Welp, there’s been yet another casting casualty in Marvel Studios’ “Thunderbolts” project that was supposed to shoot last year but was delayed because of the actors’ and writers’ strikes. Following the departure of Steven Yeung, now we’re learning that “The Bear” star Ayo Edebiri, is also leaving the project due to scheduling issues. Luckily, they’ve found a superb replacement in Geraldine Viswanathan, the charming young actress known for “Blockers,” “The Broken Hearts Gallery,” the series “Miracle Workers,” and Ethan Coen’s upcoming “Drive-Away Dolls.”
It was never clear who Edebiri was to play; rumors had her pegged as appearing as the assistant to Valentina Allegra de Fontaine (Julia Louis-Dreyfus).
Continue reading ‘Thunderbolts’: Geraldine Viswanathan Joins Marvel Cast, Replacing Ayo Edebiri Over Scheduling at The Playlist.
It was never clear who Edebiri was to play; rumors had her pegged as appearing as the assistant to Valentina Allegra de Fontaine (Julia Louis-Dreyfus).
Continue reading ‘Thunderbolts’: Geraldine Viswanathan Joins Marvel Cast, Replacing Ayo Edebiri Over Scheduling at The Playlist.
- 1/29/2024
- by Edward Davis
- The Playlist
Welp, there it is. A rumor that made the rounds on social media earlier today has turned out to be true. Steven Yeung won’t appear in Marvel Studios’ anti-heroes movie “Thunderbolts” after all. Yeun was first cast in the film in February of 2023, and the film was supposed to be shot later in the year, but then the WGA and Sga-AFTRA strikes started, and the film was delayed and never shot.
Continue reading ‘Thunderbolts’: Steven Yeun Drops Out Of Sentry Role In Marvel’s Delayed Anti-Heroes Movie at The Playlist.
Continue reading ‘Thunderbolts’: Steven Yeun Drops Out Of Sentry Role In Marvel’s Delayed Anti-Heroes Movie at The Playlist.
- 1/3/2024
- by Rodrigo Perez
- The Playlist
At its start, the 2018 Cannes Film Festival wasn’t perceived as a big market for buyers, but many U.S. distributors came home happy: A24 acquired Gaspar Noé’s psychedelic dance thriller “Climax,” and Neon scored fantastical Un Certain Regard winner “Border.” Sony Pictures Classics picked up Lebanese crowdpleaser “Capernaum,” while Magnolia Pictures landed Palme d’Or winner “Shoplifters.” Even Jean-Luc Godard’s unclassifiable experimental essay film “The Image Book” found a home, with Kino Lorber, and the festival closed out with Netflix picking up prize winners “Happy as Lazzaro” and “Girl.”
Still, there were plenty of Cannes highlights that ended the festival with their futures uncertain. Here are some of our favorites that deserve to get out there. So long as buyers are still keen on acquiring foreign language films, they might want to consider these options.
“Asako I + II”
Smart indie distributors should be celebrating the fact that...
Still, there were plenty of Cannes highlights that ended the festival with their futures uncertain. Here are some of our favorites that deserve to get out there. So long as buyers are still keen on acquiring foreign language films, they might want to consider these options.
“Asako I + II”
Smart indie distributors should be celebrating the fact that...
- 5/22/2018
- by Eric Kohn and David Ehrlich
- Indiewire
The Cannes Film Festival wrapped its 71st edition on Saturday with the Palme d’Or ceremony, awarding the top prize to Japanese director Hirokazu Kore-eda’s “Shoplifters.” Other movies recognized by Cate Blanchett’s jury included Spike Lee’s “BlacKkKlansman” (Grand Prix) and Pawel Pawlikowski’s “Cold War” (Best Director). While these movies were all well-received by the media covering the festival, one major film in competition went home empty-handed — and now, it has topped IndieWire’s critics survey of the best films of the festival.
“Burning,” Korean director Lee Chang-dong’s first feature in eight years, took first place for best film in IndieWire’s annual poll. The drama, an adaptation of Haruki Murakami’s short story “Barn Burning,” focuses on the mysterious experiences of a working class man (Ah-in Yoo) who obsesses over a seductive woman (Jeon Jong Seo) while resenting the confidant man (Steven Yeung) she spends her time around.
“Burning,” Korean director Lee Chang-dong’s first feature in eight years, took first place for best film in IndieWire’s annual poll. The drama, an adaptation of Haruki Murakami’s short story “Barn Burning,” focuses on the mysterious experiences of a working class man (Ah-in Yoo) who obsesses over a seductive woman (Jeon Jong Seo) while resenting the confidant man (Steven Yeung) she spends her time around.
- 5/21/2018
- by Eric Kohn
- Indiewire
The 2018 Cannes Film Festival has ended, but the movies are very much still with us. This year’s festival started with a Netflix controversy and hosted major activism around women in the film industry. But despite the many conversations swirling around the festival environment, Cannes was still a film festival. So how were those movies, anyway?
Early on, this year’s program was assailed for lacking star power and many A-list auteurs, but in retrospect, not of that skepticism really gelled with a selection that ranged from newcomers to veterans, and from stars to fresh faces — and it all cast an exciting spotlight on movies from around the world. Here are the best of the bunch.
“Arctic”
This may be a low bar to clear, but Joe Penna’s directorial feature debut is one of the best movies ever made about a man stranded in the wilderness. Mads Mikkelsen, throwing...
Early on, this year’s program was assailed for lacking star power and many A-list auteurs, but in retrospect, not of that skepticism really gelled with a selection that ranged from newcomers to veterans, and from stars to fresh faces — and it all cast an exciting spotlight on movies from around the world. Here are the best of the bunch.
“Arctic”
This may be a low bar to clear, but Joe Penna’s directorial feature debut is one of the best movies ever made about a man stranded in the wilderness. Mads Mikkelsen, throwing...
- 5/20/2018
- by Eric Kohn, David Ehrlich and Anne Thompson
- Indiewire
Korean filmmaker Lee Chang-dong and Japanese novelist Haruki Murakami share distinct fixations — loneliness and desire — so the combination of their talents feels like a natural fit. No surprise then that “Burning,” Lee’s first feature in eight years, expands Murakami’s short story “Barn Burning” into an enthralling look at working-class frustrations in which a sad figure chases elusive possibilities
As with “Secret Sunshine” and “Poetry,” Lee takes his time combing through a scenario rich with the ineffable sadness of people at the mercy of a cruel world. The result is a haunting, beautiful tone poem. Lee takes his forlorn character to unpredictable places, leading to an outcome that dangles tantalizing questions and potent themes.
Murakami’s abstract narrative provides an ideal template for Lee’s standard fixations, resulting in a dark and often gripping look at the soul-searing plight of an alienated young man. That’s Lee Jongsu (Ah-in...
As with “Secret Sunshine” and “Poetry,” Lee takes his time combing through a scenario rich with the ineffable sadness of people at the mercy of a cruel world. The result is a haunting, beautiful tone poem. Lee takes his forlorn character to unpredictable places, leading to an outcome that dangles tantalizing questions and potent themes.
Murakami’s abstract narrative provides an ideal template for Lee’s standard fixations, resulting in a dark and often gripping look at the soul-searing plight of an alienated young man. That’s Lee Jongsu (Ah-in...
- 5/16/2018
- by Eric Kohn
- Indiewire
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