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The 32nd Hamptons International Film Festival (Hiff) has officially unveiled its 2024 winners.

The festival, which took place from October 4 through October 14, marked the U.S. premiere of John Crowley’s “We Live in Time,” with screenings of “Nightbitch,” “A Real Pain,” “Christmas Eve in Miller’s Point,” and R.J. Cutler’s Martha Stewart Netflix documentary “Martha” among the acclaimed features.

Now, IndieWire can exclusively announce the films that the Hiff jury and audience members selected for the top awards. “Armand,” also Norway’s 2025 Oscar submission, won the Hiff Award for Best Narrative Feature. “Armand” stars “A Different Man” and “Worst Person in the World” breakout Renate Reinsve as a mother of a seemingly disturbed six-year-old; the film debuted at Cannes before screening at Hiff. “Armand” is directed by Halfdan Ullmann Tøndel, the grandson of Liv Ullmann and Ingmar Bergman. IFC Films has U.S. distribution rights for “Armand.”

“’Armand’ is...

After nearly two decades, recollections may indeed vary. Consider this: When filmmaker John Crowley cast rising star Andrew Garfield in his 2007 drama “Boy A,” Garfield almost didn’t take the part. Or, wait, did he?

“We offered you the part,” Crowley said during a recent interview with IndieWire and his now two-time star. “And you said yes, and you then said no.” Garfield looked shocked. “Did I say no?” the actor asked, eyes pinging between Zoom windows.

Either way: Garfield did take the part in the heartbreaking British drama, and now, 17 years later, he and Crowley have reunited for “We Live in Time,” a tear-soaked drama of a different kind. Based on Nick Payne’s screenplay, the nonlinear love story follows the buttoned-up Tobias (Garfield) and the spunky Almut (Florence Pugh) over the course of a decade-long relationship that is, suffice it to say, filled with both high highs and extremely low lows.

We Live In Time, the upcoming romance flick starring Andrew Garfield and Florence Pugh, will close out the official selection at this year’s San Sebastian Film Festival.

The film will screen out-of-competition and the festival will serve as the romcom’s European Premiere.

The film’s official synopsis reads: Almut and Tobias are brought together in a surprise encounter that changes their lives. Through snapshots of their life together − falling for each other, building a home, becoming a family − a difficult truth is revealed that rocks its foundation. As they embark on a path challenged by the limits of time, they learn to cherish each moment of the unconventional route their love story has taken in this decade-spanning, deeply moving romance.

John Crowley directed the film from a screenplay by Nick Payne. StudioCanal developed the script and produced with Sunny March. Leah Clarke, Adam Ackland, and Guy Heeley are producers,...

Exclusive: A24 has acquired domestic rights for John Crowley’s We Live in Time starring Andrew Garfield and Florence Pugh from Studiocanal. The pic is shooting in London.

Directed by BAFTA winning director John Crowley, with a screenplay by Olivier award-winning playwright and screenwriter Nick Payne. Benedict Cumberbatch is an executive producer.

Studiocanal developed the script and are producing with BAFTA winning partners SunnyMarch: Leah Clarke, Adam Ackland with Guy Heeley.

The film stars two-time Academy Award nominee and BAFTA winning Andrew Garfield alongside BAFTA and Academy Award nominee Florence Pugh. Plot details are being kept under wraps other then it being described as a funny, deeply moving and immersive love story.

Crowley previously worked with Andrew Garfield, on Garfield’s break-out role, Boy A, for which they both won BAFTAs.

Film4 is co-financing with Studiocanal.

EVP Global Production Ron Halpern and SVP Global Production Joe Naftalin are overseeing for Studiocanal.

Production has started on the StudioCanal pic, We Live In Time, starring Florence Pugh and Andrew Garfield.

Deadline previously revealed that Irish filmmaker John Crowley is directing the feature from a script penned by Nick Payne (Wanderlust). StudioCanal developed the script and is producing with Sunny March. Leah Clarke, Adam Ackland, and Guy Heeley are producers, with Benedict Cumberbatch set as executive producer.

Plot details have not been shared, but the film has been described as a “funny, deeply moving, and immersive love story.” The film had been expected to move into production later this year, but StudioCanal announced cameras are already rolling by tweeting an image from the set Tuesday morning.

The BBC has commissioned a four-part adaptation of Kate Atkinson’s bestselling novel “Life After Life” from House Productions.

The story centers on Ursula Todd who dies one night in 1910 before she can draw her first breath. On that same night in 1910, Ursula is born and survives. She finds herself time and again, living and dying in different circumstances only to be reborn into a new, alternative iteration of life once more. Ursula navigates her way through a critical era which spans two world wars, an encounter with Hitler and major life events.

The drama is adapted by playwright and screenwriter Bash Doran and will be directed by BAFTA-winning director John Crowley. Kate Ogborn (“The End of the F***ing World”) will produce. Doran and Crowley will be executive producers, as will Atkinson.

The novel was published in 2013 and won the Costa Book Award.

House Productions is the production company set...

Exclusive: Kate Atkinson’s best-selling and award-winning novel Life After Life is to be reimagined as a four-part BBC series, which will be made by Brexit: The Uncivil War producer House Productions.

House founders Tessa Ross and Juliette Howell have attached some eye-catching creatives to the project, including Outlaw King and Traitors writer Bash Doran, and John Crowley, the two-time BAFTA-winning director who helmed Saoirse Ronan starrer Brooklyn.

Life After Life tells the vivid story of the alternate lives of Ursula Todd, who dies one night in 1910, only to be born and survive on the same night. She finds herself time and again, living and dying in different circumstances only to be reborn into a new, alternative iteration of life once more. Her journey spans two World Wars and an encounter with Hitler.

Ross and Howell said Doran’s scripts capture the “warmth and scale” of Atkinson’s story, as...

Exclusive: Veteran TV and film writer Dana Stevens has signed with UTA for worldwide representation in all areas.

Most recently, Stevens wrote the upcoming Sony Pictures drama Fatherhood, directed by Paul Weitz and starring Kevin Hart. The film is an adaptation of Matt Logelin’s memoir which details Logelin’s life after his high school sweetheart passed away after giving birth to their daughter. Sony will release Fatherhood in April 2021.

Stevens is also writing two films for TriStar Pictures: The Nightingale, a World War II drama starring Dakota and Elle Fanning; and drama The Woman King, starring Viola Davis and directed by Gina Prince-Blythewood. Additionally, she is writing a project about Carly Simon based on Simon’s memoir Boys In The Trees for eOne, which Simon Curtis will direct. She is also in talks to write the Netflix movie The Girls of Summer, which follows the 1999 U.S. Women...

The pandemic is awful, obviously, but there have been some highlights inspired by it. One of those highpoints is Team Deakins, the podcast that legendary cinematographer Roger Deakins—known for his work with the Coen Brothers, Martin Scorsese, and Denis Villeneuve, among many others—started with his wife and digital workflow consultant James Ellis Deakins. Their podcast has included many guests that the Deakins have worked with including Sam Mendes, John Crowley, and Denis Villeneuve.

Continue reading Joel Coen Talks Switch To Digital Filmmaking, Hating Orson Welles & His New Fave Filmmaker: Andrey Zvyagintsev at The Playlist.

Some of last year’s most anticipated releases are hitting Sky Cinema in July, so we’ve updated our monthly guide to spotlight all the new cinematic offerings that subscribers will get to choose from. Whether you fancy a bit of Brad Pitt in space, a spot of evil clown-flavoured horror in the sewers, or even some catchy new musical fantasy tunes, Sky Cinema’s July lineup should have something to tempt most of you.

Here’s a look ahead at what’s coming up in July…

Premieres

Frozen 2 – 3rd July on Sky Cinema and Sky Cinema Pass on Now TV

In Frozen 2, the gang from the 2013 Disney blockbuster – Elsa, Anna, Kristoff, Olaf, and Sven – return for another long-awaited icy adventure that will take them on a journey beyond Arendelle. When Elsa hears a mysterious voice calling out to her, it’s decided that now is time to...

Roger Deakins has won the Academy Award for Best Cinematography thanks to his virtuoso work filming Sam Mendes’ “1917,” the World War I drama that is filmed to look like one single continuous take. Deakins’ “1917” victory is the cinematographer’s second Oscar win in two years following his prize for Denis Villeneuve’s “Blade Runner 2049.” Deakins, one of the most widely acclaimed cinematographers of his generation, spent decades waiting for his first Oscar. The Dp earned 14 Oscar nominations over 23 years and lost every single time until “Blade Runner 2049” at the 2018 ceremony. Now Deakins has won two Oscars in two years.

Prior to winning for the first time with “Blade Runner 2049,” Deakins was Oscar-nominated for the following titles: “The Shawshank Redemption,” “Fargo,” “Kundun,” “O Brother, Where Are Thou?,” “The Man Who Wasn’t There,” “No Country for Old Men,” “The Assassination of Jesse James by the Coward Robert Ford,...

John Crowley's The Goldfinch, adapted from the Pulitzer Prize-winning novel by Donna Tartt, debuted in September to devastatingly low box office numbers and a critical consensus bordering on calamitous. The film's premiere at the Toronto International Film Festival brought an avalanche of disparaging reviews, most often heralding the film as "lifeless" and "sloppy." Critics sank their teeth into the film's unconventional structuring, ultimately regarding it as one of WB's most notable disappointments.

Related: Dare Me: 10 Books From Our Teen Years That We Want Movies/Shows Of

The Goldfinch is not, however, without its devotees. Enthusiasts of the novel revere the film for its core function: performing a dazzling and gut-wrenching (if occasionally clumsy) cinematic symphony of Tartt's beguiling characters and rich prose. At 784 pages, the book is a behemoth of a story to adapt as a singular feature. Despite the sheer narrative enormity of the source material,...

The Goldfinch, the latest film from BAFTA Award winner John Crowley, hits Blu-ray and DVD on December 3. The feature comes out on Digital November 19.

Based on the acclaimed novel by Donna Tartt, the narrative centers on a young man named Theo (Ansel Elgort) who clings to a single work of art [...]

The post Ansel Elgort Drama ‘The Goldfinch’ Hits Blu-Ray And DVD In December appeared first on Hollywood Outbreak.

It's the best of times and the worst of times for Warner Bros. right now. As the studio celebrates the financial glories of Joker, they also have to worry about just how hard The Goldfinch is bombing both here in the U.S. and internationally. Directed by John Crowley, starring Ansel Elgort and Nicole Kidman, and adapted from the acclaimed novel of the same name by Donna Tartt, The Goldfinch seemingly has all the right elements to make for a great, prestige movie. So, after a month of it hanging out in theaters, what happened? Let's get the …...

Other openers include horrors ‘Ready Or Not’, ‘Don’t Let Go’.

John Crowley’s The Goldfinch and Shola Amoo’s The Last Tree are two of the 2019 festival titles opening at the UK box office this weekend amid a field of strong holdovers.

Released by Warner Bros, The Goldfinch is an adaptation of Donna Tartt’s best-selling novel about a boy taken in by a wealthy New York family. Ansel Elgort stars as the young man whose troubled childhood leads him into the world of art forgery. Nicole Kidman, Sarah Paulson, and Jeffrey Wright have supporting roles in the film...

Nicole Kidman’s fine cameo cannot save an infuriating adaptation that renders a complex novel in broad brushstrokes

Despite A-list talent either side of the camera, something has gone worryingly wrong with this adaptation of Donna Tartt’s Pulitzer-winning novel from 2013, directed by John Crowley. It’s as if all the book’s unwieldy and digressive aspects have hypnotised the film-makers, who want to do justice to the writerly aspects of Tartt’s extravagant Dickensian adventure, all that fetishistic connoisseur detail. But they have mislaid or underplayed the straightforwardly exciting set pieces that could have put some voltage back into the film.

The film is co-financed by Amazon Studios and maybe it would have worked better as an eight-part TV drama. As it is, the story is all effortfully squeezed into two and a half hours, but with key moments suddenly whizzing past as if on fast-forward, and the most...

[This story contains spoilers for The Goldfinch and It: Chapter Two]

As Finn Wolfhard grows up, so do his characters. Whether it’s running from dancing clowns and Demogorgons or ghostbusting in Jason Reitman’s Ghostbusters 2020, the 16-year-old actor is still having plenty of fun in the genre that launched his career. However, Wolfhard is finding new ways to challenge himself, hence the role of Boris Pavlikovsky, a Ukrainian émigré in John Crowley’s The Goldfinch.

Based on the Pulitzer Prize-winning novel, The Goldfinch chronicles the childhood and adulthood of Theo Decker (Oakes Fegley, Ansel Elgort), who lost his mother in ...

[This story contains spoilers for The Goldfinch and It: Chapter Two]

As Finn Wolfhard grows up, so do his characters. Whether it’s running from dancing clowns and Demogorgons or ghostbusting in Jason Reitman’s Ghostbusters 2020, the 16-year-old actor is still having plenty of fun in the genre that launched his career. However, Wolfhard is finding new ways to challenge himself, hence the role of Boris Pavlikovsky, a Ukrainian émigré in John Crowley’s The Goldfinch.

Based on the Pulitzer Prize-winning novel, The Goldfinch chronicles the childhood and adulthood of Theo Decker (Oakes Fegley, Ansel Elgort), who lost his mother in ...

Ansel Elgort is standing by “The Goldfinch” amidst negative reviews and even worse box office. The John Crowley-directed adaptation of Donna Tartt’s Pulitzer Prize-winning novel dropped a massive 71% in its second weekend in theaters, grossing less than $800,000 and bringing its domestic total to $4.5 million. “The Goldfinch” release has been a disaster for Warner Bros., but leading actor Elgort took to his Instagram page over the weekend to defend the movie and call out film critics for deciding to only focus on the bad in their highly negative “Goldfinch” reviews.

“Critics usually are really great writers and they have to kind of choose a side,” Elgort said on his Instagram story. “They decided that pointing out everything wrong with the film is the best way to write their reviews, their articles. They are all great articles, too. All the bad reviews are well written but there is a lot of good in the film,...

Director John Crowley's "The Goldfinch" is designed like a character-driven film, languid and slow-paced. It is about closures, miracles and destiny, and has a treasured painting named The Goldfinch as its backdrop.

It is Theo Decker's stark odyssey.

The story is triggered by a tragic twist of fate when Theo Decker and his mother enter the Metropolitan Museum of Art. A bomb by extremists rips the Museum, killing his mother. Since then, going into a shell, Theo keeps blaming himself.

"It was my fault just like everything else? even if it did by happenstance?" he rues and thus begins the tale.

The plot, narrated in a non-linear manner, meanders aimlessly but wraps up the story effortlessly. The graph moving on an even keel, gives us an insight into the various relationships of Theo -- with his estranged and alcoholic father Larry (Luke Wilson), his girlfriend Xandra (Sarah Paulson), his childhood friend Boris,...

Adapting Donna Tartt’s Pulitzer Prize-winning novel The Goldfinch for the screen was never going to be an easy task. At 771 pages, it would make a daunting TV miniseries – and director John Crowley managed to whittle it down into an under-two-and-a-half-hour feature film. As any team adapting existing material must, the filmmakers had to […]

The post Taking ‘The Goldfinch’ from Page to Screen with Editor Kelley Dixon appeared first on /Film.

Jimmy Fallon definitely didn’t fool Sarah Paulson into thinking he knew what her newest movie, The Goldfinch, was all about.

On Tuesday, the actress, 44, participated in an awkward, but hilarious interview on The Tonight Show Starring Jimmy Fallon, as the late-night host tried to ask Paulson questions about her film, which is based on a book he didn’t read.

“I tried,” Fallon, 44, admitted about reading The Goldfinch as Paulson began to explain the plot.

“800 pages is just too much for you, right?” she joked.

“It is beautiful and great, and I go, ‘I get it’ and then it...

Ever since seeing Bloodline at the 2019 Popcorn Frights Film Festival, I've had its infectious, synth-infused soundtrack stuck in my head, as the original music by Trevor Gureckis is like its own character in the film, giving the serial killer story a deadly pulse that hearkens back to some of the most memorable collaborations between John Carpenter and Alan Howarth. With Bloodline—Original Motion Picture Soundtrack coming to digital via Lakeshore Records on September 20th (the same day the film will be released in theaters and on Digital and VOD by Momentum Pictures), we've been provided with an exclusive track from the film's score to share with Daily Dead readers.

Below, you can listen to the exclusive "Good Boy" track from Bloodline—Original Motion Picture Soundtrack ahead of its September 20th release from Lakeshore Records.

In case you missed it, read Heather Wixson's 4-star review of the film, and we...

It's been a long time coming, but The Goldfinch - Donna Tartt's Pulitzer Prize-winning book about a boy who steals the priceless Carel Fabritius painting "The Goldfinch" from the Metropolitan Museum of Art - is coming to the big screen this month. John Crowley is on board as director, with Sarah Paulson playing Xandra, Ansel Elgort playing Theo, and Willa Fitzgerald, Finn Wolfhard, Nicole Kidman, and Ashleigh Cummings also appearing. The drama hits theaters on Sept. 13, so we totally understand if you can't fit the 784-page tome into your busy schedule. If short books are more your thing, here's everything you need to know about Tartt's legendary novel. Just be warned: big spoilers below!

Related: 16 Books That Every Introvert Needs to Read

The novel is told from the perspective of Theodore "Theo" Decker, a 13-year-old living with his beloved mother in New York City. His story starts off with...

All too often in today’s big budget tentpoles, the visual effects can feel painted on to the frame — a distinct layer separate from the live action caught on camera. According to 14-time Oscar nominee Roger Deakins, whose new film “The Goldfinch” opened this past weekend, the problem often stems from the cinematographer not being involved in the visual effects process.

“You’ve got one pair of eyes creating a kind of lighting and palette on a frame and then somebody else comes on,” said Deakins, a recent guest on IndieWire’s Filmmaker Toolkit podcast. “It’s like two painters, Jackson Pollock doing an addition to Turner painting. It’s not going to work is it? Even though both are technically great artists – that’s probably the wrong way to talk about it, but you’re looking at one thing and some else comes along and they look at something else in a different way.

Warner Bros. domestic distribution president Jeff Goldstein is facing some tough questions in the aftermath of “The Goldfinch” becoming one of the biggest box office bombs of 2019. The John Crowley-directed adaptation of Donna Tartt’s Pulitzer Prize-winning novel opened at the U.S. box office to a disastrous $2.6 million, far below the projections that said the film would open in the $12 million range. Warner Bros. partnered with Amazon Studios to produce “The Goldfinch” for $40 million. The drama opened in 2,542 locations, making its $2.6 million launch one of the biggest bombs for a nationwide release. Goldstein reacted to the film’s box office performance by telling Variety the marketplace just wasn’t right for it.

“I think the audience wasn’t interested in seeing this literary work on-screen,” Goldstein said. “There were many things that didn’t work, but the biggest was probably the marketplace. The gap between the have and...

Mid-September is not normally prime box office, but this weekend provided some encouragement as we move into a fall that will determine whether the market will reverse the trend that has domestic results 6% below last year.

“Hustlers” planted the flag for the cause of comedies, original projects, and women front and center with a stronger-than-anticipated $33 million. That was good enough for second place, behind “It: Chapter Two,” which managed to keep its second-weekend drop to reasonable levels and a total just under $41 million that maintained the #1 slot. A particularly strong group of small-drop holdovers also added to decent results.

And then there was the absolutely dreadful #8 with “The Goldfinch,” which grossed $2.64 million. Its failure, which Warner Bros. can sustain, will have more long-term impact than most similar high-end duds.

What emerged was a weekend total that should end up over $110 million, enough to slightly surpass the same date last year.

STXinternational’s Hustlers arrives on $4.5m.

September 16 Update: It: Chapter Two held on to its number one worldwide and international box office crowns on a confirmed $46.6m for $169.1m and an estimated $87.3m for $323m, respectively, as the franchise crossed $1bn globally in the second weekend of the sequel’s release.

Meanwhile Focus Features’ Downton Abbey film version of the TV series stormed into the UK on $6.3m, and Sony’s Once Upon A Time… In Hollywood has become Quentin Tarantino’s second highest global release. STXinternational’s Hustlers arrived on $4.5m.

Warner Bros Pictures International

Updated: The It franchise...

STXinternational’s Hustlers arrives on $4.5m.

It: Chapter Two held on to its number one worldwide and international box office crowns on $47m for $169.5m and $87.7m for $323.3m, respectively, as the franchise crossed $1bn globally in the second weekend of the sequel’s release.

Meanwhile Focus Features’ Downton Abbey film version of the TV series stormed into the UK on $6.3m, and Sony’s Once Upon A Time… In Hollywood has become Quentin Tarantino’s second highest global release. STXinternational’s Hustlers arrived on $4.5m.

Warner Bros Pictures International

The It franchise has amassed $1.023bn worldwide from two films.

Director John Crowley’s “The Goldfinch” just debuted to one of the worst openings ever for Warner Bros. Pictures. Earning $870,000 on 2,542 screens, the adaptation of the Donna Tartt bestseller starring Ansel Elgort as the troubled survivor of a terrorist attack belly-flopped at the box office following poor reviews and an ill-received Toronto International Film Festival bow. It’s unlikely to cross $3 million at the weekend box office.

The writing was on the walls when even the stars of the sprawling epic publicly said that they wished the film was something else. “The Goldfinch” star Sarah Paulson told Deadline, “In my dream world, they would have made this a four-part miniseries, with each section having its own evening event, just so that you could mine everything in this book.” Elgort, meanwhile, wished the film was a play, according to a recent Huffington Post interview.

“The Goldfinch,” Crowley’s follow-up to Best Picture-nominated “Brooklyn,...

Before we go any further, you should know that this is not a whiny, “the book was, like, way better than the movie” type of review. I don’t believe it is a prerequisite that all moviegoers attending a film based on a cherished novel must read that novel first. In fact, I didn’t read the book, The Goldfinch, and am therefore unable to make that comparison, fair or not. So, now that that’s out of the way: This review? It is simply a “I was quite bored with how this story was told on screen—but I do like antique furniture and Ansel Elgort, so I kept my eyes open” sort of review.

The film’s director, John Crowley, had a vision. I’ve seen evidence of them before, and they are beautiful (e.g. multiple Oscar®-nominee Brooklyn [2015]). The dreamy aesthetics and character connection in that...

Here are a bunch of little bites to satisfy your hunger for movie culture: Character Coach of the Day How did Jennifer Lopez learn all the pole dancing moves she displays in the new movie Hustlers? With help from Cirque du Soleil dancer Johanna Sapakie, Lopez became a master of the craft. Sapaki is the subject of this Insider video featuring footage of their work together: Director Commentary of the Day John Crowley’s The Goldfinch, based on the...

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Roger Deakins, one of Hollywood's most respected cinematographers, talks about his work on Warner Bros.' The Goldfinch in a new episode of The Hollywood Reporter's Behind the Screen series.

Deakins famously won an Oscar for Blade Runner 2049 after 13 previous nominations for films including The Shawshank Redemption, The Man Who Wasn't There, No Country for Old Men, Fargo and Skyfall.

Director John Crowley's The Goldfinch is based on the 2013 Pulitzer Prize-winning novel of the same name that follows protagonist Theo, who survived a terrorist attack at New York's Metropolitan Museum of Art when he ...

Roger Deakins, one of Hollywood's most respected cinematographers, talks about his work on Warner Bros.' The Goldfinch in a new episode of The Hollywood Reporter's Behind the Screen series.

Deakins famously won an Oscar for Blade Runner 2049 after 13 previous nominations for films including The Shawshank Redemption, The Man Who Wasn't There, No Country for Old Men, Fargo and Skyfall.

Director John Crowley's The Goldfinch is based on the 2013 Pulitzer Prize-winning novel of the same name that follows protagonist Theo, who survived a terrorist attack at New York's Metropolitan Museum of Art when he ...

To the list of great books mangled by Hollywood — F. Scott Fitzgerald’s The Great Gatsby, Tom Wolfe’s The Bonfire of the Vanities, and, Omg, Ayn Rand’s Atlas Shrugged — add Donna Tartt’s The Goldfinch. This cinematic assault on Tartt’s 2014 Pulitzer prize-winning novel would seem to have everything going for it: a classy cast (Nicole Kidman, Ansel Elgort, Luke Wilson, Jeffrey Wright, Sarah Paulson); the acclaimed Irish film and theater director John Crowley, fresh off his Best Picture nominee Brooklyn; Oscar-nominated screenwriter Peter Straughan (Tinker Tailor Soldier Spy...

The centerpiece of “The Goldfinch,” director John Crowley’s adaptation of Donna Tartt’s Pulitzer Prize-winning Dickensian novel, is the terrorist bombing of New York’s Metropolitan Museum of Art. Shot by legendary cinematographer Roger Deakins through a haze of ashen gray dust and debris, we witness, in fragmented space and time, the destruction of artwork and the aftershock for 13-year-old Theo (Oakes Fegley and Ansel Elgort), who becomes orphaned when his mother (Hailey Wist) is killed in the blast.

For production designer K.K. Barrett (“Her”), the challenge of recreating the Met for a mythical exhibition was compounded by having to reproduce the mesmerizing 1654 Dutch oil painting of a chained goldfinch by Carel Fabritius. Fortunately, the Mauritshuis museum in The Hague, Netherlands, where “The Goldfinch” resides, came to the rescue.

“We saw the real ‘Goldfinch’ and were pretty stunned,” said Barrett. “It looks real modern and doesn’t look like...

It Chapter Two opened last weekend and gave the box office a much-needed shot in the arm with a $91 million take. Pennywise and The Losers Club should be collecting another very fat stack of cash on their second week out, but Stx also has the buzzed-about Hustlers set to arrive, which could represent some very major competition. At the same time, Warner Bros. is releasing what is (or at least was) a clear awards season hopeful with The Goldfinch.

Despite the competition, It Chapter Two is expected to come out on top once again with between $40 and $45 million. The sequel hasn't been met with the same level of critical praise as its predecessor and it also hasn't matched the same heights at the box office up to this point. Still, the Andy Muschietti-directed Stephen King adaptation has already crossed the $200 million mark worldwide and, with its take over the weekend,...

The box office heat surrounding STXfilms’ Jennifer Lopez stripper crime pic Hustlers is real, and has been so since it hit tracking on August 22, with projections spotting that this could be the actress’ biggest live action opening with $25M-$30M since her 2005 comedy Monster-in-Law ($23.1M).

That opening record would also double as the best for Burbank, CA-based STXfilms, ahead of their previous Bad Moms ($23.7M). It’s a much needed win for the mini-major studio which has been financially re-calibrating itself, seeking a reported half billion in fresh capital. Stx back in January celebrated its first No. 1 weekend win with Lantern’s The Upside, which debuted to $20.3M. Overall, it made $108.2M domestic and $122.7M worldwide. Last October, they took Hustlers in turnaround from Annapurna.

The high-concept story based on Jessica Pressler’s New York Magazine article “The Hustlers at Scores” about the strippers who turned the tables on their...

It’s hard to imagine that there could be a better-looking movie at this year’s Toronto International Film Festival than John Crowley’s adaptation of Donna Tartt’s bestselling novel “The Goldfinch.” And that makes the many areas in which the film falls short all the more frustrating.

A high-toned adaptation of the novel from Crowley, the Irish director responsible for the Oscar Best Picture nominee “Brooklyn,” “The Goldfinch” is less straightforward than the novel, jumping back and forth in time, but it also feels far more conventional. Where Crowley’s previous film was an understated gem that captured the gentle poetry of Colm Toibin’s novel, his new one is bigger, bolder and more earthbound.

The bigness and boldness are of necessity. “The Goldfinch,” which had its world premiere this week at the Toronto International Film Festival, is a coming-of-age story of a young boy whose mother is...

After a big start to 2019 with “The Upside,” STX has faced months of headlines regarding their financial future. But after their newest film, “Hustlers,” premiered in Toronto to rave reviews this past weekend, the studio might see its fortune turn around with what could be its biggest box office hit to date.

Right now, the top film on STX's all-time box office charts is the 2016 comedy “Bad Moms,” which opened in late July to $23.8 million and legged out to a $113 million domestic run. Independent trackers have “Hustlers” beating out that opening weekend with a $25-28 million launch from 3,250 screens, with STX projecting a start on the lower end of that range. The film has a $20 million budget.

The big challenge for “Hustlers” will be attracting millennial audiences, particularly women, as “It: Chapter Two” enters its second weekend. The WB...

It is never too early for another awards ceremony, especially just as Oscar season kicks in. Thus the Toronto Film Festival launched the very first Tiff Tribute Gala on Monday night. It makes sense for this massive fest, even if Tiff already has an award, the People’s Choice Award, that gets a lot of attention at the end of the 11-day event because it has become quite prescient in predicting eventual Oscar-winning Best Pictures and nominees over the years (Green Book was the surprise audience winner last year). It often is pointed to by pundits as perhaps the first real sign of an Oscar contender, and prognosticators even write pieces trying to predict who will win it.

But as described by Tiff co-head Cameron Bailey, this new idea came about to essentially morph the festival’s traditional fundraising tribute dinner into one that specifically will “highlight the year’s best films,...

The Toronto Film Festival rolled out the red carpet Monday night for its inaugural Tiff Tribute Gala, a fundraiser and awards-season launcher that feted a select group of cinema changemakers and included both inspiring and surprising moments.

Held at the historic Fairmont Royal York Hotel, the packed event was hosted by Toronto thesps Sarah Gadon (“American Woman”) and Stephan James (“If Beale Street Could Talk”), both alumni of Tiff Rising Stars, one of many career-boosting programs the not-for-profit Tiff puts on year round.

Following a greeting from Tiff co-heads Cameron Bailey and Joanna Vicente — who together decided to consolidate previous tribute/fundraiser events into a single high-profile festival centerpiece for maximum impact — “The Goldfinch” director John Crowley presented the Variety Artisan Award to Roger Deakins.

“I am honored to make a great artist greatly uncomfortable,” Crowley joked, referring to the legendary cinematographer’s dislike of the spotlight.

Deakins — whose work,...

How do you make a movie out of The Goldfinch? It’s the question book lovers have been asking themselves since John Crowley’s adaptation was announced last year. And it’s true that Donna Tartt’s thoughtful, decades-spanning, continent-hopping story of a boy and a painting doesn’t really lend itself to an action-packed feature film, but if you’re […]

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The first major reviews for John Crowley's The Goldfinch are in. The movie premiered at the Toronto International Film Festival over the weekend and has been getting heavily blasted by critics. Some are even hailing it as one of the worst movies of 2019 and it hasn't even been widely released. The Goldfinch is based on Donna Tartt's 2013 Pulitzer Prize winning novel of the same name, so there was already going to be some pressure to live up to a critically acclaimed book. Making a movie based on a famous book is not an easy thing to pull off for anybody.

The Goldfinch, which stars Ansel Elgort, Nicole Kidman, and Finn Wolfhard, has been labeled "disappointing," "bland," and "a gigantic waste of time," by more than one critic. Not even the cast was able to elevate the source material as another critic calls the movie "lifeless" and quite possibly...

We present our interviews from the Tiff premiere of The Goldfinch, the John Crowley adaptation of Donna Tartt’s novel. It stars Nicole Kidman, Finn Wolfhard, Sarah Paulson, Ansel Egort, Anuerin Barnard, Luke Wilson, Jeffrey Wright, Oakes Fegley, Willa Fitzgerald, Luke Kleintank, Denis O’Hare and Peter Jacobson.

The film premiered at the 2019 Toronto Film Festival, here are the interviews from the red carpet. As well as hearing from Nicole Kidman we spoke to actors Aimee Laurence, Caroline Day, Aneurin Barnard and director John Crowley, who talked to us about his own personal journey with the story of The Goldfinch. We also had the absolute pleasure of time with the Godfather of cinematographers Roger Deakins. He spoke about Film Vs. Digital, his eclectic mix of recent projects and…yes, we asked him about the rumours of Sam Mendes’ 1917 being all one shot…

Here are the interviews

Synopsis:

A boy in...

An elegantly made attempt to transport the Pulitzer prize-winning novel to the screen boasts a strong cast but a confused emotional focus

Is Donna Tartt’s Pulitzer prize-wining novel The Goldfinch unadaptable? Is it possible to condense 784 globetrotting pages of romance, terrorism, grief, drug addiction and art world espionage into a coherent and dramatically satisfying movie? After 149 minutes of Brooklyn director John Crowley’s much-anticipated, and much-feared, attempt, the answer appears to be … shrug emoji?

Related: The Personal History of David Copperfield review: Dev Patel shines in Iannucci's charmer...

The big problem with “The Goldfinch” — — is that it mistakes its source material for a great work of art. That critical error isn’t an overestimation of Donna Tartt’s blockbuster novel of the same name, so much as it is a categorical mischaracterization. Perhaps even an unavoidable one.

The book, a vivid but ridiculous neo-Dickensian epic that borrows its title from the 17th-century Carel Fabritius painting at its core, is an improbable bildungsroman about the immortality of beautiful objects. Tartt’s novel became controversial among critics in the same way that anything so popular and acclaimed invariably does, but the story’s proximity to the great masterpieces of Western culture left fans convinced that it belonged among them, and inspired detractors to read it for filth.

In truth, “The Goldfinch” probably falls somewhere in between, but the Hollywood adaptation — a gauzy, bloated slab of Oscar bait — was always going to have to pick sides.

“The Goldfinch” is this year’s entry in what has become, by now, a time-honored genre: the high-toned awards-bait literary adaptation that, for all the skill and care and ambition that’s been lavished on it, doesn’t quite work. Watching this faithful-in-a-literal-way yet somehow skittery cinematic transcription of Donna Tartt’s Pulitzer Prize-winning 2013 art-mystery novel, you can tell that the director, John Crowley (“Brooklyn”), and the screenwriter, Peter Straughan (“Tinker Tailor Soldier Spy”), did everything in their power to get the novel up on screen. What cast a winding spell on the page has become an occasionally compelling but mostly labored live-action illustration.

We’ve seen this happen a hundred times before, just about always during awards season. For every adaptation of a relatively recent literary sensation that succeeds in being vibrantly true to the book and, at the same time, emerges as a rich dramatic entity all its own,...

You can tell that John Crowley’s adaptation of the Pulitzer Prize-winning novel The Goldfinch doesn’t really care about grief or love or anything substantial by the way it handles its inciting event. For this cold, heartless, sterile look at survivor’s guilt in the face of senseless tragedy, you need only observe the relationship between young Theo (Oakes Fegley) and his mother. When you do, you’ll note that there’s nothing there. There’s no nuance, no texture, no specificity; only a giant signpost that says, “My mom was killed by a terrorist, and now I …...

American Horror Story star Sarah Paulson on Sunday recalled obsessively preparing to audition for John Crowley's The Goldfinch movie adaptation, which has a world premiere at the Toronto Film Festival tonight.

Paulson told a Tiff presser for the Ansel Elgort-starring art forgery drama that Crowley may not have envisioned her for the part of the girlfriend of Theo's father, "but I loved the book so much, I made a big, fat greedy play for it," she said about her role, pulled from the Pulitzer Prize-winning novel of the same name by Donna Tartt.

"I put on a ...