NEWS: Reese, Rocky Horror & The Revenant

Manuel here trying to keep up with exciting news about several TFE faves (and one who hasn’t quite earned that title).

- HBO’s Big Little Lies, which we’ve discussed before since it’s produced and will star the unlikely power duo of Nicole Kidman and Reese Witherspoon, has “allegedly” found a director. Jean Marc-Vallée, of Wild and (more recently) Demolition (TIFF review) fame is in talks to direct the first episode of the short television series adaptation of Liane Moriarty’s endlessly readable book about suburban secrets. Confession: I read it in one sitting and can’t wait to see how it turns out. Let’s hope they sign Vallée’s contract soon since he’s wont to keep himself busy (presumably with that long-gestating Janis Joplin pic with Amy Adams).

- Orange is the New Black breakout star Laverne Cox has been tapped to play the role of Dr. Frank N. Furter, made iconic by a fishnet-stocking-ed Tim Curry in the 1975 film The Rocky Horror Picture Show, in FOX’s TV remake which unlike NBC’s attempts at television musical revivals, will not be broadcast live but be filmed in advance. Seeing as Frank N. Furter is a “sweet transvestite” the casting of Cox, an outspoken trans activist, is a fascinating case of stunt casting in it of itself though it’s already earning the “hot take” treatment in some online outlets. Needless to say, I’m curious to see Cox’s take on the role, and eagerly await who director Kenny Ortega casts as Rocky Horror. Any suggestions?

- Oh, and I couldn’t not feature the gorgeous new poster for Alejandro González Iñárritu’s The Revenant.

The film, if you've followed its pre-release chatter, has already won Oscars for Leo, Chivo and potentially everyone else associated with it. (I kid! Though, not really). We were obviously impressed with the teaser trailer and so this evocative one-sheet is no surprise but by god if it’s not pretty. Perhaps a tad pretentious in that it literally defines the title for you. Though, admit it, “revenant” is not really in the vernacular. That neither Leo or Iñárritu’s name are billed anywhere in the poster is fascinating. Is it humility (“let the film speak for itself”) or hubris (“the film doesn’t need to be sold on people’s names”), or perhaps something else?

Review: Macbeth

Andrew here to talk about a Shakespeare adaptation

There’s a moment in the recent adaptation of Macbeth that’s legitimately surprising for audience, even those who have read the play. Towards the end of the film Marion Cotillard appears on screen for Lady Macbeth’s moment of reckoning – that iconic “Out damned spot!” speech. The scene unfolds, naturally, in a different fashion than it does in the play. The monologue, though, becomes especially striking when the camera draws back to reveal “who” she is speaking to. I won’t spoil it for those who haven’t seen it, but a few of the persons in the row behind me gasped at the cutaway. It’s meant to be a jolting moment in the film, and it is, although it’s also a baffling one. The moment has stuck with me since I’ve seen the film as I’ve tried to make sense of it within the film’s framework. And, the more I think on it, the more it emerges as emblematic of this adaptation.

Let it not be said that Justin Kurzel’s adaptation of Shakespeare’s Macbeth is not without ambition and energy. This Macbeth is transposed to the cinema in language that’s distinctly visual. This is a Macbeth about movement and space and contact, and then the ensuing loss of that same contact. The language of the film is restlessness and mournful agitation from its first shot and the entire fair is slick and confident, but I go back and forth on how effective it is.

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Farewell Fiery Lass. Maureen O'Hara (1920-2015)

As you have undoubtedly heard Maureen O'Hara passed away in her sleep this weekend. She was 95 years old after living a full life and leaving behind a pretty stellar filmography. Just one year ago she was celebrated in Los Angeles with an Honorary Oscar. They paid their respects in the nick of time. 

image via fanmail

And for our part here at The Film Experience, it is with great personal pride that we championed her for years for just that honor. In case you missed our celebration(s) our team recently appreciated the beauty of The Quiet Man (1952), and before that we revisited her breakthrough The Hunchback of Notre Dame (1939), her ravishing leading lady years via Black Swan (1942) and Miracle on 34th Street (1947). And also took two looks at the later years of her career with The Quiet Man (1952) and The Parent Trap (1961)... the latter of which just happened to be my favorite film as a child. 

She will be missed. Her family has a simple message to her legion of fans...

For those who ask what they can do to honour Maureen, we have a simple request: visit Ireland one day and think of her.

We will. 

Whimsical Beauty Break with Saoirse Ronan

Murtada here. W Magazine is famous for offbeat editorial photo shoots and their latest is no different. To celebrate the release of the 1950s romance Brooklyn they shot its star, Saoirse Ronan, as literally “Queen of Hearts”. Ronan certainly breaks and wins hearts with her performance as Irish immigrant Eilis Lacey. The film has been winning fans since its debut at Sundance in January, including on these pages.

On why she wanted to make Brooklyn after the jump...

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AFI Fest 2015: Predicting this year's 'American Sniper'

Margaret here. The full 2015 AFI Fest lineup has been announced and it's full of must-sees, from Oscar-campaign heavyweights and indie up-and-comers alike.

Many of the season's most buzzy films have already made a splash at Cannes, TIFF and NYFF, and a few of those will be screening here, but AFI Fest will also as in years past be holding world premieres for a few late-breaking contenders. With the first end-of-the-film-year nominations out (Gotham Awards, always early but never predictable) many pundits would have you believe the shortlists are already set, but there may yet be a few wild cards in the mix.

Last year AFI Fest gave us the world-premieres of two eventual Best Picture nominees (Selma and American Sniper), a critical darling that nonetheless escaped Oscar's notice (A Most Violent Year), and an all-around non-starter (The Gambler). This year the festival will premiere By the Sea, The Big Short, and Concussion, as well as The 33 (already released in Latin America but not yet widely screened in English-language markets). Naturally we're very curious to see which of these, if any, will make the kind of impression it will take to break into the conversation and stay there.

The Big Short: a (comedic?) drama about the bursting of the housing credit bubble in the 2000s. Directed by Adam McKay; starring Christian Bale, Steve Carrell, Ryan Gosling and Brad Pitt. Oscar loves when comedic actors get serious. Might similar goodwill extend to a director like Adam McKay, who is most famous for his many absurdist collaborations with Will Ferrell? You'll note that the ensemble cast is chock-full of Oscar nominees with atrocious hairdos-- reminds one of nothing so much as American Hustle, which made a killing on nomination morning 2013.  

By the Sea: a marital drama set at the 1970s French seaside. Written and directed by Angelina Jolie, who is also starring with Brad Pitt. As buzzy as it gets: the world's most famous celebrity couple, acting together for the first time in ten years. Jolie's last directorial effort debuted to very healthy box office and decent reviews-- unspectacular, but more than enough to sustain curiousity for her third film. People seem to really want it to be good, and the below the line team (including The White Ribbon DP Christian Berger and The English Patient composer Gabriel Yared) bring a formidable arsenal of talent to the table. But will a romantic drama that's not also a biopic be able to gain traction with Oscar? 

Concussion: a dramatic thriller about the real-life Dr. Bennet Omalu's research on serious brain damage in professional football players and the NFL's efforts to keep him quiet. Written and directed by Peter Landesman, starring Will Smith, Alec Baldwin, Gugu Mbatha-Raw, and Albert Brooks. Primed to be a dramatic comeback for Smith, who used to cross back and forth between blockbusters and prestige films much more often. The true story aspect is often irresistable to awards bodies, and it seems that recent-history stories about the investigation of shady dealings by powerful people is a popular theme among this year's Oscar hopefuls (see also Truth, Spotlight, The Big Short). But since the trailer dropped, Smith's accent has been the object of many a snide comment-- will we be able to take him and the movie seriously? There are also rumors that pressure from the NFL shaped some of the storytelling, which if true could impact the movie's bite and credibility.

The 33: a true-life drama based on the 2010 Chilean mining catastrophe that trapped 33 miners underground for over two months. Directed by Patricia Riggen, starring Antonio Banderas, Rodrigo Santoro, Juliette Binoche, Lou Diamond Phillips. Not only does it have the true-story advantage, but the subject is an objectively impressive and cinematic human achievement. Binoche and Banderas also both have decades of critical goodwill. The response from critics in Latin America (where it has already opened) suggests that it's something of a broad melodrama, which might not win it die-hard fans among cinephiles but certainly puts it in good company with many Best Picture nominees in years past.

Which of these has the potential to go full American Sniper and sneak into 5-7 nominations? Which do you predict will go the way of The Gambler? And perhaps most importantly: which movies on the AFI Fest slate are you dying to hear more about? Nathaniel, Anne Marie, Kieran and myself will be attending and sharing our thoughts.