Joy Division (2007) - News Poster



Edinburgh Film Festival to Close With World Premiere of ‘England Is Mine’

Edinburgh Film Festival to Close With World Premiere of ‘England Is Mine’
The Edinburgh International Film Festival has set the world premiere of “England Is Mine,” by Oscar-nominated Mark Gill, as the closing night film of its 71st edition, the festival announced Thursday.

A biopic based on the early life of singer and former Smiths frontman Morrissey, “England is Mine” stars rising British actor Jack Lowden, soon to be seen in Christopher Nolan’s “Dunkirk,” and “Downton Abbey” actress Jessica Brown Findlay.

“Morrissey is one of Britain’s most iconic artists, and this delve into his formative years is a witty and enthralling look at a great music talent,” said Edinburgh’s artistic director Mark Adams.

Set in 1970s Manchester, it tells the story of Morrissey as an introverted, uncompromising teenager, frustrated with his working-class existence. Dreaming of a successful music career, he finds solace in the city’s underground music scene, where he meets an intelligent, self-assured artist who encourages him
See full article at Variety - Film News »

Insights: Disney’s Latest Maker Move Punctuates End Of Multi-Channel Network Era

Disney’s announcement this week that it's launching a new digital network, and tucking away its former high-profile Maker Studios acquisition, brings to a whimpering end an entire era of multi-channel network mania that gripped media companies just a couple of years ago. Good. It’s time to move to the next stage of the digital-media business, one with promise of a more sustainable future.

Maker was the biggest, brashest, and most expensive of the MCNs to be purchased by a traditional media company in the first half of this decade. Since its acquisition, however, Maker and the McN phenomenon have already become web Ancient History.

As seen in this week’s string of NewFronts presentations by increasingly sophisticated digital-media publishers old and new, it’s time for the industry to take that next step.

Yes, the online advertising business continues to be dominated by Google/YouTube and Facebook (between
See full article at Tubefilter News »

Swan Songs: 8 Great Albums from Artists Who Died Shortly After (or Before) Release

Swan Songs: 8 Great Albums from Artists Who Died Shortly After (or Before) Release
Chuck Berry’s Chuck, his first album in 38 years, will come out this year. It’s hard to say whether Berry recorded it — with his longtime backing band — knowing that his remaining time was limited, but he did include a dedication to his wife Themetta in the album’s release statement: “My darlin’, I’m growing old! I’ve worked on this record for a long time. Now I can hang up my shoes!”

However the record turns out, it will be impossible to listen to it without Berry’s death coloring how we enjoy the music. Given that the
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‘Stranger Things’: Listen to a Spotify Playlist of the Show’s Biggest Hits, from ‘White Rabbit’ to ‘Heroes’

‘Stranger Things’: Listen to a Spotify Playlist of the Show’s Biggest Hits, from ‘White Rabbit’ to ‘Heroes’
Stranger Things” has provided a welcome dose of Steven Spielberg–inflected binge watching for many this weekend, with Netflix’s newest original series gaining favorable reviews for its creepy atmosphere and affectionate ’80s vibe. Courtesy of the show’s Twitter, viewers can now take in one of its most period-appropriate elements: its soundtrack.

Read More: Review: ‘Stranger Things’ is Still Waiting for Something New, To Make It Feel Alive

Familiar hits abound on the Spotify playlist, from Jefferson Airplane’s “White Rabbit” to Corey Hart’s “Sunglasses at Night.” Here’s the full tracklist:

The Clash: “Should I Stay or Should I Go” Jefferson Airplane: “She Has Funny Cars” Jefferson Airplane: “White Rabbit” Reagan Youth: “Go Nowhere” Toto: “Africa” The Seeds: “Can’t Seem to Make You Mine” Trooper: “Raise a Little Hell” David Bowie: “Heroes” The Bangles: “Hazy Shade of Winter” The Dawn Trophy Orlando:
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13 great modern thriller directors




They’ve made some of the best thrillers of the past six years. We list some of the best modern thriller directors currently working...

Director Guillermo del Toro once described suspense as being about the withholding of information: either a character knows something the audience doesn’t know, or the audience knows something the character doesn’t. That’s a deliciously simple way of describing something that some filmmakers often find difficult to achieve: keeping viewers on the edges of their seats.

The best thrillers leave us scanning the screen with anticipation. They invite us to guess what happens next, but then delight in thwarting expectations. We can all name the great thriller filmmakers of the past - Alfred Hitchcock, Carol Reed, Brian De Palma - but what about the current crop of directors? Here’s our pick of the filmmakers who’ve made some great modern thrillers over the past six years - that is, between the year 2010 and the present.

Jeremy Saulnier - Blue Ruin, Green Room

To think there was once a time when Jeremy Saulnier was seriously quitting the film business.

“To be honest," Saulner told us back in 2014, “Macon and I had really given up on our quest to break into the industry and become legitimate filmmakers. So what we were trying to do with Blue Ruin was archive our 20 year arc and bring it to a close. Really just revisit our stomping grounds and use locations that were near and dear to us and build a narrative out of that.”

Maybe this personal touch explains at least partly why Blue Ruin wound up getting so much attention in Cannes in 2013, signalling not the end of Saulnier and his star Macon Blair’s career, but a brand new chapter. But then again, there’s more than just hand-crafted intimacy in Saulnier’s revenge tale; there’s also its lean, minimal storytelling and the brilliance of its characterisation. Blue Ruin is such an effective thriller because its protagonist is so atypical: sad-eyed, inexperienced with guns, somewhat soft around the edges, Macon Blair’s central character is far from your typical righteous avenger.

Green Room, which emerged in the UK this year, explores a similar clash between very ordinary people and extraordinary violence. A young punk band shout about anarchy and aggression on stage, but they quickly find themselves out of their depth when they’re cornered by a group of bloodthirsty neo-Nazis. In Saulnier’s films, grubby, unseemly locations are matched by often beautiful locked-off shots. Familiar thriller trappings are contrasted by twists of fortune that are often shocking.

Denis Villeneuve - Sicario, Prisoners

Here’s one of those directors who can pack an overwhelming sense of dread in a single image: in Sicario, his searing drug-war thriller from last year, it was the sight of tiny specks of dust falling in the light scything through a window. That single shot proved to be the calm before the storm, as Villeneuve unleashed a salvo of blood-curdling events: an attempted FBI raid on a building gone horribly awry. And this, I think, is the brilliance of Villeneuve’s direction, and why he’s so good at directing thrillers like Sicario or 2013’s superb Prisoners - he understands the rhythm of storytelling, and how scenes of quiet can generate almost unbearable tension.

Another case in point: the highway sequence in Sicario, where Emily Blunt’s FBI agent is stuck in a traffic jam outside one of the most violent cities in the world. Villeneueve makes us feel the stifling heat and the claustrophobia; something nasty’s going to happen, we know that - but it’s the sense of anticipation which makes for such an unforgettable scene.

Prisoners hews closely to the template of a modern mystery thriller, but it’s once again enriched by Villeneuve’s expert pacing and the performances he gets out of his actors. Hugh Jackman’s seldom been better as a father on the hunt for his missing child, while Jake Gyllenhaal mesmerises as a cop scarred by his own private traumas.

Lynne Ramsay - We Need To Talk About Kevin

Ramsay’s We Need To Talk About Kevin may be the most effective psychological thriller of recent years. About the difficult relationship between a mother (Tilda Swinton) and her distant, possibly sociopathic son (Ezra Miller), Ramsay’s film is masterfully told from beginning to end - which is impressive, given that the source novel by Lionel Shriver is told via a series of letters. Ramsay takes the raw material from the book and crafts something cinematic and highly disturbing: a study of guilt, sorrow and recrimination. Tension bubbles even in casual conversations around the dinner table. Miller is an eerie, cold-eyed blank. Swinton is peerless. One scene, in which Swinton’s mother comes home in the dead of night, is unforgettable. Here’s hoping Ramsay returns with another feature film very soon.

Morten Tyldum - Headhunters

All kinds of thrillers have emerged from Scandinavia over the past few years, whether on the large or small screen or in book form. Morten Tyldum’s Headhunters is among the very best of them. The fast-paced and deliriously funny story of an art thief who steals a painting from the wrong guy, Headhunters launched Tyldum on an international stage - Alan Turing drama The Imitation Game followed, and the Sony sci-fi film Passengers is up next. It isn’t hard to see why, either: Headhunters shows off Tyldum’s mastery of pace and tone, as his pulp tale hurtles from intense chase scenes to laugh-out-loud black comedy.

Joel Edgerton - The Gift

Granted, Joel Edgerton’s better known as an actor, having turned in some superb performances in the likes of Warrior, Zero Dark Thirty and Warror. But with a single film - The Gift, which he wrote, directed, produced and starred in - Edgerton established himself as a thriller filmmaker of real promise. About a successful, happily married couple whose lives are greatly affected by an old face from the husband’s past, The Gift is an engrossing, unsettling movie with superb performances from Jason Bateman and Rebecca Hall as well as Edgerton.

A riff on the ‘killer in our midst’ thrillers of the 80s and 90s - The Stepfather, The Hand That Rocks The Cradle and so on - The Gift is all the more effective because of its restraint. We’re never quite sure who the villain of the piece is, at least at first - and Edgerton’s use of the camera leaves us wrong-footed at every turn. The world arguably needs more thrillers from Joel Edgerton.

If you haven’t seen The Gift yet, we’d urge you to track it down.

David Michod - Animal Kingdom

The criminals at play in this true-life crime thriller are all the more chilling because they’re so mundane - a bunch of low-level thieves, murderers and gangsters who prowl around the rougher parts of Melbourne, Australia. Writer-director David Michod spent years developing Animal Kingdom, and it was worth the effort: it’s an intense, engrossing film, for sure, but it’s also a believable glimpse of the worst of human nature. Ben Mendelsohn and Jacki Weaver play villains of different kinds; the latter a manipulative grandmother who looks over her brood of criminals, the former a spiteful thief. Crafting moments of incredible tension from simple exchanges, Michod launched himself as a formidable talent with this feature debut.

Ben Affleck - The Town, Argo

Affleck’s period drama-thriller Argo won all kinds of awards, but we’d argue his earlier thrillers were equally well made. Gone Baby Gone was a confident debut and an economical adaptation of Dennis LeHane’s novel. The Town, released in 2010, was a heist thriller that made the most of its Boston setting. One of its key scenes - a bank robbery in which the thieves wear a range of bizarre outfits, including a nun’s habit - is masterfully staged. With Affleck capable of teasing out great performances from his actors and staging effective set-pieces, it’s hardly surprising he’s so heavily involved in making at least one Batman movie for Warner - as well as playing the hero behind the mask.

Anton Corbijn - The American, A Most Wanted Man

The quiet, almost meditative tone of Anton Corbijn’s movies mean they aren’t necessarily to everyone’s taste, but they’re visually arresting and almost seductive in their rhythm and attention to detail. Already a celebrated photographer, Corbijn successfully crossed over into filmmaking with Control, an exquisitely-made drama about Joy Division lead singer Ian Curtis. Corbijn took a markedly different direction with The American, a thriller about an ageing contract killer (George Clooney) who hides out in a small Italian town west of Rome. Inevitably, trouble eventually comes calling.

Corbijn’s direction remains gripping because he doesn’t give us huge action scenes to puncture the tension. We can sense the capacity for violence coiled up beneath the hitman’s calm exterior, and Corbijn makes sure we only see rare flashes of that toughness - right up until the superbly-staged climax.

A Most Wanted Man, based on the novel by John le Carre, is a similarly astute study of an isolated yet fascinating character - in this instance, the world-weary German intelligence agent Gunther Bachmann, brilliantly played by Philip Seymour Hoffman. Tragically, the film proved to be one of the last before Hoffman’s death in 2014.

Paul Greengrass - Green Zone, Captain Phillips

Mention Greengrass’ name, and the director’s frequent use of handheld cameras might immediately spring to mind. But time and again, Greengrass has proved a master of his own personal approach - you only have to look at the muddled, migraine-inducing films of his imitators to see how good a director Greengrass is. Part of the filmmakers’ visual language rather than a gimmick, Greengrass’ camera placement puts the viewer in the middle of the story, whether it’s an amnesiac agent on the run (his Bourne films) or on a hijacked aircraft (the harrowing United 93). While not a huge hit, Green Zone was an intense and intelligent thriller set in occupied Iraq. The acclaimed Captain Phillips, meanwhile, was a perfect showcase for Greengrass’ ability to fuse realism and suspense; the true story of a merchant vessel hijacked by Somali pirates, it is, to quote Greengrass himself, “a contemporary crime story.”

John Hillcoat - Lawless, Triple 9

We can’t help thinking that, with a better marketing push behind it, Triple 9 could have been a much bigger hit when it appeared in cinemas earlier this year. It has a great cast - Chiwetel Ejiofor, Norman Reedus, Anthony Mackie and Aaron Paul as a group of seasoned thieves, Kate Winslet cast against type as a gangland boss - and its heist plot rattles along like an express train.

Hillcoat seems to have the western genre pulsing through his veins, and he excels at creating worlds that are desolate and all-enveloping, whether his subjects are period pieces (The Proposition, Lawless) or post-apocalyptic dramas (The Road). Triple 9 sees Hillcoat make an urban western that is both classic noir and entirely contemporary; his use of real cops and residents around the film’s Atlanta location give his heightened story a grounding that is believable in the moment. Nowhere is this more in evidence than in the scene in which Casey Affleck’s cop breaches a building while hunkered down behind a bullet-proof shield. Hillcoat places us right there in the scene with Affleck and the cops sneaking into the building behind him; we sense the claustrophobia and vulnerability.

Hillcoat explained to us in February that this sequence wasn’t initially written this way in the original script; it changed when the director and his team discovered how real-world cops protect themselves in real-world situations. In Triple 9, research and great filmmaking combine to make an unforgettably intense thriller.

Jim Mickel - Cold In July

Seemingly inspired by such neo-Noir thrillers as Red Rock West and Blood Simple, 2014‘s Cold In July is a genre gem from director Jim Mickle (Stake Land, We Are What We Are). Michael C Hall plays an ordinary guy in 80s America who shoots an intruder who breaks into his home, and becomes drawn into a moody conspiracy that takes in crooked cops, porn and a private eye (who's also keen pig-rearer) played by Don Johnson. Constantly shifting between tones, Mickel’s thriller refuses to stick to genre expectations. In one scene, after Hall shoots the burglar dead, Mickel’s camera lingers over the protagonist as he cleans up the blood and glass. It’s touches like these that make Cold In July far more than a typical thriller.

Mickel’s teaming up with Sylvester Stallone next; we’re intrigued to see what that partnership produces.

Martin Scorsese - Shutter Island

As a filmmaker, Scorsese needs no introduction. As a director of thrillers, he’s in a class of his own: from Taxi Driver via the febrile remake of Cape Fear to the sorely underrated Bringing Out The Dead, his films are full of suspense and the threat of violence. Shutter Island, based on the Dennis LeHane novel of the same name, saw Scorsese plunge eagerly into neo-noir territory. A murder mystery set in a mental institution on the titular Shutter Island, its atmosphere is thick with menace. Like a combination of Robin Hardy's The Wicker Man and Adrian Lyne’s cult classic Jacob’s Ladder, Shutter Island’s one of those stories where we never know who we can trust - even the protagonist, played by Leonardo DiCaprio.

David Fincher - The Girl With The Dragon Tattoo, Gone Girl

After the trial by fire that was Alien 3, David Fincher found his footing in the 90s with such hits as Seven and The Game. In an era where thrillers were in much greater abundance, from the middling to the very good, Seven in particular stood out as a genre classic: smartly written, disturbing, repulsive and yet captivating to look at all at once. Fincher’s affinity for weaving atmospheric thrillers continued into the 2010s, first with The Girl With The Dragon Tattoo, a superb retelling of Stieg Larsson’s book which didn’t quite find the appreciative audience deserved, and Gone Girl, an even better movie which - thankfully - became a hit.

Based on Gillian Flynn’s novel (and adapted by the author herself), Gone Girl is both a gripping thriller and a thoroughly twisted relationship drama. Fincher’s mastery of the genre is all here: his millimetre-perfect composition, seamless touches of CGI and subtle yet effective uses of colour and shadow. While not a straight-up masterpiece like the period thriller Zodiac, Gone Girl is still a glossy, smart and blackly funny yarn in the Hitchcock tradition. If there’s one master of the modern thriller currently working, it has to be Fincher.

See related John Hillcoat interview: Triple 9, crime, fear of comic geniuses Jim Mickle interview: Cold In July, thrillers, Argento Jeremy Saulnier interview: Green Room, John Carpenter Jeremy Saulnier interview: making Blue Ruin & good thrillers Denis Villeneuve interview: Sicario, Kurosawa, sci-fi, ugly poetry Morten Tyldum interview: The Imitation Game, Cumberbatch, Headhunters Paul Greengrass interview: Captain Phillips & crime stories Movies Feature Ryan Lambie thrillers 15 Jun 2016 - 06:11 Cold In July Triple 9 Shutter Island Gone Girl David Fincher Martin Scorsese John Hillcoat Directors thrillers movies
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Life | DVD Review

A troubling hush seems to follow Anton Corbijn’s fourth and least enthusiastically received Life, a snapshot on the short but intensely felt celebrity of actor James Dean revolving around a famed photo shoot for the titular magazine administered by Dennis Stock. Considering the film stars Dane DeHaan and Robert Pattinson in the lead roles, the lukewarm reception of the film seems surprising, beginning with a muted response at the premiere at the 2015 Berlin International Film Festival, where it played as a Special Gala Screening. Based on the film’s marketing and demure DVD release, one would be surprised to note Us distributor Cinedigm collected a titch over one million in box office following a limited theatrical and VOD release in December of 2015.

Following his 2014 John Le Carre adaptation A Man Most Wanted, director Anton Corbijn delves into the life of another desired individual, cherished cinematic icon James Dean with Life.
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Film Review: ‘Innocence of Memories’

Film Review: ‘Innocence of Memories’
Turkish novelist and Nobel laureate Orhan Pamuk makes his second major foray into writing for cinema with “Innocence of Memories,” this time in partnership with British director Grant Gee. The fruit of their collaboration, inspired by Pamuk’s 2008 novel, “The Museum of Innocence,” is neither strictly factual nor complete fiction: A physical and psychological journey through Istanbul, it mixes imagined narratives with real-world observation, and a fictional narrator’s recollections with self-reflexive commentary. Marketing may prove a puzzle for a product that is neither fish nor fowl, but the pedigree of the filmmakers cannot be doubted.

Best known as the helmer of such stylish rock docs as “Joy Division” and Radiohead’s “Meeting People Is Easy,” Gee proves an apt partner for Pamuk — who previously scripted 1991’s Turkish-lingo romance “Gizli Yuz” — in this new exploration of city and psyche. Like Gee’s well-received 2011 doc, “Patience: After Sebald,” his latest takes
See full article at Variety - Film News »

James Dean, Life And Leaving Photography Behind – Exclusive Interview With Anton Corbijn


Anton Corbijn may be one of the most unassuming film directors out there. A world-renowned photographer who by his own admission never intended to make the jump into movies, he’s been behind some of the most exciting movies of the past ten years, including Joy Division biopic Control, George Clooney thriller The American, John le Carré adaptation A Most Wanted Man (which featured Phillip Seymour Hoffman’s final lead role) and last year’s incredibly underrated Life, which documents the story behind the iconic photographs of James Dean.

To celebrate the home video release of Life (available in the UK from February 1st) we got a chance to chat with Corbijn about another late icon on film, as well as his recent career move into cinema.

When I interviewed Anton, it was mere hours after the announcement of David Bowie’s passing. He’d worked with the singer
See full article at Obsessed with Film »

Anton Corbijn Reflects On His Career, Talks 'Control,' Female Directors And More At The Marrakech International Film Festival

Anton Corbijn is a bit of a late bloomer when it comes to filmmaking. The prolific photographer and music-video director had a whole career before he made his first film, “Control,” a biopic of Joy Division singer Ian Curtis, at age 51. Since then, he’s turned in the excellent and stylish genre-hopping films “The American” and “A Most Wanted Man,” and his most recent picture, “Life,” with Robert Pattinson and Dane DeHaan. In Marrakech serving on the jury for the Marrakech International Film Festival, Corbijn just seemed happy to be there, humble and grateful for the experience. He mentioned that serving on juries was a bit of a film school for him, particularly with this year’s jury President, Francis Ford Coppola. There was also a shout-out to an “off the scale” experience serving on the jury for the Moscow Film Festival with Abel Ferrera, but unfortunately, he didn’t
See full article at The Playlist »

Life | Review

Or Something Like It: Corbijn Resurrects Dean Without a Cause

Following his 2014 John Le Carre adaptation A Man Most Wanted, director Anton Corbijn delves into the life of another desired individual, cherished cinematic icon James Dean with Life. Focusing on the behind-the-scenes relationship between Dean and photographer Dennis Stock during the creation of a belabored, but eventually fruitful 1955 photo shoot for the titular magazine, Luke Davies’ screenplay falls short of showcasing any kind of notable bond potentially worth documenting.

Two artists come together for what would eventually become a particularly notable moment for them both and Corbijn does a fine job of catching the significance of changing times. Dean exhibits the sort of Beat sensibility that had revived a new generation’s interest in literature the decade prior, and Corbijn catches him just at the cusp of the stardom that would possess the public’s attention. But neither persona manages
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'Ghost in the Shell' Wants 'Maleficent' Star Sam Riley as the Villain

'Ghost in the Shell' Wants 'Maleficent' Star Sam Riley as the Villain
DreamWorks' long-awaited live-action adaptation of Ghost in the Shell is finally moving forward, after spending years in development, with Scarlett Johansson coming aboard back in January to star. Deadline reports that Maleficent and Pride and Prejudice and Zombies star Sam Riley is in early talks to play the primary villain, known as The Laughing Man. If his deal is finalized, he will join a cast that also includes Pilou Asb&#230k.

Ghost in the Shell is based on the beloved Japanese anime created by Masamune Shirow, centering on a covert ops unit for Hanka Robotics entitled Section 9. The unit specializes in stopping the most dangerous criminals and extremists, led by The Laughing Man (Sam Riley), whose singular goal is to wipe out Hanka's advancements in cyber technology. The original series spawned a number of anime movies such as Ghost In The Shell (1996), Ghost in the Shell 2: Innocence (2004), Ghost in the Shell
See full article at MovieWeb »

Venice: Nobel-Winning Turkish Novelist Orhan Pamuk And Director Grant Gee Talk About ‘Innocence Of Memories’ Film

Venice: Nobel-Winning Turkish Novelist Orhan Pamuk And Director Grant Gee Talk About ‘Innocence Of Memories’ Film
Venice – Turkish Nobel Prize-winning author Orhan Pamuk made the trek to the Venice Film Festival for the world premiere of director Grant Gee’s “Innocence of Memories,” which takes its cue from the unique museum in Istanbul that stemmed from Pamuk’s acclaimed novel “The Museum Of Innocence.” This multilayered feature film by the British director known for docus about Radiohead, U2, Joy Division, and David Bowie screened as a special event in the independently run Venice Days section.

How did the book become a museum?

Orhan Pamuk: writing the novel “The Museum of Innocence” had carried a lot of constraints. I was thinking of a museum as I was writing the novel. I thought that in each page, the story should be in touch with some objects. So I then exhibited these objects in the museum. Not only regular objects; objects that should be evocative, should be attached to the story.
See full article at Variety - Film News »

Movie Review – Life (2015)

Life, 2015.

Directed by Anton Corbijn.

Starring Robert Pattinson, Dane DeHaan, Ben Kingsley, Joel Edgerton and Alessandra Mastronardi.


Photographer Dennis Stock pursues James Dean for an open spread photo essay for Life magazine leading up to the actor’s premiere East of Eden.

In 2007 Anton Corbijn’s Control focused on the young troubled life of Joy Division’s vocalist Ian Curtis. It was a film unafraid to unpick its protagonist, and to focus its lens on the grit, grime, and even the mundane to portray a fuller, richer character study. As Corbijn returns to familiar territory with film icon James Dean (Dane DeHaan) one expects a similar non-romanticised narrative, and more so given the iconic, almost mythical, status of its protagonist. Consequently, Life lessens its focused vision and allows the mythical lexicon to remain unhindered.

Dennis Stock (Robert Pattinson) proclaims from his first encounter of the future star Dean, and his cinematic performance,
See full article at Flickeringmyth »

Innocence of Memories review - Orhan Pamuk's Istanbul rendered strange and beautiful

British film-maker Grant Gee has got together with Turkey’s Nobel prize-winning novelist, and the result is a mesmerising, original meditation on love and the city

Having cut his teeth on music videos (and then graduated to the cerebral Joy Division documentary, on which he collaborated with Jon Savage), Grant Gee has reinvented himself as a formidable force in the microgenre of literary travelogues, a space hitherto largely occupied by Patrick Keiller, Andrew Kötting and Iain Sinclair. Gee headed for Suffolk for Patience (After Sebald), a reconstruction and reinvestigation of Wg Sebald’s Rings of Saturn; now he has cast his net much further afield, to Istanbul, and a creative meeting of mind’s with Turkey’s Nobel-prize-winning novelist Orhan Pamuk.

As with his Sebald film, Gee has here carefully assembled a collage of textual fragments, painterly visuals and mysterious voiceovers. The major difference of course, is that Pamuk is
See full article at The Guardian - Film News »

Watch: Robert Pattinson Photographs Dane DeHaan In Clip From Anton Corbijn's ‘Life’

For a minute there, it appeared that photographer turned feature film director Anton Corbijn was going to retire. He’d made three terrific indie movies, the black and white Joy Division/Ian Curtis movie “Control,” the awesome Bergman-esque assassin thriller “The American” with George Clooney and the slow-burn war-on-terror thriller “A Most Wanted Man” with the late Philip Seymour Hoffman. He’d actually contemplated it for a minute, but apparently after his last feature with Hoffman, Corbijn has found himself more comfortable behind the camera and with more to say (he spoke more about rediscovering his mojo in our interview from last year). Read More: Review: Anton Corbijn's 'Life' Starring Robert Pattinson & Dane DeHaan That’s a boon for us, as his latest, “Life,” features the inspired pair of Robert Pattinson and Dane DeHaan as two real-life artists. In 1955, ambitious Hollywood photographer Dennis Stock (Pattinson) and the
See full article at The Playlist »

Watch: Life trailer sees DeHaan go Dean

Dead at 24, James Dean left a remarkably iconic career with just a few years of TV appearances, and then starring in three films. But what three films they were, East Of Eden, Giant, and of course Rebel Without a Cause. The upcoming biopic Life will focus on the relationship between Dean and photographer Dennis Stock.

One time Green Goblin Dane DeHaan will take on the role of Dean while Robert Pattinson of Twilight fame will play Stock. Both stars are already receiving great praise for their roles, and under the watchful eye of Anton Corbijn whose excellent Control captured later Joy Division singer Ian Curtis so profoundly, it’s safe to assume we’ll be getting a touching, insightful, and rather beautiful film.

Life hits UK cinemas on 25th September. It stars Dane DeHaan, Robert Pattinson, Joel Edgerton, and Ben Kingsley.

The post Watch: Life trailer sees DeHaan go Dean
See full article at The Hollywood News »

See Dane DeHaan As James Dean In Life Trailer

Film Nation

It’s been almost 60-years since James Dean passed away at the tender age of 24, but his legend hasn’t diminished an iota. Still one of the most iconic stars of all time, his status has largely endured due to the sense of tragic mystery he cultivates.

Now film-maker Anton Corbijn and star Dane Dehaan will try to pry back a little of that mystique with Life.

Check out the new trailer for the movie below.

Life focuses on the relationship Dean had with photographer Dennis Stock at the inception point of the actor’s burgeoning fame. Robert Pattinson will depict Stock, with Ben Kingsley and Joel Edgerton rounding out the cast.

Aside from a few prior stills, this is the first proper look we’re getting at DeHaan as Dean. He seems appropriately broody and cleans up nicely to resemble the star, but the heart of the
See full article at Obsessed with Film »

Watch: Dane Dehaan Is James Dean In The First Trailers For Anton Corbijn’s ‘Life’ Co-Starring Robert Pattison

Four feature films in and photographer-turned-director Anton Corbijn is carving out a very interesting career for himself, mixing the sensibilities of art-house pictures and smart, character-driven dramas that often come with a personal touch. So far, he’s made a movie about ‘70s post-punk band Joy Division and singer Ian Curtis (“Control”), a moody and atmospheric assassin drama (“The American”), a war-on-terror drama (“A Most Wanted Man”) and for his next picture, a biopic about James Dean and the Life magazine photographer that took some of the first, now-iconic, pictures that helped launch his superstardom (our review from the Berlin International Film Festival here). Read More: Watch: First Clip From Anton Corbijn’s ‘Life’ Starring Robert Pattinson & Dane DeHaan, Plus Full Berlin Press Conference Titled simply “Life,” Corbijn brings his well-observed understanding between the photographer and subject in a drama that stars Dane Dehaan as the reluctant star James...
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Jamie Blackley: actor in Woody Allen's latest is ‘a bit of a nervous wreck’

The British actor, who takes the screen in Woody Allen’s new film Irrational Man, loves football and Joy Division – enough that he has an Ian Curtis tattoo

Never mind the refined chin line or rakish mid-length brown locks through which Jamie Blackley runs his fingers as he slouches at a 45-degree angle on a banquette in the dimly lit bar of the Carlyle hotel on Manhattan’s Upper East Side. What’s harder to notice is underneath his thin, striped T-shirt: a fist-sized tattoo of the late Joy Division singer Ian Curtis leaning on a microphone.

That bit of ink can certainly tell us more about this 24-year-old newcomer, who has a supporting role in Woody Allen’s latest film, Irrational Man, than any of the reviews, which have largely ignored him.

Continue reading...
See full article at The Guardian - Film News »

What to Watch: Tonight's TV Picks - Cordon, Transporter: The Series

Discovering: New Order: Sky Arts, 6.30pm

Documentary following the rise of British rock band New Order after the collapse of Joy Division.

After the suicide of Joy Division's frontman Ian Curtis, the remaining members emerged as New Order. This brought about the release of 'Blue Mondays', which saw the new band placed firmly in the British rock scene.

Cordon: BBC Four, 9pm

Tonight we are treated to a double bill of the Flemish drama series.

Lex (Tom Dewispelaere) is called out to a security breach in the quarantine and ends up being quarantined himself. Meanwhile, Dr Cannaerts (Johan van Assche) smuggles an untested vaccine into Niida.

Transporter: The Series: Channel 5, 9pm

Frank Martin's latest job is far from straightforward when he comes across an old colleague.

Frank (Chris Vance) is hired to transport some illegal substances by Russian gangster Sergei Zarov, however Frank must keep
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