venerdì 28 luglio 2017

[The Daily] In the Works: Reboots, Revivals, and More

T207282017_large


A new 4K restoration of James Cameron’s Terminator 2: Judgment Day (1991), converted to 3D, is heading to theaters on August 25. Now James Wigney of the New Corp Australia Network reports that “Cameron says he is in negotiations to oversee a new ‘three-film arc’ if the ongoing issues with the rights to the franchise can be resolved. The rights to make the films have changed several times since the release of the first film, but under U.S. copyright law some rights will revert to Cameron in 2019.” Arnold Schwarzenegger, who turns seventy tomorrow, “would be involved ‘to some extent’ in the proposed trilogy but the plan would be to introduce new characters to ‘pass the baton.’”

That’s via the Playlist’s Kevin Jagernauth, who also reports that Tom Hardy “has signed up to produce and star in My War Gone By, I Miss It So. Based on the book by war correspondent Anthony Loyd, the film will tell his true story of leaving the British army, and heading to the front lines of the Bosnian conflict, then returning home, where he battled heroin addiction.”

“Former President Bill Clinton will come to Hollywood this week with James Patterson, his writing partner on the upcoming novel The President Is Missing,” reports Deadline’s Mike Fleming Jr. “Sources said that Clinton and Patterson will be meeting with studios and networks to pitch the book for a movie or TV deal.”

Fleming also has the latest on J. C. Chandor’s Triple Frontier, which has been in and out of development hell for nearly seven years now. This “thriller set in the notorious border zone between Paraguay, Argentina and Brazil where the Iguazu and Parana rivers converge” began as a Paramount picture written by Mark Boal for Kathryn Bigelow (Detroit) to direct. Tom Hanks, Will Smith, and Johnny Depp all circled for a while; Tom Hardy, Channing Tatum, and most recently, Ben Affleck have been attached and detached. Now it’s revived as a $70 million Netflix project with a cast led by Mark Wahlberg (still in talks), Charlie Hunnam, and Garrett Hedlund.

Paul Feig (Bridesmaids, Ghostbusters) will direct Anna Kendrick, Blake Lively, and Henry Golding in A Simple Favor. The Hollywood Reporter’s Rebecca Ford: “The story follows mommy blogger Stephanie (Kendrick), who seeks to uncover the truth behind her best friend Emily's (Lively) sudden disappearance from their small town. Stephanie is joined by Emily's husband, Sean (Golding), in this thriller filled with twists and betrayals, secrets and revelations, love and loyalty, murder and revenge.”

VIDEO

“Danny Glover, David Cross, and Patton Oswalt have joined the cast of writer/director Boots Riley’s directorial debut Sorry to Bother You,” reports Deadline’s Anita Busch. It’s “about a black telemarketer with self-esteem issues who discovers a magical key to business success, propelling him to the upper echelons of the hierarchy just as his activist comrades are rising up against unjust labor practices. When he uncovers the macabre secret of his corporate overlords, he must decide whether to stand up or sell out.”

“Nick Offerman will star in Brett Haley’s upcoming musical drama Hearts Beat Loud opposite Kiersey Clemons,” reports Variety’s Dave McNary. Haley says it’s “about the connective power of music and the unexpected friendship that blossoms between a father and daughter as they are brought closer together through their songs, at a pivotal point in their lives when they are both about to make important decisions about their future.”

SERIES

Wonder Woman director Patty Jenkins is set to direct the new TNT drama One Day She’ll Darken, which reunites her with star Chris Pine,” reports Michael Schneider for IndieWire. “TNT has given a straight-to-series order to the six-episode hour-long show . . . inspired by the autobiography of Fauna Hodel, a white woman who was given up by her teenage birth mother and ended up being raised in an African American family. She eventually discovers that she was actually the product of incest and that her real-life father was Dr. George Hodel, the man who is often suspected to be the real-life ‘Black Dahlia’ killer responsible for the murder of Elizabeth Short. (Some have also suggested he might have been the Zodiac Killer.)”

Moonlight actor Mahershala Ali “has closed a deal to star” in Season 3 of True Detective. Deadline’s Nellie Andreeva notes that HBO president of programming Casey Bloys has said that “a third season of True Detective is much further along than a potential second installment of The Night Of.Deadwood creator David Milch is working on True Detective with its creator, Nic Pizzolatto.

“In this age of endless reboots, reimaginings and revivals, small-screen versions of Citizen Kane and Cat People might offend purists but could make absolute sense to content-hungry programmers—depending on how a new lawsuit against RKO Pictures gets resolved.” Deadline’s Dominic Patten explains.

Ben Affleck and Matt Damon are executive producing City on a Hill for Showtime. As Elbert Wyche reports for Screen, it’s “a fictional account of what was called the ‘Boston Miracle.’ At the center is an African-American district attorney who comes in from Brooklyn advocating change and the unlikely alliance he forms with a corrupt yet venerated FBI veteran who is invested in maintaining the status quo. Together they take on a family of armored car robbers from Charlestown in a case that grows to encompass and eventually upend Boston’s city-wide criminal justice system.”

VIDEO

Jennifer Aniston and Reese Witherspoon “are attached to star in an untitled series exploring morning shows and the larger New York media scene that they inhabit.” Lesley Goldberg has more in the Hollywood Reporter.

John Crowley (Brooklyn; and currently working on a feature adaptation of Donna Tartt’s The Goldfinch) will direct playwright Nick Payne’s adaptation of Rupert Thomson’s 1987 novel Dreams of Leaving, reports Orlando Parfitt for Screen. It’s “set in the fictional English village of New Egypt; an idyllic haven of traditional values and attitudes. However, by resisting change with an iron fist, it has secretly made prisoners of its inhabitants. Moses is one villager who escaped the village as a boy and has grown up in contemporary London. Questioning his identity, he begins to unearth chilling secrets of his past that will lead him back to the village of his birth.”

“Jon Stewart will return to stand up comedy in a special for HBO, the former Daily Show host’s first such special in over 20 years,” reports Joe Otterson for Variety.

For news and items of interest throughout the day, every day, follow @CriterionDaily.



from The Criterion Current http://ift.tt/2eSZWTY

LBJ: Woody Harrelson è il Presidente degli USA Lyndon Johnson nel primo trailer del film di Rob Reiner

Debutterà nelle sale americane il prossimo 3 novembre.

from ComingSoon.it - Le notizie sui film e le star http://ift.tt/2tP6Mk1

via Cinema Studi - Lo studio del cinema è sul web

Detroit, un altro trailer per il film di Kathryn Bigelow

Si mostra ancora la cronaca delle rivolte di Detroit del 1968, con Johny Boyega e Will Poulter.

from ComingSoon.it - Le notizie sui film e le star http://ift.tt/2uEvAKf

via Cinema Studi - Lo studio del cinema è sul web

Tilda Swinton poteva essere Pennywise in IT

Il film dal romanzo culto di Stephen King poteva avere un clown omicida di prim'ordine.

from ComingSoon.it - Le notizie sui film e le star http://ift.tt/2vP1FNY

via Cinema Studi - Lo studio del cinema è sul web

giovedì 27 luglio 2017

On the Channel: Chaplin’s Comedy of Murders

Chalpin_large

A far cry from the tramp persona Charlie Chaplin made iconic in films like The Kid, City Lights, and Modern Times, the cold-blooded murderer at the heart of Monsieur Verdoux pushed the great actor-director’s brand of humor into disturbing new territory. Released in 1947, this tale of deception stars Chaplin as an enigmatic family man who, in an attempt to support his wife and child, starts killing off wealthy, middle-aged widows for their money. The film is not only one of the most unsettling comedies of its era but also a showcase for Chaplin’s extraordinary talent for blending and contrasting various modes of comedic performance. In the latest episode of Observations on Film Art, now streaming on the Criterion Channel on FilmStruck, professor David Bordwell analyzes the mix of tones and genres that makes Monsieur Verdoux such a provocative film, one whose brilliance has taken decades to be fully recognized. Watch the full video on the Channel, and check out previous episodes in the series, whose topics include editing in Akira Kurosawa’s Sanshiro Sugata, camera movement in Krzysztof Kieślowski’s Three Colors: Red, and staging in Jean Renoir’s The Rules of the Game.

VIDEO



from The Criterion Current http://ift.tt/2vNxDu6

Repertory Pick: Ghostly Mizoguchi in Missouri

Ugetsu_large

Next Monday, as part of its monthly Director’s Choice series, the Ragtag Cinema in Columbia, Missouri, will screen a supernatural fable from Japanese master Kenji Mizoguchi, selected by filmmaker David Lowery for its influence on his acclaimed new drama A Ghost Story. Made just a few years before Mizoguchi’s untimely death at fifty-eight, the 1953 Ugetsu proved one of the crowning achievements of a nearly four-decade career bridging silent and sound cinema, applying the sinuous long takes that had become his signature to a haunting story about the tragic dynamics between men and women. In the film, two couples wind up torn apart during a devastating sixteenth-century civil war, the foolhardy husbands’ thirst for fame and fortune carrying them forth toward strange and spectral destinies, while their wives are forced to fend for themselves on an increasingly ravaged home front. “One might say that Mizoguchi’s detached, accepting eye also resembles that of a ghost, looking down on mortal confusions, ambitions, vanities, and regrets,” writes Phillip Lopate in his liner essay for our edition of the film, in which he finds “a powerfully anchoring stillness at its core, a spiritual strength no less than a virtuoso artistic focus.”



from The Criterion Current http://ift.tt/2v3s1xE

Andrea Marotti: un talento italiano oltre i confini

Non è di molto tempo fa, ormai, la cerimonia di consegna dei David di Donatello 2017.
Al di là delle considerazioni che si possono fare circa i riconoscimenti assegnati, a qualcuno non sarà sfuggito un elemento a nostro modo di vedere importante: la vittoria nella categoria che premia i Migliori Effetti Visivi del team dei VFX di Veloce come il Vento (film di di Matteo Rovere), un team nato, secondo una congiuntura produttiva che con il tempo potrebbe rivelarsi assai feconda, dalla collaborazione tra un'équipe statunitense e un'équipe italiana.
Questa collaborazione che alla lunga si è rivelata vincente è stata sin dall'inizio fortemente voluta da Andrea Marotti, un talento nostrano la cui esperienza in ambito cinematografico è così singolare da meritare un sia pur breve racconto.
Laureatosi in Fisica nell'Università della California, Marotti, tornato in Italia, ha per qualche tempo diretto una scuola di cinema facendosi le ossa nella produzione di molti video musicali a segno di orizzonte di interessi già di suo piuttosto poliedrico.
Compiuto il salto nell'ambito della produzione cinematografica, Andrea ha cominciato sin da subito a orientare il suo lavoro verso progetti di respiro internazionale che mettessero in relazione paesi, continenti e, soprattutto, pratiche e modi di intendere il lavoro differenti.
Questa propensione al mutuo scambio esperenziale, pur maturati nel solo ambito cinematografico, è la cifra distintiva di un talento professionale in grado di incrociare e far dialogare saperi specialistici e artistici eccezionali. Si aggiunge a questo una notevole attenzione anche per le più recenti innovazioni tecnologiche che portano alla creazione di effetti visivi imprevisti e impressionanti, ben calati nello spirito dei film, come avviene appunto nel già citato Veloce come il vento che era stato preceduto, nel 2014 sempre in Italia, dagli effetti speciali, anch'essi nominati al David, per Dracula 3D di Dario Argento.
Grazie a queste qualità Marotti continua una collaborazione a cavallo tra realtà culturali diverse, che non dimentica l'origine italiana, ma al tempo stesso si allarga nel contesto internazionale con collaborazione a film come Nightcrawler (con Jake Gillenhal, nominato agli Oscar 2015), il pluripremiato It Follows, e importanti film come Monumental (con Jeremy Irons e Maria Bello).
In questa serie di esperienze matura la fondazione di una casa di produzione e post-produzione, la TUNNEL Inc. a Santa Monica, per la quale sta producendo importanti film.
Un cittadino del mondo, insomma, estraneo a tanto provincialismo italiano, del quale sentiremo ancora parlare.



from Close-Up.it - storie della visione http://ift.tt/2tGNclW