After announcing earlier in the week that this year’s BFI London Film Festival opening night film will be Frankenweenie, they’ve now announced that the closing night film will be Mike Newell’s anticipated adaptation of Great Expectations.
Newell’s adaptation will be making its world premiere the Toronto International Film Festival on 11th September, and will then make its European debut here in London on Sunday, 21st October, before its UK-wide release at the end of November.
Jeremy Irvine stars as the young Pip, and is joined by a stellar cast headed up by Ralph Fiennes, Helena Bonham Carter, Holliday Grainger, Jason Flemyng, Robbie Coltrane, Sally Hawkins, David Walliams, and Ewen Bremner.
Newell, whose credits include the classic Four Weddings and a Funeral, Donnie Brasco, and Harry Potter and the Goblet of Fire, is directing a script penned by the best-selling novelist/screenwriter David Nicholls (Starter for 10,...
Newell’s adaptation will be making its world premiere the Toronto International Film Festival on 11th September, and will then make its European debut here in London on Sunday, 21st October, before its UK-wide release at the end of November.
Jeremy Irvine stars as the young Pip, and is joined by a stellar cast headed up by Ralph Fiennes, Helena Bonham Carter, Holliday Grainger, Jason Flemyng, Robbie Coltrane, Sally Hawkins, David Walliams, and Ewen Bremner.
Newell, whose credits include the classic Four Weddings and a Funeral, Donnie Brasco, and Harry Potter and the Goblet of Fire, is directing a script penned by the best-selling novelist/screenwriter David Nicholls (Starter for 10,...
- 8/30/2012
- by Kenji Lloyd
- HeyUGuys.co.uk
#83. A Late Quartet Director: Yaron ZilbermanWriter(s): Zilberman and Seth GrossmanProducers: Zilberman, Vanessa Coifman, David Faigenblum, Emanuel Michael, Tamar Sela and Mandy Tagger Distributor: Rko Pictures The Gist: This centers on a world-renowned string quartet struggle to stay together in the face of death, competing egos and insuppressible lust. Set in iconic New York City, this is the story of four musicians, bound together by their passion for music and long years of working together. But when their patriarch Peter (Walken) is diagnosed with a terminal illness, the repercussions hit the group deeper than they could imagine...(more) Cast: Philip Seymour Hoffman, Imogen Poots, Christopher Walken and Catherine Keener List Worthy Reasons...: Zilberman's first narrative feature benefits from a solid quartet of actors, and it could be an engrossing drama if illness and romance are portrayed with the required honesty. Release Date/Status?: A festival premiere is likely,...
- 1/4/2012
- IONCINEMA.com
#35. A Late Quartet - Yaron Zilberman Not sure if Synecdoche, New York pair Philip Seymour Hoffman and Catherine Keener own or thought about buying a condo in Park City, they might as well since they might be back again for an umpteenth time. Already in the can for several months now, Yaron Zilberman's first foray into fiction feature filmmaking pans out into fare we end up finding in Sundance every year. Almost seven years since his docu debut Watermarks, Zilberman would come to the fest without the stress of bidder wars as Rko Pictures have already picked up the drama. Look for A Late Quartet to receive a Premieres showing. Oh, and Christopher Walken and Imogen Poots also star. Gist: Scripted by Zilberman and Seth Grossman, this centers on a world-renowned string quartet struggle to stay together in the face of death, competing egos and insuppressible lust. Set in iconic New York City,...
- 11/10/2011
- IONCINEMA.com
The four actors have been set to star in A Late Quartet, an independent film from writer/director Yaron Zilberman. Shooting will start later this month in New York. Hoffman, Keener, Northam and Walken will play members of a world famous string quartet. They struggle to stay together on the eve of their 25th anniversary, with illness, ego and lust among the factors that threaten to tear them apart. Imogen Poots and Liraz Charhi also star. Zilberman directs from a script he wrote with Seth Grossman. Zilberman will produce with partner Tamar Sela through their Opening Night Productions banner. Vanessa Coifman, David Faigenblum, Emanuel Michael and Mandy Tagger are also producing. Concept Entertainment, Spring Pictures and Unison Films are the companies behind the film. Rko Pictures will distribute with its chief, Ted Hartley, among the exec producer roster. Zilberman directed the 2004 documentary Watermarks, about an Austrian female swim team from the 1930s.
- 1/10/2011
- by MIKE FLEMING
- Deadline
AUSTIN -- On paper, it sounds like a carbon copy of "Fargo": A desperate man in a snow-packed small town turns to crime in an effort to avoid bankruptcy; his plan is thwarted by bad luck, oddball goons and an investigator who simply won't quit.
The similarities multiply from there, as "The Big White" also traffics in black humor leavened by a very un-noirlike sympathy for its protagonists. There are even some funny accents, though this film's sense of place is a good deal shakier than that of its predecessor. Where the Coen brothers' film was sure-footed in its odd blend of tones, "The Big White" never completely finds its balance.
The film is screening at the Fantastic Fest in Austin.
Leading an unusually strong indie cast, Robin Williams plays Paul Barnell, a travel agent whose wife, Margaret (Holly Hunter), suffers from some behavioral problem (possibly Tourette Syndrome) that the couple's health insurance won't cover. When he finds a dead body in a dumpster, Paul tries to pass it off as his long-lost brother and collect on a million-dollar life-insurance policy.
Naturally, Paul's brother chooses this moment to end his five-year absence, while the criminals who stashed the body to begin with track it to Paul. Both parties make Paul's life terribly awkward while a suspicious claims adjuster (Giovanni Ribisi, looking a bit like a corpse himself) sniffs around.
The film shows its nasty sense of humor early on, as Paul brutalizes the cadaver to fit it into a refrigerator. Soon the violence spreads to living victims, with beatings dished out at one point or another to much of the cast. The most successful bit of slapstick comes from Margaret, who bewilders an intruder with a barrage of unexpected projectiles.
(The screenplay is littered with suggestions that Margaret's illness is imaginary, but this is never resolved. Whatever the case, Hunter is always active with some sort of business, whether cursing at a friendly neighborhood kid or bunny-hopping from room to room.)
Like so much of the film, the production design is deliberately quirky -- from an all-white insurance company office to the tacky '70s decor in the Barnell home. The look doesn't quite ring true, and neither do many of the screenplay's little curveballs: the kidnapper who frets over the meals he cooks for his hostage, the girlfriend who works for a psychic hotline, the old-lady neighbor who wields a Ted Nugent-sized bowhunting rig. Strangely, one of the film's most conventional elements is its score, which was penned by Devo's Mark Mothersbaugh.
At heart, the film wants to be about a husband who loves his wife so much that he'll do bad, stupid things to provide for her. But the mainstream audiences who most would identify with this theme are likely to be alienated by the movie's violence and quirks, while the indie/art house market might not see anything here they haven't seen done better elsewhere. Distributors might lure a crowd with big names and slapstick, but few viewers will recommend "The Big White" to friends with much enthusiasm.
THE BIG WHITE
Ascendant Pictures
Credits: Director: Mark Mylod; Screenwriter: Collin Friesen; Producers: Christopher Eberts, David Faigenblum, Chris Roberts; Executive producers: Michael Birnbaum, Andreas Grosch, Sharon Harel, Kia Jam, Hannah Leader, John Schimmel, Andreas Schmid; Director of photography: James Glennon; Production designer: Jon Billington; Music: Mark Mothersbaugh; Co-producer: Elaine Dysinger; Costumes: Darena Snowe; Editor: Julie Monroe. Cast: Paul Barnell: Robin Williams; Margaret Barnell: Holly Hunter; Ted: Giovanni Ribisi; Tiffany: Alison Lohman; Gary: Tim Blake Nelson; Jimbo: W. Earl Brown; Raymond: Woody Harrelson.
MPAA rating R, running time 104 minutes.
The similarities multiply from there, as "The Big White" also traffics in black humor leavened by a very un-noirlike sympathy for its protagonists. There are even some funny accents, though this film's sense of place is a good deal shakier than that of its predecessor. Where the Coen brothers' film was sure-footed in its odd blend of tones, "The Big White" never completely finds its balance.
The film is screening at the Fantastic Fest in Austin.
Leading an unusually strong indie cast, Robin Williams plays Paul Barnell, a travel agent whose wife, Margaret (Holly Hunter), suffers from some behavioral problem (possibly Tourette Syndrome) that the couple's health insurance won't cover. When he finds a dead body in a dumpster, Paul tries to pass it off as his long-lost brother and collect on a million-dollar life-insurance policy.
Naturally, Paul's brother chooses this moment to end his five-year absence, while the criminals who stashed the body to begin with track it to Paul. Both parties make Paul's life terribly awkward while a suspicious claims adjuster (Giovanni Ribisi, looking a bit like a corpse himself) sniffs around.
The film shows its nasty sense of humor early on, as Paul brutalizes the cadaver to fit it into a refrigerator. Soon the violence spreads to living victims, with beatings dished out at one point or another to much of the cast. The most successful bit of slapstick comes from Margaret, who bewilders an intruder with a barrage of unexpected projectiles.
(The screenplay is littered with suggestions that Margaret's illness is imaginary, but this is never resolved. Whatever the case, Hunter is always active with some sort of business, whether cursing at a friendly neighborhood kid or bunny-hopping from room to room.)
Like so much of the film, the production design is deliberately quirky -- from an all-white insurance company office to the tacky '70s decor in the Barnell home. The look doesn't quite ring true, and neither do many of the screenplay's little curveballs: the kidnapper who frets over the meals he cooks for his hostage, the girlfriend who works for a psychic hotline, the old-lady neighbor who wields a Ted Nugent-sized bowhunting rig. Strangely, one of the film's most conventional elements is its score, which was penned by Devo's Mark Mothersbaugh.
At heart, the film wants to be about a husband who loves his wife so much that he'll do bad, stupid things to provide for her. But the mainstream audiences who most would identify with this theme are likely to be alienated by the movie's violence and quirks, while the indie/art house market might not see anything here they haven't seen done better elsewhere. Distributors might lure a crowd with big names and slapstick, but few viewers will recommend "The Big White" to friends with much enthusiasm.
THE BIG WHITE
Ascendant Pictures
Credits: Director: Mark Mylod; Screenwriter: Collin Friesen; Producers: Christopher Eberts, David Faigenblum, Chris Roberts; Executive producers: Michael Birnbaum, Andreas Grosch, Sharon Harel, Kia Jam, Hannah Leader, John Schimmel, Andreas Schmid; Director of photography: James Glennon; Production designer: Jon Billington; Music: Mark Mothersbaugh; Co-producer: Elaine Dysinger; Costumes: Darena Snowe; Editor: Julie Monroe. Cast: Paul Barnell: Robin Williams; Margaret Barnell: Holly Hunter; Ted: Giovanni Ribisi; Tiffany: Alison Lohman; Gary: Tim Blake Nelson; Jimbo: W. Earl Brown; Raymond: Woody Harrelson.
MPAA rating R, running time 104 minutes.
- 10/10/2005
- The Hollywood Reporter - Movie News
Woody Harrelson has stepped aboard Ascendant Pictures/VIP Medienfonds' dark comedy The Big White. Harrelson is replacing James Woods, who had to drop out because of a scheduling conflict. In the film, a destitute Alaskan travel agent (Robin Williams) thinks he has found the answer to his financial problems in the form of a frozen body, which he tries to pass off as his long-lost brother (Harrelson) for the insurance money. The agent's plans are thwarted by a claims adjuster (Giovanni Ribisi) and two aspiring hitmen (Earl Brown and Tim Blake Nelson). Holly Hunter and Alison Lohman round out the cast. Ascendant's Christopher Eberts and Chris Roberts and Concept Entertainment's David Faigenblum are producing. VIP's Andreas Schmid and Andreas Grosch and Capitol Films' Sharon Harel and Hannah Leader are executive producing. Capitol is handling foreign rights. Harrelson's recent features include Jack Tucker, Trucker, After the Sunset and She Hate Me. Harrelson is repped by CAA.
- 4/16/2004
- The Hollywood Reporter - Movie News
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