Today brought a new round of announcements for the 2014 Sundance Film Festival, and there’s some fun stuff on the list. The films announced today are in the Spolight program, which pulls in films that have played at other festivals; the Park City at Midnight slate, and the few films programmed as part of Sundance Kids.
In the Spotlight list are films like the really solid revenge movie Blue Ruin and the super-odd and endearing S&M comedy R100, as well as Richard Ayoade’s The Double, and Tom Hardy’s one-man movie Locke. The midnight slate features The Guest, from You’re Next writer/director team Simon Barrett and Adam Wingard, and Cooties, featuring Elijah Wood and Rainn Wilson battling elementary school students transformed by a virus “into a feral swarm of mass savages.” And the kids program features the lovely-looking Ernest & Celestine, from the filmmakers behind A Town Called Panic.
The lineup is below, with as many photos as are available at the moment. Read More »
Please Recommend /Film on Facebook
The first trailer for The Amazing Spider-Man 2 hit this morning, and whatever you think it suggests about the movie being advertised, there’s certainly a lot of stuff to talk about in those couple minutes. And so director Marc Webb and his primary cast, Andrew Garfield, Emma Stone, and Jamie Foxx, have obliged, by commenting on key elements of the trailer. Below, you can watch a video that pauses the trailer often so that the creators can talk about what’s going on. Read More »
Fear is linked to the unknown, and related to change, and as such the birth of a child is one of the prime concerns in movie horror. There are so many questions that can drive simple uncertainty into realistic fear. ”What will my life be like after the kid is born? What if I don’t know how to parent? What if I ruin my kid? What if my kid is a sociopath even though I’m a great parent?” And so on. Fear of childbirth has been painted on the screen dozens of times; the mainstream popularity of horror as a cinematic genre can be directly traced to one example, Roman Polanski’s Rosemary’s Baby.
I don’t think it’s unfair to Devil’s Due to say it probably isn’t any Rosemary’s Baby. Not many films are. But this one comes from directors Matt Bettinelli-Olpin & Tyler Gillett, one half of the collective known as Radio Silence; they created the last segment of V/H/S. That worked well, and the actual scenes of horror in the teaser trailer below are eye-catching. Given that we’re pretty familiar with the “evil pregnancy” idea, how far will this film go? Read More »
Two big video retrospectives landed this week, celebrating the films and trailers of 2013. The first is a mashup of every trailer released so far this year That’s a big task, and there have to be trailers that didn’t make the cut, but there’s a shot culled from every major trailer here. The other is from Film.com writer David Ehrlich, who did a great job cutting together his own Top 25 list. Read More »
Briefly: The new film from Babel, 21 Grams, and Biutiful director Alejandro González Iñárritu is a comedy of sorts, Birdman, about a washed-up superhero. But since we haven’t seen that yet it’s difficult to think of the director outside the dour confines of his major features. And so it’s weird to think about him making a version of The Jungle Book, based on Rudyard Kipling‘s novel about a young boy who is raised by animals.
Granted, this isn’t the Disney version, which has Jon Favreau attached to direct. This Jungle Book is at Warner Bros. — a studio that likes its big movies to be a lot more serious than what Disney would be after — and has a script from Callie Kloves with Steve Kloves (Harry Potter) producing. How will it be different from the Disney version? There’s no doubt that the tone will be darker, or more “realistic,” but otherwise we don’t have much indication.
At this point Iñárritu is not signed, and there’s no indication of how the film will be cast. [Deadline]
The Coen Brothers‘ new film is Inside Llewyn Davis, and this one is particularly special. It’s a beautiful, bleak picture. One of the characteristics of the movie is a silky, strangely luminous color palette that relies on subdued silvery grey and faded browns. It’s nearly black and white.
That led me back to the brothers’ 2001 film, The Man Who Wasn’t There. Released in black and white, the film was shot in color — with a palette not dissimilar from that of Inside Llewyn Davis — and then graded to B&W in post-production.
A color version of the movie was also finished for contractual reasons, and released on DVD in markets such as France and South Korea. Though the movie wasn’t really intended to be seen in color (most of the making-of shots you’ll see are even B&W) it’s still an interesting way to see the film. Below, see a long color clip from that version, and watch an interview with the Coens talking about its creation. Read More »
We’re in the middle of a conversation about the best films of 2013, with several of those movies yet to go before wide audiences, and now it’s time to start thinking about what some of the best of 2014 might be.
The competition films for the 2014 Sundance Film Festival, scheduled for January 16-26 2014, have just been announced. There’s a lot to digest here, and a lot of unknown quantities. That’s the beautiful part about Sundance — no one knew, at this time last year, that Short Term 12, for example, would be one of the most heralded movies of 2013.
The header shot above is of Miles Teller (The Spectacular Now) and J.K. Simmons in Whiplash, in which Teller plays a drummer. I’m particularly interested in Cold in July, the new film from We Are What We Are director Jim Mickle, and Mr. Leos Carax, the doc about the director of Holy Motors, The Lovers on the Bridge and Pola X. There’s John Slattery’s God’s Pocket, with Philip Seymour Hoffman, Richard Jenkins, Christina Hendricks, and John Turturro, and so many more that I can’t process just yet.
We’ll be adding photos to this list as they become available. The full rundown is below. Read More »
Cool Posts From Around the Web:
At this point you probably have a pretty good handle on the style of a Paul WS Anderson movie — he turns out one b-movie after another that use affordable effects, attractive stars and genre concepts to lure in audiences. And the audiences always seem to show up, making Anderson one of the more reliable directors from a business perspective.
Here, he changes things up a bit for Pompeii. The attractive cast is there (Kit Harinton, Carrie-Anne Moss, Emily Browning, Adewale Akinnuoye-Agbaje, Paz Vega) as are the big digital effects and gritty but pretty violence. But there’s also a real historic backdrop — the destruction of the ancient city of Pompeii after the explosion of the volcano Vesuvius — giving the story a real weight. Will it work? Get some idea via the new trailer below. Read More »