Director and co-writer, Stuart Willis, is crowd-funding his online mini-series, ‘Restoration’, set in a future world where individuals have their memories downloaded for backup, and shooting at Melbourne’s Docklands Studios.
…citing that releasing it would be considered an “act of war”.
In their first official statement on the film, a North Korean foreign ministry spokesman has promised “merciless” retaliation if a forthcoming Hollywood moving about assassinating Kim Jong-un is released.
There was a time when it was totally normal for horror movies to be about high schoolers doing bad things and having bad things done to them. Strangely, that’s not really the case anymore. Horror today has traded high school locker rooms for kitchens in suburbia.
You know those real estate scams where you’re offered a free vacation if you just sit through a time-share presentation and that time-share presentation seems never-ending, because even if it’s just two hours, what you really wanted was a free vacation?
CANNES – There are few faces — individual, honest-to-God faces – in the movies today quite like that of Marion Cotillard, her startling beauty assembled from oddly sized, quizzical features that mightn’t hang quite right on anyone else’s bones. She looks like no one else, and yet never quite resembles herself on screen either: it’s a face that different angles and contexts can turn from silken to sallow, hunter to hunted, goddess to guttersnipe.
Godzilla has been around forever, with most of us simply knowing he exists instead of remembering the moment we first “met” him. The last time Godzilla reared his lizard head on the big screen was 1998, and the film only made $136 million.
Last month we gave you a peek at Ryan Gosling’s directorial debut — the fantasy noir Lost River, starring Christina Hendricks, Ben Mendelsohn, Eva Mendes, Saoirse Ronan, Barbara Steele and Matt Smith. The “modern-day fairy tale” finds Hendricks as a single mother who becomes swept up in the dark underworld of a vanishing city.
CANNES – Charged with devising a character name that immediately conveys staunch feminine pluck and perseverance, I’m not sure any writer could do much better than Mary Bee Cuddy — the disarming heroine of Tommy Lee Jones’ handsome, elegiac neo-western “The Homesman,” until she rather unsettlingly isn’t.