The new trailer for Wonderstruck is really lovely on its own, with its parallel stories of two children — one in 1927, the other in 1977 — searching for prominent but elusive figures in their lives. But the use of David Bowie’s “Space Oddity” makes the trailer for Todd Haynes’ latest film even more wonderful, particularly as it transitions from a cover sung by children into the late singer’s classic version.
We’re getting not one, but two new Ridley Scott films this year. The prolific director’s next film, which is slated for an awards season release in December, is a dramatic thriller based on the infamous Getty kidnapping. The first trailer for All the Money in the World has arrived, and it boasts an ensemble that includes Michelle Williams, Mark Wahlberg, and an almost unrecognizable Kevin Spacey — giving Gary Oldman a run for his money in this year’s “actor becomes unrecognizable to play historical figure” race.
A new film from Todd Haynes is always something to look forward to. The Carol and Far From Heaven filmmaker has a way of painting some of life’s most quietest moments with an evocative, emotional power. With Wonderstruck, Haynes looks at the world through a child’s eye (or in this case, two children), and the first trailer has finally arrived to give us a taste of what to expect this fall.
The Weinstein Company has a notorious history of dumping projects after sitting on them for ages, and now harvey is poised to do the same with Suite Francaise, the World War II drama starring Michelle Williams and Matthias Schoenaerts. The movie will be premiering on Lifetime on May 22, to little fanfare, so set your DVRs accordingly.
Even as stories about high-profile kidnapping go, the yarn of John Paul Getty III’s abduction is pretty out-there. In 1973, the 16-year-old was taken while vacationing in Rome and ransomed for $17 million. Getty’s father asked his father — the moneybags in the family — for the sum in question, who refused on the grounds that if he paid off this ransom, then all of his other 14 grandchildren would expect him to pony up when they inevitably got kidnapped. (This, like everything else in the paragraph to come, is real and not a joke.)
‘But what I really want to do is direct.’ For many dilettante actors hoping to try their hand on the other side of the camera, these have been famous last words, the first omen heralding an indulgent personal project destined for a coolly-received festival debut. But all it takes is a performer with their head on straight and a little filmmaking knowhow to skirt the many pitfalls of the actor-turned-director’s debut. Jonah Hill seems pretty self-aware, he’s got a good sense of humor, and he’s worked with such fine directors as Quentin Tarantino, Martin Scorsese, and the Coen brothers. The news that he’s preparing his first outing as a director may be cause for optimism.