Posts Tagged ‘biopic’

  • Jackie Robinson Biopic [new poster]

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    Yeah yeah, yet another standard biopic with “courage, inspiration and heart.” An important story to be remembered and honored to be sure, but likely to be full of standard, Hollywood schlock. Still it’s got a few things I’m looking forward to: Alan Tudyk, Harrison Ford and baseball.

    Harrison Ford has yet to redeem himself of the last fifteen years or so, but with each subsequent release in which he stars, I always hold out hope. Maybe this will be his comeback performance? *coughseriouslycoughdoubtitcough*

    And hey, I’d be lying if I weren’t somewhat intrigued by the prospect of a new face in Hollywood that might turn out to be the next big thing in new-comer actor, Chadwick Boseman, playing the titular character.

    Anyway, the poster below is kind of cool and you can catch the trailer under the seats if you’re interested.

    » Read the rest of the entry..

  • Trailer: The Iceman

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    It may have gotten a fairly quiet reception at this years edition of TIFF, and it is also produced by modern day trash-meister’s Millennium Films, but there has been some positive voices in the wilderness for this mafia hitman biopic, The Iceman. Then of course, the thing stars Michael Shannon at his most Michael Shannonish. This is never a bad thing. Or that Millennium did let Werner Herzog (Bad Lieutenant) and Lee Daniels (The Paperboy) make rather auteur pictures. So there you have it, I’ve convinced myself, I’m excited for The Iceman.

    “The true story of Richard Kuklinski, the notorious contract killer and family man who killed at least 100 people from 1964-1986.”

  • Trailer-ish Clip for Julian Assange Biopic, Underground

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    As The Toronto International Film Festival looms ever closer (expect things to get less quiet in these parts) one of the films that has kind of slipped under the radar is the Aussie produced Biopic about Wikileaks founder Julian Assange, Underground. Featuring Anthony LaPaglia, Rachel Griffiths, and Alex Williams as teenaged-hacker era Assange, the clip offers one of those ‘movie moments’ you expect in a Biopic, but it equally works as a stand alone trailer.

    From the TIFF Programme:

    “The contrast between old-school investigative methods and the quicksilver speed of the emerging digital age gives the film much of its juice: while Julian “travels all over the world” from the comfort of his computer desk, the police are reduced to manually following a dial-up signal as it clicks through various receivers at the local phone company. This hands-on approach seems to prevail, as the police eventually close in on the young hacker. But Julian’s dramatic arrest at the hands of the Australian Federal Police was only the beginning—a clarion call for a new age of digital activism.”

  • Whoa! Hopkins as Hitchcock.

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    While I am not a huge habitué of hammy-Hopkins hijinks, I am massively excited to see what the director of Anvil, The Story of Anvil does with an Alfred Hitchcock bio-pic; this one apparently set while filming 1960′s Psycho.

    He’s certainly nailed the iconic look of the Hitch and the cast for this film (Hitchcock) is pretty crazy: Scarlett Johansson, Jessica Biel, Toni Collette, Helen Mirren, Danny Huston, Michael Wincott, Kurtwood Smith, Michael Stuhlbarg, James D’Arcy. To cap things off, it’s being shot by regular David Fincher (The Social Network, Fight Club, Dragon Tattoo) and Mark Romanek (One Hour Photo) cinematographer, Jeff Cronenwroth.

  • Review: Mesrine – L’instinct de mort

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    There are so few bonafide movie stars these days. These are actors that can light up the screen in such a way that even in a highly stylized and kinetic motion picture about an infamous personality, all eyes are riveted on the curve of the mouth or the lift of a brow of the player: Insouciance is celebrated. Vincent Cassel is certainly one of those actors. Whether he is hamming it up in the all star Ocean’s movies (or the goofy Sheitan) or turning into a monster in Irreversible or La Haine. Few stars of Cassel‘s caliber can go from the charm and sex appeal of Warren Beatty to the pure motherfucker-ness Charles Bronson to full on nutter of Jack Nicholson. And director Jean-François Richet allows for all of the above in Public Enemy Number One (Part One). While we get little real insight into one of Frances most notorious criminals, Jacques Mesrine, what we do get is one of the most snappy crime thrillers in quite some time. The stylish presentation and driving narrative do not let up. The film asks you to root, cheer, and laugh for a truly despicable human being, and with its stars charm and menace at the helm, you might just find yourself doing so. Yes, in a the strangest of ways this is a good thing.

    North American’s likely know Jean-François Richet from his remake of John Carpenter’s Assault in Precinct 13, but that somewhat forgettable film cannot adequately prepare for the mastery on display in the construction of Public Enemy Number One. Visually echoing the styles of Michael Mann and Brian DePalma, Richet makes the most of split screens, changing film stocks, Ken Burns effects, extreme close-ups and when necessary, precise, static long shots. The opening credits of the film set the tone in the form of multiple versions of Vincent Cassel and Ludivine Sagnier on screen, simultaneous yet different angles and slightly off in timing via a masterful use of split screen. This is the stuff perfect introduction on what the film is going to be, slick glossy and commercial, yet not at the expense of edgy filmmaking. There is something going on: a bomb, a bank heist, the feel is familiar, the cinematic grammar an obvious telltale. But things are cranked up a bit further than your run-of-the-mill thriller. It feels like the film is taking the first step crossing a busy and wide street, knowing that only centimeters away is fast moving death on wheels. That feeling never really goes away over the course of the film, making the 2 hour run time feel like mere minutes. The viewer is asked to watch some pretty grisly stuff, not the least of it being a bit of tense marital gun fellatio. The first part of the film which resembles a good old fashioned gangster yarn in the vein of Scarface of The Godfather, to the second half which fuses a terrorism biopic with Bonnie and Clyde. The two fuse together neatly while chronicling the first dozen years of the stranger personal and professional life of Jacques Mesrine from his time doing hoodlum stuff on the streets of Paris in the 1950s to the full blown crime spree in Quebec in the 1960s which culminates in a full frontal prison assault of all things. As a Canadian, it was curious to get the French take on the Canadian prison system, if the film does nothing else, it is a good adviser against committing felonies in Montreal. The opening credits of the film have a disclaimer that belongs in front of every biopic ever made. Something along the lines that this film isn’t truth, or history, but a artistic and commercial point of view. Truth is in the eye of the filmmakers. Not since The Untouchables has this type of filmmaking been realized so bloody well. Excising much of the stories intimate drama or Oscar-bait histrionics, and relying on the magnetism of Vincent Cassel’s charisma to grab the audience in between bullets, chases and macho posturing, Public Enemy Number One is a bloody shiv, broken off at the handle and shoved in hard by a smiling, crazy, and charming superstar in his prime. Bring on Part Two please.

    This review was originally posted during our TIFF 2008 coverage. The title of the film was originally Public Enemy Number One (part 1) with an at the time, unreleased sequel. At Fantasia 2010 you have the chance to see both Mesrine : L’instinct de mort and Mesrine : L’ennemi public n°1.

  • VIFF 09 Review: The Young Victoria

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    The Young Victoria

    Though it wasn’t his first film, Candian director Jean-Marc Vallée emerged as a sort of Canadian superstar with C.R.A.Z.Y., his depiction of coming of age in the 1970s. For his follow up, Vallée hasn’t strayed far from the tree and has chosen another coming of age tale, this one a tale of a young woman in 19th century Britain.

    The fictionalized account of Queen Victoria’s early years, The Young Victoria quickly sets up the Princess’ childhood before settling into her teen years. The real life story of Victoria is an interesting one but the film, written by Oscar winner Julian Fellowes, is more interested in the Queen’s personal life than any of the political goings on. This is the story of a woman thrust into a seat of power and how she copes with the pressure of not simply growing up in public but also having everyone around her, including the country itself, pressuring her to make choices she was unwilling to make.

    » Read the rest of the entry..

  • Soderbergh’s Liberace Biopic Forges Ahead

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    LiberaceIt feels like I need a tracking spreadsheet dedicated to Steven Soderbergh. To say the man is busy is an understatement; he’s downright prolific and though some projects are falling through the cracks, others are just getting started.

    We already know that his next project is the martial arts actioner Knockout but it looks like Soderbergh will follow that up with the previously announced Liberace, a biopic about the famed performer.

    According to Collider, Soderbergh recently told a French newspaper that they had already done wardrobe and costume tests with Michael Douglas who will play the titular role of Liberace. Matt Damon is also signed on to the picture in the role of Scott Thorson, Liberace’s longtime companion.

    Soderbergh insists that Douglas “amazed” him though I still can’t see the actor portraying the role of the flamboyant performer. Could this be a possible run at Oscar for Douglas? Sure sounds promising.

  • Redford Vs. Spielberg Over Lincoln?

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    RobertRedfordThere’s nothing like a little competition to get the blood pumping, especially when that competition is between Robert Redford and Steven Spielberg.

    For some time now Spielberg has been working to put together an Abraham Lincoln epic but the film has been placed on hold due to budgetary and location problems and though Spielberg isn’t giving up on the project, someone else has stepped in and will apparently beat him to the punch.

    Recent news is that Robert Redford has his own Lincoln film in the works and though this one appears to have different scope, focusing primarily on the events which unfolded after the assassination of the president and the individuals charged with the murder.

    Redford’s The Conspirator is scheduled to begin shooting next month with James McAvoy and Robin Wright Penn in leading roles. Wright Penn has been cast as Mary Surratt, the only female in the group charged with the president’s death while McAvoy has been cast as Frederick Aiken, a war hero who reluctantly defends Surratt.

    Spielberg insists that his film is very different from Redford’s and is even putting up a good front saying that he believes Redford’s project will “compliment” his project but it’s never easy to have two similar projects. All will be well if Redford’s film is a success but what if it fails? What happens then to Spielberg’s project? That’s yet to be seen and considering that the project is now on the backburner, it could be years before we see Spielberg’s vision.

    I’m curious to see both since it sounds like they are quite different but at this point, I’m happy to see that Redford’s film will be the first out of the gate. How do you feel? Is there one you’d like to see more than the other? Is this somewhat of a Redford/Speilberg smakcdown?

  • Bookmarks for August 25th through August 26th

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    What we’ve been reading – August 25th through August 26th:

    • Comparing Anna Faris to Maria Falconetti
      Yes, someone has the balls to put SMILEY FACE and THE PASSION OF JOAN OF ARC in the same sentence. On comparing close-ups.
    • Jason Anderson (Toronto’s EYE WEEKLY) on Polytechnique
      Given that it’s the first major Canadian feature to portray what is perhaps this country’s most horrific — and divisive — tragedy, Polytechnique will inevitably fail to satisfy every viewer’s demands. And since it’s also a black-and-white, obliquely structured and platitude-free 77-minute movie that is ultimately less about the causes or circumstances of that tragedy than the challenges of living with its legacy, it’s bound to infuriate a portion of its audience, too.
    • The crazy return of Cap’n Video – Beauty Day
      I've seen huge chunks of Beauty Day dailies and it is pretty amazing stuff. This article is a profile of the subject of the upcoming documentary feature of friend of RowThree and occasional cinecast guest Jay Cheel (The Documentary Blog, Film Junk, The MovieClub Podcast)

  • Scorsese Loves Ol’ Blue Eyes

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    There’s no reason to be surprised at the fact that Martin Scorsese will be directing a biopic on Frank Sinatra. Scorsese seems, to me at least, a man interested in the past; the colourful characters; the music, the clothes; a time when entertaining was serious business. Not that it’s no longer serious but it seems that entertainers today hit their peak at 20 and go downhill from there whereas in the 40s and 50s, there was a different calibre of entertainer. One that was experienced, suave and a smooth talker.

    Sinatra had a colourful career full of successes and failures but when he was on, he was on. Ol’ Blue Eyes could melt women at the knees with a song or a look while men wanted to be as cool and he was and though I’ve never considered him much of an actor, he sure looked great on screen.

    No news on who’s going to star in the movie but like Cinematical, I can’t help but wonder out loud if Scorsese will approach his go-to guy Leonardo DiCaprio. He certainly has the acting chops and looking at the picture below, he can certainly look the part, but can he sing? Better yet, will he have to sing? And if not DiCaprio, who? We’ll have to wait and see but for the time being, just know that it’s coming.

    You’ll have to excuse me now. I must get reacquainted with the Chairman of the Board.

    Leonardo Di Caprio and Frank Sinatra

  • Hopkins is Hemingway

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    In some very interesting news confirmed today by EW, Anthony Hopkins is set to play Ernest Hemingway in an Andy Garcia directed independent film titled Hemingway and Fuentes. Fuentes was not a love interest, like some may just assume from the title, but Gregorio Fuentes, the Cuban captain of a fishing-boat that Hemingway befriended during the last decade of his life (and many say, he was the inspiration for the character of Santiago in Hemingway’s Pulitzer-winning story The Old Man and the Sea).

    Garcia will also step in front of the camera, taking on the role of Fuentes, and he actually very interestingly shared the writing credit with Hemingway’s niece, author Hilary Hemingway. According to Garcia’s agent, this has been a “labor of love” for Garcia and he has “been talking about it with me for 15 or 20 years.”

    I’ve always been an avid reader of Hemingway, having read five of his novels and many more of his short stories, always enjoying his brilliantly simple and concise prose and his flawed yet realistic heroes. He’s easily one of my favorite writers and influences and I recommend him at every opportunity (so, here I am, recommending: go!). It will be somewhat of a shame that the film will only focus on his later years though, when he battled with some major, major demons including alcoholism and depression. He had quite an interesting life and I’d have really loved to see his years during the war as an ambulance driver in Italy and his interactions with F. Scott Fitzgerald – you looking for a Hemingway and Fitzgerald prequel, Andy? I could totally pull off a young Fitz.

    Back when THR announced Hopkins was in talks, Garcia had said this will not function as a biopic, but rather a historical drama, “centering on the final, troubled chapter in Hemingway’s dramatic life” explore his psyche and “the dynamic with Fuentes and the relationship both had with fishing.”

    “I’m a Hemingway nut and also an avid fisherman, and the reality of the relationship between Hemingway and his captain is compelling to me,” Garcia said. “The beauty of the movie is it straddles the fence, with one leg in the emotional reality of what people are going through and the other in the humor of the situations.”

    Well, I’m on board. This sounds almost as awesome as a Robert Downey Jr.-starring Poe film or one starring me as another literary god of mine, Fitzgerald. This could mean some proper modern treatments of Hemingway’s best novels, particularly his WWI novels. Oh, how bittersweet the thought of that is.

  • C’est Beau: Coco avant Chanel Trailer

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    Coco Avant Chanel Movie StillBefore she became a fashion icon to generations, Coco Chanel was a young woman of poor means with an eye for design and if you’re at all familiar with the woman behind the brand, you’ll shake your head that’s it taken this long for a biopic on her life. Not only did she change the face of fashion for ever, in her own way she was also a radical feminist and a woman who didn’t believe in being kept down by “the man”.

    From director Anne Fontaine comes Coco avant Chanel (“Coco Before Chanel”), a film staring the beautiful Audrey Tautou as Coco. As the title suggests, the film documents the rise of the woman into the icon. Unlike Andrew, I don’t think this is going to be anything as unique as I’m Not There and looking at the trailer, I seem to be correct. It looks like a fairly typical biopic but I’m hopeful that between Tautou, Coco’s story and the gorgeous looking set and costume designs, this will be a winner.

    I’ve tracked down the first trailer for the film but sadly, it’s in French with no subtitles. Thankfully, it’s very easy on the eyes and even with my limited knowledge of French, I managed to follow the gist of the conversations. I expect we’ll be seeing a subtitled version in the coming months as the film’s North American release approaches.

    Coco avant Chanel opens in France on April 22nd and I expect Warner Brothers will release the film in the US later this year.

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