Gugu Mbatha-Raw first caught the film world’s attention with her lead role in Amma Asante’s Belle, and now she’s quickly becoming one of the busiest actresses in Hollywood. You might recognize her most from her recent stint in Black Mirror‘s delightful romance episode “San Junipero,” but soon you’ll see her in Ava DuVernay’s A Wrinkle in Time, Bad Robot’s God Particle (which she didn’t know what a Cloverfield movie), and hear her voice in Disney’s new Beauty and the Beast. But before those hit theaters, Mbatha-Raw co-stars in Miss Sloane as a stalwart gun control lobbyist.
Imagine landing your first role in an Oscar-winning director’s film. Now imagine that film is being shot with a technology that’s never before been attempted. Billy Lynn’s Long Halftime Walk, the latest visual experiment from Ang Lee, stars newcomer Joe Alywn, a 25-year-old who left his London drama school early to make a boundary-pushing film.
After over three decades, Paul Verhoeven remains one of our most provocative filmmakers, and his latest effort is no exception: Starring the incomparable Isabelle Huppert, Elle is a challenging and masterfully nuanced exploration of one woman’s atypical response to sexual assault. It’s also a remarkable balancing act between darkly comedic drama and psychological thriller, and, as with most Verhoeven films, it’s quite divisive. So it seemed fitting that I spoke with the iconic Dutch director the day after the presidential election.
J.K. Rowling’s Fantastic Beasts and Where to Find Them won’t just be a five-part return to the magical world of the Harry Potter movies; it has the potential to be groundbreaking for Hollywood diversity.
Paul Verhoeven is known for his remarkably divisive and provocative films, including Elle, the new French thriller that hits select theaters this week. But another one of his films recently made headlines again when it was reported that Sony was finally moving ahead with their long-planned remake of Starship Troopers, hiring a pair of writers to take a crack at the script based on Robert A. Heinlein’s novel — and ditching the satirical approach that made Verhoeven’s adaptation so great. While speaking with Verhoeven about his latest film, we had a chance to ask for his opinion on the Starship Troopers remake. Perhaps unsurprisingly, he’s not a fan.
If anyone can keep a secret in Hollywood, it’s J.J. Abrams. His Bad Robot-produced Cloverfield was promoted with a sneaky viral marketing campaign in late 2007, and earlier this year the second film in the franchise remained a complete mystery until weeks before its release. Last week we learned the third Cloverfield film will reportedly be the Abrams-produced God Particle, but that film is so top secret that its lead actress had, and still has no idea about its connection to the Cloverfield universe.
Biopics about historical figures have a tendency to feel too pedagogic or overly political. No one wants to go to the movies for a history lesson – that’s what substitute teachers in high school are for. The strength of Loving, a new biopic about Richard and Mildred Loving, is that filmmaker Jeff Nichols puts the political talk in the background, focusing instead on the in intimate relationship at the center of a groundbreaking U.S. Supreme Court case.
After 30 years of trying to bring the mystical surgeon Stephen Strange from the page to the screen, Doctor Strange is finally making his movie debut.
After over 40 years of working in film, Paul Schrader remains as challenging as he was when he first caught Martin Scorsese’s attention with his screenplay for Taxi Driver. They made three more films together, but Schrader established himself as the more unconventional of the two when he took control of the camera. Decades later, Schrader’s filmography is just as prolific with singular titles like Hardcore, Cat People, and Dog Eat Dog — the latter is his most recent effort, a delirious crime thriller starring Nicolas Cage and Willem Dafoe that is every bit as wild as that simple description implies, and the reason for our conversation with the veteran filmmaker.
The pleasures of Marvel’s Doctor Strange are, first and foremost, visual. Here is a movie of incredible images and bizarre sights. In comparison to its mind-boggling special-effects sequences, the movie’s characters sometimes feel a little flat and generic. I sometimes found myself wanting the characters to stop talking so they could take us on another wild trip through the multiverse.