Saturday, August 15Daily News

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Paramount Buys ‘The Midnight Library’ Starring Florence Pugh From Studiocanal

Paramount Buys ‘The Midnight Library’ Starring Florence Pugh From Studiocanal

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By Elsa Keslassy According To The variety Paramount Pictures has scooped North American and select international distribution rights to “The Midnight Library” from Studiocanal following a bidding war at the Cannes film market. Florence Pugh is attached to star and also produce, while Garth Davis (“Lion”) is set to direct.  Studiocanal, the powerful production-distribution banner that’s part of Canal+ Group, will distribute the film in the U.K., France, Germany, Italy, Poland, Benelux, Australia, New Zealand and through partners in Scandinavia and South Africa, with Paramount distributing in major markets in the rest of world. The movie is budgeted in the $70 million range and the sale’s price tag is believed to be substantia...
Lucasfilm Pays Tribute to ‘Star Wars’ Editor Marcia Lucas: ‘Deeply Saddened’

Lucasfilm Pays Tribute to ‘Star Wars’ Editor Marcia Lucas: ‘Deeply Saddened’

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By Payton Turkeltaub According To The variety Lucasfilm has posted a statement mourning the death of Marcia Lucas, George Lucas‘ former wife who was one of three to share an Oscar for editing “Star Wars.” The editor of iconic ’70s films including “Taxi Driver” died Wednesday in Rancho Mirage, Calif following a battle with metastatic cancer. She was 80.  “Lucasfilm was deeply saddened to learn of the passing of Marcia Lucas. The 80-year-old was one of the three editors to take home an Oscar for 1977’s ‘Star Wars: A New Hope,'” the statement said. It continued, “After Lucasfilm’s establishment in 1971, production began on George Lucas’ newest feature film, ‘American Graffiti’ (1973). Marcia Lucas joined her mentor Verna Fields as editor of the f...
Lily Collins to Play Audrey Hepburn in Movie Ab

Lily Collins to Play Audrey Hepburn in Movie Ab

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By Rebecca Rubin According To The variety Lily Collins will play Audrey Hepburn in a new movie about the making of the 1961 classic “Breakfast at Tiffany’s.” Collins will also serve as a producer for the project, which is based on the Sam Wasson book “Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany’s and the Dawn of the Modern Woman.” Alena Smith, best known for creating the Apple TV series “Dickinson,” will write the script. A director hasn’t been set Adapted from the novella by Truman Capote, “Breakfast at Tiffany’s” follows the socialite Holly Golightly as she meets a struggling writer who moves into her apartment building. Described in the press release as the “first complete account of the making of the film,” the upcoming movie will chronicle the influential ...
One Battle After Another,’ ‘Hamnet’ and ‘Frankenstein’ Among Set Decorators Society of America Winners

One Battle After Another,’ ‘Hamnet’ and ‘Frankenstein’ Among Set Decorators Society of America Winners

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By Jazz Tangcay According To The variety “One Battle After Another” led the winners at the Set Decorators Society of America awards. The set decorator, Anthony Carlino, with production design by Florencia Martin, behind the film took home two awards for Best Achievement In Décor/Design Of A Contemporary Feature Film and Best Picture for Paul Thomas Anderson. Elsewhere, Best Achievement in Décor/Design of a Fantasy or Science Fiction Film an International Organization went to the “Frankenstein” team (set decoration by Shane Vieau with production design by Tamara Deverell), and Best Achievement in Décor/Design of a Period Feature Film went to the team behind “Hamnet.” (Set Decoration by Alice Felton with Production Design by Fiona Crombie). Best Achievement in Décor / Design of a...
Remembering Tom Noonan, Whose Performance in ‘Manhunter’ Is the Greatest Portrayal of a Psycho Killer in Movie History

Remembering Tom Noonan, Whose Performance in ‘Manhunter’ Is the Greatest Portrayal of a Psycho Killer in Movie History

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By Owen Gleiberman According To The variety Considering all the horror movies I’ve seen, I’m a pretty easy jump scare. I can sit through the degraded slasher-film trash of the week, and when that formula shock cut arrives, synced to a bombastic music cue, I’m gullible enough to get goosed. That said, there are only three times in my life when I’ve seen a movie that chilled me to the bone of primal fear. The first one was “Carrie” in 1976. That incredible finale, when Amy Irving’s Sue is reaching down to Carrie White’s grave and Carrie’s blood-stained hand pokes out of the rubble, made me literally stand up out of my seat in terror. The next time I got scared on that level was my first viewing of “Psycho,” which didn’t happen until a few years after I’d seen “Carrie.” I coul...
Making an Indie Multiverse: With ‘Redux Redux,’ Three Siblings Spent 10 Years on a Violent, Emotional Revenge Movie Without a Marvel Budget

Making an Indie Multiverse: With ‘Redux Redux,’ Three Siblings Spent 10 Years on a Violent, Emotional Revenge Movie Without a Marvel Budget

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By William Earl According To The variety Sometimes you just need to light a guy on fire. The first scene in “Redux Redux,” in theaters today via Saban Films, features Irene (Michaela McManus), a multiverse traveller, lighting a man tied to a chair on fire and watching him burn. We quickly learn that the man is a killer who murdered Irene’s daughter, and she has devoted her life to traveling to alternate worlds in order to repeatedly get revenge. The indelible flaming image ended up on the film’s original poster, yet it was borne out of a scrappy indie sensibility from writing and directing duo Kevin and Matthew McManus. “We knew we needed to grab the audience,” Matthew McManus says. “Sometimes it feels like it’s a competition between the big screen and the small screen in your ...
The Blood Countess’ Review: A Hilarious Isabelle Huppert Fully Puts the Vamp Into Vampire

The Blood Countess’ Review: A Hilarious Isabelle Huppert Fully Puts the Vamp Into Vampire

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By Guy Lodge According To The variety Whether saturating entire frames or dribbling down a rare contrasting design element, there’s red everywhere you look in “The Blood Countess,” as you might well expect. Little of it, however, is the dark congealed claret of blood as we know it. Ulrike Ottinger prefers to paint in the garishly declarative, candied reds of off-brand ketchup, kickass lipstick and iridescent B-movie gore effects — the good, lurid, fake stuff, all the more appropriately artificial for a delirious vampire movie that piles lore upon mythology upon pizza-dream vision, hurtling its story several planets past the true one of its ostensible protagonist, Countess Elizabeth Báthory. Báthory’s legacy can afford such liberties. The life of the Hungarian noblewoman and se...