Posted on Wednesday, June 25th, 2014 by Angie Han
Rooney Mara has never been one to back away from dark or difficult material, as she demonstrated with her breakout role in The Girl With the Dragon Tattoo. Now she’s looking to tackle the dramatization of a real-life kidnapping tale in A House in the Sky.
Based on Amanda Lindhout‘s autobiographical memoir of the same title, A House in the Sky will chronicle the Canadian journalist’s abduction by terrorists in Somalia and her subsequent fifteen-month imprisonment. Hit the jump for more details.
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Posted on Monday, June 9th, 2014 by Angie Han
David Fincher and Rooney Mara may be ready to team up again. The Girl With the Dragon Tattoo pair is reportedly eyeing Red Sparrow, a spy thriller that Darren Aronofsky exited earlier this year. Eric Warren Singer (American Hustle) is writing the script. Hit the jump for all the details on the project.
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Posted on Wednesday, March 12th, 2014 by Angie Han
Casting heats up on Pan: Rooney Mara is getting in on the fairy tale trend. The Dragon Tattoo actress has just landed the role of Tiger Lily in Pan, the Peter Pan origin tale being directed by Joe Wright. She joins a cast that also includes Hugh Jackman as Blackbeard and Garrett Hedlund as Captain Hook. Get plot details and more after the jump.
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There’s a vast difference between simply making a movie and taking the time to develop a new idea to make a movie about. It’s the difference between franchises releasing a new sequel every year, and the work of Spike Jonze, a filmmaker who up to this point has only made three movies in 15 years. His fourth film, Her, is the director’s first original screenplay. It’s everything you’d hope for from the mad genius who brought to life Being John Malkovich, Adaptation and Where the Wild Things Are.
Her is a dramatic sci-fi romance about a man named Theodore (Joaquin Phoenix) who falls in love with his artificially intelligent computer operating system (voiced by Scarlett Johansson). It’s a simple, yet brilliant conceit realized with depth and emotion, two rare traits in mainstream cinema. The depth comes from Jonze’s ideas about technological dependence and loneliness, and the emotion is conveyed as the film raises questions about what it means to love and our capacity to do so. It’s a film that’ll both spark intelligent debate and plenty of tears.
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Note: This review originally ran during the Sundance Film Festival in January. It is based on a cut of the film that is slightly different than what opened limited last weekend and expands this week.
The best way to revitalize a well-worn story concept is often to approach it openly and honestly, but from an unusual angle. That’s what writer/director David Lowery does with the ages-old conflict between an outlaw, a lawman, and the woman between them, in the exceptional modern western Ain’t Them Bodies Saints.
Casey Affleck, Ben Foster, and Rooney Mara are the people crossed at a crucial point in time. You’ve heard the story before, or at least seen the setup: one guy pulls a criminal job, and is caught in a fight with sheriff’s deputies as a result. His girlfriend is stalwart and sticks with him, even when the consequences of his criminal actions hit hard. But life is complicated, and plans go right to hell.
Deliberately paced and more interested in aftermath than big action scenes, a shorthand caption for Ain’t Them Bodies Saints could be “Cormac McCarthy by way of The Assassination of Jesse James By the Coward Robert Ford.” Each role is acted with calm precision, and directed with a measured hand. Lowery never falls to the temptation of overplaying a scene. It is one of the best films I’ve seen at Sundance 2013, and a must for fans of the slow burn or directors Andrew Dominik and John Hillcoat. Read More »
There have been short films and music videos, but it has been four years since Spike Jonze‘s last feature film, Where the Wild Things Are. Now the director is back with his fourth feature, Her, which features Joaquin Phoenix as a guy who falls for a piece of software. Since the software in question is voiced by Scarlett Johansson maybe that’s not much of a surprise. Check out the first trailer below. Read More »
Saturday night at the Los Angeles Film Festival, Spike Jonze unveiled Her. It was the first time the director of Being John Malkovich, Adaptation and Where the Wild Thing Are showed any footage from his fourth film in public and it was as quirky and interesting as you’ve come to expect from Jonze. On top of that, it was also incredibly insightful and sweet. Set in Los Angeles of the “slight-future,” Joaquin Phoenix plays a man who has just purchased OS1, the world’s first artificially intelligent computer operating system and, over the course of the film, he’ll fall in love with it.
Jonze both wrote and directed Her, making it his first solo feature screenplay. Warner Bros. has scheduled the film for a November release but Jonze revealed he’s been editing for about a year and has plenty more work to do. “This is a movie we’re still finishing,” he said. “There are some scenes we still want to do, a couple scenes we’re writing that we want to shoot.” That’s normal for Jonze, though, who said some of his films have taken over two years of post production.
In the two scenes screened from Her (note: Neither Jonze nor the moderator, David O. Russell, ever explicity called the film “Her” so maybe another title change is coming) we see the first time Phoenix’s character, Theodore, installs OS1 and meets Samantha, the custom personality OS1 builds for him voiced by Scarlett Johansson. Then he screened a scene from later in the film where Theodore takes Samantha to the beach.
Read more about the scenes below. Read More »
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David Lowery‘s film Ain’t Them Bodies Saints was among the best debuts at Sundance this past January, and it quickly found a release deal with IFC. (My glowing review is here.) The first trailer is here, opening with a slow, hazy expression of love which is soon overshadowed by the dark current that runs through the film. Casey Affleck shines as an outlaw who can’t quite face the idea that his family may be lost, while Rooney Mara excels as the woman caught at the tipping point between a very different past and future.
A gently percussive score and rhythmic cutting push the trailer forward, and the shade of Cormac McCarthy that inhabits the story becomes a bit more apparent as this edit hits a minor crescendo. It’s a great trailer for an excellent film. Read More »