Search results for: Paul King

This week gives us few potentially watchable flicks but nothing great. It’s mid-march, which means nothing will be very exciting (to be fair, the noteworthy Greenberg did come out same time last year, but there’s a particularly large amount of mediocrity going on. If you want a decent dramedy that has something for everyone, Win Win, starring Paul Giamatti, is probably your best bet.

After last year's elegant Gainsbourg from Joan Sfar, France is giving us yet another musical biopic of a vintage pop star. The upcoming Cloclo, about pop singer Claude François, started shooting on Monday, for a planned 2012 release. In the 60s Claude François turned France upside down with his love for glitter, insane outfits and catchy tunes that made him one of the most successful French singers of all time, even after his sudden death in 1978, at the age of 39.

After adding Julianne Moore to the cast last week, its now the best looking urban girl next door cutie Olivia Thirlby who will join the Focus Features adaptation of Another Bullshit Night in Suck City: A Memoir. Currently being called Another Night, Thirlby whose most recent working slate includes The Darkest Hour, Dredd and is in pre-prod with David Michaels' M.

After slowly emerging from bankruptcy under the leadership of Spyglass partners Roger Birnbaum and Gary Barber and converting it’s enormous debt of $4.25 billion into equity, MGM is now looking to be make it’s first major franchise play with a remake of an old cashcow: Robo Cop. Deadline is reporting the studio is in talks with Brazilian director Jose Padilha to revitalize the futuristic 1987 film originally directed by Paul Verhoeven that spawned two sequels, a variety of television adaptations, video games and a great deal of merchandising.

While some of the dialogue may have been seat-of-the-pants, the structure of the film is far from haphazard. Close analysis reveals the type of smooth, virtually invisible camera moves that are only possible with precise blocking. The scenes flow in a surreal logic, with the opening and closing of doors serving as seamless transitions. Bertolucci is persistently manipulative in contrasting Schneider’s secret, primal relationship with Brando and her public interactions with her prissy filmmaker fiancé Tom (Jean Pierre Leaud, as a thinly disguised Truffaut).