Though famously ambivalent about film adaptations of his work — to the degree of never watching some — Alan Moore has written a screen original in “The Show,” perhaps attracted to a more hands-on approach to the medium now that he’s officially retired from comics. This playfully wayward mystery set in his native Northampton turns that burg into a kind of midlands Gotham, where not-quite-superheroic intrigue unfolds as convolutedly as possible. Fun if perhaps a little too tongue-in-cheek for its own good, the results will no doubt appeal most to Moore fans who’ll revel in his Byzantine plotting, noirish tropes and other signature elements. Fathom Events is providing them one-night U.S. theatrical access this Thursday, Aug. 26; release in other formats is as yet unannounced.
“The Show” is directed by Mitch Jenkins, a photographer who’s collaborated with the “Watchmen” scribe for 12 years, including on several shorts that introduced some of its characters and ideas.
“The Show” is directed by Mitch Jenkins, a photographer who’s collaborated with the “Watchmen” scribe for 12 years, including on several shorts that introduced some of its characters and ideas.
- 8/26/2021
- by Dennis Harvey
- Variety Film + TV
Here’s the latest episode of the The Filmmakers Podcast, part of the ever-growing podcast roster here on Nerdly. If you haven’t heard the show yet, you can check out previous episodes on the official podcast site, whilst we’ll be featuring each and every new episode as it premieres.
For those unfamiliar, with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors. They also shoot the breeze about their new films, The Dare, World of Darkness,...
For those unfamiliar, with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors. They also shoot the breeze about their new films, The Dare, World of Darkness,...
- 4/10/2020
- by Phil Wheat
- Nerdly
Here’s the latest episode of the The Filmmakers Podcast, part of the ever-growing podcast roster here on Nerdly. If you haven’t heard the show yet, you can check out previous episodes on the official podcast site, whilst we’ll be featuring each and every new episode as it premieres.
For those unfamiliar, with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors. They also shoot the breeze about their new films, The Dare, World of Darkness,...
For those unfamiliar, with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors. They also shoot the breeze about their new films, The Dare, World of Darkness,...
- 8/21/2019
- by Phil Wheat
- Nerdly
The mission to steal the plans to the Death Star is about to make its way to your home on Blu-Ray/Digital! Come inside to find out how you can watch this stellar Star Wars story early.
The film dubbed as one of the best Star Wars films ever made is finally coming home! Rogue One: A Star Wars Story, the tale of the brave few who infiltrated, fought, and stole the plans of the Death Star so Luke, Leia, Han, and the rest of the rebellion could take it down, is coming to Blu-Ray Combo Pack on April 4, 2017! That's a week after the Digital HD and Disney Movies Anywhere copy arrives on March 28, 2017.
If you haven't seen it, check out our official review of what was one our favorite movies of 2016!
Announced today on The Star Wars Show and StarWars.com, “Rogue One: A Star Wars Story...
The film dubbed as one of the best Star Wars films ever made is finally coming home! Rogue One: A Star Wars Story, the tale of the brave few who infiltrated, fought, and stole the plans of the Death Star so Luke, Leia, Han, and the rest of the rebellion could take it down, is coming to Blu-Ray Combo Pack on April 4, 2017! That's a week after the Digital HD and Disney Movies Anywhere copy arrives on March 28, 2017.
If you haven't seen it, check out our official review of what was one our favorite movies of 2016!
Announced today on The Star Wars Show and StarWars.com, “Rogue One: A Star Wars Story...
- 2/22/2017
- by feeds@cinelinx.com (Matt Malliaros)
- Cinelinx
In yesterday's story, Rogue One editors John Gilroy and Colin Goudie revealed that many of the reshoots for the Star Wars prequel were done to provide their characters with additional introductory backgrounds. When asked about the drastic changes to the third act of the film, however, Gilroy dodged the question. "...I don’t want to go into too much detail about what had been there before, but it was different." It's been deduced through behind-the-scenes shots and excised trailer scenes that Jyn Erso, Cassian Andor, K-2So and Orson Krennic were all originally intended to make it down to the battle-torn beaches of Scarif, with the heroes carrying the physical plans for the Death Star with them. How and why events played out this way has yet to be discovered, but a few new photos (courtesy of /Film) have given us a look at some scenes that never made the final cut.
- 1/5/2017
- ComicBookMovie.com
The revelation that the Star Wars spin-off was mapped out using clips from existing movies is a reminder of the multiplex’s resistance to breaking new ground. We must cherish the films that do
It’s become a familiar experience to the 21st-century cinemagoer: that nagging feeling of deja vu in the multiplex, the sense that one is seeing the same movie over and over again, ad infinitum. This is hardly surprising given seven of last year’s 10 highest-grossing films were either remakes, sequels or set in a pre-existing “cinematic universe”. Hollywood has become – perhaps always has been – a cultural Möbius strip, doomed to eternally travel the same path, only ever shifting its trajectory slightly; an old scratched, warped record that never plays quite the same way twice.
But while cinephiles have long become used to shelling out their hard-earned wonga to watch the same movie several times over, a...
It’s become a familiar experience to the 21st-century cinemagoer: that nagging feeling of deja vu in the multiplex, the sense that one is seeing the same movie over and over again, ad infinitum. This is hardly surprising given seven of last year’s 10 highest-grossing films were either remakes, sequels or set in a pre-existing “cinematic universe”. Hollywood has become – perhaps always has been – a cultural Möbius strip, doomed to eternally travel the same path, only ever shifting its trajectory slightly; an old scratched, warped record that never plays quite the same way twice.
But while cinephiles have long become used to shelling out their hard-earned wonga to watch the same movie several times over, a...
- 1/4/2017
- by Ben Child
- The Guardian - Film News
With Rogue One: A Star Wars Story still dominating the box office into the new year, passing the $800 million mark worldwide, we're still in the mood to talk about it. And fortunately there's more to talk about, thanks to some revelatory new interviews with director Gareth Edwards (from Empire) and editors John Gilroy and Colin Goudie (from Yahoo). Here are the most interesting things we learned: Spoilers!!! Why wasn't there an opening crawl or...
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- 1/4/2017
- by affiliates@fandango.com
- Fandango
It's safe to say that audiences didn't feel misled about Rogue One: A Star Wars Story upon its release, despite several big scenes not making it into the finished film. Aside from some of the very obvious action setpieces from the trailers that are missing in the final cut, it's not immediately clear which scenes were a part of the film's oft-discussed reshoots, and editors John Gilroy and Colin Goudie sat down with Yahoo UK to explain that most of the reshoots were actually done just to provide their characters with a bit more introductory substance. "The story was reconceptualised to some degree, there were scenes that were added at the beginning and fleshed out," said Gilroy. "We wanted to make more of the other characters, like Cassian [Andor]'s character, and Bodhi [Rook]’s character. The scene with Cassian’s introduction with the spy, Bodhi traipsing through Jedha on his way to see Saw,...
- 1/4/2017
- ComicBookMovie.com
It's safe to say that audiences didn't feel misled about Rogue One: A Star Wars Story upon its release, despite several big scenes not making it into the finished film. Aside from some of the very obvious action setpieces from the trailers that are missing in the final cut, it's not immediately obvious which scenes were a part of the film's oft-discussed reshoots, and editors John Gilroy and Colin Goudie sat down with Yahoo UK to explain that most of the reshoots were actually just done to provide their characters with a bit more introductory substance. "The story was reconceptualised to some degree, there were scenes that were added at the beginning and fleshed out," said Gilroy. "We wanted to make more of the other characters, like Cassian [Andor]'s character, and Bodhi [Rook]’s character. The scene with Cassian’s introduction with the spy, Bodhi traipsing through Jedha on his way to see Saw,...
- 1/4/2017
- ComicBookMovie.com
With Rogue One: A Star Wars Story still dominating the box office into the new year, passing the $800 million mark worldwide, we're still in the mood to talk about it. And fortunately there's more to talk about, thanks to some revelatory new interviews with director Gareth Edwards (from Empire) and editors John Gilroy and Colin Goudie (from Yahoo). Here are the most interesting things we learned: Spoilers!!! Why wasn't there an opening crawl or transition wipes like the other Star Wars movies have? Edwards says the original script by Gary Whitta did have a crawl. The decision not to have it came six months before shooting began because it's not part of the Saga. "If I'm honest, there was an initial kind of like...
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- 1/4/2017
- by Christopher Campbell
- Movies.com
Rogue One: A Star Wars Story Gallery 1 of 64
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As many viewers may already know, Rogue One: A Star Wars Story went through a bit of an identity crisis before making its way into theaters. Extensive reshoots were done back in the summer to clean up some story issues and add a few additional scenes, but the results weren’t quite as noticeable as they were in, say, 2015’s Fantastic Four or even this past summer’s Suicide Squad, both of which also went through their fair share of re-shooting as well.
During an extensive interview withYahoo! UK, John Gilroy and Colin Goudie, who were among the initial editors on the film, alongside Jabez Olssen, discussed just what went on during the reshoots and what was changed.
The story was reconceptualised to some degree, there were scenes that were added at the beginning and fleshed out.
Click to skip More From The Web
As many viewers may already know, Rogue One: A Star Wars Story went through a bit of an identity crisis before making its way into theaters. Extensive reshoots were done back in the summer to clean up some story issues and add a few additional scenes, but the results weren’t quite as noticeable as they were in, say, 2015’s Fantastic Four or even this past summer’s Suicide Squad, both of which also went through their fair share of re-shooting as well.
During an extensive interview withYahoo! UK, John Gilroy and Colin Goudie, who were among the initial editors on the film, alongside Jabez Olssen, discussed just what went on during the reshoots and what was changed.
The story was reconceptualised to some degree, there were scenes that were added at the beginning and fleshed out.
- 1/3/2017
- by Will Ashton
- We Got This Covered
There have been two lingering talking points regarding Rogue One: A Star Wars Story since the film came out three weeks ago:
The fact that the film didn't include the time-honored Star Wars tradition of an Opening CrawlThat a lot of footage we saw in early trailers didn't make it into the final cut of the film and, when coupled with the news of the film's extensive reshoots, people are wondering if we'll ever get to see some sort of Rogue One: A Star Wars Story- Extended Cut
Today, we can address both of those topics thanks to recent remarks from director Gareth Edwards and editor Colin Goudie.
Let's start with the opening crawl, or the lack thereof, which fired up the fan base. Many fans feel like it isn't a Star Wars movie without an opening crawl, and even all kinds of people have chimed in with opinions on the matter.
The fact that the film didn't include the time-honored Star Wars tradition of an Opening CrawlThat a lot of footage we saw in early trailers didn't make it into the final cut of the film and, when coupled with the news of the film's extensive reshoots, people are wondering if we'll ever get to see some sort of Rogue One: A Star Wars Story- Extended Cut
Today, we can address both of those topics thanks to recent remarks from director Gareth Edwards and editor Colin Goudie.
Let's start with the opening crawl, or the lack thereof, which fired up the fan base. Many fans feel like it isn't a Star Wars movie without an opening crawl, and even all kinds of people have chimed in with opinions on the matter.
- 1/3/2017
- by Mario-Francisco Robles
- LRMonline.com
Who would’ve thought a year ago that the most fascinating interview to come out of “Rogue One: A Star Wars Story” (besides every interview with bro-mantic buds Mads Mikkelsen and Ben Mendelsohn) would be with the team of editors who cut the movie? But given the massive overhaul the film underwent during its extensive reshoots this summer, Yahoo‘s conversation with two of the film’s three editors, John Gilroy (given the final Editor credit on ‘Rogue One,’ and brother of Tony Gilroy, the screenwriter and director who led the reshoots) and Colin Goudie (director Gareth Edwards‘ cutter on “Monsters“), is tremendously illuminating.
Continue reading ‘Rogue One’ Editors Talk Cutting & Changing The ‘Star Wars’ Spinoff, Deleted Scenes & More at The Playlist.
Continue reading ‘Rogue One’ Editors Talk Cutting & Changing The ‘Star Wars’ Spinoff, Deleted Scenes & More at The Playlist.
- 1/3/2017
- by Kevin Jagernauth
- The Playlist
There are two stories told on this Blu-ray release of Gareth Edwards’ Monsters.
One is the critically acclaimed and highly accomplished sci-fi film depicting a desperate road trip through the dark heart of an alien infested no-man’s land in Central America and the other is the equally desperate process of making the film. Both are compelling, work beautifully together, and both are essential viewing as one informs and enlightens the other.
Rarely do we see such candid commentary and genuine astonishment at a project being realised, CGI warts and all, onto the screen and the interview footage of director Gareth Edwards and his constant companion and Editor Colin Goudie is an illuminating watch, and should be seen right after the feature. Filmmakers will lap it up and cheer on the triumph of a team who are obviously genuine about their passion for the film they made while standing, almost half squinting,...
One is the critically acclaimed and highly accomplished sci-fi film depicting a desperate road trip through the dark heart of an alien infested no-man’s land in Central America and the other is the equally desperate process of making the film. Both are compelling, work beautifully together, and both are essential viewing as one informs and enlightens the other.
Rarely do we see such candid commentary and genuine astonishment at a project being realised, CGI warts and all, onto the screen and the interview footage of director Gareth Edwards and his constant companion and Editor Colin Goudie is an illuminating watch, and should be seen right after the feature. Filmmakers will lap it up and cheer on the triumph of a team who are obviously genuine about their passion for the film they made while standing, almost half squinting,...
- 4/18/2011
- by Jon Lyus
- HeyUGuys.co.uk
I’m late to writing about this particular party, but the recent Jameson Cult Film Club screening of Monsters was a lot of fun, not least because we had the chance to see a wonderful film charm and astonish an audience in equal measure.
This event took place a couple of weeks ago at the Royal College of Surgeons in London, an austere and faintly creepy surrounding which proved a stroke of genius by the good people of the Jameson Cult Film Club, who always put on a fine show.
I had not seen Gareth Edwards’ film, but like most people knew it by reputation. Described to me as a low-key science fiction road movie, or, both inaccurate and unkind, as a Monster Movie without the Monsters – I was keeping an open mind. Talking with Edwards before the screening he, and his ebullient editor Coin Goudie, were rightly proud of...
This event took place a couple of weeks ago at the Royal College of Surgeons in London, an austere and faintly creepy surrounding which proved a stroke of genius by the good people of the Jameson Cult Film Club, who always put on a fine show.
I had not seen Gareth Edwards’ film, but like most people knew it by reputation. Described to me as a low-key science fiction road movie, or, both inaccurate and unkind, as a Monster Movie without the Monsters – I was keeping an open mind. Talking with Edwards before the screening he, and his ebullient editor Coin Goudie, were rightly proud of...
- 3/25/2011
- by Jon Lyus
- HeyUGuys.co.uk
The Film:
When I first heard about director Gareth Edwards’ shot on the cheap debut feature Monsters I was skeptical. Could a crew of three people and two actors pull off a monster movie on a shoestring budget? The answer to that question is absolutely. Not only did Gareth and his team pull it off, they made a stellar, unforgettable flick that needs to be seen to be believed.
A Nasa probe that crash landed in Mexico brought alien lifeforms with it that are multiplying at an alarming rate, causing the Mexican government, along with the United States government to deem the area around the site the “infected zone.” Everything inside this “infected zone” that hasn’t been destroyed by the monsters is getting reduced to nothing more than smoldering rubble by constant bombings from Us air strikes. Andrew Kaulder (Scoot McNairy), a photographer hoping to get a money shot,...
When I first heard about director Gareth Edwards’ shot on the cheap debut feature Monsters I was skeptical. Could a crew of three people and two actors pull off a monster movie on a shoestring budget? The answer to that question is absolutely. Not only did Gareth and his team pull it off, they made a stellar, unforgettable flick that needs to be seen to be believed.
A Nasa probe that crash landed in Mexico brought alien lifeforms with it that are multiplying at an alarming rate, causing the Mexican government, along with the United States government to deem the area around the site the “infected zone.” Everything inside this “infected zone” that hasn’t been destroyed by the monsters is getting reduced to nothing more than smoldering rubble by constant bombings from Us air strikes. Andrew Kaulder (Scoot McNairy), a photographer hoping to get a money shot,...
- 3/18/2011
- by Donny Broussard
- Killer Films
Thursday night saw the Jameson Cult Film Club’s latest screening, Monsters, threaten to decimate and infect Central London. I was there. I survived.
Priding themselves on a crowd pleasing combination of cult films in complementary locations with a dash, or two, of yummy free drinks (all made with Jameson Irish Whiskey of course), the Jcfc team shows no sign of hitting the wall. In fact they’re actually getting better all the time, with a screening of “Moon” at The Royal Institution and “Taxi Driver” screened in a grotty Soho car park being my highlights thus far.
For Monsters, the Jameson crew bagged themselves The Royal College of Surgeons and transformed it into an infected zone full of Hazmat teams, intrepid TV crews, jungle foliage and a sense of danger and excitement.
Luckily, myself, and a small cabal of other film bloggers, got to attend a little bit of...
Priding themselves on a crowd pleasing combination of cult films in complementary locations with a dash, or two, of yummy free drinks (all made with Jameson Irish Whiskey of course), the Jcfc team shows no sign of hitting the wall. In fact they’re actually getting better all the time, with a screening of “Moon” at The Royal Institution and “Taxi Driver” screened in a grotty Soho car park being my highlights thus far.
For Monsters, the Jameson crew bagged themselves The Royal College of Surgeons and transformed it into an infected zone full of Hazmat teams, intrepid TV crews, jungle foliage and a sense of danger and excitement.
Luckily, myself, and a small cabal of other film bloggers, got to attend a little bit of...
- 3/7/2011
- by Alan Simmons
- FilmShaft.com
Despite what some well-known contrarians may have you believe, 2010 was undoubtedly a very strong year for cinema. At the box office, intelligent cinema with mass appeal flourished, with big hitters such as Toy Story 3, Inception and The Social Network balancing extremely positive critical reception with all important profitability.
It was also a fine year for British film, with at least three hugely significant debut features; Chris Morris' terrorist satire Four Lions, Clio Barnard's sumptuous doc experiment The Arbor, and (last but not least) visual effects expert Gareth Edwards' superb sci-fi road movie Monsters.
On Thursday evening, the Jameson Cult Film Club presented a special screening of Edward's debut at Holborn's Royal College of Surgeons. Taking its cue's from the themed Secret Cinema series of screenings, the entire building was dressed out as a high security research facility, staffed by a crack squad of elite scientists and military...
It was also a fine year for British film, with at least three hugely significant debut features; Chris Morris' terrorist satire Four Lions, Clio Barnard's sumptuous doc experiment The Arbor, and (last but not least) visual effects expert Gareth Edwards' superb sci-fi road movie Monsters.
On Thursday evening, the Jameson Cult Film Club presented a special screening of Edward's debut at Holborn's Royal College of Surgeons. Taking its cue's from the themed Secret Cinema series of screenings, the entire building was dressed out as a high security research facility, staffed by a crack squad of elite scientists and military...
- 3/6/2011
- by Daniel Green
- CineVue
London’s Royal College of Surgeons is not a typical place for a film screening, but then Jameson’s Cult Film Club specialises in showing films in less than usual locales. Previously they’ve shown Taxi Driver in a car park and a selection of horror films in a chapel. On Thursday night they showed Gareth Edwards’ critically acclaimed Monsters to a packed out audience within the halls of the prestigious college. With Jameson cocktails to hand and surgical masks at the ready, a few hundred hardy souls braved the cold London night to witness Edwards’ future cult classic.
Our evening began in the college’s museum, wherein shelf upon shelf of preserved organs, creatures and human beings remain in hundreds of jars. Some specimens were fascinating, some tragic, but most were incredibly disturbing. Take, for example, the section of a child’s face, or the enormous facial tumour, or the series of snake embryos,...
Our evening began in the college’s museum, wherein shelf upon shelf of preserved organs, creatures and human beings remain in hundreds of jars. Some specimens were fascinating, some tragic, but most were incredibly disturbing. Take, for example, the section of a child’s face, or the enormous facial tumour, or the series of snake embryos,...
- 3/5/2011
- by Jack Kirby
- Nerdly
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