Archive for May, 2013

Paul Greengrass’ MLK drama takes shape

May 31st, 2013 - Graham Eley

Forest Whitaker is set to play Martin Luther King in Paul Greengrass’ ‘Memphis’, a controversial portrayal of the civil rights leader during the months leading to his assassination.  Greengrass will return to the same hand-held camerawork and quick-fire editing of his earlier ‘United 93′ and include behind-the-scenes episodes that do not sit comfortably with MLK’s carefully cultivated public persona.  With funding in place, it should be Greengrass’ next feature.buy domperidone new zealanddomperidone gastroparesis motilium cheapdomperdone purchase motiliumdomperidone canada motilium buy uk

Strong viewing figures for Liberace biopic

May 31st, 2013 - Graham Eley

2.4m viewers tuned into the US premiere of Steven Soderbergh’s TV movie adaptation of Scott Thorson’s controversial autobiographical novel, ‘Behind the Candelabra : My Life with Liberace’.  Boosted by a high profile screening in Cannes’ main competition, it is over nine years since HBO last enjoyed higher viewing figures for an original feature.  Michael Douglas and Matt Damon star in the portrayal of the disputed account of Thorson’s six-year secret relationship with the legendary entertainer.buy domperidone new zealanddomperidone gastroparesis motilium cheapdomperdone purchase motiliumdomperidone canada motilium buy uk

US distribution for Camera d’Or winner

May 31st, 2013 - Graham Eley

Film Movement has taken US rights to Cannes’ Camera d’Or (best debut film) winner, ‘Ilo Ilo’, the portrayal of a maid’s surrogate bond with the boy in her care during a wider financial crisis.  Anthony Chen’s feature, which enjoyed an extended standing ovation after its world premiere, became the first Singaporean film to win a major prize at Cannes.  It will receive a release during the early part of next year.buy domperidone new zealanddomperidone gastroparesis motilium cheapdomperdone purchase motiliumdomperidone canada motilium buy uk

Tribeca Film acquires ‘The Broken Circle Breakdown’

May 31st, 2013 - Graham Eley

Felix van Groeningen’s ‘The Broken Circle Breakdown’ has been building momentum steadily since its Belgian launch last year, winning the audience award in Berlin’s Panorama sidebar and best screenplay at Tribeca.  Veerle Baetens, who also picked-up Tribeca’s best actress prize, and Johan Heldenbergh play two Flemish bluegrass musicians coming to terms with the prospect of losing a terminally ill daughter.  Tribeca Film has now acquired US rights to the emotional drama and plans a release later this year.buy domperidone new zealanddomperidone gastroparesis motilium cheapdomperdone purchase motiliumdomperidone canada motilium buy uk

New James Dean biopic

May 30th, 2013 - Graham Eley

Anton Corbijn (‘Control’, ‘The American’) will commence shooting early next year on a dramatisation of James Dean’s friendship with Life magazine photographer, Dennis Stock.  The film will portray Dean without his star persona in a potentially revealing period immediately before the movie icon’s first feature, ‘East of Eden’.  Corbijn’s war on terror thriller, ‘A Most Wanted Man’, starring Rachel McAdams, Robin Wright and Philip Seymour Hoffman, is currently in post production.buy domperidone new zealanddomperidone gastroparesis motilium cheapdomperdone purchase motiliumdomperidone canada motilium buy uk

Sundance Selects takes Cannes hit

May 28th, 2013 - Graham Eley

Sundance Selects has acquired US distribution rights to ‘Like Father, Like Son’, the latest feature from world cinema heavyweight Kore-Eda Hirokazu.  Japanese pop star, Masaharu Fukuyama, plays a business high flyer who discovers that his real son was inadvertently switched at birth six years before.  It screened in the main competition at Cannes and picked up the jury prize.buy domperidone new zealanddomperidone gastroparesis motilium cheapdomperdone purchase motiliumdomperidone canada motilium buy uk

‘Fast & Furious 6’ rules the international box office

May 28th, 2013 - Graham Eley

‘Fast & Furious 6’ blitzed the international weekend box office upon expanding to 59 territories after last week’s outstanding UK opening.  Universal’s car action thriller, starring Vin Diesel, Paul Walker and Dwayne Johnson, boosted a $160.3m haul from 8,644 venues on its way to setting a new international weekend record for the studio.  Russia lead the way with a $17.8m weekend return.

 

Last weekend’s No 1, ‘The Great Gatsby’, grossed a further $24.1m from 50 territories, taking its international running total to an early $85.2m.  Baz Luhrmann’s F. Scott Fitzgerald adaptation opens in Australia and Mexico at the end of the week.

 

‘The Hangover Part III’, which disappointed on its North American opening, had no such problems during its limited international launch in the UK, Australia and New Zealand.  Todd Phillips’ raunchy comedy grossed an impressive 19m, claiming the No. 1 spot in all three territories.  It expands to 50 markets next weekend.buy domperidone new zealanddomperidone gastroparesis motilium cheapdomperdone purchase motiliumdomperidone canada motilium buy uk

Strong openings for indie films in the speciality market

May 28th, 2013 - Graham Eley

Richard Linklater’s ‘Before Midnight’ made a stunning impact on the domestic speciality market, opening in five locations for an outstanding $64,400 average.  Co-stars, Ethan Hawke and Julie Delpy, returned for the latest instalment of Linklater’s romantic saga, which shows no signs of losing its appeal following the success of predecessors ‘Before Sunrise’ and ‘Before Sunset’.

 

Last year’s Venice title, Rama Burstein’s ‘Fill The Void’, arrived in three sites and delivered a strong $26,400 average.  Hadas Yaron’s performance in the arranged marriage drama won her Venice’s Volpi Cup for best actress.

 

The latest feature from prolific documentary filmmaker, Alex Gibney, completed a successful weekend for the indie sector.  ‘We Steal Secrets: The Story Of Wikileaks’ debuted in four locations and earned a very respectable $8,575 average.generic sildalissildalis tabletsgeneric sildalis onlinetablets sildalis onlinesildalis genericbuy sildalis canadasildalis purchase

‘Fast & Furious 6’ drives box office to a new US holiday weekend high

May 28th, 2013 - Graham Eley

1. Fast & Furious 6 (Universal) UPI $98.5m ($120m) (NE)
2. The Hangover Part III (Warner Bros) WBPI $51.2m ($63m) (NE)
3. Star Trek Into Darkness (Paramount) PPI $47m ($155.8m) (1)
4. Epic (Fox) Fox Int’l $42.6m (NE)
5. Iron Man 3 (Buena Vista/Marvel) WDSMPI $24.4m ($372.4m) (2)

 

Fast & Furious 6 almost doubled The Hangover Part III’s tally over the Memorial weekend as the two franchises came head to head with high profile openings at the North American box office.

 

Universal’s car action thriller, starring Vin Diesel, Paul Walker and Dwayne Johnson, grossed a spectacular $120m for the franchise’s best ever launch.  Justin Lin, who has been in the director’s chair for all of the instalments except the second, will step aside next time around with James Wan taking over.

 

In contrast, The Hangover Part III, which was on the wrong end of a critical bashing, has earned a disappointing $63m since its Thursday opening.  Bradley Cooper, Ed Helms and Zach Galifianakis all return for what will be the final part of the franchise.

 

Last weekend’s No 1, Star Trek Into Darkness, grossed a further $47m to take third place ahead of the other wide weekend release, Epic, but its domestic running total of $155.8m is some way below expectations.  Chris Wedge’s animated adventure finished the four days on $42.6m in line with predictions.

 

Fast & Furious’ exploits helped drive the session to a new US holiday weekend high.  Its top 12 films grossed an astonishing $310.6m, being a 41% increase on last year’s corresponding period.generic sildalissildalis tabletsgeneric sildalis onlinetablets sildalis onlinesildalis genericbuy sildalis canadasildalis purchase

Cannes Film Festival (15-26 May, 2013)

May 27th, 2013 - Graham Eley

New films from world cinema heavyweights, Asghar Farhadi, Jia Zhangke and Kore-Eda Hirokazu, head an impressive competition line-up for the 66th edition of the Cannes Film Festival.

 

Three previous Palme d’Or winners return.  Coen Brothers’ ‘Inside Llewyn Davis’ has looked a shoo-in for some time and Roman Polanski’s ‘Venus in Furs’ won’t raise too many eyebrows.  The inclusion of Steven Soderbergh’s Liberace biopic  ‘Behind the Candelabra’ is a surprise, with the TV movie seeming more likely to receive an out-of-competition screening.  It makes for an interesting six months for Soderbergh, whose big screen swansong ‘Side Effects’ appeared at Berlin earlier this year.

 

The selection of Alexander Payne’s keenly awaited road movie, ‘Nebraska’, and Nicolas Winding Refn’s ‘Drive’ follow up ‘Only God Forgives’, with Ryan Gosling returning, will attract wide media attention.  It is a second time in the competition for both filmmakers, as it is for Francois Ozon, Mahamat-Saleh Haroun and Takashi Miike.

 

After last year’s furore following an all-male line-up, Cannes organisers are likely to court further controversy this time around with only one of the films being directed by a woman.  It was Valeria Bruni-Tedeschi’s third feature, ‘Un Chateau en Italie’ a comedy drama starring Louis Garrel.

 

Speculation that Steve McQueen’s ‘Twelve Years A Slave’ would be finished in time for a Cannes competition berth proved unfounded.

 

Main Competition

 

Behind the Candelabra
Steven Soderbergh

 

Steven Soderbergh’s TV feature adaptation of Scott Thorson’s controversial autobiography novel, ‘Behind the Candelabra : My Life with Liberace’, will receive its world premiere at Cannes ahead of screening on HBO later this month.  Michael Douglas and Matt Damon star in the portrayal of Thorson’s disputed account of his six-year stormy relationship with the legendary entertainer.  Soderbergh, who has recently announced his filmmaking retirement, premiered his big screen swan-song, ‘Side Effects’, earlier this year at Berlin.

 

 

Brogman
Alex van Warmerdam

 

‘Brogman’ has the distinction of being the first feature from a Dutch filmmaker to receive a Palme d’Or nomination for 38 years.  It is the eighth film from veteran Alex van Warmerdam and his awards include a FIPRESCI Prize, which he picked up at Venice for ‘De jurk’ during 1996.  His latest stars Jan Bijvoet as a malevolent presence who shakes a modern suburban family from its complacency.

 

 

Grisgris
Mahamat-Saleh Haroun

 

Africa’s most prominent filmmaker, Mahamat-Saleh Haroun, returns to Cannes where he received a jury prize for ‘A Screaming Man’ three years ago.  Newcomer, Soulémane Démé, plays a twenty something disabled man with aspirations of being a professional dancer, who must rethink his career after serious illness strikes a family member.  As with all of Haroun’s recent films, it is set against the background of war-torn Chad.

 

 

Heli
Amat Escalante

 

Amat Escalante’s previous two films premiered in the Un Certain Regard at Cannes and ‘Sangre’ picked up a FIPRESCI Prize.  An emerging presence in the Mexican new wave, his latest feature, ‘Heli’ steps up to compete for the Palme d’Or and explores family crisis, violence and corruption in Mexican society.  Natalia Lopez is the editor, having previously worked on Carlos Reygadas’ last two films, and Reygadas, himself, is part of the production team, maintaining the strong collaboratory spirit of Mexican filmmaking.

 

 

The Immigrant
James Gray

 

Cannes favourite, James Gray, competes for the Palme d’Or for the fourth time with ‘The Immigrant’, a tough drama set in 1920’s New York.  Marion Cotillard leads a stellar cast, including Jeremy Renner and Joaquin Phoenix, and plays a stranded Polish lady, who finds a potential lifeline from prostitution in unusual circumstances.  Cotillard makes a second Cannes appearance in Guillaume Canet’s out-of-competition title, ‘Blood Ties’, which Gray also co-wrote.

 

 

Inside Llewyn Davis
Coen Brothers

 

With a Palme d’Or, three best director wins and eight competition selections, the Coen Brothers have established a special bond with Cannes, which always makes them a serious contender for the major prizes.  Their next feature, ‘Inside Llewyn Davis’, starring Oscar Isaac and Justin Timberlake, returns to 1960s New York for a quirky take on the burgeoning folk scene, which, amongst others, brought Bob Dylan to the fore.  CBS Films will delay its North America release until December as part of an awards campaign.

 

 

Jeune et Jolie
François Ozon

 

‘Jeune et Jolie’ (Young and Beautiful), marks François Ozon’s only second appearance in the main completion; the other being ‘Swimming Pool’ ten years ago.  Ozon has kept much of the plot under wraps but, in broad terms, it is a challenging coming-of-age tale surrounding the sexual exploits of a 17-year-old girl.  Up and coming actress, Marina Vacth, stars alongside Ozon regular, Charlotte Rampling.

 

 

Jimmy P
Arnaud Desplechin

 

Arnaud Desplechin brings together the intriguing combination of Benicio Del Toro and Matthieu Amalric for his latest feature, the much anticipated ‘Jimmy P’.  Based on a true story, Desplechin takes a sideways look at Native American culture via an unlikely friendship between a Plains Indian of the Blackfeet nation and his psychoanalyst.  It is the follow-up to Desplechin’s critically acclaimed, ‘A Christmas Tale’, and will be the fifth time that he has competed for the Palme d’Or.

 

 

La Grande Belleza
Paolo Sorrentino

 

Paolo Sorrentino reunites with Toni Servillo for his latest feature, ‘La Grande Belleza’, where a world-weary journalist reflects upon his youth.  It his fifth film in the main competition and marks a return to an Italian setting after his ambitious first English language film, ‘This Must Be the Place’.  It remains to be seen whether Sorrentino plays on the Felliniesque nature of the plot as a homage.

 

 

La Vie D’Adele (Blue is the Warmest Colour)
Abdellatif Kechiche

 

Abdellatif Kechiche makes his first appearance on the Croisette with ‘La Vie D’Adele’ (‘Blue is the Warmest Colour’), the longest film in the main competition at almost three hours.  Three of his previous four features have premiered at Venice at the other end of the festival season and ‘Couscous’ went on to win César awards for best film, director and original screenplay.  Adèle Exarchopoulos and Léa Seydoux star in his latest, a daring tale of sexual identity.

 

 

Le Passé (The Past)
Asghar Farhadi

 

Asghar Farhadi follows the Golden Bear and Foreign Language Oscar winner, ‘A Separation’, with his first feature shot outside Iran.  Arguably, the most keenly awaited film of this year’s Cannes, ‘Le Passé’ (‘The Past’), returns to the theme of separation when an Iranian man arrives in Paris for a divorce settlement but encounters a secret from his past.  Leading Iranian actor, Ali Mosaffa, joins Bérénice Bejo (‘The Artist’) and Tahar Rahim (‘A Prophet’) in an outstanding cast.

 

 

Michael Kohlhaas
Arnaud des Pallières

 

Arnaud des Pallières’ adaptation of Heinrich von Kleist’s highly acclaimed early 19th century novella ‘Michael Kohlhaas’ is this year’s surprise selection.  Little known outside of his native France, ‘Parc’ was des Pallières’ only previous film to appear on the festival radar when it picked up a Bronze Horse at Stockholm five years ago.  A strong cast, including Mads Mikkelsen, who won best actor at last year’s Cannes, will raise the profile of his latest feature.

 

 

Nebraska
Alexander Payne

 

Alexander Payne returns to the main competition for the second time after ‘About Schmidt’ over ten years ago.  Bruce Dern and Will Forte star as an estranged father and son, who reunite for a road-trip to claim a million dollar sweepstake prize.  It is the follow up to ‘The Descendants’ and will be Payne’s third road movie with quirky characters.

 

 

Only God Forgives
Nicolas Winding Refn

 

‘Only God Forgives’ reunites Nicolas Winding Refn and Ryan Gosling, the director and star of the Cannes hit, ‘Drive’ and adds Kristin Scott Thomas to the mix.  It takes us to the streets of Bangkok for a revenge thriller where Gosling plays a drug smuggler operating from a Thai boxing club.  Refn has given meaning to title and raised the ante by disclosing that Gosling’s character ‘wants to fight God without knowing why’.

 

 

Only Lovers Left Alive
Jim Jarmusch

 

Jim Jarmusch received a grand jury prize for ‘Broken Flowers’ on his first appearance in the main competition and now returns as a late entry to this year’s line-up with ‘Only Lovers Left Alive’.  It is the latest contribution to the current crop of vampire revisionist films with Jarmusch contemplating the nature of love when two protagonists have been together for centuries.  Tilda Swinton, who featured in Jarmusch’s crime drama, ‘The Limits of Control’, stars alongside Tom Hiddleston.

 

 

Soshite Chichi Ni Naru (Like Father, Like Son)
Kore-Eda Hirokazu

 

Kore-Eda Hirokazu continues to probe into Japanese family life with his latest feature, ‘Soshite Chichi Ni Naru’ (‘Like Father, Like Son’).  Pop star, Masaharu Fukuyama, plays a ruthless business man, who faces a crisis point when discovering that his real son was inadvertently switched at birth six years before.  Hirokazu, a natural heir to Ozu, competed for the Palme d’Or with earlier films ‘Distance’ and ‘Nobody Knows’.

 

 

Tian Zhu Ding (A Touch of Sin)
Jia Zhangke

 

Leading Chinese filmmaker, Jia Zhangke, returns to Cannes after two earlier appearances.  His latest film, ‘Tian Zhu Ding’ (‘A Touch of Sin’) provides a look at contemporary China from the viewpoint of characters living in different parts of the country.  Jia regular Zhao Tao joins Jiang Wu (‘Shower’) and Wang Baoqiang (‘Blind Shaft’) in a strong ensemble cast.

 

 

Un château en Italie
Valeria Bruni-Tedeschi

 

The accolade of being the only woman competing for the Palme d’Or goes to Valeria Bruni-Tedeschi, as Cannes faces renewed criticism for its male dominated line-ups.  Her latest film, ‘Un château en Italie’, portrays a powerful family of Italian industrialists as it falls apart at the end of an era.  Bruni-Tedeschi, who is best known for her extensive career as an actress (‘Munich’, ‘5×2’, ‘A Perfect Couple’) stars alongside her husband, Louis Garrel and ‘Of Gods and Men’ director, Xavier Beauvois.  ‘Actrices’ was her only other feature behind the camera to premiere at Cannes and it received an Un Certain Regard special jury prize six years ago.

 

 

Venus in Fur
Roman Polanski

 

Roman Polanski is sticking with adapting plays for the big screen notwithstanding his failure to transcend the theatrical origins of his last film, ‘Carnage’.  This time around, Polanski has turned his attention to David Ives’s Broadway hit play, ‘Venus in Fur’, where an audition becomes a battle of wits between an actress and playwright embroiled in sexual power play.  The two-hander stars Mathieu Amalric alongside Polanski’s wife, Emmanuelle Seigner.

 

 

Wara no Tate (Shield of Straw)
Takashi Miike

 

The prolific Japanese filmmaker, Takashi Miike, who makes Woody Allen’s one film a year schedule look positively pedestrian, competes for the Palme d’Or for the second time after ‘Hara-Kiri: Death of a Samurai’ two years ago.  Miike provides more of his cult blend of V-Cinema action and high end sophistication in his latest production, ‘Wara no Tate’ (‘Shield of Straw’), a pumped up contemporary take on the ‘bounty’ sub-genre.  Takao Osawa and Nanako Matsushima star as two cops protecting a confessed killer.generic sildalissildalis tabletsgeneric sildalis onlinetablets sildalis onlinesildalis genericbuy sildalis canadasildalis purchase

Frontrunner wins the Palme d’Or

May 27th, 2013 - Graham Eley

This year’s Palme d’Or followed pre-ceremony expectations in going to Abdellatif Kechiche’s lesbian love story ‘Blue is the Warmest Colour’, being the longest film in the main competition at almost three hours.  Kechiche, who was making his first appearance on the Croisette, had seen his fifth feature emerge as the frontrunner after the international critics awarded it the Fipresci prize.  Three of his previous films had premiered at Venice, including ‘Couscous’, which went on to win multiple César awards.

 

Jury president, Steven Spielberg, was at pains to stress that the decision was free of political considerations with it coming hot on the heels of France’s aggressively contested gay marriage debate.  Politics will inevitably play a part with censorship, though, and it seems improbable that the film will screen in Kechiche’s native Tunisia.

 

The jury made the unusual move of including the film’s co-stars, Léa Seydoux and Adèle Exarchopoulos, in its citation.  The gesture comes in a year when Cannes was once again under fierce attack for undervaluing woman filmmakers during its selection process.

 

There was no surprise with the Grand Prix (second best film) going to the Coen brothers’ quirky 60’s folk scene comedy, ‘Inside Llewyn Davis’.  It is the fifth major award that the Coens have picked up at Cannes following a Palme d’Or and three best director wins.

 

The best director prize went to Amat Escalante for his society-in-crisis drama, ‘Heli’, the latest coup for the Mexican new wave.  Escalante’s previous two films both premiered in the Un Certain Regard sidebar and ‘Sangre’ won a Fipresci prize.

 

Kore-Eda Hirokazu took the jury prize for ‘Like Father, Like Son’, where a business high flyer faced a crisis when discovering that his real son was inadvertently switched at birth.  It is third time that Hirokazu has competed for the Palme d’Or after ‘Distance’ and ‘Nobody Knows’.

 

Another world cinema heavyweight, Jia Zhangke, won best screenplay for ‘A Touch of Sin’.  Zhangke’s third film to screen on the Croisette examines contemporary China from the viewpoint of characters living in different parts of the country.

 

Spreading the awards around in the Cannes tradition, Berenice Bejo (‘The Artist’) enhanced her growing reputation with a best actress win for her performance in Asghar Farhadi’s latest ‘separation’ drama, ‘The Past’ and veteran American actor, Bruce Dern, took the best actor prize for co-starring in Alexander Payne’s return to the road movie genre, ‘Nebraska’.

 

Anthony Chen’s ‘Ilo Ilo’, the dramatisation of a maid’s real life bond with children in her care, received the Camera d’Or for best feature debut across all sections.  It is the first Singaporean film to win a major award at Cannes.

 

The Un Certain Regard sidebar awarded its best film to Rithy Panh’s ‘The Missing Picture’, an autobiographical documentary on Khmer Rouge atrocities.  Panh, Cambodia’s best known filmmaker, competed for the Palme d’Or almost twenty years ago with the ‘Rice People’.

 

Another autobiographical feature, Guillaume Galliennes’ ‘Me, Myself and Mum’, triumphed in the parallel Directors’ Fortnight.  It is Galliennes’ first film in the director’s chair after appearing in many films as an actor.

 

And the Nespresso Prize for the best film in the other parallel section, the Critics’s Week, went to Fabio Grassadonia and Antonio Piazza’s hit man romance ‘Salvo’.  It is the filmmakers’ debut feature but they have enjoyed previous success with their festival hit short, ‘Rita’.

 

 

AWARDS:

 

Palme d’Or
Blue is the Warmest Colour (La Vie D’Adele Chapitre 1 & 2) by Abdellatif Kechiche

 

Grand Prix
Inside Llewyn Davis by Joel Coen and Ethan Coen

 

Best Director
Amat Escalante for Heli

 

Jury prize
Hirokazu Kore-eda for Like Father, Like Son

 

Best Screenplay
Jia Zhang-ke for A Touch of Sin

 

Best Actress
Berenice Bejo in The Past (Le Passe) by Asghar Farhadi

 

Best Actor
Bruce Dern in Nebraska by Alexander Payne

 

Camera d’Or (Best First Feature)
Ilo Ilo by Anthony Chen (presented in Directors’ Fortnight)

 

Palme d’Or Court Metrage (Short Film)
Safe by Moon Byoung-gon

 

Special Mentions to Whale Valley (Hvalfjordur) by Gudmundur Arnar Gudmundsson and 37°4 S by Adriano Valerio

 

Prize of Un Certain Regard (Best Film)
The Missing Picture by Rithy Panh

 

Directors’ Fortnight’s Art Cinema Award (Best Film)
Me, Myself and Mum by Guillaume Galliennes

 

Critics’s Weeks’ Nespresso Prize (Best Film)
Salvo by Fabio Grassadonia and Antonio Piazza
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‘Fast & Furious 6’ sets the pace

May 26th, 2013 - Graham Eley

‘Fast & Furious 6’, which made a flying start in the UK last week, took control of the North American box office on Friday with an excellent $38m domestic debut.  Justin Lin’s action thriller, starring Vin Diesel, Paul Walker and Dwayne Johnson, has a shot at hitting the $120m mark at the end of the Memorial four day weekend.

 

‘The Hangover Part III’, starring Bradley Cooper, Ed Helms and Zach Galifianakis, grossed a further $14.5m on Friday, taking its domestic tally to an early $26.3m after opening on Thursday.  The final part of the adult comedy trilogy is on course to top $50m over the four days.

 

Last weekend’s No 1, ‘Star Trek Into Darkness’ returned another $10m in third place but only stands on a relatively disappointing $119m overall.  The space sequel four day weekend tally should be close to $50m.

 

Chris Wedge’s ‘Epic’ was the only other wide weekend release and returned a decent $9.2m on Friday.  The animated adventure will have less fire power than Star Trek over the four day period and should finish on approximately $42m.generic sildalissildalis tabletsgeneric sildalis onlinetablets sildalis onlinesildalis genericbuy sildalis canadasildalis purchase

Haynes and Blanchett to reunite

May 23rd, 2013 - Graham Eley

Todd Haynes will reunite with Cate Blanchett for his big screen adaptation of Patricia Highsmith’s groundbreaking postwar novella, ‘The Price of Salt’.  The novella succeeded ‘Strangers on a Train’, which gave rise to the Hitchcock classic, but Highsmith published it under the pseudonym Claire Morgan, due to a lesbian friendship at the heart of the text.  Haynes’ film, which also co-stars Mia Wasikowska, will take the novella’s alternative title ‘Carol’.
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Spike Lee takes over ‘Gold’

May 21st, 2013 - Graham Eley

Spike Lee has taken over the reins from Michael Mann to direct ‘Gold’, which seems likely to be his next feature after the remake of ‘Oldboy’, currently in post production.  It is based on the true story of a ‘penny stock’ company that made a fortune on the back of a gold mining fraud and investors’ willingness to chase an easy profit.  Filming should commence this year.generic sildalissildalis tabletsgeneric sildalis onlinetablets sildalis onlinesildalis genericbuy sildalis canadasildalis purchase

Paperboy, The

May 21st, 2013 - Graham Eley

Lee Daniels follows his soul-stirring crowd pleaser, ‘Precious’, with a full-on ‘trash noir’ downer that takes us to the Sixties Deep South and depicts the seedy remains of a society’s underbelly immersed in decades old bigotry and Klan-style resentment.

 

This is an oppressive steamy place where the occupiers surrender to ennui, dripping in sweat as they go through the motions and only stir into action when somebody contravenes the unwritten rules.  We sense that local hack, Ward Jansen (Matthew McConaughey) was one of only a few to escape this prison of a town but he returns when getting a sniff of a story with legs.  Ward’s ambitious partner, Yardley Acheman (David Oyelowo), a black Londoner who is uncomfortable discussing his past, goes down exactly as you would expect in these parts.

 

Enter Nicole Kidman, superb as Charlotte Bless, an erratic peroxide blonde of a femme fatale, whose trashy allure and self-destructive unease proves an irresistible cocktail to Ward’s ‘college dropout’ younger brother Jack (Zac Efron).  There is a melancholy in their doomed friendship that is familiar from New Hollywood’s films of the period; Charlotte having other things on her mind, convinced of the innocence of her pen pal, Van Wetter, a convicted cop killer on death row.

 

Having the inside track on a high profile con is like a red rag to a ball for Yardley, discarding the niceties of good journalism and latching on to any old potential alibi as an opportunity for some eye-catching ‘rough justice’ headlines.  Ward is more circumspect but sidelined by a sadomasochistic gay encounter/symbolic black revenge; a pretext for merging homoerotic and blaxploitation imagery in a ramped-up deconstruction of conventional racist and homophobic stereotypes.

 

Daniels allows us time to build a picture of Van Wetter in our mind’s eye before he finally arrives on screen.  However bad our images may be – drawing on those countless ‘blank stare’ mugshots and previous film representations – the reality seems far worse.  John Cusack strips away his soul in an astonishing feat to give us Van Wetter, the appalling ‘swamp’ man, catering only to his animal needs and all the more terrifying for being absolutely believable.  He is the antithesis to Lex Luther, heralding from a brutal uncultured mini-settlement that time has left behind in the alligator-filled marshlands.

 

Black maid (Macy Gray) narrates the story from the sidelines, only witnessing some of the events first hand, with plenty of scope for local myths to penetrate the cracks.

 

As with ‘Precious’, Daniels does not stray too far from a conventional film style, but it works for the Southern Gothic atmosphere, which pervades the entire film.  It is uncomfortable, often nasty but, ultimately, very engaging where the characters take on greater importance than the plot.

 

And there is a scene that nobody will forget in a hurry, Charlotte peeing on Jack’s face as an antidote for a crab sting.generic sildalissildalis tabletsgeneric sildalis onlinetablets sildalis onlinesildalis genericbuy sildalis canadasildalis purchase

‘The Great Gatsby’ wins close international battle

May 20th, 2013 - Graham Eley

Baz Luhrmann’s ‘The Great Gatsby’, starring Leonardo DiCaprio, Tobey Maguire and Carey Mulligan, claimed the No 1 spot at the international weekend box office after winning a tight three-way battle with ‘Star Trek Into Darkness’ and ‘Iron Man 3’.

 

After a high profile Cannes world premiere and exceeding expectations domestically, ‘The Great Gatsby’ opened in fifty international territories, taking $42.1m overall.  The F. Scott Fitzgerald adaptation continued to overcome a critical mauling, with Russia being its most successful market on $6.1m.

 

Last weekend’s No. 1, ‘Iron Man 3’, grossed a further $40.2m in second place following another impressive session.  The Marvel/Disney blockbuster has now taken $736.2m internationally after four weekends in play.

 

‘Star Trek Into Darkness’ extended to forty-one markets after testing the water in just seven last weekend.  J.J. Abrams’ space sequel earned $40m over the three days, with its international running total now standing at $80.5m.

 

Meanwhile, Universal launched the worldwide release of ‘Fast & Furious 6’ in the UK and Ireland and it grossed a whopping $13.8m for the studio’s highest three day release in the territory.  Justin Lin’s action thriller opens in North America on Friday.generic sildalissildalis tabletsgeneric sildalis onlinetablets sildalis onlinesildalis genericbuy sildalis canadasildalis purchase

Look of Love, The

May 11th, 2013 - Graham Eley

The latest feature from the prolific and versatile Michael Winterbottom offers an engaging and, surprisingly, affecting portrayal of Paul Raymond’s rise from making up the numbers with a ‘two a penny’ mind-reading act to Britain’s richest man.

 

It takes us to the seedy side of the UK where Raymond opened the country’s first ever strip joint in the late Fifties en route to owning much of Soho’s sex district and launching a stack of soft-porn mags that dominated the top shelves of corner newsagents for decades.  We see Raymond lead a crusade to revise/’modify’ legal and moral perceptions of the sex industry against the background of a changing Britain, whose public showed signs of turning a blind eye away from the exploitation that was always a given in Raymond’s semi-legit empire, with his associates treating it as a virtue.

 

Steve Coogan, collaborating with Winterbottom for the fourth time, gives us a conflicted Raymond, shameless to the point of defiant in championing the indefensible, but one who possesses an unexpected naivety and a ruthless honesty that survives the usual pretensions of fame.  There is a vulnerability here that Coogan works to the full, but he took a chance, inviting inevitable comparisons to his most famous creation, Alan Partridge, and potentially provoking those tiresome ‘self-parody’ clichés, which go with it.  But the talented Coogan is more than equal to the task, proving resistant to pre-conceived perceptions, in delivering a performance that catches us off guard; investing Raymond with an uncomfortable contradictory dignity, making us care for a character who didn’t warrant our sympathy.

 

Never afraid of taking risks, Winterbottom was pushing his luck too; the period detail and Raymond’s extreme hedonistic lifestyle come dangerously close to resembling a throwaway Seventies sex comedy – sourced-up ‘Carry-on’ stuff – but, with one eye fixed on the ‘campometer’ levels and a subtle dose of underlying wit, he keeps a nice balance of reality and satire from drifting into unintentional pastiche.  Watch out for reenactments of Raymond’s wholehearted stabs at selling sex with an air of sophistication, which resist the usual mockumentary-style excruciating embarrassment; instead, carrying with them the familiar smell of pathetic desperation that we associate with all those peddling sex in the mainstream.

 

And be aware of various intriguing associations at a different level, with it being Matt Greenhalgh’s third screenplay based on a celebrity in crisis.  The first two picked up BAFTA best British film nominations; ‘Control’ took on the enigmatic Ian Curtis who could not cope with any kind of public persona and the complementary, ‘Nowhere Boy’ explored John Lennon’s fight against private demons before entering the public domain.  And now, we have the so-called  ‘The King of Soho’ – appearing as a fully formed post modern nightmare amalgam – whose private and public lives are indistinguishable.  It was a tricky one for Greenhalgh, but his screenplay intelligently brings to life Raymond mutating into self-caricature, an unmanageable cocktail of endless sleaze that destroyed his relationship with long-suffering wife, Jean, and porn model girlfriend, Fiona Richmond and had tragic consequences for the one person to whom he was truly devoted, his daughter, Debbie.

 

Many leading British comedians make cameo appearances but, in a more meaty role, Chris Addison, who did a fine job playing Toby Wright in ‘In the Loop’, impresses as Tony Power, the Men Only editor and business associate of Raymond who pays the price for having too much of a ‘good’ thing.  And Imogen Poots, best known for ’28 Weeks Later’, gives real substance to Debbie without falling back on the usual stereotypes of celebrity children going off the rails.propranolol generic costbuy inderal lacheapest inderalonline inderalbuy propranolol canadapropranolol generic forinderal online uk

 

The final scene of Raymond with his granddaughter reconstructing/re-living earlier times with Debbie is genuinely moving.

James Franco comes aboard new Wenders’ feature

May 8th, 2013 - Graham Eley

James Franco will star alongside Sarah Polley in Wim Wenders’ keenly awaited next feature, ‘Every Thing Will Be Fine’.  Wenders has confirmed that he will shoot the film in 3D, having raised the bar for its use during his career reviving documentary hit, ‘Pina’.  Franco, whose busy schedule shows no sign of easing, will play another demanding role, this time as a tormented teacher grappling with the consequences of accidentally killing a child.  It will enter production on August 15.propranolol generic costbuy inderal lacheapest inderalonline inderalbuy propranolol canadapropranolol generic forinderal online uk

International box office (May 3-5, 2013)

May 6th, 2013 - Graham Eley

After smashing the international box office record for the highest ever opening, ‘Iron Man 3’ went on to post another sensational $175.9m this weekend.  It takes the Marvel/Disney sequel over the $500m mark internationally and, after factoring in North America, to a remarkable $680.1m worldwide.  China, alone, accounted for $63.5m of the weekend international haul, being the highest return from the 54 markets where it was active.

 

The superhero adventure’s extraordinary start has already returned more worldwide than the final tallies for each of the other features in the franchise.propranolol generic costbuy inderal lacheapest inderalonline inderalbuy propranolol canadapropranolol generic forinderal online uk

 

 

‘Iron Man 3′ takes North America by storm

May 6th, 2013 - admin

Daily Index (May 3, 2013) #1 Movie

May 5th, 2013 - Graham Eley

There was only one show in town on Friday night as ‘Iron Man 3’ dominated the North American box office with a scintillating $68m debut.  All eyes are now on the record books as the Disney/Marvel sequel, starring Robert Downey Jr, Gwyneth Paltrow and Don Cheadle, looks set to challenge ‘Harry Potter and the Deathly Hallows, Part 2’, currently the second-highest North American opener of all time on $169.1m.

 

It will not repeat last weekend’s exploits when the superhero adventure smashed the international weekend box office record, overtaking ‘The Avengers’ with a staggering $198.4m.  ‘The Avengers’ will retain the North American record of $207m, which it set last summer.

 

With the boost of the international momentum and an audience ‘A’ CinemaScore, word of mouth should push ‘Iron Man 3’ close to $175m over the three days.

 

For the record, ‘Pain & Gain’, last weekend’s No. 1, could only muster $2.4m in second place after being blown away by the ‘Iron Man 3’ release.  Michael Bay’s controversial bodybuilding action comedy is on pace for a second weekend $7.5m.

 

Needless to say, there were no other wide releases; studios prudently giving a wide berth to ‘Iron Man 3’.propranolol generic costbuy inderal lacheapest inderalonline inderalbuy propranolol canadapropranolol generic forinderal online uk

Jessica Chastain joins ‘Interstellar’

May 3rd, 2013 - Graham Eley

Christopher Nolan’s next feature, ‘Interstellar’ is taking shape with Jessica Chastain being the latest big name addition to the cast.  Although plot details remain sketchy, it will be a sci-fi brainteaser in the mode of ‘Inception’, based on a concept by his brother and long term collaborator, Jonathan Nolan.   In demand, Matthew McConaughey and Anne Hathaway, are already on board.propranolol generic costbuy inderal lacheapest inderalonline inderalbuy propranolol canadapropranolol generic forinderal online uk

In the House

May 2nd, 2013 - Graham Eley

When in serious mode – ‘Under the Sand’ and ‘Time to Leave’ – François Ozon has made an enduring contribution to the so-called ‘new New Wave’, but when in a more playful mood – ‘Eight Women’ – he has a tendency towards self-indulgence that can push excess towards tedium.  In his latest feature, ‘In the House’, both sides of Ozon are present; a riveting psychological drama falls away under the weight of unnecessary farce, before a tantalising closing take on Hitchcock’s ‘Rear Window’, befitting of the film that Ozon promised during the first hour, compounds the sense of loss for a missed opportunity.

 

Ozon has taken Juan Mayorga’s play, ‘The Boy in the Last Row’ as a starting point and moulded it into something that is very obviously part of his oeuvre; patiently pursuing one of his favourite themes, the creative process, and hinting at another, sexual politics.   A fabulous disposition sees a schoolboy, Claude, reinvigorate a world weary teacher with a series of essays/stories that prove something of a page turner; written with flair – he has potential – but they move into seriously uncomfortable territory when the standard cliffhanger ‘to be continued’ always signals increasingly disturbing revelations. It has something of Christopher Nolan’s debut and still best feature, ‘Following’, with life driving literature and vice versa, as the author – smart, manipulative and daring – gradually takes over the life of another pupil, when helping with Maths homework becomes a pretext for stalking and much more.

 

It all works superbly, a fascinating ethical clash between literature and personal responsibility, but this was not enough for the overambitious Ozon.  Unable to resist the ‘old hat’ post modern trick of turning everything on its head – too knowing for his own good – images suddenly depict prose that diverts from reality, eroding the very premise that made Claude’s enterprise so fascinating in the first place, the emphatic presence of the author’s life.  Set piece comedy jars, we follow clues that question what came before and it all becomes horribly predictable.

 

This false step is all the more unfortunate for the cast delivering some terrific performances.  Fabrice Luchini and Kristin Scott Thomas are compelling as the failed writer re-living/reinventing the past through a pupil’s eyes and his perceptive wife, who knows him far better than he knows himself.  And Ernest Umhauer, who made his big screen debut in Dominik Moll’s ‘The Monk’, plays Claude with a nice balance between a creepy inappropriateness and inquisitive innocence, which fully deserved his César nomination for most promising actor.propranolol generic costbuy inderal lacheapest inderalonline inderalbuy propranolol canadapropranolol generic forinderal online uk

‘Inherent Vice’ enters production this month

May 1st, 2013 - Graham Eley

Paul Thomas Anderson will commence shooting this month on his adaptation of Thomas Pynchon’s bestselling novel ‘Inherent Vice’.  The production sees Joaquin Phoenix reuniting with Anderson following last year’s ‘The Master’ and he will play the flawed private eye, Doc Sportello.  Although set in Sixties Los Angeles, Anderson will explore a neo-noir angst that continues to haunt contemporary America and attract audiences in both the independent and mainstream sectors.propranolol generic costbuy inderal lacheapest inderalonline inderalbuy propranolol canadapropranolol generic forinderal online uk