Well, this is pretty neat. I hadn't realized that the Academy has launched a web series of sorts, taking on a range of film-related subjects past and present -- and sometimes focusing on individual artists. The initiative is titled Academy Originals; previous episodes have centered on Patton Oswalt, Dustin Lee Black and "Jurassic Park," among others. This week's subject: writer-director Ava DuVernay.
The cinema doesn't exactly want for Second World War dramas, but nonetheless, I'm increasingly looking forward to "Fury." David Ayer's tough brand of crime storytelling has worked better in some projects than others -- "Sabotage" wasn't quite the follow-up to "End of Watch" most of us were hoping for -- but he's a distinctive stylist, and I'm interested to see how his street sensibility adapts to a period piece.
Are the Coen brothers directing a Wes Anderson film? Only kidding, but you'd be forgiven for thinking so with the announcement of today's new cast additions to the filmmaker siblings' upcoming "Hail, Caesar!"
One can only figure that Disney was none-too-pleased with Stephen Sondheim's comments regarding the upcoming film adaptation of "Into the Woods." Last week, he seemed to offer a disparaging tone in noting that significant changes to the story's content had been made (though he did note that if he had been in Disney's shoes, he would have made the same conservative calls). Today, through his lawyer, Sondheim has issued a statement to Playbill to clarify.
There is a reason I'm a Batman fan. It's not because I'm a life-long comic book reader. That came later. And it's not because I grew up watching reruns of the old ABC television series. Though I certainly did. It's because Tim Burton's "Batman," released in theaters 25 years ago today, was the first movie that really owned my anticipatory faculties as a child. It was the first film that lit my movie-going fire, a designation saved for "Star Wars," "Raiders of the Lost Ark" and "E.T." a generation prior and perhaps "Jurassic Park" and Harrison Ford's actioners a generation later.
In the simplest of terms, I wouldn't be a film obsessive if it weren't for "Batman." I owe it that much.
Well, this is a refreshing choice. At major festivals, the position of jury president is usually the preserve of directors and actors. At Cannes, for example, you have to go all the way back to 1983 to find a president -- novelist William Styron -- who doesn't tick either of those boxes. And while exceptions have been made for writers, it's very rare for below-the-line artists to take the top position. Production designer Dante Ferretti did the honors at the 2005 Venice Film Festival, and it's the Italians who are once more taking that route: composer Alexandre Desplat will preside over the Competition jury at Venice this year.
It's been a rough couple of years to be a fan of Reese Witherspoon: when the actress picked up her Oscar eight years ago for "Walk the Line," the universe appeared to have better things in store for her than, say, "This Means War." Even when her films have worked out -- the critically-endorsed Americana of "Mud" or the ripe Camembert pleasures of "Water for Elephants" -- they haven't showcased her especially well. So it's nice to see Witherspoon getting busy again with a range of upscale projects this year.
After landing nomination after nomination without a win, cinematographer Emmanuel "Chivo" Lubezki finally claimed an Oscar a few months ago for his jaw-dropping work on Alfonso Cuarón's "Gravity." But it wasn't just the technical prowess of the accomplishment that landed him that spotlight, conceiving of new technology to tell the story Cuarón wanted to tell and making it all work so well with the visual effects on display. It was also the drawn-out, patient takes, which Lubezki and Cuarón had been playing with ever since "Y Tu Mamá También" over a decade ago. All of that went toward an identifiable style that became the visual trademark of the movie, and the result was a much-deserved Oscar. But if the word on Alejandro González Iñárritu's "Birdman" is true, then Lubezki could very well be in line for his second in a row.
Okay, so the reviews are in, and it turns out I'm not alone in thinking that Clint Eastwood's "Jersey Boys" -- the 84-year-old actor-director-producer's 33rd effort behind the camera -- is a bit of a dud. Worse still, it's not the only recent misfire for the four-time Oscar winner frequently referred by critics as the last true classicist in American cinema. "J. Edgar," "Hereafter," "Invictus" and "Changeling" all met with varying degrees of opposition, though his defenders stand firm. "Has any working director had more wobbly movies defended by auteurist critics than Clint Eastwood?" tweeted Mark Harris recently.
NEW YORK - John Lloyd Young won a Tony Award for bringing Frankie Valli to Broadway in the hit musical "Jersey Boys," but he knew trying to land a role in Clint movie adaptation wouldn't be easy. That being said, he didn't flinch when he was asked to audition.