As ever, the loving textures of Aardman’s claymation practically warm the heart.
The post ‘Wallace & Gromit: Vengeance Most Fowl’ Review: A Hilarious and Heartfelt Friendship Test appeared first on Slant Magazine.
Athina Rachel Tsangari‘s The Harvest is still touring the film festival circuit which began with a competition slot at Venice Film Festival followed by showcases at TIFF, NYFF, Busan, BFI London and some recent additional stateside screenings at Chicago and the AFI Fest just yesterday. And though she typically keeps her upcoming film projects under wraps, she did provide some crumbs about what might be her next feature film – and it’ll feature an American actress who the filmmaker has admired and has been out of the game for a while now. So we should not be shocked if one day an obscure name or an Eva Mendez, Bridget Fonda, Mira Sorvino or Phoebe Cates type comes out of retirement to sign up with the Greek-American filmmaker.… Read the rest
Alicia Vikander, Victoria Pedretti and Wagner Moura have been confirmed as the trio of thesps on a new Killer Films project from a new filmmaker that just completed shooting this month. Rachel Rose‘s directorial debut The Last Day is said to be a project loosely adapted from Virginia Woolf’s Mrs. Dalloway typically centers around themes of memory, time, and the complexity of inner lives. A festival release will likely occur for this micro indie in the fall of next year or perhaps try for Sundance 2026. Lucie Elwes, Rose, Mason Plotts, Killer Films’ Pamela Koffler and Christine Vachon, Kaplan Morrison’s David Kaplan are producing.… Read the rest
The new movie Conclave, from German director Edward Berger (All Quiet on the Western Front), tells the surprisingly gripping tale of what happens during a papal conclave three weeks after a pontiff’s death. Adapted from Robert Harris’ eponymous novel and […]
The post A Conversation with Edward Berger (CONCLAVE) appeared first on Hammer to Nail.
Professional couple Sage and Diego check in to their weekend rental, a literal mansion by a lake. Before they can say that it is almost too good to be true a younger, hotter couple, Matt and Cin, walk through the door. Seems they have been booked the same weekend. Rather than give up a whole weekend in a luxurious home they agree to share, there is more than enough room for everyone. Good times are had but soon inhibitions are challenged and truths are twisted. Someone has come to this weekend rental with deadly intentions and a game of survival has begun. Sex and Violence. It is track 7 on the 1981 album Punks Not Dead by Scottish punk band The Exploited. Mercedes Bryce…
Typography is no stranger to the design of Brady Corbet’s “Monumental” new film, The Brutalist. The credits in both the film, and its recent trailer, do interesting things. This carries into this iconic poster, with the Statue of Liberty upside down, and framed in a spiral of type, from the one word pull-quote to the title, cast, and above the line credits. 2024 is shaping up to be the year where poster designers stop putting the full traditional credit bocks in their key art….
Masahiro Shinoda’s 1979 folk-horror apocalypse enters the Criterion Collection.
For a moment, think back to the worst experience in your entire life thus far. Perhaps, for far too many, that experience was an assault. Further, imagine writing a book about that devastating occurrence and its aftermath. Then, after the […]
The post A Conversation with Shiori Itô (BLACK BOX DIARIES) appeared first on Hammer to Nail.
Just one year after his documentary Silver Dollar Road, director Raoul Peck (I Am Not Your Negro, Exterminate All the Brutes) returned to the fall festival circuit this year with Ernest Cole: Lost and Found. Featuring narration by LaKeith Stanfield, the film tells the story of one of the first Black freelance photographers in South […]
The post Raoul Peck Investigates a Photographer Pioneer in First Trailer for Ernest Cole: Lost and Found first appeared on The Film Stage.
If you hike or bike in city, state, or federal parks regularly, you’re likely familiar with a simple, potentially life-saving rule: Always, and we do mean always, leave information behind as to where you’re hiking or biking and when you’re expected back. That way, at least, your loved ones and/or whoever comes looking for you (i.e., a co-worker when you stop showing up for work) knows where to look and how long you’ve been missing. And if you didn’t know that rule, you know it now. In Adam Schindler and Brian Netto’s backwoods thriller, Don’t Move, Iris (Kelsey Asbille, Wind River), a grieving mother and wife, disregards that rule, awakening one morning, her brain fogged by the loss of her preteen son (seen via photo…