Andrew Dominik Writing Remake of ‘Tell No One’

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Tell No One has had an interesting history. From a novel by Harlan Coben, Guillaume Canet directed the 2006 film that became a European hit and an art-house success in the US.

In 2009 Focus Features and Miramax picked up remake rights, but with the changes that hit Miramax in the last year, those rights now reportedly reside entirely with Focus. And the studio has now hired Andrew Dominik (Chopper, The Assassination of Jesse James by the Coward Robert Ford) to write a new draft. Read More »

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Last week we heard that Chopper and The Assassination of Jesse James by the Coward Robert Ford director Andrew Dominik would direct Naomi Watts in Blonde, a biopic of Marilyn Monroe.

Now there’s already what appears to be the first image of Watts as Monroe, snapped at Cannes. Best guess is this is a photoshop comp based on a test photo of Watts in character. I’d still say Watts is too skinny to convincingly play Monroe, but this shows she has the attitude, and she can always do a little Raging Bull diet to push herself a little closer to the right build. See the full image at the end of this post. [Allocine, via The Playlist]

After the break, the full image for Spielberg’s new Terra Nova. Read More »

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I know that Marilyn Monroe is an American icon, but do we really need two biopics of the actress in the works? On one hand, there’s My Week With Marilyn, which started development last year. Scarlett Johansson was originally slated to star, then Michelle Williams stepped in.

And now there is Blonde, which adapts the fake memoir by Joyce Carol Oates. Playing Monroe in this one will be Naomi Watts — not exactly who comes to mind when thinking of the curvy Monroe — under the direction of Andrew Dominik. He might be the key ingredient here, because if you’re going to make a movie about an American legend, why not hand it to the guy who last made The Assassination of Jesse James by the Coward Robert Ford? Read More »

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If a male filmmaker desires to throw up grim truth and reality before the eyes of moviegoers and also swoon critics, many of whom subsist on darker themes, he will at some point consider making a film about war or prison. There are no greater immediate settings for tapping perennial sentiments of a mad world, or for demystifying masculinity by scraping it and reducing it to a primal essence. Unlike the ambitious gangster or mob film, reputable prison dramas tend to feature a protagonist that is closer to us, a person thrown to hell rather than embodying it, nakedly amidst wolves as opposed to running with them. (Ironic, given these characters’ punishments at the hands of society and/or government.)

Engrossing and well-crafted but formulaic and borderline genre-fare, A Prophet is the latest prison film to follow this mold and punch its way creatively outward. Winner of the Grand Prix at the 2009 Cannes Film Festival, A Prophet has landed on a number of top 10 lists for 2009; with a domestic release forthcoming, we’ll likely see its inclusion on many of this year’s as well.

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