Writer/director John Michael McDonagh follows up The Guard with a new film called Calvalry, once again starring Brendan Gleeson. Here, Gleeson gets to play a different type of character, but still one who has to deal with deep, real darkness. He’s a priest, and a pretty good one. But during one confession session, an unidentified man says he plans to kill Gleeson. He’s got one week to get his things in order, and what follows seems like a bizarre mystery. The cast also features Chris O’Dowd, Aidan Gillan, Dylan Moran and Kelly Reilly, and there’s some fun to be had watching Littlefinger glower about, perhaps plotting some violence against Gleeson. Check out a great Calvary trailer below.
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The first trailer for the Sundance sci-fi hit I Origins is now online. Written and directed by Mike Cahill (Another Earth), it stars Michael Pitt and Brit Marling as scientists studying the evolution of the human eye. They make a discovery that raises some serious questions involving God, the afterlife, science and more.
After its Sundance premiere, Peter said it was “a haunting film that explores the idea of a supreme maker, the afterlife and the concept of souls through the eye of a science-grounded sceptic, delivers more successfully on that mind-bending premise.” Fox Searchlight bought the rights and will release the film July 18. Below, check out the first I Origins trailer. Read More »
Posted on Monday, March 24th, 2014 by Angie Han
After the jump, get the latest updates on all the sequels you’re looking forward to, along with some you’re probably not.
- Divergent is officially getting a sequel, Insurgent
- Find out when Terminator: Genesis starts shooting
- Best Exotic Marigold Hotel 2 is opening next spring
- Veronica Mars director addresses sequel speculation
- Blair Witch co-director talks about a potential sequel
- Listen to an energetic tune from the Raid 2 soundtrack
- Sophia Myles shows up in a new Transformers 4 still
- Linkin Park is contributing to Transformers 4
- See a new BTS image from Dawn of the Planet of the Apes
- Here’s a new pic of Tom Hardy in Mad Max: Fury Road
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Any good director will tell you they make a movie three times. The script, the shooting and the editing. But there’s a fourth time too, and that’s the projection. When filmmakers finish a film, most simply let it go out into the world, allowing legions of projectionists with varying levels of experience to dictate how an audience sees their movie.
However, some filmmakers take control of that process too and the latest example is Wes Anderson. Anderson had Fox Searchlight include a specific set of projection instructions with each and every print/DCP of his wonderful new film, The Grand Budapest Hotel, and you can see the image below. Read More »
Wes Anderson has taken to crafting short films to accompany and/or promote his feature releases, and he’s just revealed a Grand Budapest Hotel companion short. This one is a bit different from what we’ve seen in the past, however. Not in terms of style; on that front this is a Wes Anderson piece through and through.
But this three-minute short is actually an instructional video, as it uses the film’s settings and characters to teach viewers how to make the pastries that are particularly beloved by Ralph Fiennes’ character M. Gustave. Check out the short below. Read More »
Briefly: Wes Anderson‘s latest film, The Grand Budapest Hotel, set a major box office record this weekend. Playing on just four screens, it grossed $811,166 total. That’s an average of $202,792 per screen, making it the highest-grossing limited live action debut of all time. The previous record holder was from that other Anderson, Paul Thomas, whose recent film The Master made $147,262 per screen on five screens. (Kevin Smith’s Red State actually grossed $204,230, but with the higher than normal ticket prices for that tour, some tallies account for it differently.)
The film didn’t come close to the all-time per screen average for any film, however. That record is held by Disney’s The Lion King, which grossed $1.59 million on two screens on its opening weekend. The Grand Budapest Hotel expands over the next few weeks. [Variety and Box Office Mojo]
Every single day, artists make art based on films they love. It’s a little more rare for that art to influence the filmmaker it was originally about.
In 2010, the San Francisco art gallery Spoke Art debuted an exhibit called Bad Dads, based on the films of Wes Anderson. The exhibit featured work based on all of Anderson’s films up to that point. Since then, Bad Dads has become an annual event. It even gained the interest of Anderson himself, who said the following about the show in 2012: “Seeing somebody make artwork inspired by things in my movies is one of the most exciting things to me in a very selfish way. I feel like it’s a communication to me almost, even though they probably don’t intend it that way.” In one case, Anderson actually turned that communication into something quite literal.
In Anderson’s latest film, The Grand Budapest Hotel, paintings are part of one of the major narrative threads; several original paintings are essential to the story. To create one of them, Anderson contacted artist Rich Pellegrino, who first gained the director’s attention at the aforementioned Bad Dads show. Pellegrino made a piece in the film called “Two Lesbians Masturbating,” and told /Film he was contacted specifically because Anderson liked his work in Bad Dads.
It’s a crazy case of pop culture art not only piquing the interest of the original subject, but inspiring that artist in his own work. Below, read the story of how the whole thing went down. Read More »
Wes Anderson‘s movies have always felt like kindred spirits to one another. They’re films made with similar visual styles and tonalities; stories that could very easily share one universe. His latest film, The Grand Budapest Hotel, feels that way too, but for the first time Anderson has made a movie about that very concept.
This film is well aware it is the 8th feature film by writer/director Wes Anderson, because here Anderson wants to explore the nature of storytelling itself. The passing down of stories; how stories tend to be similar; the real meaning of originality. He does this by framing the film in multiple layers, Inception style, until we get to the main narrative.
That narrative revolves around dapper 1932 European concierge Monsieur Gustave (Ralph Fiennes) and his trusty lobby boy Zero (Tony Revolori), who are involved in murder, sex, robbery, war, skiing, and so much additional wackiness you can’t help but think Anderson is purposefully filling this film with tropes that look like his, but aren’t. And that is most definitely the case. This is, again, a story about how we digest other stories. Anderson’s approach is to make the most un-Wes Anderson movie ever, under the guise of it being the most-Wes Anderson movie ever. As a result he’s made one of the best Wes Anderson movies. Read More »
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