cineverse, Author at CineVerse Daily

Feb222025 by cineverseNo Comments

George Armitage, ‘Grosse Pointe Blank’ and ‘Miami Blues’ Director, Dies at 83

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By Pat Saperstein According To The variety George Armitage, who directed, wrote and produced films including “Grosse Pointe Blank” and “Miami Blues,” died Saturday in Playa del Rey, his son Brent confirmed. He was 83. Raised in Hartford, Conn., Armitage started out in the 20th Century Fox mailroom before becoming associate producer on the long-running series “Peyton Place” in the 1960s. He met Roger Corman on the Fox lot and moved into feature films, writing the Corman-produced 1970 comedy “Gas! – Or – It Became Necessary to Destroy the World in Order to Save It.” He continued making films for Corman and his brother Gene Corman, moving into directing with “Private Duty Nurses.” The 1972 Blaxploitation film “Hit Man,” which he directed and co-wrote, starred Pam Grier and Bernie Cas...

Feb222025 by cineverseNo Comments

Captain America: Brave New World’ Director Julius Onah Explains Those Cameos, Reveals What the Reshoots Replaced and Defends Harrison Ford: ‘He Was an Utter Professional

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By Adam B. Vary According To The variety SPOILER WARNING: This story discusses multiple plot developments in “Captain America: Brave New World,” currently playing in theaters. marathon three years working on the film. That included extensive additional photography in 2024 that replaced several sequences with new ones featuring When director Julius Onah called Variety on Feb. 13, he was in New York, in transit between promotional events for his Marvel Studios film “Captain America: Brave New World.” The day before, he had a packed day of press opportunities in Washington, D.C. — the main setting for film’s confrontation between the new Cap, Sam Wilson (Anthony Mackie), and the new American president, Thaddeus “Thunderbolt” Ross (Harrison Ford). ...

Feb222025 by cineverseNo Comments

Osgood Perkins on Making ‘The Monkey’ With Guts Cannons, Gallons of Blood and a Personal Touch

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By Jenelle Riley According To The variety Osgood Perkins has guts – literally and metaphorically. The filmmaker knew it wouldn’t work to be precious when adapting “The Monkey,” a short story by Stephen King, hitting theaters Friday. So Perkins held nothing back. “You can’t worry about offending an audience; you can’t focus on honoring it too closely,” he notes. “There’s no pandering going on. There’s no timid storytelling. You have to have the guts to execute it.” He means it physically as well — his effects artists developed objects referred to as “guts cannons” and trucks loaded full of blood to kill people in increasingly gory and creative ways.It’s a faster pace for Perkins, who has mastered the art of discomfort with slow-burn, atmospheric films like last year’s hit “Long...

Feb192025 by cineverseNo Comments

Spring Night’ Review: Kang Mi-ja Returns With a Compact Co-Dependency Drama

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By Siddhant Adlakha According To The variety The second feature from Kang Mi-ja — and her first after a gap of 17 years — “Spring Night” is a tender, compact relationship drama about ships passing in the night, buoyed by a pair of stellar performances working in completely different modes. Adapted from Kwon Yeo-sun’s novel, its tale of an alcoholic woman and an arthritic man meeting in middle age has a fairytale-like quality, and an oblique telling that skips through time in both unique and familiar ways. While this temporal hopscotch helps it re-create intriguing sensations, it prevents the film from completely connecting, despite the occasionally shattering moments its actors createThe way Kang introduces her characters has a definitive quality bordering on prescriptive, but...

Feb192025 by cineverseNo Comments

All Quiet on the Berlin Deals Front but EFM Still Serves as an Efficient Marketplace, Buyers Report

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By Leo Barraclough According To The variety It’s all quiet on the Berlin deals front as the sales agencies wind down their operations at the European Film Market. By Monday, many offices and stands were almost completely deserted. Deals are being reported but it’s more of a “steady flow” than a gush. That said, most sales agents remain happy that the EFM continues to be an “efficient” place to do business. AGC Studios’ Stuart Ford tells Variety, “Overseas business has been very solid. International buyers are taking their time, but we’ve been seeing a steady flow of deals closing and fully expect that trend to continue apace, particularly on Bill Condon’s ‘Kiss of the Spider Woman’ and Noah Hawley’s ‘Nowhere Fast.’” Oliver Berben, head of German production and distributi...

Feb192025 by cineverseNo Comments

Steven Spielberg’s New Film Moves to June 2026, Daniels’ ‘Everything Everywhere’ Follow-Up Removed From Calendar

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By Rebecca Rubin According To The variety Universal is shifting around the release dates for two major 2026 films, one from Steven Spielberg and another from “Everything Everywhere All at Once” directors Daniel Kwan and Daniel Scheinert. Spielberg’s next film will open on June 12 instead of May 15. It’s taking the place of the Daniels‘ untitled movie, which was taken off the calendar for now. Universal didn’t offer a reason for the shifts, though the film from the Daniels, as the Oscar winners are known professionally, appeared to be in a nascent stage without a script, title or cast ever being announced. The studio is expected to imminently announce a new date for their movie. Spielberg’s project, which also doesn’t have a title or logline but has been vividly d...

Feb182025 by cineverseNo Comments

Girls on Wire’ Review: Two Cousins Reunited on a Chinese Film Set Are Trapped in a Melodrama of Their Own Making

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By Peter Debruge According To The variety Flying high in one of the world’s most male-dominated film industries, Chinese writer-director Vivian Qu follows up her acclaimed 2017 drama “Angels Wear White” with the almost-good “Girls on Wires.” Focused on the uneasy reunion between two estranged cousins who team up to beat the cycle of drug abuse and debt that’s been dragging their family down for decades, this is ambitious, moral-minded cinema for a mainstream Chinese audience, and as such, it seems only fair to forgive the kind of hammy acting and manipulative melodrama Americans accept from Clint Eastwood and Tyler Perry movies. There’s something charmingly old-fashioned in the way Qu tries to move viewers, using flashbacks to memories between cutie-pie kiddos Fang Di and T...