Movie News

‘Scary Mother’ Named Top Film at Beijing Festival

‘Scary Mother’ Named Top Film at Beijing Festival
Scary Mother,” a Georgian-Estonian drama about a woman who chooses to follow her passion for writing, putting it ahead of her family, was named as the best picture at the Beijing International Film Festival. The film’s lead performer Nato Murvanidze was named best actress.

The Tiantan awards were presented at a spectacular closing ceremony on Sunday night outside the Chinese capital. In attendance at the closing ceremony, local stars included Huang Bo, actresses Lin Chi-ling and Tong Liya.

The prizes had been decided on by a jury headed by Wong Kar-wai. British wartime drama, “Journey’s End” collected two prizes, one for Paul Bettany as best supporting actor, and another for Hildur Gudnadottir.

Caucasus-set drama, “Dede” also won two prizes. Mariam Khatchvani was named best director, while Konstantin Esadze earned the cinematography prize.

Joe Cole was named best actor in Kim Nguyen’s drone romance “Eye on Juliet.” Mina Sadati
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‘Spider-Man: Homecoming’ Sequel Will Have Spidey Slinging Web Around the World

‘Spider-Man: Homecoming’ Sequel Will Have Spidey Slinging Web Around the World
With less than a week until release, all of the attention is on Avengers: Infinity War with Marvel Studios is kicking off their domestic promotional tour with a press junket today. While there likely won’t be any major revelations to come about the future of the Marvel Cinematic Universe, it seems that some little details […]

The post ‘Spider-Man: Homecoming’ Sequel Will Have Spidey Slinging Web Around the World appeared first on /Film.
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'A Quiet Place' Back at #1, While 'Super Troopers 2' Demolishes Expectations

'A Quiet Place' Back at #1, While 'Super Troopers 2' Demolishes Expectations
Early on it looked as if it might be a tight race for the weekend #1, and while the margin was slim, in the end A Quiet Place settled into the spot, topping last weekend's champion Rampage. Stx's I Feel Pretty settled into third over its debut weekend, delivering results a shade over expectations, narrowly topping the outstanding performance from Fox Searchlight's Super Troopers 2, which more than doubled expectations. With an estimated $22 million, Paramount's A Quiet Place topped the weekend as its domestic cume climbs to an outstanding $132.4 million after just 17 days in release. For comparison, Split and The Conjuring finished with $138.2 million and $137.4 million respectively over the course of their entire domestic runs. In fact, A Quiet Place is now Paramount's highest grossing domestic release since 2016's Star Trek Beyond ($158.8m) as it topped the $130.1 million brought in by Transformers: The Last Knight last year. Internationally,
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Dwayne Johnson’s ‘Rampage’ Continues to Roar Overseas

Dwayne Johnson’s ‘Rampage’ Continues to Roar Overseas
Dwayne Johnson’s “Rampage” has once again secured the top spot at the international box office.

The Warner Bros. film pulled in $57 million from 61 territories in its second weekend, crossing the $200 million mark internationally. With the $21 million it made domestically this weekend, “Rampage’s” global tally sits at $283 million.

Rampage” has brought in $106 million in China alone, seeing $27.2 million on 17,000 screens this weekend. Korea was another top market, where it made $3.3 million on 870 screens. In Mexico, the film earned $2.9 million on 2,193 screens, while in the U.K. it brought in $1.9 million on 744 screens. The next key markets to open will be France, Germany, and Japan.

Another Warner Bros.’ title, “Ready Player One” earned $23 million from 67 territories this weekend. Steven Spielberg’s latest opened this weekend in its final major market, Japan, with $4.4 million from 749 screens. Internationally, the film is just shy of the $400 million mark at $395.4 million. “Ready Player One
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Josh Brolin Talks About Not Playing Batman and His Dream Director for ‘Jonah Hex’

Josh Brolin Talks About Not Playing Batman and His Dream Director for ‘Jonah Hex’
In the wake of Man of Steel, director Zack Snyder was meeting with all sorts of actors to potentially play the role of The Dark Knight in Batman v Superman: Dawn of Justice. Before Ben Affleck secured the part, one of the frontrunners for the role was Josh Brolin (Avengers: Infinity War), and in a […]

The post Josh Brolin Talks About Not Playing Batman and His Dream Director for ‘Jonah Hex’ appeared first on /Film.
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Karlovy Vary Film Festival to honour Richard Linklater, Milos Forman

Karlovy Vary Film Festival to honour Richard Linklater, Milos Forman
Industry details also announced.

The first batch of guests and events have been unveiled for the 2018 Karlovy Film Festival (29 June-7 July).

The festival will pay tribute to Milos Forman (who died earlier this month) with a concert of music from his films at the opening ceremony performed by Czech National Symphony Orchestra. The festival’s opening film will be Forman’s Czech New Wave comedy Loves Of A Blonde (1965).

Karlovy Vary is dedicating one of its sections to the non-profit Austin Film Society (Afs). Its founder, director Richard Linklater will appear alongside a screening of his cult hit Slacker.

The
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Milos Forman’s ‘Loves of a Blonde’ to Open Karlovy Vary Film Festival

Milos Forman’s ‘Loves of a Blonde’ to Open Karlovy Vary Film Festival
Milos Forman’s 1965 comedy “Loves of a Blonde” will open the 53rd edition of the Karlovy Vary Intl. Film Festival as part of a tribute to the Oscar-winning director of “Amadeus” and “One Flew Over the Cuckoo’s Nest,” who died this month.

In a statement, Kviff’s president Jiri Bartoska said Forman was “not only an excellent filmmaker, but also a great friend of [the festival].” He added: “We have decided to remember him, not through laudatory speeches, but through what he symbolized – film.”

The festival, which runs June 29-July 7, confirmed Monday that director Richard Linklater would be one of its guest as part of its program dedicated to the work of the Austin Film Society, of which Linklater is founder and artistic director. Movies screening as part of the sidebar include Linklater’s “Slacker” and Robert Rodriguez’s “El Mariachi.”

Kviff will also feature a retrospective of documentary films from
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Israel’s Docaviv Festival to Focus on Women, Refugees for Landmark 20th Edition

Israel’s Docaviv Festival to Focus on Women, Refugees for Landmark 20th Edition
Docaviv, Israel’s only festival devoted exclusively to documentary filmmaking, will celebrate its 20th birthday in May with a jam-packed screening schedule focusing on women’s empowerment, refugees and the ever-complicated politics of globalization. In the lineup are films about U.S. Supreme Court Justice Ruth Bader Ginsburg and fashion designer Alexander McQueen.

The festival, considered one of the most prestigious documentary festivals in the world, takes place annually in Tel Aviv, with screenings across the city. This year, 121 films – both from promising Israeli documentarians and established international directors – will be shown at the Tel Aviv Cinematheque and a number of other locations.

Among the highlights: Elwira Niewiera and Piotr Rosolowski will present “The Prince and the Dybbuk,” which won Best Documentary at the Venice Film Festival last year; Switzerland’s Markus Imhoof will compete in the international competition with “Eldorado,” his hard look at the current refugee crisis in Europe; and Maryam Ebrahimi,
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LevelK Acquires Mairi Cameron’s Australian Sexy Thriller ‘The Second’ (Exclusive)

Denmark-based LevelK has acquired international sales rights to Australian filmmaker Mairi Cameron’s sexy psychological thriller, ”The Second” which recently world premiered at Gold Coast Film Festival.

The Second,” which marks the first Original feature ordered by streaming service Stan, stars Rachel Blake (“Sleeping Beauty”), Susie Porter (“Hounds of Love”) and Vince Colosimo (“Chopper”).

The Second” follows a successful author riding high on the international acclaim of her first book, a sexually explicit autobiography. While preparing her second novel, the author’s best friend and muse reappears in her life and threatens to reveal the dark secret behind the memoir’s provenance, sparking an incendiary tale of sex, lies and betrayal.

Ordered by streaming service Stan, “The Second” was produced by Leanne Tonkes and writer/producer Stephen Lance at Australian company Sense and Centsability and Dust Bunny Productions. Screen Queensland, Mind Blowing World, and The Post Lounge co-financed the film.
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Tribeca Film Review: ‘Mapplethorpe’

A renegade Catholic boy raised by conservative parents in Queens, New York, Robert Mapplethorpe transformed some of the most blasphemous subjects on earth — gay sex, Satanism, bondage — into beautiful black-and-white images. In her first scripted feature, doc filmmaker Ondi Timoner (“We Live in Public”) effectively does the opposite, taking a queer art-world enfant terrible and filtering his life back into gritty 16mm color, attempting to convey the nuances that made him such an enigmatic figure. To her credit, Timoner doesn’t shy away from the hardcore bits, which means her film will have to go out unrated (or else suffer the damnation of an Nc-17), but neither does she capture what made the radical photographer tick.

In 1990, the Contemporary Arts Center in Cincinnati was charged with obscenity for displaying “The Perfect Moment,” a career-spanning retrospective of Mapplethorpe’s work that incorporated everything from his flowers to his celebrities to a
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2019 Oscars: Best Actress Predictions

Breaking out of Sundance, Netflix-produced Tamara Jenkins drama “Private Life” (Metascore: 81) stars Paul Giamatti and Kathryn Hahn as a couple struggling with a midlife infertility crisis. They turn to their beloved niece (Kayli Carter) to consider donating some of her eggs to the cause, to the horror of her mother (Molly Shannon). Netflix plans a fall festival break for the movie as an awards season launch.

Wash Westmoreland’s “Colette” (Metascore: 74) is a conventional arthouse play, predictably picked up by Bleecker Street (partnering with 30West). The charming British-accented biopic stars Keira Knightley as a smart young French beauty plucked from the country in Burgundy to marry a sophisticated older Parisian, womanizer Henri Gauthier-Villars (Dominic West). She ghostwrites his “Willy” potboilers for him until she eventually grows into her own identity as a woman writer, stage performer and lover of women. Knightley and West are both superb in the well-mounted period movie,
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J.K. Rowling on the Future of Harry Potter Stories on Stage

The “Harry Potter” novels spawned a massively successful film franchise, and now, with the April 22 opening of “Harry Potter and the Cursed Child,” the Boy Who Lived has conquered Broadway. Could there be a stage sequel on the way?

Probably not, according to J.K. Rowling, the author and creator of the Potterverse — and the co-creator of “Cursed Child,” along with director John Tiffany and playwright Jack Thorne. “I think we really have now told, in terms of moving the story forward, the story that I, in the back of my mind, wanted to tell,” Rowling said just before the day-long, multi-part opening performance of the “Cursed Child,” which focuses on the relationship between Harry and his son, Albus. “I think it’s quite obvious, in the seventh book, in the epilogue, that Albus is the character I’m moved interested in. And I think we’ve done the story justice.
See full article at Variety - Film News »

‘Barry’: Sarah Goldberg on Why Sally’s Unresolved #MeToo Moment Feels True to Life

‘Barry’: Sarah Goldberg on Why Sally’s Unresolved #MeToo Moment Feels True to Life
Barry” is a story filled with payback. Rival mafia gangs order retaliatory hits as payback for dwindling numbers. Even Barry’s (Bill Hader) decision to stick with his acting class is, on some level, a way to get back at Fuches (Stephen Root), his manipulative handler.

A character who doesn’t get that same sense of revenge is Sally (Sarah Goldberg), one of Barry’s classmates. In last week’s episode, a meeting with her potential agent goes from hopeful to predatory when he tells Sally, “I get to this point with a lot of my prospective clients where I have a decision to make: Do I wanna sign them or do I wanna fuck them?” The jarring comment hangs in the air as Sally, unsure of how to respond, pauses, then fumbles until the agent tries to play it off as joke.

“What I thought was so brilliant about
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‘Westworld’ Season 2 Premiere Review: ‘Journey Into Night’ Draws Us Back Into the Compelling Mysteries With a Bloodbath

  • Indiewire
‘Westworld’ Season 2 Premiere Review: ‘Journey Into Night’ Draws Us Back Into the Compelling Mysteries With a Bloodbath
[Editor’s Note: This review contains spoilers for “Westworld” Season 2, Episode 1, “Journey Into Night.”]

Programming Update

A good “Westworld” theory today can easily be a big “Westworld” spoiler tomorrow, as fans of the show know. But while critics were provided with the first five episodes of the season by HBO, these weekly reviews will not be influenced by future knowledge of what’s to come, because they’re being written by someone who hasn’t seen beyond each week’s episode.

We’re all on the same page, friend. Saddle up for a hell of a ride.

Diagnostic Report

Season 2 opens with the mirror of the opening of Season 1 — Bernard telling Dolores about his dream, as opposed to the other way around. Timeline-wise, this scene is a bit nebulous (much like the similar Arnold/Bernard and Dolores scenes were in Season 1), but does continue the show’s ongoing engagement with the nature of reality, in the context of
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James Cameron —Who Is Planning 4 ‘Avatar’ Films— Talks Upcoming ‘Avengers’ Fatigue

Just in time for Marvel’s highly anticipated superhero showdown “Avengers: Infinity War,” James Cameron is hoping “we’ll start getting ‘Avenger’ fatigue here pretty soon.”

Read More: James Cameron Says ‘Avatar’ Sequels Will Be ‘The Godfather’-Esque Tale Of Jake Sully’s Pandora Family

On a recent press tour promoting his new docuseries “AMC Visionaries: James Cameron’s Story of Science Fiction,” Cameron lamented about his frustrations with the big-budgeted sci-fi movies of today.
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‘Sharp Objects’ Trailer: The Director Of ‘Big Little Lies’ & Amy Adams Lead HBO’s Anticipated Drama

As Hollywood rushes to produce stories that show women can do anything, the excellent crime novels of Gillian Flynn show that women can do truly anything, including some really dark and twisted stuff. As smart and perceptive as her most significant hit “Gone Girl” was, in terms of sheer terror, her debut novel “Sharp Objects” takes the cake. It’s now coming to HBO this summer as an eight-episode series developed by Marti Noxon (UnREAL) and directed by Jean-Marc Vallée.
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‘Sharp Objects’ Teaser: HBO’s Next Super-Dark Miniseries Has Amy Adams and Danger Lurking Around Every Corner

‘Sharp Objects’ Teaser: HBO’s Next Super-Dark Miniseries Has Amy Adams and Danger Lurking Around Every Corner
A year after “Big Little Lies,” HBO is offering a first glimpse at their latest attempt at turning a runaway literary success into TV gold. The network released the initial teaser for “Sharp Objects,” the upcoming miniseries that will try to follow in the big footsteps of some recent crime classics.

Sharp Objects” stars Amy Adams as Camille Preaker, a crime reporter recovering from a recent stint at a psychiatric center. Trying to move past her own personal traumas, she dives headlong into investigating the murder of two children. In the process, she has to confront even more of her own past, including the watchful eye of her mother Adora (Patricia Clarkson).

True to form for director Jean-Marc Vallée, this sneak peek is more atmospheric than anything. But judging by the menacing glances, eerie music, and dramatic mirror shots, Camille’s investigation is set to be anything but a pleasant one.
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‘The Seagull’ Review: Annette Bening and Saoirse Ronan Do Chekhov Well, But the Movie Can’t Keep Up — Tribeca

‘The Seagull’ Review: Annette Bening and Saoirse Ronan Do Chekhov Well, But the Movie Can’t Keep Up — Tribeca
Great plays are plays for a reason. If something succeeds onstage, it’s usually because it was written for that medium. Of course, if Hollywood can make a blockbuster out of a video game, classic Russian dramas are fair game. Unfortunately, although “The Seagull” sports a winning cast, the latest adaptation of the stage classic should have let Anton Chekhov’s writing speak for itself.

The drama unfolds on a Russian country estate, and it involves the intertwining love lives of the actress Irina Arkadina (Annette Bening), her lover and well-known author Boris Trigorin (Corey Stoll), her lovesick son Konstantin (Billy Howle), and their young neighbor Nina (Saoirse Ronan). Konstantin loves Nina and envies Trigorin’s success, Nina is starstruck and becomes infatuated with Boris, who’s aroused by Nina’s admiration, and Irina is too busy tracking Trigorin’s waning desire to take an interest in her son.

Meanwhile,
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‘Killing Eve’: BBC America’s Feminist Assassin Series Just Went From Fun and Addictive to Essential Viewing

‘Killing Eve’: BBC America’s Feminist Assassin Series Just Went From Fun and Addictive to Essential Viewing
[Editor’s Note: The following contains spoilers from “Killing Eve” Episode 3, “Don’t I Know You?”]

Killing Eve” has been a wild and daring ride so far, but it’s always kept the tone lighthearted and breezy. Sure, the gamine assassin Villanelle (Jodie Comer) murders people willy-nilly throughout Europe, but it’s always done with such flair and only to peripheral characters that it felt more like fantasy violence than anything else. Death by hairpin or perfume? Come on. That’s just downright die-lightful!

Sunday’s third episode of the season broke the spell on that fantasy and marks a turning point, for when the series went from fun and addictive to essential viewing. In “Don’t I Know You?” Mi-6 agent Eve Polastri (Sandra Oh) has yet to be killed, but a bit of her heart dies when her former boss-turned-employee Bill (David Haig) becomes Villanelle’s latest victim.

And to be fair, Bill’s fate is
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‘Zoe’: Drake Doremus Tackles Artificial Intelligence With Ewan McGregor & Lea Seydoux

As artificial intelligence technology develops, so too does our cultural fascination with the blurring line between human and machines. From “Her” and “Ex Machina” to “Black Mirror” and “Westworld,” AI is hot right now – literally. If we’re not thinking about how to build humanoid machines, we’re thinking about fucking them. In movies and television, these sexy bots are always female, their creators always male. Occasionally, such works complicate or criticize that dynamic (as in “Ex Machina” and “Westworld”).
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