Previous winners include Roger Deakins, Annika Summerson.
Heartstopper cinematographer Diana Olifirova is one of five nominees for the National Film and Television School’s 2022 Sue Gibson Bsc Cinematography Award.
Two of this year’s selection are on their second nomination – Ula Pontikos, for season two of Russian Doll; and Edu Grau, for Rebecca Hall’s Bafta-nominated Passing.
The other nominees are Nick Cooke for Ben Sharrock’s Limbo; and Paul Kadir Ozgur for Pascual Sisto’s John And The Hole.
This year is the sixth edition of the award, which recognises work by an alumnus of the cinematography course at the UK film school.
Heartstopper cinematographer Diana Olifirova is one of five nominees for the National Film and Television School’s 2022 Sue Gibson Bsc Cinematography Award.
Two of this year’s selection are on their second nomination – Ula Pontikos, for season two of Russian Doll; and Edu Grau, for Rebecca Hall’s Bafta-nominated Passing.
The other nominees are Nick Cooke for Ben Sharrock’s Limbo; and Paul Kadir Ozgur for Pascual Sisto’s John And The Hole.
This year is the sixth edition of the award, which recognises work by an alumnus of the cinematography course at the UK film school.
- 9/1/2022
- by Ben Dalton
- ScreenDaily
For winners at the Film Independent Spirit Awards Sunday, the mood was one of community-oriented gratitude. The show, like so many other celebrations of cinematic excellence, is often defined by speeches filled with breathless lists of thank-yous. But that took on a different flavor this year: Sunday marked the first time the show has been staged in person in two years, and it comes as Hollywood has been in a tizzy over the Academy’s decision to omit eight categories from the live broadcast when the Oscars air next month, in favor of editing in pre-taped segments for short-film and below-the-line categories like sound and editing.
Among those who used their time during the live broadcast of the Spirit Awards on IFC to champion their often-under-appreciated collaborators was Ruth Negga, who won the award for best supporting female for her role in “Passing.” Zooming into the ceremony remotely, she said...
Among those who used their time during the live broadcast of the Spirit Awards on IFC to champion their often-under-appreciated collaborators was Ruth Negga, who won the award for best supporting female for her role in “Passing.” Zooming into the ceremony remotely, she said...
- 3/7/2022
- by Chris Lindahl
- Indiewire
Like most Oscar categories that have existed since the foundation of the Academy Awards, Best Cinematography has naturally gone through several changes over the past near-century. After eight years of only black-and-white nominees, “The Garden of Allah” (1937) became the first color film to win an honorary award for its cinematography. A separate competitive color category was established three years later and existed continuously until 1957, when Technicolor epic “Around the World in 80 Days” won the award as well as Best Picture from that category’s first-ever all-color lineup.
The category was split again in 1959 and stayed that way until the enactment of a permanent merge in 1967. Of the 270 Best Cinematography nominations in the time a whopping 254 (94%) have been for color films, But the academy has indicated a renewed interest in films shot in black-and-white as of late. In the last five years, four such features have contended for the award and two,...
The category was split again in 1959 and stayed that way until the enactment of a permanent merge in 1967. Of the 270 Best Cinematography nominations in the time a whopping 254 (94%) have been for color films, But the academy has indicated a renewed interest in films shot in black-and-white as of late. In the last five years, four such features have contended for the award and two,...
- 2/6/2022
- by Matthew Stewart
- Gold Derby
Variety's Awards Circuit is home to the official predictions for the upcoming Oscars and Emmys ceremonies from film awards editor Clayton Davis. Following history, buzz, news, reviews and sources, the Oscar and Emmy predictions are updated regularly with the current year's list of contenders in all categories. Variety's Awards Circuit Prediction schedule consists of four phases, running all year long: Draft, Pre-Season, Regular Season and Post Season. The eligibility calendar and dates of awards will determine how long each phase lasts and is subject to change.
To see all the latest predictions, of all the categories, in one place, visit The Oscars Collective
Visit each category, per the individual awards show from The Oscars Hub
Revisit the prediction archive of the 2021 season The Archive
Link to television awards is atTHE Emmys Hub
2022 Oscars Predictions:
Best Cinematography
Updated: Jan 30, 2022
Awards Prediction Commentary: The ASC Awards recognized Ari Wegner in the theatrical...
To see all the latest predictions, of all the categories, in one place, visit The Oscars Collective
Visit each category, per the individual awards show from The Oscars Hub
Revisit the prediction archive of the 2021 season The Archive
Link to television awards is atTHE Emmys Hub
2022 Oscars Predictions:
Best Cinematography
Updated: Jan 30, 2022
Awards Prediction Commentary: The ASC Awards recognized Ari Wegner in the theatrical...
- 1/30/2022
- by Clayton Davis
- Variety Film + TV
The Alliance of Women Film Journalists has announced the 2021 AWFJ Eda winners for its 15th season. This year’s most-nominated film, “The Power of the Dog,” swept the awards with wins in 11 out of 25 categories including best film, best director for Jane Campion, supporting actress for Kirsten Dunst and adapted screenplay.
“Although our beloved film industry was plagued by the pandemic, 2021 turned out to be a rather magnificent year for movies — especially for films made by and about women,” said AWFJ president Jennifer Merin. “We at the Alliance of Women Film Journalists are delighted to note that last year’s crop of brilliant femme-helmed and femme-centric films are getting the awards recognition they deserve — as shown in our list of Eda Award winners, and in films and talent on our roster of nominees, as well as in awards presented by other film critics’ groups.”
Other winners included ties for documentary...
“Although our beloved film industry was plagued by the pandemic, 2021 turned out to be a rather magnificent year for movies — especially for films made by and about women,” said AWFJ president Jennifer Merin. “We at the Alliance of Women Film Journalists are delighted to note that last year’s crop of brilliant femme-helmed and femme-centric films are getting the awards recognition they deserve — as shown in our list of Eda Award winners, and in films and talent on our roster of nominees, as well as in awards presented by other film critics’ groups.”
Other winners included ties for documentary...
- 1/25/2022
- by Sasha Urban
- Variety Film + TV
The race for best cinematography is among the most competitive races this year at the Oscars. Black-and-white dramas, sci-fi dazzlers and Hollywood blockbusters are among the contenders, and it’s not entirely sure where it all might land. The American Society of Cinematographers, which announces its nominees tomorrow, will set a tone leading up to the opening of Oscar nomination voting, which begins on Thursday.
From ASC’s theatrical releases category to the Oscars, the track record averages about four out of five matches every year. Past ASC selections like “First Man” (Linus Sandgren), “Ford v Ferrari” (Phedon Papamichael), and last year’s “Cherry” (Newton Thomas Sigel) failed to transition to the Academy in favor of “Never Look Away” (Caleb Deschanel), “The Lighthouse” (Jarin Blaschke) and “Judas and the Black Messiah” (Sean Bobbitt). The last time they perfectly aligned was in 2017.
Over 93 years of the Academy Awards, Rachel Morrison is...
From ASC’s theatrical releases category to the Oscars, the track record averages about four out of five matches every year. Past ASC selections like “First Man” (Linus Sandgren), “Ford v Ferrari” (Phedon Papamichael), and last year’s “Cherry” (Newton Thomas Sigel) failed to transition to the Academy in favor of “Never Look Away” (Caleb Deschanel), “The Lighthouse” (Jarin Blaschke) and “Judas and the Black Messiah” (Sean Bobbitt). The last time they perfectly aligned was in 2017.
Over 93 years of the Academy Awards, Rachel Morrison is...
- 1/24/2022
- by Clayton Davis
- Variety Film + TV
At six of the last nine Oscars, Best Cinematography has gone hand-in-hand with Best Director: Claudio Miranda and Ang Lee for “Life of Pi” (2013); Emmanuel Lubezki and Alfonso Cuaron for “Gravity” (2014); Lubezki and Alejandro G. Inarritu for both “Birdman” (2015) and “The Revenant” (2016); Linus Sandgren and Damien Chazelle for “La La Land” (2017); and Cuaron doing double duty on “Roma” (2019). Will that trend hold true this year? (Scroll down for the most up-to-date 2022 Oscars predictions for Best Cinematography.)
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
The academy usually regards award-winning cinematography as pretty pictures within an epic technical feat of filmmaking. While great lighting and framing are laudable on their own, having a movie that looks like it was difficult to shoot goes a long way to snagging an Oscar. Recent lensing winners “Avatar” (2009), “Inception” (2010), “Hugo” (2011), “Life of Pi” (2012), “Gravity” (2013), “Blade Runner 2049” (2018) and “1917” (2020) also took home the Oscar for Best Visual Effects.
While the lensers of “Inception...
- 1/23/2022
- by Paul Sheehan
- Gold Derby
Editors note: Deadline’s Read the Screenplay series debuts and celebrates the scripts of films that will be factors in this year’s movie awards race.
Rebecca Hall made her directorial debut with the Netflix film Passing, which also marked her first produced screenplay. She adapted Nella Larsen’s novel about a Black woman passing for white in 1920s Harlem, and her friendship with another woman.
Irene Redfield (Tessa Thompson) and Clare Kendry (Ruth Negga) were childhood friends. By the time they reunite as adults, they’re living quite different lives. Irene is married to a doctor (Andre Holland) with whom she has children. Clare passes for a white woman and is married to John (Alexander Skarsgård) who not only doesn’t know his wife is Black but is racist himself.
Hall has a Black grandfather who passed for white in his day, though he died before Hall was born...
Rebecca Hall made her directorial debut with the Netflix film Passing, which also marked her first produced screenplay. She adapted Nella Larsen’s novel about a Black woman passing for white in 1920s Harlem, and her friendship with another woman.
Irene Redfield (Tessa Thompson) and Clare Kendry (Ruth Negga) were childhood friends. By the time they reunite as adults, they’re living quite different lives. Irene is married to a doctor (Andre Holland) with whom she has children. Clare passes for a white woman and is married to John (Alexander Skarsgård) who not only doesn’t know his wife is Black but is racist himself.
Hall has a Black grandfather who passed for white in his day, though he died before Hall was born...
- 12/30/2021
- by Fred Topel
- Deadline Film + TV
The most electric scenes in Rebecca Hall’s “Passing” are its most quiet and intimate, featuring its two stars Tessa Thompson and Ruth Negga in conversation. It is only fitting, then, that both actresses are in the Oscar conversation for their nuanced and moving work in the Netflix film, which is based on Nella Larsen’s novel of the same name from 1929 and set around the same time. Thompson and Negga play Irene and Clare, respectively, former childhood acquaintances who after a chance encounter reenter each others’ lives in a complicated and ultimately tragic manner.
Both Thompson and Negga deliver beautiful, understated performances. Negga is glamorous and charismatic as Clare, a Black woman who has long passed for white, even unbeknownst to her racist husband John (Alexander Skarsgård), whose charmed life begins to show signs of her disillusionment. Thompson delivers a similarly intricate performance as Irene, a volunteer for the...
Both Thompson and Negga deliver beautiful, understated performances. Negga is glamorous and charismatic as Clare, a Black woman who has long passed for white, even unbeknownst to her racist husband John (Alexander Skarsgård), whose charmed life begins to show signs of her disillusionment. Thompson delivers a similarly intricate performance as Irene, a volunteer for the...
- 12/24/2021
- by David Buchanan
- Gold Derby
Jane Campion’s “The Power of the Dog” led the nominations from the Alliance of Women Film Journalists (AWFJ). The emotional western was nominated for best film, director, adapted screenplay, and in acting and craft categories.
With 25 individual categories, the awards are divided into three sections: the standard “best of” section, the “Female Focus” awards and “Eda Special Mentions.” Women dominated the “best of” section, with three of the five slots occupied by women.
Rebecca Hall’s “Passing” was the second most-nominated film, landing nine nominations, and Maggie Gyllenhaal’s “The Lost Daughter” scored eight.
“2021 has been a surprisingly great year for films, especially for female-directed films, as is indicated by AWFJ’s Eda Award nominees,” said AWFJ and Eda Awards founder Jennifer Merin. “Our list of eligible films exceeds 700, and we’re thrilled to see so many of them directed by women and femme-centric. We hope the trend will...
With 25 individual categories, the awards are divided into three sections: the standard “best of” section, the “Female Focus” awards and “Eda Special Mentions.” Women dominated the “best of” section, with three of the five slots occupied by women.
Rebecca Hall’s “Passing” was the second most-nominated film, landing nine nominations, and Maggie Gyllenhaal’s “The Lost Daughter” scored eight.
“2021 has been a surprisingly great year for films, especially for female-directed films, as is indicated by AWFJ’s Eda Award nominees,” said AWFJ and Eda Awards founder Jennifer Merin. “Our list of eligible films exceeds 700, and we’re thrilled to see so many of them directed by women and femme-centric. We hope the trend will...
- 12/10/2021
- by Jazz Tangcay
- Variety Film + TV
Wins at Toronto and Middleburg film festivals pushed Kenneth Branagh’s “Belfast” into front-runner status. The visually stunning, heartwarming film shot by Haris Zambarloukos is so deliciously rich that this film could walk home with a few statues come 2022.
Multiple contenders, also shot in black-and-white, could find themselves in the running. There is Robbie Ryan, whose lush camerawork in Mike Mill’s “C’mon C’mon” has been receiving praise for the dreamy images in the Joaquin Phoenix-starrer. Eduard Grau added warm textures to Rebecca Hall’s directorial debut “Passing.” Close-ups were key to this tale of colorism. Bruno Delbonnel gave a noir-esque feel to each frame of “The Tragedy of Macbeth,” the dark cinematography lending itself to the tale.
While black and white might dominate, the ASC needs to hear the plea that women cinematographers have shot some of the year’s best films. Ari Wegner’s “Power of the...
Multiple contenders, also shot in black-and-white, could find themselves in the running. There is Robbie Ryan, whose lush camerawork in Mike Mill’s “C’mon C’mon” has been receiving praise for the dreamy images in the Joaquin Phoenix-starrer. Eduard Grau added warm textures to Rebecca Hall’s directorial debut “Passing.” Close-ups were key to this tale of colorism. Bruno Delbonnel gave a noir-esque feel to each frame of “The Tragedy of Macbeth,” the dark cinematography lending itself to the tale.
While black and white might dominate, the ASC needs to hear the plea that women cinematographers have shot some of the year’s best films. Ari Wegner’s “Power of the...
- 11/5/2021
- by Jazz Tangcay
- Variety Film + TV
As cinematographer Eduard Grau was seeking his next project after “The Way Back,” he wanted to work with a director whose vision was to elevate the material into something intellectually profound.
Actor Rebecca Hall, making her directing debut with “Passing,” proved to be the ideal partner. “She was already going in that direction, and focused on making a movie with visually striking poetry,” Grau says.
Hall decided the adaptation of Nella Larsen’s 1929 novel would be shot in black and white. At the heart of the story are two Black women, Irene (Tessa Thompson) and Clare (Ruth Negga), who can “pass” as white women but choose to live on opposing sides of the color line. With colorism as a theme, alongside sexism, race, class and gender, Hall gravitated to monochrome — in particular, to remove the idea of complexion and give greater visual freedom to the storytelling.
Hall and Grau looked...
Actor Rebecca Hall, making her directing debut with “Passing,” proved to be the ideal partner. “She was already going in that direction, and focused on making a movie with visually striking poetry,” Grau says.
Hall decided the adaptation of Nella Larsen’s 1929 novel would be shot in black and white. At the heart of the story are two Black women, Irene (Tessa Thompson) and Clare (Ruth Negga), who can “pass” as white women but choose to live on opposing sides of the color line. With colorism as a theme, alongside sexism, race, class and gender, Hall gravitated to monochrome — in particular, to remove the idea of complexion and give greater visual freedom to the storytelling.
Hall and Grau looked...
- 10/29/2021
- by Jazz Tangcay
- Variety Film + TV
Passing Trailer — Rebecca Hall‘s Passing (2021) movie trailer has been released by Netflix. The Passing trailer stars Tessa Thompson, Ruth Negga, Andre Holland, Alexander Skarsgard, Bill Camp, Ashley Ware Jenkins, Antoinette Crowe-Legacy, and Gbenga Akinnagbe. Crew Rebecca Hall wrote the screenplay for Passing. Devonté Hynes created the music for the film. Eduard Grau crafted [...]
Continue reading: Passing (2021) Movie Trailer: Tessa Thompson & Ruth Negga can “pass” as White during NY’s Harlem Renaissance...
Continue reading: Passing (2021) Movie Trailer: Tessa Thompson & Ruth Negga can “pass” as White during NY’s Harlem Renaissance...
- 10/1/2021
- by Rollo Tomasi
- Film-Book
Rebecca Hall earned stellar reviews for making the jump from actress to director in “Passing,” her feature debut behind the camera that earned universal acclaim at the Sundance Film Festival earlier this year. Hall adapted Nella Larsen’s 1929 novel of the same name for her directorial debut, which pairs Tessa Thompson and “Loving” Oscar nominee Ruth Negga. Netflix has debuted the first trailer for “Passing” below.
The official synopsis for the film from Netflix reads: “‘Passing’ tells the story of two Black women, Irene Redfield (Tessa Thompson) and Clare Kendry (Ruth Negga), who can ‘pass’ as white but choose to live on opposite sides of the color line during the height of the Harlem Renaissance in late 1920s New York. After a chance encounter reunites the former childhood friends one summer afternoon, Irene reluctantly allows Clare into her home, where she ingratiates herself to Irene’s husband (André Holland) and family,...
The official synopsis for the film from Netflix reads: “‘Passing’ tells the story of two Black women, Irene Redfield (Tessa Thompson) and Clare Kendry (Ruth Negga), who can ‘pass’ as white but choose to live on opposite sides of the color line during the height of the Harlem Renaissance in late 1920s New York. After a chance encounter reunites the former childhood friends one summer afternoon, Irene reluctantly allows Clare into her home, where she ingratiates herself to Irene’s husband (André Holland) and family,...
- 9/21/2021
- by Zack Sharf
- Indiewire
Rebecca Hall’s Passing has been fifteen years in the making, and that dedication shows in every meticulously crafted frame. Adapted from Nella Larsen’s 1929 novel, the tense, black and white psychological drama is a study in intentional filmmaking. Every detail is an obsession with symbolism and performativity, from the by-turns absent and invasive score courtesy of Devonté Hynes to the elaborate period wardrobe from Marci Rodgers, to the affect with which stars Tessa Thompson and Ruth Negga speak. This obsessiveness folds in on itself, creating a layered profile of reunited childhood friends Irene Redfield (Thompson) and Clare Bellew (Negga) whose muffled desire for one another exposes devastating cracks in each of their lives. By turns stifling and lucid with seduction, Hall’s debut is impressive, even when its atmosphere sometimes overtakes its pace.
The film’s premise hinges on Irene’s failing attempts to keep the daring and promisingly...
The film’s premise hinges on Irene’s failing attempts to keep the daring and promisingly...
- 1/31/2021
- by Shayna Warner
- The Film Stage
The presumed dead-and-buried practice of racial passing by light-skinned blacks in the United States decades ago is returned to center-stage in Passing, a delicate, sensitive, intentionally claustrophobic and not entirely limber directorial debut from the protean British stage performer Rebecca Hall. Based on the recently resurrected 1929 novel by Nella Larsen, which was a modest success in its time, the film is indisputably intriguing for its look at a very particular convention about which younger generations know very little. But the adaptation is also rather arch and aridly decorous, with a well-rehearsed rather than spontaneous feel that sometimes weighs things down. Still, this is something very different from the usual fare both in cinemas and on the tube and, given the subject matter, it will attract the intellectually curious and culturally informed.
The phenomenon of passing was familiar to the wide public during the last century due to a handful of popular entertainments,...
The phenomenon of passing was familiar to the wide public during the last century due to a handful of popular entertainments,...
- 1/31/2021
- by Todd McCarthy
- Deadline Film + TV
Face half-covered with a beautiful hat, Irene Redfield (Tessa Thompson), a biracial woman, wanders into establishments that would be off-limits to her if she couldn’t pass as white. On one of those undercover escapades, she runs into a friend from her youth, Clare (Ruth Negga), now a blonde living full time as a white wife. The ramifications of their camouflage lie at the center of “Passing,” Rebecca Hall’s impressively refined and superbly acted directorial debut, which she adapted from Nella Larsen’s novel set in 1920s Harlem.
Married to a white man with no clue of her divided identity, Clare claims to find comfort in her lifestyle. But after reconnecting with Irene, a burgeoning desire to return to Black society — as a tourist, with none of the hardships — sets in. Soon she becomes a frequent guest at Irene’s home and befriends her husband Brian (André Holland). With every evening together,...
Married to a white man with no clue of her divided identity, Clare claims to find comfort in her lifestyle. But after reconnecting with Irene, a burgeoning desire to return to Black society — as a tourist, with none of the hardships — sets in. Soon she becomes a frequent guest at Irene’s home and befriends her husband Brian (André Holland). With every evening together,...
- 1/31/2021
- by Carlos Aguilar
- The Wrap
In the mid-1920s, budding writer Nella Larsen set her eyes on joining the ranks of the rising “New Negro” writers spilling out of the Harlem Renaissance like Rudolph Fisher, Zora Neale Hurston, Langston Hughes, and their leader and mentor Alain Locke. The Chicago native even relocated from New Jersey to Harlem to better place herself — and her husband, trailblazing physicist Elmer Imes — in the heart of the cultural action. While Larsen has not yet enjoyed the full recognition of her contemporaries, she produced two remarkable novels that continue to enthrall readers. The best known of the pair is “Passing,” a complex examination of race and sexuality set against the backdrop of the same ’20s-era Harlem that Larsen was so keen to be part of.
The book, like its predecessor “Quicksand,” is run through with details culled from Larsen’s own life, including her experiences as a mixed-race woman in...
The book, like its predecessor “Quicksand,” is run through with details culled from Larsen’s own life, including her experiences as a mixed-race woman in...
- 1/31/2021
- by Kate Erbland
- Indiewire
One of the most anticipated directorial debuts for a 2021 unveiling comes via actress Rebecca Hall. Based on Nella Larsen’s first published in 1929, production on Passing began October 2019 in Los Angeles. Written by Hall, she enlisted Alexander Skarsgård, Tessa Thompson, Ruth Negga and André Holland. Cinematographer Eduard Grau is also onboard.
Gist: A 1920s Harlem Renaissance story that explores the practice of racial passing, a term used for a person classified as a member of one racial group who seeks to be accepted by a different racial group.
Production Co./Producers: Nina Yang Bongiovi, Rebecca Hall, Picture Films’ Margot Hand, Janet Tittiger, Forest Whitaker.…...
Gist: A 1920s Harlem Renaissance story that explores the practice of racial passing, a term used for a person classified as a member of one racial group who seeks to be accepted by a different racial group.
Production Co./Producers: Nina Yang Bongiovi, Rebecca Hall, Picture Films’ Margot Hand, Janet Tittiger, Forest Whitaker.…...
- 11/20/2020
- by Eric Lavallée
- IONCINEMA.com
If you mourn the days when montage was king or have wondered why magic hour lens flare shots seemed to fall out of vogue, then you can fill your boots with Finding The Way Back as director Gavin O'Connor and his cinematographer Eduard Grau use old-fashioned techniques to take on the old-fashioned formula of an alcoholic coach falling and rising in this serviceable bounce around the basketball court.
Ben Affleck has long-since proved he's not just a pretty face, with the likes of Argo, Gone Girl and Hollywoodland and he reinforces that here, as he sinks into the slightly out-of-shape, bearded and puffy-faced Jack Cunningham - a one-time school basketball star who has now hit the bottle so hard he drinks vodka from a coffee cup at his building site job and cradles cans of beer in the shower. The lived-in look suits Affleck, somehow allowing him -...
Ben Affleck has long-since proved he's not just a pretty face, with the likes of Argo, Gone Girl and Hollywoodland and he reinforces that here, as he sinks into the slightly out-of-shape, bearded and puffy-faced Jack Cunningham - a one-time school basketball star who has now hit the bottle so hard he drinks vodka from a coffee cup at his building site job and cradles cans of beer in the shower. The lived-in look suits Affleck, somehow allowing him -...
- 7/11/2020
- by Amber Wilkinson
- eyeforfilm.co.uk
It’s a small detail, the way Ben Affleck opens a can of beer, but it’s impossible to ignore. Before he sets one down on a table, he pops the top using just his right thumb and index finger, then abruptly slugs it back. He does it so fluidly, so casually, as if he’s been doing this forever. Maybe at one point in his life, it was a party trick, a muted expression of masculinity. Now it’s just the most efficient way to get alcohol to his throat.
This drunken dexterity takes place early in The Way Back, director Gavin O’Connor’s throwback sports drama that never forgets that it’s really an intimate character study of a man in crisis. It’s just one of many unique ways that Jack Cunningham (Affleck) keeps a drink close to him. The movie’s opening montage, which functions as a solemn overture,...
This drunken dexterity takes place early in The Way Back, director Gavin O’Connor’s throwback sports drama that never forgets that it’s really an intimate character study of a man in crisis. It’s just one of many unique ways that Jack Cunningham (Affleck) keeps a drink close to him. The movie’s opening montage, which functions as a solemn overture,...
- 3/4/2020
- by Jake Kring-Schreifels
- The Film Stage
Jack Cunningham (Ben Affleck) once had a life filled with promise. In high school, he was a basketball phenom with a full university scholarship, when suddenly, for reasons unknown, he walked away from the game, forfeiting his future. Now years later, Jack is spiraling down, triggered by an unspeakable loss, and drowning in the alcoholism that cost him his marriage and any hope for a better life. When he is asked to coach the basketball team at his alma mater, which has fallen far since his glory days, he reluctantly accepts, surprising no one more than himself. As the boys start to come together as a team and win, Jack may have finally found a reason to confront the demons that have derailed him. But will it be enough to fill the void, heal the deep wounds of his past, and set him on the road to redemption?
Academy Award...
Academy Award...
- 11/15/2019
- by Melissa Thompson
- WeAreMovieGeeks.com
When esteemed actor Joel Edgerton set out to make his second feature, Boy Erased, he understood the world he was portraying—the way it looked, and the way it felt. Starring Lucas Hedges, the film would loosely adapt Garrard Conley’s memoir, drawing on his experiences at Live in Action, a church-supported gay conversion program in Memphis. On screen, Edgerton would depict a therapy center striking a very specific mood. “It’s a very dry, depressing, cold place,” composer Saunder Jurriaans explains—a space cast in pale blue light.
While a certain aesthetic seemed to emerge seamlessly with Boy Erased, its score was another matter. First teaming with Jurriaans and Danny Bensi on his previous film, psychological thriller The Gift, Edgerton brought the pair back for his second outing with no preconceptions, giving them free rein over the film’s sound. “From the material in the script, we were able...
While a certain aesthetic seemed to emerge seamlessly with Boy Erased, its score was another matter. First teaming with Jurriaans and Danny Bensi on his previous film, psychological thriller The Gift, Edgerton brought the pair back for his second outing with no preconceptions, giving them free rein over the film’s sound. “From the material in the script, we were able...
- 11/5/2018
- by Matt Grobar
- Deadline Film + TV
Director Joel Edgerton and an exceptional cast tackle the real-life American horror story of gay conversion therapy in Boy Erased.
In Boy Erased, director and screenwriter Joel Edgerton tackles one of the most horrific outlets for the homophobia and bigotry against Lgbtq people that has gripped certain sectors of our society for years: the conversion therapy program in which men and women who are Lgbtq are subjected to extensive “retraining,” through techniques ranging from religious instruction to outright physical brutality in order to allegedly restore them to heterosexuality.
Of course, this kind of “treatment” is not only nonsense but has been shown to be incredibly harmful to its victims: one’s sexual orientation is not a “choice” or a mental disorder but inherent to one’s very self and identity, and attempts to bury, twist, or distort that can lead to lasting psychological damage and even, in some tragic cases,...
In Boy Erased, director and screenwriter Joel Edgerton tackles one of the most horrific outlets for the homophobia and bigotry against Lgbtq people that has gripped certain sectors of our society for years: the conversion therapy program in which men and women who are Lgbtq are subjected to extensive “retraining,” through techniques ranging from religious instruction to outright physical brutality in order to allegedly restore them to heterosexuality.
Of course, this kind of “treatment” is not only nonsense but has been shown to be incredibly harmful to its victims: one’s sexual orientation is not a “choice” or a mental disorder but inherent to one’s very self and identity, and attempts to bury, twist, or distort that can lead to lasting psychological damage and even, in some tragic cases,...
- 10/31/2018
- Den of Geek
In short order, Joel Edgerton has gone from a solid actor to a multi hyphenate with a lot to say. His directorial debut was a nifty genre effort, but for his sophomore feature, he’s gone way up in ambition. Opening this week, Boy Erased is a prestige drama with Academy Award aspirations. During its fall film festival run, it has gotten some strong acclaim. Sadly, I can’t quite go along with that, as I found it lacking a bit too much to give the thumbs up to. There’s plenty to like, but it also never hits home emotionally like it so clearly desires. In that regard, it’s a letdown. Based on the memoir of the same name by Garrard Conley, this is his slightly fictionalized story. Here, we follow Jared Eamons (Lucas Hedges), the son of prominent Baptist preacher Marshall Eamons (Russell Crowe). In high school,...
- 10/30/2018
- by Joey Magidson
- Hollywoodnews.com
“Boy Erased” is neither the first, nor the best, of this year’s films about the crucible of gay conversion therapy, but Joel Edgerton’s adaptation of Garrard Conley’s memoir is most interesting for the ways that it differs from “The Miseducation of Cameron Post.” Although it’s fortunate we have both, and tragic that we need either, “The Miseducation of Cameron Post” leveraged the awful and dehumanizing evangelical practice into a coming-of-age saga about a teenage girl’s hard-won self-acceptance; “Boy Erased” uses a similar premise to deflect that burden outward — to put the onus for change and understanding on the misguided people who surround its traumatized young protagonist.
The result is a powerfully conflicted portrait of the relationship between love and hate, a story in which all but the ugliest bigotries can be traced back to a misguided sense of protection. While Edgerton’s fractured approach has...
The result is a powerfully conflicted portrait of the relationship between love and hate, a story in which all but the ugliest bigotries can be traced back to a misguided sense of protection. While Edgerton’s fractured approach has...
- 9/1/2018
- by David Ehrlich
- Indiewire
Whether its video helmers or stage directors, Sundance has been a reliable launchpad lieu for nouveau British talent — video helmer Fredrik Bond (The Necessary Death of Charlie Countryman) and Rupert Goold (True Story) come to mind. Yet another directorial debut on our predictions list, there is reason to believe that this shot in 2014 crime drama might drop in early 2016. With a background in television (episodes of “Skins” and “Doctor Who”) prior to working on his directorial debut, Adam Smith directed the heavily sensorial and pulsating concert vid Don’t Think. Starring Michael Fassbender and festival fave Brendan Gleeson with a noteworthy trio of supporting players in Sean Harris (a must see in Yann Demange’s ’71), Lyndsey Marshal and Rory Kinnear, Trespass Against Us also employs the service of cinematographer Eduard Grau (Buried/Suffragette) and naturally an original score from The Chemical Brothers.
Gist: Three generations of the Cutler family live...
Gist: Three generations of the Cutler family live...
- 11/25/2015
- by Eric Lavallee
- IONCINEMA.com
Revenge comes in an artfully wrapped package in The Gift, a chilling psychological thriller available on Blu-ray, DVD, Digital HD and on Demand October 27, 2015, from Universal Pictures Home Entertainment.
From Stx Entertainment and Blumhouse Productions (Whiplash, The Purge) The Gift is a suspenseful and thrilling morality tale that earned a “Certified Fresh” seal on Rotten Tomatoes with a remarkable score of 93%. The Blu-ray and DVD are packed with chilling bonus features including a riveting alternate ending, deleted scenes, feature commentary with writer and director Joel Edgerton, and more.
The Gift asks the question, “Can you really go through life having never wronged anyone?” Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple whose life is going as planned until a chance run-in with Simon’s high-school acquaintance sends their world into a narrowing tailspin. At first Simon doesn’t recognize Gordo (Joel Edgerton), but after a series...
From Stx Entertainment and Blumhouse Productions (Whiplash, The Purge) The Gift is a suspenseful and thrilling morality tale that earned a “Certified Fresh” seal on Rotten Tomatoes with a remarkable score of 93%. The Blu-ray and DVD are packed with chilling bonus features including a riveting alternate ending, deleted scenes, feature commentary with writer and director Joel Edgerton, and more.
The Gift asks the question, “Can you really go through life having never wronged anyone?” Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple whose life is going as planned until a chance run-in with Simon’s high-school acquaintance sends their world into a narrowing tailspin. At first Simon doesn’t recognize Gordo (Joel Edgerton), but after a series...
- 10/28/2015
- by Movie Geeks
- WeAreMovieGeeks.com
Carol, Suffragette and Rams also among 15 titles in competition at cinematography festival.
The titles in the running for the main competition at the 23rd Camerimage (Nov 14-21), the International Film Festival of the Art of Cinematography, have been revealed.
A total of 15 films will vie for the Golden Frog, Silver Frog and Bronze Frog awards, to be awarded to those titles representing the greatest achievements in cinematography at the festival, held in the Polish city of Bydgoszcz.
13 Minutes (Ger)
dir. Oliver Hirschbiegel, cin. Judith Kaufmann
The 33 (Chile)
dir. Patricia Riggen, cin. Checco Varese
Brooklyn (Can-uk-Ire)
dir. John Crowley, cin. Yves Belanger
Carol (UK-us)
dir. Todd Haynes, cin. Ed Lachman
I Saw The Light (Us)
Marc Abraham, cin. Dante Spinotti
Mad Max: Fury Road (Aus)
dir. George Miller, cin. John Seale
The Midwife (Fin)
dir. Antti J. Jokinen’, cin. Rauno Ronkainen
Rams (Den-Ice)
dir. Grímur Hákonarson, cin. Sturla Brandth Grøvlen
The Red Spider (Cze-Slo-Pol)
dir. Marcin Koszałka...
The titles in the running for the main competition at the 23rd Camerimage (Nov 14-21), the International Film Festival of the Art of Cinematography, have been revealed.
A total of 15 films will vie for the Golden Frog, Silver Frog and Bronze Frog awards, to be awarded to those titles representing the greatest achievements in cinematography at the festival, held in the Polish city of Bydgoszcz.
13 Minutes (Ger)
dir. Oliver Hirschbiegel, cin. Judith Kaufmann
The 33 (Chile)
dir. Patricia Riggen, cin. Checco Varese
Brooklyn (Can-uk-Ire)
dir. John Crowley, cin. Yves Belanger
Carol (UK-us)
dir. Todd Haynes, cin. Ed Lachman
I Saw The Light (Us)
Marc Abraham, cin. Dante Spinotti
Mad Max: Fury Road (Aus)
dir. George Miller, cin. John Seale
The Midwife (Fin)
dir. Antti J. Jokinen’, cin. Rauno Ronkainen
Rams (Den-Ice)
dir. Grímur Hákonarson, cin. Sturla Brandth Grøvlen
The Red Spider (Cze-Slo-Pol)
dir. Marcin Koszałka...
- 10/28/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Female Misbehavior: Gavron’s Noble Depiction of British Women’s Suffrage Movement
There’s much to admire in Sarah Gavron’s sophomore directorial effort, Suffragette, a turn-of-the-century snapshot of the British Women’s suffrage movement as the struggle for the right to vote considerably intensified against the patriarchal code. Enhanced by some superb performances from its talented cast, there’s a surprising degree of dramatic potency for a vehicle specifically calibrated to convey a cumbersome and obvious message, even as it stacks an overwhelming amount of tension on the back of its lead protagonist, balanced magnificently by its star, Carey Mulligan.
Reuniting with the screenwriter of her 2007 debut Brick Lane, Abi Morgan (who penned McQueen’s Shame, as well as The Iron Lady in 2011), Gavron concocts a rather conventional snapshot of a struggle for equality still being exacted, to varying degrees, across the globe.
In 1912 London, laundrywoman Maud Watts (Mulligan...
There’s much to admire in Sarah Gavron’s sophomore directorial effort, Suffragette, a turn-of-the-century snapshot of the British Women’s suffrage movement as the struggle for the right to vote considerably intensified against the patriarchal code. Enhanced by some superb performances from its talented cast, there’s a surprising degree of dramatic potency for a vehicle specifically calibrated to convey a cumbersome and obvious message, even as it stacks an overwhelming amount of tension on the back of its lead protagonist, balanced magnificently by its star, Carey Mulligan.
Reuniting with the screenwriter of her 2007 debut Brick Lane, Abi Morgan (who penned McQueen’s Shame, as well as The Iron Lady in 2011), Gavron concocts a rather conventional snapshot of a struggle for equality still being exacted, to varying degrees, across the globe.
In 1912 London, laundrywoman Maud Watts (Mulligan...
- 10/21/2015
- by Nicholas Bell
- IONCINEMA.com
Revenge comes in an artfully wrapped package in The Gift, a chilling psychological thriller available on Blu-ray, DVD, Digital HD and on Demand October 27, 2015, from Universal Pictures Home Entertainment.
From Stx Entertainment and Blumhouse Productions (Whiplash, The Purge) The Gift is a suspenseful and thrilling morality tale that earned a “Certified Fresh” seal on Rotten Tomatoes with a remarkable score of 93%.
The Blu-ray and DVD are packed with chilling bonus features including a riveting alternate ending, deleted scenes, feature commentary with writer and director Joel Edgerton, and more.
The Gift asks the question, “Can you really go through life having never wronged anyone?” Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple whose life is going as planned until a chance run-in with Simon’s high-school acquaintance sends their world into a narrowing tailspin. At first Simon doesn’t recognize Gordo (Joel Edgerton), but after a series...
From Stx Entertainment and Blumhouse Productions (Whiplash, The Purge) The Gift is a suspenseful and thrilling morality tale that earned a “Certified Fresh” seal on Rotten Tomatoes with a remarkable score of 93%.
The Blu-ray and DVD are packed with chilling bonus features including a riveting alternate ending, deleted scenes, feature commentary with writer and director Joel Edgerton, and more.
The Gift asks the question, “Can you really go through life having never wronged anyone?” Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple whose life is going as planned until a chance run-in with Simon’s high-school acquaintance sends their world into a narrowing tailspin. At first Simon doesn’t recognize Gordo (Joel Edgerton), but after a series...
- 10/14/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Respectable cast, worthy topic, period setting: you might mistake Suffragette for a feel-good Oscar botherer. But this is not another King's Speech or Chariots of Fire - this is a fiery, fierce and raw retelling of the Edwardian suffrage movement. Expect no old-fashioned whimsy; your cockles will not be warmed.
Suffragette isn't an entirely heartless history lesson, however, thanks to the sensible decision to centre the story on a fictional young woman from 1910s London, Maud Watts, an east London laundry worker played by the ever-excellent Carey Mulligan. By not focusing on real-life women, history doesn't get in the way of the message, or the emotions behind it.
The great Emmeline Pankhurst (Meryl Streep) does make an appearance, but it's just that: an appearance. With her role nothing more than a cameo, Streep is left to deliver an empowering and somewhat anachronistic speech before being bundled off into a hansom cab.
Suffragette isn't an entirely heartless history lesson, however, thanks to the sensible decision to centre the story on a fictional young woman from 1910s London, Maud Watts, an east London laundry worker played by the ever-excellent Carey Mulligan. By not focusing on real-life women, history doesn't get in the way of the message, or the emotions behind it.
The great Emmeline Pankhurst (Meryl Streep) does make an appearance, but it's just that: an appearance. With her role nothing more than a cameo, Streep is left to deliver an empowering and somewhat anachronistic speech before being bundled off into a hansom cab.
- 10/7/2015
- Digital Spy
Telluride – There is a lot about “Suffragette” that shouldn’t be rare in the movie business. A film with a female director (Sarah Gavron), a female screenwriter (Abi Morgan) and two female producers (Alison Owen, Faye Ward) should be the norm and not the exception. Unfortunately, it’s not. As star Meryl Streep noted during the film’s Q&A on Saturday, in 2014 women directed just 1% of movies released by Hollywood studios. That fact, along with a recent resurgence equal rights for women in the either has made “Suffragette” something of a cause célèbre at Telluride this year. If only the actually movie was something to celebrate as well. Set in 1912, the film takes place at a key moment in British history. After 50 years of peaceful protest Suffrage societies led by the Women’s Social and Political Union (Wspu) decide only more aggressive action can spur the government to grant women the right to vote.
- 9/6/2015
- by Gregory Ellwood
- Hitfix
Edgerton, Jason Bateman and Rebecca Hall are all on form in this tense, creepy and far from routine home-invasion thriller
One of the moment’s men to watch is Australian actor Joel Edgerton. After writing last year’s Ozpocalypse thriller The Rover, he writes and stars in this feature-directing debut. It’s a production of chiller specialists Blumhouse (Insidious), and the ads, with their slogan “Dare you open?”, suggest something routinely creepy. (What could be in that gift-wrapped package? Dead kittens? A spare limb of the Human Centipede?)
The Gift proves to be considerably more sophisticated. Rebecca Hall and Jason Bateman play a couple who move into a sleek modernist house in La. They run into Gordo (Edgerton), Bateman’s old schoolmate, who seems over-eager to welcome them to town. We think we’re in for a routine home-invasion thriller, but Edgerton takes the story in unexpected directions. Bateman gets...
One of the moment’s men to watch is Australian actor Joel Edgerton. After writing last year’s Ozpocalypse thriller The Rover, he writes and stars in this feature-directing debut. It’s a production of chiller specialists Blumhouse (Insidious), and the ads, with their slogan “Dare you open?”, suggest something routinely creepy. (What could be in that gift-wrapped package? Dead kittens? A spare limb of the Human Centipede?)
The Gift proves to be considerably more sophisticated. Rebecca Hall and Jason Bateman play a couple who move into a sleek modernist house in La. They run into Gordo (Edgerton), Bateman’s old schoolmate, who seems over-eager to welcome them to town. We think we’re in for a routine home-invasion thriller, but Edgerton takes the story in unexpected directions. Bateman gets...
- 8/9/2015
- by Jonathan Romney
- The Guardian - Film News
Dakota Johnson, Quim Gutierrez and Game of Thrones' Natalia Tena star in Oscar-winning The Others director Alejandro Amenabar's first short. Johnson plays, Rachel, an American tourist who goes to Ibiza for the summer and makes a group of friends on the Spanish island. Read More Ibiza Rebranding from Hippie Haven to Luxury Destination Johnson plays the tourist. Tena and Gutierrez play two of the friends she meets. Suite Francais' Edu Grau headed photography on the short that Amenabar wrote for beer company Estrella Damm. The short replaces the company's annual, ever-popular summer commercial. "We tried to reflect the values that are intimately
read more...
read more...
- 6/3/2015
- by Pamela Rolfe
- The Hollywood Reporter - Movie News
We've recently discovered Craft Truck, a wonderful resource for behind-the-scenes information about filmmaking. Alexis at Craft Truck selected 5 cinematographers for follow on Twitter and Instagram: Matt Libatique He's Matt Libatique…"Black Swan," anyone?! Plus, he posts lots of cool 'behind the scenes' shots.Eduard Grau Between "Buried" and "A Single Man," we know he's got range on screen, and he posts lots of cool/interesting images on his Instagram. Brandon Trost He's becoming known for his work with Seth Rogen and Evan Goldberg ("This Is The End" and the upcoming "Neighbors") and we will always love him for giving the world The Fp. He's great on Twitter, responds to fan questions -- and his interactions with Evan Goldberg are worth the price of admission. Michael Slovis He shot most of Breaking Bad. That is really all you need to know! Reed Morano She posts loads of great behind the scenes...
- 11/28/2013
- by Indiewire
- Indiewire
The Academy of Motion Picture Arts and Sciences has revealed its 276-member-strong class of 2013.
The list, published by The Hollywood Reporter, includes actors, cinematographers, designers, directors, documentarians, executives, film editors, makeup artists and hairstylists, "members-at-large," musicians, producers, PR folks, short filmmakers and animators, sound technicians, visual effects artists, and writers.
Jason Bateman, Rosario Dawson, Joseph Gordon-Levitt, Milla Jovovich, Lucy Liu, Jennifer Lopez, Emily Mortimer, Sandra Oh, Jason Schwartzman, and Michael Peña are among the roster of actors, while "The Heat" and "Bridesmaids" helmer Paul Feig made the directors' cut.
"We did not change our criteria at all," says Academy president Hawk Koch of this year's larger-than-usual class. "Yes, this year there is a tremendous amount of women, a tremendous amount of people of color, people from all walks of life. This year, we asked the branches to look at everybody who wasn't in the Academy but who deserved to be.
The list, published by The Hollywood Reporter, includes actors, cinematographers, designers, directors, documentarians, executives, film editors, makeup artists and hairstylists, "members-at-large," musicians, producers, PR folks, short filmmakers and animators, sound technicians, visual effects artists, and writers.
Jason Bateman, Rosario Dawson, Joseph Gordon-Levitt, Milla Jovovich, Lucy Liu, Jennifer Lopez, Emily Mortimer, Sandra Oh, Jason Schwartzman, and Michael Peña are among the roster of actors, while "The Heat" and "Bridesmaids" helmer Paul Feig made the directors' cut.
"We did not change our criteria at all," says Academy president Hawk Koch of this year's larger-than-usual class. "Yes, this year there is a tremendous amount of women, a tremendous amount of people of color, people from all walks of life. This year, we asked the branches to look at everybody who wasn't in the Academy but who deserved to be.
- 7/4/2013
- by Laura Larson
- Moviefone
The Academy of Motion Picture Arts and Sciences announced today the 276 members of the entertainment industry invited to join organization. The list includes actors, directors, documentarians, executives, film editors, producers and more. Of those listed below, those who accept the invitations will be the only additions to the Academy's membership in 2013. "These individuals are among the best filmmakers working in the industry today," said Academy President Hawk Koch in a press release. "Their talent and creativity have captured the imagination of audiences worldwide, and I am proud to welcome each of them to the Academy." Koch also told Variety, "In the past eight or nine years, each branch could only bring in X amount of members. There were people each branch would have liked to get in but couldn't. We asked them to be more inclusive of the best of the best, and each branch was excited, because they got...
- 6/28/2013
- by Brad Brevet
- Rope of Silicon
The Academy just added 276 Oscar voters.
That’s 100 more than last year, and part of an easing of a longstanding cap on the number of new members allowed to join the Academy of Motion Picture Arts and Sciences each year.
AMPAS usually adds between 130 and 180 new members, replacing those who have quit or passed away. The membership now stands around 6,000.
Jason Bateman, Jennifer Lopez, Joseph Gordon-Levitt, Emmanuelle Riva, and Chris Tucker are among the actors who have been invited to join, the organization announced today.
Other interesting additions: the musician Prince, Girls and Tiny Furniture writer/director/actress Lena Dunham,...
That’s 100 more than last year, and part of an easing of a longstanding cap on the number of new members allowed to join the Academy of Motion Picture Arts and Sciences each year.
AMPAS usually adds between 130 and 180 new members, replacing those who have quit or passed away. The membership now stands around 6,000.
Jason Bateman, Jennifer Lopez, Joseph Gordon-Levitt, Emmanuelle Riva, and Chris Tucker are among the actors who have been invited to join, the organization announced today.
Other interesting additions: the musician Prince, Girls and Tiny Furniture writer/director/actress Lena Dunham,...
- 6/28/2013
- by Anthony Breznican
- EW - Inside Movies
The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 276 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2013.
“These individuals are among the best filmmakers working in the industry today,” said Academy President Hawk Koch. “Their talent and creativity have captured the imagination of audiences worldwide, and I am proud to welcome each of them to the Academy.”
The 2013 invitees are:
Actors
Jason Bateman – “Up in the Air,” “Juno”
Miriam Colon – “City of Hope,” “Scarface”
Rosario Dawson – “Rent,” “Frank Miller’s Sin City”
Kimberly Elise – “For Colored Girls,” “Beloved”
Joseph Gordon-Levitt – “Lincoln,” “The Dark Knight Rises”
Charles Grodin – “Midnight Run,” “The Heartbreak Kid”
Rebecca Hall – “Iron Man 3,” “The Town”
Lance Henriksen – “Aliens,” “The Terminator”
Jack Huston – “Not Fade Away,” “Factory Girl”
Milla Jovovich – “Resident Evil,...
“These individuals are among the best filmmakers working in the industry today,” said Academy President Hawk Koch. “Their talent and creativity have captured the imagination of audiences worldwide, and I am proud to welcome each of them to the Academy.”
The 2013 invitees are:
Actors
Jason Bateman – “Up in the Air,” “Juno”
Miriam Colon – “City of Hope,” “Scarface”
Rosario Dawson – “Rent,” “Frank Miller’s Sin City”
Kimberly Elise – “For Colored Girls,” “Beloved”
Joseph Gordon-Levitt – “Lincoln,” “The Dark Knight Rises”
Charles Grodin – “Midnight Run,” “The Heartbreak Kid”
Rebecca Hall – “Iron Man 3,” “The Town”
Lance Henriksen – “Aliens,” “The Terminator”
Jack Huston – “Not Fade Away,” “Factory Girl”
Milla Jovovich – “Resident Evil,...
- 6/28/2013
- by Michelle McCue
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 276 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2013. “These individuals are among the best filmmakers working in the industry today,” said Academy President Hawk Koch. “Their talent and creativity have captured the imagination of audiences worldwide, and I am proud to welcome each of them to the Academy.” The 2013 invitees are: Actors Jason Bateman – “Up in the Air,” “Juno” Miriam Colon – “City of Hope,” “Scarface” Rosario Dawson – “Rent,” “Frank Miller’s Sin City” Kimberly Elise – “For Colored Girls,” “Beloved” Joseph Gordon-Levitt – “Lincoln,” “The Dark Knight Rises” Charles Grodin – “Midnight Run,” “The Heartbreak Kid” Rebecca Hall – “Iron Man 3,” “The Town” Lance Henriksen – “Aliens,” “The Terminator” Jack Huston – “Not Fade Away,” “Factory Girl” Milla Jovovich – “Resident Evil,...
- 6/28/2013
- by Josh Abraham
- Hollywoodnews.com
Michelle Williams, Matthias Schoenaerts, Kristin Scott Thomas and Sam Riley star in Saul Dibb’s Second World War drama based on Irène Némirovsky’s best-selling novel.
TF1, Entertainment One, the Weinstein Company and BBC Films have announced the start of principal photography on $20m (€15m) feature Suite Française, which is being shot in Brussels and Paris.
For full production details visit
Suite Française
The film stars Michelle Williams (My Week with Marilyn), Matthias Schoenaerts (Rust and Bone), Kristin Scott Thomas (Only God Forgives), Sam Riley (On The Road), Ruth Wilson (The Lone Ranger), Margot Robbie (The Wolf of Wall Street), Alexandra Maria Lara (Rush), Tom Schilling (Oh Boy) and Lambert Wilson (Of Gods and Men).
Suite Française is set in 1940s France and is based on the international best-selling work of writer Irène Némirovsky who died in Auschwitz in 1942.
Williams will play Lucile Angellier who awaits news from her husband, a prisoner...
TF1, Entertainment One, the Weinstein Company and BBC Films have announced the start of principal photography on $20m (€15m) feature Suite Française, which is being shot in Brussels and Paris.
For full production details visit
Suite Française
The film stars Michelle Williams (My Week with Marilyn), Matthias Schoenaerts (Rust and Bone), Kristin Scott Thomas (Only God Forgives), Sam Riley (On The Road), Ruth Wilson (The Lone Ranger), Margot Robbie (The Wolf of Wall Street), Alexandra Maria Lara (Rush), Tom Schilling (Oh Boy) and Lambert Wilson (Of Gods and Men).
Suite Française is set in 1940s France and is based on the international best-selling work of writer Irène Némirovsky who died in Auschwitz in 1942.
Williams will play Lucile Angellier who awaits news from her husband, a prisoner...
- 6/27/2013
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
A gun. A dead woman. A box of money. A (sort of) innocent man. A hunt. While David M. Rosenthal’s A Single Shot doesn’t shy away from some conventional-to-the-point-of-cliché plot points for his latest feature, the crime drama packs a punch thanks to its stellar cast, stunning cinematography, and a horror-tinged score that continually leaves its audience on edge. Oh, and the violence. Did we forget the violence? There’s violence. Penned by Matthew F. Jones (who adapted his own novel for the script), A Single Shot is a suitably intense showcase for star Sam Rockwell’s dramatic chops. As lonely loser John Moon, the film rests on the actor’s ability to engage and excite his audience, a feat that he mostly pulls off with ease. A near-wordless opening sequence plunges us deep into both John’s day-to-day life and the shocking event that will turn everything upside down for him, as...
- 4/28/2013
- by Kate Erbland
- FilmSchoolRejects.com
Gone are the days of a mangled production history – A Single Shot must have started and stopped a couple of times, switched casts before helmer David M. Rosenthal (Janie Jones) along with thesps Sam Rockwell, William H. Macy, Melissa Leo, Jeffrey Wright, Jason Isaacs, Kelly Reilly, Joe Anderson and Ophelia Lovibond were lassoed in March of this year. The book to film adaptation of Matthew F. Jones’s novel – a crime thriller filmed in Vancouver comes equipped with Cinematographer Eduard Grau (A Single Man), Composer Atli Örvarsson (The Burning Plain) , Production Designer David Brisbin (In the Cut), and Editor Dan Robinson (Daniel Mulloy’s short film filmography).
Gist: The tragic death of a beautiful young girl starts a tense and atmospheric game of cat and mouse between hunter John Moon and the hardened backwater criminals out for his blood.
Production Co./Producers: Unanimous Pictures’ Chris Coen, Aaron L. Gilbert, Unified Pictures’ Keith Kjarval,...
Gist: The tragic death of a beautiful young girl starts a tense and atmospheric game of cat and mouse between hunter John Moon and the hardened backwater criminals out for his blood.
Production Co./Producers: Unanimous Pictures’ Chris Coen, Aaron L. Gilbert, Unified Pictures’ Keith Kjarval,...
- 11/19/2012
- by Eric Lavallee
- IONCINEMA.com
There's no shortage of films opening this weekend, but many will be disappointments if you go in with high expectations. The safest bet is Chris Kenneally's doc "Side by Side," which is both a treat for film buffs and a primer for anyone looking to get behind a camera in today's fast-changing digital landscape. Also getting strong reviews is Craig Zobel's Sundance entry "Compliance," which is suitably disturbing given the true story behind it, but its real-life grittiness is undermined by casting an actress who looks like a stripper to play a small town teenage girl. "The Awakening," while it certainly has its flaws, marks a cinematically satisfying debut from director Nick Murphy. Starring Rebecca Hall and the "The Wire"'s Dominic West, the film is gorgeously lensed (on 35mm) in stunning texturaly period settings by Eduard Grau ("A Single Man"). David Cronenberg's "Cosmopolis" is a...
- 8/16/2012
- by Sophia Savage
- Thompson on Hollywood
She Ain’t Afraid ‘a No Ghosts: Rebecca Hall’s Deadening Vehicle a Snoozer
UK director Nick Murphy, previously known for his dabbling in television, snags Rebecca Hall for his film debut, The Awakening, a gothic ghost story set between the two World Wars. Unfortunately, the film’s tagline, “Sometimes dead does not mean gone,” potentially refers to its overall delivery, and sometimes a theatrical release does not equate to noteworthy.
Hoax exposer and ghost debunker Florence Cathcart (Rebecca Hall) wiles her days away crusading against tricking con artists claiming to speak to the dead. She recently lost her fiancé in the trenches of World War I, and some of her motivation stems from proving to herself that she will never be able to correspond with her lost love from the other side. On one gloomy day, she’s visited by a handsome stranger (Dominic West), who has read her national bestseller,...
UK director Nick Murphy, previously known for his dabbling in television, snags Rebecca Hall for his film debut, The Awakening, a gothic ghost story set between the two World Wars. Unfortunately, the film’s tagline, “Sometimes dead does not mean gone,” potentially refers to its overall delivery, and sometimes a theatrical release does not equate to noteworthy.
Hoax exposer and ghost debunker Florence Cathcart (Rebecca Hall) wiles her days away crusading against tricking con artists claiming to speak to the dead. She recently lost her fiancé in the trenches of World War I, and some of her motivation stems from proving to herself that she will never be able to correspond with her lost love from the other side. On one gloomy day, she’s visited by a handsome stranger (Dominic West), who has read her national bestseller,...
- 8/13/2012
- by Nicholas Bell
- IONCINEMA.com
Chicago – The art of the confinement thriller is tricky to perfect. If it’s done right, the audience will feel trapped within the suffocating confines of a prison, while their heart rate will move at the same pace as that of the onscreen victim. Yet since the world of the film is limited to such a small space, one misstep will cause the entire experience to crumble in an instant.
Rodrigo Cortés’s “Buried” trapped Ryan Reynolds in a coffin for the entirety of its running time, and found multiple ways of opening up the world of its story without ever once cutting to an exterior shot. It played on the audience’s imagination much like the 1943 radio drama, “Sorry, Wrong Number,” while giving Reynolds the opportunity to deliver his best work to date. It wasn’t a masterpiece, per se, but it sure was an ingenious and effective thriller.
Rodrigo Cortés’s “Buried” trapped Ryan Reynolds in a coffin for the entirety of its running time, and found multiple ways of opening up the world of its story without ever once cutting to an exterior shot. It played on the audience’s imagination much like the 1943 radio drama, “Sorry, Wrong Number,” while giving Reynolds the opportunity to deliver his best work to date. It wasn’t a masterpiece, per se, but it sure was an ingenious and effective thriller.
- 7/30/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
As regular readers already know, we'll pretty much watch anything with the talented Rebecca Hall, and while her choices can sometimes be spotty ("Lay The Favorite," "A Bag Of Hammers") she's always a worthwhile presence. And thus our interest in the period-horror piece "The Awakening," which on the face of it looks fairly standard but as the trailer reveals, promises to be something with a bit more meat on its bones.
Co-starring Dominic West and Imelda Staunton, the story centers on Florence Cathcart (Hall), an author and professional ghost debunker in post-World War One London, who's approached by a teacher (West) at a boy's boarding school, who believes his charges are being tormented by an honest-to-god ghost. Florence packs her scientific kit and seemingly finds a rational explanation, but soon finds her skepticism challenged. Behind the camera there's some strong talent as well, with "A Single Man" DoP Eduard Grau...
Co-starring Dominic West and Imelda Staunton, the story centers on Florence Cathcart (Hall), an author and professional ghost debunker in post-World War One London, who's approached by a teacher (West) at a boy's boarding school, who believes his charges are being tormented by an honest-to-god ghost. Florence packs her scientific kit and seemingly finds a rational explanation, but soon finds her skepticism challenged. Behind the camera there's some strong talent as well, with "A Single Man" DoP Eduard Grau...
- 6/29/2012
- by Kevin Jagernauth
- The Playlist
The trailer for Meek’s Cutoff dropped 2 days ago, but I held off posting because the quality was poor. This looks to be a film that deserves to be introduced with a premium presentation.
- 3/2/2011
- by Ryan Adams
- AwardsDaily.com
Chicago – Many films have attempted to portray the unimaginably terrifying experience of being buried alive, from George Sluizer’s bone-chillingly bleak thriller, “The Vanishing,” to Quentin Tarantino’s crowd-pleaser, “Kill Bill Vol. 2.” Yet Rodrigo Cortés’ “Buried” is the first film in cinema history to take place entirely within the rectangular confines of a coffin.
Claustrophobic thrillers such as “Phone Booth” and “127 Hours” utilized cutaways to flashbacks, fantasies and supporting players to break up the monotony of the protagonist’s immobility. But Cortés has the audacity to make his audience feel as trapped as his main character. He refused to compromise his vision in order to make the film more marketable to the mainstream, and the resulting picture is a staggering feat of filmmaking ingenuity and artistic conviction. It’s also a hell of a good thriller.
Blu-Ray Rating: 4.0/5.0
After making a handful of obnoxious comedies over the past decade, Ryan Reynolds...
Claustrophobic thrillers such as “Phone Booth” and “127 Hours” utilized cutaways to flashbacks, fantasies and supporting players to break up the monotony of the protagonist’s immobility. But Cortés has the audacity to make his audience feel as trapped as his main character. He refused to compromise his vision in order to make the film more marketable to the mainstream, and the resulting picture is a staggering feat of filmmaking ingenuity and artistic conviction. It’s also a hell of a good thriller.
Blu-Ray Rating: 4.0/5.0
After making a handful of obnoxious comedies over the past decade, Ryan Reynolds...
- 1/19/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.