Change sounds like this: South Korean director Bong Joon Ho accepted his foreign film award for “Parasite” at the Golden Globes, saying: “Once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” Bong’s statement echoes Alfonso Cuarón’s comments last year when he took the foreign-language Oscar for
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Jarin Blaschke’s black-and-white cinematography in Robert Eggers’ “The Lighthouse” lends the proceedings a mythic quality and highlights the tour-de-force acting by Willem Dafoe and Robert Pattinson. The monochrome images are in harmony with the elemental story: trapped together in an unforgiving 1890s landscape, two lighthouse keepers begin to lose their grip on sanity. Blaschke, a
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Taut, tense and fluid, the Oscar-nominated script for “1917” reflects a collaboration of old guard and new — Oscar-winning writer-director Sam Mendes and debut feature writer Krysty Wilson-Cairns. They structured the WWI epic as a single shot tracking two young British soldiers, lance corporals Blake (Dean-Charles Chapman) and Schofield (George MacKay). Their mission? Cross no-man’s
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Motion capture in one form or another has been around for decades, and certainly the most recognizable modern use comes from “The Lord of the Rings” films in which Andy Serkis portrayed the beady-eyed creature Gollum. The actor wore a special bodysuit, helmet and strategically placed markers so that each detail of the part computer-generated,
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Haunted houses are always full of hidden passageways, secret rooms and a story or two about someone who used to live there who disappeared or died under mysterious circumstances. The Park house in “Parasite” is no exception to that rule. It was first imagined by director Bong Joon Ho as a place that would be
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Veteran music-business attorney Dina LaPolt has appealed to West Hollywood Mayor John D’Amico and other officials to preserve the “Log Cabin,” a building that for years has been used as a meeting place for 12-step meetings and other efforts supporting substance abusers in recovery. LaPolt, who has worked extensively with Aerosmith, Britney Spears and Deadmau5
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Picturehouse Entertainment has acquired U.K. rights from TrustNordisk for Maria Sødahl’s “Hope,” which stars Stellan Skarsgård and Andrea Bræin Hovig, and will have its European premiere at the Berlin Film Festival this month. Based on the director’s own experiences after being diagnosed with brain cancer, “Hope” explores the relationship between artists and partners Tomas (Skarsgård)
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Sky Studios has signed a first-look script deal with comedy and entertainment indie Ranga Bee, the production company founded by BAFTA-nominated comedian Romesh Ranganathan and Emmy-winning executive producer and director Benjamin Green. Ranga Bee will work directly with Sky Studios to develop projects for Sky, with co-developed projects to be executive produced by Jon Mountague,
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German film and TV company Telepool, jointly owned by Hollywood actor-producer Will Smith and Swiss investor Elysian Fields, is moving forward in multiple areas of the entertainment business, CEO André Druskeit tells Variety. Druskeit reveals a major new acquisition for its German distribution arm, and Julia Weber, head of theatrical sales and acquisitions at Telepool’s
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February 2, 2020 10:05PM PT Men are from Mars and women are from the best-seller list in these competitive campfire tales by filmmaker Josh Ruben and co-star Aya Cash. “Scare Me,” written and directed by first-time filmmaker Josh Ruben, is a spook show stripped to the basics. A boy and a girl, Fred and Fanny
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The experiment known as Biosphere 2 may be best remembered now — when remembered at all — as something that spawned “Bio-Dome,” the godawful 1996 comedy that is nonetheless many people’s favorite movie involving Pauly Shore or Stephen Baldwin. (Of course, others might get hives at the very idea of having a favorite anything involving
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