Ubisoft announced the release of The Settlers® History Collection for Windows PC on Uplay. Developed by Ubisoft Blue Byte, The Settlers History Collection contains all seven main titles of the strategy build-up series, along with all expansions. Every game has received updates to run on modern PCs with Windows 10 support as well as other improvements to the original versions. The Settlers History Collection is available digitally on Uplay, and each game can also be purchased individually.
Developed by Blue Byte and created by Volker Wertich, The Settlers games
Charlie Cox and Ray Winstone also star in the film produced by Working Title Films’ Tim Bevan and Eric Fellner alongside Michelle Wright and Ali Jafaar. Studiocanal financed the film.
Joe Penhall wrote the script based on source material from Mark Seal’s Vanity Fair article and The Guardian’s veteran crime reporter Duncan Campbell. The drama is about the April 2015 Hatton Garden Safe Deposit Company burglary in which robbers reportedly stole over £14 million in loot, culminating in being the biggest heist in U.K. history.
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“‘King of Thieves’ is led by a stellar British ensemble cast,” said Saban Films’ Bill Bromiley in a statement. “The pedigree of Michael,
So intones Michaela Stone (Melissa Roxburgh) as she makes the fateful decision to split up with most of her traveling party at the start of NBC’s “Manifest.” She, her brother (Josh Dallas) and his son (Jack Messina) end up aboard a flight that experiences a bit of severe turbulence before landing in New York — five years after its scheduled arrival. All the passengers on Montego Air Flight 828 had been presumed dead, leaving the rest of the family to evolve without them. And they seem to have returned with special powers, a sort of second sight enabling them to prevent and solve crimes.
All of which adds up to a “Lost” look-alike that, while it lacks the vision evident in ABC’s classic from its earliest moments, is better than it could be. There’s plenty of grade-a corn here,
Throughout the first season of Hulu’s “Castle Rock,” Ruth Deaver has struggled to deal with her life as an Alzheimer’s patient — but the show has teased that something more might be going on with her.
The finale episode seems to finally come down on the truth, one way or the other. And it seems that the condition Ruth (Sissy Spacek) has been grappling with all season is more than Alzheimer’s disease.
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The suggestion that more was going on started back in Episode 7, “The Queen,” when we spent a whole episode seeing everything Ruth was experiencing from her perspective. Her life with her condition means she experiences time out of order and out of sync — sometimes she’s in the present with other people,
After a wild episode set in an entirely new timeline, “Castle Rock” used the shaky ground established in “Henry Deaver” to provide moral instability in “Romans,” the Season 1 finale. What could have been a bloodbath, with mankind’s last decent man battling the devil incarnate, turned out to be a consideration of faith, certainty, and moral capability.
In a world of extreme actions, creators Sam Shaw and Dustin Thomason have crafted an ending focused on doubt. One could argue it’s anti-death penalty and even anti-violence, which despite a few narrative hiccups, is quite the unexpected conclusion for a series set in the home of Stephen King’s many evil creations.
As flashed in the catch-up montage, the ending directly connected to the beginning. During our introduction to Henry (Andre Holland), the defense attorney was asking the journey how much
Philosophical notions and alternate dimensions in which mirror images of us exist have been around since words were put to paper, yet Castle Rock makes this idea feel fresh, intriguing and unique. Andre Holland and Bill Skarsgard who own this finale lock stock and barrel draw together inextricable threads, maintain mystery and give away nothing come that inevitable closing gambit. There in lies the draw of this superior serial and that sense that these characters can get out from under which maintains interest, sparks imagination and ultimately keeps us watching.
Spacek, Glenn, Holland and Skarsgard help shape these people, providing dimension and motive, while flashbacks either dementia driven or trauma induced give insight which feels intrinsic to circumstance. Castle Rock still requires its audience to pay attention but now that focus has been lessened as sense of place and familiarity allow
The final episode of “Castle Rock” runs two stories in parallel: the present action that has the Kid trying to convince Henry to help him, and the past, in which we finally see (some of) what happened to Henry when he was 12.
We’ve been getting tidbits of this story all season, partially because Henry doesn’t seem to remember all of it, and partially because he refuses to tell anyone what really happened. The broad strokes that everyone in Castle Rock knows are these: One day, Henry Deaver went into the woods with his adopted father, Reverend Matthew Deaver (Adam Rothenberg).
Also Read: 'Castle Rock' Just Explained Everything -- Here's What the Hell Happened
Later, Matthew was found at the base of a cliff, badly hurt from a fall and near death, and Henry had disappeared.
The post ‘Castle Rock’ Review: ‘Romans’ Makes for an Unsatisfying Conclusion appeared first on /Film.
Castle Rock‘s first season finale — “Romans” — is a tale of two Henrys. There’s “our Henry,” played by André Holland: a beleaguered lawyer haunted by his unexplained disappearance as a teenager. And there’s “alt-Henry,” aka The Kid, a.k.a. Bill Skarsgård’s man from a parallel reality marooned in the wrong dimension or … well, something ancient, and evil.
In hour after hour, the show slowly built up the mysterious menace of the Kid.
This is the third project Saban Films has picked up at this year’s Toronto Film Festival, kicking off the 10-day fest by buying the rights to the Orlando Bloom sexual abuse drama “Romans,” followed by the Olivia Wilde film “A Vigilante.” “Richard Says Goodbye” stars Depp as a terminally ill college professor who decides to live his final days in hedonistic fashion.
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Set for release in 2019, “Richard Says Goodbye” is directed by Wayne Roberts and also stars Zoey Deutch and Rosemarie DeWitt. The deal was handled by CAA Media Finance.
Read original story Saban Films, DirecTV Acquire Johnny Depp’s ‘Richard Says Goodbye’ At TheWrap
Depp portrays the titular Richard — a college professor who is given a life-changing diagnosis and then decides to throw all pretense and conventions to the wind and live his life as boldly and freely as possible. He smokes, drinks, has sex, and insults anyone who annoys him. The cast also includes Zoey Deutch and Rosemarie DeWitt.
CAA Media Finance brokered the deal. The film was screened in Toronto on Sept. 6, the opening day of the Toronto Film Festival, but was not part of the official festival lineup.
Wayne Roberts directed from his own script. The project was first announced last year at the Cannes Film Festival with Stuart Ford’s Im Global — which was subsequently acquired by the now-bankrupt Global Road — fully financing the project.
Saban Films and Neon, who have made waves this past year by acquiring several titles at previous festivals, each secured deals, while usual players Sony Pictures Classics, Magnolia, Focus Features and Netflix have also picked up some titles.
While “Wild Rose,” arguably one of the hottest titles for sale at Tiff, has been snatched up by Neon, there are still various hot films up for grabs. For example, Natalie Portman’s “Vox Lux” still has no distributor, neither does Elisabeth Moss’ “Her Smell.”
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Additionally, many of Tiff’s biggest titles that are coming from immediate festival predecessors Venice and Telluride have distribution in place and are vying for awards attention: Damien Chazelle’s “First Man,
Sarah Daggar-Nickson wrote and directed the crime drama. “A Vigilante” follows a once abused woman, Sadie (Wilde), who devotes herself to ridding victims of their domestic abusers. Morgan Spector, Kyle Catlett, C.J. Wilson, Tonye Patano, Chuck Cooper, Betsy Aidem, Judy Marte also star.
The film first premiered at the SXSW Film Festival in March, and was nominated for a SXSW Gamechanger Award.
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“Olivia plays a badass vigilante which is refreshing and relevant while also shining a much-deserved light on domestic abuse,” Saban Films CEO Bill Bromiley said in a statement. “This role shows a side of Olivia that we haven’t seen before and audiences will love.”
“A Vigilante” will be released theatrically by Saban in the first
The global rights deal comes ahead of the film’s Saturday premiere.
Nnaji, a notable Nigerian film star, plays an enterprising daughter competing with her crude and eccentric uncle to control her family business when her father falls ill.
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The film was produced by The Entertainment Network. The sale was brokered by Mpm Premium, and represents the first ever Nigerian sale to Netflix.
The full “Lionheart” synopsis:
Running a company can be challenging, especially if you are a female in a male-dominated industry. Looking to prove her worth, Adaeze steps up to the challenge when her father, Chief Ernest Obiagu is forced to take a step back due to health issues. Ironically, he appoints his crude and eccentric brother,
Directed by Ludwig and Paul Shammasian, the film stars Bloom as a man struggling to cope with the sexual abuse he suffered as a child at the hands of a priest, and who now has the opportunity to demolish the church where his abuse occurred.
The drama is written by Geoff Thompson, who previously worked with the Shammasians on “The Pyramid Texts,” and produced by Jasper Graham of Dreamscape along with James Harris and Mark Lane of The Fyzz Facility and Sheetal Vinod Talwar of Vistaar Film Fund, in association with Zee International.
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Bill Bromiley and Ness Saban negotiated the
Written by Geoff Thompson (The Pyramid Texts), the film centers on Malky (Bloom), a man who struggles to come to terms with the abuse he suffered by a local priest when he was a child. Now, set on demolishing the church in which the abuse took place, he finds himself on an unlikely path towards forgiveness.
Romans made its world premiere at the Edinburgh Film Festival, where Reid took home the prize for ...
The show, which is currently midway through its first season, is based on characters and settings from various Stephen King stories. For example, we have Diane “Jackie” Torrance, the niece of the famously axe-happy former (and current and future) resident of the Overlook Hotel, Bill Skarsgard as an inmate of Shawshank State Penitentiary and Alan Pangborn, a King character who’s cropped up in the The Dark Half,
Jason Moring’s Toronto-based Double Dutch International (Ddi) has come on board to handle two new sales titles in Berlin, boarding international rights to Mark Pellington’s Nostalgia and Romans starring Orlando Bloom.
Nostalgia stars Jon Hamm, Catherine Keener, Bruce Dern and Ellen Burstyn and explores the meaning of objects, artifacts and memories that shape our lives.
Pellington co-wrote the screenplay with Alex Ross Perry, who wrote the upcoming Disney release Christopher Robin, and produced the film with Tom Gorai, his collaborator on Arlington Road. Bleecker Street will release Nostalgia theatrically in North America on February 16.
Romans stars Bloom as a sex abuse survivor whose attacker reenters his life after he is hired to demolish the church where the abuse took place. The man realises forgiveness is his only viable course of action.
Cannes Young Director Award winners Ludwig and Paul Shammasian directed Romans from Geoff Thompson’s screenplay. Sheetal Vinod Talwar, Mark Lane, James
Francis Lee’s God’s Own Country has won the top prize at this year’s Edinburgh International Film Festival.
The well-received drama, which premiered in Sundance and had its UK premiere in Edinburgh, took the Michael Powell Award for best British feature film.
The prize was awarded by a jury consisting of composer David Arnold, International Film Festival Rotterdam artistic director Bero Beyer, and Bafta-nominated film and television writer Andrea Gibb.
The jury commented: “We present the Michael Powell Award to God’s Own Country, directed by Francis Lee, a film with a singularity of storytelling and consistency of vision. Assured direction with raw and endearing performances result in a film that has an authenticity that is both tender and brutal, a juxtaposition of landscape and emotion, which explores the question of what it means to be a man.”
On hearing the news, director Francis Lee said: “I am thrilled with this
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