Award-winning actor Aaron Taylor-Johnson has been cast in the movie ‘Fuze’ by director David Mackenzie.
Written by Ben Hopkins, the project opens on the discovery of an unexploded World War II bomb in a London construction site, sparking a mass evacuation – the perfect cover for a heist.
The movie sees Taylor-Johnson reuniting with Mackenzie after working together on ‘Outlaw King’ in 2018.
Also in news – Dave Bautista & Samuel L. Jackson cast in action thriller ‘Afterburn’
Producers for the feature include Gillian Berrie for Sigma Films and Sebastien Raybaud and Callum Grant for Anton. Giles Nuttgens joins Mackenzie’s creative team as director of photography after previously collaborating on ‘Hell or High Water.’
Mackenzie said ‘Tension is one of the purest emotions that cinema can create. I had the idea of combining all the high stakes of an unexploded bomb with that of a bank robbery – clashing these two genres to create...
Written by Ben Hopkins, the project opens on the discovery of an unexploded World War II bomb in a London construction site, sparking a mass evacuation – the perfect cover for a heist.
The movie sees Taylor-Johnson reuniting with Mackenzie after working together on ‘Outlaw King’ in 2018.
Also in news – Dave Bautista & Samuel L. Jackson cast in action thriller ‘Afterburn’
Producers for the feature include Gillian Berrie for Sigma Films and Sebastien Raybaud and Callum Grant for Anton. Giles Nuttgens joins Mackenzie’s creative team as director of photography after previously collaborating on ‘Hell or High Water.’
Mackenzie said ‘Tension is one of the purest emotions that cinema can create. I had the idea of combining all the high stakes of an unexploded bomb with that of a bank robbery – clashing these two genres to create...
- 2/8/2024
- by Zehra Phelan
- HeyUGuys.co.uk
Aaron Taylor-Johnson set to star in bank heist film, Fuze, from Outlaw King director David Mackenzie
Aaron Taylor-Johnson has been spending the last couple of years trying to avoid James Bond questions since it was said he was testing for the new role. The Bullet Train star stated, “I just focus on the things I can have in my hands right now. What’s in front of me right now.“ What’s in front of him is his next go at comic book movies with the Spider-man-related film, Kraven The Hunter. The Sony film, made in association with Marvel, was originally set to release last year. However, the strikes would delay the movie to late this summer on August 30, 2024.
While we wait to see what happens on the James Bond front, Taylor-Johnson has lined up a new project that will reunite him with his Outlaw King director, David Mackenzie. The Hollywood Reporter has revealed that Taylor-Johnson will be starring in Fuze, a bank heist movie with a bit of a twist.
While we wait to see what happens on the James Bond front, Taylor-Johnson has lined up a new project that will reunite him with his Outlaw King director, David Mackenzie. The Hollywood Reporter has revealed that Taylor-Johnson will be starring in Fuze, a bank heist movie with a bit of a twist.
- 2/8/2024
- by EJ Tangonan
- JoBlo.com
Hell Or High Water and Outlaw King director David Mackenzie is to make another film with Aaron Taylor-Johnson – the heist thriller, Fuze.
David Mackenzie has already made one spectacular heist movie with Hell Or High Water, so it’s pleasing to hear he’s about to embark on another one. Called Fuze, it’ll star Aaron Taylor-Johnson, with whom Mackenzie previously collaborated on the 2018 historical piece, Outlaw King.
The film’s heist takes place as an area of London is evacuated following the discovery of an unexploded World War II bomb; based on an idea by Mackenzie, it’s the work of British screenwriter and novelist Ben Hopkins, whose most recent credit was the 2023 psychological thriller Inside, which starred Willem Dafoe as an art thief.
Fuze will also see Mackenzie re-team with Giles Nuttgens, the cinematographer who made West Texas look so bleakly captivating in Hell Or High Water.
Read...
David Mackenzie has already made one spectacular heist movie with Hell Or High Water, so it’s pleasing to hear he’s about to embark on another one. Called Fuze, it’ll star Aaron Taylor-Johnson, with whom Mackenzie previously collaborated on the 2018 historical piece, Outlaw King.
The film’s heist takes place as an area of London is evacuated following the discovery of an unexploded World War II bomb; based on an idea by Mackenzie, it’s the work of British screenwriter and novelist Ben Hopkins, whose most recent credit was the 2023 psychological thriller Inside, which starred Willem Dafoe as an art thief.
Fuze will also see Mackenzie re-team with Giles Nuttgens, the cinematographer who made West Texas look so bleakly captivating in Hell Or High Water.
Read...
- 2/8/2024
- by Ryan Lambie
- Film Stories
Aaron Taylor-Johnson has found his next role in David Mackenzie’s heist thriller “Fuze,” which Anton will launch at the European Film Market in Berlin this month.
The film reunites Taylor-Johnson and “Hell or High Water” helmer Mackenzie, who last worked together on 2018’s “Outlaw King.” With a script from Ben Hopkins, “Fuze” “opens on the discovery of an unexploded World War II bomb in a London construction site, sparking a mass evacuation – the perfect cover for a heist,” according to the film’s synopsis.
Taylor-Johnson’s stacked project lineup currently includes the headlining role in Marvel’s “Kraven and the Hunter,” due out in August; “The Fall Guy” alongside Ryan Gosling and Emily Blunt; and Robert Eggers’ highly anticipated “Nosferatu.” Mackenzie’s 2016 neo-Western “Hell or High Water” scored four Oscar noms, including best picture, and he’s also set to direct “Relay” starring Lily James, Riz Ahmed and Sam Worthington.
The film reunites Taylor-Johnson and “Hell or High Water” helmer Mackenzie, who last worked together on 2018’s “Outlaw King.” With a script from Ben Hopkins, “Fuze” “opens on the discovery of an unexploded World War II bomb in a London construction site, sparking a mass evacuation – the perfect cover for a heist,” according to the film’s synopsis.
Taylor-Johnson’s stacked project lineup currently includes the headlining role in Marvel’s “Kraven and the Hunter,” due out in August; “The Fall Guy” alongside Ryan Gosling and Emily Blunt; and Robert Eggers’ highly anticipated “Nosferatu.” Mackenzie’s 2016 neo-Western “Hell or High Water” scored four Oscar noms, including best picture, and he’s also set to direct “Relay” starring Lily James, Riz Ahmed and Sam Worthington.
- 2/8/2024
- by Ellise Shafer
- Variety Film + TV
Aaron Taylor-Johnson is set to reunite with director David Mackenzie as the star of upcoming heist thriller Fuze.
The pair previously worked together on Mackenzie’s 2018 Robert the Bruce drama Outlaw King, which followed heist drama Hell or High Water.
Written by Ben Hopkins, Fuze opens on the discovery of an unexploded World War II bomb in a London construction site, sparking a mass evacuation, which the serves as perfect cover for a heist.
‘I had the idea of combining all the high stakes of an unexploded bomb with that of a bank robbery – clashing these two genres to create as much pressure as possible in a context that feels as real as possible. Ben Hopkins took those ingredients and cooked up the compelling script that we are now taking into production,” said Mackenzie.
The film is produced by Gillian Berrie for Sigma Films and Sebastien Raybaud and Callum Grant for Anton.
Giles Nuttgens joins Mackenzie’s creative team as director of photography after previously collaborating together on Hell or High Water.
’Together David Mackenzie and Dp, Giles Nuttgens are dynamos. Just add Aaron Taylor-Johnson and we have the Midas touch for this whirlwind movie,” said Berrie.
Anton is financing and will be selling the world rights at the upcoming European Film Market in Berlin and will present a sizzle reel for the film.
David is uniquely talented at pairing large-scale filmmaking with truly unique characters. Fuze melds the relentless tension of a bomb movie to the heist genre,” said Anton’s Raybaud and Grant.
UTA Independent Film Group and WME Independent will co-rep the US rights with Anton.
Taylor-Johnson is repped by Brillstein Entertainment Partners, WME and Sloane, Offer, Weber and Dern, Llp. David Mackenzie is repped by UTA, United Agents in London, and Alan Wertheimer and Kim Jaime. Gillian Berrie is repped by UTA, United Agents in London, and Alan Wertheimer and Kim Jaime. Giles Nuttgens is repped by UTA.
The pair previously worked together on Mackenzie’s 2018 Robert the Bruce drama Outlaw King, which followed heist drama Hell or High Water.
Written by Ben Hopkins, Fuze opens on the discovery of an unexploded World War II bomb in a London construction site, sparking a mass evacuation, which the serves as perfect cover for a heist.
‘I had the idea of combining all the high stakes of an unexploded bomb with that of a bank robbery – clashing these two genres to create as much pressure as possible in a context that feels as real as possible. Ben Hopkins took those ingredients and cooked up the compelling script that we are now taking into production,” said Mackenzie.
The film is produced by Gillian Berrie for Sigma Films and Sebastien Raybaud and Callum Grant for Anton.
Giles Nuttgens joins Mackenzie’s creative team as director of photography after previously collaborating together on Hell or High Water.
’Together David Mackenzie and Dp, Giles Nuttgens are dynamos. Just add Aaron Taylor-Johnson and we have the Midas touch for this whirlwind movie,” said Berrie.
Anton is financing and will be selling the world rights at the upcoming European Film Market in Berlin and will present a sizzle reel for the film.
David is uniquely talented at pairing large-scale filmmaking with truly unique characters. Fuze melds the relentless tension of a bomb movie to the heist genre,” said Anton’s Raybaud and Grant.
UTA Independent Film Group and WME Independent will co-rep the US rights with Anton.
Taylor-Johnson is repped by Brillstein Entertainment Partners, WME and Sloane, Offer, Weber and Dern, Llp. David Mackenzie is repped by UTA, United Agents in London, and Alan Wertheimer and Kim Jaime. Gillian Berrie is repped by UTA, United Agents in London, and Alan Wertheimer and Kim Jaime. Giles Nuttgens is repped by UTA.
- 2/8/2024
- by Melanie Goodfellow
- Deadline Film + TV
Aaron Taylor-Johnson is reteaming with his Outlaw King director David Mackenzie on Fuze, a new crime thriller from the Oscar-nominated Hell or High Water filmmaker.
The plot of Fuze revolves around the discovery of an unexploded World War II bomb at a London construction site, which sparks a mass evacuation as bomb disposal experts descend to defuse it. But the distraction also provides the perfect cover for a bank heist.
European production group Anton is producing, financing and selling Fuze and will kick off presales on the project at the European Film Market in Berlin next week. UTA Independent Film Group and WME Independent will co-rep U.S. rights with Anton.
Gillian Berrie (Outlaw King, Tetris) will produce Fuze through her and Mackenzie’s production company Sigma Films together with Sebastien Raybaud and Callum Grant for Anton. Hell or High Water cinematographer Giles Nuttgens will lens the movie. Mackenzie will...
The plot of Fuze revolves around the discovery of an unexploded World War II bomb at a London construction site, which sparks a mass evacuation as bomb disposal experts descend to defuse it. But the distraction also provides the perfect cover for a bank heist.
European production group Anton is producing, financing and selling Fuze and will kick off presales on the project at the European Film Market in Berlin next week. UTA Independent Film Group and WME Independent will co-rep U.S. rights with Anton.
Gillian Berrie (Outlaw King, Tetris) will produce Fuze through her and Mackenzie’s production company Sigma Films together with Sebastien Raybaud and Callum Grant for Anton. Hell or High Water cinematographer Giles Nuttgens will lens the movie. Mackenzie will...
- 2/8/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
John Woo is giving his take on superhero movies and making it clear he’s not in favor of the films coming out of Marvel and DC Studios.
In a new interview, Woo was asked to weigh on about recent movies he’s liked and is asked for his thoughts on comic book-based films.
“I’ve never liked watching movies with big special effects, or anything based on comic books. I prefer Martin Scorsese’s movies, that kind of cinema. I can’t wait to watch Killers of the Flower Moon,” Woo told The New Yorker. “I like old-fashioned movies, you know? Real cinema. There aren’t many movies like that lately.”
Of the recent action movies that Woo has liked he mentioned David Mackenzie’s Hell or High Water citing “Good performances, good action. It feels like a tragedy.” Woo also noted that he loved the cinematography in the...
In a new interview, Woo was asked to weigh on about recent movies he’s liked and is asked for his thoughts on comic book-based films.
“I’ve never liked watching movies with big special effects, or anything based on comic books. I prefer Martin Scorsese’s movies, that kind of cinema. I can’t wait to watch Killers of the Flower Moon,” Woo told The New Yorker. “I like old-fashioned movies, you know? Real cinema. There aren’t many movies like that lately.”
Of the recent action movies that Woo has liked he mentioned David Mackenzie’s Hell or High Water citing “Good performances, good action. It feels like a tragedy.” Woo also noted that he loved the cinematography in the...
- 11/22/2023
- by Armando Tinoco
- Deadline Film + TV
John Woo, the legendary director of The Killer, Hard Boiled and Face/Off has rightly professed his love for David Mackenzie’s 2016 thriller, Hell Or High Water. What impeccable taste.
As is customary these days, a respected outlet has published a fascinating, in-depth interview with a respected filmmaker, and the rest of the internet has zeroed in on the bit where they glancingly talk about Marvel films.
Such is the case with the legendary John Woo, who changed action movies forever with such Hong Kong thrillers as The Killer and Hard Boiled, before moving to Hollywood with the likes of Hard Target, Face/Off and Mission: Impossible 2.
The New Yorker caught up with Mr Woo just as he unleashes his latest film, the great-sounding Christmas thriller Silent Night, in which Joel Kinnaman plays a grieving father on a festive revenge mission. Incredibly, it’s Woo’s first in 20 years. To mark the occasion,...
As is customary these days, a respected outlet has published a fascinating, in-depth interview with a respected filmmaker, and the rest of the internet has zeroed in on the bit where they glancingly talk about Marvel films.
Such is the case with the legendary John Woo, who changed action movies forever with such Hong Kong thrillers as The Killer and Hard Boiled, before moving to Hollywood with the likes of Hard Target, Face/Off and Mission: Impossible 2.
The New Yorker caught up with Mr Woo just as he unleashes his latest film, the great-sounding Christmas thriller Silent Night, in which Joel Kinnaman plays a grieving father on a festive revenge mission. Incredibly, it’s Woo’s first in 20 years. To mark the occasion,...
- 11/21/2023
- by Ryan Lambie
- Film Stories
John Woo is perhaps the greatest action director of all time. No one can shoot action as kinetically as him, and his style paved the way for everyone from Sam Raimi to The Wachowskis to Chad Stahelski, whose John Wick movies are a love letter to the movies Woo made with Chow Yun-Fat. With his comeback movie Silent Night getting good buzz and hitting theatres on December 1st, John Woo recently sat down with The New Yorker for an extensive, wide-ranging interview about his life and career.
Of course, the magazine couldn’t help but ask Woo for his thoughts on superhero movies, with the legendary director coming down firmly on team Scorsese, who’s been outspoken about his dislike of the genre. “I’ve never liked watching movies with big special effects or anything based on comic books. I prefer Martin Scorsese’s movies, that kind of cinema. I...
Of course, the magazine couldn’t help but ask Woo for his thoughts on superhero movies, with the legendary director coming down firmly on team Scorsese, who’s been outspoken about his dislike of the genre. “I’ve never liked watching movies with big special effects or anything based on comic books. I prefer Martin Scorsese’s movies, that kind of cinema. I...
- 11/19/2023
- by Chris Bumbray
- JoBlo.com
Stars: Millie Bobby Brown, Henry Cavill, Louis Partridge, Helena Bonham Carter, David Thewlis | Written by Jack Thorne | Directed by Harry Bradbeer
Fresh off the triumph of solving her first case, Enola Holmes (Millie Bobby Brown) follows in the footsteps of her famous brother, Sherlock (Henry Cavill), and opens her own agency — only to find that life as a female detective-for-hire isn’t as easy as it seems. Resigned to accept the cold realities of adulthood, she is about to close shop when a penniless matchstick girl offers Enola her first official job: to find her missing sister. But this case proves to be far more puzzling than expected, as Enola is thrown into a dangerous new world — from London’s sinister factories and colorful music halls, to the highest echelons of society and 221B Baker Street itself. As the sparks of a deadly conspiracy ignite, Enola must call upon the...
Fresh off the triumph of solving her first case, Enola Holmes (Millie Bobby Brown) follows in the footsteps of her famous brother, Sherlock (Henry Cavill), and opens her own agency — only to find that life as a female detective-for-hire isn’t as easy as it seems. Resigned to accept the cold realities of adulthood, she is about to close shop when a penniless matchstick girl offers Enola her first official job: to find her missing sister. But this case proves to be far more puzzling than expected, as Enola is thrown into a dangerous new world — from London’s sinister factories and colorful music halls, to the highest echelons of society and 221B Baker Street itself. As the sparks of a deadly conspiracy ignite, Enola must call upon the...
- 11/7/2022
- by Caillou Pettis
- Nerdly
The original "Enola Holmes," directed by "Fleabag" helmer Harry Bradbeer and based on Nancy Springer's book series "The Enola Holmes Mysteries," burst onto the scene with surprising aplomb. Following Enola Holmes (an excellent Millie Bobbie Brown), the brilliant and rebelliously independent teen sister of Sherlock (Henry Cavill) and Mycroft (Sam Claflin), the first film sees young Enola working to find Holmes matriarch Eudoria (Helena Bonham Carter) and discovering that a bigger mystery is afoot. The freshman mystery adaptation was smartly written and charming with a wonderful performance by star and producer Millie Bobbie Brown. With the groundwork laid for a strong second outing, "Enola Holmes 2" had a number of legs up on its forebear outing alongside relevantly higher stakes.
It's an interesting emerging franchise for dominant streamer Netflix. With the first film originally set for a theatrical release before its acquisition by Netflix, "Enola Holmes 2" confirms that...
It's an interesting emerging franchise for dominant streamer Netflix. With the first film originally set for a theatrical release before its acquisition by Netflix, "Enola Holmes 2" confirms that...
- 11/3/2022
- by Jeff Ewing
- Slash Film
(Welcome to ...And More, our no-frills, zero B.S. guide to when and where you can watch upcoming movies and shows, and everything else you could possibly stand to know.)
Among the rare good things to come out of 2020 was "Enola Holmes," a film that manages to blend the millennial energy of "Dickinson" with the introspective, fourth wall-breaking of "Fleabag". The high-spirited mystery-adventure tells the story of tenacious sleuth Enola Holmes, a character who was created by author Nancy Springer and is technically Sherlock Holmes' sister in the official Arthur Conan Doyle canon now. Yay for the public domain!
Leading the way as Enola in the film version is "Stranger Things" veteran Millie Bobby Brown, with Henry Cavill co-starring as an atypically polite and empathetic Sherlock — a matter that, oddly enough, was once at the heart of a since-resolved lawsuit filed by the Doyle estate. Both will return in the upcoming sequel,...
Among the rare good things to come out of 2020 was "Enola Holmes," a film that manages to blend the millennial energy of "Dickinson" with the introspective, fourth wall-breaking of "Fleabag". The high-spirited mystery-adventure tells the story of tenacious sleuth Enola Holmes, a character who was created by author Nancy Springer and is technically Sherlock Holmes' sister in the official Arthur Conan Doyle canon now. Yay for the public domain!
Leading the way as Enola in the film version is "Stranger Things" veteran Millie Bobby Brown, with Henry Cavill co-starring as an atypically polite and empathetic Sherlock — a matter that, oddly enough, was once at the heart of a since-resolved lawsuit filed by the Doyle estate. Both will return in the upcoming sequel,...
- 8/18/2022
- by Sandy Schaefer
- Slash Film
“Montana Story,” the latest film from longtime co-directors Scott McGhee and David Siegel, opens on chickens.
It’s an apt first note for this pastoral story, where everyday life acts as a backdrop for wrenching character backstories. The script is a touch too novelistic and the ending rather predictable, but pitch-perfect performances keep this melodrama from slipping too far into mawkishness.
The titular story is one of two estranged, 20-something siblings reunited over their comatose father. At first only Cal, played by Owen Teague (“It”), shows up to get everything in order. He struggles to pay their longtime housekeeper, Valentina; to reconcile his father’s debts; and to re-home his beloved (but now ancient) childhood horse. A seismic shock arrives in the form of his sister, Erin (the excellent Haley Lu Richardson), from whom he hasn’t heard in seven years.
A harrowing act by their father spurred Erin’s departure,...
It’s an apt first note for this pastoral story, where everyday life acts as a backdrop for wrenching character backstories. The script is a touch too novelistic and the ending rather predictable, but pitch-perfect performances keep this melodrama from slipping too far into mawkishness.
The titular story is one of two estranged, 20-something siblings reunited over their comatose father. At first only Cal, played by Owen Teague (“It”), shows up to get everything in order. He struggles to pay their longtime housekeeper, Valentina; to reconcile his father’s debts; and to re-home his beloved (but now ancient) childhood horse. A seismic shock arrives in the form of his sister, Erin (the excellent Haley Lu Richardson), from whom he hasn’t heard in seven years.
A harrowing act by their father spurred Erin’s departure,...
- 5/13/2022
- by Lena Wilson
- The Wrap
It takes a certain amount of expertise to build a narrative without telling the audience everything as soon as possible. In Montana Story, filmmakers Scott McGehee and David Siegel demonstrate incredible restraint and a hefty trust in their audience. The basic premise: two siblings converge to face old sins and lingering scars as their father lies comatose in the final days of his life. McGehee and Siegel have been turning out impressive pictures for thirty years; this is their most nuanced to date.
Haley Lu Richardson plays Erin, returning after running away seven years ago. Owen Teague plays Cal, the half-brother who stayed to clean up the mess. Set in Paradise Valley, Montana, and shot in 35mm wides by cinematographer Giles Nuttgens, this is a “small” story framed as grand, where the problems of three little people do amount to a hill of beans in this crazy world. Cal must...
Haley Lu Richardson plays Erin, returning after running away seven years ago. Owen Teague plays Cal, the half-brother who stayed to clean up the mess. Set in Paradise Valley, Montana, and shot in 35mm wides by cinematographer Giles Nuttgens, this is a “small” story framed as grand, where the problems of three little people do amount to a hill of beans in this crazy world. Cal must...
- 5/11/2022
- by Dan Mecca
- The Film Stage
While our recently published summer movie preview was a fairly comprehensive look at what we’re most anticipating over the next few months, some surprises still await. Case in point: the release date of our #1 pick to see this month was only unveiled a few days ago. Featuring long-awaited festival favorites, genre delights, medium-length work, and even—yes!—a blockbuster, check out our picks below.
13. Men (Alex Garland; May 20 in theaters)
Alex Garland’s Men is a curious creation, oddly misshapen and thematically simplistic, yet this contained psychological horror-thriller has a go-for-broke finale worth the price of admission simply for the confounding glances one will have with fellow moviegoers exiting the theater. Telling the story of Jessie Buckley’s character as she contends with recent trauma and the various shades of misogynistic demons that intend to interrupt her healing, the build-up is an impressive tightrope walk of horror and humor...
13. Men (Alex Garland; May 20 in theaters)
Alex Garland’s Men is a curious creation, oddly misshapen and thematically simplistic, yet this contained psychological horror-thriller has a go-for-broke finale worth the price of admission simply for the confounding glances one will have with fellow moviegoers exiting the theater. Telling the story of Jessie Buckley’s character as she contends with recent trauma and the various shades of misogynistic demons that intend to interrupt her healing, the build-up is an impressive tightrope walk of horror and humor...
- 5/3/2022
- by Jordan Raup
- The Film Stage
A well-observed neo-western that is rich with atmosphere, the latest film from Scott McGehee and David Siegel (What Maisie Knew), follows estranged siblings (Owen Teague and Haley Lu Richardson) who reconnect after their father falls ill. A layered study of reckoning with past demons and contending with American myths, it’s an early highlight of the summer season.
Following its TIFF premiere, Bleecker Street has now set a May 13 theatrical release and dropped the first trailer and poster. As one can glean from the trailer, cinematographer Giles Nuttgens brings the same level of patience and quiet grandeur in capturing the American West as he did in Hell or High Water. Fans of Kelly Reichardt should also find a great deal to appreciate in the subtle approach to an emotional throughline.
See the trailer and poster below.
Montana Story opens in theaters on May 13.
The post Montana Story Trailer: Haley Lu...
Following its TIFF premiere, Bleecker Street has now set a May 13 theatrical release and dropped the first trailer and poster. As one can glean from the trailer, cinematographer Giles Nuttgens brings the same level of patience and quiet grandeur in capturing the American West as he did in Hell or High Water. Fans of Kelly Reichardt should also find a great deal to appreciate in the subtle approach to an emotional throughline.
See the trailer and poster below.
Montana Story opens in theaters on May 13.
The post Montana Story Trailer: Haley Lu...
- 4/20/2022
- by Jordan Raup
- The Film Stage
It’s often said that the Western genre is a barometer for the American psyche, with the best Western films reflecting the values and anxieties of the era in which they were made. If that’s true, “Montana Story” is a perfect example. The latest film from “The Deep End” directors Scott McGehee and David Siegel uses the Mythic West as a backdrop to examine repressed family drama and crippling medical expenses, topics that are certainly top of mind these days for many Americans. The indie filmmaking duo have not released a new film since 2012’s “What Maisie Knew,” but a new trailer for “Montana Story” suggests a welcome return to form for them. Watch it exclusively on IndieWire below.
The official synopsis for “Montana Story” describes the film as “a neo-Western with an emotional tremor hiding beneath it. Two estranged siblings (Haley Lu Richardson and Owen Teague) return home...
The official synopsis for “Montana Story” describes the film as “a neo-Western with an emotional tremor hiding beneath it. Two estranged siblings (Haley Lu Richardson and Owen Teague) return home...
- 4/19/2022
- by Christian Zilko
- Indiewire
Like its title, the opening shot of Montana Story tells us exactly where we are, as the morning sun peeks over the craggy mountaintops of Big Sky Country. But the sweeping landscapes here — captured by cinematographer Giles Nuttgens with a casual embrace of their beauty that never falls into the postcard trap of majestic awe — serve a different purpose. The idea that all the panoramic splendor equates to a sense of peace and belonging is called into question by damaged characters fumbling for perspective in Scott McGehee and David Siegel’s affecting drama, its tight ensemble led by performances of heart-searing sensitivity from Haley Lu Richardson and Owen Teague.
Since their head-turning 1993 debut with Suture, McGehee and Siegel have been making smart, distinctive movies about knotty family ties, notably the neo-noir The Deep End and an underappreciated contemporary Henry James adaptation, What Maisie Knew.
They remain in that thematic territory...
Since their head-turning 1993 debut with Suture, McGehee and Siegel have been making smart, distinctive movies about knotty family ties, notably the neo-noir The Deep End and an underappreciated contemporary Henry James adaptation, What Maisie Knew.
They remain in that thematic territory...
- 9/16/2021
- by David Rooney
- The Hollywood Reporter - Movie News
Like its title, the opening shot of Montana Story tells us exactly where we are, as the morning sun peeks over the craggy mountaintops of Big Sky Country. But the sweeping landscapes here — captured by cinematographer Giles Nuttgens with a casual embrace of their beauty that never falls into the postcard trap of majestic awe — serve a different purpose. The idea that all the panoramic splendor equates to a sense of peace and belonging is called into question by damaged characters fumbling for perspective in Scott McGehee and David Siegel’s affecting drama, its tight ensemble led by performances of heart-searing ...
- 9/16/2021
- The Hollywood Reporter - Movie News
Like its title, the opening shot of Montana Story tells us exactly where we are, as the morning sun peeks over the craggy mountaintops of Big Sky Country. But the sweeping landscapes here — captured by cinematographer Giles Nuttgens with a casual embrace of their beauty that never falls into the postcard trap of majestic awe — serve a different purpose. The idea that all the panoramic splendor equates to a sense of peace and belonging is called into question by damaged characters fumbling for perspective in Scott McGehee and David Siegel’s affecting drama, its tight ensemble led by performances of heart-searing ...
- 9/16/2021
- The Hollywood Reporter - Film + TV
Cal (Owen Teague) arrives on a large Montana spread, his long face and hesitant gait foretelling what his father’s large wooden, picturesque home holds. When he enters, an overbearing beeping sound arises, and a kind-spoken Kenyan nurse named Ace (Gilbert Owuor) greets him. Cal’s father had a stroke. He’s now lying in the living room in a permanent coma attached to life support. The ranch isn’t in much better shape: A lapsed mortgage, no cattle, a 25-year-old stallion on its last legs, and a few chickens account for what remains.
Cal tries to shoulder the burden alone until his estranged sister Erin (a profound Haley Lu Richardson) makes an unannounced appearance. The pair haven’t spoken for seven years. Back then, Erin outed their father in the school paper as a lawyer covering up a toxic mess at a local mine. Their father attacked her, beating her nearly to death,...
Cal tries to shoulder the burden alone until his estranged sister Erin (a profound Haley Lu Richardson) makes an unannounced appearance. The pair haven’t spoken for seven years. Back then, Erin outed their father in the school paper as a lawyer covering up a toxic mess at a local mine. Their father attacked her, beating her nearly to death,...
- 9/11/2021
- by Robert Daniels
- Indiewire
Exclusive: Scott McGehee and David Siegel just wrapped production this week on Montana Story after six weeks of shooting their script in and around the Paradise Valley south of Livingston, Montana.
Montana Story follows two estranged siblings, played by Haley Lu Richardson and Owen Teague, as they return home to the sprawling ranch they once knew and loved. Against a Western landscape both mythical and uncertain, they’re forced to confront a bitter family legacy and forge a new path forward. The fates of their ailing, unscrupulous father and a beloved old horse hang in the balance.
Film also stars Kimberly Guerrero (The Glorias) and Eugene Brave Rock (Wonder Woman).
Siegel and McGehee wrote, directed and produced, along with producing partner Jennifer Roth. Pic was shot on 35mm...
Montana Story follows two estranged siblings, played by Haley Lu Richardson and Owen Teague, as they return home to the sprawling ranch they once knew and loved. Against a Western landscape both mythical and uncertain, they’re forced to confront a bitter family legacy and forge a new path forward. The fates of their ailing, unscrupulous father and a beloved old horse hang in the balance.
Film also stars Kimberly Guerrero (The Glorias) and Eugene Brave Rock (Wonder Woman).
Siegel and McGehee wrote, directed and produced, along with producing partner Jennifer Roth. Pic was shot on 35mm...
- 12/16/2020
- by Mike Fleming Jr
- Deadline Film + TV
Sometimes, you can just sense a franchise being born. Often, that feeling is one of indifference or resignation, since it’s among the least creative things that Hollywood can do. On occasion, however, the spark of a fun new character is enough to pique your interest and make subsequent adventures something to look forward to. Netflix’s Enola Holmes, hitting the streaming giant today, is one such example of this. On the surface, following Sherlock Holmes’ teenage sister around shouldn’t engender this kind of excitement, but the execution of the character is so delightful, it’s hard to feel any other way. Frankly, the Holmes name hasn’t been attached to something this fun in some time. The film is an adventure, putting a teen angle on an iconic family of literary characters. Set in England, circa 1884, when change was in the air, teen Enola Holmes (Millie Bobby Brown...
- 9/23/2020
- by Joey Magidson
- Hollywoodnews.com
It might not be considered Asian by its production country (UK), the origins of its writer/director Michael Winterbottom, or, frankly, by its style that fits the bill of a British globe-trotting thriller, but “The Wedding Guest”, showing at Art Film Fest in Košice, deserves its Asian Movie Pulse review. At least the filming locations were in India and Pakistan, the cast consists of Indian-British star actors and the theme is very much rooted in the culture Indian sub-continent, fresh, approached from an interesting angle and wrapped up in a smooth genre-esque ride.
“The Wedding Guest” is screening at the 27th Art Film Fest Kosice
In the opening montage, we get to see a still nameless, solitary man (Dev Patel), preparing himself for the trip. The nature of his mission is not clear yet, but is certainly clandestine, as he is carrying multiple passports. Once in Pakistan, he travels across the country,...
“The Wedding Guest” is screening at the 27th Art Film Fest Kosice
In the opening montage, we get to see a still nameless, solitary man (Dev Patel), preparing himself for the trip. The nature of his mission is not clear yet, but is certainly clandestine, as he is carrying multiple passports. Once in Pakistan, he travels across the country,...
- 6/19/2019
- by Marko Stojiljković
- AsianMoviePulse
I think it’s safe to say that Dev Patel is an underrated leading man in Hollywood, that is, when he’s actually given a leading role. Those are few and far between for him. Still, when he’s allowed the chance, he shows his chops, even if the material is not up to snuff. Such is the case here with The Wedding Guest, a low-key thriller that begins with potential but slowly squanders it away. The key word here is slowly too, as everything about this film is slow. For a short movie, it feels twice as long. Throw in a terrible ending and this all adds up to a disappointment, Patel excluded. The film is a thriller that begins as a mystery. We begin by following a mysterious British Muslim man named Jay (Patel) on his journey from Britain to Pakistan. Soon, we realize that he’s been...
- 3/2/2019
- by Joey Magidson
- Hollywoodnews.com
Like the protagonist of his latest film, The Wedding Guest, Michael Winterbottom is a wanderer–cinematically, that is. There are few filmmakers in modern cinema who hop between genres quite like the British helmer. Consider just a few entries from his gobsmackingly lengthy filmography: a Thomas Hardy adaptation (Jude); a war film set in 1990s Sarajevo (Welcome to Sarajevo); a second Hardy adaptation shot in snowy Canada (The Claim); a future-set love story (Code 46); a sexually-explicit anthology centered around songs from the likes of Primal Scream and Franz Ferdinand (9 Songs); a documentary based on the work of Naomi Klein and another featuring Russell Brand (The Shock Doctrine and The Emperor’s New Clothes); and a tremendously violent and unsettling Jim Thompson adaptation (The Killer Inside Me).
That list does not even include his greatest works–24 Hour Party People, A Mighty Heart, The Trip, and its follow-ups. The Wedding Guest is,...
That list does not even include his greatest works–24 Hour Party People, A Mighty Heart, The Trip, and its follow-ups. The Wedding Guest is,...
- 2/26/2019
- by Christopher Schobert
- The Film Stage
Knightley plays a woman reclaiming her voice in Wash Westmoreland’s beautiful biopic of the French author
Keira Knightley delivers a playfully sly, subtly nuanced performance in director and co-writer Wash Westmoreland’s biographical drama about the titular French writer and performer. Focusing on Colette’s early power struggles with her egotistical husband (Dominic West) and her challenging of traditional gender boundaries, it’s an empowering and entertaining tale of a woman finding her own voice in a society in flux. Beautifully shot by cinematographer Giles Nuttgens, with production designs inspired by the French films of German director Max Ophüls, Colette convincingly conjures a late-19th/early-20th century milieu, to which it adds a thoroughly modern sensibility.
In late-1880s rural Burgundy, vagabond spirit and self-proclaimed “country girl” Sidonie-Gabrielle Colette is courted by literary entrepreneur Henri Gauthier-Villars, marriage to whom opens the door to an exciting new world in Paris.
Keira Knightley delivers a playfully sly, subtly nuanced performance in director and co-writer Wash Westmoreland’s biographical drama about the titular French writer and performer. Focusing on Colette’s early power struggles with her egotistical husband (Dominic West) and her challenging of traditional gender boundaries, it’s an empowering and entertaining tale of a woman finding her own voice in a society in flux. Beautifully shot by cinematographer Giles Nuttgens, with production designs inspired by the French films of German director Max Ophüls, Colette convincingly conjures a late-19th/early-20th century milieu, to which it adds a thoroughly modern sensibility.
In late-1880s rural Burgundy, vagabond spirit and self-proclaimed “country girl” Sidonie-Gabrielle Colette is courted by literary entrepreneur Henri Gauthier-Villars, marriage to whom opens the door to an exciting new world in Paris.
- 1/6/2019
- by Mark Kermode, Observer film critic
- The Guardian - Film News
Costume designer Andrea Flesch assembled more than 50 outfits to define the title character in “Colette,” a film in which period costumes strongly support the story of avant-garde French novelist Sidonie-Gabrielle Colette, who lived from 1873 to 1954 and became identified with such issues as creative copyright ownership and women’s emancipation.
The film, directed by Wash Westmoreland (“Still Alice”), stars Keira Knightley as “Colette,” a girl from rural France who marries Willy, a sophisticated Parisian writer played by Dominic West. Bleecker Street will release the picture Sept. 21.
Flesch aimed to define Colette as she embarks on her journey from country to city and from suppressed ghostwriter to literary fame, perhaps most notably for the 1944 novella “Gigi,” on which the 1958 best picture Oscar winner is based. “From the beginning, Wash and I discussed our vision of the film,” she says. “What’s special in her character is that she always finds her way to be unique and modern.
The film, directed by Wash Westmoreland (“Still Alice”), stars Keira Knightley as “Colette,” a girl from rural France who marries Willy, a sophisticated Parisian writer played by Dominic West. Bleecker Street will release the picture Sept. 21.
Flesch aimed to define Colette as she embarks on her journey from country to city and from suppressed ghostwriter to literary fame, perhaps most notably for the 1944 novella “Gigi,” on which the 1958 best picture Oscar winner is based. “From the beginning, Wash and I discussed our vision of the film,” she says. “What’s special in her character is that she always finds her way to be unique and modern.
- 9/21/2018
- by Daron James
- Variety Film + TV
Colette was a pioneer in women’s rights, an author who was nominated for the Nobel prize in literature six years before her death in 1954. But director Wash Westmoreland (Still Alice) — working from a script he wrote with his late husband Richard Glatzer and Rebecca Lenkiewicz — has rightly refused to fashion a stuffy biopic out of Colette’s life. This is the story of Colette’s empowerment, a theme that rings timely and true in the era of #MeToo and #TimesUp. This is the firebrand Colette that Knightley plays with every fiber of her being.
- 9/20/2018
- by Peter Travers
- Rollingstone.com
When you think of costume dramas over the past decade or so, it’s probably a safe bet that you also think of Kiera Knightley. The queen of the costume drama/period piece, she often does her best work while in those sorts of outfits. This week, she adds another one to her cinematic closet, as it were, when Colette opens. In some ways, this is a traditional role for her, while in others, it’s much more modern than you might expect. However you slice it, this is a solid flick with a tremendous performance by Knightley. She’s heads and tails the best part of the movie. Moreover, it’s just her movie. The film is a period piece, of course. The substantial plot synopsis provided by Bleeker Street is as follows: “After marrying a successful Parisian writer known commonly as “Willy” (Dominic West), Sidonie-Gabrielle Colette (Keira Knightley...
- 9/20/2018
- by Joey Magidson
- Hollywoodnews.com
Giles Nuttgens received a BAFTA nomination last year for his work on David Mackenzie’s Hell or High Water. The Dp’s other recent credits include Sundance premieres God Help the Girl (2014), The D Train (2015), The Fundamentals of Caring (2016). He returns to the festival this year with Colette, a UK drama starring Keira Knightley and Dominic West. Below, he discusses working with director Wash Westmoreland, the inspiration of Max Ophuls and avoiding the “‘chocolate box’ type of imagery that one often sees on period films.” Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors […]...
- 1/25/2018
- by Filmmaker Staff
- Filmmaker Magazine - Blog
An unexpected pleasure at this year’s Tribeca Film Festival, Tokyo Project is a romantic drama with a psychological twist starring Elisabeth Moss and Ebon Moss-Bacharach and directed by Richard Shepard, whose career traverses dark comedies like The Matador and Dom Hemingway as well as some of the most memorable episodes of TV’s Girls. But what’s unexpected about this story of two American wanderers who hook up in Tokyo while both seemingly escaping their normal lives is, simply, its existence. The half-hour work is beautifully acted and shot (by Giles Nuttgens), coursing with a kind of romantic cinephilia, and, unlike other […]...
- 4/26/2017
- by Scott Macaulay
- Filmmaker Magazine - Blog
The American Society of Cinematographers nominees for the 31st annual Asc Awards (February 4) boost Oscar frontrunners “La La Land” and “Moonlight” as well as Rodrigo Prieto’s 35 mm work on “Silence,” Greig Fraser’s “Lion” and “Arrival,” whose cinematographer Bradford Young would be the first African-American Oscar nominee.
“Arrival,” “La La Land” and “Lion” also landed BAFTA nods.
Left out by the Asc but still vying for Oscar nominations are Charlotte Bruus Christensen (“Fences”), Roger Deakins (“Hail, Caesar!”), Stephane Fontaine (“Jackie”), Jody Lee Lipes (“Manchester By the Sea”), Seamus McGarvey (“Nocturnal Animals”), Giles Nuttgens (“Hell or High Water”) and Mandy Walker (“Hidden Figures”).
The Asc nominees below are all first-timers except for third-timer Prieto, who was also nominated “Frida” (2002) and “Brokeback Mountain” (2005). All other nominees this year are first-time contenders (see my Oscar predictions in this category):
Greig Fraser, Asc, Acs for “Lion”
James Laxton for “Moonlight”
Rodrigo Prieto,...
“Arrival,” “La La Land” and “Lion” also landed BAFTA nods.
Left out by the Asc but still vying for Oscar nominations are Charlotte Bruus Christensen (“Fences”), Roger Deakins (“Hail, Caesar!”), Stephane Fontaine (“Jackie”), Jody Lee Lipes (“Manchester By the Sea”), Seamus McGarvey (“Nocturnal Animals”), Giles Nuttgens (“Hell or High Water”) and Mandy Walker (“Hidden Figures”).
The Asc nominees below are all first-timers except for third-timer Prieto, who was also nominated “Frida” (2002) and “Brokeback Mountain” (2005). All other nominees this year are first-time contenders (see my Oscar predictions in this category):
Greig Fraser, Asc, Acs for “Lion”
James Laxton for “Moonlight”
Rodrigo Prieto,...
- 1/11/2017
- by Anne Thompson
- Thompson on Hollywood
The American Society of Cinematographers nominees for the 31st annual Asc Awards (February 4) boost Oscar frontrunners “La La Land” and “Moonlight” as well as Rodrigo Prieto’s 35 mm work on “Silence,” Greig Fraser’s “Lion” and “Arrival,” whose cinematographer Bradford Young would be the first African-American Oscar nominee.
“Arrival,” “La La Land” and “Lion” also landed BAFTA nods.
Left out by the Asc but still vying for Oscar nominations are Charlotte Bruus Christensen (“Fences”), Roger Deakins (“Hail, Caesar!”), Stephane Fontaine (“Jackie”), Jody Lee Lipes (“Manchester By the Sea”), Seamus McGarvey (“Nocturnal Animals”), Giles Nuttgens (“Hell or High Water”) and Mandy Walker (“Hidden Figures”).
The Asc nominees below are all first-timers except for third-timer Prieto, who was also nominated “Frida” (2002) and “Brokeback Mountain” (2005). All other nominees this year are first-time contenders (see my Oscar predictions in this category):
Greig Fraser, Asc, Acs for “Lion”
James Laxton for “Moonlight”
Rodrigo Prieto,...
“Arrival,” “La La Land” and “Lion” also landed BAFTA nods.
Left out by the Asc but still vying for Oscar nominations are Charlotte Bruus Christensen (“Fences”), Roger Deakins (“Hail, Caesar!”), Stephane Fontaine (“Jackie”), Jody Lee Lipes (“Manchester By the Sea”), Seamus McGarvey (“Nocturnal Animals”), Giles Nuttgens (“Hell or High Water”) and Mandy Walker (“Hidden Figures”).
The Asc nominees below are all first-timers except for third-timer Prieto, who was also nominated “Frida” (2002) and “Brokeback Mountain” (2005). All other nominees this year are first-time contenders (see my Oscar predictions in this category):
Greig Fraser, Asc, Acs for “Lion”
James Laxton for “Moonlight”
Rodrigo Prieto,...
- 1/11/2017
- by Anne Thompson
- Indiewire
Read More: 2017 Oscar Predictions
Several newcomers could break into the ranks of nominated cinematographers this year, including “Arrival” Dp Bradford Young and Charlotte Bruus Christensen of “Fences.” Both would mark firsts for an African American or a woman landing an Oscar nomination in this category.
Read More: How the Election Could Impact Oscar Craft Nominations
(Listed in alphabetical order.)
Frontrunners
Greig Fraser (“Lion”)
James Laxton (“Moonlight”)
Rodrigo Prieto (“Silence”)
Linus Sandgren (“La La Land”)
Bradford Young (“Arrival”)
Contenders
Charlotte Bruus Christensen (“Fences”)
Roger Deakins (“Hail, Caesar!”)
Stephane Fontaine (“Jackie”)
Jody Lee Lipes (“Manchester By the Sea”)
Seamus McGarvey (“Nocturnal Animals”)
Giles Nuttgens (“Hell or High Water”)
Mandy Walker (“Hidden Figures”)
Stay on top of the latest breaking Oscar news! Sign up for our Awards newsletters here.
Related stories'Pearl': How Google Spotlight Turned a Vr Short Into an Oscar Contender2017 Oscar Predictions: Best Editing2017 Oscar Predictions: Best Production Design...
Several newcomers could break into the ranks of nominated cinematographers this year, including “Arrival” Dp Bradford Young and Charlotte Bruus Christensen of “Fences.” Both would mark firsts for an African American or a woman landing an Oscar nomination in this category.
Read More: How the Election Could Impact Oscar Craft Nominations
(Listed in alphabetical order.)
Frontrunners
Greig Fraser (“Lion”)
James Laxton (“Moonlight”)
Rodrigo Prieto (“Silence”)
Linus Sandgren (“La La Land”)
Bradford Young (“Arrival”)
Contenders
Charlotte Bruus Christensen (“Fences”)
Roger Deakins (“Hail, Caesar!”)
Stephane Fontaine (“Jackie”)
Jody Lee Lipes (“Manchester By the Sea”)
Seamus McGarvey (“Nocturnal Animals”)
Giles Nuttgens (“Hell or High Water”)
Mandy Walker (“Hidden Figures”)
Stay on top of the latest breaking Oscar news! Sign up for our Awards newsletters here.
Related stories'Pearl': How Google Spotlight Turned a Vr Short Into an Oscar Contender2017 Oscar Predictions: Best Editing2017 Oscar Predictions: Best Production Design...
- 1/10/2017
- by Anne Thompson
- Indiewire
And the winners are…
Awfj Best Of Awards
These awards are presented to women and/or men without gender consideration.
Best Film: Moonlight
Best Director: Barry Jenkins – Moonlight
Best Screenplay, Original: Manchester by the Sea – Kenneth Lonergan
Best Screenplay, Adapted: Moonlight – Barry Jenkins
Best Documentary: 13th – Ava DuVernay
Best Animated Film: Zootopia – Byron Howard, Rich Moore, Jared Bush
Best Actress: Ruth Negga – Loving
Best Actress in a Supporting Role: Viola Davis – Fences
Best Actor: Casey Affleck – Manchester by the Sea
Best Actor in a Supporting Role: Mahershala Ali – Moonlight
Best Ensemble Cast – Casting Director: Moonlight – Yesi Ramirez
Best Cinematography: Moonlight – James Laxton
Best Editing: Moonlight – Joi McMillon and Nat Sanders
Best Non-English-Language Film: The Handmaiden – Chan-Wook Park, South Korea
Eda Female Focus Awards
These awards honor women only.
Best Woman Director: Ava DuVernay – 13th
Best Woman Screenwriter: Kelly Reichardt – Certain Women
Best Animated Female: Judy in Zootopia – Ginnifer Goodwin And...
Awfj Best Of Awards
These awards are presented to women and/or men without gender consideration.
Best Film: Moonlight
Best Director: Barry Jenkins – Moonlight
Best Screenplay, Original: Manchester by the Sea – Kenneth Lonergan
Best Screenplay, Adapted: Moonlight – Barry Jenkins
Best Documentary: 13th – Ava DuVernay
Best Animated Film: Zootopia – Byron Howard, Rich Moore, Jared Bush
Best Actress: Ruth Negga – Loving
Best Actress in a Supporting Role: Viola Davis – Fences
Best Actor: Casey Affleck – Manchester by the Sea
Best Actor in a Supporting Role: Mahershala Ali – Moonlight
Best Ensemble Cast – Casting Director: Moonlight – Yesi Ramirez
Best Cinematography: Moonlight – James Laxton
Best Editing: Moonlight – Joi McMillon and Nat Sanders
Best Non-English-Language Film: The Handmaiden – Chan-Wook Park, South Korea
Eda Female Focus Awards
These awards honor women only.
Best Woman Director: Ava DuVernay – 13th
Best Woman Screenwriter: Kelly Reichardt – Certain Women
Best Animated Female: Judy in Zootopia – Ginnifer Goodwin And...
- 12/22/2016
- by MaryAnn Johanson
- www.flickfilosopher.com
In Hell or High Water two brothers (Chris Pine and Ben Foster) embark on a spree of heists intended to fleece predatory Texas banks, with an about-to-retire Texas Ranger (Jeff Bridges) hot on their heels. The film is an elegy to a dying way of life – not only for family ranchers Pine and Foster, but also for lawman Bridges. Making the movie was an elegy of sorts as well for cinematographer Giles Nuttgens, a vocal celluloid proponent who ultimately opted to shoot with an Alexa Studio on the project. In the words of another great western requiem The Wild […]...
- 12/19/2016
- by Matt Mulcahey
- Filmmaker Magazine - Blog
The Alliance of Women Film Journalists have announced the nominees for the 2016 Awfj Eda Awards.
In their 10th annual awards season, the 25 categories are divided into three sections, the Best Of Awards, Female Focus Awards and Eda Special Mention Awards.
Andrea Arnold, Ava DuVernay, Rebecca Miller, Mira Nair and Lorene Scafaria were among the filmmakers nominated in this year’s awards.
Nominees in each category are determined by Awfj members who submit nominating ballots. There are currently 76 voting Awfj members.
The winners will be announced on December 21.
2016 Awfj Eda Awards Nominees
Awfj Best Of Awards
These awards are presented to women and/or men without gender consideration.
Best Film
Arrival
Hell or High Water
La La Land
Manchester by the Sea
Moonlight
Best Director
Damien Chazelle – La La Land
Barry Jenkins – Moonlight
Kenneth Lonergan – Manchester by the Sea
David Mackenzie – Hell or High Water
Denis Villeneuve – Arrival
Best Screenplay, Original...
In their 10th annual awards season, the 25 categories are divided into three sections, the Best Of Awards, Female Focus Awards and Eda Special Mention Awards.
Andrea Arnold, Ava DuVernay, Rebecca Miller, Mira Nair and Lorene Scafaria were among the filmmakers nominated in this year’s awards.
Nominees in each category are determined by Awfj members who submit nominating ballots. There are currently 76 voting Awfj members.
The winners will be announced on December 21.
2016 Awfj Eda Awards Nominees
Awfj Best Of Awards
These awards are presented to women and/or men without gender consideration.
Best Film
Arrival
Hell or High Water
La La Land
Manchester by the Sea
Moonlight
Best Director
Damien Chazelle – La La Land
Barry Jenkins – Moonlight
Kenneth Lonergan – Manchester by the Sea
David Mackenzie – Hell or High Water
Denis Villeneuve – Arrival
Best Screenplay, Original...
- 12/16/2016
- by Michelle McCue
- WeAreMovieGeeks.com
The first win for "Hell or High Water" from critics groups this award season. The film won Best Picture, director for David MacKenzie, supporting actor for Ben Foster, cinematography, screenplay, and ensemble.
Here's the complete list of winners:
Best Picture: Hell Or High Water
Runner Up: La La Land
Best Director: David Mackenzie, Hell Or High Water
Runner Up: Damien Chazelle, La La Land
Best Actor, Male: Casey Affleck, Manchester By The Sea
Runner Up: Viggo Mortensen, Captain Fantastic
Best Actor, Female: Sonia Braga, Aquarius
Runner Up: Emma Stone, La La Land
Best Supporting Actor, Male . Tied: Ben Foster, Hell Or High Water & Mahershala Ali, Moonlight
Best Supporting Actor, Female: Michelle Williams, Manchester By The Sea
Runner Up: Judy Davis, The Dressmaker
Best Comedic Performance: Ryan Gosling, The Nice Guys
Runner up: Alden Ehrenreich, Hail, Caesar!
Best Ensemble: Hell Or High Water
Runner Up: Hidden Figures
Breakthrough Artist: Lily Gladstone,...
Here's the complete list of winners:
Best Picture: Hell Or High Water
Runner Up: La La Land
Best Director: David Mackenzie, Hell Or High Water
Runner Up: Damien Chazelle, La La Land
Best Actor, Male: Casey Affleck, Manchester By The Sea
Runner Up: Viggo Mortensen, Captain Fantastic
Best Actor, Female: Sonia Braga, Aquarius
Runner Up: Emma Stone, La La Land
Best Supporting Actor, Male . Tied: Ben Foster, Hell Or High Water & Mahershala Ali, Moonlight
Best Supporting Actor, Female: Michelle Williams, Manchester By The Sea
Runner Up: Judy Davis, The Dressmaker
Best Comedic Performance: Ryan Gosling, The Nice Guys
Runner up: Alden Ehrenreich, Hail, Caesar!
Best Ensemble: Hell Or High Water
Runner Up: Hidden Figures
Breakthrough Artist: Lily Gladstone,...
- 12/13/2016
- by Manny
- Manny the Movie Guy
Will the new guard or the old guard rule? The Cinematography branch has often favored established DPs over newcomers, but this year might change that a bit. [Updated Nov. 20]
Top Five
Stephan Fontaine, “Jackie”
James Laxton, “Moonlight”
Rodrigo Prieto, “Silence”
Linus Sandgren, “La La Land”
Bradford Young, “Arrival”
Almost There
Caleb Deschanel, “Rules Don’t Apply”
Greig Fraser, “Lion”
Seamus McGarvey, “Nocturnal Animals”
Robert Richardson, “Live By Night”
Philippe Rousselot, “Fantastic Beasts and Where to Find Them”
Vittorio Stoaro, “Cafe Society”
Longshots
Robert Elswit, “Gold”
Roger Deakins, “Hail, Caesar!”
Simon Duggan, “Hacksaw Ridge”
Greig Fraser, “Rogue One: A Star Wars Story”
Janusz Kaminski, “The Bfg”
Giles Nuttgens, “Hell or High Water”
Gregory Ellwood’s Current Oscar Predictions:
Best Picture
Director
Best Actress
Best Actor
Best Supporting Actress
Best Supporting Actor
Original Screenplay
Adapted Screenplay
Editing – Coming Soon
Cinematography
Animated Feature Film
Foreign Language Film – Coming Soon
Documentary Feature – Coming Soon
Original Score...
Top Five
Stephan Fontaine, “Jackie”
James Laxton, “Moonlight”
Rodrigo Prieto, “Silence”
Linus Sandgren, “La La Land”
Bradford Young, “Arrival”
Almost There
Caleb Deschanel, “Rules Don’t Apply”
Greig Fraser, “Lion”
Seamus McGarvey, “Nocturnal Animals”
Robert Richardson, “Live By Night”
Philippe Rousselot, “Fantastic Beasts and Where to Find Them”
Vittorio Stoaro, “Cafe Society”
Longshots
Robert Elswit, “Gold”
Roger Deakins, “Hail, Caesar!”
Simon Duggan, “Hacksaw Ridge”
Greig Fraser, “Rogue One: A Star Wars Story”
Janusz Kaminski, “The Bfg”
Giles Nuttgens, “Hell or High Water”
Gregory Ellwood’s Current Oscar Predictions:
Best Picture
Director
Best Actress
Best Actor
Best Supporting Actress
Best Supporting Actor
Original Screenplay
Adapted Screenplay
Editing – Coming Soon
Cinematography
Animated Feature Film
Foreign Language Film – Coming Soon
Documentary Feature – Coming Soon
Original Score...
- 11/22/2016
- by Gregory Ellwood
- The Playlist
Sheltered in my Los Angeles bubble, I can't believe that this crime movie had an accurate measure of the true pulse of the country. Texan outlaws rob banks to fight what appears to be a rigged system; the Texas Ranger who tracks them realizes that much of the population feels the same exact way. Jeff Bridges, Chris Pine and Ben Foster lead a crime spree through a depressed, forgotten America. Hell or High Water Blu-ray + DVD Lionsgate 2016 / Color / 2:40 widescreen / 122 min. / Street Date November 8, 2016 / 19.96 Starring Ben Foster, Chris Pine, Jeff Bridges, Alberto Parker, Katy Mixon, Kevin Rankin, Marin Ireland, John-Paul Howard, Melanie Papalia. Cinematography Giles Nuttgens Film Editor Jake Roberts Original Music Nick Cave, Warren Ellis, Written by Taylor Sheridan Produced by Peter Berg, Carla Hacken, Sidney Kimmel, Julie Yorn Directed by David Mackenzie
Reviewed by Glenn Erickson
Someone nominate actor/screenwriter Taylor Sheridan for public office: between this movie...
Reviewed by Glenn Erickson
Someone nominate actor/screenwriter Taylor Sheridan for public office: between this movie...
- 11/15/2016
- by Glenn Erickson
- Trailers from Hell
From the anxious opening bank heist to the final, meditative stand-off, David Mackenzie’s critically-acclaimed “Hell or High Water” contains a slow-burning sense of desperation and abandonment in West Texas that’s effectively captured in Giles Nuttgens’ cinematography.
“There is no moral salvation,” Nuttgens told IndieWire. “It was about setting up a rhythm that was very slow that matched the rhythm of the environment that they were in. And it was the slowness of these sleepy towns that allowed these brothers [played by Chris Pine and Ben Foster] to get away with robbing four or five banks in one week.”
Toby (Pine) and Tanner (Foster) are forced to go on a bank-robbing spree to save the family farm, pursued by two Texas Rangers, the cantankerous Marcus (Jeff Bridges), who’s nearing retirement, and the younger, less free-wheeling Alberto (Gil Birmingham).
“Hell or High Water” (shot with the Arri Alexa Xt and Angenieux Optimo and Optimo 2S anamorphic lenses) brilliantly alternates between hot,...
“There is no moral salvation,” Nuttgens told IndieWire. “It was about setting up a rhythm that was very slow that matched the rhythm of the environment that they were in. And it was the slowness of these sleepy towns that allowed these brothers [played by Chris Pine and Ben Foster] to get away with robbing four or five banks in one week.”
Toby (Pine) and Tanner (Foster) are forced to go on a bank-robbing spree to save the family farm, pursued by two Texas Rangers, the cantankerous Marcus (Jeff Bridges), who’s nearing retirement, and the younger, less free-wheeling Alberto (Gil Birmingham).
“Hell or High Water” (shot with the Arri Alexa Xt and Angenieux Optimo and Optimo 2S anamorphic lenses) brilliantly alternates between hot,...
- 10/19/2016
- by Bill Desowitz
- Indiewire
As you all know by now, I love being surprised by a movie I had absolutely no expectations for going into. Last week, I saw something that just blew me away. This week, I can turn you all on to it, as it’s opening. The flick is called Hell or High Water and is just fantastic. Not only do I think it’s better than Sicario, which was a top notch outing last year and also written by scribe Taylor Sheridan, but I’d go so far as to say I prefer it to No Country for Old Man, which is a cinematic cousin of sorts. Equally mellow and raging at the state of the world, this is more than just a crime drama. It’s a character study about the modern cowboy, and much more. I out and out loved it, as you’ll see below. The film...
- 8/8/2016
- by Joey Magidson
- Hollywoodnews.com
Editor’s Note: There are so many different paths to becoming a movie director, but a career in late night isn’t one of the more common ones. Rob Burnett spent 30 years working for David Letterman, rising from intern to executive producer, before directing Paul Rudd and Selena Gomez in the upcoming Netflix release “The Fundamentals of Caring.” We asked the writer/director what lessons he took from “The Late Show” and how did it prepare him for being a filmmaker. What we got was the following essay, which is a great insight into the mindset it takes to direct a feature film.
Read More: ‘The Fundamentals of Caring’ Trailer: Paul Rudd & Selena Gomez Take an Emotional Road Trip
During one of the Q&A sessions after “The Fundamentals of Caring” screened at Sundance, someone asked me what influence my work in television has had on me as a filmmaker.
Read More: ‘The Fundamentals of Caring’ Trailer: Paul Rudd & Selena Gomez Take an Emotional Road Trip
During one of the Q&A sessions after “The Fundamentals of Caring” screened at Sundance, someone asked me what influence my work in television has had on me as a filmmaker.
- 6/20/2016
- by Chris O'Falt
- Indiewire
David McKenzie’s Hell or High Water is a gritty, darkly humorous, and fiendishly violent neo-western. Or, in other words, the type of film you might expect from a non-American director working in the United States. It borrows heavily from the Coen brothers and Cormac McCarthy, but it does so very well, thanks largely to a terrific script from Taylor Sheridan, the red-hot actor-turned-screenwriter who broke onto the scene last year with Sicario. It might usher in a new chapter of the Cambridge-born director’s career having come back strong in 2013 directing an inspired Jack O’Connell in Starred Up. Indeed, this relocation to the States should go some way to explaining an enjoyably plastic impression of West Texas, where T-bone steaks are served only medium rare and people say things like, “Sideways don’t wanna meet me. Unless it wants to find itself at the short end of a long street.
- 5/16/2016
- by Rory O'Connor
- The Film Stage
[Editor's Note: This post is presented in partnership with Time Warner Cable Movies On Demand in support of Indie Film Month. Today's pick, "The D-Train," is available now On Demand.] Giles Nuttgens, the British cinematographer best known for his collaborations with Deepa Mehta ("Fire," "Earth," "Water," "Midnight's Children") as well as Scott McGehee and David Siegel ("The Deep End," "Bee Season," "What Maisie Knew") had two indie films out in 2014, both of which debuted at last year's Sundance Film Festival: Stuart Murdoch's musical "God Help the Girl" and Jake Paltrow's dystopian "Young Ones." His latest project couldn't be more different. Written and directed by Jarrad Paul and Andrew Mogel, "The D-Train," which premiered at this year's Sundance Film Festival, is a dark dramedy starring Jack Black and James Marsden. Read More: Jack Black...
- 9/1/2015
- by Paula Bernstein
- Indiewire
Giles Nuttgens, the British cinematographer best known for his collaborations with Deepa Mehta ("Fire," "Earth," "Water," "Midnight's Children") as well as Scott McGehee and David Siegel ("The Deep End," "Bee Season," "What Maisie Knew") had two indie films out in 2014, both of which debuted at last year's Sundance Film Festival: Stuart Murdoch's musical "God Help the Girl" and Jake Paltrow's dystopian "Young Ones." His latest project couldn't be more different. Written and directed by Jarrad Paul and Andrew Mogel, "The D-Train," which premiered at this year's Sundance Film Festival, is a dark dramedy starring Jack Black and James Marsden. Read More: Jack Black and James Marsden Saved Their 'D-Train' Sex Scene for Last Indiewire talked to Nuttgens late last year about "God Help the Girl" and "Young Ones" and followed up with him again recently to discuss the...
- 5/8/2015
- by Paula Bernstein
- Indiewire
Young Ones
USA, 2014
Written and directed by Jake Paltrow
If ever you should find yourself needing to explain the difference between a film being “well-shot” and “well-directed”, Exhibit A should be the new indie release Young Ones. Writer-director Jake Paltrow has created an intriguing world and spared not one cent out of his indie-sized budget to make it beautiful, but he doesn’t direct it well enough to avoid some storytelling problems.
Paltrow (yes, he is Gwyneth’s brother) imagines a near future in which droughts like the one currently ravaging California have become so intense that the rule of law itself has begun to break down in the American Southwest. In this world Michael Shannon plays a father trying to raise two children, played by Kodi Smit-McPhee and Elle Fanning, against the specter of his wells running dry and the intrusive advances of a local man played by Nicholas Hoult.
USA, 2014
Written and directed by Jake Paltrow
If ever you should find yourself needing to explain the difference between a film being “well-shot” and “well-directed”, Exhibit A should be the new indie release Young Ones. Writer-director Jake Paltrow has created an intriguing world and spared not one cent out of his indie-sized budget to make it beautiful, but he doesn’t direct it well enough to avoid some storytelling problems.
Paltrow (yes, he is Gwyneth’s brother) imagines a near future in which droughts like the one currently ravaging California have become so intense that the rule of law itself has begun to break down in the American Southwest. In this world Michael Shannon plays a father trying to raise two children, played by Kodi Smit-McPhee and Elle Fanning, against the specter of his wells running dry and the intrusive advances of a local man played by Nicholas Hoult.
- 10/17/2014
- by Mark Young
- SoundOnSight
Last week, I reviewed Aut?mata, which was a post-apocalyptic science fiction film that presented nothing new in terms of ideas or themes. It treaded on familiar territory and made it a bore to watch. Science fiction films need to reflect human nature in an interesting way to be successful, otherwise they become very easy to tune out. In comes Young Ones, a film that uses a near future of a massive water shortage to explore man's pride, greed, and struggle for survival. The film is not wholly successful in its ambitions, shifting away from its themes midway through into a more traditional revenge film, but with the help of a quartet of terrific performances, the film is never something Aut?mata was: boring. A rather subdued Michael Shannon plays Ernest Holm, the patriarch of a family who is clinging onto a 20-acre farm, despite a drought that has dried...
- 10/14/2014
- by Mike Shutt
- Rope of Silicon
Young at Heart: Paltrow’s Sci-Fi Western is All Dried Up
Dystopic draught heralds the end of times for the parable that serves as Jake Paltrow’s sophomore effort, Young Ones. A mash-up of classic Western and ambitious sci-fi, the whole is not the sum of its parts, fluctuating between flashes of stylized visual flourishes in the midst of a quickly withering narrative, Paltrow seems to squander the abundant opportunities laid out by the promising set-up. It’s this kernel of potential that makes the film seem even more of a disappointment, methodically churning into a stagnant trench of recycled Greek tragedy themes, a familial saga of vengeance, murder, and inheritance never coalescing into a comfortable stride.
In a world gone dry, surviving members of the human race do the best they can to eke out an existence. The oceans having evaporated long ago, families of farmers do what...
Dystopic draught heralds the end of times for the parable that serves as Jake Paltrow’s sophomore effort, Young Ones. A mash-up of classic Western and ambitious sci-fi, the whole is not the sum of its parts, fluctuating between flashes of stylized visual flourishes in the midst of a quickly withering narrative, Paltrow seems to squander the abundant opportunities laid out by the promising set-up. It’s this kernel of potential that makes the film seem even more of a disappointment, methodically churning into a stagnant trench of recycled Greek tragedy themes, a familial saga of vengeance, murder, and inheritance never coalescing into a comfortable stride.
In a world gone dry, surviving members of the human race do the best they can to eke out an existence. The oceans having evaporated long ago, families of farmers do what...
- 10/13/2014
- by Nicholas Bell
- IONCINEMA.com
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