There’s a perfect world in which Richard Linklater’s Hit Man, a through-and-through crowdpleaser suffused with wit and style, gets a theatrical release and is this summer’s runaway hit, fueling the fire for however many collaborations the director wants with Glen Powell and Adria Arjona. This is, instead, our horrible world wherein Netflix will give the film a small theatrical play starting May 24 before it comes to their service on June 7 like whatever gets left out at the buffet. In this case, there’s a new trailer.
Here’s the synopsis: “From Academy Award-nominated writer/director Richard Linklater, co-written and starring Glen Powell alongside Adria Arjona, comes Hit Man. Inspired by an unbelievable true story, a hit man meets his match in a client who steals his heart and ignites a powder keg of deception, delight, and mixed-up identities.”
As Luke Hicks said in his Venice review, “When it comes to genre,...
Here’s the synopsis: “From Academy Award-nominated writer/director Richard Linklater, co-written and starring Glen Powell alongside Adria Arjona, comes Hit Man. Inspired by an unbelievable true story, a hit man meets his match in a client who steals his heart and ignites a powder keg of deception, delight, and mixed-up identities.”
As Luke Hicks said in his Venice review, “When it comes to genre,...
- 4/18/2024
- by Nick Newman
- The Film Stage
After the immense back-to-back reception of Before Midnight and Boyhood, Ricard Linklater hasn’t been stuck in a creative rut per se, with highlights such as Everybody Wants Some!! and Apollo 10½: A Space Age Childhood, but it’s safe to say he’s earned the most acclaim in quite some time with Hit Man. With the Glen Powell collaboration picked up by Netflix, hopefully the studio gives it more love than their last Linklater release. Now, the director has already revealed the first tidbits about his next project.
Speaking to Gregg Araki for Interview Magazine, Linklater has unveiled he’s planning to shoot a French-language film in Paris with French actors. “It’s like a New Wave film,” the director noted. Considering Linklater’s Antoine Doinel-esque cinematic experiment with Boyhood, not to mention how many of his films incorporate a fleet-footed formalness so synonymous with the French New Wave,...
Speaking to Gregg Araki for Interview Magazine, Linklater has unveiled he’s planning to shoot a French-language film in Paris with French actors. “It’s like a New Wave film,” the director noted. Considering Linklater’s Antoine Doinel-esque cinematic experiment with Boyhood, not to mention how many of his films incorporate a fleet-footed formalness so synonymous with the French New Wave,...
- 10/10/2023
- by Leonard Pearce
- The Film Stage
Shaping up to be one of the most fruitful director-actor pairings of the last few years, Greek director Yorgos Lanthimos and Emma Stone collaborated for the first time with 2018’s The Favourite. They followed it up with the 30-minute film Bleat, which will finally hit North American shores at the 61st New York Film Festival next month, followed by Poor Things, which Stone also produced and is earning the most acclaim of their respective careers following its Venice and Telluride premieres. For their fourth outing they shot the anthology feature And last year co-starring Jesse Plemons, Willem Dafoe, Margaret Qualley, Hong Chau, and Joe Alwyn, which will get a release in 2024. Now, a fifth collaboration has been unveiled.
Speaking to Cineuropa, Lanthimos revealed he directed a new movie in secret, this time returning to his native land of Greece. Led by Emma Stone and shot by Robbie Ryan, he didn...
Speaking to Cineuropa, Lanthimos revealed he directed a new movie in secret, this time returning to his native land of Greece. Led by Emma Stone and shot by Robbie Ryan, he didn...
- 9/4/2023
- by Jordan Raup
- The Film Stage
The 2019 Cannes Film Festival wrapped its 72nd edition on Sunday by awarding director Bong Joon-ho with the Palme d’Or for “Parasite,” his dark comedy about a lower-class family that schemes to overtake a wealthy household. It was the first time that the Palme d’Or went to a Korean director, and many critics felt that it was the right decision: “Parasite” topped IndieWire’s annual critics survey of the best films at Cannes, with 50 critics participating from around the world.
The outcome marked the second year in a row that a Korean film topped the survey, following the first-place finish for Lee Chang-dong’s “Burning” in 2018.
“Parasite” also topped the category for best screenplay. For best director, however, another Cannes favorite ranked highly. French director Celine Sciamma topped that category with “Portrait of a Lady on Fire,” which stars Adèle Haenel and Noémie Merlant as covert lovers in the 18th century.
The outcome marked the second year in a row that a Korean film topped the survey, following the first-place finish for Lee Chang-dong’s “Burning” in 2018.
“Parasite” also topped the category for best screenplay. For best director, however, another Cannes favorite ranked highly. French director Celine Sciamma topped that category with “Portrait of a Lady on Fire,” which stars Adèle Haenel and Noémie Merlant as covert lovers in the 18th century.
- 5/28/2019
- by Eric Kohn
- Indiewire
Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday.
Last week, the film world raised a collective eyebrow when Quentin Tarantino’s “The Hateful Eight” was released on Netflix as a four-part miniseries.
This week’s question: What major filmmaker should try their hand at television?
Ken Bakely (@kbake_99), Freelance for Film Pulse
Though John Waters is most known for his films, his career has seen him work in numerous mediums—from live shows, to books, to art installations. It would be fascinating to see him develop projects for TV, where many artists have been able to pursue entirely new opportunities and freedoms over the past few years. And on that note, I don’t even think a Waters TV series would even have to be an episodic narrative: his success in such a wide variety of formats proves he can...
Last week, the film world raised a collective eyebrow when Quentin Tarantino’s “The Hateful Eight” was released on Netflix as a four-part miniseries.
This week’s question: What major filmmaker should try their hand at television?
Ken Bakely (@kbake_99), Freelance for Film Pulse
Though John Waters is most known for his films, his career has seen him work in numerous mediums—from live shows, to books, to art installations. It would be fascinating to see him develop projects for TV, where many artists have been able to pursue entirely new opportunities and freedoms over the past few years. And on that note, I don’t even think a Waters TV series would even have to be an episodic narrative: his success in such a wide variety of formats proves he can...
- 4/30/2019
- by David Ehrlich
- Indiewire
Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday.
This week’s question: “Avengers: Endgame” is about to hit theaters, and its release will mark the culmination — or at least a culmination — of Marvel’s peerlessly ambitious Hollywood franchise. How will history remember the Marvel Cinematic Universe?
Luke Hicks (@lou_kicks), Film School Rejects/One Perfect Shot, Birth.Movies.Death.
Marvel’s impact on the movie world is catastrophic in a few ways and beautiful in others. Marvel’s decision to listen to cries for equality and representation on the silver screen is irrevocably good. It’s socially constructive, healing, ethical, powerful, etc. Regardless of what one thinks about “Black Panther” or “Captain Marvel,” the studio invested hundreds of millions into badass superheroes that were not white men, and while that merely scratches the surface of what Hollywood ought to do in regards to representation,...
This week’s question: “Avengers: Endgame” is about to hit theaters, and its release will mark the culmination — or at least a culmination — of Marvel’s peerlessly ambitious Hollywood franchise. How will history remember the Marvel Cinematic Universe?
Luke Hicks (@lou_kicks), Film School Rejects/One Perfect Shot, Birth.Movies.Death.
Marvel’s impact on the movie world is catastrophic in a few ways and beautiful in others. Marvel’s decision to listen to cries for equality and representation on the silver screen is irrevocably good. It’s socially constructive, healing, ethical, powerful, etc. Regardless of what one thinks about “Black Panther” or “Captain Marvel,” the studio invested hundreds of millions into badass superheroes that were not white men, and while that merely scratches the surface of what Hollywood ought to do in regards to representation,...
- 4/22/2019
- by David Ehrlich
- Indiewire
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