Suburbicon (2017) - News Poster



Visual storytelling by Anne-Katrin Titze

Stacy Cochran on Good Night, And Good Luck., shot by her Write When You Get Work cinematographer Robert Elswit: "I think George Clooney did just this super fantastic job." Photo: Anne-Katrin Titze

Stacy Cochran's Write When You Get Work, shot by Robert Elswit stars Rachel Keller, Finn Wittrock and Emily Mortimer with Scott Cohen, Jessica Hecht, James Ransone, Rosa Gilmore, Tess Frazier, Jennifer Mudge, Afton Williamson, and Andrew Schulz.

Ruth (Rachel Keller) and Jonny (Finn Wittrock) in Write When You Get Work

In the first instalment of my conversation with the director/screenwriter/co-producer of Write When You Get Work, Stacy and I discuss the spot-on look she created with costume designer Samantha Hawkins, the visual storytelling, what's in a word, camouflaging ourselves, her cinematographer Robert Elswit, and how writing a screenplay can be like writing a letter.

The title of Stacy Cochran's wonderfully offbeat, smartly written, and well
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‘The Ballad of Buster Scruggs’ Film Review: Coen Brothers Western Anthology Makes for an Uneven Binge

  • The Wrap
It’s only fitting that the Coen Brothers new project is backed by Netflix since it’s a Western-themed anthology film that plays like the forced-binge experience of an anthology TV series.

While the Coens claim in the press notes for “The Ballad of Buster Scruggs” that they were inspired by “those films made in Italy in the ’60s which set side-by-side the work of different directors on a common theme,” they were apparently so inspired that they made an anthology movie as wildly uneven as the ones they’re aping.

None of the Coens’ tales of the Old West is an outright dud, but the movie never matches the eponymous opening sequence, starring Tim Blake Nelson as a white-hatted singing cowboy with a tune in his heart, a kind word for everyone he meets, and an exceedingly itchy trigger finger. It’s like the collaboration Gene Autry and Sam Peckinpah never made,
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With $239 Million, George Clooney Kicks Dwayne Johnson's Butt as Forbes' Highest Paid Actor of 2018

As if it wasn't bad enough that George Clooney has those looks, now comes word from Forbes that he's also the highest paid actor of 2018, having pulled in an estimated $239 million from June 1, 2017, to the same date a year later. When is this guy's bad luck gonna stop? At the same time, that figure may have you scratching your head wondering how he earned that kind of money, when his only film in 2017 was Suburbicon, which he directed but did not star in, and which was pretty much a box office disaster. The secret, it would seem, lies in tequila. More specifically, Casamigos Tequila, the brand he founded with Mike Meldman and Rande Gerber back in 2013. As George reflected to Good Morning America, "We never planned on starting a tequila company. You know, we made Casamigos just for us to drink. Once we did launch the company, we thought, 'Hey,
See full article at Closer Weekly »

Here’s What’s Coming to and Leaving Hulu in September

Hulu has announced which films and TV shows will be new to the streaming service next month, and which will be departing. We’ll start with the good news: Charlie Kaufman’s masterpiece Adaptation., Paul Thomas Anderson’s masterpiece There Will Be Blood, and George Clooney’s, uh, not-masterpiece Suburbicon are all films that are coming to Hulu. You’ll also get the chance to prep for Glass with M. Night Shyamalan’s Unbreakable, and the filmmaker’s Signs is also being made available. I’d also highly suggest checking out David Gordon Green’s criminally underseen Stronger, which …
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Here’s What You Can Stream With Your Amazon Prime Membership in September

  • The Wrap
New titles available on Amazon Prime next month include Amazon original series like “Six Dreams” Season 1, the second half of “Wishenproof” Season 2, “Pete the Cat” Season 1, “Forever” Season 1 and “King Lear” Season 1.

Some classic comedies will also become available in September, like the original “Ghostbusters,” “Jerry Maguire,” and “Smokey and the Bandit.” In more of a dramatic mood as the weather shifts? Dramas like “Sleepless in Seattle” starring Tom Hanks and Meg Ryan should do the trick.

Other movies arriving include newer flicks “Future World,” “Beirut,” “Strangers Prey at Night,” “Pistorius,” “Stronger,” “On Chesil Beach,” “My Little Pony,” “Hot Summer Night,” “Escape Plan 2,” “Jigsaw” and “Suburbicon.”

Also Read: Amazon Explores Acquisition of Landmark Theatres (Report)

See below for the complete list.

September Tbd

*King Lear, Season 1 (Prime Original series)

Sept. 1


Asylum, Season 1

The Blue Rose, Season 1

The Broker’s Man, Seasons 1-2

The Field of Blood, Seasons 1-2

See full article at The Wrap »

‘Shape of Water,’ ‘Star Wars,’ Kendrick Lamar Nab World Soundtrack Awards Noms

  • Variety
‘Shape of Water,’ ‘Star Wars,’ Kendrick Lamar Nab World Soundtrack Awards Noms
The World Soundtrack Academy has released early nominees for the 2018 World Soundtrack Awards, celebrating 2017-18 films and series for their musical soundtracks and scores.

Contenders include award veterans John Williams, Alexandre Desplat, and Carter Burwell in the film composer of the year category, recognizing a large body of film scores from Williams’ “Star Wars: The Last Jedi” to Desplat’s “The Shape of Water,” which also took home the 2018 original score Oscar.

Among the TV composers nominated are Ramin Djawadi, composer for “Game of Thrones” and “Westworld,” Adam Taylor, composer for “The Handmaid’s Tale,” and Rupert Gregson-Williams, composer for “The Crown” and “The Alienist.”

Meanwhile, in the original song written for a film race, Kendrick Lamar and the “Black Panther” team scored a nod for the superhero blockbuster’s title track, 2018 Oscar winning duo Kristen Anderson-Lopez and Robert Lopez received a nomination for “Remember Me” from “Coco,” while “The Greatest Showman
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Toronto Film Festival Lineup Includes ‘A Star Is Born,’ ‘Widows,’ ‘First Man’

  • Variety
Toronto Film Festival Lineup Includes ‘A Star Is Born,’ ‘Widows,’ ‘First Man’
“A Star is Born,” “First Man,” and “Widows” are among the awards-season hopefuls that will screen at this year’s Toronto International Film Festival, running Sept. 6-16.

Other notable films scheduled for the prestigious gathering include “Beautiful Boy,” a drug addiction drama with Steve Carell and Timothee Chalamet; “The Front Runner,” with Hugh Jackman as Sen. Gary Hart; and “Old Man & the Gun,” a heist thriller that will mark Robert Redford’s retirement from acting.

The films announced on Tuesday are not the final list, as Toronto programmers intend to keep adding to the current crop of invitees. Programmers screened roughly 7,000 films before deciding which films to showcase.

The Canadian celebration of cinema is seen as an important stop for movies hoping to be in the Oscar conversation. In the past, films such as “Gravity,” “12 Years a Slave,” “Spotlight,” and “The Shape of Water” have all generated momentum that
See full article at Variety »

Matt Damon Teaming With John Krasinski For ‘The King Of Oil’

Matt Damon hasn’t had a huge hit for a while. In the last year, the actor appeared in high-profile films such as “Deadpool 2,” “Unsane,” and “Thor: Ragnarok” but only in cameos. And his 2017 starring roles in “Suburbicon” and “Downsizing” seemed to have the potential to be real awards contenders, but just fell flat.

Continue reading Matt Damon Teaming With John Krasinski For ‘The King Of Oil’ at The Playlist.
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George Clooney to direct sci-fi thriller Echo

It looks like George Clooney is gearing up to get back behind the camera, as Deadline is reporting that he is in talks to direct the sci-fi film Echo for 20th Century Fox.

Echo is being produced y Shawn Levy’s 21 Laps from a script by Christopher MacBride. Described as a thriller with a sci-fi edge, the project follows a drone specialist who has a psychological crisis: is he paranoid in suspecting his lover is not who she appears to be, and could she possibly have been replaced?

See Also: George Clooney reveals that Batman & Robin had the biggest influence on his career

Clooney last directed the 2017 black comedy Suburbicon starring Matt Damon, which received mixed reviews. He is also producing the upcoming TV adaptation of Joseph Heller’s novel Catch-22, and helmed the opening episode.

The post George Clooney to direct sci-fi thriller Echo appeared first on Flickering Myth.
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George Clooney in talks to direct sci-fi thriller Echo

20th Century Fox has begun early talks with George Clooney to helm there next sci-fi thriller, Echo.

It may be early days, but Fox are confident that negotiations with Clooney are just a formality. The Conspiracy’s Christopher MacBride has penned the script. It is said to be an original thriller with a sci-fi edge in which a drone specialist has a psychological crisis: is he paranoid in suspecting his lover is not who she appears to be, and could she possibly have been replaced?

The film is to be produced by 21 Laps’ Shawn Levy, Dan Levine and Dan Cohen. Whether Clooney is set to star in the thriller is anybody’s guess at this point, but watch this space.

Also in the news – Will Ferrell to team up with Netflix for Eurovision inspired movie

The sci-fi production could a complete change of route for Clooney, who had made a
See full article at HeyUGuys »

George Clooney in Negotiations to Direct Science-Fiction Thriller ‘Echo’

  • Variety
George Clooney in Negotiations to Direct Science-Fiction Thriller ‘Echo’
George Clooney is in early talks with 20th Century Fox to direct Christopher MacBride’s science-fiction thriller “Echo.”

The movie is set up with 21 Laps’ Shawn Levy, Dan Levine, and Dan Cohen. The production company has previously produced the science-fiction pic “Arrival,” which grossed more than $200 million worldwide for Paramount, along with the upcoming “Darkest Minds” for Fox and “Kin” for Lionsgate. 21 Laps is also an executive producer on the Netflix sci-fi series “Stranger Things.”

“Echo” centers on a drone specialist who has a psychological crisis after suspecting that his lover is not who she appears to be and wondering whether she has been replaced.

Clooney has directed six movies, starting with 2002’s “Confessions of a Dangerous Mind,” followed by “Good Night, and Good Luck,” “Leatherheads,” “The Ides of March,” “The Monuments Men,” and last year’s “Suburbicon.” He received an Oscar nomination for directing “Good Night, and Good Luck.
See full article at Variety »

George Clooney To Direct Sci-Fi Film ‘Echo’ From The Producers Of ‘Arrival’ And ‘Stranger Things’

George Clooney To Direct Sci-Fi Film ‘Echo’ From The Producers Of ‘Arrival’ And ‘Stranger Things’
George Clooney’s track record as a director is hit or miss. While he’s an A-lister actor, with numerous hits under his belt, when he steps behind the camera, things are a bit more…dicey. Last year, he released “Suburbicon,” which had all the makings of a great film, but ended up not doing much for audiences and critics. It feels like it’s been an eternity since 2002’s “Confessions of a Dangerous Mind” put him on the map as a filmmaker to keep an eye on.
See full article at The Playlist »

George Clooney In Early Talks To Direct Fox Sci-Fi Thriller ‘Echo’

  • Deadline
George Clooney In Early Talks To Direct Fox Sci-Fi Thriller ‘Echo’
Exclusive: George Clooney is in early talks with 20th Century Fox to direct Echo, a 21 Laps-produced script by Christopher MacBride. This is early stages, but my sources expect a deal will happen. Despite the tug of war between Disney and Comcast for Fox, the studio continues to put together adult thrillers.

Echo is an original thriller with a sci-fi edge in which a drone specialist has a psychological crisis: is he paranoid in suspecting his lover is not who she appears to be, and could she possibly have been replaced?

The film is produced by 21 LapsShawn Levy, Dan Levine and Dan Cohen. The shingle has gone the elevated sci-fi route with recent hits Arrival, Stranger Things and the upcoming Darkest Minds and Kin.

Clooney last directed Suburbicon and the opening episode of the upcoming miniseries adaptation of the Joseph Heller novel Catch-22.

Clooney is repped by CAA; MacBride
See full article at Deadline »

‘Action Point’ Reps Box Office Casualty For Johnny Knoxville With $2M+ Opening: Here’s Why

  • Deadline
‘Action Point’ Reps Box Office Casualty For Johnny Knoxville With $2M+ Opening: Here’s Why
In another death knell for raunchy comedies at the box office, Paramount’s Johnny Knoxville stunt comedy Action Point is hitting the skids in the worst way this weekend, opening to $2.2M.

That’s the lowest wide release debut of the star’s career, and a major setback for the prankster whose four Jackass films have made the studio close to a half billion dollars worldwide off combined budgets just north of $50M over a 16-year period. That weekend result is even lower than Paramount’s prestige misfires last year, mother! ($7.5M opening) and Suburbicon ($2.8M), even though those catered to different audiences.

Action Point arrives without the Jackass label because it only stars Knoxville and Chris Pontius and not the whole gang, and that’s one of the reasons why the pic’s fans are staying away, even though Paramount earnestly billed the comedy as “From the Star of Jackass” in trailers.
See full article at Deadline »

‘First Reformed’ Film Review: Paul Schrader and Ethan Hawke Channel Robert Bresson

  • The Wrap
‘First Reformed’ Film Review: Paul Schrader and Ethan Hawke Channel Robert Bresson
Before he wrote and directed movies, Paul Schrader was a film critic, best known for his book “Transcendental Style in Film: Ozu, Bresson, Dreyer.” Director Robert Bresson’s “Diary of a Country Priest” has always been a key film for Schrader, with Bresson’s ascetic Catholicism mirroring Schrader’s fully-absorbed Calvinism. And now Schrader has made “First Reformed,” a film that even freshman film students will be able to easily connect to this influential earlier movie.

First Reformed” is about a country priest, and he keeps a diary. And, like the hero of Bresson’s film (and the Georges Bernanos novel on which it is based), he’s got stomach cancer.

There’s more than homage going on here, though. As Schrader’s hero takes a bleaker look at life, and considers committing an extreme act as a desperate attempt to find resonance and morality in the world, he stands
See full article at The Wrap »

Why Cannes Film Market May Move at an Escargot’s Pace This Year

This story first appeared in TheWrap’s magazine’s Cannes issue.

Not even a shot of Botox under the arm will curb a certain kind of nervous sweat for buyers and sellers headed to this year’s Marché du Film. A continued pattern of caution will reign when it comes to deals at this year’s Cannes Film Festival, numerous industry insiders told TheWrap.

Festival titles have been selling at a snail’s pace since last September’s Toronto International Film Festival, despite the widely held industry line that we live in an aggressive buyers market. And while the Marché always brings a smattering of diverse international fare and typically produces an awards player or two, the impulse-buying phenomenon that one top studio executive called “festival fever” has cooled considerably.

“There are challenges in the independent marketplace that are well-documented in terms of the economic model and the pipeline of films,” said Stuart Ford, former head of Im Global, who returns to France with his new content and sales engine, Agc Studios.

Also Read: 'Everybody Knows' Stars Penélope Cruz and Javier Bardem CannesWrap Portraits (Exclusive Photos)

“I don’t expect Cannes to signal any great deviation from the trajectory we’ve been on, but true premium projects will be more in demand … the appetite and the volume of business for smaller indies is just changing.”

One studio executive, speaking on condition of anonymity, added, “A few years ago, people were really overspending and then taking a bath when they released the films.” Another notable dealmaker who declined to be named said that interest in finished films at Cannes, even competition titles, is unusually low.

“People are so apprehensive,” said Alex Walton of Bloom, an international sales, production and financing company (“The Nice Guys,” “Suburbicon”). But Walton cautioned against sounding any death knells, thinking back to his time at Paramount’s defunct indie label, Vantage.

Also Read: Cannes Adds Terry Gilliam's 'Don Quixote,' Lars von Trier's 'The House That Jack Built'

“I think our top movie one year made $12 million at the box office,” he said. “Compared to now? This is a heyday. The market will liven up with continued success stories, like ‘Hostiles’ making $30 million or ‘Chappaquiddick’ getting to around $12 million. Or look at ‘Lady Bird’ and ‘The Shape of Water.'” (“Lady Bird” grossed $49 million, while Guillermo del Toro’s Oscar winner hit nearly $64 million.)

Here’s what we’ll be watching for as the market unfolds on the Croisette:

1. Interrupted Streams

It’s been two years since streaming giants Netflix and Amazon stormed the indie market at Sundance, acquiring titles by the bucket and inflating price tags by millions. The companies both launched fireworks displays to announce their arrival and drove a money train that almost immediately stalled. Both companies pivoted to original productions, which the services could own outright as library titles and use to keep their global pipelines full of content. At the Marché this year, expect both to pack light.

Netflix has already given us the first beef of Cannes by refusing to submit its films to any section of the festival. The move was in direct response to a rule change that all eligible competition films must have a theatrical run in France, a move that found festival boss Thierry Frémaux placating France’s domestic exhibition business, which was in full revolt over Netflix’s day-and-date theatrical release strategy.

Also Read: Netflix Bails on Cannes Over Theatrical Release Mandate

But if Netflix won’t send films, it will send acquisitions reps to the festival for some window shopping. “Netflix is more likely than anyone to be prolific,” said Bloom. “They need more foreign product than anyone else.”

Amazon is in a different situation. Jeff Bezos’ studio is still “in flux” after installing former NBC chief Jen Salke to replace the disgraced Roy Price, one studio executive said. “They’re not looking to be major players–their strategy has moved to bigger films. They might be looking for awards but they’re after the next ‘Big Sick,’ not a Todd Solondz movie.”

Both “The Big Sick” and Solondz’s last film, “Weiner-Dog,” were released by Amazon Studios. “The Big Sick” earned an Academy Award nomination and $43 million domestic. “Wiener-Dog” took in less than $500,000 in limited release.

2. Le Paquet

One pocket of the sales market sure to see movement are content packages with movie stars attached — deals where agencies will bring scripts and big names to market and raise millions in domestic and international sales to finance production.

Long before distributor Neon and content sales company 30West bought “I, Tonya” for $6 million out of Toronto, for example, the Margot Robbie-starring, Oscar-nominated film raised millions in France to get it onto the ice. (The film grossed $30 million domestically.) And last year, the stop-motion film “Bubbles,” about Michael Jackson’s beloved chimp, kicked off a heated bidding war eventually won by Netflix for what was reported to be a staggering $20 million. Action fare like Chris Evans’ “Red Sea Diving Resort” also fetched big money.

“We’re taking two behemoth projects with big names,” Ford said. Though he couldn’t disclose attachments, he targeted the budgets at around $100 million each. “There’s a certain tier of films that even a couple of years ago would have seen studio production,” he added. “It reflects the reality that studios are making fewer movies.”

3. Mini-majors And Major Prizes

One thing our insiders unanimously agreed on was the plum position of the mini-major–specialty labels at the big studios who get to flex creative muscle without having to perform big for the C-suite executives. Sony Pictures Classics, Focus Features and Disney’s soon-to-be-acquired gem Fox Searchlight are all coming with money to spend, numerous individuals familiar with their plans told TheWrap.

There are also decisive and well-financed operations like A24, The Orchard and Magnolia, which will be on the prowl for awards season entries across features and documentaries. Last year, The Orchard took Robin Campillo’s “Bpm,” which won the César (France’s Oscar) though it fell short of an Oscar Best Foreign Language Film nomination. Spc took Andrey Zvyagintsev’s “Loveless,” which made the Oscar cut but didn’t win.

For the record, a previous version of this story had an incorrect purchase price for theatrical rights to “I, Tonya.”

Read original story Why Cannes Film Market May Move at an Escargot’s Pace This Year At TheWrap
See full article at The Wrap »

Paramount Chief Jim Gianopulos Touts Turnaround, Acknowledges Years of Flops

  • Variety
Jim Gianopulos wants theater owners to know that it’s a new day at Paramount. The newly minted studio chairman inherited a company that had been weighed down by flops such as “Teenage Mutant Ninja Turtles: Out of the Shadows,” “Downsizing,” and “Suburbicon.”

“It’s no secret we’ve had some difficult years at the box office,” Gianopulos said at the exhibition industry confab CinemaCon. He then pivoted to a larger argument that in his first months on the job, he’d begun to assemble the creative and business team necessary to turn things around.

“We’re laying the foundation…to deliver to you films for every possible audience for years to come,” he said.

Gianopulos, the former head of 20th Century Fox’s film studio, is also benefiting from some lucky timing. “A Quiet Place,” the low-budget thriller that his predecessor Brad Grey greenlit, has been a box office force,
See full article at Variety »

‘Suburbicon’ DVD Review

Stars: Matt Damon, Julianne Moore, Noah Jupe, Oscar Isaac, Gary Basaraba | Written by Joel Coen, Ethan Coen, George Clooney, Grant Heslov | Directed by George Clooney

Legend has it that the Coen Brothers penned this dark satire back in the 1980s, around the time of Blood Simple. So it’s interesting the extent to which Suburbicon feels like a product of our time – that is, a reflection of Us anxieties about race, immigration and social cohesion.

The film’s title refers to a fictional, yet depressingly plausible, 1950s experiment: a 60,000-strong utopian community comprised purely of white people, content and complacent behind a bulwark of quaint picket fences. (The faux promo which opens the film is like something out of a Fallout game.) We join the story at the moment when the first African-American family, the Myers, moves into the neighbourhood.

Suburbicon rapidly descends into criminality. But it’s nothing to do with the Myers.
See full article at Blogomatic3000 »

‘A Quiet Place’ Star Noah Jupe to Play Young Shia Labeouf in ‘Honey Boy’

  • Variety
‘A Quiet Place’ Star Noah Jupe to Play Young Shia Labeouf in ‘Honey Boy’
A Quiet Place” star Noah Jupe will play the young version of Shia Labeouf in the independent drama “Honey Boy.”

Lucas Hedges will portray the young-adult version of Labeouf, while Labeouf will play his own father. The movie is about a child star attempting to mend his relationship with his law-breaking, alcohol-abusing father over the course of a decade. The project is loosely based on Labeouf’s life. “Honey Boy” was Labeouf’s childhood nickname.

Alma Har’el is directing from Labeouf’s script. The producers are Automatik’s Brian Kavanaugh-Jones, Daniela Taplin Lundberg of Stay Gold Features, and Christopher Leggett of Delirio Films. Automatik’s Fred Berger is executive producing. Stay Gold Features will finance the film.

Endeavor Content put together the financing and will co-represent worldwide rights with CAA.

Jupe’s credits include the television shows “The Night Manager” and “Houdini and Doyle.” He’s appeared in George Clooney’s “Suburbicon,
See full article at Variety »

Did ‘A Quiet Place’ Just Save Paramount Pictures’ Year?

We’re going to guess Jim Gianopulos knew he’d have a rocky slate on his hands when he agreed to take over Paramount Pictures as Chairman and CEO almost a year ago, but he couldn’t have imagined it would be as dire as it actually turned out to be. The former Chairman of 20th Century Fox found a studio that had arguably just two real tentpoles set for the next 18 months (“Transformers: The Last Knight,” “Mission: Impossible-Fallout”), a rare Dwayne Johnson comedy that no one would be interested in (“Baywatch”), a terrible horror sequel that had been on the shelf forever (“Rings”), a comedy sequel with the still-problematic Mel Gibson (the barely profitable “Daddy’s Home 2”) and three prestige flicks from acclaimed directors that shockingly had no real potential to break out (“Downsizing,” “Suburbicon” and “Mother!
See full article at The Playlist »
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