Inkheart (2008) - News Poster



First Look At Judi Dench & Sophie Cookson In Lionsgate’s ‘Red Joan’

Lionsgate has released a first look at the upcoming Red Joan, a new feature based on Jennie Rooney’s best-selling novel of the same name. The film is inspired by the remarkable true story of a woman accused of being the Kgb’s longest-serving British spy.

Now in post-production, Red Joan filmed on location across England and stars Judi Dench (Skyfall, Shakespeare in Love) and Sophie Cookson (Kingsman: The Secret Service, Gypsy) as the eponymous central character. We have our first look at the two below.

Stephen Campbell Moore (The Child in Time, Goodbye Christopher Robin), Tom Hughes (Victoria, London Town), Ben Miles (The Crown, Woman in Gold), and Tereza Srbova (Eastern Promises, Inkheart) join Dench and Cookson in this suspenseful drama directed by Trevor Nunn.

2000: Joan Stanley (Dench) is living in contented retirement in suburbia at the turn of the millennium. Her tranquil life is suddenly disrupted when
See full article at The Hollywood News »

The Top 12 Composers of the 21st Century, From Hans Zimmer to Nick Cave

The Top 12 Composers of the 21st Century, From Hans Zimmer to Nick Cave
In an age where special effects reign supreme, there’s one aspect of the filmmaking process that hasn’t gone through a radical transformation — music. Some of the best movies in any given year would be sorely lacking without their memorable scores, and this has remained true well into the first two decades of the 21st century.

Read More‘Logan’ Composer Marco Beltrami on R-Rated Wolverine Minimalist Score

Film composers play an integral part in the filmmaking process, and there are a handful whose bodies of work stand out in recent years. Of course, this list of 12 major composers only begins to scratch the surface of the talent out there. There are plenty of other worthy contributors to the medium who didn’t make the cut — Danny Elfman and John Williams, we’re looking at you — but rest assured that this top dozen represent the cream of the crop.

Hans Zimmer
See full article at Indiewire »

Brendan Fraser: the lost movie star?

Simon Brew Jun 15, 2017

Brendan Fraser seemed on the verge of being a major movie star in the late 1990s. But it never came to be. We look at why…

I remember going in to watch 1994’s Airheads at the cinema, at the time tempted to do so more by the name of Michael Lehmann on the end credits than Adam Sandler and Brendan Fraser above the title. Steve Buscemi’s presence helped too, of course. But Lehmann had, after all, come to the project off the back of the unfairly maligned Hudson Hawk, and also, this is the man who gave the world Heathers. Can’t grumble with that.

I’d not seen Brendan Fraser on the big screen before, although even by this stage, he’d earned some currency. Encino Man – California Man in the UK – had overcome savage reviews to prove a decent hit. School Ties, that I
See full article at Den of Geek »

Constantin Begins Production on 'Dragon Rider'

German mini-major Constantin Film has begun production on the animated feature Dragon Rider, based on the best-selling fantasy novel by author Cornelia Funke (Inkheart).

Johnny Smith, one of the screenwriters on Disney's 2011 hit Gnomeo & Juliet, adapted Funke's novel for the screen, with award-winner German shorts animator Tomer Eshed directing in what will be his feature debut.

Funke's 1997 book, which has sold more than 3 million copies worldwide, follows the adventures of Firedrake, a silver dragon who teams up with a human boy and the Brownie Sorrel to search for a mythical land where Firedrake's family can live...
See full article at The Hollywood Reporter - Movie News »

Simon West to Direct Fantasy-Action Movie ‘War Wolf’ (Exclusive)

Simon West to Direct Fantasy-Action Movie ‘War Wolf’ (Exclusive)
Veteran action director Simon West has been set to helm “War Wolf,” with shooting set for Italy in November, Variety has learned.

Producers are Ileen Maisel, Lawrence Elman and Jib Polhemus. West will direct from a script by Andy Briggs and Paul Finch.

Fortitude International will launch international sales in Cannes. “War Wolf” is the first in a planned franchise of films under a partnership between West, Fortitude International and Amber Entertainment centered around the magical world of the Loup de Guerre.

Finch, author of the “Heck” crime novels, is currently working on a novelization of the project.

War Wolf” is set in 1356, after decades of relentless war between the French and English armies, with English solider Earl Hugo awarded the castle of his enemy, the French assassin Mauchet. But in the walls of the castle and the lands that surround it, someone has reawakened the Loup de Guerre, the
See full article at Variety - Film News »

How the Director of 'Extraordinary Tales' Used Eclectic Animation & Iconic Voices to Reinvent Poe

Fear is an intricate emotion, which triggers visible physical reactions but profoundly affects one’s psyche in ways far more destructive. It thrives on uncertainty as it serves to prevent us from facing danger and experiencing pain. It’s because of this that death, the most certain part of our mortal lives, ranks high on the list of things we fear. It can happen anywhere, at any time, for countless reasons, it’s permanent, and yet its aftermath is unknown.

Enthralled by this idea, Edgar Allan Poe explored humanity’s relationship with its fatal destiny by writing fiction that focused on the supernatural, on evil, and alternate realities, attempting to decipher this terrifying concept. “Extraordinary Tales," Raul Garcia's animated anthology, takes five of these stories by revered writer and transforms them into stylistically distinct shorts that are as visually striking as they are spine-chilling.

The Spanish animator became fascinated with Poe and his otherworldly stories at an early age, but worked on an array of projects before finally bringing one of his favorite authors to the screen by simultaneously honoring numerous other artists that have influenced his career. Each of the five segments in "Extraordinary Tales" is inspired by a different aesthetic, which makes for an eclectic showcase of what 3D animation could be beyond the mainstream conventions.

To make the film an even more compelling affair, Garcia was able to recruit some of the most important and iconic voices in genre cinema. Bela Lugosi reappears from beyond the grave thanks to a previously unreleased recording, Christopher Lee returns to horror one final time to narrate one of the episodes, Roger Corman continues to demonstrate his love for Poe by voicing one of the characters, and Guillermo del Toro shows his voice acting talents in an unexpected fashion.

During our conversation Garcia talked about his artistic influences, being an independent animator today, getting to work with his childhood heroes, and the biggest mistake horror films make when trying to instill fear.

How did you fall in love with Edgar Allan Poe's stories? What was the seed that sparked this fascination with his work that compelled you to create this beautiful animated anthology?

Raul Garcia: The seed was planted when I was bout 12-years-old because the firs adult book I read was a compilation of Poe’s stories. That was the first book for grown-ups I read [Laughs]. Then there was my passion as an avid comic book and graphic novel reader. I’ve always leaned towards the dark side, so it was the perfect combination. Since then, I’ve been a fan of horror literature and science fiction and fantasy as well. That first book was the seed that started it all.

Edgar Allan Poe’s stories have been adapted countless because it seems like they lend themselves to interpretation and experimentation. How did you approach the material to make your animated versions distinct from the rest?

Raul Garcia: There are thousands of different film adaptations of Edgar Allan Poe’s works everywhere. Obviously, the ones that most of us know are the ones done by Roger Corman in the 60s with Vincent Price, which were not really adaptations because they only used the titles as an excuse to make a horror film. When I decided to make my version of Poe’s stories, I wanted to respect the original material or to at least get closer to what his stories are really about. Most other adaptations I’ve seen sort of follow the story but they never satisfy me as an audience member or as a reader. I wanted to get closer to the spirit of the stories more than than to the text itself. I didn’t necessarily want to do it verbatim, but there are some lines of dialogue that I’ve taken literally from Poe’s writings. I wanted to make adaptations that distilled the essence of what attracted me about these stories in the first place.

Each segment has a very particular stylistic approach. While they are all beautiful in their own right, each showcases an eclectic mix of textures and influences. How did each visual style originate?

Raul Garcia: Everything started with “The Tell-Tale Heart," which was the first short I made for this project, which originally was supposed to be a one-off. This was a story that I wanted to tell with art inspired by one of the greatest comic book artist there is, Alberto Breccia. He was Argentine comic book artist. It was about adapting his style to this story. Departing from this decision I created a set rules for myself, which I would apply to the rest of the stories. Since for this first story I had used Breccia’s art as the basis, I thought that for the rest of the stories I would try to reconnect with all the artistic influences I’ve had in my life and apply them in a way that had something to do with the spirit of the each story. I searched for things that attracted in terms of artistic styles and I tried to adapt them into the world of animation to make these short films.

For example, in “The Fall of the House of Usher,” the idea was for the characters to look as if they were carved out of wood, like if they were figures that belonged to Czech animator Jirí Trnka. In “The Masque of the Red Death,” the biggest influence was Egon Schiele and Bruegel. Egon Schiele worked with oil paint, but he used very thin layers of paint which made his works look like watercolors. I tried to resemble that to create moving painting for that’s story. That short is one of my favorites, because in Poe’s original story there is no dialogue except for the line that’s in the short. It’s all very descriptive. This really represented a challenged that allowed me to have fun during the process of creating it. I’ve always tried to find those distinct approaches because this is a 3D animated film and I wanted to stay away from the style that all 3D animated films have today. They are all rendered in the same manner with photorealist textures. I tried to make something much more pictorial, so that the audience wouldn’t know if they were watching something done in 3D, 2D, in oil paintings, or made out of cut-outs.

The segment based on “The Facts in the Case of Mr. Valdemar” looks very much like if it was a 2D animated film. It's interesting to hear it was all 3D.

Raul Garcia Yes. Poe wrote that story as if it was a real case or the study written by a scientist taking notes from an experiment. When it was published people thought that the case in the story actually happened. People though that what they were reading were the notes taken by a scientist that had brought a corpse back to life. Having this in mind, my approach to find the right style was to look at medical illustrations and to make the animation look like if it was taken from a medical journal. However, and because I think I should also tell you about the bad experiences, I have to admit that approach didn’t work. I didn’t like how it looked. It felt very cold and calculated. But then, I reread the story and realized that this story was over the top, very exaggerated. Then I thought about the horror comic books that I read when I was kid, which shared this outrageous and exaggerated spirit.

That’s when I decided to make this story based on the look of horror comic books from the 50s, which were printed on cheap paper and only used four different color inks. They were printed using the Cmyk color model, so the color spectrum used was very small. Colorists, who used to be very underpaid, did what they could with these four colors. Sometimes in one panel a face was blue and in the next one the same face was red, and nobody cared about having any sort of continuity [Laughs]. I applied this color limitation to this story. Besides the fact that the style is very much inspired by those comic books, the animation is also animated as if it was 2D. In computer animation each second is created by 24 frames and each one of these 24 frames is different. In 2D animation, to save time and money, you create 12 drawings and each drawing is used twice. In one second created of 24 frames you really only have 12 frames. I tried to do it this segment using this process as if it was 2D because it gives the animation a different cadence in comparison to the rest of the stories.

Then you have “The Pit and the Pendulum,” which is in a sense hyperrealist even though it still feels like there are elements of fine art in it.

Raul Garcia: That one was interesting because the original story takes place in a prison and there is only one character. When I started thinking about how to make these stories, what I wanted was to experiment with different types of animation and see how far we could get in terms of technology. Initially, I wanted to make this segment using motion capture. At the time I thought that films made using motion capture always looked bad, and I wanted to know why! [Laughs]. Unfortunately I couldn’t find a motion capture team to make it. At that moment the challenge changed, and we decided to make something hyperrealist - something I personally hate [Laughs]. I decided we should make something hyperrealist but with more traditional 3D animation and see how refined and subtle we could make it without using motion capture or any real life references. That’s how the style for this one came about, which I think it’s a blend between Goya and Nicéphore Niépce and the beginning of photography, mixed with those prisons that Piranesi drew in his carvings. What I’ve tried to do is give myself the pleasure and luxury to explore the universes of the artists I admire.

One of the many remarkable qualities of the film is that every segment captures the unsettling tone of the stories. The macabre atmosphere, regardless of which style you are using, is subtle but always present. At times it's truly terrifying.

Raul Garcia: Let’s remember that one of the biggest problems with horror cinema is showing too much. When horror turns into gore, when you show the monster, the killings, and the blood, it loses its suggestive powers. It loses part of what makes a horror film a horror film, which is that the images you see develop in your brain and you become the one imagining what you are not seeing on screen. You give the audience a bit of information, and he or she fills in the blanks with the most horrifying things they can think of. That was a key element I wanted to preserve. I didn’t want to make to make something very graphic, but instead maintain that mental introspection so that the viewer could put himself in that situation and imagine what’s happening.

In terms of the voice cast, you managed to put together and incredible cast including a voice from beyond the grave in a sense. The legendary Bela Lugosi returns thanks to your film. How did you obtain this recording?

Raul Garcia: It was a stroke of luck. I’m originally from Spain, so I’ve always read Edgar Allan Poe’s works in Spanish and at some point I wanted to enjoy the original material in English. For several years now I’ve been collecting narrated versions of Poe’s works. When I was getting ready to make “The Tell-Tale Heart, “ I discovered a recording of Bella Lugosi narrating this tale on Ebay. It was a cassette tape that was a copy of the original. It was the copy of the copy, of the copy, of the copy [Laughs]. When I finally got it the first thing I did was contact Bela G. Lugosi, his son who handles the Bela Lugosi’s state, and I discovered that this recording had never been published or released. Bela G. Lugosi didn’t even have in his archive, as it had been lost. Nobody had heard it and it hadn’t been exploited at all. I restored it as best as I could, but since I made that short in 2006 the technology was probably not as good as it's now. I tried to digitally polish it as much as possible to remove the static sound. But even though I wasn’t completely successful, I think that this static you hear gives the narration an unsettling quality. It sounds like something from another time that has returned after many years.

He was an icon in the horror genre, which makes it even more special for a film like "Extraordinary Tale."

Raul Garcia: Absolutely. This was the first short I did, so when I decided that it would instead be an anthology of several shorts, the bar was very high in terms of the voices that I could use. If the first one is someone as big as Bela Lugosi, who could be next? That pushed me to seek voices that meant something in the world of science fiction, fantasy and horror. The next short I made was “The Fall of the House of Usher,” and evidently Christopher Lee was the number candidate on my wish list.

How did you manage to get Christopher Lee to be a part of the film? "Extraordinary Tales" is the last film project he worked on before, unfortunately, passing away.

Raul Garcia: Unfortunately, as you point out, it's his last film appearance. But on the other hand, we were so fortunate to have his talent because it was really an incredible experience to work with him. It was very emotional for me, I was working with my childhood idol. It was great. When I recorded his voice, Christopher Lee was 89-years-old. He wasn’t very interested in revisiting horror cinema because at the time he was focused on becoming the lead singer of a heavy metal band [Laughs]. He was recording an album that was sort of like a heavy-metal-rock-opera based on the Charlemagne’s life. He was so passionate about it. It was hard to believe that an 89-year-old man had so much energy to do that. When I showed him the artwork he changed his mind and he agreed to do it. It was also funny that he didn’t want to go to a recording studio to do it. We set up a recording studio in his home so he could record it whenever he felt inspired.

Then you have Guillermo Del Toro, who has become Hollywood’s genre master working in horror, fantasy, and science fiction, and more recently in animation. How did he come on board?

Raul Garcia: Guillermo and I have been friends since the time he lived in Spain, and when I was searching for voices that were meaningful and important in the horror and fantasy genres he was high on my list. I know that deep inside Guillermo has a thing for acting, which he never talks about [Laughs]. I asked him to narrate the short and he agreed immediately. Then we had to chase him for a couple years because he has been extremely busy in the last few years, and we could never find the right time to do it. In the end we did it and Guillermo really gave it his all. His narration is very interesting and intriguing because it’s not the Guillermo we know. It’s a different facet of his talent that nobody knew about

Tell me about the process of creating the frame narrative in which Poe, in the shape of the iconic raven, has a dialogue with Death. This conversations connect the five major segments and give insight into the tormented mind of the artist.

Raul Garcia: I wanted to make a feature-length work and I didn’t like the idea of just putting one short after the other. It felt to me like it would look like a shorts program at a festival without any relationship between them, when in fact the relationship between them is Poe and his personal story. These interludes or framing segments where the last to be produced and at that point we were out of money, out of time, out of patience, out of everything [Laughs]. As I was working on each of the shorts the framing story that would unite them changed. Initially I wanted to unite the stories with this epic framing narrative where we would see the last day in Poe’s life as he went drunk from bar to bar until he dies. Then it changed to a story where Poe was lonely walking down the street towards the cemetery and finding different things that would remind him of his stories along the way.

As we got farther into production of the five major segments the framing narrative kept on changing and becoming shorter. In the end it became this dialogue between Poe and Death, which is like Scheherazade and the One Thousand and One Nights, where they tell each other stories. Poe wants to postpone his own death, while Death wants to convince him that if he is so miserable he might be better off dead. The biggest problem I faced, and which was truly a nightmare, is that as a viewer I don’t really like anthology films where there are connecting segments in between the stories, like George A. Romero's "Creepshow." As a viewer, when we get to the interludes or the framing narrative, what I’m thinking is, “Come on, Come, on, start the next story already!” [Laughs]. That’s why I really thought about the rhythm of these segments to try to precent the viewer from thinking, “I don’t want to see this. I want to see the next story.” I also wanted to give the viewer small doses of information needed for the whole story to make sense and for it to have structure.

Why do you think Edgar Allan Poe became so fascinated, even obsessed, with death and the darker and more disturbing aspects of the human condition?

Raul Garcia: Poe lived in a very romantic time. His life was the life of the typical tortured artist. His mother died when he was very young and his wife also died very young. In the Victorian era the health standards and life expectancy weren’t very high, thus death was a constant possibility lurking around. Besides this, his turbulent life turn him into a taciturn man with mental health issues. I think this really had an effect in the obsession he had with death. More than with death in general, he was obsessed with the possibility of being buried alive and discovering that he had to hold on to life even after death.

His work definitely set a precedent in the horror genre and in literature as a whole.

Raul Garcia: He was the first one to write horror stories. Without Poe probably Sherlock Holmes wouldn’t have been written because when Poe wrote the adventures of Dupin, like The Murders in the Rue Morgue and The Purloined Letter, he was setting up the basis for what would become the detective novel. In a way Poe was a big influence for Conan Doyle to create Sherlock Holmes. I think he really did influence many artist of the time like Baudelaire, who was a big fan of Poe, and who was the one that brought attention to Poe’s work in Europe. That’s how another generation of writers like Lord Dunsany, Ambrose Bierce, and many others were influenced by Poe’s stories.

Besides working in the U.S. you've worked in animated projects in Spain and Latin America, what's the most difficult aspect about creating animation in countries that are not necessarily seen as animation producers or that perhaps haven't fully developed the infrastructure for it?

Raul Garcia: I’ve worked in animation for a long time. I started in Spain and I wanted to make feature films. That desire to figure out how to make animated features brought me to the U.S. to work for Disney. Now things are different, in recent years technology has made it easier to make animated films than it used to be maybe 15 or 20 years ago. This has made it possible for the latent talents that are in countries without a tradition in animation to explore, learn, and create work. The biggest problem in countries that don’t have a tradition in animation or a film industry, is that precisely, that it’s not an industrial activity as it is in Hollywood where there are clear production procedures. Because of this we all become snipers making our films any way we can and crossing our fingers to get distribution so people can see them.

In a certain way working in animation has become very democratic because now anyone with the right technology can at least prepare a project from home in order to attract investors. Some people can even set up a small home studio and start working. Making features is much more complicated and expensive, but on the other hand, and thanks to this ubiquity and the decentralization of animation, anyone even in a small town can work with an animation program, stay in touch with people in other parts of the world, and manage to produce a film. That’s what we’ve done with "Extraordinary Tales,”although the film is a co-production between Luxembourg, Belgium, Spain and the U.S, in the end Mexican talent worked on it, people all over Spain worked on it, and even people in Honduras worked on it doing some modeling. With small teams across the world we managed to unite everyone’s talent to make the film.

"Extraordinary Tales" is finally opening in the U.S. Now that the cycle for this film is getting to its final stage, are you already working on your next project? Are you pursuing another horror writer to adapt into animation?

Raul Garcia: Independence can be tough. Without a studio to back you up, when you finish a feature and want to start a new project you have to start from zero. The next thing I want to do is to bring to the screen a novel by Cornelia Funke, she is also the voice of Death in “Extraordinary Tales.” She is a German author who wrote the novel “Inkheart,” which was made into a film a few years ago. The book I want to adapt is called “Young Werewolf,” but my version would be titled “Bitten." I’m still trying to find the initial financing that will allow me to get started and get things going. Once the initial financing is secured the rest becomes easier, and just like with “Extraordinary Tales,” we can make a film with the cooperation of several small studios. For example, another film I worked on was the Mexican animated feature “El Americano,” which was mostly made in Tijuana but also had teams in Puebla and Los Angeles. It’s possible, but you do have to have the financial infrastructure behind you so this can work. In the world of independent animation there are many projects that are never completed because they lack that structure.

"Extraordinary Tales" is now playing in L.A. at the Sundance Sunset Cinemas and In NYC at IFC Center.
See full article at SydneysBuzz »

Q&A: Extraordinary Tales Director Raul Garcia on Working with Christopher Lee & More

  • DailyDead
Out now in select theaters and on iTunes is Extraordinary Tales, an animated film anthology adapting five Edgar Allan Poe stories and boasting a voice cast that includes late legends Sir Christopher Lee and Bela Lugosi, as well as Julian Sands, Roger Corman, and Guillermo del Toro. For our latest Q&A feature, we caught up with director Raul Garcia to discuss his film's amazing vocal lineup and much more.

Thanks for taking the time to converse with us today, Raul. Based on the trailer for Extraordinary Tales, you obviously have a real passion for the works of Edgar Allan Poe. When did you first become a fan of his fiction?

Raul Garcia: Since a very early age, I was addicted to reading comic books and I especially loved horror comics. When I was 12 or so, I read Extraordinary Tales by Edgar Allan Poe, my first "grown up" book I ever read,
See full article at DailyDead »

The Trapp Family - A Life in Music

  • ScreenTerrier
To celebrate the 50th anniversary of The Sound of Music, a new film The Trapp Family - A Life in Music is in production in Salzburg. The film, which tells the story behind the legend, is based on the autobiography of Agathe von Trapp, the eldest daughter.

23 year old British actress Eliza Bennett leads the cast as Agathe, starring with Matthew Macfadyen as her father Georg von Trapp alongside an international cast, whilst Vanessa Redgrave plays the older Agathe.

Eliza (represented by Independent Talent) starred in Nanny McPhee and Inkheart as a child, and more recently in thrillers F and Confine, she also appeared in the second series of Broadchurch.

The Trapp Family - A Life in Music tells the story of Agathe, who has been searching for her path in life since her youth: She is the eldest daughter among many siblings, and her relationship with her father, the
See full article at ScreenTerrier »

9 franchise-starting young adult films that struggled

For every Harry Potter or Hunger Games series, there are those franchises that didn't quite set the world on fire...

Since Insurgent came out, I’ve been thinking about those less fortunate: the franchise wannabes. While Divergent may have succeeded financially, (a film that rode on the coat-tails of the even more lucrative The Hunger Games franchise) there are others who didn’t quite make it into the movie world’s big leagues. These are the franchise-starters that flopped, the films produced with the optimistic hope that they will bring in the readies and kick-start Hollywood’s latest franchise. Worse luck for them, really.

For the sake of simplicity, this list will zero in on Ya franchise-starters, films adapted from a young adult novel or with that audience in mind. There are plenty of more mature films that struggled such as Prince Of Persia: The Sands of Time, The A-Team
See full article at Den of Geek »

Watch Poltergeist teaser: A whole new generation is haunted

Watch Poltergeist teaser: A whole new generation is haunted
Sam Rockwell, Jared Harris and Rosemarie DeWitt bring Poltergeist to a whole new generation in a frightening trailer for this year's reboot.

This updated version of the Steven Spielberg-produced horror classic brings the terror of the vengeful spirit world to a modern family.

The Bowens (Rockwell and DeWitt) must bring their family together to rescue their young daughter when demons invade their home to kidnap her.

Horror genre legend Sam Raimi is producing this version of Poltergeist, which is directed by City of Ember filmmaker Gil Kenan. The updated screenplay was adapted by Inkheart writer David Lindsay-Abaire.

Rockwell has described this updated version of Poltergeist as more of a kids' movie than true horror.

Poltergeist opens on May 22 in the UK and the Us.

Watch Digital Spy's preview of this year's biggest blockbusters below:
See full article at Digital Spy - Movie News »

Eliza Bennett Signs With ICM

Exclusive: ICM Partners has signed British actress and singer Eliza Bennett. The 22-year-old performer is best known for her role opposite Helen Mirren and Paul Bettany in New Line’s Inkheart; she’ll next appear opposite James D’Arcy on the upcoming second season of ITV crime drama Broadchurch, and also currently stars on the fifth season of Cinemax’s action series Strike Back. Bennett got her screen start in 2004’s The Prince and Me and followed with turns in Nanny McPhee, From Time to Time, Perfect Life, and horror pics The Expelled and Roadkill. Upcoming films include a turn in Derrick Borte’s indie thriller H8TRZ with Abigail Spencer and Jeremy Sisto, which ICM is repping. Bennett, who recently hit the West End stage in geek musical Loserville, is also repped by Independent in the UK and manager Melanie Greene.
See full article at Deadline Movie News »

Endemol Inks Pact with Ileen Maisel, Lawrence Elman’s Amber

London — Production and distribution giant Endemol has inked an exclusive first-look development and distribution pact with U.K. producer Amber Television, which is run by former Hollywood studio exec Ileen Maisel and docu filmmaker Lawrence Elman.

The three-year deal will see Endemol provide development funding and deficit financing in return for exclusive first-look distribution rights on Amber Television output.

Recent Amber productions include “Romeo and Juliet,” adapted by Julian Fellows and starring Hailee Steinfeld (Coen brothers’ “True Grit”), and “Molly Moon and the Incredible Book of Hypnotism,” a film based on the books by Georgia Byng. Upcoming projects include “Stratton: First into Action,” starring Henry Cavill, “London’s Falling,” directed by Simon Aboud, and “The Perfect Assassin,” adapted by Andy Briggs, and fully financed by Snd in France.

Maisel and Elman joined forces in 2009 as directors of Amber Entertainment. In the 1980s, Maisel served as VP of production at MGM/UA,
See full article at Variety - TV News »

The HeyUGuys Interview: Brendan Fraser talks Escape from Planet Earth

This weekend sees the release of Escape from Planet Earth, a family film that follows a hapless alien who’s trapped on the dangerous Planet Earth, and his attempt to escape a horrible fate at the hands of the humans. Brendan Fraser provides the voice of Scorch Supernova, the blue-skinned extraterrestrial hero, in a role that sees the loveable actor continue his run of family-friendly movies after Furry Vengeance and Inkheart, and as an aside to his more independent, serious fare such as Gimme Shelter and Breakout.

When we spoke with the actor we expected a straight-forward interview. How very wrong we were; the following conversation includes some singing, a bit of ice cream tasting, and a dash of Charlie Chaplin, proving why Fraser is the go-to guy if you’re looking to give your movie some spark. Read on on and enjoy.

Hi Brendan, how are you doing?

See full article at HeyUGuys »

Julianne Hough Manages to Make Even Christmas Shopping Look Beautiful!

Coming back from the gym with an unusual payload, Julianne Hough returned home in West Hollywood with her arms overflowing with Christmas presents on Thursday (December 19)!

The "Safe Haven" hottie was all smiles in her workout attire: a gray hoodie and tee, sexy yoga pants, and a pair of running treads, with her hair pulled back, looking as if she could fall over at any moment due to the weight of her gifts.

In related news, the 25-year-old blondie is also hard at work on a brand new movie, named "Curve," coming at us from "Inkheart" director, Iain Softley in 2014.

According to the thriller's synopsis, "A young woman becomes trapped in her car after a hitchhiker causes her to have an automobile accident."
See full article at GossipCenter »

Trap for Cinderella (quick take)

This overblown melodrama mistakes sensationalism for story, and is yet another repulsive tale of women’s friendships as toxic. I’m “biast” (pro): nothing

I’m “biast” (con): nothing

I have not read the source material

(what is this about? see my critic’s minifesto)

Traumatized Micky (Tuppence Middleton: Trance) has survived a terrible fire that took her memory and killed her bestest childhood friend, Do (Alexandra Roach: Anna Karenina). As she struggles to overcome her amnesia, flashes from the past begin to hint at something darker in the cause of the fire than an accident and something nefarious in her recent reconnection with Do, whom she hadn’t seen in years. Aaaannnnd… then it becomes clear that this is gonna be yet another example of the genre Bitches Be Crazy, subgenre Women’s Relationships Are Actually Terrifying Toxic Nightmares Of Psychotic Lesbian Obsession. Based on the novel
See full article at FlickFilosopher »

Doctor Who: Why Paul Bettany should play The Doctor

The new Doctor will reportedly revealed on Sunday 4 August 2013, at 7pm; news which would send any right-minded person crazy with anticipation. (You'd probably have to be as crazy as John Simm's Master to *not* be excited about Doctor Who...)

There's been much speculation as to who the 12th Doctor could be, ranging from Rory Kinnear to Burn Gorman to Patterson Joseph (apparently the favourite to play the 11th Doctor before Matt Smith got the role). While many of these possibilities are intriguing, there's one name that hasn't been spoken of enough in connection of the role of The Doctor:

Paul Bettany.

And here's why he'd be perfect to play The Doctor, one of the best, most complex, and most entertaining roles of all time:

He's Geoffrey Chaucer.

Regardless of how well or otherwise the character may be as a representation of the historical writer, Chaucer is awesome as a character in A Knight's Tale.
See full article at Shadowlocked »

The HeyUGuys Interview: Director Iain Softley discusses Trap for Cinderella

With a series of major Hollywood productions to his name, starring some of the biggest names in the industry such as Angelina Jolie and Kevin Spacey, director Iain Softley has returned to his roots somewhat with his latest picture Trap for Cinderella, and we were fortunate enough to speak to the filmmaker ahead of the films July 12 release.

The man behind the likes of K-pax, Inkheart and Hackers returns to his hometown of London, directing his first contemporary picture in the capital. He discusses the joys of working on a more modest sized production, and how important it is for a director to get casting right – having taken a risk with relative newcomers Tuppence Middleton and Alexandra taking on the lead roles. He also tells us of the importance is going in to Trap for Cinderella with as little knowledge as possible, while likening the role of film director to
See full article at HeyUGuys »

'Resident Evil' Star Joins Abrams-Cuaron Pilot 'Believe'

  • FEARnet
'Resident Evil' Star Joins Abrams-Cuaron Pilot 'Believe'
NBC’s Believe appears to be heading toward nerdy super group status. The Alfonso Cuaron/J.J. Abrams pilot just added Resident Evil star Sienna Guillory and Once Upon a Time's Jamie Chung to a cast that already includes Savages' Jake McLaughlin and The Chicago Code's Delroy Lindo. You may also recognize Jamie Chung from Sin City: A Dame to Kill For and The Hangover Part II and Sienna Guillory from the family fantasy, Inkheart. They are also joined by newcomer Johnny Sequoyah who plays Believe’s lead character, Bo.

Alfonso Cuaron will write and direct the pilot, which has an I am Number Four quality to it. Believe revolves around Bo, a young girl who possesses great potential powers, and her guardian who is sworn to protect her for seven years. After sever years, these powers will be at full strength, and one can only assume Bo will
See full article at FEARnet »

Blu-ray, 3D, DVD Release: Rise of the Guardians

Digital Release Date: Feb. 26, 2013, Blu-ray, Blu-ray 3D & DVD Release Date: March 12, 2013

Price: DVD $29.99, Blu-ray/DVD Combo $39.99, Blu-ray 3D Combo $54.99

Studio: DreamWorks Animation/Paramount Home Entertainment

Jack Frost, Santa Claus, the Easter Bunny and Tooth Fairy aren’t just myths in DreamWorks Animations’ Rise of the Guardians.

In the movie, the children of Earth are being attacked by the evil spirit Pitch (voiced by Jude Law, Hugo). So the immortal guardians — Jack (Chris Pine, People Like Us), Santa (Alec Baldwin, Rock of Ages), the Bunny (Hugh Jackman, Les Miserables) and the Tooth Fairy (Isla Fisher, Bachelorette) — join forces for the first time to protect the children and defeat Pitch.

Based on the book by William Joyce, Rise of the Guardians was directed by Peter Ramsey (Monsters vs Aliens: Mutant Pumpkins From Outer Space) with a screenplay by David Lindsay-Abaire (Inkheart).

Rated PG, the movie grossed $101.6 million in theaters in the U.
See full article at Disc Dish »

Guardians rises to top of UK box office

DreamWorks Animation's fantasy caper causes sun to set on Twilight, ahead of The Hobbit's expected journey to first place

The winner

For most movies, a successful opening weekend is vital for hanging on to play dates and show times. With Christmas flicks, it's more of a steady jog than a sprint, and cinema bookers understand that playability will be strong right through to 24 December, and particularly solid after schools break up for the holiday. DreamWorks Animation's Rise of the Guardians hardly turned heads when it landed in third place last week, behind Skyfall and The Twilight Saga: Breaking Dawn – Part 2.

Now it's top of the heap, thanks to a slender decline of just 19%. Three-day takings of £1.60m push the 10-day tally to £4.06m. Fellow festive offering Nativity 2: Danger in the Manger! fell an almost identical amount (20%) and has totalled £4.38m after 17 days. It now remains to be seen how
See full article at The Guardian - Film News »
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