It’s been a staggering twenty-nine years since legendary “Charade” and “Singin’ in the Rain” director Stanley Donen last had a film on the big screen—the 1999 Laura Linney and Steven Weber-starring TV movie “Love Letters” is last his directorial credit—but at age 89 he’s considering getting back behind the camera and into the director’s chair.
From the director of "Antitrust" and co-writer of "Flightplan"! Excited yet?! Those are the best endorsements the marketing people could muster for "Reasonable Doubt," a new legal thriller that has managed to get both Samuel L. Jackson and Dominic Cooper into the cinematic jury box.
Long hours on the road, sleeping on sofas, eating very little, playing shows for little money; it's a wonder why anyone struggles to make it as a musician. But for Llewyn Davis (Oscar Isaac) there really isn't any other option to playing music. "...And what, just exist?" he counters, when his sister suggests he stops couch surfing, borrowing money and barely getting by, and re-enter the Merchant Marine. While Llewyn can't quite put into words the passion that sustains an existence perpetually on the fringes, hustling for the next dollar, it's that weary energy that drives the Coen brothers' "Inside Llewyn Davis."
The Affleck brothers are presently carving out freedom within the film world in their own unique ways—Ben Affleck as the successful actor-turned-director and now heir to the Batman throne, and Casey Affleck as the quietly transgressive player in the independent scene with “Ain’t Them Bodies Saints” and “I’m Still Here." They each have a number of projects on their plate, with Ben handling Bat-duties alongside a number of acting and directing gigs and Casey involved with Christopher Nolan’s “Interstellar” and David Lowery’s sci-fi “To Be Two.” But now we have word on two collaborations: one between brothers, and one between Ben and actor Matt Damon.
Nominated for 10 Ophirs (Israel's version of the Oscars), Jonathan Gurfinkel's "S#x Acts" took home only one statue, but in the category where it likely mattered most: Best Actress. Sivan Levy leads the provocative film with the kind of performance that requires both confidence and vulnerability, and both those qualities are on display in this exclusive clip from the film.
Pain, pleasure, sex and Lars von Trier. It's a combination that is already provocative on paper, but realized in a 4-hour, two-part epic (with a 5 1/2-hour director's cut to come), well, no matter how it turns out—good or bad—it's going to be an experience. And with the movie screening for press in Europe next week, opening in Denmark and Norway later this month, in France in January and in the U.S. in March and April, the naughty floodgates are opening up wider than ever.
As we detailed yesterday with 15 examples, “Anchorman 2: The Legend Continues” moves forward with its pervasive (or as one could say, “annoying”) marketing prowess, utilizing underwear, ice cream, and automobiles as venues on which to slap Ron Burgundy’s face. Paramount hasn’t blocked their usual routes for promoting a film though, so we’ve got a pair of new clips—one from the Adam McKay-directed sequel, one as a holiday exclusive message, and also a look at a Funny Or Die-produced mockumentary starring Will Ferrell, Tobey Maguire, and Kristen Wiig.
With extensive work on Neill Blomkamp’s “Elysium” and also the upcoming “Star Wars” films as a writer, producer Simon Kinberg has locked in recently on the sci-fi/fantasy front, but those aren’t enough—comic book adaptations have found his focus as well. Next summer’s “X-Men: Days of Future Past” and the Josh Trank-directed “Fantastic Four” remake both bear his name as writer/producer, but in a new development over at 20th Century Fox, which owns both franchises, he stands to have even more of a corner on the market.
Originally titled “Gus” for its festival appearances, “Expecting” could more accurately be named “87 Minutes with Unfunny People You Will Hate” or “An 87-Minute Commercial for Why You Shouldn’t Move to L.A.” We can’t remember the last time we liked characters less than the ones in this film. We’re generally big fans of unlikable characters; when done well, they draw us in and keep us engaged, but they have to have humor or charm or interest or...anything to make up for being horrible people. It’s also challenging to have a movie full of them without anyone or anything redeeming to serve as a counterbalance. The characters in “Expecting” aren’t just unlikable; they’re unwatchable.