The last cork has been popped and the final flute of Kirkland Signatures sparkling wine drained down to the last drop. Old Man 2023 has gathered his sash about his withered frame and slunk into the night, clearing the way for cherubic New Year 2024–giggly, chubby and brimming with promise.
Or something. In reality, years don’t flip on and off like a light switch. They smear into each other like paint, until everything is the same weird shade of brownish-purple. But still: we all strive to make each new chapter in the Gregorian filing system a fresh start–a chance to break bad habits and begin good ones.
The traditional way of kickstarting these self-improvement reboots is through the maddeningly self-deceptive ritual of setting New Year’s Resolutions–80% of which are inevitably abandoned by February 1, according to most studies. But hey! A sustainable 20% is still pretty good. And for cineastes,...
Or something. In reality, years don’t flip on and off like a light switch. They smear into each other like paint, until everything is the same weird shade of brownish-purple. But still: we all strive to make each new chapter in the Gregorian filing system a fresh start–a chance to break bad habits and begin good ones.
The traditional way of kickstarting these self-improvement reboots is through the maddeningly self-deceptive ritual of setting New Year’s Resolutions–80% of which are inevitably abandoned by February 1, according to most studies. But hey! A sustainable 20% is still pretty good. And for cineastes,...
- 1/3/2024
- by Matt Warren
- Film Independent News & More
UK director Lynne Ramsay enjoyed international recognition early on in her career after short films Small Deaths and Gasman were invited to the Cannes and won the Jury Prize in its short film competition in 1996 and 1998 respectively.
“That was the first film festival I went to. It was so overwhelming,” Ramsay told a masterclass for the Doha Film Institute this week . “When Gasman won a prize and [Francis Ford] Coppola gave me the prize, that opened the way for me to make other films.”
The film’s reception in L.A., when Ramsay showed them there as part of a British Film Institute talent showcase in the late 1990s, was less enthusiastic.
Revolving around a young girl who slowly discovers a puzzling side to her father’s life during an outing to a Christmas party, Gasman shows the protagonist and other characters from the waist down only in the opening scene and other parts of the film.
“That was the first film festival I went to. It was so overwhelming,” Ramsay told a masterclass for the Doha Film Institute this week . “When Gasman won a prize and [Francis Ford] Coppola gave me the prize, that opened the way for me to make other films.”
The film’s reception in L.A., when Ramsay showed them there as part of a British Film Institute talent showcase in the late 1990s, was less enthusiastic.
Revolving around a young girl who slowly discovers a puzzling side to her father’s life during an outing to a Christmas party, Gasman shows the protagonist and other characters from the waist down only in the opening scene and other parts of the film.
- 3/17/2023
- by Melanie Goodfellow
- Deadline Film + TV
Further new openers include ‘Our Ladies’, ‘The Nest’.
Universal’s franchise title Candyman leads this weekend’s new openers at the UK-Ireland box office, looking to join the list of horror films to have made strong debuts since cinemas reopened.
Candyman is directed by Nia DaCosta and written by DaCosta, Jordan Peele and Win Rosenfeld. It is a direct sequel to the 1992 film of the same name, and the fourth film in the Candyman series, based on Clive Barker’s 1985 short story The Forbidden.
The film has been delayed several times due to the pandemic, having been first scheduled for June,...
Universal’s franchise title Candyman leads this weekend’s new openers at the UK-Ireland box office, looking to join the list of horror films to have made strong debuts since cinemas reopened.
Candyman is directed by Nia DaCosta and written by DaCosta, Jordan Peele and Win Rosenfeld. It is a direct sequel to the 1992 film of the same name, and the fourth film in the Candyman series, based on Clive Barker’s 1985 short story The Forbidden.
The film has been delayed several times due to the pandemic, having been first scheduled for June,...
- 8/27/2021
- by Ben Dalton
- ScreenDaily
Further new openers include ‘Our Ladies’, ‘The Nest’.
Universal’s franchise title Candyman leads this weekend’s new openers at the UK-Ireland box office, looking to join the list of horror films to have made strong debuts since cinemas reopened.
Candyman is directed by Nia DaCosta and written by DaCosta, Jordan Peele and Win Rosenfeld. It is a direct sequel to the 1992 film of the same name, and the fourth film in the Candyman series, based on Clive Barker’s 1985 short story The Forbidden.
The film has been delayed several times due to the pandemic, having been first scheduled for June,...
Universal’s franchise title Candyman leads this weekend’s new openers at the UK-Ireland box office, looking to join the list of horror films to have made strong debuts since cinemas reopened.
Candyman is directed by Nia DaCosta and written by DaCosta, Jordan Peele and Win Rosenfeld. It is a direct sequel to the 1992 film of the same name, and the fourth film in the Candyman series, based on Clive Barker’s 1985 short story The Forbidden.
The film has been delayed several times due to the pandemic, having been first scheduled for June,...
- 8/27/2021
- by Ben Dalton
- ScreenDaily
This adaptation of Alan Warner’s The Sopranos is led by a terrific ensemble cast – though some of the gags feel dated post #MeToo
After Alan Warner published his brilliant and hilarious third novel The Sopranos in 1998, about a group of working-class convent schoolgirls on the rampage in Edinburgh, for years the big surprise has been that it hasn’t been turned into a film. Now, finally, here it is, an adaptation of The Sopranos – and the thing is, it’s a few years too late. Post #MeToo, there are scenes here that are a bit off; in all honesty, though, they might have felt wrong as far back as the Rotherham child abuse scandal. Such as the moment when the girls on the back of the coach flash their bras and wave “shag me” signs to passing builders’ vans.
Still, plenty of Warner’s wonderfully un-pc gags stand the test of time.
After Alan Warner published his brilliant and hilarious third novel The Sopranos in 1998, about a group of working-class convent schoolgirls on the rampage in Edinburgh, for years the big surprise has been that it hasn’t been turned into a film. Now, finally, here it is, an adaptation of The Sopranos – and the thing is, it’s a few years too late. Post #MeToo, there are scenes here that are a bit off; in all honesty, though, they might have felt wrong as far back as the Rotherham child abuse scandal. Such as the moment when the girls on the back of the coach flash their bras and wave “shag me” signs to passing builders’ vans.
Still, plenty of Warner’s wonderfully un-pc gags stand the test of time.
- 8/27/2021
- by Cath Clarke
- The Guardian - Film News
To celebrate the release of Our Ladies, which opens in UK cinemas this week, we sat down with the film’s amazing cast and its director to find out about one of the year’s very best films.
Based on the award-winning novel “The Sopranos” by Alan Warner, Our Ladies follows a group of Scottish schoolgirls on a day trip to Edinburgh to perform in a choir competition. These teens from a small town in the Scottish Highlands become a chance to escape their daily lives and run riot in the big city. With few expectations for their futures, Orla (Tallulah Greive), Finnoula (Abigail Lawrie), Manda (Sally Messham), Kay (Eve Austin), Chell (Rona Morison), and Kylah (Marli Siu) is determined to live for every moment in this raucous tale of love, life, and true friendship.
We spoke to all the ladies about the film, their experiences together whilst making it,...
Based on the award-winning novel “The Sopranos” by Alan Warner, Our Ladies follows a group of Scottish schoolgirls on a day trip to Edinburgh to perform in a choir competition. These teens from a small town in the Scottish Highlands become a chance to escape their daily lives and run riot in the big city. With few expectations for their futures, Orla (Tallulah Greive), Finnoula (Abigail Lawrie), Manda (Sally Messham), Kay (Eve Austin), Chell (Rona Morison), and Kylah (Marli Siu) is determined to live for every moment in this raucous tale of love, life, and true friendship.
We spoke to all the ladies about the film, their experiences together whilst making it,...
- 8/25/2021
- by Scott Davis
- HeyUGuys.co.uk
In a break from his Spanish distributor of past years, Warner Bros., Pedro Almodovar has opted to release his latest film “Pain & Glory” in Spain via Sony Pictures Releasing International on March 22, 2019.
“We are delighted and excited that we are releasing “Pain & Glory” in Spain with a whole new team: Sony Pictures in Spain,” said his producing partner and brother Agustin Almodovar of El Deseo.
“After more than 25 years working together in the U.S. under Sony Pictures Classics, both Pedro and myself consider Sony as part of our family; this decision reinforces the bonds we have been developing with Sony for a long time and this can’t be better news for all of us,” he added.
“Pedro Almodóvar is one of the seminal filmmakers of all time,” said Laine Kline, head of Sony Pictures International Productions. “We couldn’t be more delighted that we are releasing his latest work in Spain.
“We are delighted and excited that we are releasing “Pain & Glory” in Spain with a whole new team: Sony Pictures in Spain,” said his producing partner and brother Agustin Almodovar of El Deseo.
“After more than 25 years working together in the U.S. under Sony Pictures Classics, both Pedro and myself consider Sony as part of our family; this decision reinforces the bonds we have been developing with Sony for a long time and this can’t be better news for all of us,” he added.
“Pedro Almodóvar is one of the seminal filmmakers of all time,” said Laine Kline, head of Sony Pictures International Productions. “We couldn’t be more delighted that we are releasing his latest work in Spain.
- 12/12/2018
- by Anna Marie de la Fuente
- Variety Film + TV
Sony Pictures International Productions and Film4 have wrapped production on Michael Winterbottom (The Killer Inside Me) comedy Greed, starring Steve Coogan, Isla Fisher and David Mitchell.
Also starring are Sophie Cookson, Shirley Henderson, Asa Butterfield, Sarah Solemani, Shanina Shaik, Dinita Gohil, Asim Chaudhry, Pearl Mackie, Jonny Sweet, Ollie Locke and Stephen Fry. Sony has also released some fun first-look images.
The satire, whose lead cast we revealed in September, is co-written by Winterbottom and two-time Emmy Award winner Sean Gray (Veep), and is produced by Melissa Parmenter (The Trip) for Revolution Films and DJ Films’ Damian Jones (Absolutely Fabulous: The Movie).
The film tells the fictional story of a retail billionaire, and is set in the glamorous and celebrity-filled world of luxury fashion, with a build up to a spectacular 60th birthday party in an exclusive hotel on the Greek island of Mykonos. Many believe the film’s subject was...
Also starring are Sophie Cookson, Shirley Henderson, Asa Butterfield, Sarah Solemani, Shanina Shaik, Dinita Gohil, Asim Chaudhry, Pearl Mackie, Jonny Sweet, Ollie Locke and Stephen Fry. Sony has also released some fun first-look images.
The satire, whose lead cast we revealed in September, is co-written by Winterbottom and two-time Emmy Award winner Sean Gray (Veep), and is produced by Melissa Parmenter (The Trip) for Revolution Films and DJ Films’ Damian Jones (Absolutely Fabulous: The Movie).
The film tells the fictional story of a retail billionaire, and is set in the glamorous and celebrity-filled world of luxury fashion, with a build up to a spectacular 60th birthday party in an exclusive hotel on the Greek island of Mykonos. Many believe the film’s subject was...
- 12/5/2018
- by Andreas Wiseman
- Deadline Film + TV
Cast includes Screen Star Of Tomorrow 2018 Marli Siu.
Michael Caton-Jones’ The Sopranos, an adaptation of Alan Warner’s novel of the same name about a choir of Catholic school girls on a trip to Edinburgh, has begun production in the Scottish capital backed by Sony Pictures International Productions (Spip) and Screen Scotland.
Caton-Jones first optioned Warner’s novel in 1998. “It was always fundamental that the spirit of these fantastic strong female characters was brought to life accurately,” he said.
The Scotland-born filmmaker has co-written the film with Alan Sharp and Rachel Hirons. Caton-Jones and Laura Viederman are producing for Four Point Play Pictures,...
Michael Caton-Jones’ The Sopranos, an adaptation of Alan Warner’s novel of the same name about a choir of Catholic school girls on a trip to Edinburgh, has begun production in the Scottish capital backed by Sony Pictures International Productions (Spip) and Screen Scotland.
Caton-Jones first optioned Warner’s novel in 1998. “It was always fundamental that the spirit of these fantastic strong female characters was brought to life accurately,” he said.
The Scotland-born filmmaker has co-written the film with Alan Sharp and Rachel Hirons. Caton-Jones and Laura Viederman are producing for Four Point Play Pictures,...
- 11/9/2018
- by Ben Dalton
- ScreenDaily
Call it Pitch Perfect meets Trainspotting.
Rob Roy director Michael Caton-Jones has begun production on a feature film adaptation of Alan Warner's 1998 novel The Sopranos about a group of devil-may-care Catholic schoolgirls who travel to Edinburgh for a choir competition.
Sony Pictures International Productions (Spip), the local arm of Sony Pictures Entertainment's Motion Picture Group, is producing the film together with Caton-Jones' Four Point Play Pictures and Sigma Films, in association with Screen Scotland.
Roddy Hart and Tommy Reilly, who most recently wrote the music and lyrics for John McPhail's Anna and the Apocalypse, are the music producers on ...
Rob Roy director Michael Caton-Jones has begun production on a feature film adaptation of Alan Warner's 1998 novel The Sopranos about a group of devil-may-care Catholic schoolgirls who travel to Edinburgh for a choir competition.
Sony Pictures International Productions (Spip), the local arm of Sony Pictures Entertainment's Motion Picture Group, is producing the film together with Caton-Jones' Four Point Play Pictures and Sigma Films, in association with Screen Scotland.
Roddy Hart and Tommy Reilly, who most recently wrote the music and lyrics for John McPhail's Anna and the Apocalypse, are the music producers on ...
- 11/8/2018
- The Hollywood Reporter - Movie News
Call it Pitch Perfect meets Trainspotting.
Rob Roy director Michael Caton-Jones has begun production on a feature film adaptation of Alan Warner's 1998 novel The Sopranos about a group of devil-may-care Catholic schoolgirls who travel to Edinburgh for a choir competition.
Sony Pictures International Productions (Spip), the local arm of Sony Pictures Entertainment's Motion Picture Group, is producing the film together with Caton-Jones' Four Point Play Pictures and Sigma Films, in association with Screen Scotland.
Roddy Hart and Tommy Reilly, who most recently wrote the music and lyrics for John McPhail's Anna and the Apocalypse, are the music producers on ...
Rob Roy director Michael Caton-Jones has begun production on a feature film adaptation of Alan Warner's 1998 novel The Sopranos about a group of devil-may-care Catholic schoolgirls who travel to Edinburgh for a choir competition.
Sony Pictures International Productions (Spip), the local arm of Sony Pictures Entertainment's Motion Picture Group, is producing the film together with Caton-Jones' Four Point Play Pictures and Sigma Films, in association with Screen Scotland.
Roddy Hart and Tommy Reilly, who most recently wrote the music and lyrics for John McPhail's Anna and the Apocalypse, are the music producers on ...
- 11/8/2018
- The Hollywood Reporter - Film + TV
Hadrian's wall, Culloden, the poll tax, Jacob Rees-Mogg: yes, England has inflicted an awful lot of angst and pain on Scotland down the centuries – but, look, we still don't want you to leave
1 Sorry for calling every last one of you "Jock". We now know it's offensive, especially if you're a woman.
2 So sorry for the years of heartless Conservative governments that you never voted for that ripped the heart out of the Scottish mining, steel and shipbuilding industries, butchered public services and imposed an unwonted, dismal neo-liberal ethos on a land to which such a callous political and economic philosophy was inimical.
3 And for making you guinea pigs for Margaret Thatcher's disastrous poll tax, inflicting it on you a year before England and Wales, and then – somehow! – forgetting to backdate the rebate for the tax when it was abolished in the early 90s.
4 Sorry for the 1746 Dress Act that banned tartan,...
1 Sorry for calling every last one of you "Jock". We now know it's offensive, especially if you're a woman.
2 So sorry for the years of heartless Conservative governments that you never voted for that ripped the heart out of the Scottish mining, steel and shipbuilding industries, butchered public services and imposed an unwonted, dismal neo-liberal ethos on a land to which such a callous political and economic philosophy was inimical.
3 And for making you guinea pigs for Margaret Thatcher's disastrous poll tax, inflicting it on you a year before England and Wales, and then – somehow! – forgetting to backdate the rebate for the tax when it was abolished in the early 90s.
4 Sorry for the 1746 Dress Act that banned tartan,...
- 2/20/2014
- by Stuart Jeffries
- The Guardian - Film News
Writers often worry about the dangers of outside influence, but what about the non-literary inspirations they are far more comfortable admitting to? Andrew O'Hagan talks to six novelists about their passion for a second artform
The divine counsels decided, once upon a time, that influence is bad and that too much agency is the enemy of invention. Harold Bloom can't be blamed for that: he certainly pointed to the danse macabre of influence and anxiety, but to him the association was perfectly creative. Elsewhere, writers have always been blamed for being too much like other writers, or too much like themselves, and even now, in the crisis of late postmodernism, we find it hard to believe that writers might live happily in a state of influence and cross-reference. Yet anybody who knows anything about writers knows that they love their sweet influences.
What I've noticed, though, is that the influences...
The divine counsels decided, once upon a time, that influence is bad and that too much agency is the enemy of invention. Harold Bloom can't be blamed for that: he certainly pointed to the danse macabre of influence and anxiety, but to him the association was perfectly creative. Elsewhere, writers have always been blamed for being too much like other writers, or too much like themselves, and even now, in the crisis of late postmodernism, we find it hard to believe that writers might live happily in a state of influence and cross-reference. Yet anybody who knows anything about writers knows that they love their sweet influences.
What I've noticed, though, is that the influences...
- 4/27/2013
- by Andrew O'Hagan, Lavinia Greenlaw, John Lanchester, Alan Warner, Sarah Hall, Colm Tóibín
- The Guardian - Film News
(In Alphabetical order)
Meek’s Cutoff
Directed by Kelly Reichardt
Kelly Reichardt had a stellar if hushed 2000s, and then she commenced the current decade with a film that is already beginning to feel like an unsung modern classic. Meek’s Cutoff is one of those exhilarating instances in which a marriage of disparate styles produces something tricky to imagine, but perfect to behold: a period piece set in mid-1800’s Oregon, shot in academy ratio and classically beautiful for it, but with Reichardt’s signature severe naturalism. The result is so stark and understated that it begins to feel graceful, weirdly epic. A small caravan of settlers (featuring Michelle Williams and a once again devout Paul Dano) hires a guide, big-talking Stephen Meek, to help them navigate the Oregon Trail. As the terrain grows less forgiving and water evermore scarce, the settlers begin to wonder if the route Meek...
Meek’s Cutoff
Directed by Kelly Reichardt
Kelly Reichardt had a stellar if hushed 2000s, and then she commenced the current decade with a film that is already beginning to feel like an unsung modern classic. Meek’s Cutoff is one of those exhilarating instances in which a marriage of disparate styles produces something tricky to imagine, but perfect to behold: a period piece set in mid-1800’s Oregon, shot in academy ratio and classically beautiful for it, but with Reichardt’s signature severe naturalism. The result is so stark and understated that it begins to feel graceful, weirdly epic. A small caravan of settlers (featuring Michelle Williams and a once again devout Paul Dano) hires a guide, big-talking Stephen Meek, to help them navigate the Oregon Trail. As the terrain grows less forgiving and water evermore scarce, the settlers begin to wonder if the route Meek...
- 9/26/2012
- by Ricky
- SoundOnSight
More Dickens and even more Shakespeare, but also new novels from Toni Morrison, Hilary Mantel, Zadie Smith, plus exciting new voices – 2012's literary highlights
January
10 Charles Dickens's The Mystery of Edwin Drood, starring Matthew Rhys and Tamzin Merchant, begins – and, unlike the book, ends – on BBC2.
13 Michael Morpurgo's much-loved children's novel War Horse, a long-running favourite at the National and on Broadway, gets the Hollywood treatment. A tearjerking saga about a young soldier and his horse – it was only a matter of time before it was Spielberged.
16 Ts Eliot prize. Despite withdrawals from the shortlist over objections to a hedge fund's sponsorship of the prize, the Eliot remains the UK's premier poetry award, and its eve-of-event reading is always a treat. This year's shortlist includes Daljit Nagra, Carol Ann Duffy and John Burnside.
20 Release of film of Coriolanus, an Orson Wellesian effort directed by and starring Ralph Fiennes,...
January
10 Charles Dickens's The Mystery of Edwin Drood, starring Matthew Rhys and Tamzin Merchant, begins – and, unlike the book, ends – on BBC2.
13 Michael Morpurgo's much-loved children's novel War Horse, a long-running favourite at the National and on Broadway, gets the Hollywood treatment. A tearjerking saga about a young soldier and his horse – it was only a matter of time before it was Spielberged.
16 Ts Eliot prize. Despite withdrawals from the shortlist over objections to a hedge fund's sponsorship of the prize, the Eliot remains the UK's premier poetry award, and its eve-of-event reading is always a treat. This year's shortlist includes Daljit Nagra, Carol Ann Duffy and John Burnside.
20 Release of film of Coriolanus, an Orson Wellesian effort directed by and starring Ralph Fiennes,...
- 1/6/2012
- The Guardian - Film News
The Scottish director is back with a highly acclaimed adaptation of We Need to Talk About Kevin. Turns out there's plenty she needs to talk about too
In one of several disturbing scenes in Lynne Ramsay's new film, We Need to Talk About Kevin , Eva, the mother around whom the narrative revolves, walks in on her teenage son while he is masturbating. He doesn't stop, but leers at her half-mockingly, half-lasciviously as, appalled, she backs quickly out of the room.
"I knew that scene really worked when we were checking the focus in post-production in Connecticut and we had to watch it over and over," says Ramsay, laughing, "The projectionist was pissing himself. He kept going, 'Motherfucker!' every time he re-ran the scene. It was magic. You know you've nailed it when you get a reaction like that."
We are sitting under a giant parasol in the garden...
In one of several disturbing scenes in Lynne Ramsay's new film, We Need to Talk About Kevin , Eva, the mother around whom the narrative revolves, walks in on her teenage son while he is masturbating. He doesn't stop, but leers at her half-mockingly, half-lasciviously as, appalled, she backs quickly out of the room.
"I knew that scene really worked when we were checking the focus in post-production in Connecticut and we had to watch it over and over," says Ramsay, laughing, "The projectionist was pissing himself. He kept going, 'Motherfucker!' every time he re-ran the scene. It was magic. You know you've nailed it when you get a reaction like that."
We are sitting under a giant parasol in the garden...
- 10/3/2011
- by Sean O'Hagan
- The Guardian - Film News
New-look festival to have creative input from film and music talent including Gus van Sant, Jim Jarmusch and the Streets
It may have no official artistic director to oversee affairs this year, but the 2011 Edinburgh international film festival will not want for creative input. Organisers yesterday announced a glittering lineup of guest curators who will help shape the new-look event in June.
The actor and director Isabella Rossellini will join film-makers Gus van Sant and Jim Jarmusch in the hotseat, with support from pop star turned composer Clint Mansell and rapper Mike Skinner, formerly of the Streets. Writers Alan Warner and Greil Marcus will also be on hand, as will Thailand's Apichatpong Weerasethakul, director of the Cannes favourite Uncle Boonmee Who Can Recall His Past Lives.
James Mullighan, the festival's producer, told the Glasgow Herald: "These are some of the people. Each will suggest a tone, series of films, dawn walk or theme.
It may have no official artistic director to oversee affairs this year, but the 2011 Edinburgh international film festival will not want for creative input. Organisers yesterday announced a glittering lineup of guest curators who will help shape the new-look event in June.
The actor and director Isabella Rossellini will join film-makers Gus van Sant and Jim Jarmusch in the hotseat, with support from pop star turned composer Clint Mansell and rapper Mike Skinner, formerly of the Streets. Writers Alan Warner and Greil Marcus will also be on hand, as will Thailand's Apichatpong Weerasethakul, director of the Cannes favourite Uncle Boonmee Who Can Recall His Past Lives.
James Mullighan, the festival's producer, told the Glasgow Herald: "These are some of the people. Each will suggest a tone, series of films, dawn walk or theme.
- 2/15/2011
- by Ben Child
- The Guardian - Film News
God how I love Irvine Welsh. Back around the time of Trainspotting I was on a huge Scottish Lit kick and was reading everyone I could get my hands on, Iain Banks, Alasdair Gray, James Kelman and Alan Warner just to name a few. Welsh is one of the best. Reheated Cabbage is a collection of stories from around the time of Trainspotting, pulled together from anthologies and articles that are no longer available in print, plus one new novella, "I Am Miami," that reintroduces us to some familiar characters from Glue.
Welsh gets right into the thick of it right away with "A Fault On the Line." Never try to get between a Scotsman and his footie as one hapless wife finds out on match day. Much like the toilet scene at the beginning of Trainspotting, Welsh isn't afraid to hit you hard with an unexpected, gory and almost...
Welsh gets right into the thick of it right away with "A Fault On the Line." Never try to get between a Scotsman and his footie as one hapless wife finds out on match day. Much like the toilet scene at the beginning of Trainspotting, Welsh isn't afraid to hit you hard with an unexpected, gory and almost...
- 7/16/2010
- by Dustin Rowles
Production begins this week in Connecticut on the psychological thriller We Need To Talk About Kevin, which is being directed by acclaimed filmmaker Lynne Ramsay (Ratcatcher, Morvern Callar) and produced by Jennifer Fox (Michael Clayton, The Informant!), Luc Roeg (Mr. Nice) and Robert Salerno (21 Grams). We Need To Talk About Kevin was written by Ramsay and Rory Kinnear based on the novel by Lionel Shriver. The film stars Tilda Swinton, John C. Reilly and Ezra Miller. Presented by BBC Films and the UK Film Council in association with Footprint Investments Llp, Caemhan Partnership Llp and Lipsync Productions, the film is an Independent / Jennifer Fox production in association with Artina Films and Forward Films. The announcement was made today by Independent, who also holds the international rights to the film.
The film was developed by BBC Films¹ Creative Director Christine Langan (The Damned United, Bright Star) with Paula Jalfon (In The Loop,...
The film was developed by BBC Films¹ Creative Director Christine Langan (The Damned United, Bright Star) with Paula Jalfon (In The Loop,...
- 4/23/2010
- by Staff
- Hollywoodnews.com
One of my favorite features here on Pajiba is our Under Appreciated Films series, which was initially prompted by the popularity of our The Best Films You've Never Seen post way back in 2006 designed to call your attention to several films that have flown under the radar in past years. Accordingly, I'd be remiss if, before leaving the Aughts behind, we didn't take one last look back at the some of the great overlooked films of the decade, none of which made it on any of our Top Ten lists.
The criteria is simple: In order to be considered, the film had to make less than $3 million at the box office. Moreover, these films were excluded from consideration, if only because we've already beaten them to death with praise and either you've already seen them or you never will: Rocket Science, The Wackness, Let the Right One In and Brick.
The criteria is simple: In order to be considered, the film had to make less than $3 million at the box office. Moreover, these films were excluded from consideration, if only because we've already beaten them to death with praise and either you've already seen them or you never will: Rocket Science, The Wackness, Let the Right One In and Brick.
- 12/22/2009
- by Dustin Rowles
As the noughties tick down, let's shine a belated spotlight on the films that never got their due at release in the past 10 years
With the mood of reflection common to all year-ends magnified by this being the close of a decade, the list-loving world of film is awash with rundowns of the finest moments of not just 2009 but the entire noughties. In this very spot, you'll have already seen the Guardian's crack team reveal the first 90 titles of their golden hundred, with the final 10 being unveiled over the days ahead. But in the spirit of fair play, I thought it might also be worth drafting a top 10 of a slightly different nature – not the decade's best per se, but it's most underrated.
In short, what with this being the season of goodwill and so on, it might be apt to briefly pick out in the spotlight those films that...
With the mood of reflection common to all year-ends magnified by this being the close of a decade, the list-loving world of film is awash with rundowns of the finest moments of not just 2009 but the entire noughties. In this very spot, you'll have already seen the Guardian's crack team reveal the first 90 titles of their golden hundred, with the final 10 being unveiled over the days ahead. But in the spirit of fair play, I thought it might also be worth drafting a top 10 of a slightly different nature – not the decade's best per se, but it's most underrated.
In short, what with this being the season of goodwill and so on, it might be apt to briefly pick out in the spotlight those films that...
- 12/22/2009
- by Danny Leigh
- The Guardian - Film News
Gustave de Kervern and Benoît Delépine, 2004
I've only met one other person who has ever heard of Aaltra. I find most good cinema by idly channel-hopping on late-night television. With Aaltra I needed to see just one frame and a panning shot to know it was for me. I'm not some grand connoisseur; with so many bland-looking movies it's very easy to tell an interesting one in a few moments. Aaltra is shot in grainy black and white with long, slow takes. I was laughing, too: a mirth that started low down – illicit – then rose to delighted hilarity.
Aaltra was written and directed by two French comedians: Benoît Delépine and Gustave de Kervern, who also play the lead characters. It's not just weepingly funny and politically incorrect. To my tastes it's wonderfully shot and constructed – every scene shows a real cinematic imagination at work. The directors are sensitive as to...
I've only met one other person who has ever heard of Aaltra. I find most good cinema by idly channel-hopping on late-night television. With Aaltra I needed to see just one frame and a panning shot to know it was for me. I'm not some grand connoisseur; with so many bland-looking movies it's very easy to tell an interesting one in a few moments. Aaltra is shot in grainy black and white with long, slow takes. I was laughing, too: a mirth that started low down – illicit – then rose to delighted hilarity.
Aaltra was written and directed by two French comedians: Benoît Delépine and Gustave de Kervern, who also play the lead characters. It's not just weepingly funny and politically incorrect. To my tastes it's wonderfully shot and constructed – every scene shows a real cinematic imagination at work. The directors are sensitive as to...
- 12/6/2009
- The Guardian - Film News
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