Sony Pictures Entertainment made a high-powered presentation Nov. 8 that included chairman Tom Rothman, Columbia Pictures president Sanford Panitch and marketing president Josh Greenstein, but the studio had to wait on pins and needles for more than a week before learning it beat Warner Bros. and Paramount to land worldwide distribution rights to the film.
It’s a significant win for Sony given its currently anemic slate, but to acquire the project,...
At a celebration for “Get Out” at Hollywood’s Lombardi house, producer Jason Blum said the film defies a neat category or label – and that’s a strength.
“It is all things: satire. It’s an action movie. It’s a comedy. It’s a drama. It’s a thriller. It’s a horror movie,” Blum told Variety. “That’s what makes it great, is that you can’t put it in a box.”
The critical response to the genre film has been very inspiring, Blum said, in part because it has brought an ongoing conversation about structural racism to the fore.
“The movie is making people think that you can really use genre to tell very, very
The inspiring biopic, “Marshall,” which opened in October, focuses on an early case the young Marshall takes on in Connecticut, defending a black chauffeur accused of rape and attempted murder against his rich, white employer. As the future jurist on the highest court in the land develops his strategy, viewers come to grips with the extent of racism and bias in the justice system that’s hardly limited to the South.
Set in 1940 and featuring “Black Panther” star Chadwick Boseman as Marshall, the courtroom drama avoids simple hero myths and portrays the defense attorney’s substantial (and deserving) ego as a factor that may endanger his success, as Variety reviewer Peter Debruge points out.
The true story, in which Marshall’s employer,
The film was in flux after director Zack Snyder stepped away in May following the death of his daughter, and filmmaker Joss Whedon was brought in to write additional scenes and oversee reshoots and post-production. Whedon made another change, ushering out Batman v Superman: Dawn of Justice composer Antonius Tom Holkenborg, aka Junkie Xl.
"I got the call from Joss very last second," Elfman tells Heat Vision. "I got the call and it was, ‘You have to decide...
Since then, “Justice League” producers, cast, and crew have been in lock-step in their message: Whedon selflessly came aboard to carry out Snyder’s vision. Wonder Woman herself chimed in: “This is Zack Snyder’s movie,” said Gal Gadot in an interview with Empire Magazine. “Joss only did a few weeks of reshoots. He was Zack’s guy and knew exactly what he wanted to get.”
The business assets were acquired by Thomas Anargyros, who is the CEO of EuropaCorp Television. Anargyros has been heading EuropaCorp’s TV division since its launch in 2010, when his production banner, Cipango, was acquired by EuropaCorp. Anargyros had founded Cipango with Edouard de Vesinne, who became deputy CEO of EuropaCorp in 2016 and was ousted in September.
The sale of the French TV business fits into EuropaCorp’s scaled-back strategy to focus on fewer films and English-language series, as well as cut overhead. EuropaCorp said the sale will allow the company to reduce its overhead by about 2.5 million euros ($2.9 million) and 3 million euros ($3.5 million) per year.
A week ago, Marc Shmuger, who was hired on a renewable six-month contract in 2016, announced he would be stepping down as CEO of EuropaCorp at the end of
The second biggest shock is that, despite the opening monologue, the “Family Feud” sketch, and some Weekend Update, this year’s Thanksgiving episode is not tied down to the concept of being a Thanksgiving episode.
Helou’s story is at the heart of “A Comedian in a Syrian Tragedy,” a documentary by director Rami Farah being pitched at Idfa Forum. An intimate portrait of exile, the pic spans four years as Farah and Helou leave Syria and struggle to rebuild their lives in France.
The French-Danish-Norwegian-Jordanian co-prod is produced by Lyana Saleh, of Osor; Signe Byrge Sørensen, of Final Cut for Real; Anita Rehoff Larsen, of Sant & Usant; and Cindy Le Templier, of Shashat Multimedia Productions.
When the first demonstrations against President Bashar al-Assad began in 2011, Farah found himself with the challenging task of trying to document the very protests he was taking part in.
Thirteen years on from the release of acclaimed animated comedy The Incredibles, Pixar have given us another glimpse of the superpowered Parr family in the first teaser trailer for a forthcoming sequel.
The Incredibles 2 reunites a voice cast that includes Craig T Nelson, Holly Hunter and Samuel L Jackson with original writer director Brad Bird in an adventure that will see Hunter’s character Helen, Aka Elastigirl, take centre stage, leaving Bob, Aka Mr Incredible (Nelson), to contend with the challenges of domestic life. The film will also see the Parr’s youngest member, baby Jack-Jack, begin to develop his own nascent powers.
This adrenalised street opera from feted indie film-makers Josh and Benny Safdie has been hailed in some quarters as a revelatory breakthrough for former Twilight star Robert Pattinson, shedding his celebrity status to “disappear” into the role of an aggressively unsympathetic street hustler. Yet Pattinson (who I thought was terrific in the sneeringly maligned teen-vampire series) has always been much more than a pretty face, proving his mettle in films such as David Cronenberg’s Cosmopolis, Brady Corbet’s The Childhood of a Leader, and James Gray’s The Lost City of Z. For me, the real revelation of Good Time comes from seeing the Safdies finally fulfil the promise of 2009’s Daddy Longlegs and 2014’s Heaven Knows What, creating an electrifying urban thriller that combines authenticity with accessibility in a compact,
This documentary about the overlap between trophy hunting and wildlife conservation makes a passionate, if not entirely convincing, argument for the legal hunting of the Big Five (elephant, buffalo, lion, leopard, and rhino) as an alternative to illegal poaching. The film gives voice to the commercial case for breeding and hunting, which feels at odds with the emotive way these kills are positioned. Viewers are encouraged to balk at the blunt brutality with which a rhino’s horn (“more expensive than gold or heroin, in weight”) is sawn off, to be moved by the guttural sound of a dying elephant, and to experience indignation when an American hunter poses with a slain buck, holding it up by its horns.
With Superman out of the picture, Batman and Wonder Woman must come together to assemble a ragtag group of superheroes to rescue three “Mother Boxes” from the evil demon Steppenwolf (Ciarán Hinds, barely recognisable underneath all the CGI) in this inchoate sequel. Their team includes Ezra Miller as superfast, socially awkward, self-confessed “black hole of snacks” the Flash, Game of Thrones’s Jason Momoa as the frequently shirtless Aquaman and Victor Stone (Ray Fisher), a former college football star turned Cyborg. Ribbing wisecracks, courtesy of co-writer Joss Whedon, jar with director Zack Snyder’s oppressive, dour approach to the source material. Ben Affleck is especially wooden as Batman/Bruce Wayne, while Gal Gadot’s Wonder Woman (unsung leader of the pack and the film’s
Matt Spicer’s bitter comedy of the absurd follows Ingrid Thorburn (Aubrey Plaza, deadpan but with a manic edge), a depressed twentysomething who inherits $60,000 from her mother and uses the money to move to California, inspired by Taylor Sloane (Elizabeth Olsen), an Instagram influencer she read about in Elle. Taylor’s bio is a sincere string of platitudes: “Treasure hunter. Castle builder. Proud Angeleno.” Ingrid pilfers tips on how to curate the right kind of cool from Taylor’s social media feeds and it’s not long before the young women become “Best friends”, shopping for artisanal lamps and alternating margaritas with lines of cocaine in Joshua Tree, and things start to turn a little Single White Female. O’Shea Jackson Jr (Straight Outta Compton) also shows up as Ingrid’s landlord, Dan, a Batman-obsessed stoner screenwriter,
Jamie Bell and Annette Bening star in this 80s-set romantic drama about fledgling Liverpudlian actor Peter Turner and his romance with (Old) Hollywood siren Gloria Grahame, based on Turner’s memoir. Their age-gap relationship is revealed in retrospect, when Grahame falls ill during a run in a play and re-enters Turner’s life. An overwrought score pushes the film into the territory of melodrama, but mostly it works, with tender performances from the two leads. Bell is particularly good as the devoted Turner, all vulnerable, searching gaze and eyes glossy with emotion, whether disco-dancing with Bening’s sensual, petulant Grahame or gently burping her in bed.
“I dreamed in brown,” sighs Carey Mulligan’s voiceover of her character Laura McAllan’s mudbound existence. This graceful adaptation by Dee Rees (director of the luminous Pariah) of Hillary Jordan’s 2008 novel is unable to wash itself clean of mud, fertile ground for deep-rooted prejudice and a filthy, sticky substance that taints and traps its characters in a world resistant to social progress. Though it’s a Netflix release, it is getting a one-week run in some Curzon theatres. The gorgeous digital cinematography by Rachel Morrison (Black Panther, Fruitvale Station) deserves to be seen on the big screen.
Set in the Jim Crow south, this complex, thoroughly modern period drama looks at the overlapping lives of two families – one black (the Jacksons) and one white (the McAllans). Hap Jackson (Rob Morgan) and his weathered wife,
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.