick influence that was sorely lacking from
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The butterfly by Anne-Katrin Titze

Stéphanie Di Giusto on The Dancer: "The movie is always in movement." Photo: Anne-Katrin Titze

Stéphanie Di Giusto's The Dancer (La Danseuse), screenplay in collaboration with Les Cowboys director Thomas Bidegain, based on the book Loïe Fuller: Danseuse De La Belle Époque by Giovanni Lista, stars Soko as Fuller with Lily-Rose Depp as Isadora Duncan. The supporting cast includes Gaspard Ulliel, Mélanie Thierry, François Damiens, Louis-Do de Lencquesaing, Amanda Plummer, and Denis Ménochet.

I met up with the director at the restaurant inside the Marlton Hotel the day before her debut film opened in New York. We discussed how Nick Cave and Warren Ellis got involved through Andrew Dominik's The Assassination Of Jesse James By The Coward Robert Ford, her costume designer Anaïs Romand who won a César, working with cinematographer Benoît Debie, seeing Soko in Alice Winocour's Augustine, and Harvey Weinstein's reaction after seeing The Dancer at Cannes.
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Grammy Best Music Film Nominations Go to ‘Long Strange Trip,’ ‘The Defiant Ones’

Grammy Best Music Film Nominations Go to ‘Long Strange Trip,’ ‘The Defiant Ones’
One More Time With Feeling,” “Long Strange Trip,” “The Defiant Ones,” “Soundbreaking,” and “Two Trains Runnin'” have received Grammy nominations for best music film.

The nominations were announced Tuesday with the winner unveiled Jan. 28 at Madison Square Garden in New York City. “The Beatles: Eight Days a Week — the Touring Years” won the category this year.

One More Time with Feeling,” directed by Andrew Dominik, documents Nick Cave and the Bad Seeds’ recording their 16th studio album, “Skeleton Tree,” following the death of Cave’s 15-year-old son Arthur in a fall from a cliff.

Long Strange Trip” is a sprawling four-hour documentary about the history of the Grateful Dead and its place in cultural history. It’s directed by Amir Bar-Lev. Martin Scorsese was one of the executive producers. The film premiered in January at the Sundance Film Festival.

The Defiant Ones,” directed by Allen Hughes, aired on HBO. It explores the partnership between producers Jimmy Iovine and Dr. Dre
See full article at Variety - Film News »

Fantastic Fest 2017 Interview: Writer/Director Luke Shanahan Talks ’70s Horror and Defying Expectations for Rabbit

  • DailyDead
Enjoying its Us premiere later tonight at the 2017 Fantastic Fest is Luke Shanahan’s haunting sci-fi-infused psychological thriller, Rabbit, which features a beautiful performance from the film’s star, Adelaide Clemens, as a twin sister named Maude whose sibling has been abducted, and a series of startling visions sets her on the path to discovering what happened to her identical twin, Cleo.

Daily Dead had the opportunity to speak with Shanahan in advance of the film’s premiere, and he discussed being able to represent Australia in the States with his latest project, collaborating with Clemens, paying tribute to his favorite era of genre filmmaking, and much more.

Look for our review of Rabbit in the coming week, as well as more coverage from all the great films being celebrated at this year’s Fantastic Fest in Austin. To catch up on our Fantastic Fest 2017 coverage, visit here.

Glad you made it safely to Austin,
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Steven Spielberg’s Editor Attempted 2 Hour Cut Of ‘The Assassination Of Jesse James By The Coward Robert Ford’

Andrew Dominik‘s “The Assassination of Jesse James By The Coward Robert Ford” turns ten years old this month, and there’s never a bad time to shine some light on one of the best westerns of contemporary cinema. But any discussion of the terrific film must be paired with a reminder of the uphill battle the director faced in the editing room. Long story short, thinking they had invested in a rootin’ tootin’ shoot-em-up starring hunky Brad Pitt, Warner Bros.

Continue reading Steven Spielberg’s Editor Attempted 2 Hour Cut Of ‘The Assassination Of Jesse James By The Coward Robert Ford’ at The Playlist.
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Some love mother! Some don't.

by Murtada

The studio behind mother! has pivoted their second week marketing towards the bad word of mouth that the film has been receiving from moviegoers. They stopped selling it as a home invasion horror thriller and instead decided to embrace how polarizing it is.

Some people love it......some people don’t

It’s a bold move and we like it. What they don’t do though, is mention the F cinemascore that the film recieved. CinemaScore is a company that exit polls moviegoers’ opinions on opening night. They have been storing data since 1986, and in that time only 11 other films received the infamous F. Those so honored include Steven Soderbergh's Solaris (2002) and Andrew Dominik's Killing Them Softly (2012). And make no mistake Darren Aronofsky thinks it's an honor, he told The Frame:

What's interesting about that is, like, how if you walk out of this movie are
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Darren Aronofsky Reacts To ‘F’ CinemaScore For ‘mother!’

History will ultimately determine the merits of Darren Aronofsky‘s divisive “mother!,” but among the many things it will be remembered for, is being one of only 19 movies in history receive an F-grade CinemaScore. Determined by exit polls of moviegoers’ opinions of films on opening night, the movies that have been deemed as failures include terrific pictures like William Friedkin‘s “Bug” and Andrew Dominik‘s “Killing Them Softly,” and interesting efforts like Steven Soderbergh‘s “Solaris.” But yes, there is also trash on there too like the Lindsay Lohan flick “I Know Who Killed Me” and the parody flick “Disaster Movie.” However, Aronofsky believes there’s no way his “mother!” could’ve received any other score.

Continue reading Darren Aronofsky Reacts To ‘F’ CinemaScore For ‘mother!’ at The Playlist.
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The Mythic Power of ‘The Assassination of Jesse James by the Coward Robert Ford’

Looking back on this still-young century makes clear that 2007 was a major time for cinematic happenings — and, on the basis of this retrospective, one we’re not quite through with ten years on. One’s mind might quickly flash to a few big titles that will be represented, but it is the plurality of both festival and theatrical premieres that truly surprises: late works from old masters, debuts from filmmakers who’ve since become some of our most-respected artists, and mid-career turning points that didn’t necessarily announce themselves as such at the time. Join us as an assembled team, many of whom were coming of age that year, takes on their favorites.

“I can’t figure it out. Do want to be like me or do you want to be me?”

From the opening frames of The Assassination of Jesse James by the Coward Robert Ford, Andrew Dominik stokes
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Audiences Hate Jennifer Lawrence's New Movie Mother!

  • MovieWeb
Audiences Hate Jennifer Lawrence's New Movie Mother!
Moviegoers are having very negative reactions to Jennifer Lawrence's latest movie, Mother!, according to CinemaScore, which currently has the movie at an F rating. The Darren Aronofsky directed movie has been getting trashed by audiences, but praised by critics, leading to a huge divide between audience and critic with the polarized reviews. Could it be that moviegoers are beginning a backlash against Jennifer Lawrence?

Jennifer Lawrence is an acclaimed, Academy Award winning actress who was once the highest paid actress in the world two years ago. The 27-year old actress can pretty much do whatever she wants, but it's beginning to look like her fans do not want to see her in horror movies. 2012's House at the End of the Street was panned by critics and is seen as a commercial failure when compared to Lawrence's other work, which still earned a lot of money and was in
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‘mother!’ Gets an F CinemaScore, Which Could Mean Trouble at the Box Office

  • Indiewire
‘mother!’ Gets an F CinemaScore, Which Could Mean Trouble at the Box Office
mother!” has accomplished a rare feat: the dreaded “F” CinemaScore. Darren Aronofsky’s new thriller starring Jennifer Lawrence and Javier Bardem has earned largely positive reviews from critics, but its failing grade suggests that multiplex audiences might not take to its oddity as well — especially given that the film is in nearly 2,400 theaters.

Based in Las Vegas, CinemaScore surveys audiences every weekend to gauge their reactions to new movies and see what effect that might have on box-office returns; ballots have six questions. Other movies to earn the rare distinction are Steven Soderbergh’s “Solaris” remake, Andrew Dominik’s “Killing Them Softly,” William Friedkin’s “Bug,” and “I Know Who Killed Me” — so not exactly crowd-pleasers.

Still, it might not be so bad.
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Sam Shepard: Hollywood & Broadway Mourn Actor-Writer’s Death

Sam Shepard: Hollywood & Broadway Mourn Actor-Writer’s Death
Broadway and Hollywood are in sorrow today as one of their greats, Pulitzer Prize-winning playwright and Oscar-nominated actor Sam Shepard died today at his home in Kentucky. Garret Dillahunt worked with Shepard on the Andrew Dominik western The Assassination of Jesse James by the Coward Robert Ford: Shepard and Don Cheadle starred together in the 2001 John Travolta-Halle Berry thriller Swordfish: Literally bumped into Sam Shepard many years ago, both of us on our…
See full article at Deadline Movie News »

The New West: The Greatest Revisionist Westerns of All-Time

The classical western exists as an ideal sandbox for stories of heroism, in which white hats can immediately separate our protagonists from the black-hatted antagonists. Occasionally, though, we have a revisionist western that questions and defies the well-trodden patriarchal confines of the genre, as if looking at an old image from a tilted perspective and finding something new.

Sometimes, the characters don’t fit into the dusty old boxes occupied by so many western heroes and heroines. The hero robs and kills to stay alive, frightened and overwhelmed by this strange, new frontier. Other times, the stereotypical Western landscape disappears, blanketed in snow. Horses drive their hooves through ice-covered puddles. Wind screams past bone-thin trees — manifest destiny frozen over, encasing the American dream in ice.

In the case of Sofia Coppola’s newest, The Beguiled, gender and power roles reverse: an injured Union soldier (Colin Farrell) turns up at a girl’s school, an arrival which breeds intense sexual tension and rivalry among the women (Nicole Kidman, Kirsten Dunst and Elle Fanning). According to our review, the movie is “primarily based on the 1966 book by Thomas Cullinan,” and “appears, at first glance, to be a remake of Don Siegel’s 1971 film adaptation rather than any sort of new reading of the original text. Coppola, of course, is far too clever for that.”

In celebration of The Beguiled, we’ve decided to take a look at the finest examples of the revisionist western. Enjoy, and please include your own favorites in the comments.

The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik)

Robert Ford (Casey Affleck) idolized the legendary outlaw Jesse James (Brad Pitt), growing up hearing campfire stories about the man. Ford loved James so much that he eventually willed himself into the man’s life story. You cannot tell James’s story without also telling Ford’s. These two tragic lives are irrevocably linked by Ford’s betrayal. The film’s dryly antiseptic voiceover narration confides that Ford grew to regret his violent ways. The same goes for James, who at one point beats a child and then weeps into his horse’s neck, unable to live with his own deeds. While James’ propensity for violence is a deeply cut character flaw, Pitt plays the outlaw like an emotionally wounded teenager. His jovial sense of humor cloaks a vindictive and self-loathing interior. Whether Jesse James hurts himself or someone else, there is always a witness looking on with wide eyes. After James’ murder, Ford became a celebrity, touring the country reenacting the shooting. But Ford gained his prominence by killing a beloved folk hero. And so, one day, a man named Edward Kelly walked into Ford’s saloon with a shotgun and took revenge for James’s murder. Unlike the aftermath of Ford’s deed, people leapt to Kelly’s defense, collecting over 7000 signatures for a petition, leading to his pardon. America hated Robert Ford because he killed Jesse James. They loved Edward Kelly because he killed Robert Ford.

Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (Robert Altman)

Robert Altman’s largely forgotten and often funny western about egotistical showman Buffalo Bill Cody (Paul Newman) treats its lead without respect, eagerly mocking him at every opportunity. Known across America as they best tracker of man and animals alive, Cody runs Buffalo Bill’s Wild West Show, a rodeo-like performance of cowboy-feats, ranging from simple rope tricks to the trick-shots of the legendary Annie Oakley. However, Cody is a fraud, a walking accumulation of lies and tall-tales. When Cody gets the chance to hire Chief Sitting Bull, the man who defeated General Custer at Little Big Horn, he’s thrilled, until Sitting Bull refuses to participate in his offensive show. Contrasted with phony Buffalo Bill Cody, Sitting Bull drips with dignified authenticity, totally uninterested in living up to the ignorant public’s racist image of his people. While the manufactured “reality” of Cody’s shows gets applause from white audiences, the stoic realness of Sitting Bull initially receives jeers, until something occurs to the crowd: this isn’t showmanship; this is the real thing. Later, when Cody and his gang form a posse, he hastily removes his show attire and searches through his wardrobe, cursing: “Where’s my real jacket?” So utterly consumed by his own public image, Cody can no longer locate his true self. Altman’s film is a rare western with a lead character who never succeeds, changes, or learns from his mistakes, always remaining a hopelessly pompous horse’s ass.

Butch Cassidy and the Sundance Kid (George Roy Hill)

As we meet the legendary Butch Cassidy (Paul Newman) he’s scoping out a bank, recently renovated to include heavy iron bars over every window and bolted-locks on every door. He asks the guard what happened to the old bank, which displayed such architectural beauty. “People kept robbing it,” the guard says. “Small price to pay for beauty,” Butch replies. It’s a running theme in revisionist westerns to reveal the truth behind the legend. The changing times had rendered bandits on horseback obsolete. But Butch Cassidy and his partner, the Sundance Kid (Robert Redford) didn’t see the end coming until the future was already upon them. After barely evading a super-posse (to use a term coined by screenwriter William Goldman) led by a ruthless bounty hunter, they escape to Bolivia with Etta (Katherine Ross) Sundance’s girl, where their criminal ways are similarly received. What began as a vacation away from their troubles slowly becomes a permanent getaway run, sowing seeds of inevitable tragedy. Etta sees what Butch and Sundance cannot: the end. “We’re not going home anymore, are we?” Etta tearfully asks Sundance, informing him that she has no plans to stick around to watch them die. George Roy Hill’s Butch Cassidy and the Sundance Kid is a tearful celebration of a pair of old dogs too foolish to learn new tricks.

Dead Man (Jim Jarmusch)

The gorgeous and haunting Dead Man opens with a soot-faced Crispin Glover trilling as he points out the window of a train: “They’re shooting buffalo,” he cries. “Government said, it killed a million of them last year alone.” The American machine greedily consumes the landscape, leaving smoldering devastation in its path, while a stone-faced accountant named William Blake (Johnny Depp) travels to the hellish town of Machine, where he’s promised a job. Unfortunately, there’s no job at the end of the line for this seemingly educated man, blissfully unaware of his namesake, the poet William Blake. After taking a bullet to the chest, Blake wanders this dying western landscape as if in a dream, guided by Nobody (Gary Farmer) a Native American raised in England after getting kidnapped and paraded around as a sideshow attraction for whites. At one point, Blake stumbles upon three hunters by a camp fire, one of which, played by Iggy Pop, wears a muddy dress and bonnet like a twisted schoolmarm. Writer-director Jim Jarmusch’s twist on the western (accompanied by Robby Müller’s flawless cinematography) hums with textured period detail and vivid costume design, the accumulation of which achieves an eerily stylized tone.

Django Unchained (Quentin Tarantino)

The spirit of Quentin Tarantino’s Django Unchained is in the sequence scored by Jim Croce’s “I’ve Got a Name.” Django (Jamie Foxx), now a free man, removes the old saddle from his horse’s back, a saddle originally procured by a white slaver, the animal’s previous owner. He then mounts in its place, his own saddle personalized with an embroidered D. His freedom is still new and unfamiliar but, Django is more than willing to grasp those reigns. What works best about the film is how Tarantino’s screenplay embraces the politics of the Antebellum South in a fashion carefully ignored by every other western of its time. The dialogue, Tarantino’s most applauded talent, wheels a careful turn between a sly comedy-of-manners and a bluntly provocative historical indictment, always landing on a shameless exploitation cinema influenced need for violent catharsis. Tarantino’s channeling of Spaghetti Western violence, with the gore cranked up to a level far beyond that of even Sergio Corbucci’s bloodiest work, delivers tenfold on that catharsis, splattering the pristine white walls of Candyland plantation bright red.

El Topo (Alejandro Jodorowsky)

Dripping with transgressive and bizarre imagery, El Topo embraces every taboo imaginable with a breathless zeal. Existing somewhere between Midnight Movie oddity and art-house epic, Alejandro Jodorowsky’s second feature envisions the west as an unknowable landscape, dotted with peculiar and grotesque characters, such as a legless gunfighter who rides around on the back of an armless man. Describing the film in narrative terms, beat by beat, would be pointless, although we follow a rider in black, the titular El Topo (which means The Mole) who crosses the desert with a naked boy on the saddle. Though we spend more time with El Topo, his son is the heart of the film, this warped and subversive pseudo-fable exploring the cyclical nature of life. Jodorowsky’s painterly eye for composition lends individual shots with arresting and breathtaking resonance. With less than subtle biblical imagery scattered throughout, including a marvelous sequence involving a religion based around the game of Russian Roulette, Jodorowsky’s film feels at times like a twisted celebration of mysticism, sampling notes from Catholicism, Christianity, Hinduism and Buddhism. It’s ending, a chaotic, dream-like burst of violence, adds a scathing gut-punch to an already overwhelming experience. There is no other western quite like El Topo, to say the least.

Continue >>
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Cannes 2017. Through a Genre Darkly—Lynne Ramsay's "You Were Never Really Here"

Screening at the very end of the Cannes Film Festival's competition, and rumored to have been finished the very week of its premiere, Scottish director Lynne Ramsay’s adaptation of Jonathan Ames’s novel You Were Never Really Here is a genre film so fiercely empathetic and brutally honed that its harsh impulse seems precariously mysterious. A bearded, dark-eyed Joaquin Phoenix plays a New York mercenary hired through shady means to retrieve lost girls and sex slaves, something he does with brute efficiently in baggy jeans and bulky hoody, armed only with a store-bought hammer and singular purpose. Quick flashes of traumatic memories—a technique so anarchronistic as to seem surprisingly lazy—detail the scars of the man’s psyche, damaged from abuse as a child and time both in the military and FBI—pain that rears itself in multiple flirtations with suicide throughout the picture. Utilizing his skillset for a dark but righteous purpose,
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Aaron Jeffery to play Chopper Read in new TV miniseries

Dark Horizons is reporting that Aaron Jeffery (Wentworth, McLeod’s Daughters) is set to play the famed Australian criminal and author Mark ‘Chopper’ Read in the new TV miniseries Underbelly Files: Chopper. He will be joined in the cast by Michael Caton (Homicide, The Castle) as Chopper’s father Keith.

Chopper” Reid was one of Australia’s most notorious gangsters, and cut a swathe through the nation’s criminal underworld in the ‘70s, ‘80s and ‘90s. He gained international recognition in 2000 with the success of Andrew Dominik’s film Chopper, which starred Eric Bana in the title role.

Underbelly redefined Australian drama when it first exploded onto our screens in 2008,” said Nine Network co-heads of drama Andy Ryan and Jo Rooney. “Now after a four-year break, it’s back with the riveting untold story of Australia’s most notorious and audacious gangster. This is “Chopper” as you’ve never seen him before,
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Cannes Updates, What’s Coming to the West End + More News

It seems like all anyone wants to talk about this week is Cannes, and the alleged hubbub Netflix has created by not releasing their films in French theatres. Their Bong Joon-ho–directed “Okja” was amongst the films that were booed during a screening and had to be stopped. Festival jury members—which this year include Will Smith—have been arguing about whether Netflix should be allowed nominations if it doesn’t release films in France. The rumour mill is also whirring about big upcoming projects and casting. Highlights include Daniel Radcliffe starring in the prison drama “Escape From Pretoria,” based on the life of Tim Jenkin and due to film in South Africa in early 2018. Tom Hardy is set to play a decorated U.S. Navy Seal in a new film from director Andrew Dominik (“Chopper”) and producer Ridley Scott. Sasha Lane (“American Honey”) joins Alicia Vikander and Armie Hammer
See full article at Backstage »

Cannes Updates, What’s Coming to the West End + More News

It seems like all anyone wants to talk about this week is Cannes, and the alleged hubbub Netflix has created by not releasing their films in French theaters. Their Bong Joon-ho–directed “Okja” was amongst the films that were booed during a screening and had to be stopped. Festival jury members—which this year include Will Smith—have been arguing about whether Netflix should be allowed nominations if it doesn’t release films in France. The rumour mill is also whirring about big upcoming projects and casting. Highlights include Daniel Radcliffe starring in the prison drama “Escape From Pretoria,” based on the life of Tim Jenkin and due to film in South Africa in early 2018. Tom Hardy is set to play a decorated U.S. Navy Seal in a new film from director Andrew Dominik (“Chopper”) and producer Ridley Scott. Sasha Lane (“American Honey”) joins Alicia Vikander and Armie Hammer
See full article at Backstage »
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