Where would Halloween season be without Edgar Allan Poe? Still positioned in October, of course, but with a much less creepy hold on the month.
Tag: Movies (11-20 of 973)
Fan sites went a little wild on Friday when they stumbled upon a bit of news that The Jim Henson Company was working on a sequel to Labyrinth, the bizarre, beloved 1986 fantasy starring Jennifer Connelly and David Bowie. But, sources tell EW that’s not the full truth. While they are working on a Fraggle Rock movie and a Dark Crystal sequel, as the Variety article stated, there are currently no plans to reboot, revive, or make a sequel to Labyrinth. It’s one of those legacy titles that is floated at most meetings, but, sadly, nothing is actually in development at the moment.
Let’s drown our sorrows in “Magic Dance.”
The Jim Henson Company had no comment.
Chris Lowell ran a somewhat unconventional ship for his directorial debut Beside Still Waters, a highly personal, contained tale about childhood friends reuniting at a lake house years later. The Veronica Mars star shot on film, raised most of his budget by basically pounding the pavement and began each day by taking a bare leap into the lake with his cast outside the house where they shot. “It’s unbelievably, terribly unprofessional,” he tells EW, laughing. “But it was a great start. It really got us in the zone.”
So far, Lowell has had an interesting 2014 with the quick ascent and subsequent cancellation of Fox’s brothers in arms comedy Enlisted, the release of the fan-funded Veronica Mars movie, and now, the theatrical and VOD roll-out of his film, which he finished shooting in 2012 and boasts its own set of crazy ups and downs including becoming one of Kickstarter’s most successful projects after nearly tripling his fundraising goal. “I’m so excited I can hardly stand it,” he says. “It’s the hardest thing I’ve ever done in my life. I’ve climbed mountains, I’m running the New York City marathon this year, but this? It was the most difficult thing in the world physically and emotionally.”
Part of that stress was likely due to the fact that he opted to shoot on film, blending 16mm, Super 8, and his own photography. “That’s sort of my realm. It’s where I feel most comfortable. As a photographer I shoot everything on film and it’s almost all black and white,” he says. “Film brings with it a sense of nostalgia and beauty, but, from a producing standpoint it’s a packed with headache and complete unpredictable obstacles.”
While mum was the word at the Tomorrowland panel at New York Comic Con, a never-before-seen clip screened at the show shines a bit of light on Brad Bird and Damon Lindelof’s latest mystery box of a film.
David Fincher’s popular psychological thriller could hold down the top spot for the second weekend in a row, with that demon doll close behind, but it’s going to be a tight race with The Judge, Dracula Untold, and Alexander and the Terrible, Horrible, No Good, Very Bad Day. The adultery thriller Addicted also opens in around 800 locations, and there’s a slew of great limited release choices debuting too, including the buzzy Sundance sensation Whiplash.
Here’s how things might play out.
In his latest film, Men, Women & Children, director Jason Reitman explores the different ways in which technology influences our lives. Based on Chad Kultgen’s book of the same name, the film follows a handful of characters, looking into the way they use the social media, texting, and more to express their sexuality, raise their kids, and connect with others.
We talked with Reitman about adapting the book, the difficulties of portraying sexuality on-screen, and what comes next for him.
Camp X-Ray may be about as far from Twilight as Kristen Stewart can get, but in her portrayal of a young guard serving at Guantanamo Bay, she does find herself back in the YA-lit world, if ever so briefly.
Her character, Private Amy Cole, starts to develop a delicate friendship with detainee Ali Amir (A Separation‘s Peyman Moaadi) when she discovers he’s a big fan of the Harry Potter books.
“The movie is really about their relationship and how they have to deal with each other on a day to day basis,” director Peter Sattler told EW after the film’s premiere at the Sundance Film Festival. “They have these weird ups and downs as they struggle to make their way through this.”
Check out an exclusive clip from the film below in which Amy Cole implores Ali Amir to follow the rules of the camp for his own well-being.
As The Avengers showed us all, people love “shared universes.” You can take any random bunch of movie ideas—don’t bother with worrying about them being any good or anything—as long as you make sure they’re in that shared universe, people will love it. (Case in point: The Amazing Spider-Man 2.) This works out for movie studios too—money’s tight, why should they have to keep churning out entirely new universes for every new movie that waltzes in? That’s just wasteful! Share ‘em! Shove it, Carl Sagan!
Which is why we’re probably going to get a shared universe of Robin Hood films. Perplexed? You shouldn’t be! Robin Hood and his Merry Men, as you should know, were like The Avengers of yore, according to The Hollywood Reporter.
According to THR, Sony is considering dropping $1-2 million on a pitch called Hood by Cory Goodman and Jeremy Lott, which would be the start of a series of films about the legendary bandit and his band of Merry Men. There aren’t many details about the project at this point, but its tone reportedly aligns with “Mission: Impossible and the recent Fast & Furious movies,” which is a really obtuse way of saying “fun as hell.” Which is really this movie’s only hope, because as far as shared universes go, it looks like it’s turtles all the way down, folks.
In the new, much-buzzed-about horror film The Babadook, a children’s book comes to life and turns the life of single mother Amelia (Essie Davis) into a living hell. Given that premise, we thought twice about debuting the poster for the film, which opens in cinemas Nov. 28, lest a similar fate befall us here at EW Towers.
But, hey, you only live (and die!) once.
With this weekend’s release of Gone Girl, director David Fincher has once again showcased the unsettling sounds of award-winning composers Atticus Ross and Trent Reznor (above). Ever since 2010’s The Social Network, the duo have become a fixture of Fincher’s work. The duo’s deceptively minimal sound, with subtle motifs barely hiding cold electronic undercurrents, is remarkably well-suited for Fincher’s trademark visual aesthetic, in which every smile and doorway can take on an air of menace if the camera lingers long enough. While he has worked with a number of composers before—most notably Howard Shore—Fincher has found a sonic soulmate in Ross and Reznor’s scoring.
But what about the other great director/composer relationships in Hollywood history? What other composers have had their music strongly associated with a director’s work, so much so that you can’t picture a film without hearing the score? READ FULL STORY
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