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CS Video: The Devil All The Time cast talk Netflix crime drama

ComingSoon.net got the opportunity to chat with stars Bill Skarsgård (Castle Rock), Harry Melling (His Dark Materials) and Pokey LaFarge to discuss their work in the Netflix crime drama The Devil All The Time, which is now available to stream on Netflix! Our interviews can be viewed in the player below!

RELATED: The Devil All The Time Review: A Compelling Tale of Cyclic Generational Violence

Based on Donald Ray Pollock’s 2011 novel, The Devil All the Time film is set in rural southern Ohio in a town called Knockemstiff over the course of two decades and surrounding a cast of dark and bizarre characters, including a serial-killing couple, a faith-testing preacher and a corrupt sheriff.

Pick up a copy of the book here!

In Knockemstiff, Ohio and its neighboring backwoods, sinister characters — an unholy preacher (Robert Pattinson), twisted couple (Jason Clarke and Riley Keough), and crooked sheriff (Sebastian Stan) — converge around young Arvin Russell (Holland) as he fights the evil forces that threaten him and his family. Spanning the time between World War II and the Vietnam war, director Antonio Campos’ The Devil All the Time renders a seductive and horrific landscape that pits the just against the corrupted.

The film will be led by MCU stars Tom Holland (Impossible, Spider-Man: Far From Home) and Sebastian Stan (Captain America: Civil War, I, Tonya) along with Robert Pattinson (Good Time, The Batman), Mia Wasikowska (Alice in Wonderland), Bill Skarsgard (It), Haley Bennett (The Girl on the Train), Jason Clarke (Pet Sematary), Riley Keough (It Comes at Night) Eliza Scanlen (Little Women), Harry Melling (Harry Potter films) and Pokey LaFarge.

RELATED: Kit Harrington is a Suspect in Netflix’s Criminal Season 2 Trailer

The Devil All the Time is directed by Antonio Campos who also co-wrote the adaptation with Paulo Campos. It is produced by Randall Poster (Destroyer), Riva Marker (Wildlife) and Jake Gyllenhaal through their Nine Stories Production, marking Gyllenhaal’s second collaboration with Netflix after the horror-thriller Velvet Buzzsaw. Max Born also produces with Jared Ian Goldman, Marc Hammer, and Annie Marter executive producing.

The movie is now available to stream on Netflix!

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The post CS Video: The Devil All The Time Cast Talk Netflix Crime Drama appeared first on ComingSoon.net.

New to Stream: MUBI’s October 2020 film slate

MUBI, the premier streaming service for curated films, has revealed its October lineup, including new retrospectives, tributes and exclusive premieres, the month seeing the exclusive online premiere of South Terminal, which reflects on the long civil war that racked his native Algeria throughout the 1990s.

RELATED: New to Stream: Acorn TV’s October 2020 Lineup

October will also mark the beginning of an ongoing retrospective dedicated to Amit Dutta, one of India’s most significant contemporary filmmakers and practitioners of experimental cinema. Giving viewers a chance to discover his bold and stirringly beautiful body of work, this retrospective will present one of Dutta’s films each month beginning with Nainsukh, a dreamy and intoxicating tribute to the 18th-century Indian painter Nainsukh of Guler.

For those in the mood for a good scare this spooky season, MUBI will present a month-long series dedicated to genre maestro Kiyoshi Kurosawa, who just took home the Best Director award at Venice. Best known for his many contributions to the Japanese horror genre through cult classics such as Cure and Pulse, this selection features a handful of Kurosawa’s mind-bending work including the absorbing four hour ghost series Penance and nail-biting thriller Creepy.

Additional programs of note include: a double bill from Ben Rivers featuring his two recent short films Ghost Strata and Now, at Last! as well as Performers We Love, a new ongoing series dedicated to masterful performances by singular actors, starting with Age of Uprising: The Legend of Michael Kohlhaas, in which Mads Mikkelsen stars in the titular role.

Highlights from the October lineup are as follows:

EXCLUSIVELY ON MUBI

MUBI is proud to present the online premiere of South Terminal(Locarno ‘19), the latest work from the celebrated Algerian-French auteur Rabah Ameur-Zaïmeche. Blending fiction with reality, the film vividly explores the traumas and deep wounds imprinted by colonial violence. This exclusive presentation will sit alongside a retrospective dedicated to the director in the MUBI Library, which will include his much-feted films Wesh wesh, qu’est–ce qui se passe? and Story of Judas.

South Terminal — October 5

Winner of the Silver Bear for Best Short Film at Berlin last year, Manuel Abramovich’s intimate documentary Blue Boy profiles immigrant male sex workers in Berlin. Abramovich captures the young men as they react to their own stories in a series of portraits that explore the performativity of the everyday.

Blue Boy — October 15

MUBI is thrilled to exclusively present the international premiere of the new 2k restoration of Werner Schroeter’s celebrated film Malina, the first of the director’s three collaborations with Isabelle Huppert. An adaptation of Ingeborg Bachmann’s 1971 novel, the film is driven by Huppert’s masterful performance and features breathtaking visuals and a striking operatic score.

Malina — October 22

The Inimitable Image: An Amit Dutta Retrospective — Exclusive

MUBI is proud to launch a new ongoing retrospective dedicated to the experimental filmmaker Amit Dutta, one of India’s most distinctive and unique contemporary cinematic voices. Operating outside India’s conventional film industry hubs, his deeply meditative films explore diverse forms of artistic expression. Dutta’s prolific body of work has garnered admiration from major film festivals, including Venice and Rotterdam. Sitting alongside MUBI’s current series A Journey Into Indian Cinema, which features a classic of Indian Cinema each month, MUBI will now also exclusively present one of Dutta’s films monthly. The series kicks off with Nainsukh, an intimate portrait of an 18th-century painter.

Nainsukh — October 16

RELATED: New to Stream: Netflix and Chills 2020 Lineup Announced

Double Bill: Ben Rivers — Exclusive

After featuring much of his work on the platform and co-producing his film Trees Down Here in 2018, MUBI returns again to the visionary work of UK artist and filmmaker Ben Rivers. This double bill exclusively features his two recent short films, the globetrotting Ghost Strata and his singular portrait of a sloth Now, at Last!  

Ghost Strata — October 21

Now, at Last! — October 27

The Uncanny Universe of Kiyoshi Kurosawa

This October, MUBI embraces the Halloween spirit with the mind-bending cinema of genre maestro Kiyoshi Kurosawa. Bridging both the art house and genre film worlds, Kurosawa’s unmatched career has been celebrated by major festivals and genre fans alike. His prolific and diverse filmography proves few are more skillful at cultivating suspense and a sense of uneasiness. This selection includes his epic four hour ghost series Penance and the celebrated disquieting thriller Creepy.

Döppelganger — October 1
Creepy — October 12
Beautiful New Bay Area Project — October 20
Penance — October 28

Taiwanese in America

MUBI is currently highlighting the vibrant works of the “first wave” of New Taiwanese Cinema, including the influential directors Edward Yang and Hou Hsiao-hsien. This October, MUBI will continue this focus on Taiwanese cinema, featuring two masters from the next generation of Taiwanese filmmakers (the “second wave”): Sylvia Chang and Ang Lee. This double bill presents two films exploring the Taiwanese immigrant experience in America, Sylvia Chang’s Siao Yu and Ang Lee’s Pushing Hands.

Siao Yu — October 6
Pushing Hands  — October 7

MUBI will launch a new ongoing series dedicated to masterful performances by singular actors. The program kicks off with Mads Mikkelsen’s valiant performance as the titular Michael Kohlhaas in Arnaud des Pallières’s epic Palm d’Or contender Age of Uprising: The Legend of Michael Kohlhaas.

Age of Uprising: The Legend of Michael Kohlhaas — October 9

The post New to Stream: MUBI’s October 2020 Film Slate appeared first on ComingSoon.net.

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CS Score: Die Hard: 30th Anniversary Edition & Harley Quinn Composer Jefferson Friedman

Yippee kay yay, soundtrack lovers! Today we’ve got an amazing batch of material for you to check out. First, a look at the soundtrack to the PBS docuseries And She Could Be Next, featuring the single “Believe” by Sa-Roc. Then, we’ll take a look at La-La Land Records’ 30th Anniversary Remastered Limited Edition of Michael Kamen’s classic Die Hard, which recently became available again. Finally, we sat down with Harley Quinn composer Jefferson Friedman who discussed the music to the popular HBO Max series and revealed his thoughts on writing a new theme for the Batman.

Listen to the Single “Believe” by Sa-Roc from the Soundtrack And She Could Be Next

Lakeshore Records has released the first single to the soundtrack for the PBS series And She Could Be Next, titled “Believe” by Sa-Roc, Ginger Shankar and D*L*P feat. Aloe Blacc. The single is available digitally by Lakeshore Records today, September 18 and the album, “She Could Be Next” will be released October 2. and features dynamic, powerful, outspoken voices from the hip hop, pop, and R&B community including Aloe Blacc, Lila Downs, Sa-Roc, Sheila E, Arabian Prince (NWA), Madame Gandhi, Saul Williams, Tarriona “Tank” Ball, Hyro the Hero, William Stanbro, Flor de Toloache, Ruby Ibarra, Judith Hill, Shawnee, Sussan Deyhim, Sarah Thawer, Vivek Maddala, Jahi Lake, Daniel French from Las Cafeteras, Sarah DeAun McCrary, Dee MC, and Nappy Nina.

And She Could Be Next is produced by and features musician and composer Gingger Shankar (The Passion of the Christ, CNN’s We Will Rise: Michelle Obama’s Mission to Educate Girls Around the World, Akicita: The Battle of Standing Rock), who scored the two-part documentary series.

Purchase the song by clicking here!

Die Hard: 30th Anniversary Remastered Edition
Michael Kamen

Die Hard remains on of the great (if not greatest) action films ever made — an exciting spectacle boasting terrific performances from Bruce Willis and Alan Rickman, spectacular action set pieces, and a dynamic score from Hollywood great, the late Michael Kamen.

Kamen was already well established in the industry thanks to his scores for popular films such as The Dead Zone, Brazil, Highlander, Lethal Weapon and Adventures in Babysitting, as well as his work on Pink Floyd’s “The Wall”, and was a natural fit for Die Hard. And while his score was ultimately cut and pasted all over the final film, it still serves as a massive achievement in a career that spanned several decades until the composer’s untimely death in 2003.

Using a variety of instruments, including brass, woodwinds, pizzicato and arco strings, all of which are mixed with sleigh bells as well as references to the Christmas ballad “Let It Snow!”, “Singin’ in the Rain”, and Beethoven’s 9th Symphony, or “Ode to Joy,” Kamen presents a score that is both ominous and thrilling. Indeed, the score follows the beats of John McTiernan’s film in that the first half is rather minimalistic in nature as the pic’s hero, John McClane, sneaks about the massive Nakatomi Plaza in search of a means to stop Hans Gruber and his merry band of “terrorists,” while the second half of the score is decidedly more bombastic during the more elaborate, action-heavy set pieces.

La-La Land Records originally released Die Hard: 30th Anniversary Remastered Edition back in January of 2019 but with limited quantities. As such, the soundtrack was unavailable for some time, unless you wanted to spend more than twice the amount of its initial cost on eBay or Amazon. Luckily, La-La Land saw fit to re-release the score, and the results are mighty impressive.

First off, the packaging is terrific. The entire set consists of 3 CDs and each disc boasts stunning artwork featuring a character from the film — namely, McClane, Hans and Alexander Godunov’s Karl — while linear notes written by film historian Eric Lichtenfeld offer a great encapsulation of Die Hard’s production as well as its overarching legacy along with a detailed recap of each track on the album. The score itself is presented in the manner originally crafted by Kaman and spread across the first two discs. CD2 also features additional music, including alternate cues and unused takes; and even James Horner’s Resolution & Hyperspace, which is an unused track written for Aliens but was repurposed for the moment in which Sgt. Al Powell (Reginald VelJohnson) takes down Karl at the film’s climax.

The third disc offers the score as presented (and edited) in the final film along with a drum solo titled “Wild Take” and the tracks “Roy Rogers Meets Beethoven’s Ninth,” and “Hip Hop Christmas,” with vocals by Kamen himself.

In other words: this is quite literally every single note of music written for Die Hard, edited by Bulk, remixed by Matessino, and mastered by Daniel Hersch (sourced from recently rediscovered original digital multi-track tapes) and produced in cooperation with the Michael Kamen Estate. It’s absolutely spectacular!

Tellingly, the music as originally intended by Kamen is a bit more structured in its presentation. I’m a sucker for listening to the music as heard in the film but it’s also interesting to hear how the composer approached the film versus the final result. For example, the composer originally wrote a nice bit of music for Holly and John that first appears in “Seeing Holly” and earns a reprisal in “Aftermath – Powell’s Comeback,” but that music was replaced by the aforementioned Horner cue. “The Phone Goes Dead/Party Crashers” went largely unheard in the film as well, replaced instead by music from the track “Tony and John Fight.” In all, Kamen’s music was similar to the score written by John Williams for Raiders of the Lost Ark I that it bubbles under the surface via the use of plucked strings and steel guitar (albeit with occasional bursts of action) before building to a massive finale — a structure the score as presented in the film all but eliminates. I consider Die Hard to be as close to a perfect film as one can get and wouldn’t change anything about the final release, though, as a film score enthusiast, I’d be curious to hear the music as originally intended to see how it matches up with the images on screen. And while a lot of Kamen’s music was indeed cut, including a number of darker cues that don’t quite jive with the more light-hearted nature of the pic, many of his ideas found their way into his scores for Die Hard 2: Die Harder and the equally superb Die Hard With a Vengeance.

Standout action cues include “Assault on the Tower,” “Shoot the Glass” and the thrilling “The Battle/Freeing the Hostages,” while “Message for Holly” and “I Had an Accident (Extended Version)” offer quiet, lovely string-heavy underscore.

All told, Die Hard deserves recognition as one of the finest action scores ever written and stands out as a stunning achievement in Kamen’s distinguished career. It’s a goddamned masterpiece! Click here to get it before it’s gone again!!!

Disc 1: The Film Score

Main Title :43
Seeing Holly 1:07
Terrorist Entrance 4:06
The Phone Goes Dead / Party Crashers 1:53
John’s Escape / You Want Money 6:01
The Nakatomi Plaza (Takagi’s Death) 1:45
Wiring The Roof 1:51
Approaching The Vault* :48
Fire Alarm 2:04
Tony Approaches 1:42
Tony And John Fight 1:13
Santa :57
He Won’t Be Joining Us 3:02
And If He Alters It 2:40
Going After John 4:32
Have A Few Laughs / Al Powell Approaches 3:32
Under The Table 1:59
Welcome To The Party 1:10
Yippee Ki-Yay** :45
Holly Meets Hans 1:20
Assault On The Tower 8:34
John Is Found Out 5:04
Attention Police 3:54
Bill Clay 4:09
Shoot The Glass** 2:20
I Had An Accident (Extended Version)** 2:56
Total Disc 1 Time: 70:08

Disc 2: The Film Score (Continued)

The Vault (Film Edit) 3:07
Message For Holly (Film Edit)** 3:13
Gun In Cheek (Extended Version)** 1:20
The Battle / Freeing The Hostages 6:53
The Fire Hose** 1:24
Helicopter Explosion And Showdown 4:02
Happy Trails, Hans* 1:42
Aftermath – Powell’s Comeback* 2:52
Let It Snow 1:44
Performed by Vaughn Monroe
Written by Sammy Cahn and Jule Styne
Published by WB Music Corp. OBO Cahn Music Company (ASCAP)
Chappell & Co., OBO Producers Music Publishing Co. (ASCAP)
Courtesy of Geffen Records under license from Universal Music Enterprises
Beethoven’s 9th (End Credit Excerpt) 3:53
Written by Ludwig van Beethoven; Courtesy of APM Music
Total Score Time: 100:18

Additional Music

Main Title (Alternate)* :40
The Nakatomi Plaza (Takagi’s Death) (Alternate)* 1:47
Approaching The Vault (Alternates)* 2:33
Tony Approaches (Alternate)* 1:43
Yippee Ki-Yay (Extended Version) 2:48
Assault On The Tower (Alternate Excerpts)* 3:44
Attention Police (Pick Up Opening)* 2:04
The Vault (Alternate)* 2:52
The Vault (Alternate Performance) 2:11
Message For Holly (Original Version)** 2:52
Message For Holly (Revised Version)** 2:58
Happy Trails (Tracked Film Edit) 1:13
We’ve Got Each Other 1:56
From the movie Man On Fire
Composed by John Patrick Scott (PRS)
Published by T C F Music Publishing, Inc. o/b/o New Regency Music (ASCAP)
Resolution and Hyperspace (Excerpt) 2:47
From the movie Aliens
Composed by James Horner (ASCAP); WB Music Corp; Rewind Music Inc.
Wild Percussion* 2:16
Roy Rogers Meets Beethoven’s 9th (Source) 1:33
Winter Wonderland (Source) 1:26
Written by Felix Bernard and Dick Smith
Let It Snow (Source) 1:58
Performed by Michael Kamen; Written by Sammy Cahn and Jule Styne
Published by WB Music Corp. OBO Cahn Music Company (ASCAP)
Chappell & Co., OBO Producers Music Publishing Co. (ASCAP)
Christmas In Hollis 2:58
Performed by RUN-DMC, Courtesy of Arista Records
Written by Joseph Simmons, Darryl McDaniels, Jason Mizell
Published by WB Music Corp. (ASCAP)
Ⓟ 1987 Arista Records LLC by arrangement with Sony Music Licensing
Total Additional Music: 42:19
Total Disc 2 Time: 72:38

Disc 3: The Vault: Bonus Music from Die Hard

Main Title (Film Edit) :36
Seeing Holly (Film Mix) 1:05
The Phone Goes Dead / Party Crashers (Extended Opening)** 2:22
The Nakatomi Plaza (Takagi’s Death) (Orchestra Only) 1:47
Wiring The Roof (Film Mix Excerpt) :58
Tony Approaches (Film Mix) 1:44
Going After John (Film Mix) 4:33
Al Powell Approaches (Film Mix) 2:32
Al Powell Approaches (Alternate)* 2:37
Under The Table (His Bag Is Missing) (Film Edit) 1:25
John Is Found Out (Film Mix) 5:54
Bill Clay Pt. 1 (Film Mix) 2:08
Bill Clay Pt. 2 (Extended)** 2:08
Shooting The Glass 1:08
Message For Holly (Original Version) (Orchestra Only)** 2:53
The Battle (Alternate Excerpt)** 1:19
Wild Take* 1:29
Roy Rogers Meets Beethoven’s Ninth (Alternate)* 1:36
Hip Hop Christmas (Source)* 1:44
Vocal by Michael Kamen

Total Disc 3 Time: 39:58
Total Three Disc Time: 182:44
* Previously Unreleased
** Contains Previously Unreleased Material

Interview with Harley Quinn Composer Jefferson Friedman

Click here to purchase Harley Quinn Season 1 soundtrack!

ComingSoon.net: How did you get involved with Harley Quinn?

Jefferson Friedman: I had worked with Pat [Schumacker] and Justin [Halpern] and Dean [Lorey] before on Powerless, and so just as we were finishing up our lists, they had mentioned to me that they just got commissioned to write a Harley Quinn pilot. And I was like, Well, I’m available. We hit it off creatively and personally, when we were working on Powerless together, and so it was a pretty natural fit for everybody, I think.

CS: When you first came aboard Harley Quinn did you know exactly how you were going to score this series?

Friedman: I think that there are two answers to that, the short answer being that like, literally in that moment, on the mixing stage for the last episode of Powerless, I had a bright vision of what the show should sound like. Then, two years passed I think between the time that they said it was being developed and the time that we started working on it. And so over the course of those two years, it’s just, you know, sort of ideas kept popping into my head and the ones that remained at the end of those two years ended up becoming the sound of the show, which ended up being like, very similar to like the flash of inspiration I had at the very beginning.

CS: Were you given a clear set of instructions on how to handle the material or were you free to do what you wanted to do?

Friedman: I mean, the process is different for every, you know, show runner/composer team. We sat down in a room, the four of us — the three guys and then Jen Coyle who is a supervising animator on the show. I presented a pitch to them of what I thought the music should sound like, and they bit. They were like, Yep, that’s great! And then and I went home and started, you know, maybe a month later, after I’d finished some of the major themes for the show, I played it for some of the guys and they were like, That’s great. That doesn’t always happen! But, you know, on this project, I think we all sort of understood from the beginning what what it’s supposed to be. And I don’t just mean the music. I mean, I think everybody worked on the show. It just had this kind of synergy with each other and just kind of knew what the show needed to be.

CS: How much fun was it to score a series like Harley Quinn that features all of these wild, even iconic comic book characters?

Friedman: I mean, it couldn’t have been more fun. It’s the most fun I’ve ever had doing my job. Not only was it fun, but it was really special to be able to contribute to the canon of music for these iconic heroes and doing my own particular take on it. But yeah, I mean, the variety of the score was there. Every episode had a bunch of new and different challenges and that helps keep you engaged as a composer. I had a blast.

CS: So what were some of the challenges you faced? Did feel the pressure of writing music for these famed characters?

Friedman: Yeah, for sure. I mean, the Batman theme was sort of the most intimidating. And funnily enough, the one that came out the quickest of all the major characters teams. I just remember sitting down in my studio and I just said out loud to myself, “I’m writing a Batman theme for Batman.” And it just kind of occurred to me that like, that’s kind of a crazy thing that not very many people in the history of the world have had the opportunity to do. So yeah, I definitely tried to rise to the occasion.

CS: Speaking a little more on that, we’ve had so many iterations of Batman by the likes of Danny Elfman and Hans Zimmer. How do you separate yourself from what they’ve already done? Are those scores constantly floating around in the back of your brain? Or is there an urge to mimic those styles?

Friedman: I wouldn’t say mimic those styles. I’ve said this in a few other interviews — I didn’t listen to any DC related music as soon as I started working on the project until it was over because I wanted my memory of those themes to inform the score versus like literally inform the score. So, it’s some sort of abstract idea of, like you say, like rolling around the back of my head what Danny Elfman’s theme sounds like what Zimmer’s theme sounded like etc, etc. Batman was kind of a special case, because for some of the other characters that were like fully reinvented for the show, I felt like I had the opportunity to also fully reinvent their sound. But Batman is played as such a straight guy on the show that my concept for his theme was just like, write a proper straight up the middle Batman theme. And so that theme I think sounds similar to all the other bat themes because it was by design that way.

CS: What were the what were the challenges with Season 2?

Friedman: For Season 1, and I think on the show narratively as well, you have to spend a lot of time establishing characters and establishing the world; and establishing the relationships between characters. And so, my job is to write themes that sound like those characters and then stick to the themes and only change them if I need to change them for some sort of dramatic reasons, some sort of reason to like push the story forward. Once Season 2 started, most of the main character themes were already written. So, at that point, it’s just a matter of using that material. Not coming up with it. Coming up with it obviously takes way more time than just using something that you’ve already created. So, having all the themes done for Season 1 allowed me freed me up time wise and creatively to go in bigger and deeper directions. And for that matter, I think the story of Season 2 warrants that because it’s just it’s a bigger, deeper story too.

CS: Do you view these villains in a sympathetic light? Does that change your approach to how you score them?

Friedman: For sure! I mean, how do people become super villains? You know, like what drives someone to become a super villain? It’s obviously some pain or sadness or something … to be that evil? I think it’s probably a defense mechanism for something lacking on the inside of the villain. So, I think there’s always this kind of tragic sadness to supervillains. I’m not sure I write the music in such a manner so literally or consciously. But that’s the theory or the case inside of my head. Supervillains are tragic. There’s that one episode where it flashes back inside Ivy’s brain to her childhood and shows her a little sad girl who has a birthday party of one and her father’s a monster. That requires a certain amount of pathos to the character.

CS: Do you have any news on season three? 

Friedman: I have no information about season three, I’m sorry to say. That’s my way above way, way above my pay grade. As far as if we get to season three, I think at this point, some of the main themes that I established for these characters could be due for a little bit of freshening up or changing things slightly. It really all depends on on what the story is gonna be. Obviously, if it’s sort of a return to the Season 1standalone episode style, I’ll think of the season in a different way than if it’s more like the through line narrative they used on Season 2.

CS: What do you believe is the most challenging aspect of composing music for film or TV?

Friedman: I think the most challenging aspect of it is the turnaround — the quick turnaround — that everything needs to get done so quickly in this town that you always feel like you’re just barely getting everything done. We did Season 1 and Season 2 back-to-back and I got two weeks for each episode. There were 26 episodes, so it was just like a year’s worth of steady work for seven days a week. You need a lot of stamina to do it. With that said, it’s one of my favorite things about this version of my job as a composer. Because when I was a classical composer you had all the time in the world to do whatever you wanted and that can be as difficult as a short deadline. Sometimes it can be even more difficult. Deadlines are a good thing!

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Hot Toys reveals Lando & Boba Fett Empire Strikes Back figures!

In celebration of the iconic sci-fi adventure’s 40th anniversary, Hot Toys has unveiled new figures of Star Wars: The Empire Strikes Back‘s Lando Calrissian and Boba Fett that are set to hit shelves in early 2022. The figures can be viewed in the gallery below!

RELATED: The Clone Wars’ Ahsoka & Clone Trooper Figures Unveiled by Hot Toys!

In his youth, Lando Calrissian was a sportsman seeking a fortune at the sabacc tables. After he lost his beloved ship to Han Solo, Lando spent years living the high life and pursuing get-rich-quick schemes, with uneven results. He went semi-respectable as the baron administrator of Cloud City, only to be drawn into the fight against the Galactic Empire.

Celebrating the 40th anniversary of Star Wars: The Empire Strikes Back, Hot Toys is thrilled to continue expanding the series of throwback collectibles based on this iconic film and delighted to officially introduce the new 1/6th scale collectible figure of many fans’ beloved smooth talker – Lando Calrissian!

The highly-accurate Lando Calrissian collectible figure is skillfully crafted based on his appearance in the movie featuring a newly developed head sculpt with astonishing likeness, meticulously tailored outfit and cape, two blasters, a communicator, a wrist link, a figure base with Cloud City backdrop all in a specially designed retro style packaging!

RELATED: Hot Toys Unveils New Cosbaby Figures with Venom & Disney Princesses

Armed in customized Mandalorian armor, dangerous weaponry and highly trained combat skills, Boba Fett has earned a notorious reputation as one of the deadliest bounty hunters in the galaxy as he takes on contracts from the criminal underworld and the Galactic Empire. 

Based on his famous appearance in the beloved film, the Boba Fett collectible figure features a meticulously crafted Mandalorian helmet and armor with distressed effects, his iconic jetpack, a cape, detailed blasters, and a display stand! Furthermore, this 1/6th scale collectible figure features an alternative version of Boba Fett’s armor including a range of interchangeable parts such as helmet, jetpack, gauntlets, cape, and a number of gloved hands all packaged in specially designed retro style packaging!

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The post Hot Toys Reveals Lando & Boba Fett Empire Strikes Back Figures! appeared first on ComingSoon.net.

Lee Isaac Chung tapped to write/direct live-action Your Name

After initially having Marc Webb (The Amazing Spider-Man) set to direct the live-action adaptation of Your Name, Paramount Pictures, Bad Robot Productions and Toho have shifted gears and tapped Lee Isaac Chung (Minari) to rewrite and direct the new take on Makoto Shinkai’s acclaimed anime, according to Deadline.

RELATED: Lulu Wang to Helm English Adaptation of Like Father, Like Son

Chung, who first found acclaim with his 2007 debut Munyurangabo at that year’s Cannes Film Festival, will be working off the most recent draft of the script penned by Emily V. Gordon (The Big Sick), who was in turn working off the original draft written by Arrival‘s Eric Heisserer.

Click here to purchase the 2019 hit!

Released in Japan in 2016 and in the US in 2017, the story centers on Tokyo highschooler Taki Tachibana and Mitsuha Miyamizu from the rural Itomori, who discover they have the ability to switch bodies with one another and as a natural disaster threatens to destroy their lives, they must journey to meet each other and save their worlds before it’s too late. It became a runaway success upon its release, grossing over $303 million in Japan alone, becoming one of the country’s biggest hits and spawning a bidding war when the rights to multimedia adaptations hit the market in 2017.

Bad Robot’s J.J. Abrams (Star Wars: The Rise of Skywalker) is set to produce the film alongside Genki Kawamura, a producer on the original project, with Toho handling Japanese distribution of the film and Paramount distributing it to all other territories.

RELATED: The Three-Body Problem: David Benioff & D.B. Weiss Adapting Sci-Fi Trilogy

Following his 2007 acclaimed debut and a handful of acclaimed indie dramas, Chung recently returned with the A24 and Plan B Entertainment-produced Minari, which won the Grand Jury and Dramatic Audience Awards at this year’s Sundance Film Festival.

(Photo Credit: Rich Fury/Getty Images)

The post Lee Isaac Chung Tapped to Write/Direct Live-Action Your Name appeared first on ComingSoon.net.

John Boyega & Gavin Hood team for The Test adaptation

As we await to see his turns in Steve McQueen’s Small Axe and Naked Singularity, John Boyega has found his next project in the form of an adaptation of Silvain Neuvel’s The Test, which is set to be directed by Gavin Hood (Eye in the Sky), according to Deadline.

RELATED: There Be Monsters: John Boyega & Darren Criss to Star in Sci-Fi Podcast

Published in February 2019, the story is set in an authoritarian near-future and centers on a soft-spoken immigrant as he takes a citizen evaluation test while a brilliant young behavioral psychologist supervising the test must confront a terrorist group led by a far-right fanatic.

The Attack the Block star has signed on to portray the young psychologist while Payman Maadi, best known for his roles in HBO’s The Night Of and the Oscar-nominated A Separation, is set to star as the soft-spoken immigrant.

Click here to purchase Neuvel’s 2019 novella!

In an official statement, Hood described the film as “a heart-pounding psychological thriller, set in an authoritarian near-future that grabbed me by the throat and left me reeling.”

The script for the project was adapted by Hood, known best for his Oscar-winning crime drama Tsotsi, while Erwin Stoff is attached to produce and Zev Foreman and Ilda Diffley are overseeing the film for Entertainment One.

RELATED: Steve McQueen’s Small Axe First-Look Photo Features John Boyega

After breaking out in his feature debut Attack the Block, Boyega went on to further stardom upon joining the Star Wars franchise as Stormtrooper-turned-rebel fighter Finn, appearing across all three films in the sequel trilogy as well as reprising the role in two episodes of Star Wars: Forces of Destiny. When he wasn’t busy soaring through space, he also found acclaim with his appearances in the biographical drama Detroit as well as offering turns in Pacific Rim: Uprising, The Circle and Netflix’s CG-animated adaptation of Watership Down.

(Photo Credits: Getty Images)

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Rating: 

BEGIN SLIDESHOW

5/10

Cast:

Janelle Monáe as Veronica Henley / Eden

Eric Lange as Him

Jena Malone as Elizabeth

Jack Huston as Captain Jasper

Kiersey Clemons as Julia

Gabourey Sidibe as Dawn

Marque Richardson as Nick

Tongayi Chirisa as Eli

Robert Aramayo as Daniel

Co-Written & Co-Directed by Gerard Bush and Christopher Renz

Click here to rent or purchase Antebellum!

Antebellum Review:

In the wake of Jordan Peele’s breathtaking directorial debut Get Out, the horror-thriller genre has seen a beautiful revival of tales that not only seek to shock its audiences but also inform them on the struggles persons of color and various genders endure in contemporary America and while Gerard Bush and Christopher Renz’s Antebellum certainly does plenty of the latter, it unfortunately is thoroughly lacking in the former.

Successful author and social justice pioneer Veronica Henley has her world upheaved as she finds herself trapped in a horrifying reality and living on an 1800s plantation and must uncover the secret behind the mind-bending mystery and confront the past, the present and the future to get back home to her husband and daughter before it’s too late.

The concept for the film is truly brilliant, the idea of a modern-day woman suddenly finding herself in the past only instead of a cheery situation like A Connecticut Yankee in King Arthur’s Court, it’s the horrific racist time of the American South, but one of the film’s problems comes in that it doesn’t take full advantage of this premise. It takes plenty of time to build the tension in its present day scenes and to develop Veronica into one of the most intelligent and easy-to-root-for Black women of the genre in the past decade while the plantation scenes do well to show off the real horrors of the past, but the two really feel like disparate halves that add up to a disappointing whole.

RELATED: CS Interview: Janelle Monáe on Social Horror-Thriller Antebellum

Thematically, the two match up brilliantly as a way to explore idea of never forgetting the horrible past and the attempt at erasure of the culture and voices of the African-American community in America and when it hits, it hits hard, but the problem is sometimes it’s too on the nose or just not subtle enough to meld with its genre home. Bush and Renz clearly have great messages fighting to be heard from within in the story, but without properly executing its ambitious plot, it almost threatens to silence itself.

The film isn’t thoroughly disappointing, as there are a number of elements that not only work but prove to be outstanding, one of which is the direction from the duo. In their feature debut, Bush and Renz show an incredible grasp on delivering artfully shot scenes from start to finish, especially all the scenes set on the plantation as there’s such an interesting combination of a clean palette of sun-bathing colors in the daytime to the muted but compelling shades of orange in the nighttime.

It is also supported by truly breathtaking performances from its entire cast, especially those of Monáe, Malone and Huston. In just under five years of appearing on screens, Monáe has proven herself to be one of the best musicians-turned-actors in a long while and though this may not see her peak performance just quite yet, it sees her truly shine as an empowering and brilliant modern Black woman that feels very much in line with her own efforts that she helps bring her character to life in stellar fashion. When it comes to portraying a completely despicable racist in this day and age, one could either go with a more subtle approach or go full cartoonish with their performance, but Huston and Malone find a nice middle ground with plenty of moments that dangerously approach becoming caricatures but pull back just enough to give their characters an extra layer of complexity to keep them watchable across its 106-minute runtime.

Antebellum was certainly a film with plenty of potential to explore some important timely topics while simultaneously delivering some chills and thrills, but with such a focus on the former it loses sight of how to achieve the latter that it proves a disappointment, especially in its time-bending revelations, that even its strong performances and stylish direction can’t quite save the experience.

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The Opening Act Trailer: You have to start at the bottom to reach the top

RLJE Films has debuted the first trailer for the star-studded indie comedy The Opening Act led by Jimmy O. Yang (Fantasy Island) and Cedric the Entertainer (First Reformed) that shows in the stand-up comedy game, you have to start at the bottom to reach the top. The trailer can be viewed in the player below!

RELATED: The Last Shift Trailer Starring Richard Jenkins in Sony’s New Comedy

Written and directed by Steve Byrne (Sullivan & Son), the film focuses on Will Chu, who has it all – the job, the girl – but what’s missing is his true passion in life, to become a stand-up comedian. When he gets the opportunity he’s been waiting for, the emcee slot on the road opening for his hero Billy G., the realities of life on the stage come crashing in. Between relentless hecklers, drunk comedy groupies and hard-to-impress morning radio DJs, things get off to a rough start. Even if he can take the opportunity to learn from his idols and overcome the challenges, Will still needs to decide if he should continue with the life he has, or pursue the one he has always dreamt of – the life of a comedian.

Alongside Yang and Cedric, the cast for the film includes Alex Moffat (F is for Family), Neal Brennan (Capone), Debby Ryan (Insatiable), Ken Jeong (Crazy Rich Asians), Bill Burr (The King of Staten Island), Jermaine Fowler (Sorry to Bother You), Whitney Cummings (The Female Brain), Russell Peters (Supercon), Tom Segura (Countdown), Iliza Shlesinger (Spenser Confidential) and Roy Wood Jr. (Space Force).

RELATED: Henchmen Trailer Unveils Star-Studded Animated Adventure

The Opening Act, which is also produced by Vince Vaughn (Freaky) and Peter Billingsley (Spider-Man: Far From Home), is set to hit select theaters, digital platforms and VOD on October 16.

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Filmshop Exhibition Offers Virtual Indie Film Series

Filmshop, a nonprofit collective of independent filmmakers in NY, LA, and New Orleans announced a new initiative called Filmshop Exhibition, an online showcase offering members the opportunity to share their work virtually via curated blocks by notable members of the entertainment industry. The free series kicks off September 10th and runs on Thursdays, Fridays, and Saturdays through October 24th on their website.

RELATED: I Wish I Made That: Mars Attacks & Critters

Each curated block will be available for 24 hours after the scheduled start time each week. Additional offerings include live social media Q&A’s after exhibitions on Friday nights, and three panels addressing ongoing issues within the Latinx, BIPOC, and LGBTQ+ film communities. You can read more about the films and curators as well as see the full event schedule via their website. If you’d like RSVP for a particular block, you can visit their Eventbrite page.

RELATED: I Wish I Made That: Valley Girl & Vampire’s Kiss

Curators include: Adam Baran (Filmmaker and Curator of Queer|Art|Film), Adeel Ahmed, Kamran Khan, and Lipica Shah (Co-Founders, 1497 Writers Lab), Alyson Shumeyko (Producer, Mustache Agency), Anthony Kao (Founder and Editor-in-Chief, Cinema Escapist), Chip Parham (Senior Shorts Programmer, Lighthouse International Film Festival), Elizabeth Lodge Stepp (Producer and Member of the Department of Motion Pictures), Genevieve Villaflor (Film Programmer and PR and Festivals Consultant), Hannah Ruth Earl (Talent Associate, Moving Picture Institute), Jake Hart (Screenwriter and Content Curator at DUST), Julia Douglas and Colin Usher (Founders, Studio Faire Residency), Lela Meadow-Conner (CEO and Mother/Founder, mama.film), Lydia Darly (Co-Founder and Managing Director, NovaFrontier Film Festival), Melanie Addington (Executive Director, Oxford Film Festival), Michael Dunaway (Editor at Large, Paste Magazine, and Founding Partner of Gasoline Films and Poitier & Dunaway Motion Pictures), Reinaldo Marcus Green (Writer, Director, & Producer whose credits Include: Monsters and Men, Top Boy, Good Joe Bell, King Richard), Rosalind Murphy (Media Consultant and Producer), Samantha Shepard (Producer, Mustache Agency), Sarah Peters (Writer, Director, Producer and Director of National Publicity at Searchlight Pictures), Skye Borgman (Director and Co-Owner of Top Knot films), Stephanie Iscovitz (Motion Picture Literary Coordinator, Buchwald), and Thelma Adams (Author and Film Critic)

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The Devil Has a Name Trailer Starring David Strathairn, Kate Bosworth & Edward James Olmos

Momentum Pictures has released the official trailer for The Devil Has a Name, an upcoming drama movie inspired by true events starring Oscar nominee David Strathairn (Good Night, and Good Luck.), Kate Bosworth (Superman Returns), and Oscar nominee Edward James Olmos (Battlestar Galactica). Also directed by Olmos, you can check out the trailer for the movie now in the player below along with the full key art!

RELATED: Exclusive The 2nd Clip Featuring Ryan Phillippe & Casper Van Dien

Widowed, broke, and adrift, farmer Fred Stern (Strathairn) finds a new purpose in life when he learns that the psychotic matriarch of a sinister oil company is polluting his water. But as his crusade against the powers that be spills out of the courtroom and into his personal life, Fred must find a way to avoid the ruin of his farm, his family, and his dreams.

Inspired by bizarre, true events, The Devil Has a Name comedically pulls back the curtain on the culture of greed that poisons Corporate America, from sea to polluted sea.

Written by Rob McEveety, the movie also stars Katie Aselton (The Gift), Oscar nominee Haley Joel Osment (The Sixth Sense, The Boys), Emmy nominee Pablo Schreiber (Orange Is the New Black) with Golden Globe nominee Alfred Molina (Feud), and Golden Globe winner Martin Sheen (The West Wing).

RELATED: Momentum Pictures’ The 2nd Trailer & Poster Starring Ryan Phillippe

The Devil Has a Name will release in theaters, On Demand, and on Digital on October 16, 2020.

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