‘All the Light We Cannot See’ panel: A global casting search finds two needles in a haystack [Watch]
People will look at the cast of the epic Netflix limited series adaptation of the Pulitzer Prize-winning World War II-themed novel “All the Light We Cannot See” from author Anthony Doerr and finds a few names that catch their eye – specifically Mark Ruffalo and Hugh Laurie. They’re big names with decades-long acting pedigrees, after all. But the real stars of the four-parter that premieres in its entirety on November 2 are two females you have never heard of – one a young child, the other a young woman – for whom the series is their introduction to performing: Nell Sutton and Aria Mia Loberti.
The two portray the same role a decade or so apart and are the product of a global casting search for actresses to play the lead character Marie-Laure LeBlanc. As “All the Light We Cannot See” casting director Lucy Bevan told an audience at the DGA Theater in...
The two portray the same role a decade or so apart and are the product of a global casting search for actresses to play the lead character Marie-Laure LeBlanc. As “All the Light We Cannot See” casting director Lucy Bevan told an audience at the DGA Theater in...
- 10/27/2023
- by Ray Richmond
- Gold Derby
Director Shawn Levy and the creative team behind Netflix limited series All the Light We Cannot See took part in a panel conversation on Tuesday, where they discussed how the project became more timely than they ever imagined.
The show is adapted from the Pulitzer-winning World War II novel by Anthony Doerr, which follows a blind French girl who takes refuge in Saint-Malo after Paris is invaded by Nazi Germany and a German boy who is recruited to join the Nazi army because of his skills in radio technology, also leading him to Saint-Malo.
Levy told the crowd at a Los Angeles special screening that he first read and fell in the love with the book as a fan and had no plans of working on an adaptation, especially because the novel’s rights belonged to someone else at the time, who planned to make it into a film rather than a series.
The show is adapted from the Pulitzer-winning World War II novel by Anthony Doerr, which follows a blind French girl who takes refuge in Saint-Malo after Paris is invaded by Nazi Germany and a German boy who is recruited to join the Nazi army because of his skills in radio technology, also leading him to Saint-Malo.
Levy told the crowd at a Los Angeles special screening that he first read and fell in the love with the book as a fan and had no plans of working on an adaptation, especially because the novel’s rights belonged to someone else at the time, who planned to make it into a film rather than a series.
- 10/25/2023
- by Kirsten Chuba
- The Hollywood Reporter - Movie News
“I like to do a lot of character prep and development and sort of live in character,” explains Dacre Montgomery of his acting process. The breakout “Stranger Things” star made a surprise return to the hit Netflix series in Season 4 despite his character Billy being killed in the previous season. His appearance was brief, but it provided the actor with a unique filming opportunity and the chance to put a final touch on a role that means a great deal to him. “It’s a culmination of hundreds of hours of work and really living in character in many ways,” says Montgomery. Watch the exclusive video interview above.
The Duffer Brothers called Montgomery near the start of the global pandemic with the offer to return for some pivotal scenes with Max (Sadie Sink). “And then it became quite difficult to leave Australia,” says the actor, noting that he was stuck...
The Duffer Brothers called Montgomery near the start of the global pandemic with the offer to return for some pivotal scenes with Max (Sadie Sink). “And then it became quite difficult to leave Australia,” says the actor, noting that he was stuck...
- 6/17/2023
- by Sam Eckmann
- Gold Derby
Editor’s note: Deadline’s It Starts On The Page features 10 standout drama series scripts in 2023 Emmy contention. It showcases the critical role writer’s work plays in a show’s success. All materials (the script and writers intro) were submitted before the WGA strike began on May 2.
In the penultimate fourth season of their Netflix mega hit Stranger Things, Matt and Ross Duffer shook things up. For three years, audiences had became accustomed to seeing their favorite ragtag bunch from Hawkins, Indiana battle evil supernatural forces and ultimately prevail in the finale, including the Season 2 closer, which, along with the series premiere, earned the Duffers both writing and directing Emmy nominations.
However, Season 4, in which the group faced their biggest threat yet and had to once again journey into the Upside Down to save the world, ended with Eleven & Co’s defeat in the finale, “The Piggyback.”
Written and directed by The Duffers,...
In the penultimate fourth season of their Netflix mega hit Stranger Things, Matt and Ross Duffer shook things up. For three years, audiences had became accustomed to seeing their favorite ragtag bunch from Hawkins, Indiana battle evil supernatural forces and ultimately prevail in the finale, including the Season 2 closer, which, along with the series premiere, earned the Duffers both writing and directing Emmy nominations.
However, Season 4, in which the group faced their biggest threat yet and had to once again journey into the Upside Down to save the world, ended with Eleven & Co’s defeat in the finale, “The Piggyback.”
Written and directed by The Duffers,...
- 5/25/2023
- by Katie Campione
- Deadline Film + TV
Six TV editors will reveal secrets behind their projects when they join Gold Derby’s special “Meet the Experts” Q&a event with 2023 Emmy Awards contenders. They will participate in two video discussions to premiere on Thursday, May 25, at 4:00 p.m. Pt; 7:00 p.m. Et. We’ll have a one-on-one with our senior editor Ray Richmond and a roundtable chat with all of the group together.
RSVP today to our entire ongoing contenders panel series by clicking here to book your free reservation. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following Emmy contenders:
The Bear (FX)
Synopsis: A young chef from the fine dining world returns to Chicago to run his family’s sandwich shop.
Bio: Joanna Naugle’s career has included “2 Dope Queens,” “Some Good News” and “Ramy.”
Mrs. Davis (NBC...
RSVP today to our entire ongoing contenders panel series by clicking here to book your free reservation. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following Emmy contenders:
The Bear (FX)
Synopsis: A young chef from the fine dining world returns to Chicago to run his family’s sandwich shop.
Bio: Joanna Naugle’s career has included “2 Dope Queens,” “Some Good News” and “Ramy.”
Mrs. Davis (NBC...
- 5/18/2023
- by Chris Beachum and Ray Richmond
- Gold Derby
Typically at the Emmy Awards, a TV show is judged on a full season as it aired entirely within a single eligibility period. However, in extremely rare cases, a drama or comedy will have what’s known as “orphaned” episodes that air outside of the cut-off date. That’s exactly why Season 4 of The Duffer Brothers‘ sci-fi megahit “Stranger Things” is eligible in two consecutive Emmy cycles, last year and this year. Gold Derby has exclusively learned which 13 categories Netflix is submitting for consideration at the 2023 Emmys (see below).
To recap, the first seven episodes of “Stranger Things 4” streamed on May 27, 2022 and thus competed at last year’s Emmys, where it nabbed 13 nominations and won five. But the last two episodes streamed on July 1, 2022, a full month after the eligibility period ended. TV academy rules stipulate that those two orphaned episodes are now eligible at the 2023 Emmys, but with a catch.
To recap, the first seven episodes of “Stranger Things 4” streamed on May 27, 2022 and thus competed at last year’s Emmys, where it nabbed 13 nominations and won five. But the last two episodes streamed on July 1, 2022, a full month after the eligibility period ended. TV academy rules stipulate that those two orphaned episodes are now eligible at the 2023 Emmys, but with a catch.
- 5/8/2023
- by Marcus James Dixon
- Gold Derby
Click here to read the full article.
Top Gun: Maverick, The Batman, Doctor Strange in the Multiverse of Madness and Dune are among the movies that received multiple Hpa (Hollywood Professional Association) Award nominations. The annual Hpa Awards recognizes postproduction talent in areas including color grading, editing, sound and visual effects.
The voting period runs from September to September, meaning that some of last year’s award season films will compete against this year’s contenders.
The awards will be handed out Nov. 17 at the Hollywood Legion Theater.
The complete list of nominees follow:
Outstanding Color Grading – Theatrical Feature
Top Gun: Maverick
Stefan Sonnenfeld, Adam Nazarenko / Company 3
Dune
David Cole / FotoKem
Nightmare Alley
Stefan Sonnenfeld, Adam Nazarenko / Company 3
The Batman
David Cole / FotoKem
No Time to Die
Matt Wallach / Company 3
Outstanding Color Grading – Episode or Non-Theatrical Feature
“1883 – 1883”
Mitch Paulson // Company 3
“Better Call Saul – Carrot and Stick”
Keith Shaw...
Top Gun: Maverick, The Batman, Doctor Strange in the Multiverse of Madness and Dune are among the movies that received multiple Hpa (Hollywood Professional Association) Award nominations. The annual Hpa Awards recognizes postproduction talent in areas including color grading, editing, sound and visual effects.
The voting period runs from September to September, meaning that some of last year’s award season films will compete against this year’s contenders.
The awards will be handed out Nov. 17 at the Hollywood Legion Theater.
The complete list of nominees follow:
Outstanding Color Grading – Theatrical Feature
Top Gun: Maverick
Stefan Sonnenfeld, Adam Nazarenko / Company 3
Dune
David Cole / FotoKem
Nightmare Alley
Stefan Sonnenfeld, Adam Nazarenko / Company 3
The Batman
David Cole / FotoKem
No Time to Die
Matt Wallach / Company 3
Outstanding Color Grading – Episode or Non-Theatrical Feature
“1883 – 1883”
Mitch Paulson // Company 3
“Better Call Saul – Carrot and Stick”
Keith Shaw...
- 10/4/2022
- by THR staff
- The Hollywood Reporter - Movie News
“Stranger Things” is nominated for 13 Emmy Awards including Best Drama Series, so we convened a special roundtable panel with seven nominees behind Netflix’s sci-fi/horror series: casting director Carmen Cuba, music supervisor Nora Felder, prosthetics designer Barrie Gower, hair department head Sarah Hindsgaul, stunt coordinator Hiro Koda, production designer Chris Trujillo and editor Dean Zimmerman.
SEECraig Henighan (‘Stranger Things’ sound design) on orchestrating creepy clocks and demogorgons [Exclusive Video Interview]
The series takes place in the fictional town of Hawkins, Indiana, where a portal is opened into a parallel world known as the Upside Down. And in season four the creature who emerged from that dark dimension was Vecna, who psychically cursed his victims. He’s played by Jamie Campbell Bower, and casting him was “challenging for multiple reasons,” remembers Cuba. Part of that was keeping the show’s storylines secret: “We obviously were in no way allowed to talk about what...
SEECraig Henighan (‘Stranger Things’ sound design) on orchestrating creepy clocks and demogorgons [Exclusive Video Interview]
The series takes place in the fictional town of Hawkins, Indiana, where a portal is opened into a parallel world known as the Upside Down. And in season four the creature who emerged from that dark dimension was Vecna, who psychically cursed his victims. He’s played by Jamie Campbell Bower, and casting him was “challenging for multiple reasons,” remembers Cuba. Part of that was keeping the show’s storylines secret: “We obviously were in no way allowed to talk about what...
- 8/15/2022
- by Daniel Montgomery
- Gold Derby
“What was most exciting was knowing that we were going to get to visit the wider world,” explains “Stranger Things production designer Chris Trujillo on Season 4’s immense scope. “It was a really nice change.” The latest season goes beyond the familiar locales to explore the deep interiors of a secret lab, a brutalist Russian prison, and a haunted house that exists across worlds. The massive undertaking earned the designer an Emmy nomination for Best Production Design of a Narrative Period or Fantasy Program. Watch our exclusive video interview above.
The scope of Trujillo’s work is perhaps best embodied in the Creel House, home to the new series villain Vecna. “The Creel house existed in a past, pristine state. And then it existed in a dilapidated state in the Right Side Up. Then it also existed in the Upside Down. Then it also had an iteration where it was...
The scope of Trujillo’s work is perhaps best embodied in the Creel House, home to the new series villain Vecna. “The Creel house existed in a past, pristine state. And then it existed in a dilapidated state in the Right Side Up. Then it also existed in the Upside Down. Then it also had an iteration where it was...
- 8/2/2022
- by Sam Eckmann
- Gold Derby
“Season 4 is not nine episodes to us,” explains “Stranger Things” editor Dean Zimmerman of the super-sized entry, “it’s just one big, gigantic, twelve and a half hour movie.” Zimmerman is Emmy nominated for Best Single-Camera Picture Editing alongside Casey Cichocki for the episode “Chapter Four: Dear Billy.” Cichocki concurs with the assessment that the pair focused on the season as a whole, noting “you might be cutting things for four episodes downstream.” But, “Dear Billy” serves as a prime example of the approach this duo used for the entire story, which aimed to balance the epic scope with intimate emotion. Watch our exclusive video interview above.
Zimmerman is sure that his existing shorthand with “Dear Billy” director Shawn Levy contributed to a smooth process for the episode. “We’re basically just one hivemind,” suggests the editor, “We both wear our hearts on our sleeve.” A penchant for leaning into...
Zimmerman is sure that his existing shorthand with “Dear Billy” director Shawn Levy contributed to a smooth process for the episode. “We’re basically just one hivemind,” suggests the editor, “We both wear our hearts on our sleeve.” A penchant for leaning into...
- 7/27/2022
- by Sam Eckmann
- Gold Derby
The “Stranger Things” writers’ room is refuting recent reports that older episodes of the Netflix series are being re-edited years after the fact. The official Twitter account for the show’s writers posted the following message: “PSA: no scenes from previous seasons have ever been cut or re-edited. And they never will be.”
Reports surfaced earlier in July that Netflix had re-edited a scene in the show’s first scene to make the character Jonathan Byers (Charlie Heaton) appear less “pervy.” The scene in question found Jonathan photographing Nancy Wheeler (Natalia Dyer) without her knowledge. Some fans believed that Jonathan continued to take photos of Nancy as she undressed, which is not how the scene is cut in the episode, thus leading to theories that the streamer was re-editing previous content.
When a fan responded to the “Stranger Things” writers’ room PSA by asking, “So that also counts for the...
Reports surfaced earlier in July that Netflix had re-edited a scene in the show’s first scene to make the character Jonathan Byers (Charlie Heaton) appear less “pervy.” The scene in question found Jonathan photographing Nancy Wheeler (Natalia Dyer) without her knowledge. Some fans believed that Jonathan continued to take photos of Nancy as she undressed, which is not how the scene is cut in the episode, thus leading to theories that the streamer was re-editing previous content.
When a fan responded to the “Stranger Things” writers’ room PSA by asking, “So that also counts for the...
- 7/27/2022
- by Zack Sharf
- Variety Film + TV
“Stranger Things” is one of the most visual effects heavy show on television — the recent season 4 finale featured more VFX shots than the entire third season combined. While some of those VFX shots are obvious — the ground splitting open into lava, a horde of demonic bats attacking the heroes — others are designed to be hidden from the audience.
For example, one of the most memorable scenes of the season featured a return appearance by Dacre Montgomery, whose character Billy died last season, as a vision torturing his stepsister Max (Sadie Sink). However, Montgomery was unable to physically return to shoot the season due to Covid-19; the season shot beginning in 2020, in the middle of the pandemic, and Australia’s strict lockdown rules prevented Montgomery from leaving his home country. In order to circumnavigate the issue, series editor Dean Zimmerman said the team used editing and digital engineering tricks to insert...
For example, one of the most memorable scenes of the season featured a return appearance by Dacre Montgomery, whose character Billy died last season, as a vision torturing his stepsister Max (Sadie Sink). However, Montgomery was unable to physically return to shoot the season due to Covid-19; the season shot beginning in 2020, in the middle of the pandemic, and Australia’s strict lockdown rules prevented Montgomery from leaving his home country. In order to circumnavigate the issue, series editor Dean Zimmerman said the team used editing and digital engineering tricks to insert...
- 7/26/2022
- by Wilson Chapman
- Variety Film + TV
What if you could make your peace with your own history? What if you could, as an adult, go back and make peace with your younger self, and make your peace with the parents we failed to understand when we were growing up? What if you could go back and reconnect with your parents with the benefit of a lifetime of wisdom and perspective? These are the questions director Shawn Levy asks in his latest film The Adam Project. Starring Ryan Reynolds, Walker Scobell, Jennifer Garner, Mark Ruffalo, Zoe Saldaña and Catherine Keener, the film is the story of a time-traveling pilot Adam Reed (Reynolds) who teams up with his younger self, (Scobell), and his late father, Louis Reed (Ruffalo) to come to terms with his past, and losses, while saving the future.
In this throwback to the sci-films from the 80’s, the filmmaker proves with The Adam Project the power of nostalgia.
In this throwback to the sci-films from the 80’s, the filmmaker proves with The Adam Project the power of nostalgia.
- 3/13/2022
- by Michelle Hannett
- WeAreMovieGeeks.com
Six-time Emmy winning sound editor David Klotz added two new nominations to his resume this year. That’s thanks to his work on “Stranger Things” and “American Horror Story: 1984,” which landed him bids for Sound Editing for a Comedy or Drama Series and Sound Editing for a Limited Series, respectively. These two hit shows gave Klotz the ability to dive headfirst into 80’s music nostalgia. Watch the exclusive video interview above.
One of the most talked about moments of “Stranger Things” Season 3 occurs when Dustin (Gaten Matarazzo) and Suzie (Gabriella Pizollo) bust out a rendition of the title track to “The NeverEnding Story.” The song plays over a chase sequence as the Mind Flayer hunts down the main characters, offering an unexpected bit of levity to the season’s most tense moment.
See Dean Zimmerman interview: ‘Stranger Things’ editor
Klotz ultimately wound up arranging and producing this cover track, and...
One of the most talked about moments of “Stranger Things” Season 3 occurs when Dustin (Gaten Matarazzo) and Suzie (Gabriella Pizollo) bust out a rendition of the title track to “The NeverEnding Story.” The song plays over a chase sequence as the Mind Flayer hunts down the main characters, offering an unexpected bit of levity to the season’s most tense moment.
See Dean Zimmerman interview: ‘Stranger Things’ editor
Klotz ultimately wound up arranging and producing this cover track, and...
- 8/17/2020
- by Sam Eckmann
- Gold Derby
“The Duffers don’t really like to repeat themselves,” says visual effects supervisor Paul Graff. He is of course referring to “Stranger Things” creators The Duffer Brothers, who brought the monstrous Mind Flayer back in Season 3 to terrorize Hawkins, Indiana in the flesh. This new version of the terrifying demon provided fresh new challenges for Graff and his team. Watch the exclusive video interview above.
“The Mind Flayer in Season 2 was kind of a particulate monster,” describes Graff, “but it didn’t have mass.” The beast was composed of shadows and almost looked like a living tornado. When the Duffer Brothers informed the visual effects artist that John Carpenter‘s “The Thing” served as major inspiration for Season 3, Graff studied that film in order to discover what visual cues made that movie monster so terrifying.
See David Harbour interview: ‘Stranger Things’
“One of the things that really makes it work,...
“The Mind Flayer in Season 2 was kind of a particulate monster,” describes Graff, “but it didn’t have mass.” The beast was composed of shadows and almost looked like a living tornado. When the Duffer Brothers informed the visual effects artist that John Carpenter‘s “The Thing” served as major inspiration for Season 3, Graff studied that film in order to discover what visual cues made that movie monster so terrifying.
See David Harbour interview: ‘Stranger Things’
“One of the things that really makes it work,...
- 7/2/2020
- by Sam Eckmann
- Gold Derby
“He’s finally starting to unravel these deep patterns that he’s been in,” explains David Harbour of his character Hopper in “Stranger Things.” In Season 3 of the hit Netflix drama, raising his superpowered teenage daughter Eleven (Millie Bobby Brown) forces Hopper to contend with his own emotional baggage. Watch the exclusive video interview above.
“It’s a bigger, broader season in a lot of ways,” admits Harbour, but the actor found himself playing a character “even more agitated than normal.” This is largely due to Eleven’s growing independence and romantic relationship with Mike (Finn Wolfhard).
See Dean Zimmerman interview: ‘Stranger Things’ editor
Never one for outward displays of affection, Hopper is deeply uncomfortable with the pair’s penchant for late night kissing. He reaches out to Joyce (Winona Ryder), who helps him craft a “heart-to-heart” speech about setting boundaries. Except Hopper has no idea how to approach such an emotionally open discussion.
“It’s a bigger, broader season in a lot of ways,” admits Harbour, but the actor found himself playing a character “even more agitated than normal.” This is largely due to Eleven’s growing independence and romantic relationship with Mike (Finn Wolfhard).
See Dean Zimmerman interview: ‘Stranger Things’ editor
Never one for outward displays of affection, Hopper is deeply uncomfortable with the pair’s penchant for late night kissing. He reaches out to Joyce (Winona Ryder), who helps him craft a “heart-to-heart” speech about setting boundaries. Except Hopper has no idea how to approach such an emotionally open discussion.
- 6/24/2020
- by Sam Eckmann
- Gold Derby
“Performance is absolutely everything,” declares editor Dean Zimmerman. After winning an Emmy for the first ever episode of Netflix’s “Stranger Things,” Zimmerman was back on hand to cut some of the most impressive installments of Season 3. His secret to making the smash hit series sing is all about emotional connections and breakthroughs. Watch the exclusive video interview above.
“I wear my heart on my sleeve,” admits Zimmerman. That emotional openness is an asset as the editor makes his way through the dailies. Selecting the right take can make or break an actor’s performance, so Zimmerman is always on the lookout for the moments that move him. “I’m really, truly guided by my instincts,” he says.
See Dacre Montgomery interview: ‘Stranger Things’
A powerful take can end up anchoring the scene. This was the case for a sequence in the Season 3 finale, “The Battle of Starcourt,” where Eleven...
“I wear my heart on my sleeve,” admits Zimmerman. That emotional openness is an asset as the editor makes his way through the dailies. Selecting the right take can make or break an actor’s performance, so Zimmerman is always on the lookout for the moments that move him. “I’m really, truly guided by my instincts,” he says.
See Dacre Montgomery interview: ‘Stranger Things’
A powerful take can end up anchoring the scene. This was the case for a sequence in the Season 3 finale, “The Battle of Starcourt,” where Eleven...
- 6/9/2020
- by Sam Eckmann
- Gold Derby
Production has commenced on Free Guy, an adventure-comedy from 20th Century Fox starring Ryan Reynolds (Deadpool, POKÉMON Detective Pikachu) and directed by Shawn Levy (the Night At The Museum trilogy, Stranger Things).
Shooting in Boston, the film co-stars Jodie Comer (Killing Eve), Lil Rel Howery (Get Out), Taika Waititi (Avengers: Endgame, What We Do In The Shadows), Joe Keery (Stranger Things), and Utkarsh Ambudkar (Mulan).’
Free Guy tells the story of a lonely bank teller who discovers he is actually a background character in the open-world videogame Free City.
Free Guy is produced by Levy, Reynolds, Greg Berlanti (Love, Simon, Riverdale), Sarah Schechter (Riverdale, Doom Patrol), and Adam Kolbrenner (Prisoners). Dan Levine(Arrival), Mary McLaglen (Red Sparrow), Josh McLaglen (Logan), George Dewey and Mike McGrath are executive producers.
Levy’s creative team includes director of photography George Richmond (Rocketman, Kingsman: The Secret Service), Emmy Award winning editor Dean Zimmerman (Stranger Things,...
Shooting in Boston, the film co-stars Jodie Comer (Killing Eve), Lil Rel Howery (Get Out), Taika Waititi (Avengers: Endgame, What We Do In The Shadows), Joe Keery (Stranger Things), and Utkarsh Ambudkar (Mulan).’
Free Guy tells the story of a lonely bank teller who discovers he is actually a background character in the open-world videogame Free City.
Free Guy is produced by Levy, Reynolds, Greg Berlanti (Love, Simon, Riverdale), Sarah Schechter (Riverdale, Doom Patrol), and Adam Kolbrenner (Prisoners). Dan Levine(Arrival), Mary McLaglen (Red Sparrow), Josh McLaglen (Logan), George Dewey and Mike McGrath are executive producers.
Levy’s creative team includes director of photography George Richmond (Rocketman, Kingsman: The Secret Service), Emmy Award winning editor Dean Zimmerman (Stranger Things,...
- 5/14/2019
- by Michelle Hannett
- WeAreMovieGeeks.com
Stars: Will Ferrell, John C. Reilly, Ralph Fiennes, Lauren Lapkus, Rebecca Hall, Kelly Macdonald, HUgh Laurie, Pam Ferris, Noah Jupe, Steve Coogan, Adam Scherr (aka Braun Strowman), Bella Ramsey, Rob Brydon, Wolf Roth, Michael Culkin | Written and Directed by Etan Cohen
To say that Will Ferrell and John C. Reilly’s latest joint exploit, Holmes and Watson, is an abomination to all senses and a travesty to cinema would be to understate the truly abysmal and quite frankly condescending nature of the final product.
Subjectively the comedic prowess and effectiveness of cheap and on the nose pop culture references are completely relative to that of an audience – of whom are completely game and invested for a fun, entertaining ride (no matter what the actual context of the story entails) even before the picture ever begins. In that regard Holmes and Watson, dare I say, justifies itself in the context of bringing entertainment to the masses,...
To say that Will Ferrell and John C. Reilly’s latest joint exploit, Holmes and Watson, is an abomination to all senses and a travesty to cinema would be to understate the truly abysmal and quite frankly condescending nature of the final product.
Subjectively the comedic prowess and effectiveness of cheap and on the nose pop culture references are completely relative to that of an audience – of whom are completely game and invested for a fun, entertaining ride (no matter what the actual context of the story entails) even before the picture ever begins. In that regard Holmes and Watson, dare I say, justifies itself in the context of bringing entertainment to the masses,...
- 12/27/2018
- by Jak-Luke Sharp
- Nerdly
“We just hoped that we were going to get good stories that we could tell in a meaningful way,” reveals editor Kevin D. Ross about his expectations for season two of “Stranger Things.” Given the success of Netflix’s sci-fi hit in its first season, the pressure was on for creators Matt and Ross Duffer to deliver for part two. But the twin brothers came up with a story “that was 10 times bigger than it was before. We were very happy with what we received.” In addition to bigger storylines, Ross also received his second consecutive Emmy nomination this year for the series. Watch our exclusive video interview with him above.
See Millie Bobby Brown (‘Stranger Things’) Emmy episode revealed for Best Drama Supporting Actress (Exclusive)
The veteran cutter worked on four episodes in season two, but he contends specifically for the season finale, “Chapter Nine: The Gate,” which also...
See Millie Bobby Brown (‘Stranger Things’) Emmy episode revealed for Best Drama Supporting Actress (Exclusive)
The veteran cutter worked on four episodes in season two, but he contends specifically for the season finale, “Chapter Nine: The Gate,” which also...
- 8/7/2018
- by Zach Laws
- Gold Derby
As expected, the Creative Arts Emmy competition Sunday turned out to be a sci-fi smackdown between Netflix’s “Stranger Things” and HBO’s “Westworld,” and each split the night with five awards apiece.
The Duffer Brothers’ ’80s homage to Steven Spielberg and Stephen King, “Stranger Things” won for outstanding editing, main title theme music, main title design, sound editing, and casting. The Jonathan Nolan/ Lisa Joy sci-fi/western, “Westworld,” earned outstanding special visual effects (the domain of “Game of Thrones” five years running), makeup (non-prosthetic), hairstyling, sound mixing, and creative achievement in interactive media.
However, if recent history proves a reliable harbinger, “Stranger Things” has the edge in the race for next Sunday’s Outstanding Series competition because of its editing victory. That’s because the last five outstanding editing winners have also taken home the big prize.
Read More:News Film TV Awards Toolkit More Search ‘The Handmaid’s Tale,...
The Duffer Brothers’ ’80s homage to Steven Spielberg and Stephen King, “Stranger Things” won for outstanding editing, main title theme music, main title design, sound editing, and casting. The Jonathan Nolan/ Lisa Joy sci-fi/western, “Westworld,” earned outstanding special visual effects (the domain of “Game of Thrones” five years running), makeup (non-prosthetic), hairstyling, sound mixing, and creative achievement in interactive media.
However, if recent history proves a reliable harbinger, “Stranger Things” has the edge in the race for next Sunday’s Outstanding Series competition because of its editing victory. That’s because the last five outstanding editing winners have also taken home the big prize.
Read More:News Film TV Awards Toolkit More Search ‘The Handmaid’s Tale,...
- 9/11/2017
- by Bill Desowitz
- Indiewire
The Upside Down of “Stranger Things” became an apt metaphor for this divisive year, and, maybe not so strangely, “Stranger Things,” along with several other Best Drama Emmy contenders, offered unifying themes to combat the forces of oppression, hate, and turmoil.
These included “Westworld,” “The Crown,” “The Handmaid’s Tale,” “Feud: Bette and Joan,” and “Big Little Lies.” And, not surprisingly, they all offered stellar craftsmanship in support of their unifying themes.
“The Crown”
Showrunner Peter Morgan told IndieWire that his biggest takeaway has been the realization of the necessary bond between the monarchy and Parliament. “Sometimes the monarchy screws up and sometimes the politicians screw up,” he said. “And it takes one or the other to fix the problem.”
In Season 1, that unity is forged between young Queen Elizabeth II (nominated Claire Foy) and that old war horse, Prime Minister Winston Churchill (nominated John Lithgow). Together, they help Great...
These included “Westworld,” “The Crown,” “The Handmaid’s Tale,” “Feud: Bette and Joan,” and “Big Little Lies.” And, not surprisingly, they all offered stellar craftsmanship in support of their unifying themes.
“The Crown”
Showrunner Peter Morgan told IndieWire that his biggest takeaway has been the realization of the necessary bond between the monarchy and Parliament. “Sometimes the monarchy screws up and sometimes the politicians screw up,” he said. “And it takes one or the other to fix the problem.”
In Season 1, that unity is forged between young Queen Elizabeth II (nominated Claire Foy) and that old war horse, Prime Minister Winston Churchill (nominated John Lithgow). Together, they help Great...
- 8/28/2017
- by Bill Desowitz
- Indiewire
For the past five seasons, the Best Drama editing winner has gone on to win the Best Drama prize as well. So if you want a potential barometer for this year’s big prize, the three crucial editing nominees are “Stranger Things,” “Westworld,” and “Better Call Saul.”
This doesn’t mean that “The Crown” or “The Handmaid’s Tale” won’t win Best Drama, but it’s noteworthy that they weren’t among the editing nominees. Neither were “House of Cards” or “This Is Us,” the other Best Drama nominees, as “Stranger Things” and “Better Call Saul” each got nominated for two episodes.
However, while “Better Call Saul” significantly saw Jimmy (nominated Bob Odenkirk) getting more Saul-like from “Breaking Bad,” it’s very much the dark horse. The real smackdown is between the dueling sci-fi newcomers, “Stranger Things” and “Westworld.” Both have their advantages (the Upside Down versus the robot...
This doesn’t mean that “The Crown” or “The Handmaid’s Tale” won’t win Best Drama, but it’s noteworthy that they weren’t among the editing nominees. Neither were “House of Cards” or “This Is Us,” the other Best Drama nominees, as “Stranger Things” and “Better Call Saul” each got nominated for two episodes.
However, while “Better Call Saul” significantly saw Jimmy (nominated Bob Odenkirk) getting more Saul-like from “Breaking Bad,” it’s very much the dark horse. The real smackdown is between the dueling sci-fi newcomers, “Stranger Things” and “Westworld.” Both have their advantages (the Upside Down versus the robot...
- 8/21/2017
- by Bill Desowitz
- Indiewire
The American Cinema Editors have announced the nominees for the 67th annual Ace Eddie Awards, with “Arrival,” “Moonlight,” “Manchester by the Sea” and “La La Land” among the contenders. On the comedy side, “Deadpool” and “The Lobster” continued their surprise awards-season runs by landing nods, while “Stranger Things” also had a strong showing in the TV category.
Final ballots will be mailed to Ace members on January 6, voting ends on January 17 and the ceremony takes place on January 27. Full list of nominees below.
Read More: 35 Directors Pick Their Favorite Movies of 2016
Best Edited Feature Film (Drama)
“Arrival” (Joe Walker)
“Hacksaw Ridge” (John Gilbert)
“Hell or High Water” (Jake Roberts)
“Manchester by the Sea” (Jennifer Lame)
“Moonlight” (Nat Sanders, Joi McMillon)
Best Edited Feature Film (Comedy)
“Deadpool” (Julian Clarke)
“Hail, Caesar!” (Roderick Jaynes)
“The Jungle Book” (Mark Livolsi)
“La La Land” (Tom Cross)
“The Lobster” (Yorgos Mavropsaridis)
Best Edited Animated Feature...
Final ballots will be mailed to Ace members on January 6, voting ends on January 17 and the ceremony takes place on January 27. Full list of nominees below.
Read More: 35 Directors Pick Their Favorite Movies of 2016
Best Edited Feature Film (Drama)
“Arrival” (Joe Walker)
“Hacksaw Ridge” (John Gilbert)
“Hell or High Water” (Jake Roberts)
“Manchester by the Sea” (Jennifer Lame)
“Moonlight” (Nat Sanders, Joi McMillon)
Best Edited Feature Film (Comedy)
“Deadpool” (Julian Clarke)
“Hail, Caesar!” (Roderick Jaynes)
“The Jungle Book” (Mark Livolsi)
“La La Land” (Tom Cross)
“The Lobster” (Yorgos Mavropsaridis)
Best Edited Animated Feature...
- 1/3/2017
- by Michael Nordine
- Indiewire
Check out the brand new poster for This Is Where I Leave You.
When their father passes away, four grown siblings, bruised and banged up by their respective adult lives, are forced to return to their childhood home and live under the same roof together for a week, along with their over-sharing mother and an assortment of spouses, exes and might-have-beens. Confronting their history and the frayed states of their relationships among the people who know and love them best, they ultimately reconnect in hysterical and emotionally affecting ways amid the chaos, humor, heartache and redemption that only families can provide—driving us insane even as they remind us of our truest, and often best, selves.
The dramatic comedy is directed by Shawn Levy, and based on the hilarious and poignant best-selling novel by Jonathan Tropper. It features a starring ensemble cast including Golden Globe winner Jason Bateman (“Arrested Development...
When their father passes away, four grown siblings, bruised and banged up by their respective adult lives, are forced to return to their childhood home and live under the same roof together for a week, along with their over-sharing mother and an assortment of spouses, exes and might-have-beens. Confronting their history and the frayed states of their relationships among the people who know and love them best, they ultimately reconnect in hysterical and emotionally affecting ways amid the chaos, humor, heartache and redemption that only families can provide—driving us insane even as they remind us of our truest, and often best, selves.
The dramatic comedy is directed by Shawn Levy, and based on the hilarious and poignant best-selling novel by Jonathan Tropper. It features a starring ensemble cast including Golden Globe winner Jason Bateman (“Arrested Development...
- 7/11/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Watch the first trailer for This Is Where I Leave You, starring Jason Bateman, Tina Fey, Adam Driver, Rose Byrne and Oscar-winner Jane Fonda.
This looks great. I can’t wait to see it!
The dramatic comedy This Is Where I Leave You is directed by Shawn Levy, and based on the hilarious and poignant best-selling novel by Jonathan Tropper. It features a starring ensemble cast including Golden Globe winner Jason Bateman (“Arrested Development”); Golden Globe and Emmy Award winner Tina Fey (“30 Rock”); and two-time Oscar winner, multiple Golden Globe honoree and 2013 Emmy Award nominee Jane Fonda (“Klute,” “Coming Home,” HBO’s “The Newsroom”).
When their father passes away, four grown siblings, bruised and banged up by their respective adult lives, are forced to return to their childhood home and live under the same roof together for a week, along with their over-sharing mother and an assortment of spouses, exes and might-have-beens.
This looks great. I can’t wait to see it!
The dramatic comedy This Is Where I Leave You is directed by Shawn Levy, and based on the hilarious and poignant best-selling novel by Jonathan Tropper. It features a starring ensemble cast including Golden Globe winner Jason Bateman (“Arrested Development”); Golden Globe and Emmy Award winner Tina Fey (“30 Rock”); and two-time Oscar winner, multiple Golden Globe honoree and 2013 Emmy Award nominee Jane Fonda (“Klute,” “Coming Home,” HBO’s “The Newsroom”).
When their father passes away, four grown siblings, bruised and banged up by their respective adult lives, are forced to return to their childhood home and live under the same roof together for a week, along with their over-sharing mother and an assortment of spouses, exes and might-have-beens.
- 5/28/2014
- by Michelle McCue
- WeAreMovieGeeks.com
“Rock ‘em Sock ‘em Robots” get their day on the big screen in Real Steel, a movie that transcends the one-joke premise and is instead a heartwarming, fist-pumping mechanized fairy tale of a father and son coming together amid some of the baddest technology you’ll ever wish was really available. Not to bad for a few plastic robots from the 60s.
Okay, so Real Steel isn’t based on the old game you played with and trashed back when you were a kid, it’s actually based on the story “Steel” by the amazing and incredible Richard Matheson (I Am Legend, Hell House, Nightmare at 20,000 Feet). But the storyline sure quacks like a toy robot: it’s sometime in the not-too-distant future, a time where boxing has ditched humans and amped up the amazeballs factor by using robots. Big, powerful, amazing robots, that are controlled/worked by human handlers and treated like superstars.
Okay, so Real Steel isn’t based on the old game you played with and trashed back when you were a kid, it’s actually based on the story “Steel” by the amazing and incredible Richard Matheson (I Am Legend, Hell House, Nightmare at 20,000 Feet). But the storyline sure quacks like a toy robot: it’s sometime in the not-too-distant future, a time where boxing has ditched humans and amped up the amazeballs factor by using robots. Big, powerful, amazing robots, that are controlled/worked by human handlers and treated like superstars.
- 10/7/2011
- Atomic Popcorn
Christopher Guest is taking it up to 11 for Fox's sequel to "Night at the Museum."
The "Spinal Tap" star has joined the cast as Ivan the Terrible for the comedy adventure, officially titled "Night at the Museum: Battle of the Smithsonian."
Also joining the cast are Jon Bernthal (Al Capone), Bill Hader (Gen. George Armstrong Custer) and French actor Alain Chabat (Napoleon).
The film, directed by Shawn Levy, reunites lead Ben Stiller with castmates Robin Williams, Ricky Gervais and Owen Wilson.
Robert Ben Garant and Thomas Lennon, who penned both "Museum" films, will make a cameo in the sequel, playing the Wright brothers.
"Museum" was a boxoffice success for Fox, grossing $574 million worldwide. With the Smithsonian as the centerpiece, the studio and Levy kicked the current production up a notch by getting the rare chance to film portions of the movie in the Smithsonian Institute in Washington.
The film is shooting in Vancouver, with a behind-the-scenes team that includes director of photography John Schwartzman ("Pearl Harbor"), editors Don Zimmerman and Dean Zimmerman ("Rush Hour 3"), production designer Claude Pare ("The Aviator") and costume designer Marlene Stewart ("Tropic Thunder").
The "Spinal Tap" star has joined the cast as Ivan the Terrible for the comedy adventure, officially titled "Night at the Museum: Battle of the Smithsonian."
Also joining the cast are Jon Bernthal (Al Capone), Bill Hader (Gen. George Armstrong Custer) and French actor Alain Chabat (Napoleon).
The film, directed by Shawn Levy, reunites lead Ben Stiller with castmates Robin Williams, Ricky Gervais and Owen Wilson.
Robert Ben Garant and Thomas Lennon, who penned both "Museum" films, will make a cameo in the sequel, playing the Wright brothers.
"Museum" was a boxoffice success for Fox, grossing $574 million worldwide. With the Smithsonian as the centerpiece, the studio and Levy kicked the current production up a notch by getting the rare chance to film portions of the movie in the Smithsonian Institute in Washington.
The film is shooting in Vancouver, with a behind-the-scenes team that includes director of photography John Schwartzman ("Pearl Harbor"), editors Don Zimmerman and Dean Zimmerman ("Rush Hour 3"), production designer Claude Pare ("The Aviator") and costume designer Marlene Stewart ("Tropic Thunder").
- 7/1/2008
- by By Leslie Simmons
- The Hollywood Reporter - Movie News
Hayden Christensen makes the transition from Skywalker to globetrotter in Jumper, a sci-fi thriller about a young man who discovers he has a gift for teleportation.
The vehicle would seem to be a perfect match for Doug Liman, the man whose propulsive, hyperkinetic style has yielded a string of energetic hits, including The Bourne Identity and "Mr. & Mrs. Smith."
But for a picture steeped in wormholes and zippy trips via the space-time continuum, Jumper proves disappointingly inert.
All the state-of-the-art visual effects in the world can't compensate for spotty plotting and bland characters that prevent an intriguing premise from going the distance.
Given the director's proven track record and nifty-looking teaser trailers, the 20th Century-Fox release should come out of the gate running, but more discerning movie-goers may opt to look before they leap, resulting in returns that would fall short of the usual Liman mark.
Based on the young-adult sci-fi novels, Jumper and Reflex by Steven Gould, the film concerns the transcontinental exploits of David Rice (Christensen), who inadvertently finds out about his peripatetic prowess while back in school, escaping from a potentially fatal accident.
Once he gets the hang of things, he uses his teleporting powers to buy freedom from his abusive father (Michael Rooker) by jumping into a bank vault and jumping back out again with its entire contents.
That pretty much sets him up for life, spending his young adult days whizzing between New York, London, Paris, Cairo or wherever his whim -- and a surfable high-tide -- takes him.
But just as David picks up where he left off with his school crush (Rachel Bilson), he finds out he's not the only one with his particular talent when he runs into Griffin (Jamie Bell) while snooping around the Colosseum in Rome.
Griffin gives David a little history lesson about the centuries-old battle between the Jumpers and the Paladins, a secret organization dedicated to wiping them out courtesy of high-voltage contraptions known as tethers.
And leading the Paladin crusade is one Roland (Samuel L. Jackson) a man with snow-white hair and a strong personal moral code having to do with the Jumpers going where only God should go.
Or something like that.
It's evident that this is a movie with The Matrix on its mind, but where the Wachowski Brothers' movies came complete with a richly developed mythology, the Jumper back story is awfully muddy.
That's surprising given a lineup of writers including David S. Goyer (Batman Begins), Jim Uhls (Fight Club) and Simon Kinberg (Mr. and Mrs. Smith), but then again, it seems as if huge chunks of story have been teleported themselves in order for the film to conform to a noticeably rushed, scant 90-minute running time.
What remains plays out like a (pricey) cable series pilot.
More dynamic performances wouldn't have hurt, either. Christensen brings a brooding intensity to a part that really required a charismatic energy to better complement the action, while his old Star Wars co-star Jackson fights a personal battle with that distracting 'do.
Bell's punky character allows the grownup Billy Elliot star to have a little more fun than the others, especially Diane Lane, who pops in and out a couple of times as David's long-lost mother.
On the technical end, while the film combines virtual effects with live location shooting in New York, Tokyo, Rome, London, Paris and Cairo (with interior work on Toronto soundstages), the end product somehow has all the dimension of a picture postcard -- admittedly scenic, but flat.
JUMPER
Fox
New Regency Pictures
Credits:
Director: Doug Limon
Writers: David S. Goyer, Jim Uhls, Simon Kinberg
Based on the novel by Steven Gould
Producers: Arnon Milchan, Lucas Foster, Jay Sanders, Simon Kinberg
Executive producers: Stacy Maes, Kim Winther, Vince Gerardis, Ralph M. Vicinanza
Director of photography: Barry Peterson
Production designer: Oliver Scholl
Music: John Powell
Costume designer: Magali Guidasci
Editors: Don Zimmerman, Dean Zimmerman, Saar Klein
Visual effects supervisor: Joel Hynek.
Cast:
David Rice: Hayden Christensen
Griffin: Jamie Bell
Millie Harris: Rachel Bilson
Roland: Samuel L. Jackson
Mary Rice: Diane Lane
William Rice: Michael Rooker
Young Millie: Annasophia Robb
Young David: Max Thieriot
Running time -- 93 minutes
MPAA rating: PG-13...
The vehicle would seem to be a perfect match for Doug Liman, the man whose propulsive, hyperkinetic style has yielded a string of energetic hits, including The Bourne Identity and "Mr. & Mrs. Smith."
But for a picture steeped in wormholes and zippy trips via the space-time continuum, Jumper proves disappointingly inert.
All the state-of-the-art visual effects in the world can't compensate for spotty plotting and bland characters that prevent an intriguing premise from going the distance.
Given the director's proven track record and nifty-looking teaser trailers, the 20th Century-Fox release should come out of the gate running, but more discerning movie-goers may opt to look before they leap, resulting in returns that would fall short of the usual Liman mark.
Based on the young-adult sci-fi novels, Jumper and Reflex by Steven Gould, the film concerns the transcontinental exploits of David Rice (Christensen), who inadvertently finds out about his peripatetic prowess while back in school, escaping from a potentially fatal accident.
Once he gets the hang of things, he uses his teleporting powers to buy freedom from his abusive father (Michael Rooker) by jumping into a bank vault and jumping back out again with its entire contents.
That pretty much sets him up for life, spending his young adult days whizzing between New York, London, Paris, Cairo or wherever his whim -- and a surfable high-tide -- takes him.
But just as David picks up where he left off with his school crush (Rachel Bilson), he finds out he's not the only one with his particular talent when he runs into Griffin (Jamie Bell) while snooping around the Colosseum in Rome.
Griffin gives David a little history lesson about the centuries-old battle between the Jumpers and the Paladins, a secret organization dedicated to wiping them out courtesy of high-voltage contraptions known as tethers.
And leading the Paladin crusade is one Roland (Samuel L. Jackson) a man with snow-white hair and a strong personal moral code having to do with the Jumpers going where only God should go.
Or something like that.
It's evident that this is a movie with The Matrix on its mind, but where the Wachowski Brothers' movies came complete with a richly developed mythology, the Jumper back story is awfully muddy.
That's surprising given a lineup of writers including David S. Goyer (Batman Begins), Jim Uhls (Fight Club) and Simon Kinberg (Mr. and Mrs. Smith), but then again, it seems as if huge chunks of story have been teleported themselves in order for the film to conform to a noticeably rushed, scant 90-minute running time.
What remains plays out like a (pricey) cable series pilot.
More dynamic performances wouldn't have hurt, either. Christensen brings a brooding intensity to a part that really required a charismatic energy to better complement the action, while his old Star Wars co-star Jackson fights a personal battle with that distracting 'do.
Bell's punky character allows the grownup Billy Elliot star to have a little more fun than the others, especially Diane Lane, who pops in and out a couple of times as David's long-lost mother.
On the technical end, while the film combines virtual effects with live location shooting in New York, Tokyo, Rome, London, Paris and Cairo (with interior work on Toronto soundstages), the end product somehow has all the dimension of a picture postcard -- admittedly scenic, but flat.
JUMPER
Fox
New Regency Pictures
Credits:
Director: Doug Limon
Writers: David S. Goyer, Jim Uhls, Simon Kinberg
Based on the novel by Steven Gould
Producers: Arnon Milchan, Lucas Foster, Jay Sanders, Simon Kinberg
Executive producers: Stacy Maes, Kim Winther, Vince Gerardis, Ralph M. Vicinanza
Director of photography: Barry Peterson
Production designer: Oliver Scholl
Music: John Powell
Costume designer: Magali Guidasci
Editors: Don Zimmerman, Dean Zimmerman, Saar Klein
Visual effects supervisor: Joel Hynek.
Cast:
David Rice: Hayden Christensen
Griffin: Jamie Bell
Millie Harris: Rachel Bilson
Roland: Samuel L. Jackson
Mary Rice: Diane Lane
William Rice: Michael Rooker
Young Millie: Annasophia Robb
Young David: Max Thieriot
Running time -- 93 minutes
MPAA rating: PG-13...
- 2/13/2008
- The Hollywood Reporter - Movie News
You'd think a movie with the word "rush" in its title would at least keep things moving at a decent clip.
But in its third time out of the gate, Rush Hour 3, reuniting Chris Tucker and Jackie Chan, hits the ground stalling.
Even with Brett Ratner again returning to the helm of the successful globe-trotting franchise that really launched his career -- the first two films earned in excess of $590 million worldwide -- any sense of momentum seems to have been lost over the course of the six years since the last installment.
Given the enthusiastic fan base, the New Line Cinema release should have no problem nabbing top spot over the Aug. 10 weekend, but likely will fall well short of the $225 million collared by Rush Hour 2.
As buddy cop action-comedies go, Rush Hour from the outset always felt like the poorer relation next to a Beverly Hills Cop or a Lethal Weapon.
What it had going for it was that engaging yin/yang of the Chan/Tucker personalities that made for an amusing clash of cultures.
This time, however, the routine goes awfully stale, with the actors doing the shtick-handling without the chemistry that compensated for all the by-the-numbers formula.
Here we have Tucker's LAPD Detective Carter and Chan's Inspector Lee reuniting in Los Angeles before relocating to Paris to stop an international crime syndicate known as the Triads in their notorious tracks.
While their search for the elusive Shy Shen leads them from the sewers of Paris to the top of the Eiffel Tower, the picture, even with three editors at its disposal, seldom gets off the ground.
Even bits that would seem to be can't-miss propositions, like when Tucker poses as a Fey French designer named Bubbles in order to "review the troops" backstage at the Folies-Bergeres (played by a theater in Santa Ana), fall awfully flat.
As Ratner, his two leads and returning screenwriter Jeff Nathanson all appear to be approaching the task at hand with all the inspiration of a contractual obligation, the assembled cosmopolitan cast -- including old pro Max von Sydow as the French foreign minister, the alluring Noemie Lenoir as the resident femme fatale and director Roman Polanski as an obnoxious police inspector -- do what they can to add a bit of much-needed vitality.
With the exception of that Eiffel Tower finale that delivers a couple of sky-high thrills, if a little late in the game, the obligatory action sequences also tend to simply go through the motions, offering little in the way of freshness or ingenuity.
Admittedly, it all looks pretty terrific, thanks to the vibrant camerawork of cinematographer J. Michael Muro (Open Range, Crash) and the sets by production designer Edward Verreaux (Monster House, Contact)
With the masterful Lalo Schifrin handling the scoring, Rush Hour 3 at least sounds like it's moving in a propulsive direction, even as it sputters to the finish line.
RUSH HOUR 3
New Line Cinema
New Line Cinema presents anArthur Sarkissian and Roger Birnbaum production
Credits:
Director: Brett Ratner
Screenwriter: Jeff Nathanson
Based on characters created by: Ross LaManna
Producers: Arthur Sarkissian, Roger Birnbaum, Jay Stern, Jonathan Glickman, Andrew Z. Davis
Executive producer: Toby Emmerich
Director of photography: J. Michael Muro
Production designer: Edward Verreaux
Music: Lalo Schifrin
Co-producers: James M. Freitag, Leon Dudevoir
Costume designer: Betsy Heimann
Editors: Don Zimmerman, Dean Zimmerman, Mark Helfrich
Cast:
Carter: Chris Tucker
Lee: Jackie Chan
Kenji: Hiroyuki Sanada
Jasmine: Youki Kudoh
Reynard: Max von Sydow
George: Yvan Attal
Genevieve: Noemie Lenoir
Soo Yung: Jinchu Zhang
Running time -- 91 minutes
MPAA rating: PG-13...
But in its third time out of the gate, Rush Hour 3, reuniting Chris Tucker and Jackie Chan, hits the ground stalling.
Even with Brett Ratner again returning to the helm of the successful globe-trotting franchise that really launched his career -- the first two films earned in excess of $590 million worldwide -- any sense of momentum seems to have been lost over the course of the six years since the last installment.
Given the enthusiastic fan base, the New Line Cinema release should have no problem nabbing top spot over the Aug. 10 weekend, but likely will fall well short of the $225 million collared by Rush Hour 2.
As buddy cop action-comedies go, Rush Hour from the outset always felt like the poorer relation next to a Beverly Hills Cop or a Lethal Weapon.
What it had going for it was that engaging yin/yang of the Chan/Tucker personalities that made for an amusing clash of cultures.
This time, however, the routine goes awfully stale, with the actors doing the shtick-handling without the chemistry that compensated for all the by-the-numbers formula.
Here we have Tucker's LAPD Detective Carter and Chan's Inspector Lee reuniting in Los Angeles before relocating to Paris to stop an international crime syndicate known as the Triads in their notorious tracks.
While their search for the elusive Shy Shen leads them from the sewers of Paris to the top of the Eiffel Tower, the picture, even with three editors at its disposal, seldom gets off the ground.
Even bits that would seem to be can't-miss propositions, like when Tucker poses as a Fey French designer named Bubbles in order to "review the troops" backstage at the Folies-Bergeres (played by a theater in Santa Ana), fall awfully flat.
As Ratner, his two leads and returning screenwriter Jeff Nathanson all appear to be approaching the task at hand with all the inspiration of a contractual obligation, the assembled cosmopolitan cast -- including old pro Max von Sydow as the French foreign minister, the alluring Noemie Lenoir as the resident femme fatale and director Roman Polanski as an obnoxious police inspector -- do what they can to add a bit of much-needed vitality.
With the exception of that Eiffel Tower finale that delivers a couple of sky-high thrills, if a little late in the game, the obligatory action sequences also tend to simply go through the motions, offering little in the way of freshness or ingenuity.
Admittedly, it all looks pretty terrific, thanks to the vibrant camerawork of cinematographer J. Michael Muro (Open Range, Crash) and the sets by production designer Edward Verreaux (Monster House, Contact)
With the masterful Lalo Schifrin handling the scoring, Rush Hour 3 at least sounds like it's moving in a propulsive direction, even as it sputters to the finish line.
RUSH HOUR 3
New Line Cinema
New Line Cinema presents anArthur Sarkissian and Roger Birnbaum production
Credits:
Director: Brett Ratner
Screenwriter: Jeff Nathanson
Based on characters created by: Ross LaManna
Producers: Arthur Sarkissian, Roger Birnbaum, Jay Stern, Jonathan Glickman, Andrew Z. Davis
Executive producer: Toby Emmerich
Director of photography: J. Michael Muro
Production designer: Edward Verreaux
Music: Lalo Schifrin
Co-producers: James M. Freitag, Leon Dudevoir
Costume designer: Betsy Heimann
Editors: Don Zimmerman, Dean Zimmerman, Mark Helfrich
Cast:
Carter: Chris Tucker
Lee: Jackie Chan
Kenji: Hiroyuki Sanada
Jasmine: Youki Kudoh
Reynard: Max von Sydow
George: Yvan Attal
Genevieve: Noemie Lenoir
Soo Yung: Jinchu Zhang
Running time -- 91 minutes
MPAA rating: PG-13...
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