Andy Serkis's Directorial Debut Arrives This Year

Chris here. With War for the Planet of the Apes arriving in theatres next weekend, we're already seeing the reawakened thinkpieces about an honorary Oscar for Andy Serkis that comes with what seems every motion capture performance from the actor. But now we can add another level to his multi-hyphenate talent as the risk-taker is now taking up the directing reigns with this fall's Breathe.

The true story tragic romance stars recent Oscar nominee Andrew Garfield as the polio-stricken Robin Cavendish, with The Crown's Claire Foy as his wife Diana. This is technically Serkis's second directorial effort, with his take on The Jungle Book filmed prior and now in CGI-heavy post-production. Jungle is maybe a more expected journey for the motion capture virtuoso, so Breathe makes a somewhat more intriguing choice despite it's quite familiar plot. Perhaps it's the film's spirit of innovation that calls to him, as Cavendish helped create a wheelchair equipped with a respirator.

Breathe will open the London Film Festival and open stateside on October 13. Take a look at the trailer and tell us your thoughts in the comments!

Coppola's Turning World

She was the still point of the turning world, man.

As many of us have begun (finally) seeing The Beguiled, the latest from Sofia Coppola, I was instantly struck by the above line from The Virgin Suicides. It is spoken in reference to Kirsten Dunst's Lux, but it also feels representative of Coppola's work as a whole. Although her cinematic world alters between films, Coppola still seems fascinated by individual characters, individual experiences. 

Many of us are fighting a heat-stricken summer malaise, and for some reason, this thought was comforting. The world keeps turning and rearranging itself, but some things remain the same. May we all find solace in that sentiment as we head into our 4th of July week ahead.

Beauty vs Beast: Who's The Maverick Now

Jason from MNPP here - I think that most of us have mixed (to put it mildly) feelings about Tom Cruise, who is celebrating his 55th birthday today (yes, he was Born on the Third of July). But there's no arguing that his radar for Big Mainstream Action Movie Success has seemed fairly fine tuned for all of the four decades that he's been batting in the major leagues. Well... until The Mummy this summer, which more than just being a bad movie (he's had plenty of those) felt like an actively bad choice for him particularly. The role didn't fit him and he didn't manage to make it fit him by the sheer force of smiling will that his stardom's been so foundationally built upon.

So perhaps that why now he's finally stepping back into the role that made him a star in the first place, and asking us to remember when something as simple as a jet plane and a pair of aviator glasses was all it took to throttle the box office - the Top Gun sequel, subtitled Maverick, was finally made official this week - it will be out in two years (July 2019) and it will be directed by Joseph Kosinski, who worked with Cruise on the (underrated, says me) sci-fi flick Oblivion. So let's look back ourselves, here on this Patriotic Eve, at the movie as American as American Military Might...

PREVIOUSLY I was about to say that we couldn't have made a more wild swing, celebrating Tom Cruise this week to having celebrated Peter Lorre last week, but you know... not really? Perhaps as Cruise grows older he can embrace his diminuitive weirdness to similar effect. Anyway as for last week's Maltese contest it was Bogart who won, but barely, with just 53% of the vote. Said Tom:

"I think both are lucky Mary Astor isn't here. But as it is I vote for Sam. He does such wild and unpredictable things."

The Furniture: Leering Through Querelle's Erotic Architecture

"The Furniture" is our weekly series on Production Design. You can click on the images to see them in magnified detail.

by Daniel Walber 

The films of Rainer Werner Fassbinder, though they are many and varied, almost always have striking production design. The obvious examples include the ‘70s scifi chic of World on a Wire and the opulent apartment of Petra von Kant, but it's true of his whole catalogue. The design of Querelle is as bold as it is aroused. And as of this week it’s new to FilmStruck, a place where you can find tons of design classics (like La Ronde and Great Expectations, two of my favorites).

Querelle got terrible reviews when it opened in 1982. It’s often considered an oddity of excess at the end of a career built on precision, an oversexed and underwritten mess with little to say and too much to show. 

That’s nonsense. Sure, it's a lot, including the work of production designer Rolf Zehetbauer and art director Walter Richarz. But what most of the reviews seem to have missed is that Querelle isn’t just about sex. It’s about power, and the way that sex between men can be as much an exchange of control as it is an exchange of fluids.

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Naomi's Turn: Exploring Her Role on "Gypsy"

By Spencer Coile 

With many actresses making that giant leap from the large to small screen in recent years, it is not shocking that Naomi Watts has followed suit. Armed with a megawatt smile and acting chops utilized by some of the industry's most prolific directors, it almost felt like a no-brainer that Watts would eventually find herself as the glue that holds a series together.

Gypsy, unfortunately, was not met with the critical fanfare many expected, considering the quality of its leading actress. With some calling the series "boring," and others arguing that the writing does a major disservice to Watts, perhaps you are intrigued. Is it worth watching at all? In an attempt to avoid the standard "binge model" of television viewing, I only watched the first episode of Gypsy -- to guage its effectiveness as a psychosexual drama and whether or not Watts' capabilities would be better served elsewhere.  

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