How do you come to the rescue of the millions of children who need someone — anyone — to do what they can’t: get their bullies off their backs? Director Lee Hirsch has sounded a call to action with his new documentary Bully, which exposes bullying from the front lines.
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He's painted cinematic landscapes of psychosexual kink (The Cell), childhood fantasy (The Fall), and ancient Greek 3-D abs (Immortals), but in this week's Mirror Mirror director Tarsem takes a turn into uncharted territory: The family-friendly fairytale. Turning his attentions to the story of Snow White, Tarsem creates another visually rich fantasyland of imagination -- and gives the fabled princess a post-modern streak to boot -- with the help of the late Oscar-winning costume designer and longtime collaborator Eiko Ishioka (Mishima: A Life in Four Chapters, Bram Stoker's Dracula, Spider-Man: Turn off the Dark), who passed away in January at the age of 73. In an exclusive chat, Tarsem takes Movieline through his work with Ishioka and the whimsical, inventive, and utterly imaginative designs of Mirror Mirror that comprise their final collaboration on film.
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I met Abel Ferrara in a café on Mulberry Street. In an hour’s time, he didn’t once take his seat. The filmmaker makes a couple of phone calls, goes to the bathroom twice, shows me the new Web series that he’s developing with Vice TV on, and points me to two different articles about his movies. Unkempt and energetic, the Bronx-born director of such New York notorieties as Ms. 45, King of New York, Bad Lieutenant, The Funeral and this week's 4:44 Last Day on Earth is exactly what you’d imagine he’d be like if he were one of his movie’s characters.
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As a member of the Jakarta police force, Rama (Iko Uwais) is one of dozens of SWAT agents about to be trapped within the concrete walls of a tenement building run by a nefarious slumlord, set upon by machete-wielding thugs and forced to fight his way out using knives, broken doorways, and at times, only his bare hands. The fighting style he uses to do so, leaving a trail of broken baddies in his wake, is silat -- a lightning-fast, bone-crunching Southeast Asian martial art that gets its best showcase in Gareth Evans’ festival sensation The Raid: Redemption.
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SXSW 2012 marked the starring screen debut of model-turned-actress Dree Hemingway – daughter of Mariel, great-granddaughter of Ernest, and at 24, a veteran of the fashion world -- as an airy Los Angeleno named Jane who befriends a cranky senior citizen (85-year-old newcomer Besedka Johnson) in Sean Baker’s Starlet, a surprisingly sweet tale comprised of a series of moving, naturalistic episodes … and one infamous hardcore sex scene. But as much as Starlet is a fantastically observed introduction to Hemingway, who possesses Evan Rachel Wood’s preternatural poise and Daryl Hannah’s leggy looks, sitting down with her in Austin – and indulging in a post-interview round of karaoke together -- offered greater insights into one of the more talked-about but hard-to-talk-about films of the fest.
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This fall you'll see Joseph Gordon-Levitt as you've never seen him before: As Bruce Willis. In the sci-fi time-travel action pic Looper, from Brick director Rian Johnson, Gordon-Levitt plays Joe, an assassin who ties up loose ends for the mob by killing targets as they're sent back in time from the future -- until one day his own future self (played by Willis) comes through for extermination. Previewing a teaser for the September release at WonderCon, Johnson and Gordon-Levitt discussed the trickiness of transforming Gordon-Levitt into a young Willis, pulled off with the aid of prosthetics, and why it's particularly difficult to talk about their time travel thriller.
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It may be indicative of Snow White and the Huntsman director Rupert Sanders’ fearlessness – or his newness, this being his feature debut – that, after presenting much-anticipated footage to fans yesterday at WonderCon, he nonchalantly dropped the vivid phrase “dwarf gangbangs” into a discussion about his dark (and yes, likely PG-13) allegorical fairytale actioner. (Now that’s how you get the attention of a certain demographic.) For the record, there are no such scenarios in June's action-packed SWATH, but there were many more revelations and key insights to be had into Sanders’ take on the age-old tale, which stars Twilight’s Kristen Stewart and debuts two months after that other Snow White movie dances into theaters.
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Susan Sarandon is a woman at her wit’s end in Jay and Mark Duplass’ comedy Jeff, Who Lives at Home; stuck in mind-numbing office job and still dealing with the problems of her two grown but immature sons – Jeff (Jason Segal), an unemployed pothead, and Pat (Ed Helms), a douchey sales rep – her Sharon spends her days daydreaming about the life she once wanted for herself. As Sarandon confessed in a chat with Movieline, there was plenty in Jeff she related to as a single working mother in an often unforgiving industry – but, as she’s discovered, there’s always “a new dawn, a new day.”
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Gary Ross may have been an unexpected choice to direct The Hunger Games, but his quest for the gig was no less obsessive than the fervor of the novels’ fans; it took him exec-stalking across the Atlantic, involved elaborate custom-made storyboards, and inspired him to make a video of actual Hunger Games fans and their love for Suzanne Collins’s sci-fi series. (Besides, who else could’ve brought on Steven Soderbergh to direct second unit on one of the film’s big scenes?)
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This week at SXSW Movieline caught up with director Gareth Evans, whose Indonesian martial arts actioner The Raid: Redemption is set to knock your socks off later this month courtesy of Sony Classics. (Haven’t heard of the martial arts form silat? You will, come March 23.) With his film steadily collecting kudos left and right, Evans is already thinking ahead to his Raid sequel (working title: Berandal), and an insane, dangerous-sounding four-on-one car fight he plans on working into the mix.
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Preparing for a battle to the death in which the odds are most definitely not in her favor, Jennifer Lawrence’s Hunger Games heroine Katniss Everdeen feels utterly alone, trapped within the deceptively cushy confines of the Capitol. Thankfully, she has at least one key ally on her side: Her stylist Cinna, played gracefully by rock star-turned-actor Lenny Kravitz, who discovered only after being cast that he’d be sharing the screen with one of his daughter’s close friends. “I asked, ‘Who’s playing Katniss?’” Kravitz recalled to Movieline. “‘It’s Jennifer Lawrence.’ And I was like, ‘Wow, she was just in my house cooking breakfast!’”
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Despite nabbing an Academy Award last year with her self-financed and controversial “Consider” campaign, Melissa Leo says that neither life, nor the frequency of juicy Hollywood offers coming her way, is much different now that she's an Oscar-winner. “The projects you think have been offered to me have not, I guarantee you,” she told Movieline this week at SXSW in Austin, where she and directors Melanie Shatzky and Brian M. Cassidy screened their minimalist character study Francine to critical applause. Still, Leo perseveres. And as the intimate acting showcase demonstrates, there’s plenty of reward to be had in smaller and more daring projects.
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Filmmaking brothers David and Nathan Zellner (Goliath) tackle the isolation and discovery of childhood in Kid-Thing, a naturalist East Texas-set fable about Annie (Sydney Aguirre), a lonely ten-year-old tomboy who discovers a mystery woman at the bottom of a well while playing by herself one day in the woods. Lending her distinctive voice to the proceedings is Oscar-nominated cult actress Susan Tyrrell (Forbidden Zone, Cry-Baby, Fat City) as the woman in the well, who may or may not be real – or harmless. Movieline spoke with Tyrrell and the Zellner bros. about their Sundance, Berlin, and SXSW selection, which screens in Austin today.
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With John Carter currently drawing both mixed reviews and potentially catastrophic early box-office returns, Movieline today revisits our conversation with director Andrew Stanton and producer Lindsey Collins about the film's troubled back story — and what they and Disney really have to lose. - Ed.
A trade report last month suggested that Disney’s March sci-fi tent pole John Carter was in serious trouble owing to Pixar vet Andrew Stanton’s relative inexperience directing live-action film, citing rumors that production reshoots and late-game rejiggering had bloated the budget from $200 million to as much as $300 million. Speaking with press Thursday, Stanton called the report “a complete and utter lie,” insisting that he stayed on time and on budget – but it’s easy to see how the Pixar way of moviemaking may have made for a bumpy transition for the filmmaker.
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Taylor Kitsch is about to have a very big 2012. In addition to carrying Disney’s ambitious sci-fi adaptation John Carter as the titular Edgar Rice Burroughs hero, a Civil War veteran transported to Mars, he’s also fronting Peter Berg’s alien invasion actioner Battleship and starring in Oliver Stone’s Savages later this year. But as Kitsch revealed to Movieline, the John Carter job wasn’t easy to get — and the toll it took on him during production was a challenge in itself. So who better to offer pro tips on nabbing the spotlight and handling the pressure of becoming an action hero than Kitsch, on the eve of a new chapter in his career?
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