Rolling Stone..10 Best Movies to See in March: Wolverine’s Last Stand, ‘Kong’ Reboot and More

Blockbuster season starts earlier and earlier every year – in 2017, we have made it three whole days into March before those studio tentpoles start to break ground. Heavy hitters Logan, Kong: Skull Island, Power Rangers andGhost in the Shell will get the blockbuster year off to a roaring start. Meanwhile, those in search of smaller-scale entertainment can enjoy Terence Malick’s latest dreamy drama, a cannibalism flick with a reputation that precedes it and a festival favorite featuring a career-best performance from Kristen Stewart. Here’s what you need to see over the next month.

Beauty and the Beast (Mar. 17th)
Tale as old as time, song as old as rhyme …  but who couldn’t use a quick refresher? Emma Watson takes up the mantle of Belle in this live-action mounting of Disney’s celebrated romantic fantasy, with Legion star Dan Stevens barely recognizable as the ferocious Beast. They will, of course, be joined by a mansion’s worth of singing appliances (voiced by the likes of Stanley Tucci, Ian McKellen, Ewan McGregor and Emma Thompson), and, we’re assuming, will triumph over interspecies differences and an angry mob of villagers to find love. It’s up to Disney to conjure the same magic that made the original cartoon the high-water mark of their Nineties renaissance.

Ghost in the Shell (Mar. 31st)
Having played an alien (Under the Skin) and a sentient computer program (Her), a crimefighting automaton was really the next logical career move for Scarlet Johansson. In this remake of the popular anime, she portrays Major Motoko Kusanagi, a police officer keeping a futuristic Tokyo free of cybercrime. Complications arise, as they so often do in these dystopic situations. Come for Robot Scarlett (TM), the action and the mystery; stay for the eye-popping vision of a psychedelic future complete with lightning-fast motorcycles, techno-monks and giant koi fish that float between skyscrapers.

Kong: Skull Island (Mar. 10th)
One of the movies’ best-known tall, dark and handsome leading men (ginormous ape division) made his last appearance in Peter Jackson’s remake of the 1933 monster-run-amuck classic. For his latest revival, however, King Kong won’t straddle the Empire State Building this time around; instead, our ferocious, furry friend is terrorizing a band of explorers (including Brie Larson, Tom Hiddleston, Samuel L. Jackson and John Goodman) who have ventured onto his mystical home island. Director Jordan Vogt-Roberts really worked the Apocalypse Now vibes in the trailer., and you can expect the chest-beating regent to cross paths with a whole Godzillaverse of creatures soon at a theater near you. But for now, you can simply thrill to him taking on Taylor Swift’s ex-boyfriend.

Life (Mar. 24th)
With seven new life-sustaining planets now in the mix, this sci-fi chiller may have just jumped from an afternoon at the movies to a prophecy of events to come. A crew of astronauts (including Ryan Reynolds, Jake Gyllenhaal and Rebecca Ferguson) make the discovery of the century: an active life form in the vacuum of space. It starts off as a little petri dish’s worth of sentient fuzz, but as it rapidly evolves, it turns against the spacecraft’s crew. Any viewers looking to get a fix of interstellar mayhem before this summer’s Alien: Covenant need look no further.

Logan (Mar. 3rd)
This is not your father’s Wolverine solo movie, bub. In what he claims will be his last go-round with the character, Hugh Jackman plays Logan, an older, grizzled iteration of the X-Man living in a scorched-earth, mutant-free future. He tends to a crumbling Professor X (Patrick Stewart) while staying in hiding, but their position is compromised when a young girl (Dafne Keen) with awfully familiar claws enters their lives. Director James Mangold drew from Westerns for this brutal, sparse take on the typical comic-book movie, earning the hard-R rating and then some. It’s the gritty reimagining to end all gritty reimaginings – and a fitting end to the saga.

Power Rangers (Mar. 24th)
The Saturday-morning teen heroes get the Transformers treatment with this big-budget, effects-laden reboot. The song remains the same: A collection of high schoolersstumble upon a mystical artifact in a hidden cave. They are imbued with the power [cue “BWAAAM” sound effect] of the Rangers. The kids will also face a serious threat in acid-queen baddie Rita Repulsa (Elizabeth Banks), but they’ll get help from the wise Zordon (Bryan Cranston) and the hijinks-prone android Alpha 5 (voiced by Bill Hader), yadda yadda yadda. No word on whether the “Go, Go” clarion call made it in, but it wouldn’t be a Power Rangers movie without at least one formation of the mighty Megazord.

Personal Shopper (Mar. 10th)
Kristen Stewart was the toast of the Cannes Film Festival last May for her turn as Maureen, a young woman processing the death of her brother. In between errands for a demanding prima donna, she fields hostile text messages from an unknown source and feels an eerie presence clinging to her. Reteaming with France’s Olivier Assayas after 2014’s sensational Clouds of Sils Maria, Stewart continues to move away from her Twilight years and straight into arthouse A-list territory. Like the film itself, she’s beguiling, mysterious, and unknowable.

Raw (Mar. 10th)
A few viewers present for the Toronto International Film Festival screening of Julia Ducournau’s horror film had to be wheeled out on stretchers. But hey, graphic depictions of cannibalism aren’t for everybody, right? In this fiendish French-Belgian fever dream, a vegetarian college student is force-fed meat as part of an initiation ritual; she not only develops a taste for the stuff, but starts takes a liking to homo sapien filets. Just as intense as the gorier sequences are the emotions behind them; Garance Mariellier delivers a scary-committed (and just plain scary) performance in the lead.

Song to Song (Mar. 17th)
Rooney Mara, Ryan Gosling, Natalie Portman and Michael Fassbender each play a figure involved in Austin’s music scene, as each of  their lives intersect with director Terrence Malick’s customary cosmic grace. Incorporating footage shot on the down-low at 2012’s Austin City Limits music festival, the film features a wide array of real-life acts in cameo roles, from Arcade Fire to the Black Lips to Florence and the Machine. And for the arthouse crowd, elevator pitches don’t get much more enticing than “Terence Malick does indie-rock Nashville.

T2: Trainspotting (Mar. 17th)
Surprise: After two decades, the likes of Renton, Spud, Sick Boy and Begbie are all still alive and kicking. Danny Boyle’s era-defining Britpop ensemble movie has finally gotten its sequel, with the original cast from Ewan McGregor on down all reprising their roles. With a couple notable exceptions, the former no-good bastards have gotten their respective acts together, and this new film finds them examining their functional lives and wondering where they went right. Choose stability. Choose life. Choose a nostalgia-fueled sequel.

Fandor..What a night at the Oscars..With complete list of winners.

http://fandor.us2.list-manage.com/track/click?u=c2b9a7e168dc856d8cb4df202&id=b2727eb316&e=bd9c486516

 

 

Every night at the Oscars has its moments, but the 89th Academy Awardsended with one for the books. La La Land, going into the evening with 14 nominations, had been picking up golden statuettes at a steady clip when it came time for Warren Beatty and Faye Dunaway to announce Best Picture. With the envelope opened, Beatty found himself looking at a card that read, “Emma Stone, La La Land.” He paused, a bit confused, showed the card to Dunaway, who read out, “La La Land.”

The producers, led by Jordan Horowitz, and the cast took to the stage, began their speeches… More confusion for a moment. Then, Horowitz:

The Guardian‘s Rory Carroll and Andrew Pulver: “Speaking backstage minutes later, Moonlight’s director Barry Jenkins said the error had left him speechless. ‘I’d never seen that happen before. It made a special feeling more special but not in the way I expected. The last 20 minutes of my life have been insane… beyond life changing…. Things just happen. The folks from La La Land were so gracious. I can’t imagine being in their position.”

Deadline‘s Mike Fleming Jr. passes along a statement from accounting firm PricewaterhouseCoopers:

We sincerely apologize to Moonlight, La La Land, Warren Beatty, Faye Dunaway, and Oscar viewers for the error that was made during the award announcement for Best Picture. The presenters had mistakenly been given the wrong category envelope and when discovered, was immediately corrected. We are currently investigating how this could have happened, and deeply regret that this occurred. We appreciate the grace with which the nominees, the Academy, ABC, and Jimmy Kimmel handled the situation.

Overall, the evening was, as expected, peppered with political commentary. Carroll and Pulver: “The Iranian director Asghar Farhadi, who boycotted the event in protest at Trump’s travel bans, won best foreign language film forThe Salesman in what was widely seen as a rebuke to the White House. In a statement, he called the ban ‘inhumane,’ earning prolonged applause. Hours earlier, in a videolink from Tehran, he urged 10,000 people gathered for a screening of his film in London’s Trafalgar Square to ‘stand up to fascism, be victorious in the face of extremism.”

All the nominees, with the winners in bold:

Best Picture

Arrival.

Fences.

Hacksaw Ridge.

Hell or High Water.

Hidden Figures.

La La Land.

Lion.

Manchester by the Sea.

Moonlight.

Best Director

Denis Villeneuve, Arrival.

Mel Gibson, Hacksaw Ridge.

Damien Chazelle, La La Land.

Kenneth Lonergan, Manchester by the Sea.

Barry Jenkins, Moonlight.

Best Actor

Casey Affleck, Manchester by the Sea.

Andrew Garfield, Hacksaw Ridge.

Ryan Gosling, La La Land.

Viggo Mortensen, Captain Fantastic.

Denzel Washington, Fences.

Best Actress

Isabelle Huppert, Elle.

Ruth Negga, Loving.

Natalie Portman, Jackie.

Emma Stone, La La Land.

Meryl Streep, Florence Foster Jenkins.

Best Supporting Actor

Mahershala Ali, Moonlight.

Jeff Bridges, Hell or High Water.

Lucas Hedges, Manchester by the Sea.

Dev Patel, Lion.

Michael Shannon, Nocturnal Animals.

Best Supporting Actress

Viola Davis, Fences.

Naomie Harris, Moonlight.

Nicole Kidman, Lion.

Octavia Spencer, Hidden Figures.

Michelle Williams, Manchester by the Sea.

Best Original Screenplay

Taylor Sheridan, Hell or High Water.

Damien Chazelle, La La Land.

Yorgos Lanthimos and Efthimis Filippou, The Lobster.

Kenneth Lonergan, Manchester by the Sea.

Mike Mills, 20th Century Women.

Best Adapted Screenplay

Eric Heisserer, Arrival.

August Wilson, Fences.

Allison Schroeder and Theodore Melfi, Hidden Figures.

Luke Davis, Lion.

Barry Jenkins, Moonlight, story by Tarell Alvin McCraney.

Best Foreign Film

Land of Mine.

A Man Called Ove.

The Salesman.

Tanna.

Toni Erdmann.

Best Documentary Feature

Fire at Sea.

I Am Not Your Negro.

Life, Animated.

O.J.: Made in America.

13th.

Best Animated Feature

Kubo and the Two Strings.

Moana.

My Life as a Zucchini.

The Red Turtle.

Zootopia.

Best Film Editing

Joe Walker, Arrival.

John Gilbert, Hacksaw Ridge.

Jake Roberts, Hell or High Water.

Tom Cross, La La Land.

Nat Sanders and Joi McMillon, Moonlight.

Best Song

“Audition (The Fools Who Dream),” La La Land.

“Can’t Stop the Feeling,” Trolls.

“City of Stars,” La La Land.

“The Empty Chair,” Jim: The James Foley Story.

“How Far I’ll Go,” Moana.

Best Original Score

Mica Levi, Jackie.

Justin Hurwitz, La La Land.

Dustin O’Halloran and Hauschka, Lion.

Nicholas Britell, Moonlight.

Thomas Newman, Passengers.

Best Visual Effects

Craig Hammock, Jason Snell, Jason Billington and Burt Dalton, Deepwater Horizon.

Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould, Doctor Strange.

Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon, The Jungle Book.

Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff, Kubo and the Two Strings.

John Knoll, Mohen Leo, Hal Hickel and Neil Corbould, Rogue One: A Star Wars Story.

Best Cinematography

Bradford Young, Arrival.

Linus Sandgren, La La Land.

Greig Fraser, Lion.

James Laxton, Moonlight.

Rodrigo Prieto, Silence.

Best Costume Design

Joanna Johnston, Allied.

Colleen Atwood, Fantastic Beasts and Where to Find Them.

Consolata Boyle, Florence Foster Jenkins.

Madeline Fontaine, Jackie.

Mary Zophres, La La Land.

Best Makeup and Hairstyling

Eva von Bahr and Love Larson, A Man Called Ove.

Joel Harlow and Richard Alonzo, Star Trek Beyond.

Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson, Suicide Squad.

Best Production Design

Production Design: Patrice Vermette, Set Decoration: Paul Hotte, Arrival.

Production Design: Stuart Craig, Set Decoration: Anna Pinnock, Fantastic Beasts and Where to Find Them.

Production Design: Jess Gonchor, Set Decoration: Nancy Haigh, Hail, Caesar!

Production Design: David Wasco, Set Decoration: Sandy Reynolds-Wasco, La La Land.

Production Design: Guy Hendrix Dyas, Set Decoration: Gene Serdena,Passengers.

Best Sound Editing

Sylvain Bellemare, Arrival.

Wylie Stateman and Renée Tondelli, Deepwater Horizon.

Robert Mackenzie and Andy Wright, Hacksaw Ridge.

Ai-ling Lee and Mildred Iatrou Morgan, La La Land.

Alan Robert Murray and Bub Asman, Sully.

Best Sound Mixing

Bernard Gariépy Strobl and Claude La Haye, Arrival.

Kevin O’Connell, Andy Wright, Robert Mackenzie and Peter Grace, Hacksaw Ridge.

Andy Nelson, Ai-ling Lee and Steve A. Morrow, La La Land.

David Parker, Christopher Scarabosio and Stuart Wilson, Rogue One: A Star Wars Story.

Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Mac Ruth, 13 Hours: The Secret Soldiers of Benghazi. Nomination rescinded.

Best Short Film, Live Action

Ennemis Intérieurs.

La Femme et le TGV.

Silent Nights.

Sing.

Timecode.

Best Short Film, Animated

Blind Vaysha.

Borrowed Time.

Pear Cider and Cigarettes.

Pearl.

Piper.

Best Documentary Short Subject

Extremis.

4.1 Miles.

Joe’s Violin.

Watani: My Homeland.

The White Helmets.

For the full 2017 Oscars on Fandor experience, go here.

For news and tips throughout the day every day, follow @KeyframeDaily. Get Keyframe Daily in your inbox by signing in at fandor.com/daily.

Time Out N.Y…Five great female-centric films that are opening this spring

Five great female-centric films that are opening this spring
Kristen Stewart in Personal Shopper
We won’t lie: The prospect of a new Trainspotting has us all kinds of excited, as does the forthcoming Wolverine drama Logan, April’s lovably lunkheaded The Fate of the Furious and May’s reboot of King Arthur directed by bloke-of-all-blokes Guy Ritchie. Still, aren’t you feeling a touch of dude overload? We are. So we sifted out the best of the anticipated female-centric film offerings in the coming months.

Ghost in the Shell Already there’s been criticism over the “whitewashing” of this live-action rethink of a Japanese manga due to the casting of a Caucasian lead actor. But when that actor is Scarlett Johansson—equally adept with arty sci-fi (Under the Skin) as she is with roundhouse kicks (Lucy)—we reserve the right to remain excited. (Opens Mar 31)

Personal Shopper Kristen Stewart has long left the teenage-vampire stuff in the rearview mirror: These days, she’s a respected, award-winning actor with impressive taste in indies. Her latest, made with revered French director Olivier Assayas, has her haunted by text messages from the dead. Is there an emoji for “sign us up”? (Opens Mar 10)

Raw A horror movie that unnerved audiences at the Toronto International Film Festival—ambulances were actually called to the theater to tend to nauseous viewers—director Julia Ducournau’s vicious, unmissable breakthrough is about a young veterinarian-in-training (Garance Marillier) who becomes a cannibal. (Opens Mar 10)

Snatched Amy Schumer says she pestered Goldie Hawn for years to star in this road-trip comedy, in which a woman takes her mom on a holiday to South America. The dirty trailer has an already-classic spit take—and we’re hoping that’s not the best joke. (Opens May 12)

Alien: Covenant Fanboys are geeking out over the return of director Ridley Scott to his signature series. (Didn’t they learn anything after his dull-as-dirt Prometheus?) Adding immeasurably to the plus column is Inherent Vice’s scrappy Katherine Waterston, playing a hard-as-nails space heroine in a sweaty T-shirt, à la Sigourney Weaver. (Opens May 19)

Flickering Myth.. review PS, few performers can keep up with the calibre of Kristen..

60th BFI London Film Festival Review – Personal Shopper (2016)

Personal Shopper, 2016.

Directed by Olivier Assayas.
Starring Kristen Stewart, Lars Eidinger, Sigrid Bouaziz, Anders Danielsen Lie and Ty Olwin.

PERSONAL SHOPPER

SYNOPSIS:

Maureen serves as a personal shopper for the rich and famous. Residing in Paris, she also practices as a medium with the hope of contacting her recently deceased twin brother. Channelling two greatly conflicting lifestyles, soon her worlds collide, forming an uncompromising and unpredictable landscape of which she must boldly navigate.

PERSONAL SHOPPER

Upon the initial viewing of Olivier Assayas’ latest in June, one was convinced there wouldn’t be a more exquisitely uncategorisable and ambitious film in 2016. Then this author’s heart brutally sank when original distributor Metrodome Group fell into administration and it looked as though Personal Shopper‘s future in the United Kingdom was seriously jeopardised. Thank heavens then, that some months later, independent titan Icon Film stepped in and saved the day; granting the Festival de Cannes award-winner a new lease of life in 2017.

Upon the second viewing – which is screening at the 60th BFI London Film Festival as part of the ever-popular Dare strand – one still feels the same way. In fact, Assayas’ follow-up to the simply splendid Clouds of Sils Maria (2014) is filmmaking at its most ambidextrous and tactile; endlessly inventive, unfathomably surprising. The immeasurably brilliant Kristen Stewart delivers a luminous central performance as a conflicted soul, consumed by the feverish underbelly of Parisian fashion despite her attempts to penetrate the spirit world. She features in virtually every frame here, and commands as such with mesmerising power. Few performers can keep up with her calibre; leaving them breathless in her rearview mirror as she surges from incredible role to incredible role.

There is little doubt that Personal Shopper will perplex and dumbfound the many, and quite rightly so. Assayas’ nuanced composition is fluent with mediative subtext and ethereal imagery. His camera and the delicate way it parades through the streets and apartments lingers with ghostly grandeur. He aims to spine-chill and does so with tremendous finesse. Narratively his screenplay is part fashionista drama – sleek with ravishing leathers and linens – and part bewitching supernatural horror, but honestly attempting to pigeonhole such a work is an aimless task. Just when you think you have sussed a story beat, the rug is pulled from your feet, leaving the spectator tumbling at ferocious speed.

PERSONAL SHOPPER

Assayas deftly understands that cinema is a visual medium, and ensures that in-drama devices help render and characterise his scenes. An impeccable prolonged exchange between Maureen and an unknown assailant fiendishly plays out over Apple’s iMessage service; optimising the sights and sounds of our handheld communicators to evoke a palpable sense of dread. Those three little dots to indicate message composing have never been more torturous, and that incoming ping alert never more deafening. Thematically the scene is Stewart’s character boarding the Eurostar to London St. Pancras International and back again, but tonally it broods and swells with a unmistakable malice. To be able to make the mundane feel so intoxicatingly urgent is something only a master auteur could achieve.

The less you know about Personal Shopper, the more beguilingly marvellous the experience is. This is a cinematic Pandora’s Box; crammed full of secrets, intrigue and mystery. Assayas has formed a soulfully scary representation of humanity’s most peculiar shades, and Stewart’s thunderous work – easily the best performance of the year – ensures that it’ll be an experience never forgotten. To call it a masterpiece would be an understatement.

Flickering Myth Rating – Film: ★ ★ ★ ★ ★ / Movie: ★ ★ ★ ★

Chris Haydon

Awards Circuit..Final Oscar Predictions

  • Final Oscar Predictions – Will ‘La La Land’ Tie or Break the 11 Win Record on Sunday? #Oscars

    ENTER OUR OSCARS CONTEST via our CIRCUIT CENTER HERE! The Academy Awards ballots were handed in this past Tuesday, Feb. 21. We have stewed on this for months now, looking for alternatives in different sectors of the film year. Everything has pointed to “La La Land,” with a few subtle hints along the way that […]

    OSCARS 2017: A Peek at the Ballots #4 (Female Voter Over 40) – Adores ‘Fences’ and Denzel Washington

      Speaking with voters for the Academy Awards can offer some wonderous insight.  Speaking with an older female voter, who only agreed to share her major categories with me, along with very few tech choices, she ended up pouring her heart out about her feelings about “La La Land,” Damien Chazelle, and the powerhouse performances in […]

    Academy Idol X Champion Crowned!

    It’s time to crown our Academy Idol X Champion, but before we do that, let’s review the race this year. It was a tight competition from the rounds of 30, when we selected 12 films from the adapted/original screenplay breakdown. The one film that didn’t make it out of competition, but was selected to compete […]

    OSCARS 2017: A Peek at the Ballots #3 (Male Voter Over 40) – Loves ‘Hell or High Water’ and ‘Manchester’

    As the Academy Awards get ready to unveil their winners this Sunday, Feb. 26., we take a peek inside the ballots of Oscar voters from different parts of the world.  The look at the ballot down below is from an older male voter.  To protect his identity, he asks to only include one sentence from each […]

    Costume Designers Guild Winners – ‘Hidden Figures’ Upsets ‘Jackie’; ‘La La Land’ Takes Contemporary

    The Costume Designers Guild announced their winners Tuesday. “Hidden Figures” upset what some consider to be the Oscar frontrunner for costumes, “Jackie,” for Excellence in Period Film. It also bested “Florence Foster Jenkins,” also nominated at the Oscars (“Hidden Figures” is not). “La La Land,” as expected, took Excellence in Contemporary Film. Meanwhile, “Doctor Strange” […]

    OSCARS 2017: A Peek at the Ballots #2 (Female Voter Over 40)

    Continuing to give the raw perspective of an Academy voter, a female voter of one of the major branches took an hour to talk about her ballot and why she was making her choices. The female voter, who has been active in the Academy for over 20 years, was very complimentary about the film year […]

JThe Film Stage..Kristen Stewart Will Go ‘Underwater’ for ‘Armageddon’-Esque Thriller

Written by on February 22, 2017



kristen-stewart

One of the more visually impressive sci-fi films on the indie side the last few years was William Eubank‘s The Signal. With minuscule resources compared to his big-budget peers, he crafted a compelling tale of escalating sci-fi mystery. He’s now upping his scale for his next feature and has a major star to topline the project.

Kristen Stewart will lead his 20th Century Fox tentpole Underwater, according to THR. Described as an “underwater Armageddon,” the film, scripted by Brian Duffield, will follow thePersonal Shopper actress as Nora, part of a underwater scientific crew who endure an earthquake and must fight for survival. According to Deadline, her part is of “a courageous and strong woman who is a bit more jaded and hardened than other crew and ends up in a relationship with another member of the crew.” Production is already being eyed to start this March in New Orleans, so we may see the results by 2018.

“In terms of narrative, I guess all of the usual culprits, David Lynch, [Stanley] Kubrick, all those masters of films that get in your mind,” Eubank told us, talking about his influences. “I was talking the other day, some of David Lynch’s stuff, when I was younger, I really didn’t like at all. I was like, “Ugh, this is so weird and disturbing, not something I can understand what was happening.” Then the problem is, the film sticks in your brain. You can’t get it out and then it will just be there for years and you’ll always go back to it and then I realized, one day, oh, I really do like the movieEraserheard. It’s crazy how that can happen.”

As we await more details, check out the trailers for Eubank’s last two features below.


See More: , ,

The Hollywood Reporter..Kristen Stewart in Talks to Star in Adventure Thriller ‘Underwater’ (Exclusive)

Will Eubank, who co-wrote and directed the sci-fi thriller 'The Signal,' is directing.
Jeff Vespa/Getty Images
Kristen Stewart
Kristen Stewart is in negotiations to star in Underwater, a Twentieth Century Fox adventure thriller that is being produced by Chernin Entertainment.

Will Eubank, who co-wrote and directed the sci-fi thriller The Signal, is directing.

Underwater centers on an underwater scientific crew that, after facing an earthquake, are forced to go on dangerous journey for survival. The story has been described as an underwaterArmageddon.

If a deal makes, Stewart will play the film’s lead, a jaded and hardened crew member. A March start of production in New Orleans is being eyed.

The move puts Stewart, who has developed a strong acting resume working on a wide range of indies since her days of toplining the Twilight movies, back into a more mainstream space.

Although she toplined such movies as Snow White and the Huntsman, it’s her work in movies such as Equals and Still Alicethat have shown she is interested in material that is deeper and meaningful than most standard fare. Her upcoming projects include Lizzie opposite Chloe Sevigny and she has plans to direct another short film, this one about gun control.    Stewart is repped by Gersh.

Awards Circuit..Oscars 2017, Peeking at the Ballots

OSCARS 2017: A Peek at the Ballots #2 (Female Voter Over 40)

Continuing to give the raw perspective of an Academy voter, a female voter of one of the major branches took an hour to talk about her ballot and why she was making her choices. The female voter, who has been active in the Academy for over 20 years, was very complimentary about the film year […]

OSCARS 2017: A Peek at the Ballots (Male Voter Over 40)

As the Oscars barrel into our weekend, and voters have turned in their ballots as of Tuesday at 5 p.m. PST, we take our in-depth look into the minds of some Academy voters and what they voted for. Polling just over 20 voters in total over the past five weeks – all from different branches […]

FIRST LOOK: Cast of Han Solo Film Takes a Group Pic

The Han Solo spinoff film is off and running! Disney shared today a picture of the cast, as well as co-directors Phil Lord and Christopher Miller, on set. The pic features stars Alden Ehrenreich, Woody Harrelson, Donald Glover and Emilia Clarke. Ehrenreich is Han Solo, Glover is a young Lando Calrissian, and Clarke’s role is currently […]

MPSE Golden Reel Awards Winners – ‘Hacksaw Ridge’ Tops Sound Editing Honors

The Motion Picture Sound Editors annual Golden Reel Awards announced its winners Sunday. The group gives away awards in several categories, but the list below focuses on film. “Hacksaw Ridge” won top honors in Best Sound Editing in Feature Film for FX/Foley and Dialogue/ADR. “La La Land” won its category for sound editing in a […]

Awards Circuit Announces NEW Awards Circuit Message Boards!

The Awards Circuit team is thrilled to announce the latest addition to the site – the Awards Circuit Message Boards! With the IMDB boards going off into pasture, we thought it would be as good a time as any to have our own discussion boards. The new boards are a great place for the Awards […]

Ralph Fiennes to Direct ‘The White Crow’ With David Hare to Pen Script

Awards watchers beware, Ralph Fiennes could be back in the market. The actor is set to direct his third feature, the big screen adaptation of Russian dancer Rudolf Nureyev’s biography by Julie Kavanagh, “The White Crow.” David Hare, two-time Oscar nominee for penning “The Reader” and “The Hours,” will write the script. Fiennes previously directed “Coriolanus” and […]

Interview: ‘Swiss Army Man’ Producers Discuss the Passion of New Filmmakers

“Swiss Army Man” is not a film for everyone. At least not according to one of the film’s producers. The film caused some agitation when it premiered at Sundance last year and quickly gained notoriety for turning star Daniel Radcliffe, once an innocent boy wizard, into cinema’s most flatulent carcass. For fans who have embraced the […]

Box Office: ‘LEGO Batman’ Obliterates Matt Damon’s ‘Great Wall’

(FEBRUARY 17 – FEBRUARY 19, 2017 estimates) “The LEGO Batman Movie” (Week 2) – $34,225,000 “Fifty Shades Darker” (Week 2) – $20,966,845 “The Great Wall” (Opening) – $18,079,140 “John Wick: Chapter Two” (Week 2) – $16,500,000 “Fist Fight” (Opening) – $12,015,000 “Hidden Figures” (Week 9) – $7,100,000 “Split” (Week 5) – $7,038,400 “A Dog’s Purpose” […]

Make-up Artists and Hair Stylists Guild Winners – ‘Star Trek Beyond’ and ‘Suicide Squad’ Win

The Make-up Artists and Hair Stylists Guild announced their winners Sunday. The group honors the best work in both TV and film, and has plenty of categories to spread the wealth. “La La Land,” “Nocturnal Animals,” “Suicide Squad,” “Hail, Caesar!” and “Star Trek Beyond” all took home awards on the film side. “The People v. […]

WGA Awards Winners -‘Moonlight’ Bests ‘La La Land’ and ‘Manchester’ in Original, ‘Arrival’ Takes Adapted

The Writers Guild of America announced its winners in film, television, radio and more Sunday. It is important to note that “Moonlight” was classified by the WGA as an original screenplay. The Academy, however, nominated “Moonlight” for Best Adapted Screenplay, deeming it ineligible in the original category. Check out the full list of nominees and winners below […]

Awards Circuit Announces 2017 Oscar Prediction Contest in Circuit Center

One of the great parts of Oscar night has long been competing with your friends on Oscar predictions. Who has their finger best on the pulse of film? Who knows the most about the Academy? Well this year, Awards Circuit is here to help you out. Rather than print out the categories and tracking everything […]

Cinema Audio Society Awards Winners – ‘La La Land’ Given Top Sound Mixing Honors

The Cinema Audio Society announced their winners Saturday. “La La Land” took the group’s top honor in film, while “Finding Dory” won for an animated film. The society honors the best in sound mixing in television and film. Check out the nominees and winners (in RED) below: MOTION PICTURE – LIVE ACTION Doctor Strange Production Mixer […]

Fandor..BEST OF 2016, LAST CALL Countdown to Oscar Night.

The countdown to Oscar Night is now a matter of days rather than weeks. At long last, awards season is coming to an end. The title of Eric Drooker‘s cover for this week’s New Yorker is “#OscarsNotSoWhite” and, inside, Michael Schulman goes long in his report on Academy of Motion Picture Arts and Sciences president Cheryl Boone Isaacs’s decision to fast-track “an initiative called A2020, which had the goal of making the Academy twice as diverse by the end of the decade.” The plan entails not only “aggressively recruiting new members” but also, let’s say, retiring members who haven’t been active in the industry for the past ten years.

“Like Hollywood’s best sagas—Star Wars, The Godfather—the Oscars often play out as a drama of generational conflict,” writes Schulman. “Daniel Smith-Rowsey, a film historian, has referred to the latest shakeup as ‘the third purge,’ following two previous industry-wide talent overhauls. The first occurred in the 20s, as the rise of talkies swept scores of mugging mustache-twirlers and big-eyed ingénues to the sidelines…. The second purge came in the late 60s, as the studio system was grappling with its own decline and the rise of a youth culture with which it seemed hopelessly out of touch.”

The New York Times has posted a breezy chat between columnists Gail Collins and Frank Bruni that the paper’s cheekily titled “#OscarsSoOrange.” “I’d suggest that the drinking game for this year’s Oscars is a quaff every time there’s a reference, explicit or oblique, to our 45th president, but I fear I’d be blamed—rightly—for a national cirrhosis epidemic,” says Bruni. “I await the morning-after tweets. And for a reality check, may I say that I never imagined a day when I’d be expecting angry post-Oscar tweets from the president of the United States? Someday this will be a movie. I cannot wait, because it will mean that we’re finally past this fearful present.”

The clear front-runner this year is La La Land, playing Adele to Moonlight‘s Beyoncé, as Wesley Morris and Jenna Wortham note in the latest episode of their excellent podcast, Still Processing. “Awards and critical debates continue to swirl around the surprising success of this neo-musical,” David Bordwellnoted several days ago now. “Two entries on this blog have already considered what the film owes to 1940s innovations in Hollywood storytelling (here) and to more basic norms of movie plot construction and the classic Broadway ‘song plot’ (here). But there’s plenty more to say.”

And so, he’s turned to guest bloggers Kelley Conway, who “situates Damien Chazelle’s film within a trend toward ‘unprofessional’ musical performance,” Eric Dienstfrey, who “traces how film’s recording methods shape the auditory texture of the numbers,” and Amanda McQueen, who “considers how La La Land is designed to overcome audiences’ current resistance to ‘integrated’ musicals.”

Yesterday, another guest post went up at Observations on film art. Jeff Smith, who’s collaborated with Bordwell and Kristin Thompson on Film Art: An Introduction, takes a good hard look at this year’s nominees in the Best Original Song and Best Original Score categories.

Meantime, the last of the guilds and critics groups are announcing their picks. This year’s Writers Guild Award-winners:

  • Original Screenplay: Barry Jenkins and Tarell Alvin McCraney (story) forMoonlight.
  • Adapted Screenplay: Eric Heisserer for Arrival.
  • Documentary Screenplay: Robert Kenner and Eric Schlosser and Brian Pearle and Kim Roberts (story) for Command and Control.
  • Television Drama Series: Peter Ackerman, Tanya Barfield, Joshua Brand, Joel Fields, Stephen Schiff, Joe Weisberg and Tracey Scott Wilson for The Americans.
  • Comedy Series: Donald Glover, Stephen Glover, Jamal Olori, Stefani Robinson and Paul Simms for Atlanta.
  • New Series: Atlanta again, same team.

And the list goes on. But let’s note that John Waters received the 2017 WGA Ian McLellan Hunter Award for Career Achievement and none other than “fellow Baltimorean” David Simon, creator of The Wire, presented it. Simon’s posted his introductory remarks.

Krisha was the big winner at the inaugural American Independent Film Awards,” reports Michael Nordine at IndieWire. “Anna Rose Holmer’s The Fitswas the Best Film runner-up and was nominated in 12 different categories, while Robert Greene won two different awards for Kate Plays Christine.” AsKevin Jagernauth points out at the Playlist, the focus here is “on feature films with a budget of $1 million or less.”

La La Land and Game of Thrones walked away with top film and television honors at the 53rd Cinema Audio Society Awards Saturday night.” AndKristopher Tapley has the full list of winners at Variety.

Bill Desowitz for IndieWire: “Mel Gibson’s Hacksaw Ridge earned the top two sound editing awards Sunday night at the 64th [Motion Picture Sound Editors‘] Golden Reel Awards, while Damien Chazelle’s La La Land and Disney’s Moana took musical and animation honors.”

Also, “La La Land continued its awards momentum, taking best contemporary hairstyling Sunday night at the Make-Up Artists and Hair Stylists GuildAwards. However, in terms of the Oscar race, makeup and hairstyling nominees Suicide Squad and Star Trek Beyond were both big winners, grabbing period/character make-up and special make-up effects, respectively.”

Moonlight shined bright at the 8th annual African-American Film Critics Association Awards,” reports Mannie Holmes for Variety. “Barry Jenkins took the stage three times, accepting awards for best director, best independent film, and best picture for the Oscar-nominated drama.”

Black-ish and Hidden Figures were the big winners at [the] 48th annualNAACP Image Awards,” reports Deadline‘s Patrick Hipes.

Back to Variety: “Maren Ade’s Toni Erdmann won five awards from theInternational Cinephile Society Sunday, including best picture, best director, best actor, best original screenplay, and best foreign film.”

Toni Erdmann‘s also scored with the Union of German Film Critics. Scroll down for the list of winners.

And finally for now, Brian Darr has rolled out his tenth edition of I Only Have Two Eyes, in which Bay Area filmmakers, artists, programmers and dedicated cinephiles look back on their favorite moments of the past year.

For the full 2017-Oscars-on-Fandor experience, go here.

For news and tips throughout the day every day, follow @KeyframeDaily. Get Keyframe Daily in your inbox by signing in at fandor.com/daily.

The Guardian..New/Old review PS by Peter Bradshaw..

Personal Shopper review: Kristen Stewart’s psychic spooker is a must-have

5/5stars

 
 

Cannes gets its first marmite sensation with Olivier Assayas’s uncategorisable – yet undeniably terrifying – drama about a fashion PA trying to exorcise herself of her dead twin

 

 
‘She is calm and blank in the self-assured way of someone very competent, smart and young, yet her displays of emotion are very real and touching’ …Kristen Stewart in Personal Shopper

‘She is calm and blank in the self-assured way of someone very competent, smart and young, yet her displays of emotion are very real and touching’ …Kristen Stewart in Personal Shopper Photograph: CAP/KFS/Image supplied by Capital Pictures

Is Kristen Stewart the fifth ghostbuster? Questions like that are liable to pop into your mind watching this captivating, bizarre, tense, fervently preposterous and almost unclassifiable scary movie from Olivier Assayas. It’s a film which delivers the bat-squeak of pure craziness that we long for at Cannes, although at the first screening some very tiresome people continued the festival’s tradition of booing very good films.

Personal Shopper had that undefinable provocative élan that reminded me a little of Lars Von Trier’s Breaking The Waves. It is actually Assayas’s best film for a long time, and Stewart’s best performance to date – she stars in a supernatural fashionista-stalker nightmare where the villain could yet be the heroine’s own spiteful id. Is it The Devil Wears Prada meets The Handmaiden (also in Cannes) with a touch of Single White Female?

It doesn’t look like a genre piece, which is the key to how scary it can be. Stewart plays Maureen, a young American in Paris who is employed as a personal shopper and assistant to Kyra (Nora Von Waltstätten) a horribly demanding German supermodel-slash-designer. Maureen has to pick up and drop off all the extraordinary couture outfits and luxury items of designer jewellery that Kyra is wearing at various events. But Maureen has got into the habit of borrowing these items herself, because she obviously looks so great in them. And she also is in the habit of staying overnight in Kyra’s luxury apartment while Kyra herself is out if town.

But this isn’t all. Maureen is also a medium, attempting to contact her dead twin Lewis, who died in the mouldering Parisian house that they both grew up in. Lewis suffered from the same congenital heart condition that may yet kill Maureen and which Assayas discloses in a clinical context which cleverly, candidly reveals and yet desexualises Maureen’s body.

The scenes in which Maureen roams around the dark house and calls out to Lewis in a quiet, almost inaudible voice – almost, in fact, a kind of inner voice – are edge-of-the-seat strange, and daringly protracted. These scenes are a challenge both to our expectations of plausibility contingent on a realist film, and expectations of tongue-in-cheek scares built into how we consume conventional horror movies. And just as she appears to make some kind of provisional contact with Lewis, other dark things start happening, other things which appear to indicate that Maureen has opened herself up to some terrible parasitic invasion.

Exclusive Kristen Stewart In Personal Shopper
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There’s a quite extraordinary sequence where Maureen undresses in Kyra’s flat, and secretly tries on a sensational outfit to the deeply sinister accompaniment of a Viennese folk-lyric on the soundtrack: Das Hobellied, or The Planing Song, about the way Death cuts down rich and poor alike: “Da ist der allerärmste Mann, Dem Andern viel zu reich, Das Schicksal setzt den Hobel an, Und hobelt alle gleich!” (“The man in abject poverty is far too rich for some / But fate will take its plane and level everyone the same!”)

Perhaps the song is telling us that Kyra’s wealth and hubris are about to be cut down and that Maureen is the agent of this destiny. Or perhaps it is that Maureen herself is to be cut down.

Kristen Stewart’s performance is tremendous: she is calm and blank in the self-assured way of someone very competent, smart and young, yet her displays of emotion are very real and touching. She is entirely devoted to her smartphone, which is to be the conduit of her fears and there is a dash of pure Hitchcockian brilliance in a scene where she turns it on and a backlog of texts starts mounting up, bringing danger ever closer. With his reckless, audacious Personal Shopper, Olivier Assayas has brought excitement to the festival.