A spiritual kissing cousin of such compellingly campy ’90s Aussie-produced extravaganzas as “Strictly Ballroom” and “Muriel’s Wedding,” director Gracie Otto’s “Seriously Red” disarms and delights as a sensationally spirited concoction that neatly balances unfettered outrageousness and unabashed sentimentality. The beating heart of the entire enterprise is Krew Boylan. As screenwriter, she has created a terrific role for herself. As star, she proves absolutely fearless while illuminating every aspect of a sometimes exhilarating, sometimes exasperating, always endearing protagonist. She works a singularly impressive type of movie magic while simultaneously driving the movie over the top and anchoring the borderline-fantastical narrative in something resembling reality.
Boylan stars as Raylene Delaney, better known as Red, a socially awkward small-town New South Wales realtor with, as she herself admits, “an impulse control problem.” To put it mildly. A fanatically passionate fan of Dolly Parton, she decks herself out as her idol for a company gathering,...
Boylan stars as Raylene Delaney, better known as Red, a socially awkward small-town New South Wales realtor with, as she herself admits, “an impulse control problem.” To put it mildly. A fanatically passionate fan of Dolly Parton, she decks herself out as her idol for a company gathering,...
- 2/10/2023
- by Joe Leydon
- Variety Film + TV
Emmy-winning actor Guy Pearce and Jeffrey Dean Morgan have boarded “Neponset Circle,” a dark and gritty crime thriller based on a real-life murder that shook the Boston area and remains unsolved to this day.
The Exchange, handling the international sales rights, is introducing the title to buyers at next week’s American Film Market in Santa Monica, CA.
The film, written by John Chase, will be directed by Pauline Chan (“33 Postcards”), and produced by Landafar Entertainment’s Grant Cramer, Volition Media’s Cindy Bru and Adam Beasley, and Wild Lunch Entertainment’s Joram Moreka. Executive producers include Ford Corbett, Michael Jefferson, Len Gibson and Wayne Overstreet.
Cinematographer Toby Oliver (“Get Out”), who previously worked with Chan and Pearce on “33 Postcards,” will be behind the lens.
Against a backdrop of politics and corruption, “Neponset Circle” follows a brilliant but disgraced detective Jimmy O’Mannon, fresh out of prison and trying to rebuild his life.
The Exchange, handling the international sales rights, is introducing the title to buyers at next week’s American Film Market in Santa Monica, CA.
The film, written by John Chase, will be directed by Pauline Chan (“33 Postcards”), and produced by Landafar Entertainment’s Grant Cramer, Volition Media’s Cindy Bru and Adam Beasley, and Wild Lunch Entertainment’s Joram Moreka. Executive producers include Ford Corbett, Michael Jefferson, Len Gibson and Wayne Overstreet.
Cinematographer Toby Oliver (“Get Out”), who previously worked with Chan and Pearce on “33 Postcards,” will be behind the lens.
Against a backdrop of politics and corruption, “Neponset Circle” follows a brilliant but disgraced detective Jimmy O’Mannon, fresh out of prison and trying to rebuild his life.
- 10/28/2022
- by Leo Barraclough
- Variety Film + TV
Jamie Foxx has been a very busy man. Ever since he signed a development deal with Sony Pictures, which now has a licensing agreement for features with Netflix, he has worked on everything from a family-oriented comedy series to genre action flicks on the streaming platform.
The partnership continues with “Day Shift,” a vampire-hunting action comedy movie set in Los Angeles, co-starring Dave Franco, Karla Souza and Megan Good, with special appearances by Peter Stormare and Snoop Dogg.
It’s also the directorial debut of stunt coordinator and second-unit director J.J. Perry, and subsequently, the action scenes here are definitely impressive. And that’s great, because you will not be watching this movie for the script. “Day Shift” is what you get if you put “Supernatural” and “Training Day” in a juicer, extract the plots, and leave only epic fight sequences and lots of teeth.
Also Read:
Jamie Foxx and...
The partnership continues with “Day Shift,” a vampire-hunting action comedy movie set in Los Angeles, co-starring Dave Franco, Karla Souza and Megan Good, with special appearances by Peter Stormare and Snoop Dogg.
It’s also the directorial debut of stunt coordinator and second-unit director J.J. Perry, and subsequently, the action scenes here are definitely impressive. And that’s great, because you will not be watching this movie for the script. “Day Shift” is what you get if you put “Supernatural” and “Training Day” in a juicer, extract the plots, and leave only epic fight sequences and lots of teeth.
Also Read:
Jamie Foxx and...
- 8/12/2022
- by Karama Horne
- The Wrap
Stuntman J.J. Perry, director of Day Shift, joins hosts Josh Olson and Joe Dante to discuss his favorite action flicks.
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
From Russia With Love (1963) – Brian Trenchard-Smith’s trailer commentary, Randy Fuller’s wine pairing
Day Shift (2022)
Big Trouble In Little China (1986) – Mike Mendez’s trailer commentary
The Lost Boys (1987) – Alex Kirschenbaum’s review
Fright Night (1986) – Alex Kirschenbaum’s review
The Evil Dead (1983) – Fede Alvarez’s trailer commentary
Zombieland (2009)
Traffic (2000)
Spectral (2016)
Spectre (2015)
The Exorcist (1973) – Oren Peli’s trailer commentary
Enter The Dragon (1973) – Brian Trenchard-Smith’s trailer commentary
The Way of the Dragon a.k.a. Return of the Dragon (1972) – Brian Trenchard-Smith’s trailer commentary
Rocky (1976)
Rocky II (1979)
Rocky III (1982)
Rocky IV (1985)
Rocky V (1990)
Creed (2015)
Undisputed II: Last Man Standing (2006)
The Tournament (2009)
The Shepherd: Border Patrol (2008)
X-Men Origins: Wolverine (2009)
F9: The Fast Saga (2021)
Samaritan (2022)
Safe (2012)
Warrior...
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
From Russia With Love (1963) – Brian Trenchard-Smith’s trailer commentary, Randy Fuller’s wine pairing
Day Shift (2022)
Big Trouble In Little China (1986) – Mike Mendez’s trailer commentary
The Lost Boys (1987) – Alex Kirschenbaum’s review
Fright Night (1986) – Alex Kirschenbaum’s review
The Evil Dead (1983) – Fede Alvarez’s trailer commentary
Zombieland (2009)
Traffic (2000)
Spectral (2016)
Spectre (2015)
The Exorcist (1973) – Oren Peli’s trailer commentary
Enter The Dragon (1973) – Brian Trenchard-Smith’s trailer commentary
The Way of the Dragon a.k.a. Return of the Dragon (1972) – Brian Trenchard-Smith’s trailer commentary
Rocky (1976)
Rocky II (1979)
Rocky III (1982)
Rocky IV (1985)
Rocky V (1990)
Creed (2015)
Undisputed II: Last Man Standing (2006)
The Tournament (2009)
The Shepherd: Border Patrol (2008)
X-Men Origins: Wolverine (2009)
F9: The Fast Saga (2021)
Samaritan (2022)
Safe (2012)
Warrior...
- 8/9/2022
- by Kris Millsap
- Trailers from Hell
Dolly Parton was everywhere at SXSW, from her documentary Still Working 9-5 to her collaboration with Blockchain Creative Labs which involved both a well-received performance at Austin City Limits and Dollyverse NFTs. There’s a reason she’s still an icon, and Gracie Otto’s hilarious Seriously Red has decades of witticisms and quotes to draw upon. Written and starring Krew Boylan as Raylene “Red” Delancy (a Dolly impersonator with naturally smaller breasts and red hair) and framed by Dolly quotes—including “find out who you are and do it on purpose” and “it costs a lot of money to look cheap”—it’s one of those films where a thirty-something comes of age from sheer will and stubbornness.
After being fired from her job as a real estate appraiser over sexual-harassment claims stemming from a holiday party, she takes it as a sign to focus on her primary gig.
After being fired from her job as a real estate appraiser over sexual-harassment claims stemming from a holiday party, she takes it as a sign to focus on her primary gig.
- 4/4/2022
- by John Fink
- The Film Stage
Barb and Star do indeed go to Vista Del Mar in “Barb & Star Go to Vista Del Mar,” but viewers are advised to put their maps away and let the movie follow its own deranged path. A goofy and absurdist comedy in which anything can happen, and it usually will, Kristen Wiig and Annie Mumolo’s long-awaited follow-up to the 2011 hit “Bridesmaids” absolutely plays by its own rules.
Whether or not that’s a successful strategy will very much depend on the viewer’s state of mind and opinions about comedy, but in an era where so many films seem to emerge from the same bland assembly line, there’s something exciting about a movie that plays to sharply divided reactions, even if that movie doesn’t hit 100% of the time. Not all the jokes landed for me, admittedly, but they all come from such a bizarre place that I...
Whether or not that’s a successful strategy will very much depend on the viewer’s state of mind and opinions about comedy, but in an era where so many films seem to emerge from the same bland assembly line, there’s something exciting about a movie that plays to sharply divided reactions, even if that movie doesn’t hit 100% of the time. Not all the jokes landed for me, admittedly, but they all come from such a bizarre place that I...
- 2/12/2021
- by Alonso Duralde
- The Wrap
Following his previous check-in with some of the world’s leading cinematographers about their lives during quarantine, Daniel Eagan returns with six more reports from directors of photography about how their lives and work are being affected by this moment of coronavirus and social change. Below are accounts of work done during quarantine — from continued prep on postponed shoots to home improvement to painting — as well as thoughts on how the film business is changing. Following are responses from Jarin Blaschke, Laura Merians-Gonçalves, Benoit Delhomme, Ellen Kuras, Ed Lachman and Toby Oliver. “It’ll Be as Accurate as a Viking Movie […]...
- 7/14/2020
- by Scott Macaulay
- Filmmaker Magazine-Director Interviews
Following his previous check-in with some of the world’s leading cinematographers about their lives during quarantine, Daniel Eagan returns with six more reports from directors of photography about how their lives and work are being affected by this moment of coronavirus and social change. Below are accounts of work done during quarantine — from continued prep on postponed shoots to home improvement to painting — as well as thoughts on how the film business is changing. Following are responses from Jarin Blaschke, Laura Merians-Gonçalves, Benoit Delhomme, Ellen Kuras, Ed Lachman and Toby Oliver. “It’ll Be as Accurate as a Viking Movie […]...
- 7/14/2020
- by Scott Macaulay
- Filmmaker Magazine - Blog
The second season of the Dead to Me marked cinematographer Toby Oliver’s first Netflix TV series production. The series has been ranked in the platform’s top ten since it was released in May, spending a week or so at number #1. Oliver, originally from Australia, has worked frequently with Blumhouse, including shooting the breakout hit Get Out. He spoke with Filmmaker from Los Angeles. Filmmaker: How were you hired for Dead to Me? Oliver: I was in Mexico working on a movie called Barb and Star go to Vista Del Mar, which was written by and stars Kristen Wiig and […]...
- 7/14/2020
- by Daniel Eagan
- Filmmaker Magazine-Director Interviews
The second season of the Dead to Me marked cinematographer Toby Oliver’s first Netflix TV series production. The series has been ranked in the platform’s top ten since it was released in May, spending a week or so at number #1. Oliver, originally from Australia, has worked frequently with Blumhouse, including shooting the breakout hit Get Out. He spoke with Filmmaker from Los Angeles. Filmmaker: How were you hired for Dead to Me? Oliver: I was in Mexico working on a movie called Barb and Star go to Vista Del Mar, which was written by and stars Kristen Wiig and […]...
- 7/14/2020
- by Daniel Eagan
- Filmmaker Magazine - Blog
On TV’s “Fantasy Island” (1977-1984; 1998-1999), guests flew in for what they imagined would be fun and fulfillment but were subjected to what turned out to be hard-won life lessons. Audiences turning up for the new feature film version in the hopes of either fun or fulfillment will similarly go home empty-handed.
If this new movie — referred to in some circles as “Blumhouse’s Fantasy Island” — were a pilot for a TV reboot, it would come off as overwrought and underwritten but still possibly on the right track for a revived anthology series. As a movie, those flaws are magnified to the size of the silver screen, and its contrivances and coincidences come off as even less convincing.
Michael Peña slips into Ricardo Montalban’s white suit (and his silky overpronunciation of “Fahn-tah-see”) as the enigmatic Mr. Roarke, the host of the titular resort where people go to make their deepest wishes come true.
If this new movie — referred to in some circles as “Blumhouse’s Fantasy Island” — were a pilot for a TV reboot, it would come off as overwrought and underwritten but still possibly on the right track for a revived anthology series. As a movie, those flaws are magnified to the size of the silver screen, and its contrivances and coincidences come off as even less convincing.
Michael Peña slips into Ricardo Montalban’s white suit (and his silky overpronunciation of “Fahn-tah-see”) as the enigmatic Mr. Roarke, the host of the titular resort where people go to make their deepest wishes come true.
- 2/14/2020
- by Alonso Duralde
- The Wrap
Usually, biopics like to focus on prestigious figures. Artists, musicians, politicians, basically historical individuals of all stripes. Every so often, however, a film seeks to look at a horse of a different color. That can be a breath of fresh air, seeing a cinematic depiction of an unusual public figure or figures. Unfortunately, in the case of The Dirt, this biopic is complete and utter trash. We live in divided times, but hopefully cinema fans of all shapes and sizes, let alone political affiliations, can come together and realize how terrible this flick is. Dirt is an apt description of this one, and that’s putting it mildly. The movie is a biopic about the band Mötley Crüe. Based on an autobiography written by the band members, this claims to be “an unflinching tale of success and excess as four misfits rise from the streets of Hollywood to the heights of international fame.
- 3/23/2019
- by Joey Magidson
- Hollywoodnews.com
Spoiler Alert: This review contains details of the movie version of The Dirt
Having taken decades to make it to the screen, you kind of knew any adaptation of Mötley Crüe’s 2001 memoir The Dirt was going to be problematic, to put it politely.
Infamy has a tiring tendency to downgrade over time to just being lame, which truly is the greatest praise one can heap on this Jeff Tremaine directed pic that debuted today on Netflix. Perhaps due from the limited requirements of his past gigs helming the often hilarious but plotless Jackass movies, Tremaine delivers set-ups in The Dirt, but no actual story besides an elongated Behind The Music.
The fact is Nikki Sixx, Tommy Lee, ankylosing spondylitis suffering Mick Mars and Vince Neil deserved better. On board as producers, the battle-scarred bass player, drummer, guitarist and singer have earned a movie that confessionally puts it all out there,...
Having taken decades to make it to the screen, you kind of knew any adaptation of Mötley Crüe’s 2001 memoir The Dirt was going to be problematic, to put it politely.
Infamy has a tiring tendency to downgrade over time to just being lame, which truly is the greatest praise one can heap on this Jeff Tremaine directed pic that debuted today on Netflix. Perhaps due from the limited requirements of his past gigs helming the often hilarious but plotless Jackass movies, Tremaine delivers set-ups in The Dirt, but no actual story besides an elongated Behind The Music.
The fact is Nikki Sixx, Tommy Lee, ankylosing spondylitis suffering Mick Mars and Vince Neil deserved better. On board as producers, the battle-scarred bass player, drummer, guitarist and singer have earned a movie that confessionally puts it all out there,...
- 3/22/2019
- by Dominic Patten
- Deadline Film + TV
Fritz Böhm’s Wildling is a tooth-and-nail sensuality tale that’s endearingly genrefied upon first and second acts, but millimeters short of a howlin’ good finish. Woodland legends are told and beastly savages teased, all while coming-of-self complexities of the female experience run a strong thematic current. An adolescent girl who is left to fend for herself against aggressive teenage boys, departed parents and womanly welcomings that are otherwise treated as dangerously unleashed. So much to say while transformation hints are contained, relevant in a world of sheltered realities. Love in a time of hairballs – with much more to show, I promise.
Explorations center around Anna (Bel Powley), who is found heavily medicated and detached from reality. “Daddy” (Brad Dourif) kept her locked away from the world, feeding the child fables about “Wildlings” who’d come and eat her if she escaped into the thick wilderness. Doctors want to shove the scared,...
Explorations center around Anna (Bel Powley), who is found heavily medicated and detached from reality. “Daddy” (Brad Dourif) kept her locked away from the world, feeding the child fables about “Wildlings” who’d come and eat her if she escaped into the thick wilderness. Doctors want to shove the scared,...
- 3/30/2018
- by Matt Donato
- We Got This Covered
While we aim to discuss a wide breadth of films each year, few things give us more pleasure than the arrival of bold, new voices. It’s why we venture to festivals and pore over a variety of different features that might bring to light some emerging talent. This year was an especially notable time for new directors making their stamp, and we’re highlighting the handful of 2017 debuts that most impressed us.
Below, one can check out a list spanning a variety of different genres and distributions, from those that barely received a theatrical release to wide bows. In years to come, take note as these helmers (hopefully) ascend.
The Blackcoat’s Daughter (Osgood Perkins)
Osgood Perkins’ debut feature, The Blackcoat’s Daughter – originally known as February at its premiere – is a stylish exercise in dread, teasing out its slow-drip horrors with precision, and building a deliriously evil presence that hovers along the fringes.
Below, one can check out a list spanning a variety of different genres and distributions, from those that barely received a theatrical release to wide bows. In years to come, take note as these helmers (hopefully) ascend.
The Blackcoat’s Daughter (Osgood Perkins)
Osgood Perkins’ debut feature, The Blackcoat’s Daughter – originally known as February at its premiere – is a stylish exercise in dread, teasing out its slow-drip horrors with precision, and building a deliriously evil presence that hovers along the fringes.
- 12/20/2017
- by The Film Stage
- The Film Stage
"We're gonna party like it's your birthday..." Universal Pictures Home Entertainment will release Happy Death Day on Digital 4K Ultra HD and standard definition through the Movies Anywhere app on January 2nd as well as on Blu-ray, DVD, and VOD platforms on the 16th. Continue reading for specs and fun Happy Death Day featurettes:
Press Release: Universal City, Calif., Nov. 14, 2017 -- Universal Pictures Home Entertainment presents the "fun horror ride" (Don Kaye, Den of Geek) Happy Death Day, where a college student must relive the day of her murder over and over again in a loop that will end only when she discovers her killer's identity. Perfect for horror fans, this film is available on Digital in 4K Ultra HD and standard definition as well as via the all-new digital movie app Movies Anywhere on January 2, 2018, and on Blu-rayTM, DVD and On Demand January 16, 2018. Own Happy Death Day on Blu-ray,...
Press Release: Universal City, Calif., Nov. 14, 2017 -- Universal Pictures Home Entertainment presents the "fun horror ride" (Don Kaye, Den of Geek) Happy Death Day, where a college student must relive the day of her murder over and over again in a loop that will end only when she discovers her killer's identity. Perfect for horror fans, this film is available on Digital in 4K Ultra HD and standard definition as well as via the all-new digital movie app Movies Anywhere on January 2, 2018, and on Blu-rayTM, DVD and On Demand January 16, 2018. Own Happy Death Day on Blu-ray,...
- 11/21/2017
- by Tamika Jones
- DailyDead
This could be the landmark year that Roger Deakins finally — after 13 nominations — lands a win for his stunning collaboration with Denis Villeneuve on “Blade Runner.” Other hopefuls include four-time nominee Bruno Delbonnel for “Darkest Hour,” two-timer Ed Lachman for his exquisite black-and-white 20s and color 70s visuals for Todd Haynes’ “Wonderstruck,” and two-time winner Janusz Kaminski for Steven Spielberg’s 70s Watergate drama “The Post.”
Vying for their first nods are Danish Dan Laustsen for Guillermo del Toro’s lush ’60s romantic fantasy-thriller, “The Shape of Water,” Swiss Hoyt Van Hoytema (BAFTA-nominated for “Interstellar” and “Tinker Tailor Soldier Spy”) for his 65 mm photography on Christopher Nolan’s World War II
epic “Dunkirk,” and Rachel Morrison, who could become the first woman to break into the ranks of nominated directors of photography for Dee Rees’ southern epic “Mudbound.”
Frontrunners:
Roger Deakins (“Blade Runner 2049”)
Ed Lachman (“Wonderstruck”)
Dan Laustsen (“The Shape of Water...
Vying for their first nods are Danish Dan Laustsen for Guillermo del Toro’s lush ’60s romantic fantasy-thriller, “The Shape of Water,” Swiss Hoyt Van Hoytema (BAFTA-nominated for “Interstellar” and “Tinker Tailor Soldier Spy”) for his 65 mm photography on Christopher Nolan’s World War II
epic “Dunkirk,” and Rachel Morrison, who could become the first woman to break into the ranks of nominated directors of photography for Dee Rees’ southern epic “Mudbound.”
Frontrunners:
Roger Deakins (“Blade Runner 2049”)
Ed Lachman (“Wonderstruck”)
Dan Laustsen (“The Shape of Water...
- 11/18/2017
- by Anne Thompson
- Indiewire
Arriving in theaters today is Happy Death Day, the latest from filmmaker Christopher Landon that follows a young woman (Jessica Rothe) who must live out her own demise again and again in hopes of unlocking the puzzle to her untimely death. Landon, who has been at the helm of some great genre films like Paranormal Activity: The Marked Ones and Scouts Guide to the Zombie Apocalypse, delivers yet another unique cinematic experience with his latest effort.
Daily Dead spoke with Landon at the recent press day for Happy Death Day, where he discussed bringing this project to Jason Blum and Blumhouse Productions and collaborating with them on the horror comedy. Landon also chatted about the challenges they faced during production, as well as his thoughts on working closely with Rothe on her unusual character.
Great to speak with you, Chris. Let’s start off by discussing this script and what you saw in it originally.
Daily Dead spoke with Landon at the recent press day for Happy Death Day, where he discussed bringing this project to Jason Blum and Blumhouse Productions and collaborating with them on the horror comedy. Landon also chatted about the challenges they faced during production, as well as his thoughts on working closely with Rothe on her unusual character.
Great to speak with you, Chris. Let’s start off by discussing this script and what you saw in it originally.
- 10/13/2017
- by Heather Wixson
- DailyDead
'King Arthur: Legend of the Sword'...(© 2017 Warner Bros. Ent. Inc., Village Roadshow Films North America Inc. And Ratpac-dune Ent. LLC - U.S., Canada, Bahamas & Bermuda © 2017 Warner Bros. Ent. Inc., Village Roadshow Films (Bvi) Limited And Ratpac-dune Ent. LLC - All Other Territories) (Photo Credit: Daniel Smith)
Roadshow.s King Arthur: Legend of the Sword has opened on top of the box office with earnings of $2.3 million. Directed by Guy Ritchie and starring Jude Law, Charlie Hunnam and Eric Bana, the film bowed on 406 screens, each making an average of $5,730.
Last week.s number one.Alien: Covenant.tumbled 50 per cent to earn just below $2 million. However, the Ridley Scott film still boasted a bigger screen average than King Arthur: $6,269. Shot in Sydney, the Fox title has earned $7.2 million after two weeks..
Despite losing 111 screens, Guardians of the Galaxy Vol. 2 has maintained third position, earning $1.9 million. The...
Roadshow.s King Arthur: Legend of the Sword has opened on top of the box office with earnings of $2.3 million. Directed by Guy Ritchie and starring Jude Law, Charlie Hunnam and Eric Bana, the film bowed on 406 screens, each making an average of $5,730.
Last week.s number one.Alien: Covenant.tumbled 50 per cent to earn just below $2 million. However, the Ridley Scott film still boasted a bigger screen average than King Arthur: $6,269. Shot in Sydney, the Fox title has earned $7.2 million after two weeks..
Despite losing 111 screens, Guardians of the Galaxy Vol. 2 has maintained third position, earning $1.9 million. The...
- 5/22/2017
- by Jackie Keast
- IF.com.au
Warwick Thornton.s doco.'We Don't Need A Map' will open the 2017 Sydney Film Festival..
Warwick Thornton.s We Don.t Need A Map will open this year.s Sydney Film Festival, with the event also marking the documentary.s world premiere..
The latest film from the Samson and Delilah director explores Australia.s relationship to the Southern Cross through colonial and indigenous history through to the present day..
We Don't Need A Map will compete in the festival.s Official Competition. Among the 12 films in the running for the $60,000 prize are Aussie theatre director Benedict Andrew.s debut feature Una, which stars Ben Mendelsohn, as well as Sofia Coppola.s Beguiled.and Michael Haneke.s Happy End, both of which will come to the festival from Cannes.
Overall the festival program boasts 288 films from 59 countries, including 37 world premieres. Bookending the fest will be Korean director Bong Joon-ho.s Cannes film.Okja,...
Warwick Thornton.s We Don.t Need A Map will open this year.s Sydney Film Festival, with the event also marking the documentary.s world premiere..
The latest film from the Samson and Delilah director explores Australia.s relationship to the Southern Cross through colonial and indigenous history through to the present day..
We Don't Need A Map will compete in the festival.s Official Competition. Among the 12 films in the running for the $60,000 prize are Aussie theatre director Benedict Andrew.s debut feature Una, which stars Ben Mendelsohn, as well as Sofia Coppola.s Beguiled.and Michael Haneke.s Happy End, both of which will come to the festival from Cannes.
Overall the festival program boasts 288 films from 59 countries, including 37 world premieres. Bookending the fest will be Korean director Bong Joon-ho.s Cannes film.Okja,...
- 5/10/2017
- by Jackie Keast
- IF.com.au
Sometimes you have to go where the market pushes you. And after nearly twenty years behind the camera, the market suddenly wants Toby Oliver to shoot horror films. The Australian cinematographer lensed three fright flicks last year alone, all for the low-budget genre juggernaut Blumhouse. He’s practically become Blumhouse’s version of Hammer’s in-house Dp Jack Asher. The most recent of Oliver’s horror efforts to hit screens is Get Out, a Guess Who’s Coming to Dinner?/Stepford Wives hybrid in which black New York photographer Chris (Daniel Kaluuya) travels upstate to meet his white girlfriend’s family (Allison Williams and parents Catherine Keener and […]...
- 4/7/2017
- by Matt Mulcahey
- Filmmaker Magazine - Blog
If you missed it in theaters or you can't wait to visit the "Sunken Place" once again, Universal Pictures Home Entertainment will release Jordan Peele's Get Out on Digital HD beginning May 9th, followed by a Blu-ray, DVD, and VOD release on May 23rd.
Horror fans who pick this one up on Blu-ray or DVD will have plenty of bonus features to enjoy, including an alternate ending, deleted scenes, and audio commentary with Peele. For more information, we have the official press release with full details below, and, in case you missed it, check out our Sundance review of Get Out.
Press Release: Universal City, California, April 4, 2017 – A speculative thriller from Blumhouse Productions (Split, Insidious franchise, The Gift) and the mind of Jordan Peele, the first African-American writer/director to cross $100 million at the box office with his debut film, Get Out arrives on Digital HD on...
Horror fans who pick this one up on Blu-ray or DVD will have plenty of bonus features to enjoy, including an alternate ending, deleted scenes, and audio commentary with Peele. For more information, we have the official press release with full details below, and, in case you missed it, check out our Sundance review of Get Out.
Press Release: Universal City, California, April 4, 2017 – A speculative thriller from Blumhouse Productions (Split, Insidious franchise, The Gift) and the mind of Jordan Peele, the first African-American writer/director to cross $100 million at the box office with his debut film, Get Out arrives on Digital HD on...
- 4/4/2017
- by Derek Anderson
- DailyDead
‘Wild Tales’ and ‘Get Out’ prove entertainment and depth are not mutually exclusive.
“I am altogether opposed to popular entertainment,” says Jean Cocteau, “because I consider that all good entertainment is popular.” The filmmaker and poet continues by describing how “film expresses something other than what it is, something that no one can predict. In any event, the measure of love with which it is charged will affect the masses more than any subtle and witty concoction.” Whilst there is an over saturation of images in 21st century culture (be that through small-screen phones or widescreen televisions) that leaves viewers familiar with repeated tropes and narrative devices, it’s easy to forget that cinema created to entertain the viewer can still have artistic depth. Rather than being about itself, or l’art pour l’art to use Théophile Gautier’s 19th century phrase, films intended to entertain can only exist with a mass audience. As...
“I am altogether opposed to popular entertainment,” says Jean Cocteau, “because I consider that all good entertainment is popular.” The filmmaker and poet continues by describing how “film expresses something other than what it is, something that no one can predict. In any event, the measure of love with which it is charged will affect the masses more than any subtle and witty concoction.” Whilst there is an over saturation of images in 21st century culture (be that through small-screen phones or widescreen televisions) that leaves viewers familiar with repeated tropes and narrative devices, it’s easy to forget that cinema created to entertain the viewer can still have artistic depth. Rather than being about itself, or l’art pour l’art to use Théophile Gautier’s 19th century phrase, films intended to entertain can only exist with a mass audience. As...
- 3/30/2017
- by Sinéad McCausland
- FilmSchoolRejects.com
Plus: Jordan Peele makes history, a couple new trailers, and perfect shots.~
In 1970, renowned auteur and wine lover Orson Welles began production on a film entitled The Other Side of the Wind about a legendary director who’d been in European exile for a number of years but had at last returned stateside to make his masterpiece, which bears the same name as this film. John Huston was cast as the director alongside such talents as Peter Bogdonovich, Susan Strasberg, Lili Palmer, Cameron Crowe, Dennis Hopper, Natalie Wood, and Edmond O’Brien. It was, naturally, meant to be Welles’ own comeback film, a send up of Hollywood, art, and the myriad struggles to unite the two. Shot mockumentary style over a six-year period, the film became more famous for its struggles, and even though principal photography was completed, financial and legal issues resulted in the negatives being impounded; Welles wouldn’t live to get them back.
But...
In 1970, renowned auteur and wine lover Orson Welles began production on a film entitled The Other Side of the Wind about a legendary director who’d been in European exile for a number of years but had at last returned stateside to make his masterpiece, which bears the same name as this film. John Huston was cast as the director alongside such talents as Peter Bogdonovich, Susan Strasberg, Lili Palmer, Cameron Crowe, Dennis Hopper, Natalie Wood, and Edmond O’Brien. It was, naturally, meant to be Welles’ own comeback film, a send up of Hollywood, art, and the myriad struggles to unite the two. Shot mockumentary style over a six-year period, the film became more famous for its struggles, and even though principal photography was completed, financial and legal issues resulted in the negatives being impounded; Welles wouldn’t live to get them back.
But...
- 3/15/2017
- by H. Perry Horton
- FilmSchoolRejects.com
How he and director Jordan Peele crafted the look of the allegorical horror hit.
Cinematographer Toby Oliver’s involvement with Jordan Peele’s Get Out was a match made in Blumhouse Productions. Oliver, who had previously worked with Blumhouse Productions on The Darkness, was sent a copy of the script which Peele had spent several years developing, and was immediately impressed. “It was a well worked-through script,” Oliver told me over the phone last week, as we discussed the production of Get Out and the role of a Director of Photography in general. “He put a lot of time into it, he knew what he wanted to say, so that was really appealing.”
Oliver’s name was put forward as a possibility by Blumhouse Productions, and a meeting was arranged.
“We hit it off in our first conversation, and I had a few ideas about how to visually approach the film and those seemed to agree with...
Cinematographer Toby Oliver’s involvement with Jordan Peele’s Get Out was a match made in Blumhouse Productions. Oliver, who had previously worked with Blumhouse Productions on The Darkness, was sent a copy of the script which Peele had spent several years developing, and was immediately impressed. “It was a well worked-through script,” Oliver told me over the phone last week, as we discussed the production of Get Out and the role of a Director of Photography in general. “He put a lot of time into it, he knew what he wanted to say, so that was really appealing.”
Oliver’s name was put forward as a possibility by Blumhouse Productions, and a meeting was arranged.
“We hit it off in our first conversation, and I had a few ideas about how to visually approach the film and those seemed to agree with...
- 3/14/2017
- by Ciara Wardlow
- FilmSchoolRejects.com
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd amassed a $57.8 million gross revenue. Careers have been secured.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran D.P of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something more surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran D.P of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something more surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change.
- 3/5/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
Horror comedy hybrids are a hard thing to really pull off. You need to mix the two genres in such a way that never overpowers the other. When it works, it can be brilliant. When it doesn’t, the results can be cringe worthy. With Get Out, Jordan Peele has gone and attempted to mix genres with his directorial debut. For the most part, he really succeeds, creating something rather unique. Peele immediately announces himself as a new voice in movie making to watch out for. Much more than just half of Key & Peele now, he’s a true filmmaker in his own right. Opening this week, the movie should develop a nice little following and give Peele an avenue to really do something even bigger and better next. As a calling card, this is pretty strong stuff. The film is a look at just how bad meeting your girlfriend’s parents can really go.
- 2/22/2017
- by Joey Magidson
- Hollywoodnews.com
A secret Sundance screening of Jordan Peele’s directorial debut “Get Out” thrilled audiences in Park City on Monday night. Turning a “Guess Who’s Coming to Dinner” premise into horror with a healthy side of social commentary, “Get Out” centers around an interracial couple (Allison Williams and Daniel Kaluuya) going home to meet the parents (Bradley Whitford and Catherine Keener).
A very special former “Girls” intern was in the audience; Malia Obama got to enjoy a recurring joke that one white character “Would’ve voted for Obama a third time.” In a conversation after the screening, Peele introduced producers Sean McKittrick and Jason Blum, cinematographer Toby Oliver, and Whitford before answering questions from the adoring crowd.
Read More: ‘Crown Heights’ Review: Lakeith Stanfield Shines In A Messy Docudrama That Doesn’t Do Justice — Sundance 2017
“This was something I felt like was really a missing piece in the genre,” Peele said of his horror influences.
A very special former “Girls” intern was in the audience; Malia Obama got to enjoy a recurring joke that one white character “Would’ve voted for Obama a third time.” In a conversation after the screening, Peele introduced producers Sean McKittrick and Jason Blum, cinematographer Toby Oliver, and Whitford before answering questions from the adoring crowd.
Read More: ‘Crown Heights’ Review: Lakeith Stanfield Shines In A Messy Docudrama That Doesn’t Do Justice — Sundance 2017
“This was something I felt like was really a missing piece in the genre,” Peele said of his horror influences.
- 1/24/2017
- by Jude Dry
- Indiewire
The first round of Aacta Award winners have been announced today at the 4th Aacta Award Luncheon held at the Star Event Centre in Sydney.
Celebrating screen craft excellence in Australia, 22 awards were presented, recognising the work of screen practitioners working in television, documentary, short fiction film, short animation and feature film.
The Luncheon was hosted by writer/actor/producer/director Adam Zwar, who was also joined throughout the event by a list of distinguished presenters. including Aacta President Geoffrey Rush, David Stratton, Damian Walshe-Howling, Alexandra Schepisi, Charlotte Best and Diana Glenn.
In the feature film category, Predestination took home the most Awards; with Ben Nott Acs taking out the prize for Best Cinematography, Matt Villa Ase winning the award for Best Editing, and Matthew Putland scooping Best Production Design.
Tess Schofield was honoured with the Aacta Award for Best Costume Design for her work on The Water Diviner while...
Celebrating screen craft excellence in Australia, 22 awards were presented, recognising the work of screen practitioners working in television, documentary, short fiction film, short animation and feature film.
The Luncheon was hosted by writer/actor/producer/director Adam Zwar, who was also joined throughout the event by a list of distinguished presenters. including Aacta President Geoffrey Rush, David Stratton, Damian Walshe-Howling, Alexandra Schepisi, Charlotte Best and Diana Glenn.
In the feature film category, Predestination took home the most Awards; with Ben Nott Acs taking out the prize for Best Cinematography, Matt Villa Ase winning the award for Best Editing, and Matthew Putland scooping Best Production Design.
Tess Schofield was honoured with the Aacta Award for Best Costume Design for her work on The Water Diviner while...
- 1/27/2015
- by Emily Blatchford
- IF.com.au
Russell Crowe-Directed Movie Up for Australian Film Award; Crowe Shortlisted Only in Acting Category
Director Russell Crowe Movie up for Best Film: Australian Academy Awards 2015 nominations (photo: Actor-director Russell Crowe in 'The Water Diviner') Aacta Awards: Feature Film Categories Best Film The Babadook Kristina Ceyton and Kristian Moliere Charlie's Country Nils Erik Nielsen, Peter Djigirr and Rolf de Heer Predestination Paddy McDonald, Tim McGahan, Peter Spierig and Michael Spierig The Railway Man Chris Brown, Andy Paterson and Bill Curbishley Tracks Emile Sherman and Iain Canning The Water Diviner Andrew Mason, Keith Rodger and Troy Lum Best Director The Babadook Jennifer Kent Charlie's Country Rolf de Heer Predestination Peter Spierig and Michael Spierig The Rover David Michôd Best Actress Kate Box The Little Death Essie Davis The Babadook Sarah Snook Predestination Mia Wasikowska Tracks Best Actor Russell Crowe The Water Diviner David Gulpilil Charlie's Country Damon Herriman The Little Death Guy Pearce The Rover Best Supporting Actor Patrick Brammall The Little Death Yilmaz Erdogan...
- 12/3/2014
- by Steve Montgomery
- Alt Film Guide
Serial killer Mick Taylor is back- and it seems he.s even scarier and more brutal.
Wolf Creek 2, the sequel to Greg Mclean.s 2005 hit horror movie, had its world premiere at the Venice Film Festival on Friday.
The first few reviews generally are pretty positive, paying tribute to Mclean.s direction and the performances of John Jarratt as Taylor and Ryan Corr as his principal victim. However all found fault with aspects of the film, which Roadshow will release in February.
The screenplay by Mclean and horror novelist Aaron Sterns follows Taylor as he encounters three backpackers, a Pom and two Germans, played by Corr, Shannon Ashlyn and Philippe Klaus, in the Outback.
.Though showing a smidgen of mercy to female members of the cast, possibly to counteract accusations of misogyny in No. 1, Wolf Creek 2 knows better than to deviate from the classic scenario of a mad...
Wolf Creek 2, the sequel to Greg Mclean.s 2005 hit horror movie, had its world premiere at the Venice Film Festival on Friday.
The first few reviews generally are pretty positive, paying tribute to Mclean.s direction and the performances of John Jarratt as Taylor and Ryan Corr as his principal victim. However all found fault with aspects of the film, which Roadshow will release in February.
The screenplay by Mclean and horror novelist Aaron Sterns follows Taylor as he encounters three backpackers, a Pom and two Germans, played by Corr, Shannon Ashlyn and Philippe Klaus, in the Outback.
.Though showing a smidgen of mercy to female members of the cast, possibly to counteract accusations of misogyny in No. 1, Wolf Creek 2 knows better than to deviate from the classic scenario of a mad...
- 8/31/2013
- by Don Groves
- IF.com.au
Jonathan Rossiter was named Australian Cinematographer of the Year at the 2013 Acs National Awards for Cinematography staged in Canberra on Saturday at Old Parliament House. .
Rossiter shot the animated short film Sleight of Hand, directed by Michael Cusack for South Australian-based animation company Anifex. The short has been accepted into competition in the Nashville Film Festival, The Athens International Film + Video Festival and the Stuttgart Festival of Animated Film in Germany. .
Adam Arkapaw won the Golden Tripod for his feature Lore and Roger Deakins took the international award for Skyfall. .
Here.s the full list of winners: Australian Cinematographer of the Year Jonathon Rossiter, Sleight of Hand Inducted Into Acs Hall Of Fame Peter Donnelly, Peter Hannan,Mike Molloy, Les Wasley Acs Life Membership Bestowed Peter Curtis, Nino Martinetti International Award For Cinematography Roger Deakins, Skyfall Nfsa John Leake Oam Acs Emerging Cinematographer Award Dale Bremner Best Student Cinematography Tim Barnsley...
Rossiter shot the animated short film Sleight of Hand, directed by Michael Cusack for South Australian-based animation company Anifex. The short has been accepted into competition in the Nashville Film Festival, The Athens International Film + Video Festival and the Stuttgart Festival of Animated Film in Germany. .
Adam Arkapaw won the Golden Tripod for his feature Lore and Roger Deakins took the international award for Skyfall. .
Here.s the full list of winners: Australian Cinematographer of the Year Jonathon Rossiter, Sleight of Hand Inducted Into Acs Hall Of Fame Peter Donnelly, Peter Hannan,Mike Molloy, Les Wasley Acs Life Membership Bestowed Peter Curtis, Nino Martinetti International Award For Cinematography Roger Deakins, Skyfall Nfsa John Leake Oam Acs Emerging Cinematographer Award Dale Bremner Best Student Cinematography Tim Barnsley...
- 5/27/2013
- by Staff Reporter
- IF.com.au
Talk about a really long road. News has arrived hot off the wire that Wolf Creek 2 has begun shooting and all the necessary pieces are in place to recapture the bloody magic of the sensational original film! Finally!
From the Press Release
John Jarratt once again steps out as the hauntingly sadistic Mick Taylor in Wolf Creek 2, which began principal photography last week. Shooting in South Australia, the film also stars Ryan Corr (Packed to the Rafters), Shannon Ashlyn (Puberty Blues, Devil's Dust), and Philipe Klaus (Devil's Dust, Rake).
Directed by Greg Mclean, written by Mclean and Aaron Sterns, and produced by Helen Leake (Swerve, Black and White, Heavens Burning), Greg Mclean, and Steve Topic (Crawlspace), the sequel starts production seven years after the original Wolf Creek hit screens internationally.
“It’s really exciting to work with John Jarratt once more to delve deeper into the fascinating character of Mick Taylor.
From the Press Release
John Jarratt once again steps out as the hauntingly sadistic Mick Taylor in Wolf Creek 2, which began principal photography last week. Shooting in South Australia, the film also stars Ryan Corr (Packed to the Rafters), Shannon Ashlyn (Puberty Blues, Devil's Dust), and Philipe Klaus (Devil's Dust, Rake).
Directed by Greg Mclean, written by Mclean and Aaron Sterns, and produced by Helen Leake (Swerve, Black and White, Heavens Burning), Greg Mclean, and Steve Topic (Crawlspace), the sequel starts production seven years after the original Wolf Creek hit screens internationally.
“It’s really exciting to work with John Jarratt once more to delve deeper into the fascinating character of Mick Taylor.
- 1/31/2013
- by Uncle Creepy
- DreadCentral.com
The sequel to Australia’s highest grossing R-rated film ever has started production in South Australia after long delays.
Wolf Creek 2 has begun principal photography, again helmed by writer-director-producer Greg Mclean.
It will be a welcome relief to Mclean after the film struggled to get off the ground due to financing issues. In 2011 private investor Geoffrey Edelsten agreed to $5m investment but was later accused of failing to honour his commitment.
In a counter-suit, Edelsten claimed he was misled into being the major private investor.
The film was back on track by September but Edelsten has not returned as an investor in the project.
However the film does see the return of notorious pig hunter Mick Taylor played by John Jarrett, currently seen in Quentin Tarantino’s Django Unchained.
Mclean said: “It’s really exciting to work with John Jarratt once more to delve deeper into the fascinating character of Mick Taylor.
Wolf Creek 2 has begun principal photography, again helmed by writer-director-producer Greg Mclean.
It will be a welcome relief to Mclean after the film struggled to get off the ground due to financing issues. In 2011 private investor Geoffrey Edelsten agreed to $5m investment but was later accused of failing to honour his commitment.
In a counter-suit, Edelsten claimed he was misled into being the major private investor.
The film was back on track by September but Edelsten has not returned as an investor in the project.
However the film does see the return of notorious pig hunter Mick Taylor played by John Jarrett, currently seen in Quentin Tarantino’s Django Unchained.
Mclean said: “It’s really exciting to work with John Jarratt once more to delve deeper into the fascinating character of Mick Taylor.
- 1/30/2013
- by Colin Delaney
- Encore Magazine
Wolf Creek 2 has started principal photography in South Australia, with John Jarratt once again stepping into the role of sadistic serial killer Mick Taylor. The sequel comes seven years after the original horror feature hit screens internationally and enjoyed great commercial success, despite mixed reviews. Directed by Greg Mclean, written by Mclean and Aaron Sterns, and produced by Helen Leake (Swerve, Black and White, Heavens Burning), Greg Mclean and Steve Topic (Crawlspace), the sequel, with the exception of Jarratt, features a brand new cast of exciting Australian talent. .It.s really exciting to work with John Jarratt once more to delve deeper into the fascinating character of Mick Taylor. We.ve assembled a phenomenal cast and crew who are all working incredibly hard to deliver an even more thrilling ride than the first movie. It.s bigger, badder and should be a wild experience for audiences all over the world., said Mclean.
- 1/29/2013
- by Emily Blatchford
- IF.com.au
Australian cinematographer Jules O'Loughlin Acs has begun shooting big-budget Us TV series Black Sails in Cape Town, South Africa.
The eight-episode pirate series is being produced by filmmaker Michael Bay's company, Platinum Dunes, and also stars Australian lead Luke Arnold, who will play pirate John Silver (McLeod's Daughters, Rush), as well as Toby Schmitz (Crownies), who will play the role of Rackham.
Black Sails tells the story of Captain Flint (Toby Stephens) and his crew twenty years before their appearance in Robert Louis Stevenson's Treasure Island. It also stars Zach McGowan (as John Silver's rival Captain Charles Vane) and Hannah New.
O'Loughlin (Sanctum) was set to shoot horror film Wolf Creek 2 in South Australia before the call-up which led to "the hardest decision of my career to make," he said. The South African Black Sails shoot is expected to take five-months. O'Loughlin was recently nominated for...
The eight-episode pirate series is being produced by filmmaker Michael Bay's company, Platinum Dunes, and also stars Australian lead Luke Arnold, who will play pirate John Silver (McLeod's Daughters, Rush), as well as Toby Schmitz (Crownies), who will play the role of Rackham.
Black Sails tells the story of Captain Flint (Toby Stephens) and his crew twenty years before their appearance in Robert Louis Stevenson's Treasure Island. It also stars Zach McGowan (as John Silver's rival Captain Charles Vane) and Hannah New.
O'Loughlin (Sanctum) was set to shoot horror film Wolf Creek 2 in South Australia before the call-up which led to "the hardest decision of my career to make," he said. The South African Black Sails shoot is expected to take five-months. O'Loughlin was recently nominated for...
- 1/15/2013
- by Brendan Swift
- IF.com.au
The Australian Cinematographers Society has announced the 2012 award winners for New South Wales and the Australian Capital Territory.
Held on November 17 at new venue, the Masonic Centre, Sydney, the 2012 Nsw & Act Annual Awards attracted more than 180 members, sponsors and guests.
The 19 different award categories included student cinematography, current affairs, telefeatures, TV drama and mini-series, music videos and features cinema.
The Ross Wood Snr Acs Memorial Judges Award for 2012 Best Entry was awarded to Toby Oliver.for his work on Beaconsfield.
A list of all winners.can be found.below.
1 - Student Cinematography presented by the Aftrs Bronze Patrick Jaeger "Maquisard" Silver Damian Smith GetUP "It's Time" Gold Tim Barnsley "Inferno" Gold Dimitri Zaunders "Look At Me"
2 - Experimental & Specialised presented by Adept Turnkey & Airview Xtreme Silver Zoe White Gail Sorronda "Oh My Goth" Gold Judd Overton "Door Chair Bed Stair"
3 - John Bowring Acs TV Station Breaks & Promos presented by...
Held on November 17 at new venue, the Masonic Centre, Sydney, the 2012 Nsw & Act Annual Awards attracted more than 180 members, sponsors and guests.
The 19 different award categories included student cinematography, current affairs, telefeatures, TV drama and mini-series, music videos and features cinema.
The Ross Wood Snr Acs Memorial Judges Award for 2012 Best Entry was awarded to Toby Oliver.for his work on Beaconsfield.
A list of all winners.can be found.below.
1 - Student Cinematography presented by the Aftrs Bronze Patrick Jaeger "Maquisard" Silver Damian Smith GetUP "It's Time" Gold Tim Barnsley "Inferno" Gold Dimitri Zaunders "Look At Me"
2 - Experimental & Specialised presented by Adept Turnkey & Airview Xtreme Silver Zoe White Gail Sorronda "Oh My Goth" Gold Judd Overton "Door Chair Bed Stair"
3 - John Bowring Acs TV Station Breaks & Promos presented by...
- 11/18/2012
- by Emily Blatchford
- IF.com.au
The Australian Cinematographers Society has announced the 2012 award winners for New South Wales and the Australian Capital Territory.
Held on November 17 at new venue, the Masonic Centre, Sydney, the 2012 Nsw & Act Annual Awards attracted more than 180 members, sponsors and guests.
The 19 different award categories included student cinematography, current affairs, telefeatures, TV drama and mini-series, music videos and features cinema.
The Ross Wood Snr Acs Memorial Judges Award for 2012 Best Entry was awarded to Toby Oliver.for his work on Beaconsfield.
A list of all winners.can be found.below.
1 - Student Cinematography presented by the Aftrs Bronze Patrick Jaeger "Maquisard" Silver Damian Smith GetUP "It's Time" Gold Tim Barnsley "Inferno" Gold Dimitri Zaunders "Look At Me"
2 - Experimental & Specialised presented by Adept Turnkey & Airview Xtreme Silver Zoe White Gail Sorronda "Oh My Goth" Gold Judd Overton "Door Chair Bed Stair"
3 - John Bowring Acs TV Station Breaks & Promos presented by...
Held on November 17 at new venue, the Masonic Centre, Sydney, the 2012 Nsw & Act Annual Awards attracted more than 180 members, sponsors and guests.
The 19 different award categories included student cinematography, current affairs, telefeatures, TV drama and mini-series, music videos and features cinema.
The Ross Wood Snr Acs Memorial Judges Award for 2012 Best Entry was awarded to Toby Oliver.for his work on Beaconsfield.
A list of all winners.can be found.below.
1 - Student Cinematography presented by the Aftrs Bronze Patrick Jaeger "Maquisard" Silver Damian Smith GetUP "It's Time" Gold Tim Barnsley "Inferno" Gold Dimitri Zaunders "Look At Me"
2 - Experimental & Specialised presented by Adept Turnkey & Airview Xtreme Silver Zoe White Gail Sorronda "Oh My Goth" Gold Judd Overton "Door Chair Bed Stair"
3 - John Bowring Acs TV Station Breaks & Promos presented by...
- 11/18/2012
- by Emily Blatchford
- IF.com.au
The Beaconsfield mine collapse of 2006 was one of the most gripping events to ever rock this country. Sam Dallas finds out how it was recreated for telemovie Beaconsfield, which will premiere on Sunday, April 22, at 8.30pm on Channel Nine.
For his latest screen project, Sydney-based filmmaker Jon Rohde had to descend 1km underground to research the look and feel of a working gold mine. Not your typical day for a production designer.
It was dark, it was dingy, it was claustrophobic . it was essential. In what was probably Rohde.s most challenging project to date, the filmmaker had to document everything he saw with precision because it had to be recreated in a short period of time with limited resources.
.This particular project had to be spot on because there was so much media coverage,. he says, describing the 2006 Beaconsfield mine collapse. No-one knew the nightmare facing trapped miners Brant Webb and Todd Russell,...
For his latest screen project, Sydney-based filmmaker Jon Rohde had to descend 1km underground to research the look and feel of a working gold mine. Not your typical day for a production designer.
It was dark, it was dingy, it was claustrophobic . it was essential. In what was probably Rohde.s most challenging project to date, the filmmaker had to document everything he saw with precision because it had to be recreated in a short period of time with limited resources.
.This particular project had to be spot on because there was so much media coverage,. he says, describing the 2006 Beaconsfield mine collapse. No-one knew the nightmare facing trapped miners Brant Webb and Todd Russell,...
- 4/11/2012
- by Sam Dallas
- IF.com.au
The Film Critics Circle of Australia has announced the nominees for its 2010 Awards, and Animal Kingdom leads the pack with 10 nominations.
Beneath Hill 60 and The Waiting City follow behind with eight nominations each; Tomorrow, When the War Began has five, and Bran Nue Dae and South Solitary have four each.
It’s the first awards ceremony to recognise the previosly ignored Lou and The Waiting City as two of the best films of the year in the main categories; it’s also the first official recognition for South Solitary, which its producers did not even submit for consideration at last December’s AFI Awards.
The ceremony will be held on March 13 at the North Sydney Leagues Club in Cammeray.
The nominees are:
• Best Film
Animal Kingdom Producer: Liz Watts
Beneath Hill 60 Producer: Bill Leimbach
Bran Nue Dae Producers: Robyn Kershaw, Graeme Isaac
Tomorrow When The War Began Producers: Andrew Mason,...
Beneath Hill 60 and The Waiting City follow behind with eight nominations each; Tomorrow, When the War Began has five, and Bran Nue Dae and South Solitary have four each.
It’s the first awards ceremony to recognise the previosly ignored Lou and The Waiting City as two of the best films of the year in the main categories; it’s also the first official recognition for South Solitary, which its producers did not even submit for consideration at last December’s AFI Awards.
The ceremony will be held on March 13 at the North Sydney Leagues Club in Cammeray.
The nominees are:
• Best Film
Animal Kingdom Producer: Liz Watts
Beneath Hill 60 Producer: Bill Leimbach
Bran Nue Dae Producers: Robyn Kershaw, Graeme Isaac
Tomorrow When The War Began Producers: Andrew Mason,...
- 2/8/2011
- by Miguel Gonzalez
- Encore Magazine
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