With his latest film Cosmopolis having its limited release in New York and Los Angeles this week, it has recently been confirmed that Robert Pattinson is set to play a young Lawrence of Arabia in Werner Herzog's indie, Queen of the Desert.
“Shut it!” ; “You’re Nicked!”; “Leave it aaaaht!” No, this isn’t another episode of The Apprentice, but a modern updating of the 1970’s most iconic and well-loved British cop shows.
Having already announced he would be joining Lars Von Trier's erotic drama, Nymphomaniac, Shia LaBeouf has confirmed a few other raunchy details.
The Master is coming. To celebrate we have a new clip and a snippet of Jonny Greenwood's imposing new score.
Borrowing the title for her second feature from a Leonard Cohen song, Sarah Polley’s tale of love, lust, passion and folly promises to transfer the poetry and melancholy of his words to the screen. Despite the unlikely combination of Cohen's raw emotion with her comedic indieness, the promise is delivered with this grounded character-driven debunkification of the myth of marriage. While Take This Waltz is unashamedly idiosyncratic and embraceful of its own dreamy pretension, there is something about it that rings inexorably true and ultimately leads to an end that justifies the means.
Controversial Danish director Lars von Trier is currently assembling the cast for his latest film The Nymphomaniac. With previous veterans Willem Dafoe, Stellan Skarsgard, and Charlotte Gainsbourg already added to the line-up, Shia LaBeouf is the latest Hollywood heavyweight name to be rumoured to be joining the project, currently set to begin production in September 2012. Nicole Kidman has also been strongly linked with the title.
The first trailer for Mike Newell's forthcoming adaptation of Charles Dickens' Great Expectations has appeared online.
Franz Kafka’s crucial novel on the nightmarish power and impenetrability of the law realises the early twentieth century as a paranoid dystopia, rife with oppression and manipulation. Recreating these deep shadows with his customary panache, Orson Welles takes a fitting leap from the oppressive gloom of Touch of Evil and Citizen Kane to forge a stylised reality in an undeniably expressionist fashion. Forming the text into an artistic feast, the evident authorial stamp imprinted upon The Trial saw it becoming Welles’ favourite film. Visually, it might just well be.
The hand-held camera film, posing as an authentic representation of real-life events, has become increasingly familiar. Popularised by The Blair Witch Project, recent successful examples have included Cloverfield and Paranormal Activity. However, this approach lost its freshness some years ago and it always needed to be in service of a solid story and cast to be entertaining. The Dinosaur Project relies on this technique but doesn’t have much else to ensure that it either memorable or impressive.