Lethal Weapon and Predator 2 star Danny Glover is the latest actor to join the cast of the sequel to Jumanji: Welcome to the Jungle.
It’s always great to see Glover in a new film project, and he’ll be joining a great cast that includes Dwayne Johnson, Jack Black, Kevin Hart, Karen Gillan, Awkwafina and Danny DeVito.
The last Jumanji film that was released followed a group of four teens who were transported into the world of Jumanji through a video game. We don’t know much about the story for these sequel, but there has been speculation that the new movie will focus on the characters from the game coming into the real world, but I wouldn’t be surprised if the story is once again set in the game.
Glover was last seen in the fantastic Robert Redford and David Lowery film The Old Man and The Gun.
It’s always great to see Glover in a new film project, and he’ll be joining a great cast that includes Dwayne Johnson, Jack Black, Kevin Hart, Karen Gillan, Awkwafina and Danny DeVito.
The last Jumanji film that was released followed a group of four teens who were transported into the world of Jumanji through a video game. We don’t know much about the story for these sequel, but there has been speculation that the new movie will focus on the characters from the game coming into the real world, but I wouldn’t be surprised if the story is once again set in the game.
Glover was last seen in the fantastic Robert Redford and David Lowery film The Old Man and The Gun.
- 1/15/2019
- by Joey Paur
- GeekTyrant
Nomad drama Stranger headlines London-based Asian festival.
Asia House Film Festival (Feb 22-Mar 5), held in London, has unveiled the line-up for its 2016 edition and revealed it will open with Ermek Tursunov’s Stranger (Zhat) - Kazakhstan’s submission for the 88th Academy Awards.
The period drama, which debuted at Toronto in September, centres on a young man who survived the famine of the 1930s, Stalinist deportation and Second World War by retreating in a cave to live off the land, but finds himself battling society in a bid to retain his freedom.
Tursunov and the film’s producer, Kanat Torebay, will host a Q&A session following the screening.
The director, whose previous feature Old Man (Shal) was selected as Kazakhstan’s official submission for the Oscars in 2012 and had nomadic drama Kelin shortlisted in 2010, will also present the European premiere of his latest film, Little Brother (Kenzhe), at London’s newly reopened Regent Street Cinema and will...
Asia House Film Festival (Feb 22-Mar 5), held in London, has unveiled the line-up for its 2016 edition and revealed it will open with Ermek Tursunov’s Stranger (Zhat) - Kazakhstan’s submission for the 88th Academy Awards.
The period drama, which debuted at Toronto in September, centres on a young man who survived the famine of the 1930s, Stalinist deportation and Second World War by retreating in a cave to live off the land, but finds himself battling society in a bid to retain his freedom.
Tursunov and the film’s producer, Kanat Torebay, will host a Q&A session following the screening.
The director, whose previous feature Old Man (Shal) was selected as Kazakhstan’s official submission for the Oscars in 2012 and had nomadic drama Kelin shortlisted in 2010, will also present the European premiere of his latest film, Little Brother (Kenzhe), at London’s newly reopened Regent Street Cinema and will...
- 1/12/2016
- ScreenDaily
By Patrick Shanley
Managing Editor
This year, 81 films have been submitted to the Academy for the best foreign-language feature category, marking the second highest total of foreign-language films ever submitted, just behind last year’s record of 83.
A hot topic for past foreign films has been stories set in and around World War II, with particular emphasis on the Holocaust and the Jewish experience throughout that time period. This year continues that trend as a number of international films focus on WWII.
The German film Labyrinth of Lies, was the country’s selection for this year’s foreign language Oscar. Centered on a largely forgotten piece of German history, the film looks at the German efforts to prosecute Nazi criminals after WWII. The film premiered at last year’s Toronto International Film Festival and was quickly acquired by Sony, who handled the last German film to win the foreign language Oscar,...
Managing Editor
This year, 81 films have been submitted to the Academy for the best foreign-language feature category, marking the second highest total of foreign-language films ever submitted, just behind last year’s record of 83.
A hot topic for past foreign films has been stories set in and around World War II, with particular emphasis on the Holocaust and the Jewish experience throughout that time period. This year continues that trend as a number of international films focus on WWII.
The German film Labyrinth of Lies, was the country’s selection for this year’s foreign language Oscar. Centered on a largely forgotten piece of German history, the film looks at the German efforts to prosecute Nazi criminals after WWII. The film premiered at last year’s Toronto International Film Festival and was quickly acquired by Sony, who handled the last German film to win the foreign language Oscar,...
- 10/15/2015
- by Patrick Shanley
- Scott Feinberg
UK sales agent Amadeus Entertainment has joined the Russian Cinema umbrella stand at Hong Kong’s Filmart, which begins today (March 24).
Amadeus will be presenting the Russian family action-adventure Land Of Good Kids by Olga Kaptur, which was released in Russian cinemas last December.
With musical and dance routines and CG effects, the film focuses on a parents’ wish that their naughty daughter stays in the year passing and a good child appears for the New Year. Magically, their wish comes true.
Amadeus’ other Russian titles include Anton Sivers’ historical drama Vasilisa and Yegor Baranov’s comedy Nightingale The Robber as well as Kazakhstan’s Oscar 2013 entry Old Man (Shal) by Ermek Tursunov, a re-staging of Hemingway’s The Old Man and the Sea in the Kazakh steppes.
The London-based company is among 10 firms operating under the Russian Cinema umbrella, including animation studio Wizart Animation, Timur Bakmembetov’s production-distribution outfit Bazelevs, sales agent Reflexion...
Amadeus will be presenting the Russian family action-adventure Land Of Good Kids by Olga Kaptur, which was released in Russian cinemas last December.
With musical and dance routines and CG effects, the film focuses on a parents’ wish that their naughty daughter stays in the year passing and a good child appears for the New Year. Magically, their wish comes true.
Amadeus’ other Russian titles include Anton Sivers’ historical drama Vasilisa and Yegor Baranov’s comedy Nightingale The Robber as well as Kazakhstan’s Oscar 2013 entry Old Man (Shal) by Ermek Tursunov, a re-staging of Hemingway’s The Old Man and the Sea in the Kazakh steppes.
The London-based company is among 10 firms operating under the Russian Cinema umbrella, including animation studio Wizart Animation, Timur Bakmembetov’s production-distribution outfit Bazelevs, sales agent Reflexion...
- 3/24/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The Old Man, Kazakhstan's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : None Yet. International Sales Agent: Kazakhfilm Studios
To adapt an already existing material for other media requires capturing the essence of the selected piece and fitting it within the restrictions of the new format. This practice is utterly common, perhaps even inherent, in the film industry nowadays. This translation ,usually from a written work into audiovisual impressions, in the form of a cinematic work, attempts to preserve the story with all its subplots and characters. Therefore, there is not a real transformation of the piece, but rather an expensive, dramatic and graphic interpretation with another point of view. Although adapted for the screen in several occasions before, Ernest Hemingway’s novel The Old Man and the Sea had not experienced a genuine reinvention. In his latest exceptional work The Old Man (Shal) director Ermek Tursunov does not attempt to just recreate this classic tale, but he reworks it to transmute it into an authentically Kazakh story that takes its pivotal themes from the American author’s writing.
Hardheaded and inflexible elderly man Kasym (Erbulat Toguzakov) is a shepherd living in small town whose livelihood is the unforgiving steppe that surrounds the area. An avid soccer fan, he baptizes his sheep with the names of famous players like Garrincha or Maradona, and enjoys watching matches in a shabby T.V. This, coincidentally, is also his only use for contemporary technology. Kasym’s household consists of his widowed son’s wife and his grandson, the cheeky Erali who he nicknames “Shaitan-bek” (mischievous child). More interested in his video games, the boy pays little attention to his elder’s archaic wisdom, a typical case of tradition vs. modernity. Nevertheless, Kasym believes his old-fashioned practices have helped him and his people survive for centuries, and though he wants something better for Erali, he wishes he would join in his activities. In spite of being rough around the edges, the old man is kindhearted and won’t hesitate to help others. Thus, when his neighbor begs him to take his sheep out into the wild to pasture while he spends time with his family, Kasym is unable to refuse.
Noticeably worn out by age and the labor-intense lifestyle, the man ventures into the icy plains with the herd of sheep and his precious horse “Eagle” and equally seasoned beast that has accompanied him in many adventures. In the untamed territory at the same time, a group of heavily armed arrogant hunters seek to kill wolves despite Kasym’s warning that it is a bad time because female wolves have just given birth. It doesn’t take long for the veteran survivor to realize he is lost. His memory has betrayed him and he must now fight to stay alive. As the rescue mission lead by his young grandson is underway, Kasym finds himself in a duel with Mother Nature and simultaneously with his own internal demons.
Harnessing an instinctive humanity in a deeply passionate role, Erbulat Toguzakov, a non-professional actor, plays the emotionally rugged, yet physically fragile old man with charm and an inspiring desperation to overcome his situation. Embodying the conflicting plight of mankind, which forces the species to struggle between an untamed state and the civilized standards, Kasym is coerced by the environment to return to his basic savage urges. He must renounce to the little comfort he knows and become one with his enemy. The ferocious wolves that haunt him are a token of this duality, in which his nemesis is also his incentive to fight for salvation. Humorous at times, increasingly exhausted, but always honorable, his perseverance is admirable, and made plausible by a stunning performance.
There is an alluring primeval atmosphere that coats the inhospitable terrain and which is explicit in the film’s rustic vistas and ethereal dream sequences. Therefore, the setting becomes as crucial as the protagonist himself. Its intriguing presence takes on a semi-religious quality to which Kasym testifies by stating that his God is in the steppe. Through the brutality of his experience he observes first hand the fragility of life and its miraculous cycle. Tursunov captures the spirit of the Kazakh people and their land with compassionate dignity. The Old Man is a riveting homage that stands out on its own merits, and transmits an animalistic mysticism worthy of a legendary odyssey from a distant land.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
To adapt an already existing material for other media requires capturing the essence of the selected piece and fitting it within the restrictions of the new format. This practice is utterly common, perhaps even inherent, in the film industry nowadays. This translation ,usually from a written work into audiovisual impressions, in the form of a cinematic work, attempts to preserve the story with all its subplots and characters. Therefore, there is not a real transformation of the piece, but rather an expensive, dramatic and graphic interpretation with another point of view. Although adapted for the screen in several occasions before, Ernest Hemingway’s novel The Old Man and the Sea had not experienced a genuine reinvention. In his latest exceptional work The Old Man (Shal) director Ermek Tursunov does not attempt to just recreate this classic tale, but he reworks it to transmute it into an authentically Kazakh story that takes its pivotal themes from the American author’s writing.
Hardheaded and inflexible elderly man Kasym (Erbulat Toguzakov) is a shepherd living in small town whose livelihood is the unforgiving steppe that surrounds the area. An avid soccer fan, he baptizes his sheep with the names of famous players like Garrincha or Maradona, and enjoys watching matches in a shabby T.V. This, coincidentally, is also his only use for contemporary technology. Kasym’s household consists of his widowed son’s wife and his grandson, the cheeky Erali who he nicknames “Shaitan-bek” (mischievous child). More interested in his video games, the boy pays little attention to his elder’s archaic wisdom, a typical case of tradition vs. modernity. Nevertheless, Kasym believes his old-fashioned practices have helped him and his people survive for centuries, and though he wants something better for Erali, he wishes he would join in his activities. In spite of being rough around the edges, the old man is kindhearted and won’t hesitate to help others. Thus, when his neighbor begs him to take his sheep out into the wild to pasture while he spends time with his family, Kasym is unable to refuse.
Noticeably worn out by age and the labor-intense lifestyle, the man ventures into the icy plains with the herd of sheep and his precious horse “Eagle” and equally seasoned beast that has accompanied him in many adventures. In the untamed territory at the same time, a group of heavily armed arrogant hunters seek to kill wolves despite Kasym’s warning that it is a bad time because female wolves have just given birth. It doesn’t take long for the veteran survivor to realize he is lost. His memory has betrayed him and he must now fight to stay alive. As the rescue mission lead by his young grandson is underway, Kasym finds himself in a duel with Mother Nature and simultaneously with his own internal demons.
Harnessing an instinctive humanity in a deeply passionate role, Erbulat Toguzakov, a non-professional actor, plays the emotionally rugged, yet physically fragile old man with charm and an inspiring desperation to overcome his situation. Embodying the conflicting plight of mankind, which forces the species to struggle between an untamed state and the civilized standards, Kasym is coerced by the environment to return to his basic savage urges. He must renounce to the little comfort he knows and become one with his enemy. The ferocious wolves that haunt him are a token of this duality, in which his nemesis is also his incentive to fight for salvation. Humorous at times, increasingly exhausted, but always honorable, his perseverance is admirable, and made plausible by a stunning performance.
There is an alluring primeval atmosphere that coats the inhospitable terrain and which is explicit in the film’s rustic vistas and ethereal dream sequences. Therefore, the setting becomes as crucial as the protagonist himself. Its intriguing presence takes on a semi-religious quality to which Kasym testifies by stating that his God is in the steppe. Through the brutality of his experience he observes first hand the fragility of life and its miraculous cycle. Tursunov captures the spirit of the Kazakh people and their land with compassionate dignity. The Old Man is a riveting homage that stands out on its own merits, and transmits an animalistic mysticism worthy of a legendary odyssey from a distant land.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
- 12/11/2013
- by Carlos Aguilar
- Sydney's Buzz
Ritesh Batra’s The Lunchbox, Amit Virmani’s Menstrual Man and Shilpa Ranade’s The World of Goopi and Bagha have been nominated under different categories for the Asia Pacific Screen Awards. Rajeev Ravi has earned a nomination for Achievement in Cinematography in Amit Kumar’s Monsoon Shootout.
The Lunchbox has been nominated for Best Screenplay while The World of Goopi and Bagha has been nominated in the Best Animated Feature Film category.
Amit Virmani’s Menstrual Man, a Singapore – India co-production, has been nominated for the Best Documentary Feature Film. The film made its Canadian Premiere at the HotDocs, the Canadian International Documentary Film Festival in Toronto and was screened at International Documentary Festival Amsterdam (Idfa).
A total of 39 films from 22 countries will compete in nine different categories. The award ceremony will be held December 12, 2013 in Brisbane.
The jury is headed by Shyam Benegal and comprises South Korean director Kim Tae-yong,...
The Lunchbox has been nominated for Best Screenplay while The World of Goopi and Bagha has been nominated in the Best Animated Feature Film category.
Amit Virmani’s Menstrual Man, a Singapore – India co-production, has been nominated for the Best Documentary Feature Film. The film made its Canadian Premiere at the HotDocs, the Canadian International Documentary Film Festival in Toronto and was screened at International Documentary Festival Amsterdam (Idfa).
A total of 39 films from 22 countries will compete in nine different categories. The award ceremony will be held December 12, 2013 in Brisbane.
The jury is headed by Shyam Benegal and comprises South Korean director Kim Tae-yong,...
- 11/12/2013
- by NewsDesk
- DearCinema.com
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