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Get Ready To Be Entranced: Sofia Coppola’s THE BEGUILED Grips

by Quendrith Johnson, Los Angeles Correspondent

There was a time when Sofia Coppola could be at an awards show and overlooked as a famous daughter; not anymore, not for years now since LOST IN TRANSLATION. But in her new film, THE BEGUILED, which is a retool of a 1971 Clint Eastwood starrer, she really comes of age as a visionary writer/director. Even in what is considered a remake of a movie based on a novel by Thomas Cullinan, it has a distinctive feel that’s all hers. The film opens Friday, June 23 in New York and Los Angeles, with wider release on June 30.KidanBGniceWith an all-star cast that includes Nicole Kidman, Colin Farrell, Kirsten Dunst, and Elle Fanning, you get a sense of why this movie won Best Director at the 2017 Cannes International Film Festival.

Picture a Southern all-girls boarding school during the battle-weary Civil War era, and a wounded enemy soldier appears. John McBurney (Colin Farrell) adds testosterone to a very delicate and well-mannered yet highly complex microcosm of women led by a formidable Headmistress named Miss Martha (Nicole Kidman).

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“This is my dream cast,” Sofia Coppola admits. “When I was writing it, I was picturing Nicole as Miss Martha. She always surprises me. Watching her, I’ve never seen anyone like that, she does so many different things at once.” She adds that the whole cast is on a par with Kidman.

You want to use a word like confection for the ethereal feel, but that description doesn’t do justice to the depth of rich multi-layered images that float on the screen like Spanish moss.

“This is very much a Sofia film,” Colin Farrell explains. “It’s very much aesthetically beautiful. She wrote every word of this. Her way feels maybe more right than some [as far as directing], there’s an immense lack of tension on the set, very playful. She’s incredibly easygoing and generous to her core it seems.”ColinDunstBG

Farrell is underscoring the fact that a remake can often feel like a re-do of someone else’s vision.

But if you look at the 1971 version, two minutes into the film, Eastwood is literally hitting on a twelve year old, with “not too young for kisses.” And even though the fabulous Geraldine Page stars as his Miss Martha, there’s a creepy feel to their interplay, down the line. So that’s essentially the breaking point for the 2017 Beguiled. It takes a left turn at the way the heightened sexual tension is framed.

“I didn’t know the movie and I watched it, and it really stayed in my mind. I watched it. It was so weird, and I thought ‘how would I do my version?’” I thought it would be interesting to do the same story but from the female characters’ point of view.”

Elle Fanning, who plays Alicia, describes her character as kind of an empowered seductress, but still innocent in a real way. “Anything Sofia does I think is incredible, it was also like, ‘yeah.’ Because it was all these girls and women — and Colin of course— they hold the power.”ColinElleBG

“The original film had been made from a guy’s point of view, so I went back to the book. Because I just liked the premise,” Coppola adds. “It’s such a crazy, extreme premise about power between men and women in such an extreme situation. The idea of looking at wartime from the point of view of the women left behind.”

“You try to make it personal. Try to relate to the characters because it’s such a different time. And yet I loved that it had elements that were familiar to me, this feminine beautiful world. A beautiful feminine world with violence and very gothic.”

“My tendency is to be on the subtle side. Colin was teasing me: ‘Oh, this is an action movie to you, there’s guns… there’s blood.’ It’s been fun to have this mix of beautiful dresses and a little gore. We had smoke machines everyday, and candlelight… a really ethereal look that is specific to this story.”

“Colin is a good sport about being our sex object in the movie, but he has to be dangerous and threatening, and romantic in the movie.” Farrell plays a mercenary soldier paid $300 off the boat from Ireland to fight as a Yankee, so he’s neither North nor South, but emblematic of the unspoken ever-present struggle for control between the sexes.

When the crushing attractions flare up between Farrell’s character and the many flavors of female in this strange closed world hunkered down  under siege of musket fire in a distance, Beguiled really poses some interesting questions about how women express their sexuality. Yet there’s a brutality to their mannered world that Farrell’s soldier-on-the-mend only begins to realize when it’s too late.

Not that every movie needs a memorable line, but when his John McBurney yells out “You Vengeful Bitches,” in a thick Irish accent, it’s an instant classic. Probably because Nicole Kidman’s Miss Martha is so poised and possibly inherently evil at the same time, in a nice way.NicBGbad17

Kirsten Dunst, who plays wronged love interest Edwina, sums up Sofia Coppola’s deft directing hand best, as “she doesn’t second guess herself. I’ve known her for so long, I’m working with my friend, you can’t really beat that.”

Since he is outnumbered in this eerie thriller, Colin Farrell gets the last word. “I’m surrounded by extraordinary talent. Watching these extraordinary women do extraordinary work. There’s an amazing sense of camaraderie. It’s been a joy.”

Don’t miss what the women have in store for their wounded houseguest, it’s a very rewarding fight to the finish.

Focus Features awards-buzzworthy film THE BEGUILED rolls out in New York and Los Angeles on Friday, June 23, with wider release on June 30.

Directed by Sofia Coppola (“Lost in Translation,” “Somewhere”)
Written by Sofia Coppola, based on the novel by Thomas Cullinan and the screenplay by Albert Maltz and Grimes Grice
Starring Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning, Oona Laurence, Angourie Rice, Addison Riecke, Emma Howard.

Watch This Making-of With Director & Cast

 

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93 Minutes I Rated R

Official Site I Facebook I Twitter I Instagram

#TheBeguiled #VengefulBitches

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Hey, FROM HOLLYWOOD TO ROSE Is an Insider Film Fan Anthem, Take That THR

by Quendrith Johnson, Los Angeles Correspondent

Who doesn’t love The Hollywood Reporter, a trade paper of record since 1930 at the dawn of American Cinema? So what do you do when THR lukewarmly reviews a film that is a fantastically written exploration of the interplay between fans and films, between human superpowers and caped crusaders? You write a counter-review, and here it is: this is about co-director Liz Graham and Matt Jacobs’ freshly screened FROM HOLLYWOOD TO ROSE. It’s playing on a weeklong run at Laemmle Music Hall that began last Friday, June 16, so you still have time to catch it.3 shot

Starring Eve Annenberg (writer-director of Romeo and Juliet in Yiddish) in a tacky bridal gown on an LA Metro Bus odyssey after a near-miss at matrimony, her veiled crusader of personal discovery teams up with  Bradley J. Herman, Maxx Maulion, stage actress Nija Okoro, local standup Isadora O’Boto, MMA champion Krzysztof Soszynski (Logan), Linda Bisesti and Chia Chen. It’s not exactly The Justice League, but they all have pop cultural references that thread together the multicultural experience that is Los Angeles. And it works wonders for Wedding Woman.

Just to cheat the system for you, and give film fans fair access to the movie, here are actual press notes on the film, with a synopsis so you get a gist of where this film is headed.

“In the city of Angels, everyone is on a quest.  A disheveled, middle-aged woman in a bridal gown boards a Metro bus on Hollywood Blvd in the middle of the night. As the bus heads further west, she meets an assortment of eccentrics and social outcasts who make her question where she’s been and where she’s going.  Each person she meets is at their own personal crossroads, who in turn shape the course of her bizarre journey.”

Ironically, coming from the film’s publicity folks, this is lacking in hyperbole and the extra “tulle dimension” that FROM HOLLYWOOD TO ROSE offers diehard film buffs. ‘Tangerine Meets Canterbury Tales Set in Glitterati LaLaLand,’ is a more fitting tagline, but they got the quest part right.

Here’s something very insider fanboy and fangirl already: if you Google the title it will return results for the trip from Hollywood to Rose Avenue in Venice, which is awesome in itself. Not to mention the iconic Ballerina Clown is shown for its weirdly unpredictable staying power as a local icon despite the place going from Muscle Beach to Silicon Beach these days, with nosebleed rents and attitudes you used to only see on the Upper East Side of Manhattan, ps. So the movie also shines a spot on a place that once was cool and is now so overpriced you want to pitch a tent in protest.

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Taking on the Marvel Universe, Willow, Blade Runner, Bruce Lee, even that reptilians-live-inside-the-hollow-earth yadda, FROM HOLLYWOOD TO ROSE does a mind-meld for film fans that is of epic proportions. It taps into the inner stat and Easter Egg zone in those movie people who show up at Comic-Cons in full regalia, know what cosplay is, and collect lobby cards.

Plus there’s a gummy bear fight with the near-miss sister-in-law and crazy people we see on the street every day take on a mythic significance as the canaries in this coal mine we are all currently living in. Let’s face it, the remake of Blade Runner with Ryan Gosling has most of us a little nervous, but hopeful that the 1982 Blade Runner is celebrated even more for its cult replicant allegories to our plastic surgery dystopian now.

Embedded in this so-called Woman-in-a-Wedding-Dress saga is a full display of the power of great movies to make great memories and bring out the best in people. (No, I’m not kidding. Ever wonder why movies are America’s number one lifestyle export? Because they are magical when done correctly.)From_Hollywood_to_Rose_Postcard_V2

You’ve got exceptional writing here from Matt Jacobs and a standout threading of stories from the debut team of Liz Graham and Jacobs. There is not one moment of dead air, and the film treats people’s obsessions and adoration of pop culture rabbit holes with reverence.

FROM HOLLYWOOD TO ROSE points out that we all wear costumes is real life, not just in DC Comics, as a Bus Driver disrobes and frees himself. It also pokes hard at the emotional reactions to a simple white gown, a piece of clothing so imbued with primal subtext, it can literally freak people out. Not to mention the “fish lamp,” which is just as powerful as any Orb or Seeing Stone in how it moves the plot along.

The themes touched on here are the kind of uniting cross-generational, cross-cultural conversations that the Meaningful Movies inspire. Yes, including how important Batman is to some kids growing up, or Lord of the Rings to others, even seemingly hokey 80’s quest movies — all those adventure tales that somehow add you into the picture just by watching.

So embedded in this so-called Woman-in-a-Wedding-Dress tale about “a group of interconnected eccentric strangers over the course of one long night on the LA Metro system,” is a full display of the power of great movies to make great memories and bring out the best in people. With all due respect to The Hollywood Reporter, you’ll love this film because it’s about us, in front of the screen, fitting our lives into a darkened room with a bunch of crazy strangers waiting for us outside in real life.

RECAP

Liz Graham’s and Matt Jacobs’ From Hollywood to Rose premiered at the Hollywood Reel Independent Film Festival, where it took the prize for Best Comedy Film and went on to screen at the Manhattan Film Festival, winning Best Comedic Screenplay.  From Hollywood to Rose opened in Los Angeles at the Laemmle Music Hall last Friday, June 16th for a weeklong run.  

Get tickets and info here for The Laemmle in Los Angeles.

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Leslie-Ann Coles Will Make You Think About The Female Eye… Festival Too

by Quendrith Johnson, Los Angeles Correspondent

Well, how many times have we heard it? “Ladies and Gentlemen,” even that phrase grates because it’s loaded from a, take a guess? Male perspective. And this is where Leslie-Ann Coles founder of The Female Eye Festival comes into sharp focus. FeFF Award WinnersFor the festival’s 15th anniversary, which opened yesterday in Toronto and runs through June 25, Coles may just be telling us what we need to hear right now. Listen up, since no one else seems to be championing story, sans capes, and what women are doing in film right now. What about Patty Jenkins and her big bang box office Wonder Woman, you ask?

“I think it is fantastic and great for all women directors. I just find it interesting that the Bigelow won for The Hurt Locker – which is a film that dealt with war — from a more personal perspective, and now we have a wonderful director with a superhero flick — again it’s an action movie,” Coles explains. “I always think about all the great films that the world has seen over the years that have often fallen under the radar of public and critical acclaim.”LA Coles Founder & Director 2016

Leslie-Ann Coles, in front of last year’s mural.

“I was always kind of interested in the (mostly male superhero) genre,” how women behind the lens see things differently, Female Eye’s tireless champion adds. “Part of the hoopla is that a women directed this,” Wonder Woman. It’s in the genre “of bastion the old boys club.”

“I was thinking also about public and industry. The general public, I don’t know how much they pay attention to who directed a film. Do they look at the poster and wonder who the director is? I don’t think the general public thinks [for example] ‘it stars Charlize Theron, wow, who is the director?’”

If you ask ‘what about women driving the box office behind a Billion Dollar Beauty & The Beast?’ “I think women buy tickets and they make a lot of decisions — maybe I’m wrong about that. This is all great… There is a film we are showing this year that we are all floored by  — we don’t often see a 74 year-old actor out of New York — the title is ‘Can Hilter Happen Here.’”Round Table Discussions 2016

As far as the full slate for the 15th Female Eye Festival, “there are some other films, documentaries, where I’ve been astonished how the women who create these films survive the front lines to get the story.  You’ll be taken aback by their work and their stories.”

The only requirement for participating films is obvious, Coles notes. Films are curated “very much with the caveat that they have to be directed by a woman.”

“There are many film festivals in the world. We have been around for 15 years, but we stand firmly behind the women in the director’s chair. I think it’s important to stand behind that.”

“Somebody asked me the other day, ‘do you think it’s important still?,’” and Coles points to the dismal stats on women at the helm of bigger budget films not just in Hollywood, but around the world.

What women have to say, it turns out, is a very different statement about the age-old entanglement of perpetual seat-filler plot-devices: Sex and Violence, she notes.Directors 2016

A film came out of New York one year that blew the viewer panels away, “Virgin” (2003). “That film was co-executive produced by Robin Wright Penn and starred Elizabeth Moss.” There was a real possibility that no one would distribute this project, so, Female Eye made sure to give it screen time. That director, Deborah Kampmeier, is out of New York.

“There was a rape of lead actress — perpetrator rapes her,” then Moss has to deal with “the man who impregnated her.”

“What struck me is that women tend to treat sex and violence very differently. Nothing is gratuitous. It’s often what [audiences] don’t see with explicit violence or sex.” The director “has come back to us with Split, Houndog — I’m a big fan of her work. She’s really underrated as a director, she is an important director, she created some, creates some great films, there have been so many.”

Karen Black FeFF 2009_2Karen Black is a past honoree.

“Nancy Savoca (Dogfight, If These Walls Could Talk) is another one; she shot a film in one apartment, one location on a micro budget,” Coles recalls.

As for her personal journey from dancer to actor to filmmaker to Festival Director? (See her bio on http://www.imdb.com/name/nm0171320/)

“I have a documentary; it has taken me eight years to finish it. Documentary about early music journalism from 1965 to 1975 from a classic black and white archive. The photographer shot for Melody Maker magazine the forerunner to Rolling Stone.

“It’s a great story when there were no rock’n’roll photographers.” This doc includes the photo “that redefined Syd Barrett (Pink Floyd) great photograph… he’d locked himself in the bathroom. They went into the bathroom and spent time locked in the bathroom with Syd Barrett — there’s this photograph half in shadow and half in light — a session with Jimi Hendrix two weeks before he died in his manager’s office. Keith Moon (The Who) — stunts that went awry — these guys had incredible access. in the mid 1970’s punk came in and didn’t respect the old guard. The World changed then.”

Now the world has changed again, from mass public shootings, war-mongering around the globe like never before to psychotic drum-banging in world politics, and maybe that’s why movies told from a female perspective are an important counterbalance. In any case, the 15th Female Eye Festival takes place this week. Visit the filmmakers and their bios on display, as well as slate and schedule, at 15th Annual Female Eye Film Festival, June 20th – 25th, 2017 #FeFF2017

 

SNAPSHOT from FeFF

The FeFF celebrates the 15th Anniversary edition June 2017!

At our milestone 15th anniversary in 2017, FeFF will present an eclectic variety shorts and features in all genres from across North American including a curated shorts program from Ireland entitled, “Irish Women’s Stories” along with a selection of independent films from France, Israel, Germany, Finland, Poland, Russia, Australia, UK and Asia… just to name a few foreign delegations. We are delighted to announce in 2017, 2016, 2015, 2014, 2013 the Female Eye ranked one of the world’s “Top 50 Film Festivals Worthy of the Entry Fee” by the renowned Movie Maker Magazine (Santa Monica, California). 

 Founder / Artistic and Executive Director Leslie – Ann Coles conceived the Female Eye Film Festival in 2001 having observing that women directors were a minority among filmmakers at the international film festivals she attended with her debut film, “In The Refrigerator.” In 2001, the Female Eye Film Festival (FeFF) was established and incorporated as a provincial not-for-profit organization in Toronto, Canada. In 2002, the Female Eye presented 42 films in its inaugural year; 70% of the participants were local Toronto directors. (Read more here...)

[Coles new documentary is MELODY MAKERS

http://www.melodymakersmovie.com/

https://www.facebook.com/MelodyMakersthemovie/

@melodymakersmov

“Always Honest, Not Always Pretty” www.FemaleEyeFilmFestival.com

2017, The Female Eye voted worlds “Top 50 Festivals Worth the Entry Fee” for five consecutive years (2013-2017) by Movie Maker Magazine

“The lack of gender equity in filmmaking [and in other arts] is perhaps a self-sustaining cycle. Movies shape the way that people see the world and by extension, the way that people see women.” – Odessa Kelebay

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Why #Covfefe & Trump’s Media Trounce Irks: The Pulitzer at 100

by Quendrith Johnson, Los Angeles Correspondent

When most of us caught the Presidential Tweet in late May that included a fake word, #covfefe, that has become the American Typo Heard Around the World, it really mattered that this misspelled rant was aimed at the media.TrumpTwt17 The 45th President of the United States was, as they say in street fights, ripping all newsrooms a new one. And Mr. Trump has literally gone to town on what he, @realdonaldtrump, and his Trump Administration call their enemy a/k/a the Media. He doesn’t see it as an Us and Them, he sees it as a USA and Them, as if being a journalist is de facto unpatriotic. Well, look no further than a great documentary to realign the universe of writers, writing, journalism, and The Pulitzer Prize. Even Martin Scorsese weighs in on stories we tell as journalists, scribes, and poets in Oscar-winning director Kirk Simon’s “The Pulitzer at 100,” which opens July 21 at Lincoln Plaza Cinema in New York City.

Ironically, one could say that the Leader of The Free World paying attention to the printed word and its creators is high praise — if you approach it from the ‘any publicity is good publicity’ angle. But unfortunately, this is not the case. President Trump has really blown a hole in the Fourth Estate, as if he’d been given a gold-plated wrecking ball with a Presidential Seal on it. It’s not just that he misunderstands journalism as a form of public relations; it’s not just that he singles out individual reporters like criminals in a briefing; it’s that we let him get away with it.Pulitzer1sht17

Why We Can’t Let The Press Get Beaten Up Anymore…

“The Pulitzer at 100” features hot button stories like an insider look into the lid-lifting Secret Service prostitution exposé, and the woman who was the little girl in that iconic Vietnam era napalm photo, but it also includes John Lithgow reciting Robert Frost. If Tracy K. Smith, the 2012 Pulitzer prize recipient for Poetry, doesn’t cut you to your knees just in one verse, check your pulse. “A poem invites conflation” between the writer and the reader, she tell us; and there’s Helen Mirren, Liev Schreiber reading some literary winners of the prize, breathtaking.

But back to journalism. Do we and our President even know why it is called The Fourth Estate and what it means? Quoting Stanford University’s “Journalism in the Digital Age” here:

“Journalism has long been regarded as an important force in government, so vital to the functioning of a democracy that it has been portrayed as an integral component of democracy itself. In 1841, Thomas Carlyle wrote, “Burke said there were Three Estates in Parliament; but, in the Reporters’ Gallery yonder, there sat a Fourth Estate more important far than they all” (On Heroes and Hero Worship). Four years earlier, Carlyle had used the phrase in his French Revolution: “A Fourth Estate, of Able Editors, springs up, increases and multiplies; irrepressible, incalculable.” Carlyle saw the press as instrumental to the birth and growth of democracy, spreading facts and opinions and sparking revolution against tyranny.”Pul17

You don’t need to know this to watch “The Pulitzer at 100,” but it helps. From the press notes, “There are more than a thousand recipients of this prestigious award including journalists, novelists, poets, musicians and photographers and this film has been made from the most valuable of resources, the artists themselves, many of whom are featured in The Pulitzer at 100.”

A short list includes:

Carl Bernstein, The Washington Post, Pulitzer Prize for Public Service, 1973
Thomas Friedman, Pulitzer Prize International Reporting & Affairs,1983,1988 & 2002
Martin Baron, Editor of The Washington Post, Pulitzer Prize for Public Service, National Reporting and Explanatory Journalism, 2014, 2015 & 2016
Robert Caro, Pulitzer Prize for Biography, 1975 & 2003
David Remnick, Editor-in-Chief The New Yorker, Pulitzer Prize for General Nonfiction, 1994
Sheri Fink, Pulitzer Winner for Investigative Reporting, 2010 & 2015
Nicholas Kristof, Pulitzer Prize, International Reporting and Commentary, 1990 & 2006
Carol Leonnig, Pulitzer Prize for Public Service and National Reporting, 2014 & 2015
Tracy K. Smith, author of Life on Mars, Pulitzer Prize for Poetry, 2012
Michael Cunningham, author of The Hours, Pulitzer Prize for Fiction, 1999
Paula Vogel, writer of How I Learned To Drive, Pulitzer Prize for Drama, 1998
Junot Díaz, author of The Brief Wondrous Life of Oscar Wao, Pulitzer Prize, Fiction, 2008
Wynton Marsalis, Pulitzer Prize for Music, 1997
John Adams, Pulitzer Prize for Music, 2003
Nick Ut, Pulitzer Prize for Breaking News Photography, 1973

Who Was This Immigrant Named Pulitzer?

“At the end of the Civil War,” this documentary tells us, Joseph Pulitzer a penniless Hungarian vagrant, sleeps on benches in New York, then moves to St. Louis, and the rest is history in broken English, shall we say. Typos matter, words matter, our Democracy matters. We matter as reader-citizens, writer-citizens, audience and actors in this American Experiment.NewsPul17

So the next time you watch a Presidential Press Briefing where journalists take a beating for protecting your right to ask questions as a citizen, remember who Joseph Pulitzer was, and why he matters.

Quoting “Journalism in the Digital Age” from Stanford again, which is not part of the documentary, for reference, just read along to see why this film and your opinion about the “media” matters:

“The fact of the matter is that democracy requires informed citizens. No governing body can be expected to operate well without knowledge of the issues on which it is to rule, and rule by the people entails that the people should be informed. In a representative democracy, the role of the press is twofold: it both informs citizens and sets up a feedback loop between the government and voters. The press makes the actions of the government known to the public, and voters who disapprove of current trends in policy can take corrective action in the next election. Without the press, the feedback loop is broken and the government is no longer accountable to the people. The press is therefore of the utmost importance in a representative democracy.”PulStmp17

Plus there’s Natalie Portman reading the work of Jorie Graham, 1996 Pulitzer winner, such “nimble armor” language.

THE PULITZER AT 100 – First Run Features Notes

Kirk Simon is an Oscar and Emmy-winning producer and director of documentary films for more than 30 years. In addition to winning an Academy Award for the HBO short documentary Strangers No More, he has also been nominated three other times, and won the duPont-Columbia Silver Baton.  His films have had national broadcasts on PBS, HBO and MTV.

Highlights in his oeuvre include the Emmy-winning Masterclass, an HBO series in which great artists mentor high school students; also for HBO, he was responsible for numerous programs including the 14-part series Kindergarten, which continues to be broadcast each morning on HBO Family. Mr. Simon’s first film for HBO was Chimps: So Like Us with Dr. Jane Goodall, which required Mr. Simon to sleep in a tent on the shore of Lake Tanganyika for three weeks to make this Oscar nominated and Emmy-winning program. He was also responsible for the award-winning series Coming Out Stories on MTV’s LOGO that portrayed the emotional process of coming out in the LGBT community. Entertainment Weekly wrote, “this touching series marks a high point for the network.”

For PBS, Simon has produced and/or directed programs for American Masters, American Playhouse, American Experience, Masterpiece Theater and The National Geographic.  For American Masters, Mr. Simon produced the Emmy-nominated Buckminster Fuller: Thinking Out Loud in 1996 and the Oscar-nominated biography of Isaac Bashevis Singer in 1986. For National Geographic, shows produced and directed by Mr. Simon include both Cairo Unveiled and Incredible Human Body. Simon is a member of the Academy of Motion Picture Arts and Sciences, the Writer’s Guild of America, the Academy of Television Arts and Sciences, and the Producer’s Guild of America.

Credits

Produced and Directed by Kirk Simon
Co-Produced by Ron Simon
Executive Producers: Nikkos J. Frangos and George T. Lemos
Edited by Emily Williams
Director of Photography: Buddy Squires, ASC
Music by Wendy Blackstone
Run Time –  91 min
Language – English
Format – Digital
Year – 2017
Genre – Documentary

Visit: http://www.thepulitzerat100.com

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Charlize Theron Should Definitely Add ATOMIC BLONDE To Her Dating Profile

by Quendrith Johnson, Los Angeles Correspondent

We already know from THE ITALIAN JOB and MAD MAX: FURY ROAD that South African bombshell Charlize Theron can drive the hell out of any vehicle, even with deranged bikers in tow. Now Imperator Furiosa can add a few more skills to her dating profile with Universal’s July 28 release ATOMIC BLONDE. This movie is based on the Oni Press Graphic Novel Series “The Coldest City,” written by Antony Johnston and illustrated by Sam Hart. Theron is also a producer on Atomic. Plus it has wily Toby Jones being creepy and John Goodman playing it tough.CharlizeActAB17That line “You don’t need a man, you need a champion*” applies to the female lead here. Note that Charlize can do things with a high heel that few dare dream to do, and still be a golden-hued spokesmodel for iconic French perfume Dior.CharlDior17
You’ll recall her Oscar-winning performance as a serial killer in MONSTER (2003) the minute you watch this trailer for what looks to be a new wild entry in this Transvaal native’s career. The official description follows below from Universal, but just take in the clip without context first, to see how talented and physically powerful this Queen from The Huntsman can be. TheronMcAvoyAB17After all, in Mad Max, she even made super toughie Tom Hardy look a little frightened. Here she makes James McAvoy consider his options. What a date night movie this will be.

From Universal Pictures, Bows July 28

Oscar® winner Charlize Theron explodes into summer in Atomic Blonde, a breakneck action-thriller that follows MI6’s most lethal assassin through a ticking time bomb of a city simmering with revolution and double-crossing hives of traitors.  

The crown jewel of Her Majesty’s Secret Intelligence Service, Agent Lorraine Broughton (Theron) is equal parts spycraft, sensuality and savagery, willing to deploy any of her skills to stay alive on her impossible mission.  Sent alone into Berlin to deliver a priceless dossier out of the destabilized city, she partners with embedded station chief David Percival (James McAvoy) to navigate her way through the deadliest game of spies.  

A blistering blend of sleek action, gritty sexuality and dazzling style, Atomic Blonde is directed by David Leitch (John Wick, upcoming Deadpool 2).  Also starring John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella and Toby Jones, the film is based on the Oni Press graphic novel series “The Coldest City,” by Antony Johnston & illustrator Sam Hart.  Kurt Johnstad (300) wrote the screenplay.CharlizeAB17Cast: Charlize Theron, James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella and Toby Jones
Directed by: David Leitch
Screenplay by: Kurt Johnstad
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Produced by: Charlize Theron, Beth Kono, A.J. Dix, Kelly McCormick, Eric Gitter, Peter Schwerin
Executive Producers: Nick Meyer, Marc Schaberg, Joe Nozemack,
Steven V. Scavelli, Ethan Smith, David Guillod, Kurt Johnstad

Official website here. Opens July 28. See it then.

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Vintage Bowie, Iggy, Blondie, Syd Barrett in SHOT, Doc on Mick Rock OnDemand Now

by Screenmancer Staff

We usually don’t cover OnDemand, but SHOT! THE PSYCHO-SPIRTUAL MANTRA OF ROCK also opened in theaters on April 7, so this isn’t a stretch. SHOT is a voyeurist’s dream/viewfinder brought to you through the eyes of one Mick Rock.

Ziggy Also Ate Bananas...

Ziggy Also Ate Bananas…

Who is Mick Rock? Hyperbole from the press kit sets the perfect tone for “a deep look into the mind of one of rock’s greatest living photographers: Mick Rock.”
“Rock’s work with some of the most accomplished personalities of the past forty years – David Bowie, Queen, Blondie, Lou Reed and Iggy Pop – created many of the images that would come to define them.”BowieIggyLou17“Presented in his own words, Rock takes us through his journey from the glam rock shimmer of London, through the snarl of NYC punk and into the new millennium, combining a portrait of the man who did the work, with a look at what the work did to the man.”SHOT1sheet17
Directed by Barnaby Clay, and featuring Mick Rock himself, “this film reveals an enigmatic Rock and his adventurous life both behind the camera and as an integral member of the artist’s entourage working with and shaping some of the most outrageous, recognized and accomplished musicians and personalities of the past forty years.”QueenShot17“An icon-maker, and icon in his own right, Rock is among a very few photographers who himself is photographed walking red carpets in Los Angeles, London, New York and around the globe.”

Blondie Is Still Bitchin'

Blondie Is Still Bitchin’

Thank you, Magnolia Pictures for that hyphen-free magnificent description of what looks to be, from the photos they gave us, a killer look back at 70’s, 80’s wild club life.

MickRockSht17
Magnolia Pictures released SHOT! THE PSYCHO-SPIRITUAL MANTRA OF ROCK in theaters on April 7, as mentioned, but it’s now OnDemand, on Amazon Video and iTunes.
91 Minutes

Download the poster:
http://bit.ly/2mcI59V

For More Info:
Official Site | Twitter = #MickRockFilm

Remember, it’s only rock’n’roll, but you like it, yes you do.

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TomSked17

Greenstrikes Over Airstrikes? Watch TOMORROW, the Documentary, to Find Out How

by Screenmancer Staff

What if you could change the world by watching a movie? Okay, what if you could change your way of living by watching TOMORROW today?  This isn’t hippie mumbo-jumbo, it’s a striking new French documentary that offers an alternative to the global pharma Frankenfood reality, where Bayer just bought Monsanto in September of 2016, and farmers in India are reported to live in peril due to GMO regs, high fees for seeds, and more. Demain17And thus their peril spreads to the world food supply, in an unnatural gene editing mosaic that has been grafted onto our worldwide food basket. But that’s only one topic. This documentary also tackles, the economy, education, and who we are as consumers in a recyclable system.

Watch and see what you can do after rethinking TOMORROW.

Tomorrow – Trailer from Under The Milky Way on Vimeo.

The Film’s Official Mission Statement, Their Caps!

TODAY, we sometimes feel powerless in front of the various crises of our times. TODAY, we know that answers lie in a wide mobilization of the human race. Over the course of a century, our dream of progress commonly called “the American Dream”, fundamentally changed
the way we live and continues to inspire many developing countries. We are now aware of the set-backs and limits of such development policies. We urgently need to focus our efforts on changing our dreams before something irreversible happens to our planet. TODAY, we need a new direction, objective… A new dream! The documentary Tomorrow sets out to showcase alternative and creative ways of viewing agriculture, economics, energy and education. It offers constructive solutions to act on a local level to make a difference on a global level. So far, no other documentary has gone down such an optimistic road…
TOMORROW is not just a film, it is the beginning of a movement seeking to encourage local communities around the world to change the way they live for the sake of our planet. Start small to grow big, and write a new story for the generations to come.

Here’s The Story, Dates, Venues

Popular French actress Mélanie Laurent (Inglorious Basterds) and activist Cyril Dion’s César Award-winning environmentally-themed documentary Tomorrow (Demain) will open theatrically in San Francisco on April 14 and then in New York, Los Angeles and other markets on April 21 – to coincide with Earth Day celebrations on April 22.
In 2012, “Nature” published a study led by more than 20 researchers from the top scientific institutions in the world predicting that humankind could disappear between 2040 and 2100.
It also said that it could be avoided by drastically changing our way of life and take appropriate measures.
Shortly after giving birth to her first child, French actress and director Mélanie Laurent became increasingly aware of the dangers and the state of urgency that her son will face in the future. Along with friend and activist Cyril Dion and their crew, she decided to travel the world in search of solutions that can help save the next generations. The result is Tomorrow, an inspiring documentary that presents concrete solutions implemented throughout the world by hundred of communities.
From the US to the UK and through Finland and India, together they traveled to 10 countries to visit permaculture farms, urban agriculture projects and community-owned renewable initiatives to highlight people making a difference in the fields of food, energy, finance, democracy, and education.
Their common ideas and examples make Tomorrow one of the most essential and unexpectedly inspirational viewing experiences of our time.

Support Your Local Filmmaker, Farmer, Friend + Be The Change = Greenstrikes
________
UNDER THE MILKY WAY PRESENTS

TOMORROW (DEMAIN)
CO-DIRECTORS: MÉLANIE LAURENT & CYRIL DION
WRITER: CYRIL DION
NARRATORS: MÉLANIE LAURENT & CYRIL DION
120 minutes- DOCUMENTARY- FRANCE –In English (With some subtitles)
WINNER: Best Documentary Feature -César Awards 2016, Best Documentary- COLCOA French Film Festival (Los Angeles)
Opens in New York (Village East) and Los Angeles (Laemmle Music Hall) on Friday, April 21 with a national release to follow.
Get Familiar With UNDER THE MILKY WAY Now!
A Digital Distributor with 13 offices around the world, Under The Milky Way has steadily acquired a slate of critically acclaimed foreign gems for theatrical release in the US. Their most recent acquisitions include Un Certain Regard favorite The Student from Russia, French thriller Made in France, indie rom-com Swim Little Fish Swim and French comedy What’s in a Name?

TOMORROW Credits
Co-Directors
MELANIE LAURENT & CYRIL DION
Writer
CYRIL DION
Producer
BRUNO LEVY
Director of Photography
ALEXANDRE LEGLISE
Production Manager
SYLVIE PEYRE
Sound
LAURENT CERCLEUX
Narrators
MELANIE LAURENT & CYRIL DION
US Distribution
UNDER THE MILKY WAY
120m- DOCUMENTARY- FRANCE

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TCRussOld17

Who’s Your MUMMY: Tom Cruise & Russell Crowe Bring Mummy Back

by Quendrith Johnson, Los Angeles Correspondent

Oh, admit it, the team of OG Box Office Ballers Tom Cruise and Russell Crowe in Universal’s new take on THE MUMMY slated for June 9 has definite possibilities, even if Russell Crowe is a wry scale-tipper these days, mostly divining water in indie films. TCRuss17Plus it’s an IMAX® hair-raiser.
Tom Cruise, or TC to friends, is such a hot-button actor for his off-screen activities that it’s almost like a Kevin Bacon game of interconnections, but mostly interstellar ones in TC’s case. At a certain point you just have to smile and remember it’s about the movies, not the man himself — although TC has an uncanny ability to pick winners in the storytelling category, even detractors can’t argue his bottom-line earnings.
That said, let’s give the boys a chance here because they’re bringing The Mummy storyline back as a female-driven ghoul show.
Not to ruin the plot, but hell hath no CGI-empire-smashing-fury like a chick who’s been buried for a very long time. In fact, this sexy crone isn’t just breaking a glass ceiling, she’s ripping the lid off major cities like London. All this with the power of two-pupil mind-control eyeballs, mind you.TCRussOld17
Girls just want to have fun, as the Cyndi Lauper lyric goes, unless of course they’re back from the undead and none-to-happy about their demise.
Watch the trailer here, full cast and credits below. Also, the no-subtext official description follows. Thinking they’ll top the BO worldwide with the Russell & TC show, baggage and love handles and all, lol, mostly because it’s a VR eyefest. Virtual Reality is the go-to these days to pull people off their gaming consoles and into the theaters.

Why You’re Going to Love THE MUMMY
Tom Cruise headlines a spectacular, all-new cinematic version of the legend that has fascinated cultures all over the world since the dawn of civilization: THE MUMMY.

Thought safely entombed in a tomb deep beneath the unforgiving desert, an ancient princess (Sofia Boutella of Kingsman: The Secret Service and Star Trek Beyond) whose destiny was unjustly taken from her is awakened in our current day, bringing with her malevolence grown over millennia and terrors that defy human comprehension.

From the sweeping sands of the Middle East through hidden labyrinths under modern-day London, The Mummy brings a surprising intensity and balance of wonder and thrills in an imaginative new take that ushers in a new world of gods and monsters.

Cruise is joined by a cast including Annabelle Wallis (upcoming King Arthur, television’s Peaky Blinders), Jake Johnson (Jurassic World), Courtney B. Vance (TV’s American Crime Story: The People V. O.J. Simpson) and Oscar® winner Russell Crowe (Gladiator).

The creative team on this action-adventure event is led by director/producer Alex Kurtzman and producer Chris Morgan, who have been instrumental in growing some of the most successful franchises of the past several years—with Kurtzman writing or producing entries in the Transformers, Star Trek and Mission: Impossible series, and Morgan being the narrative engineer of the Fast & Furious saga as it has experienced explosive growth from its third chapter on. Sean Daniel, who produced the most recent Mummy trilogy, produces alongside Kurtzman and Morgan. www.themummy.com

Mummy17Production Team = Positron and Voyager
Founded in 2014, Positron is a technology studio based in Los Angeles that delivers engineering magic.  The team includes mechatronics engineers, designers, software developers and artists who collaborate together to create VR experiences and products that have never been done before.  Voyager is the first full-motion chair platform designed for cinematic VR. Integrating beautiful design and high-end engineering, it reflects a passion for VR storytelling. Voyager delivers a completely new level of immersion in VR by providing a comfortable, fully integrated personal VR theater that incorporates gentle motorized yaw and pitch motion, haptic feedback (physical audio powered by Subpac), and specialized seating. Its unique software and hardware technology integration enables nuanced motion and haptic tracks to be encoded along the featured content’s visual and spatial audio tracks. The chair precisely guides the viewers’ attention to points of interest in the experience, while also allowing a viewer-controlled motion mode. Voyager units are available now for select theaters, hotels, concerts, and events that desire to provide a premium VR experience. For Voyager images please visit Positron Media.

THE MUMMY arrives in IMAX® and theaters nationwide on Friday, June 9, 2017. www.themummy.com

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Hiroyuki Sanada, Ryan Reynolds, Director Daniel Espinosa, Olga Dihovichnaya, Rebecca Ferguson, Ariyon Bakare  and Jake Gyllenhaal seen at Columbia Pictures World Premiere of "Life" the movie at SXSW 2017 on Saturday, March 18, 2017, in Austin, TX. (Photo by Eric Charbonneau/Invision for Sony Pictures/AP Images)

LIFE is Already Scary, Now It’s A Scarier Reynolds & Gyllenhaal Movie, Thanks

by Quendrith Johnson, Los Angeles Correspondent

What is it with ‘ripped from the alt-news headlines’ movie plots lately? KONG: SKULL ISLAND has a hollow earth slash reptilian b-story, even a CIA mind control “Monarch” reference on a briefcase. Now LIFE, starring Ryan Reynolds and Jake Gyllenhaal, has a waterborne microbe from Mars mass-extinction horror twist.

Ryan Reynolds and Jake Gyllenhaal seen at Columbia Pictures World Premiere of "Life" the movie at SXSW 2017 on Saturday, March 18, 2017, in Austin, TX. (Photo by Eric Charbonneau/Invision for Sony Pictures/AP Images)

Ryan Reynolds and Jake Gyllenhaal seen at Columbia Pictures World Premiere of “Life” the movie at SXSW 2017 on Saturday, March 18, 2017, in Austin, TX. [Photo by Eric Charbonneau/Invision for Sony Pictures/AP Images]

While scary stories about hostile life on Mars is a running theme since B-movies in the 50’s, this one has some actual science to back it up.

LIFE, directed by Daniel Espinosa, touts the fact that the producers and writers consulted with “astrobiologists and space medicine experts,” one of whom is Dr. Kevin Fong. “Space is an extreme environment, like any of the extreme environments we’ve attempted to conquer in the 20th century – deserts, polar ice caps, our highest mountains,” Fong explained. “What we know about extreme environments is that you can’t go there for long and it’s not without penalty. You come back literally less than the person you were.”

“It’s hard enough to stay alive up there on a routine mission when everything goes right.  When things start to go wrong, people start to die off pretty quickly.” These cheery words underscore his experience as an astrophysicist and MD who’s worked on NASA’s Human Adaptation and Countermeasures Office at Johnson Space Center in Houston, meaning he is a medical expert on keeping folks alive and kicking in space.

No offense to the astro-geniuses, but frankly movie stars can explain a movie better.

Cast and crew of "Life" seen at Columbia Pictures World Premiere of "Life" the movie at SXSW 2017 on Saturday, March 18, 2017, in Austin, TX. (Photo by Eric Charbonneau/Invision for Sony/AP Images)

Cast and crew of “Life” seen at Columbia Pictures World Premiere of “Life” the movie at SXSW 2017 on Saturday, March 18, 2017, in Austin, TX. (Photo by Eric Charbonneau/Invision for Sony/AP Images)

In typical Jake Gyllenhaal extreme-character mode, he plays International Space Station denizen David Jordan, who’s already clocked 473 days afloat in outer space. “It was a beautifully paced, terrifying script.  It’s a fun idea. You think you know where it’s going, and then it evolves into something where you really, really don’t,” he added. “The life form is literal, but it’s also an incredible metaphor for what can happen. Curiosity is one of the most important human traits, but I think searching too far can be full of hubris. In that way, the life form is a repercussion for that kind of curiosity.”

“My grandfather was a doctor,” Gyllenhaal shared, “and Daniel and I talked about the similarities in my character to my grandfather. It’s a bit of an homage to him.”

Next some newcomers join the freaky plot, and things get terrifying as a look for proof of life on Mars backfires. Naturally the movie includes a requisite CDC, Centers for Disease Control, rep. This one comes in the form of Rebecca Ferguson, as Miranda North. “Miranda is a microbiologist sent up to protect everyone on Earth from whatever this is that we find,” Ferguson explained.

Her character puts up some “firewalls” against extra-terrestrial contamination. “The firewall is, first, the container that the specimen was in.  And then the room.  And then the station itself.  She has to do whatever she can do to protect Earth, because we don’t know what this life form is.” No, it’s not a gimmicky ‘life form,’ either.

Producer Julie Lynn nailed it best on that front. “We didn’t want the life form to be a person in a suit or a puppet. We wanted it to be something that could evolve from a cellular piece, a tiny cell. It’s not that it comes out with an intent to do harm; it is its own creature, and it is affected by what happens to it.”

Paris, France - Monday March 13, 2017: Jake Gyllenhaal and Rebecca Ferguson at the Columbia Pictures "LIFE" Photo Call at The Planetarium of Le Grand Palais

Paris, France – Monday March 13, 2017: Jake Gyllenhaal and Rebecca Ferguson at the Columbia Pictures “LIFE” Photo Call at The Planetarium of Le Grand Palais

Rebecca Ferguson spins it as a relationship game with the pathogen. “We all have our own relationship to this creature. Some of us love it, we nurture it.  Some of us want to kill it off in the beginning.  And that creates an incredible tension in the group,” she said.

Ryan Reynolds rounds it out with, “this script had such a degree of reality and a feeling of constant tension,” that he reteamed with his DEADPOOL writing pals Rhett Reese and Paul Wernick, to ratchet up the stakes. Coincidentally, Reynolds also went back to the well with his SAFE HOUSE director Daniel Espinosa.

Having worked well with Reynolds, Espinosa is also super excited about LIFE. “I think the reason so many great directors have walked into science fiction is to work with the unknown — the fear or fascination with the unknown,” he said.  “We live in a world that is quite mundane, but in space, you enter an adventure – you don’t know how it looks, how it feels, what it can do to you, where it is. It doesn’t make a sound. That’s terrifying.”

Whatever the hell LIFE’s monster is in this case, the SAFE HOUSE director made it even scarier when he added that “this script felt more like a realistic science fiction. Maybe science reality.” Picture waking up ’50,000-year-old microbes’ inside crystalline hibernation on Mars, that is. Or, in movie critic shorthand, the DNA from amber plot device from Jurassic Park, but with super-freaky outer space Martian microbial goo meets Alien. Sorry for the gross oversimplification but this helps put your fears to rest, folks, because it’s only a movie. We hope. Alternative news purveyors might spin it as a doomsday scenario for planet Earth, lol. LIFE, go see it before it happens. It opens Mar. 24, brought to you by Skydance and SONY (Columbia).  Interestingly, Megan Ellison’s brother David Ellison is listed as a producer. The film has bowed in Berlin, Moscow, Paris, and at SXSW in Austin, Texas last week. [Most of the photos included are from SXSW premiere.] See their official website for showtimes and venues. Hahtag #LIFEMOVIE

Directed by:  

Daniel Espinosa

Written by:

Rhett Reese & Paul Wernick

Produced by:

David Ellison

Dana Goldberg

Bonnie Curtis

Julie Lynn

Executive Producers: 

Don Granger

Vicki Dee Rock

Cast:

Jake Gyllenhaal

Rebecca Ferguson

Ryan Reynolds

Hiroyuki Sanada

Ariyon Bakare

Olga Dihovichnaya

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KSIKid17

The Kong Show: KONG SKULL ISLAND, Hiddleston, Larson, Jackson Deliver “Bigly”

by Quendrith Johnson, Los Angeles Correspondent

When the original KING KONG was released by RKO in March of 1933, some of the trade ads included a tie-in between Kong’s big bang box office receipts and the failed banks of the Great Depression roaring back to profitability. Kong33pstcrd17It was a nostalgia sell, a heart-tug for a pre-code Hollywood monster romp, the likes and scale of which had never been seen on the silver screen.

In a quick recap, Merian C. Cooper was turned down at Paramount, then skipped over to RKO. David O. Selznick bit, but bailed out during production. Titled “The Beast,” “Eighth Wonder of the World,” “Ape King,” and “Kong,” Selznick insisted the title be changed to KING KONG. The wow-title was a huge pivot for a scream queen screenplay written by Edgar Wallace. KongTradeBankAd17

Much like the old KONG, the new KONG: SKULL ISLAND also released in March 84 years later, by Warner Bros and Legendary Pictures, just shot past all expectations for the weekend opener, to the tune of $61 M USD. (*Now just shy of $150 M USD worldwide.)

And this is up against the formidable Hugh Jackman franchise starrer LOGAN.

Why is KONG SKULL ISLAND doing so well?

Nostalgia, folks, Viet Nam war era discontent, and throw-back technology right down to the brick-like cell phones and dot matrix, white and light lime green striped perforated IBM computer paper from the 70’s of this KONG. HidLarsKSI17Call it a Guardians of The Galaxy overhaul of the gorilla classic, KONG even features a key plot point role by GOTG’s John C. Reilly.

The film script has so many great touches, for example Brie Larson’s photojournalist character says she was “an anti-war photographer” embedded in Vietnamese conflict.  Shea Whigham plays a hardened Viet Nam veteran who says “we didn’t lose the war… we abandoned it.” All creative plot embellishments work here.

Plus, Bradley Cooper’s brother from Silver Linings Playbook, that same actor Shea Whigham, has some other soulful moments in this, also his Playbook alum John Ortiz makes an impact. All the supporting characters are extremely well-thought out.

Including some kid who looks like he actually is in Apocalypse Now-then, even though this is KONG 2017, ironically shot in Vietnam, here. His name is Thomas Mann, from Portland, Oregon, a kid we will see much more of based on his palpable brand of youthful sincerity in this picture.

Richard Jenkins, the one and only, shows up as a US Senator, another nice touch. The guy who should have passed on the remake of BEN HUR, Toby Kebbell, shows us why this British-born actor is still very gifted as Chapman, whose letter-writing home to “Dear Billy” is a leit-motif and masterstroke of the emotionally rich storytelling throughout this movie.

Anyway, KONG SKULL ISLAND is making money because it’s worth the money. Main stars Tom Hiddleston (“The Avengers,” “Thor: The Dark World”), Oscar-nominee Samuel L. Jackson (“Pulp Fiction,” “Avengers: Age of Ultron”), John Goodman (“Transformers: Age of Extinction,” “Argo”), Oscar-winner Brie Larson (“Room,” “Trainwreck”), Jing Tian (“Police Story: Lockdown”), Toby Kebbell (“Dawn of the Planet of the Apes”), John Ortiz (“Steve Jobs”), Corey Hawkins (“Straight Outta Compton”), Jason Mitchell (“Straight Outta Compton”), Shea Whigham (“The Wolf of Wall Street”), Thomas Mann (“Me and Earl and the Dying Girl”), with Terry Notary (“Dawn of the Planet of the Apes”) and all rock the blockbuster with Oscar-nominee John C. Reilly (“Chicago,” “Guardians of the Galaxy”), knock it out of the park.
In sum, everybody delivers “bigly” as the word goes these days. It’s the perfect storm of escapism for a time that parallels the economic uncertainty of the early 30’s. Our KONG, the 2017 inhabitant of this silver screen Skull Island, has his own agenda, and is rebranded as a 2.0 of monster movie heroes.

Not to give too much away, you won’t guess the plot twists, and may be slightly disappointed by a thin and pale John Goodman whose real purpose here seems to be to show the perils of weigh loss on humor quotient. That said, Goodman also pulls his weight in a line-up of truly excellent performances for the genre, and even for any genre.

Watch Tom Hiddleston and others in this official featurette on KONG SKULL ISLAND…

Here’s What Warner Bros Has to Say About Their Gorilla-Not-To-Be-Missed

Official Statement: The producers of Godzilla reimagine the origins of one the most powerful monster myths of all in “Kong: Skull Island,” from Warner Bros. Pictures, Legendary Pictures and Tencent Pictures.  This compelling, original adventure from director Jordan Vogt-Roberts (“The Kings of Summer”) tells the story of a diverse team of scientists, soldiers and adventurers uniting to explore a mythical, uncharted island in the Pacific, as dangerous as it is beautiful.  Cut off from everything they know, the team ventures into the domain of the mighty Kong, igniting the ultimate battle between man and nature.  As their mission of discovery becomes one of survival, they must fight to escape a primal Eden in which humanity does not belong.
Vogt-Roberts directed the film from a screenplay by Dan Gilroy and Max Borenstein and Derek Connolly, story by John Gatins. Kong: Skull Island is produced by Thomas Tull, Mary Parent, Jon Jashni and Alex Garcia, with Eric McLeod and Edward Cheng serving as executive producers.
The creative behind-the-scenes team included director of photography Larry Fong (Batman v Superman: Dawn of Justice), production designer Stefan Dechant (supervising art director True Grit, Avatar), Oscar-nominated editor Richard Pearson (United 93, The Bourne Supremacy) costume designer Mary Vogt (the Men in Black films) and composer Henry Jackman (Captain America: Civil War). The team also included Oscar-winning makeup supervisor Bill Corso (Lemony Snicket’s A Series of Unfortunate Events, Star Wars: The Force Awakens) and supervising stunt coordinator George Cottle (Interstellar, The Dark Knight Rises). The legendary Kong was brought to life at a whole new scale by Industrial Light & Magic, with two-time Oscar winner Stephen Rosenbaum (Avatar, Forrest Gump) serving as visual effects supervisor.
To fully immerse audiences in the mysterious Skull Island, director Jordan Vogt-Roberts and his cast and filmmaking team filmed across three continents over six months, capturing its primordial landscapes on Oahu, Hawaii—where filming commenced—on Australia’s Gold Coast, and finally in Vietnam, where filming took place across multiple locations, some of which have never before been seen on film.
Warner Bros. Pictures/Legendary Pictures and Tencent Pictures present a Legendary Pictures Production, a Jordan Vogt-Roberts Film,Kong: Skull Island. The film will be released worldwide in 2D, 3D in select theatres, and IMAX beginning March 10. Kong1sht17CAST: Kong: Skull Island” stars Tom Hiddleston (“The Avengers,” “Thor: The Dark World”), Oscar nominee Samuel L. Jackson (“Pulp Fiction,” “Avengers: Age of Ultron”), John Goodman (“Transformers: Age of Extinction,” “Argo”), Oscar winner Brie Larson (“Room,” “Trainwreck”), Jing Tian (“Police Story: Lockdown”), Toby Kebbell (“Dawn of the Planet of the Apes”), John Ortiz (“Steve Jobs”), Corey Hawkins (“Straight Outta Compton”), Jason Mitchell (“Straight Outta Compton”), Shea Whigham (“The Wolf of Wall Street”), Thomas Mann (“Me and Earl and the Dying Girl”), with Terry Notary (“Dawn of the Planet of the Apes”) and Oscar nominee John C. Reilly (“Chicago,” “Guardians of the Galaxy”).

See their website for official images and screening details.

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