The film is currently set up at Disney/Fox and could reunite Eastwood with Alan Horn, the current Disney Studios chief who worked with the filmmaker when he was in charge of Warner Bros. motion picture division. Jonah Hill and Leonardo DiCaprio had originally been attached to star, but they will no longer appear in the movie. Their involvement will be limited to producing the film.
Eastwood’s involvement could change. He circled the project several years ago before opting to direct “Sully” with Tom Hanks. “O.J.: Made in America” director Ezra Edelman was last person to consider the project.
Eastwood had a box office success with last year’s drug runner drama “The Mule,
Craig Flores will produce through his Bread & Circuses banner, while Alex Garcia and Ali Mendes will oversee for Legendary.
More to come…
Read original story Alex Ross Perry to Write and Direct Film Adaptation of Stephen King’s ‘Rest Stop’ for Legendary At TheWrap
Thor might not have gotten off to the most blockbuster start but the franchise’s latest effort, Thor Ragnarok, certainly captured the imagination, delighting fans and critics around the world.
The future of characters like Thor in the Marvel Cinematic Universe beyond Avengers: Endgame isn’t quite clear at the moment but fans of the Asgardian will be delighted to hear that Thor 4, directed by Taika Waititi, has been pitched, according to Tessa Thompson. In a recent interview with La Times, she said:
“I heard that a pitch has happened for [another Thor film]. I don’t know how real that intel is, but I hear that the pitch has happened. I think the idea is Taika Waititi [who directed ‘Ragnarok‘] would come back.”
Does the idea of Thor 4 directed by Waititi sound good to you? Let us know in the comments below on Twitter @flickeringmyth…
The post Tessa Thompson thinks Thor 4 has been pitched to Marvel appeared first on Flickering Myth.
Hayden Christensen, who plays Anakin in the prequels, hasn't been officially confirmed as part of the cast. Still, we can't imagine the third trilogy ending without Anakin. With Palpatine's return, it only makes sense that Anakin will come back to complete a full-circle narrative with the prequel and original trilogies in mind. Remember that the new title is The Rise of Skywalker. While this could refer to Ben Solo, who, through Leia,
Conspicuously absent from the titles announced during the Paris-based press conference was Quentin Tarantino’s “Once Upon a Time in Hollywood,” which is still in editing, according to artistic director Thierry Frémaux, and which he hopes will be completed in time to premiere at Cannes.
Other high-profile films in the lineup include Pedro Almodóvar’s “Pain and Glory,” now playing in Spanish cinemas, and new films from past Palme d’Or winners Ken Loach (“Sorry We Missed You”), who has competed 13 times before, and
The post The Morning Watch: Where Hollywood Airplane Scenes Are Shot, ‘John Wick’ in 60 Seconds & More appeared first on /Film.
Cannes chief Thierry Fremaux sat with Variety to discuss the showing of political films, the presence of women filmmakers in the official selection and the festival’s relationship with American cinema.
Although this year’s competition roster is less political than last year, you have a few politically minded films, especially “Les Miserables” which is inspired by the 2005 riots in Paris. This year has been marked by widespread civic unrest in France. To what extent do you take into consideration current events during the selection process?
With the oddly titled Kalank (Blemish), we find Bollywood in something of a pickle. Since the runaway global success of the two-part Telugu epic Baahubali, Indian producers have followed a bigger-is-better credo, drumming up a succession of thunderous historical throwbacks such as Manikarnika, which summoned multitudes of extras but precious little poetry or wonder.
Audiences have started to gravitate instead towards more personal stories and pithier genre fare, such as surprise-pregnancy comedy Badhaai Ho and horror Stree.
Imagine a film in which Christopher Hitchens has been born again as The Simpsons’ Ned Flanders. And that he gets endorsement from Donald Trump’s preferred blowhard, Fox News’s Sean Hannity, for a Christian phone app to be deployed against the forces of darkness. You would watch that, right?
Let There Be Light is that movie. Released in the Us in 2017, but only now getting a UK release, it stars Kevin Sorbo as Sol Harkens, the self-styled “world’s biggest atheist”, who undergoes a cinematic conversion that for sheer verve rivals Michael Caine’s in The Muppets Christmas Carol.
Somehow, this true-crime-inspired gangster film brings to mind the 80s/90s concept of “heritage cinema”, a phrase that back in the day was applied to films by Merchant Ivory and any literary adaptation of the era. This particular period drama, however, has no ladies in crinolines sipping tea. Indeed, this recounting of the rise and fall of London mob boss Jack “Spot” Comer (Terry Stone) and his protege-cum-rival Billy Hill (Leo Gregory) mostly features lairy cockney men swearing and slicing each other up with cut-throat razors or finding even more inventive ways to inflict pain. But the film’s nostalgic posturing – where boozy nights in the pub were soundtracked by skiffle-band covers, £80 was a lot of money and all prostitutes were pretty – is just as misleading and romanticised as anything that Helena Bonham Carter
Holdovers look set to dominate the UK box office this weekend, with Trevor Nunn’s spy drama Red Joan amongst the new openers.
Produced by David Parfitt’s Trademark Films, the Lionsgate-distributed feature is led by Judi Dench and 2014 Screen Star of Tomorrow Sophie Cookson, and based on the novel of the same name by Jennie Rooney. Cookson plays Joan Stanley, a Cambridge physics student in 1938 who falls for a young communist; while Dench takes up the character in 2000 when MI5 come to arrest her.
The film will be aiming to top
That makes a finely crafted, impeccably researched documentary like “Nureyev” a very welcome experience. The film’s release, on April 19, is clearly timed to coincide with the
That’s an assessment barely contradicted by Copper and Liska’s tiresome adaptation, which starts out buoyantly inventive but quickly turns grating, its one-joke premise wearing thinner as the grotesquerie is layered on thicker. Initially, however, it provides an aesthetic surprise, shot in deliciously grainy Super-8 footage, set to Wolfgang Mitterer’s bizarro-folksy score and
The film does boast an arresting opening narration, however.
The makers of this brash and blaringly noisy family animation from Malaysia give the hot-rod rookie storyline from Pixar’s Cars a hasty respray and set it off so fast they hope nobody notices the similarities. But it really is such a blatant copycat job, ripping off Cars note for note and lifting so many elements – from talking driverless cars to the dim-witted, buck-toothed sidekick – they might as well have called it Carz.
Ogie Banks cheerfully voices Wheely, a cocksure young racing car who crashes badly, busting his axel beyond repair. His speeding days over, Wheely takes a job as a taxi – and with his career go his chances of impressing supermodel Bella (Frances Lee), a lipstick-red Ferrari-like sporty number. Besides, she’s already hooked up with a preening posh-boy motor.
Chloë Grace Moretz could make almost anyone she met feel old. She pitches up for our 10.30am coffee date fresh from breakfast yoga: bright eyed and eager, with newly pierced ear cartilage. She makes straight for the brightest table in the place.
At 22, with about 60 films and TV shows under her belt, Moretz still has the face of a child star, which is to say she is a star who looks like a child, with golden hair and cartoon-size features seemingly forever on the verge of a pout. She also has the PR-buffed poise of a long-term A-lister.
This is largely due to the wilful austerity of the director’s coolly premeditated approach. An opening title baldly reveals that one day in 2012, four members of the Durati family were murdered — an event we soon begin to suspect we will not see — and then,
The action unfolds in and around the city of Husnabad, a year or so before the Partition that eventually led to the establishment of India and Pakistan as independent countries. Newspaper publisher Dev Chaudhry (Aditya Roy Kapur), a well-to-do member of the Hindu-minority elite,
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