After the humongous hit and accolades he received from Barbie last year, Ryan Gosling is back on the big screen with The Fall Guy. The film interestingly pairs him with Oppenheimer star Emily Blunt whose film was part of the Barbenheimer hype train last year. Their hilarious banter about the phenomenon and their films attracted fans to see their chemistry in The Fall Guy.
Ryan Gosling as stuntman Colt Seavers in The Fall Guy
The film was released on May 3, and audiences generally loved the David Leitch-directed film. On its opening day, the film collected an underwhelming box office collection of $10.4 million, a relatively low opening compared to its budget. The summer movie season has unfortunately started on a dull note.
Ryan Gosling’s The Fall Guy Opens Below Expectations Despite Positive Reviews
Despite the strong appeal of its lead stars, The Fall Guy underperformed at the box office...
Ryan Gosling as stuntman Colt Seavers in The Fall Guy
The film was released on May 3, and audiences generally loved the David Leitch-directed film. On its opening day, the film collected an underwhelming box office collection of $10.4 million, a relatively low opening compared to its budget. The summer movie season has unfortunately started on a dull note.
Ryan Gosling’s The Fall Guy Opens Below Expectations Despite Positive Reviews
Despite the strong appeal of its lead stars, The Fall Guy underperformed at the box office...
- 5/5/2024
- by Rahul Thokchom
- FandomWire
Everyone remembers when New Zealand’s Peter Jackson came barreling onto the scene and in quick order brought us Bad Taste (1987), Meet the Feebles (1989), and Braindead (1992) before eventually settling down into Academy Award-winning fantasy films. (I forget their names. Just Google them.) But he wasn’t the first to introduce the world to his country’s nascent splattery talent: that honor goes to Death Warmed Up (1984), a loopy mash-up of The Texas Chain Saw Massacre, The Hills Have Eye, Mad Max, and Looney Tunes, all spit-shined to grimy perfection in a great new Blu-ray from Severin Films.
Remastered by director David Blyth (Red Blooded American Girl) from the only existing materials, this new disc of Death Warmed Up has a ton of gooey goodies that we’ll get to, but first let’s tackle the story:
Dr. Archer Howell (Gary Day – Death Wave) plans on taking his mind control experiments to the next,...
Remastered by director David Blyth (Red Blooded American Girl) from the only existing materials, this new disc of Death Warmed Up has a ton of gooey goodies that we’ll get to, but first let’s tackle the story:
Dr. Archer Howell (Gary Day – Death Wave) plans on taking his mind control experiments to the next,...
- 7/10/2019
- by Scott Drebit
- DailyDead
must readPresentation features live performance by Jennifer Hudson from Cats and Yesterday star Himesh Patel.
Dwayne Johnson and Jason Statham delivered the highlight of Universal’s CinemaCon presentation on Wednesday (3) when they took to the stage in Las Vegas to introduce a non-stop action-packed first trailer from Fast And Furious spin-off Hobbs & Shaw.
“Our goal was to build out the Fast And Furious franchise,” Johnson told the audience at Colosseum in Caesars Palace, Las Vegas. “We wanted to create something that was special, something that had our own tapestry, our own feel, or own energy but the bottom line was...
Dwayne Johnson and Jason Statham delivered the highlight of Universal’s CinemaCon presentation on Wednesday (3) when they took to the stage in Las Vegas to introduce a non-stop action-packed first trailer from Fast And Furious spin-off Hobbs & Shaw.
“Our goal was to build out the Fast And Furious franchise,” Johnson told the audience at Colosseum in Caesars Palace, Las Vegas. “We wanted to create something that was special, something that had our own tapestry, our own feel, or own energy but the bottom line was...
- 4/3/2019
- by Jeremy Kay
- ScreenDaily
Film review - 'An Angel at My Table' By HENRY SHEEHANThis second feature by New Zealand's Jane Campion replaces ''Sweetie's'' outre style and sense of character with a quieter and seemingly more conventional approach, but without relinquishing the filmmaker's solid grasp of the offbeat, the feminine and the feminist.
The result is a film that should please her growing number of admirers and also rope in the more sedate art-house crowd, including those who like a genteel treatment of even the most shocking subjects. Although it has a bit of a built-in handicap at its 160-minute running time, its three-part structure manages to keep the narrative brisk all the same, and this special jury prize winner from the 1990 Venice Film Festival looks like a solid specialty entry.
The film is based on three autobiographical volumes by New Zealand novelist Janet Frame, who, despite a Depression-era childhood in economically deprived rural New Zealand and a misdiagnosis of schizophrenia during her college years, managed to turn herself into a prize-winning writer.
Each of the film's three sections deals with a different part of her life, concentrating on the way the shy and withdrawn Frame managed to impose a gentle order on the aggressive and threatening world around her through the obdurate persistence of her own vision.
''To the Is-Land'' follows Frame (played by Alexia Keogh and Karen Fergusson) from childhood through the dawn of adolescence, concentrating on her relations with her family and her earliest attempts at writing. Although marked by the death of a much-beloved sister, this part of the film, warmer and more nostalgic than what follows, is an appropriate introductory interlude.
In ''An Angel at My Table, '' Frame goes off to teacher's college, where her withdrawn temperament leads a kindly teacher to suspect her of being mentally ill. The misdiagnosis and eight years of hospitalization, including shock treatment, follows before public recognition from her writing causes the doctors to examine and ultimately release her.
In ''The Envoy From Mirror City, '' Frame embarks on a literary fellowship to Europe, where she must navigate all the poseurs and predators of '50s bohemia in London and Ibiza. Here the film rounds itself off perfectly, as Frame indulges her romantic passions, experiences more lionization, and finally is cleared of the lingering diagnosis of schizophrenia.
Campion, working from a screenplay by Laura Jones, never strays from Frame's point of view. As a result, although there are twists in the plot that occasionally do not become immediately clear, their dawning impact on Frame has an undiluted power.
All the performances are good --particularly the two younger leads Keogh and Fergusson, Iris Churn as Frame's mother, David Letch as a possessive Irishman, and William Brandt as an American fling -- but as the older Frame, Kerry Fox is exceptional, all soft and passive on her auburn-and-white outside, but still suggestive of the quiet determination that led her character to persevere in the face of such awful circumstances.
Finally, in a film that would not at first glance seem to provide such opportunities, cinematographer Stuart Dryburgh has manipulated light and color in a way that matches Frame's emotional advances and retreats with their correlatives in warmth and hue.
AN ANGEL AT MY TABLE
Fine Line Features
Director Jane Campion
Producer Bridget Ikin
Co-producer John Maynard
Screenplay Laura Jones
Cinematography Stuart Dryburgh
Production designer Grant Major
Costume designer Glenys Jackson
Editor Veronika Haussler
Composer Don McGlashan
Color
Cast:
Janet Frame Kerry Fox
Young Janet Alexia Keogh
Teenage Janet Karen Fergusson
Mum Iris Churn
Elasping time -- 158 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
The film is based on three autobiographical volumes by New Zealand novelist Janet Frame, who, despite a Depression-era childhood in economically deprived rural New Zealand and a misdiagnosis of schizophrenia during her college years, managed to turn herself into a prize-winning writer.
Each of the film's three sections deals with a different part of her life, concentrating on the way the shy and withdrawn Frame managed to impose a gentle order on the aggressive and threatening world around her through the obdurate persistence of her own vision.
''To the Is-Land'' follows Frame (played by Alexia Keogh and Karen Fergusson) from childhood through the dawn of adolescence, concentrating on her relations with her family and her earliest attempts at writing. Although marked by the death of a much-beloved sister, this part of the film, warmer and more nostalgic than what follows, is an appropriate introductory interlude.
In ''An Angel at My Table, '' Frame goes off to teacher's college, where her withdrawn temperament leads a kindly teacher to suspect her of being mentally ill. The misdiagnosis and eight years of hospitalization, including shock treatment, follows before public recognition from her writing causes the doctors to examine and ultimately release her.
In ''The Envoy From Mirror City, '' Frame embarks on a literary fellowship to Europe, where she must navigate all the poseurs and predators of '50s bohemia in London and Ibiza. Here the film rounds itself off perfectly, as Frame indulges her romantic passions, experiences more lionization, and finally is cleared of the lingering diagnosis of schizophrenia.
Campion, working from a screenplay by Laura Jones, never strays from Frame's point of view. As a result, although there are twists in the plot that occasionally do not become immediately clear, their dawning impact on Frame has an undiluted power.
All the performances are good --particularly the two younger leads Keogh and Fergusson, Iris Churn as Frame's mother, David Letch as a possessive Irishman, and William Brandt as an American fling -- but as the older Frame, Kerry Fox is exceptional, all soft and passive on her auburn-and-white outside, but still suggestive of the quiet determination that led her character to persevere in the face of such awful circumstances.
Finally, in a film that would not at first glance seem to provide such opportunities, cinematographer Stuart Dryburgh has manipulated light and color in a way that matches Frame's emotional advances and retreats with their correlatives in warmth and hue.
AN ANGEL AT MY TABLE
Fine Line Features
Director Jane Campion
Producer Bridget Ikin
Co-producer John Maynard
Screenplay Laura Jones
Cinematography Stuart Dryburgh
Production designer Grant Major
Costume designer Glenys Jackson
Editor Veronika Haussler
Composer Don McGlashan
Color
Cast:
Janet Frame Kerry Fox
Young Janet Alexia Keogh
Teenage Janet Karen Fergusson
Mum Iris Churn
Elasping time -- 158 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
- 6/12/1991
- The Hollywood Reporter - Movie News
Film review- 'An Angel at My Table' By HENRY SHEEHANThis second feature by New Zealand's Jane Campion replaces ''Sweetie's'' excessive style and sense of character with a quieter and seemingly more conventional approach, but without relinquishing the filmmaker's solid grasp of the offbeat, the feminine and the feminist.
The result is a film that should please her growing number of admirers and also rope in the more sedate art-house crowd, including those who like a genteel treatment of even the most shocking subjects. Although it has a bit of a built-in handicap at its 160-minute running time, its three-part structure manages to keep the narrative brisk all the same, and this special jury prize winner from the 1990 Venice Film Festival looks like a solid specialty entry.
The film is based on three autobiographical volumes by New Zealand novelist Janet Frame, who, despite a Depression-era childhood in economically deprived rural New Zea-
AN ANGEL AT MY TABLE
Fine Line Features
Director Jane Campion
Producer Bridget Ikin
Co-producer John Maynard
Screenplay Laura Jones
Cinematography Stuart Dryburgh
Production designer Grant Major
Costume designer Glenys Jackson
Editor Veronika Haussler
Composer Don McGlashan
Color
Cast:
Janet Frame Kerry Fox
Young Janet Alexia Keogh
Teenage Janet Karen Fergusson
Mum Iris Churn
Running time -- 158 minutes
MPAA Rating: R
land and a misdiagnosis of schizophrenia during her college years, managed to turn herself into a prize-winning writer.
Each of the film's three sections deals with a different part of her life, concentrating on the way the shy and withdrawn Frame managed to impose a gentle order on the aggressive and threatening world around her through the obdurate persistence of her own vision.
''To the Is-Land'' follows Frame (played by Alexia Keogh and Karen Fergusson) from childhood through the dawn of adolescence, concentrating on her relations with her family and her earliest attempts at writing. Although marked by the death of a much-beloved sister, this part of the film, warmer and more nostalgic than what follows, is an appropriate introductory interlude.
In ''An Angel at My Table, '' Frame goes off to teacher's college, where her withdrawn temperament leads a kindly teacher to suspect her of being mentally ill. The misdiagnosis and eight years of hospitalization, including shock treatment, follows before public recognition from her writing causes the doctors to examine and ultimately release her.
In ''The Envoy From Mirror City, '' Frame embarks on a literary fellowship to Europe, where she must navigate all the poseurs and predators of '50s bohemia in London and Ibiza. Here the film rounds itself off perfectly, as Frame indulges her romantic passions, experiences more lionization, and finally is cleared of the lingering diagnosis of schizophrenia.
Campion, working from a screenplay by Laura Jones, never strays from Frame's point of view. As a result, although there are twists in the plot that occasionally do not become immediately clear, their dawning impact on Frame has an undiluted power.
All the performances are good --particularly the two younger leads Keogh and Fergusson, Iris Churn as Frame's mother, David Letch as a possessive Irishman, and William Brandt as an American fling -- but as the older Frame, Kerry Fox is exceptional, all soft and passive on her auburn-and-white outside, but still suggestive of the quiet determination that led her character to persevere in the face of such awful circumstances.
Finally, in a film that would not at first glance seem to provide such opportunities, cinematographer Stuart Dryburgh has manipulated light and color in a way that matches Frame's emotional advances and retreats with their correlatives in warmth and hue.
(c) The Hollywood Reporter...
The film is based on three autobiographical volumes by New Zealand novelist Janet Frame, who, despite a Depression-era childhood in economically deprived rural New Zea-
AN ANGEL AT MY TABLE
Fine Line Features
Director Jane Campion
Producer Bridget Ikin
Co-producer John Maynard
Screenplay Laura Jones
Cinematography Stuart Dryburgh
Production designer Grant Major
Costume designer Glenys Jackson
Editor Veronika Haussler
Composer Don McGlashan
Color
Cast:
Janet Frame Kerry Fox
Young Janet Alexia Keogh
Teenage Janet Karen Fergusson
Mum Iris Churn
Running time -- 158 minutes
MPAA Rating: R
land and a misdiagnosis of schizophrenia during her college years, managed to turn herself into a prize-winning writer.
Each of the film's three sections deals with a different part of her life, concentrating on the way the shy and withdrawn Frame managed to impose a gentle order on the aggressive and threatening world around her through the obdurate persistence of her own vision.
''To the Is-Land'' follows Frame (played by Alexia Keogh and Karen Fergusson) from childhood through the dawn of adolescence, concentrating on her relations with her family and her earliest attempts at writing. Although marked by the death of a much-beloved sister, this part of the film, warmer and more nostalgic than what follows, is an appropriate introductory interlude.
In ''An Angel at My Table, '' Frame goes off to teacher's college, where her withdrawn temperament leads a kindly teacher to suspect her of being mentally ill. The misdiagnosis and eight years of hospitalization, including shock treatment, follows before public recognition from her writing causes the doctors to examine and ultimately release her.
In ''The Envoy From Mirror City, '' Frame embarks on a literary fellowship to Europe, where she must navigate all the poseurs and predators of '50s bohemia in London and Ibiza. Here the film rounds itself off perfectly, as Frame indulges her romantic passions, experiences more lionization, and finally is cleared of the lingering diagnosis of schizophrenia.
Campion, working from a screenplay by Laura Jones, never strays from Frame's point of view. As a result, although there are twists in the plot that occasionally do not become immediately clear, their dawning impact on Frame has an undiluted power.
All the performances are good --particularly the two younger leads Keogh and Fergusson, Iris Churn as Frame's mother, David Letch as a possessive Irishman, and William Brandt as an American fling -- but as the older Frame, Kerry Fox is exceptional, all soft and passive on her auburn-and-white outside, but still suggestive of the quiet determination that led her character to persevere in the face of such awful circumstances.
Finally, in a film that would not at first glance seem to provide such opportunities, cinematographer Stuart Dryburgh has manipulated light and color in a way that matches Frame's emotional advances and retreats with their correlatives in warmth and hue.
(c) The Hollywood Reporter...
- 6/12/1991
- The Hollywood Reporter - Movie News
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