One film from the year's festival circuit so far that I'm particularly looking forward to revisiting is David Lowery's "Ain't Them Bodies Saints." That's partly because a first viewing afforded many rich textural pleasures -- from Bradford Young's dusky cinematography to Daniel Hart's inventive, handclap-heavy score -- that deserve to be savored in less pressured surroundings than a Sundance premiere, but also because the film has changed a little, and reportedly for the better.
First 'Counselor' trailer features Brad Pitt, Javier Bardem, Michael Fassbender, Cameron Diaz and Penelope Cruz
Ridley Scott's "The Counselor" has a lot of people curious what with it being the first original screenplay from "No Country for Old Men" and "The Road" author Cormac McCarthy. It's a marriage of two visionaries and it has a stellar cast -- Michael Fassbender, Brad Pitt, Penelope Cruz, Cameron Diaz, Javier Bardem etc. Diaz in particular has a pretty showy (and raunchy) role and could end up in the Best Supporting Actress Oscar conversation at the end of the day.
Beth McCarthy-Miller has been a part of the "30 Rock" family almost since inception. She’s directed some of the show’s finest episodes, including both live ones and “TGS Hates Women,” so it was natural for co-showrunners Tina Fey and Robert Carlock to place her at the helm for their show’s two-part finale. “Hogcock!” and “Last Lunch” aired January 31 one right after the other, requiring McCarthy-Miller to meld two episodes into a cohesive whole and put a button on the series' seven-year run. HitFix spoke with her about this process as Emmy voters are casting ballots -- McCarthy-Miller has been nominated five times for her work on “30 Rock,” but never won.
Pedro Almodóvar's cabin-crew comedy "I'm So Excited!" finally jets into US theaters on Friday, and as I suggested in my review, some of the kooky Spanish auteur's fans may want to brace themselves for a crash landing.
But you may disagree. The critical reception for his latest is cooler than Almodóvar has come to expect, but as many die-hard fans of the director have been tickled as have been dismayed. One thing both camps will agree on, however, is that it couldn't be the work of anyone else: from his recurring themes of fringe sexuality to his Crayola color palette, Almodóvar's films are arguably the most immediately and universally identifiable of anyone's in the current hierarchy of European auteurs -- to the point that even the Academy has embraced him and even Almodóvar himself has taken to parodying his own stylistic tics.
By now you may have heard the news of the unfortunate passing of author Richard Matheson, a titan in his field who leaves behind him a rich, vast, deep legacy of material that will continue to be enjoyed and mined for years to come. And his impact on cinema as we know it is nowhere near negligible. Indeed, consider the beginnings of Steven Spielberg's career, whose calling card adaptation of Matheson's short story "Duel" catapulted him to Hollywood's attention.
"Richard Matheson's ironic and iconic imagination created seminal science-fiction stories and gave me my first break when he wrote the short story and screenplay for 'Duel,'" the director said in a statement. "His 'Twilight Zones' were among my favorites, and he recently worked with us on 'Real Steel.' For me, he is in the same category as Bradbury and Asimov."
Matheson was set to receive the Visionary Award at the 39th annual Saturn Awards Wednesday night, presented by the Academy of Science Fiction, Fantasy and Horror Films. Pity the award will now be presented posthumously, but the ceremony will now be dedicated to his memory.
The more I think back to David Gordon Green's "Prince Avalanche," which I saw at the Sundance Film Festival where it made its world premiere, the more charmed I am by its unexpected charisma, its personal flourishes and its central performances. It popped up as one of our under-the-radar films for the summer movie season, and indeed, when it hits theaters in August, it will be a nice change of pace for those looking for as much after the blockbusters have had their way.
Jim Carrey is backing out of supporting his new film "Kick-Ass 2" due to its depiction of violence, the actor said in a pair of Tweets this afternoon.
"I did 'Kick-Ass ' a month before Sandy Hook and now in all good conscience I cannot support that level of violence," he wrote. "My apologies to others involve[d] with the film. I am not ashamed of it but recent events have caused a change in my heart."
One would expect, however, for the actor to have a contractual obligation to promote the superhero sequel, in which he stars as Colonel Stars and Stripes, an ex-mafia member turned masked vigilante. This is often worked out prior to shooting, and especially with someone as mercurial as Carrey. Universal did not respond to a request for comment. Last week it was announced the studio would be making "Dumb and Dumber To" with the star after Warner Bros. passed on the project.
Bookended by Pedro Almodovar's "I'm So Excited!" and Fox Searchlight's starry Sundance comedy "The Way, Way Back" -- which closes proceedings tonight -- the Los Angeles Film Festival may boast its share of big names, but when it comes to its competition sections, it juries tend to throw the spotlight on lower-profile fare.
Since scoring widespread acclaim (and an Oscar) for "Lost in Translation" a decade ago, Sofia Coppola has become a distinctly divisive figure in the auteur ranks: "Marie Antoinette" and "Somewhere" drew as much praise as criticism for their high-style studies of privileged ennui, and "The Bling Ring" has followed much the same pattern since its Cannes debut. I've never felt let down by a Coppola film, and am once more firmly in the pro camp on her latest, an outside-in take on her favored celebrity milieu that may be her chilliest, most formally structured film to date. After opening in New York and LA last week, it goes wide today, and with critical opinion all over the map, I'm curious to read your thoughts. Have your say in the comments, and vote in the poll after the jump.