Exclusive: Ronnie Scott’s Jazz Club is coming to audiences in North America.
Greenwich Entertainment has acquired distribution rights to Ronnie’s, directed by Oliver Murray and produced by Goldfinch Entertainment, and will release the feature film early next year.
It comes after the doc premiered at Doc NYC last year and follows a UK theatrical run.
Ronnie’s chronicles the life of saxophonist Ronnie Scott, a poor, Jewish kid growing up in 1940s East End, London who became owner of the Soho, London night club. Musicians who have played the club include Dizzy Gillespie, Sarah Vaughan, Ella Fitzgerald, Miles Davis, Rahsaan Roland Kirk, Nina Simone, Van Morrison, Chet Baker, and Jimi Hendrix, who played there the night of his death.
Murray previously directed Bill Wyman doc The Quiet One, directs with Goldfinch Entertainment CEO Kirsty Bell producing and COO Phil McKenzie executive producing. Greenwich’s Ed Arentz negotiated the deal with Abacus Media Rights,...
Greenwich Entertainment has acquired distribution rights to Ronnie’s, directed by Oliver Murray and produced by Goldfinch Entertainment, and will release the feature film early next year.
It comes after the doc premiered at Doc NYC last year and follows a UK theatrical run.
Ronnie’s chronicles the life of saxophonist Ronnie Scott, a poor, Jewish kid growing up in 1940s East End, London who became owner of the Soho, London night club. Musicians who have played the club include Dizzy Gillespie, Sarah Vaughan, Ella Fitzgerald, Miles Davis, Rahsaan Roland Kirk, Nina Simone, Van Morrison, Chet Baker, and Jimi Hendrix, who played there the night of his death.
Murray previously directed Bill Wyman doc The Quiet One, directs with Goldfinch Entertainment CEO Kirsty Bell producing and COO Phil McKenzie executive producing. Greenwich’s Ed Arentz negotiated the deal with Abacus Media Rights,...
- 7/20/2021
- by Peter White
- Deadline Film + TV
Oscar-winner Al Pacino and Meadow Williams star in American Traitor: The Trial of Axis Sally, the historical drama hitting select theaters this Memorial Day weekend via Vertical Entertainment and Redbox Entertainment. Michael Polish directed the film, which is based on a true story and follows the life of American woman Mildred Gillars (Williams) and her lawyer (Pacino), who struggle to redeem her reputation.
Dubbed “Axis Sally” for broadcasting Nazi propaganda to American troops during World War II, Mildred’s story exposes the dark underbelly of the Third Reich’s hate-filled propaganda machine, her eventual capture in Berlin, and subsequent trial for treason against the United States after the war.
Mitch Pileggi, Thomas Kretschmann, Lala Kent, Carsten Norgaard, and Swen Temmel round out the cast. The pic, which is based on William E. Owen’s novel, Axis Sally Confidential, is also available on-demand. William and Vance Owen’s book Axis Sally Confidential,...
Dubbed “Axis Sally” for broadcasting Nazi propaganda to American troops during World War II, Mildred’s story exposes the dark underbelly of the Third Reich’s hate-filled propaganda machine, her eventual capture in Berlin, and subsequent trial for treason against the United States after the war.
Mitch Pileggi, Thomas Kretschmann, Lala Kent, Carsten Norgaard, and Swen Temmel round out the cast. The pic, which is based on William E. Owen’s novel, Axis Sally Confidential, is also available on-demand. William and Vance Owen’s book Axis Sally Confidential,...
- 5/28/2021
- by Amanda N'Duka
- Deadline Film + TV
Moby is an unconventional character.
He’s a punk rocker, a man who once, briefly fronted legendary band Flipper, but became a household name with his electronic music. He’s a man who has released two memoirs but still admires reclusive artists. He’s friends with David Lynch and was close to David Bowie.
He references Werner Herzog and Thomas Pynchon. He has seen a lot of music documentaries.
He has now made his own, Moby Doc, a film that is told in an unconventional way. There are no talking heads, other than Lynch, and sometimes Moby himself talking on the telephone or to his therapist.
Moby knows there are plenty of bad music documentaries out there, particularly now with the glut of PR promo-packets disguised as films that are flying around on streaming services.
As he tells Deadline below, he and director Rob Bralver, threw out the first cut of the film,...
He’s a punk rocker, a man who once, briefly fronted legendary band Flipper, but became a household name with his electronic music. He’s a man who has released two memoirs but still admires reclusive artists. He’s friends with David Lynch and was close to David Bowie.
He references Werner Herzog and Thomas Pynchon. He has seen a lot of music documentaries.
He has now made his own, Moby Doc, a film that is told in an unconventional way. There are no talking heads, other than Lynch, and sometimes Moby himself talking on the telephone or to his therapist.
Moby knows there are plenty of bad music documentaries out there, particularly now with the glut of PR promo-packets disguised as films that are flying around on streaming services.
As he tells Deadline below, he and director Rob Bralver, threw out the first cut of the film,...
- 5/27/2021
- by Peter White
- Deadline Film + TV
The guiding principle of PBS’ American Masters franchise — and of a whole subset of documentaries at large — is that there is something to be learned from the stories of great people, takeaways that can either be applied to our presumably less-great lives or at least be sources of inspiration.
Rob Gordon Bralver’s Moby Doc, focusing on the life of Richard Melville “Moby” Hall, intends to be almost an anti-American Masters entry, dabbling in an eclectic and ostensibly weird aesthetic in the process of boiling down the iconic musician’s personal journey to…nothing, really. For a man who has written multiple ...
Rob Gordon Bralver’s Moby Doc, focusing on the life of Richard Melville “Moby” Hall, intends to be almost an anti-American Masters entry, dabbling in an eclectic and ostensibly weird aesthetic in the process of boiling down the iconic musician’s personal journey to…nothing, really. For a man who has written multiple ...
- 5/27/2021
- The Hollywood Reporter - Film + TV
The guiding principle of PBS’ American Masters franchise — and of a whole subset of documentaries at large — is that there is something to be learned from the stories of great people, takeaways that can either be applied to our presumably less-great lives or at least be sources of inspiration.
Rob Gordon Bralver’s Moby Doc, focusing on the life of Richard Melville “Moby” Hall, intends to be almost an anti-American Masters entry, dabbling in an eclectic and ostensibly weird aesthetic in the process of boiling the iconic musician’s personal journey down to… nothing, really. For a man who has written ...
Rob Gordon Bralver’s Moby Doc, focusing on the life of Richard Melville “Moby” Hall, intends to be almost an anti-American Masters entry, dabbling in an eclectic and ostensibly weird aesthetic in the process of boiling the iconic musician’s personal journey down to… nothing, really. For a man who has written ...
- 5/27/2021
- The Hollywood Reporter - Movie News
After spending most of May dipping its toes in the water with medium-budget films, Hollywood is finally putting some heavyweights into the ring as Cruella and A Quiet Place Part II have their long-awaited debuts this Memorial Day weekend. At last, the summer blockbuster season is here. If audiences flock to these two newcomers as hoped, we should see the biggest weekend at the domestic box office since March 2020. It should also become the pandemic weekend champion, beating out April 23-25, 2021, which had a total gross of $57 million, with Mortal Kombat and Demon Slayer: Mugen Train leading the pack.
We are still a world away from pre-pandemic numbers, however, where $150+ million overall weekend grosses in May were the norm. For now the combination of capacity restrictions, closed theaters, and audience hesitancy will continue to blunt grosses, but having stars headline a sequel from Paramount and a prequel from Disney--along...
We are still a world away from pre-pandemic numbers, however, where $150+ million overall weekend grosses in May were the norm. For now the combination of capacity restrictions, closed theaters, and audience hesitancy will continue to blunt grosses, but having stars headline a sequel from Paramount and a prequel from Disney--along...
- 5/27/2021
- by Sam Mendelsohn <mail@boxofficemojo.com>
- Box Office Mojo
If nothing else, “Moby Doc” is the perfect title for Rob Gordon Bralver’s documentary about the electronic musician Moby. Not because its subject, born Richard Melville Hall, is the great-great-great-grandnephew of a certain novelist — somehow that never comes up — but rather because the pun’s tongue-in-cheek aftertaste of self-importance so accurately prepares your palate for an insufferable movie that wants to be profound and benign in equal measure.
That title says “Just because this guy commissioned and co-wrote a film about himself on the heels of publishing two different memoirs doesn’t mean that he takes himself too seriously.” It sets just the right tone for ; a documentary by and about a famous person who insists that he only deserves to be the subject of a documentary because — for all of his unlikely success and close personal friendship with David Bowie — he’s reached the divine understanding that he...
That title says “Just because this guy commissioned and co-wrote a film about himself on the heels of publishing two different memoirs doesn’t mean that he takes himself too seriously.” It sets just the right tone for ; a documentary by and about a famous person who insists that he only deserves to be the subject of a documentary because — for all of his unlikely success and close personal friendship with David Bowie — he’s reached the divine understanding that he...
- 5/26/2021
- by David Ehrlich
- Indiewire
Sometimes, you remember just where you were when you connected with a piece of music so powerful it erupted in your head. In the summer of 2000, I rushed in late to a packed all-media screening of “Gone in 60 Seconds.” I’d had a vexing day at the office, and was hoping the film would revive me. It did, more quickly than I imagined. After a flurry of titles, the soundtrack was filled with slow rhythmic claps, and over that came American voices, ancient yet present, not so much singing as chanting: “Green Sally up, and green Sally down. Lift and squat, gotta tear the ground.” The piano chords came in, simple but seductively syncopated, and then, beneath it all, a beat that was bigger than big. It echoed, it boomed, it made John Bonham’s thuds in “When the Levee Breaks” sound like someone banging on a tin can.
- 5/26/2021
- by Owen Gleiberman
- Variety Film + TV
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