Audiences first took notice of Brie Larson’s dramatic talents with 2013’s Short Term 12. Now, after earning her first Oscar and landing the lead in Marvel’s upcoming female-led superhero film, the actress is reuniting with the director who helped bring her into the spotlight.
Last week brought us a first look at Naomi Watts and 50 Shades of Grey director Sam Taylor-Johnson getting psychologically seductive with new Netflix drama Gypsy, and it’s time to go deeper. Oaths are broken, and patients get some hands-on care in our first official teaser.
For my money, Rose Mary Walls is the worst mother in the whole of literature, and that includes Sophie Portnoy. A million-dollar heiress who refused her wealth because she believed it’d be good for her children to grow up in abject poverty with a profligate alcoholic, she put her daughter Jeannette through hell. Jeannette would later translate her tragic upbringing into the best-selling memoir The Glass Castle, which director Destin Daniel Cretton will soon translate once more onto the silver screen. And in addition to the first official still above, that film has inched closer to being by laying claim to a release date.
Don’t be distracted by all those shiny Defenders, as Naomi Watts and 50 Shades of Grey director Sam Taylor-Johnson are taking back the Netflix spotlight. Get a first look at new psychological thriller series Gypsy, as Naomi Watts gets really up-close-and-personal with her patients.
While nobody would argue that Hollywood needs to make more movies about Hollywood, there does seem to be an opening for Hollywood to make more movies about the impact of movies in general. We spend hundreds (even thousands) of hours each year watching films, and yet, many of these movies don’t really explore the impact that movies themselves have on our lives and our culture. At the risk of getting a little too meta, a smart screenwriter might tackle the notion of how the movies affect the life of someone on the outside of the industry.
As the director of the poorly-reviewed but highly lucrative Jurassic World and slated helmer for Star Wars: Episode IX, Colin Trevorrow has become Hollywood’s new go-to guy for massive franchises. But when he’s not somehow making dinosaurs boring or giving Star Wars fans nervous breakdowns, Trevorrow likes to reconnect with his roots in the indie world, where he first got his start as the man behind the middling sci-fi/romcom Safety Not Guaranteed. As a little breather between studio tentpoles, Trevorrow’s going back to basics with another small-scale, small-town adventure. And this time, he’s got an adorable secret weapon.
After Colin Trevorrow finished work on Jurassic World and before he starts on Star Wars: Episode IX, he took on a smaller-scale project called The Book of Henry. The plot is pretty mysterious: it involves a single mother taking care of her son who just so happens to be a supergenius. A ton of talent is attached to the picture, including Naomi Watts, Room’s Jacob Tremblay, Lee Pace, Sarah Silverman, Breaking Bad’s Dean Norris, and Sia’s dancing doppelganger Maddie Ziegler. If that’s not enough to catch your interest, Michael Giacchino will be composing the score. The first poster for the film was released today, and it looks certifiably Da Vincian.
Jacob Tremblay has had it with your “aww”s and dumb baby noises. He will not conform to society’s expectations of what an adorable child actor should be. He will not be boxed in by your precious stereotypes. The star of Room is determined to shatter his Cute Kid persona before the adhesive on that label even has a chance to dry, as evidenced by the trailer for Shut In (the anti-Room, if you will), Tremblay’s latest attempt at defying twee norms.
Looks like that bit role in BoJack Horseman Season 1 has finally paid off for Naomi Watts, scoring the actress her very own Netflix drama. Watts will lead 2017 psychological thriller Gypsy as an apparently-terrible therapist, with the first two outings directed by 50 Shades of Grey helmer Sam Taylor-Johnson.
When Gus Van Sant’s latest feature The Sea of Trees debuted at Cannes nearly a year ago, expectations were high. A skilled actor’s director, Van Sant’s collaboration with buzzy star Matthew McConaughey was presumed to be an insta-hit and a possible Oscar contender in the making. McConaughey’s professional capital has never been higher, and the Cannes set has always been fond of Van Sant, awarding him the Palme d’Or for his school-shooting drama Elephant in 2003. So it came as that much more of a shock when audiences roundly rejected The Sea of Trees, complete with booing and walkouts. (Though that sounds a bit more dramatic than it is. Cannes audiences love big gestures; nearly everything gets either a standing ovation or jeering, and in the rarest of occasions, both.)