Opens TODAY in cinemas nationwide from Warner Bros. Pictures
Showing posts with label Warner Bros.. Show all posts
Showing posts with label Warner Bros.. Show all posts
Saturday, March 26, 2016
Wednesday, February 17, 2016
Now Showing: JOY from 20th Century Fox [PG]
“Joy” is NOW SHOWING nationwide from 20th Century Fox
to
be distributed by Warner Bros.
Tuesday, February 16, 2016
THE RISE OF A FAMILY BOSS WHO INVENTED MIRACLE MOP IN WINNING TELENOVELA MOVIE “JOY” [PG]
Starring Jennifer Lawrence in the title role, the relatable incredible success story in “Joy,” helmed by director David O. Russell explores of how one person, confronted with madcap circumstances, endless obstacles and a long road of self-searching, forges a meaningful, joyful life, loosely based on the life of Joy Mangano (home TV shopping magnate).
The film stars Academy Award® winner Jennifer Lawrence (American Hustle, Silver Linings Playbook, The Hunger Games series) as Joy, in a multi-hued portrait that spans from youth to her 40s, from dreams deferred to fighting for her honor to striving for self-fulfillment.
Says Lawrence: “This is a story about so many things. It’s not just the story of Joy. It’s about family, imagination, faith in yourself, about the ruthlessness of success and what it means when you find it. I love most of all how much Joy changes. I loved taking her from vulnerable and self-deprecating to cold and strong, and I loved that she turns into a real matriarch of her family.”
Joining Jennifer Lawrence on the journey of “Joy” is a wide-ranging, hugely accomplished ensemble cast typical of David O. Russell’s films including Robert De Niro as Joy’s hot-tempered yet hopelessly romantic father. De Niro embraced Rudy’s massive contradictions – his fiery temper and romantic charm, his blue-collar work ethic and love of style, his paternal regrets and love for his children.
If Rudy is a thorn in Joy’s life, Golden Globe nominee Edgar Ramirez takes on the role of Joy’s ex-husband, and is literally the man beneath her feet – still living in her basement (with her father) even though they are irrevocably divorced. Russell was intrigued immediately when he learned Joy Mangano was still close friends with her ex. “It’s a story not often seen on screen, where a couple gets divorced, yet remain best friends,” says the writer-director.
Joy’s bedrock supporter is her insightful and influential grandmother, Mimi, her role model as she tries to lead the family forward as a matriarch. Portraying Joy’s biggest champion is Diane Ladd, who has appeared in more than 120 film and television roles since she started her career on a 1970s soap opera and garnered three Academy Award® nominations: for Martin Scorsese’ ode to female independence, Alice Doesn’t Live Here Anymore, David Lynch’s Wild At Heart and Martha Coolidge’s Rambling Rose. Ladd says she was flat-out moved by the story. “We’re not living in the easiest of times, but I think this story reminds us that we all have a right to try to fulfill a dream. A lot of times you have to pick yourself up and dust yourself off but this film says ‘Get out there and don’t give up.’”
Lawrence was fascinated by how Joy stays so focused on her family’s constant needs– and then, suddenly, takes a dauntless leap for herself. “I think Joy always felt she had to be the rock of her family, the foundation holding everyone up,” she observes. “She forfeited her dreams to support everyone else and put them on hold for almost her entire life. She put other people in front for so long that I think it took time for her to realize there was something else inside her that had to be expressed, that had to breathe. And I think that’s why the story of Joy had to span four generations, because it often takes that long to create a full life. Joy kept burying that inventive part of herself but when she finally finds the faith in herself to move forward, it’s unstoppable when that happens. It’s addicting when you find that inner strength.”
A true-to-life rags-to-riches story stars when “Joy” opens in cinemas February 17 nationwide from 20th Century Fox to be distributed by Warner Bros.
The film stars Academy Award® winner Jennifer Lawrence (American Hustle, Silver Linings Playbook, The Hunger Games series) as Joy, in a multi-hued portrait that spans from youth to her 40s, from dreams deferred to fighting for her honor to striving for self-fulfillment.
Says Lawrence: “This is a story about so many things. It’s not just the story of Joy. It’s about family, imagination, faith in yourself, about the ruthlessness of success and what it means when you find it. I love most of all how much Joy changes. I loved taking her from vulnerable and self-deprecating to cold and strong, and I loved that she turns into a real matriarch of her family.”
Joining Jennifer Lawrence on the journey of “Joy” is a wide-ranging, hugely accomplished ensemble cast typical of David O. Russell’s films including Robert De Niro as Joy’s hot-tempered yet hopelessly romantic father. De Niro embraced Rudy’s massive contradictions – his fiery temper and romantic charm, his blue-collar work ethic and love of style, his paternal regrets and love for his children.
If Rudy is a thorn in Joy’s life, Golden Globe nominee Edgar Ramirez takes on the role of Joy’s ex-husband, and is literally the man beneath her feet – still living in her basement (with her father) even though they are irrevocably divorced. Russell was intrigued immediately when he learned Joy Mangano was still close friends with her ex. “It’s a story not often seen on screen, where a couple gets divorced, yet remain best friends,” says the writer-director.
Joy’s bedrock supporter is her insightful and influential grandmother, Mimi, her role model as she tries to lead the family forward as a matriarch. Portraying Joy’s biggest champion is Diane Ladd, who has appeared in more than 120 film and television roles since she started her career on a 1970s soap opera and garnered three Academy Award® nominations: for Martin Scorsese’ ode to female independence, Alice Doesn’t Live Here Anymore, David Lynch’s Wild At Heart and Martha Coolidge’s Rambling Rose. Ladd says she was flat-out moved by the story. “We’re not living in the easiest of times, but I think this story reminds us that we all have a right to try to fulfill a dream. A lot of times you have to pick yourself up and dust yourself off but this film says ‘Get out there and don’t give up.’”
Lawrence was fascinated by how Joy stays so focused on her family’s constant needs– and then, suddenly, takes a dauntless leap for herself. “I think Joy always felt she had to be the rock of her family, the foundation holding everyone up,” she observes. “She forfeited her dreams to support everyone else and put them on hold for almost her entire life. She put other people in front for so long that I think it took time for her to realize there was something else inside her that had to be expressed, that had to breathe. And I think that’s why the story of Joy had to span four generations, because it often takes that long to create a full life. Joy kept burying that inventive part of herself but when she finally finds the faith in herself to move forward, it’s unstoppable when that happens. It’s addicting when you find that inner strength.”
A true-to-life rags-to-riches story stars when “Joy” opens in cinemas February 17 nationwide from 20th Century Fox to be distributed by Warner Bros.
Wednesday, February 10, 2016
Now Showing: Deadpool from 20th Century Fox [R16]
“Deadpool” is now showing in cinemas nationwide (2D and IMAX screens) from 20th Century Fox to be distributed by Warner Bros.
Tuesday, February 9, 2016
RYAN REYNOLDS IS BORN FOR “DEADPOOL” [R16]
Based upon Marvel Comics’ most unconventional anti-hero, “Deadpool” tells the origin story of former Special Forces operative turned mercenary Wade Wilson, who after being subjected to a rogue experiment leaves him with accelerated healing powers and adopts the alter ego Deadpool. Armed with his new abilities and a dark, twisted sense of humor, Deadpool hunts down the man who nearly destroyed his life.
Along with Deadpool fighting in the buff, the film’s torrid scenes between Wade and Vanessa, and Deadpool’s non-stop and off-color verbal stylings, all contribute to the film’s R-rating. “I think the R-rating allows us to have a level of reality that wouldn’t be possible with a PG-13,” says Miller. “I also think it’s an important step in the expansion of the genre. There’s a type of film that can only be made with this rating, and that really expands the boundaries of the stories comic book movies can tell.”
“Deadpool” star and producer Ryan Reynolds has no bigger fan than Marvel Comics legend Stan Lee, who has a fun cameo in the film and also serves as an executive producer. “There’s never been a character like Deadpool, and Ryan Reynolds plays him as though he was born to play the role,” says Lee. “Just like Robert Downey, Jr. was born to be Iron Man, you just can’t picture anybody else besides Ryan as Deadpool.”
Reynolds embraced the character’s myriad (and often twisted) facets. “In the comic book world, Deadpool is a man of our time with the ability to spout just the right thing, in terms of a pop culture reference, at the worst possible moment,” he quips. “That’s what makes him interesting to me and also makes him sort of limitless.”
The character’s accessibility is defined partly by his twisted sense of humor. “It really draws you in,” Reynolds notes. “Deadpool has this bright, optimistic outlook on life, even though his life is pretty shitty. I mean, he’s become horribly disfigured from the experiments that gave him his powers. And, he can’t find love and he’s more than a little insane.”
Reynolds’ director is also infused with Deadpoolian traits. “Tim has a bit of Wade Wilson’s acerbic attitude in him,” says Reynolds. “He sort of speaks, moves and talks like him, too. I think that helped Tim access the character. He really understands how to balance the over-the-top action and humor with pathos, because in some ways, Wade Wilson is a tragic character.”
Bringing the exploits of an unconventional superhero to life sometimes created an equally unexpected vibe on set. Notes Stan Lee: “When you see Tim Miller and Ryan Reynolds working together, they are both so in sync; they see the movie the same way. It’s though they’re playing a game and each one of them is doing his job so magnificently. When I did my scene in “Deadpool,” I didn’t even know I was working. When it was over, I said, ‘When do we start?’ and Tim said, ‘You’re finished.’ That’s how effortless he makes it seem.”
The filmmakers remain convinced the time is right for this unique movie event. “When comic book movies first appeared, they had to be ‘tentpole’ movies, which had to appeal to the broadest possible audience,” Miller says. “Deadpool was always meant to be an edgy film, and the time is right for it. The genre of superhero and comic book films is wider and it feels like it’s time to do a film like this, that sort of pushes the boundaries a little further.”
Along with Deadpool fighting in the buff, the film’s torrid scenes between Wade and Vanessa, and Deadpool’s non-stop and off-color verbal stylings, all contribute to the film’s R-rating. “I think the R-rating allows us to have a level of reality that wouldn’t be possible with a PG-13,” says Miller. “I also think it’s an important step in the expansion of the genre. There’s a type of film that can only be made with this rating, and that really expands the boundaries of the stories comic book movies can tell.”
“Deadpool” star and producer Ryan Reynolds has no bigger fan than Marvel Comics legend Stan Lee, who has a fun cameo in the film and also serves as an executive producer. “There’s never been a character like Deadpool, and Ryan Reynolds plays him as though he was born to play the role,” says Lee. “Just like Robert Downey, Jr. was born to be Iron Man, you just can’t picture anybody else besides Ryan as Deadpool.”
Reynolds embraced the character’s myriad (and often twisted) facets. “In the comic book world, Deadpool is a man of our time with the ability to spout just the right thing, in terms of a pop culture reference, at the worst possible moment,” he quips. “That’s what makes him interesting to me and also makes him sort of limitless.”
The character’s accessibility is defined partly by his twisted sense of humor. “It really draws you in,” Reynolds notes. “Deadpool has this bright, optimistic outlook on life, even though his life is pretty shitty. I mean, he’s become horribly disfigured from the experiments that gave him his powers. And, he can’t find love and he’s more than a little insane.”
Reynolds’ director is also infused with Deadpoolian traits. “Tim has a bit of Wade Wilson’s acerbic attitude in him,” says Reynolds. “He sort of speaks, moves and talks like him, too. I think that helped Tim access the character. He really understands how to balance the over-the-top action and humor with pathos, because in some ways, Wade Wilson is a tragic character.”
Bringing the exploits of an unconventional superhero to life sometimes created an equally unexpected vibe on set. Notes Stan Lee: “When you see Tim Miller and Ryan Reynolds working together, they are both so in sync; they see the movie the same way. It’s though they’re playing a game and each one of them is doing his job so magnificently. When I did my scene in “Deadpool,” I didn’t even know I was working. When it was over, I said, ‘When do we start?’ and Tim said, ‘You’re finished.’ That’s how effortless he makes it seem.”
The filmmakers remain convinced the time is right for this unique movie event. “When comic book movies first appeared, they had to be ‘tentpole’ movies, which had to appeal to the broadest possible audience,” Miller says. “Deadpool was always meant to be an edgy film, and the time is right for it. The genre of superhero and comic book films is wider and it feels like it’s time to do a film like this, that sort of pushes the boundaries a little further.”
Rated R-16 by the local censors board, “Deadpool” will open in IMAX and 2D cinemas on February 10 from 20th Century Fox to be distributed by Warner Bros.
Tuesday, February 2, 2016
RAGS-TO-RICHES STORY OF A STRUGGLING SINGLE MOM IN JENNIFER LAWRENCE STARRER “JOY” [PG]
Close to home, “Joy” introduces us to a woman who carries it all, played by Jennifer Lawrence in the titular role – being a single mom, caring for her parents, paying the bills and working 24/7 just to make ends meet.
“Joy” follows on the heels of director David O. Russell’s “The Fighter,” “Silver Linings Playbook” and “American Hustle,” which between them garnered 25 Oscar® nominations. Each unleashed an unforgettable array of cinematic characters yet also honed in on a singularly compelling idea: the allure and trials of re-inventing oneself. Joy takes that same idea somewhere new – as Russell takes on the question of how one person, confronted with madcap circumstances, endless obstacles and a long road of self-searching, forges a meaningful, joyful life.
While Joy’s life moves forward, the film’s style hearkens back in time, revisiting and redesigning the craftsmanship and melodrama of classical Hollywood cinema for our image-laden times. The film stars Academy Award® winner Jennifer Lawrence (American Hustle, Silver Linings Playbook, The Hunger Games series) as Joy, in a multi-hued portrait that spans from youth to her 40s, from dreams deferred to fighting for her honor to striving for self-fulfillment.
Says Lawrence: “This is a story about so many things. It’s not just the story of Joy. It’s about family, imagination, faith in yourself, about the ruthlessness of success and what it means when you find it. I love most of all how much Joy changes. I loved taking her from vulnerable and self-deprecating to cold and strong, and I loved that she turns into a real matriarch of her family.”
Joining Lawrence is a typically wide-ranging Russell ensemble including Robert De Niro as Joy’s hot-tempered yet hopelessly romantic father; Edgar Ramirez as Joy’s ex-husband, a struggling musician living in the basement … with her father; Diane Ladd as Joy’s insightful and influential grandmother; Virginia Madsen as Joy’s soap-opera addicted mother; Isabella Rossellini as her father’s well-off Italian lover; Dascha Polanco as Joy’s life-long friend and confidante,; Elisabeth Rohm as Joy’s rivalrous sister and Bradley Cooper as the mogul-style home shopping executive who becomes both Joy’s ally and adversary.
“Joy” joins a long legacy of films about chasing dreams of success in business and family -- but it does so in its own comedic, emotional and inventive ways. The story began with the unlikely but real-life narrative of Joy Mangano, who in the 1990s became a new kind of television star and entrepreneurial powerhouse with a series of household inventions, including the famed, “self-wringing” Miracle Mop, which kicked-off the Long Island single mother’s ongoing business empire.
Says Russell: “The idea that drew me was how you tell the story of more than 40 years of a life, from the magic of childhood, through marriage, divorce and single parenthood, to going back to fulfilling on those childhood dreams? How do you tell the story of a person’s soul – and how that soul is comprised of all the people we love, the ideas we have, and the things we cherish? JOY brings together all these pieces. You have trauma and love. You have a girl who grows up in her father's metal garage and in her mother’s refuge of soap operas filled with strong women. You have a dreamer ex-husband in the basement who is still a friend and a loving sister who is an envious rival. And you have a cable television station in Lancaster, Pennsylvania that becomes a factory of dreams. In the middle of it all, you see Joy develop a quietly fierce determination that sees her through.”
An inspiring, light-hearted film, catch it with family, friends and business partners when “Joy” opens February 17 in cinemas from 20th Century Fox to be distributed by Warner Bros.
“Joy” follows on the heels of director David O. Russell’s “The Fighter,” “Silver Linings Playbook” and “American Hustle,” which between them garnered 25 Oscar® nominations. Each unleashed an unforgettable array of cinematic characters yet also honed in on a singularly compelling idea: the allure and trials of re-inventing oneself. Joy takes that same idea somewhere new – as Russell takes on the question of how one person, confronted with madcap circumstances, endless obstacles and a long road of self-searching, forges a meaningful, joyful life.
While Joy’s life moves forward, the film’s style hearkens back in time, revisiting and redesigning the craftsmanship and melodrama of classical Hollywood cinema for our image-laden times. The film stars Academy Award® winner Jennifer Lawrence (American Hustle, Silver Linings Playbook, The Hunger Games series) as Joy, in a multi-hued portrait that spans from youth to her 40s, from dreams deferred to fighting for her honor to striving for self-fulfillment.
Says Lawrence: “This is a story about so many things. It’s not just the story of Joy. It’s about family, imagination, faith in yourself, about the ruthlessness of success and what it means when you find it. I love most of all how much Joy changes. I loved taking her from vulnerable and self-deprecating to cold and strong, and I loved that she turns into a real matriarch of her family.”
Joining Lawrence is a typically wide-ranging Russell ensemble including Robert De Niro as Joy’s hot-tempered yet hopelessly romantic father; Edgar Ramirez as Joy’s ex-husband, a struggling musician living in the basement … with her father; Diane Ladd as Joy’s insightful and influential grandmother; Virginia Madsen as Joy’s soap-opera addicted mother; Isabella Rossellini as her father’s well-off Italian lover; Dascha Polanco as Joy’s life-long friend and confidante,; Elisabeth Rohm as Joy’s rivalrous sister and Bradley Cooper as the mogul-style home shopping executive who becomes both Joy’s ally and adversary.
“Joy” joins a long legacy of films about chasing dreams of success in business and family -- but it does so in its own comedic, emotional and inventive ways. The story began with the unlikely but real-life narrative of Joy Mangano, who in the 1990s became a new kind of television star and entrepreneurial powerhouse with a series of household inventions, including the famed, “self-wringing” Miracle Mop, which kicked-off the Long Island single mother’s ongoing business empire.
Says Russell: “The idea that drew me was how you tell the story of more than 40 years of a life, from the magic of childhood, through marriage, divorce and single parenthood, to going back to fulfilling on those childhood dreams? How do you tell the story of a person’s soul – and how that soul is comprised of all the people we love, the ideas we have, and the things we cherish? JOY brings together all these pieces. You have trauma and love. You have a girl who grows up in her father's metal garage and in her mother’s refuge of soap operas filled with strong women. You have a dreamer ex-husband in the basement who is still a friend and a loving sister who is an envious rival. And you have a cable television station in Lancaster, Pennsylvania that becomes a factory of dreams. In the middle of it all, you see Joy develop a quietly fierce determination that sees her through.”
An inspiring, light-hearted film, catch it with family, friends and business partners when “Joy” opens February 17 in cinemas from 20th Century Fox to be distributed by Warner Bros.
Thursday, January 28, 2016
“DEADPOOL” TO PAINT THE TOWN RED ON FEB.10 (IN CINEMAS) [R16]
Expect plenty of wry humour in “Deadpool,” directed by Tim Miller and at Reynolds’ own experiences in the comic book world. Based upon Marvel Comics’ most unconventional anti-hero, “Deadpool” tells the origin story of former Special Forces operative turned mercenary Wade Wilson, who after being subjected to a rogue experiment that leaves him with accelerated healing powers adopts the alter ego Deadpool. Armed with his new abilities and a dark, twisted sense of humor, Deadpool hunts down the man who nearly destroyed his life.
“Deadpool” star and producer Ryan Reynolds has no bigger fan than Marvel Comics legend Stan Lee, who has a fun cameo in the film and also serves as an executive producer. “There’s never been a character like Deadpool, and Ryan Reynolds plays him as though he was born to play the role,” says Lee. “Just like Robert Downey, Jr. was born to be Iron Man, you just can’t picture anybody else besides Ryan as Deadpool.”
Reynolds embraced the character’s myriad (and often twisted) facets. “In the comic book world, Deadpool is a man of our time with the ability to spout just the right thing, in terms of a pop culture reference, at the worst possible moment,” he quips. “That’s what makes him interesting to me and also makes him sort of limitless.”
Reynolds had long championed a film version of the iconic comics character. His deep involvement in the film’s development continued throughout production, in brainstorming sessions with director Tim Miller and screenwriters Rhett Reese and Paul Wernick (“Zombieland”).
Tim Miller, who makes his feature film directorial debut on Deadpool, notes, “I think Ryan’s personality and DNA are really infused in the character. It was a close match to begin with, which is why Ryan was so attracted to Deadpool in the first place.”
“Ryan has a tremendous sense of humor, is very quick, and the character has really seeped into him,” says Reese. “He became in a way our ‘Deadpool Police.’ Whenever we got off tone or were writing in a way that didn't feel quite right, Ryan would say, ‘I don't think that sounds like Deadpool.’ We knew he was the best arbiter, because Ryan knows and loves the comics and has assimilated Deadpool’s voice and sense of humor.”
“We’re staying as true to the character as possible,” adds Reynolds. “We really ran with the idea of Deadpool being aware he’s a comic book anti-hero. It gave us the freedom to tell this story in a totally unorthodox way. We occupy a space that no other comic book movie has – or can.”
Deadpool is a unique figure in the Marvel Universe. Fabian Nicieza and Rob Liefeld created Deadpool as possessing an often non-superheroic attitude. A sardonic foil to the holier-than-thou heroes and villains that populate Marvel’s other comics, Deadpool constantly cracks edgy jokes and breaks the fourth wall.
Liefeld joins Stan Lee in his admiration of the filmmakers’ work in translating the character to the big screen. “DEADPOOL explodes with action,” says Liefeld. “Ryan, Tim Miller, Paul and Rhett mined all the good stuff in the comics from about a ten-year period and came up with a movie that sews it all together. This will be the Deadpool that will become canon moving forward!”
It’s a date on Valentine’s week with “Deadpool” starting February 10 in cinemas (and IMAX screens) nationwide from 20th Century Fox to be distributed by Warner Bros.
“Deadpool” star and producer Ryan Reynolds has no bigger fan than Marvel Comics legend Stan Lee, who has a fun cameo in the film and also serves as an executive producer. “There’s never been a character like Deadpool, and Ryan Reynolds plays him as though he was born to play the role,” says Lee. “Just like Robert Downey, Jr. was born to be Iron Man, you just can’t picture anybody else besides Ryan as Deadpool.”
Reynolds embraced the character’s myriad (and often twisted) facets. “In the comic book world, Deadpool is a man of our time with the ability to spout just the right thing, in terms of a pop culture reference, at the worst possible moment,” he quips. “That’s what makes him interesting to me and also makes him sort of limitless.”
Reynolds had long championed a film version of the iconic comics character. His deep involvement in the film’s development continued throughout production, in brainstorming sessions with director Tim Miller and screenwriters Rhett Reese and Paul Wernick (“Zombieland”).
Tim Miller, who makes his feature film directorial debut on Deadpool, notes, “I think Ryan’s personality and DNA are really infused in the character. It was a close match to begin with, which is why Ryan was so attracted to Deadpool in the first place.”
“Ryan has a tremendous sense of humor, is very quick, and the character has really seeped into him,” says Reese. “He became in a way our ‘Deadpool Police.’ Whenever we got off tone or were writing in a way that didn't feel quite right, Ryan would say, ‘I don't think that sounds like Deadpool.’ We knew he was the best arbiter, because Ryan knows and loves the comics and has assimilated Deadpool’s voice and sense of humor.”
“We’re staying as true to the character as possible,” adds Reynolds. “We really ran with the idea of Deadpool being aware he’s a comic book anti-hero. It gave us the freedom to tell this story in a totally unorthodox way. We occupy a space that no other comic book movie has – or can.”
Deadpool is a unique figure in the Marvel Universe. Fabian Nicieza and Rob Liefeld created Deadpool as possessing an often non-superheroic attitude. A sardonic foil to the holier-than-thou heroes and villains that populate Marvel’s other comics, Deadpool constantly cracks edgy jokes and breaks the fourth wall.
Liefeld joins Stan Lee in his admiration of the filmmakers’ work in translating the character to the big screen. “DEADPOOL explodes with action,” says Liefeld. “Ryan, Tim Miller, Paul and Rhett mined all the good stuff in the comics from about a ten-year period and came up with a movie that sews it all together. This will be the Deadpool that will become canon moving forward!”
It’s a date on Valentine’s week with “Deadpool” starting February 10 in cinemas (and IMAX screens) nationwide from 20th Century Fox to be distributed by Warner Bros.
Wednesday, January 27, 2016
“JOY” MOVIE LISTS AMAZING WOMEN OF HISTORY INCLUDING FILIPINO SCIENTIST DR. FE DEL MUNDO [PG]
What keeps a person trying and trying then faltering and then knocking their head against the wall until the point of success? And what then transforms all the exasperating ups and downs that follow on the heels of success into a sustaining sense of joy and discovery? David O. Russell’s 8th feature film, “Joy,” probes four decades in the upward-moving life of a single-mom-turned-business-magnate to explore how daring, resilience and the persistence of vision carry people from the ordinary into extraordinary moments of creation, striving and love.
Starring Academy Award winner Jennifer Lawrence, based loosely on the life and rise of inventor and home shopping star Joy Mangano, the genre-blurring story of “Joy” follows the wild path of a hard-working but half-broken family and the young girl who ultimately becomes its shining matriarch and leader in her own right. Driven to create, but also to take care of those around her, Joy experiences betrayal, treachery, the loss of innocence and the scars of love as she finds the steel and the belief to follow her once-suppressed dreams. The result is an emotional and human comedy about a woman’s rise – navigating the unforgiving world of commerce, the chaos of family and the mysteries of inspiration while finding an unyielding source of happiness.
“Joy” opens this February 17 across Philippine cinemas from 20th Century Fox to be distributed by Warner Bros. Along with Joy Mangano, the following pioneering female inventors share the limelight in celebrating the exhilarating ride that “Joy” explores on their daring resilience and the persistence of their vision that carried them from the ordinary into being extraordinary, one of them is Filipino genius Fe Del Mundo.
Filipino Scientist Dr. Fe Del Mundo: Inventor of Low-Cost Incubator in 1941 (November 27, 1909 – August 6, 2011)
Dr. Fe del Mundo was the first Asian woman and the first Filipina to be accepted at the prestigious Harvard University School of Medicine. Her specialization was on pediatrics, and she is best known to the Filipinos as the designer of a low-cost incubator made of bamboo and other local materials. She published more than 100 articles in medical journals, and trained various medical practitioners in and out of the country. She was also the first Filipina to be conferred the rank of National Scientist in 1980.
Single-mother Bette Nesmith Graham invents correction fluid in 1951 (March 23, 1924—May 12, 1980)
Born in Dallas, Texas, Bette Nesmith Graham, a single, divorced mother, working as a secretary at Texas Bank and Trust used to find it difficult to erase mistakes on her typewriter. Graham, who was also a talented painter, knew that with lettering, an artist never corrects by erasing a mistake, but by painting over the error. In 1951, she invented the first correction fluid in her kitchen, using tempera paint and an ordinary kitchen blender. She called the fluid Mistake Out. The name was later changed to Liquid Paper.
German housewife Melitta Bentz invents modern coffee filter system in 1908 (January 31, 1873—June 29, 1950)
Born in Dresden, Bentz, an enterprising mother of two, was fed up cleaning and constantly wringing out stained cloth filters, and scraping sludge off the bottom of unfiltered pots when she was making coffee. Bentz experimented with different types of paper and devised an easily disposable filtration system by laying a piece of paper over the perforated bottom of a brass pot.
British student Emily Cummins invents eco-friendly, solar-powered fridge in 2009 (February 11, 1987)
British Inventor Emily Cummins is passionate about sustainable designs that have the ability to change lives. She credits her grandfather as her greatest inspiration. ‘He gave me a hammer and began to teach me how to make toys from scraps of materials found in his garden shed.’ Her entry into a sustainable design competition, a ‘pullable’ water carrier for water workers in Africa, earned her a Technology Woman of the Future award in 2006.
Marjorie Joyner: the first black woman to receive a patent, for her Permanent Waving Machine in 1928. (October 24, 1896—December 27, 1994)
Born in Virginia, the granddaughter of a slave and slave-owner, Marjorie Joyner grew up in poverty and went onto become the first black woman to graduate from the A.B. Molar Beauty School in Chicago. While making a pot roast one day, she noticed how long, thin rods held the pot roast and heated it up from the inside. She imagined a design using rods saying, ‘I figured you could use them like hair rollers, then heat them up to cook a permanent curl into the hair’.
Mary Anderson invents windshield wipers (1863-1953)
Anderson was born in Green County, Alabama and moved west to Fresno, California, where she operated a cattle ranch and vineyard. In the winter of 1902, she visited New York and observed how dangerous it was when snow and sleet slowed down streetcars, obscuring vision. Anderson sketched a solution in her notebook: a ‘squeegee’ wiper on the outside of a windshield, connected to a lever on the inside.
Russian immigrant Ida Rosenthal designs the modern-day bra in 1920s.
(January 9, 1886—March 29, 1973)
Ida Rosenthal was born in Rakow near Minsk, the eldest of seven siblings. When she was sixteen, she moved to Warsaw, where she worked and took classes in Russian and mathematics. She immigrated to America aged 18, following her fiancée William Rosenthal. They married and she opened a dress shop with her husband, working closely with another dress shop owner, Enid Bisset. At the time Bisset and others were making bandeaus for women who wanted to flatten the figure; this was the ‘flapper’ era, when the boyish look was fashionable. Rosenthal, who was voluptuous, deplored the fashion: "why fight nature?" she asked. She set about designing bras in different sizes and built them into the dresses she sewed, as cups, which separated and supported the breasts, ‘lifting’ instead of flattening.
Austrian actress Hedy Lamarr: pioneers wireless communication in in 1941 (November 9, 1914—January 19, 2000)
Hedy Lamarr was born Hedwig Eva Maria Kiesler in Vienna. During the 1920s, she moved to Berlin to study acting. Immigrating to America, she shot to stardom in Hollywood and was known as ‘the most beautiful woman in the world’. However, that wasn’t to be her greatest claim to fame! Her leading men included Clark Gable, Robert Taylor, and Spencer Tracy. But her accomplishments as a scientist are even more remarkable. During World War II, together with the composer, George Antheil, she developed a ‘Secret Communications System’ with the goal of helping to combat the Nazis. By manipulating radio frequencies at irregular intervals between transmission and reception, the invention was intended to form an unbreakable code to prevent classified messages from being intercepted by enemy personnel. It was meant for radio-guided torpedoes, and the pair gave it to the US Navy. Lamarr and Antheil received a patent in 1941, but the significance of their invention wasn’t appreciated until years later. It was implemented on naval ships during the Cuban Missile Crisis. What is fascinating is that the invention would eventually revolutionize mobile communications, paving the way for cell phones and fax machines.
Celebrated cook Ruth Wakefield invents the first chocolate chip cookies in 1930 (June 17, 1903—January 10, 1977)
Ruth Wakefield was a trained dietician and food lecturer. In 1930, Wakefield and her husband bought a tourist lodge in Whitman, Massachusetts. Located at the halfway point between Boston and New York, many travelers paid a toll, changed horses, and ate home-cooked meals at the lodge. Wakefield’s lobster dinners and desserts were famous. In 1930, Wakefield was mixing a batch of cookies, when she added broken pieces of chocolate: the result was a tray of the first chocolate chip cookies. She called her creation Toll House Crunch Cookies. The recipe made its first appearance in the 1938 edition of Wakefield’s “Tried and True” cookbook. The cookies became massively popular and eventually, Andrew Nestle and Ruth Wakefield made an agreement—Nestle would print the Toll House Cookie recipe on its package, and Wakefield would be given a lifetime supply of Nestle chocolate!
Margaret Knight invents the modern paper ‘grocery’ bag (February 14, 1838—October 12, 1914)
Born in Maine and raised by a widowed mother, from a young age, Knight displayed a passion for inventing. At age 12, she observed a textile accident at the mill where she worked. She came up with a device that would automatically stop a machine if something got caught in it. Soon, her invention was being used in the mills. After the Civil War, Knight worked in a paper bag plant, which inspired her to create a paper bag that would make it easier to pack items. She designed the machine that automatically folded and glued the bottom of bags, creating the flat-bottom paper bags we still use today.
“Joy” is SHOWING ON February 17 nationwide from 20th Century Fox to be distributed by Warner Bros.
Thursday, January 21, 2016
IRISH ACTOR DOMHNALL GLEESON STARS IN TWO STRONG OSCAR CONTENDERS – “THE REVENANT’ AND “BROOKLYN”
Rapidly rising Irish actor Domhnall Gleeson stars in “The Revenant” and “Brooklyn” – two of this year’s strong Oscar contenders. Gleeson , who has been coming to the fore as one of the most versatile actors of a new generation with roles in “About Time,” “Calvary,” “Unbroken,” “Ex Machina” and in “Star Wars: Episode VII – The Force Awakens” goes from unshaven in his role as Captain Henry in “The Revenant” to all-dapper in “Brooklyn.”
In “The Revenant” by Oscar winner filmmaker Alejandro G. Iñárritu and Leonardo DiCaprio takes on the title role, plays the role of Captain Andrew Henry, a real-life historical figure who was one of the founders of the Rocky Mountain Trading Company and a leader of the expedition up the Missouri River.
Inspired by true events, “The Revenant” is an epic story of survival and transformation on the American frontier. While on an expedition into the uncharted wilderness, legendary explorer Hugh Glass (Leonardo DiCaprio) is brutally mauled by a bear, then abandoned by members of his own hunting team. Alone and near death, Glass refuses to succumb. Driven by sheer will and his love for his Native American wife and son, he undertakes a 200-mile odyssey along with Henry’s (Gleeson) soldiers through the vast and untamed West on the trail of the man who betrayed him: John Fitzgerald (Tom Hardy). What begins as a relentless quest for revenge becomes a heroic saga against all odds towards home and redemption.
For Domhnall Gleeson, playing the role of Fitzgerald’s disappointed Captain, it was thrilling to go up against Hardy as Captain Henry realizes he has been duped. “Tom has brought an edge to Fitzgerald where you never know which way he’s going to go,” Gleeson says. “My character feels beaten down by Fitzgerald, but then he starts to hold his ground – and it was really exciting to go toe-to-toe with Tom.”
Gleeson notes that the script gives Captain Henry a fictionalized arc beyond what history knows of him. “The real Andrew Henry was respected, whereas in this story you see him as an uncertain man learning to be leader. He goes on a journey, growing into the man he was said to be,” he explains. From the start, Gleeson understood the film was going to be a purposefully challenging experience. “Before we even started shooting, Alejandro said he wanted it to be a tough experience for the actors – and he was true to his word. We were put in unusual circumstances and challenging conditions but it was exciting because it was so different,” he comments. “I certainly have never done anything like it before. There’s an exhilaration to making a movie in a way that people just don’t make movies anymore.”
Gleeson says the roughness of the shoot enriched the performances. “My character is meant to find his circumstances horribly difficult, he’s meant to feel out of place and so I poured everything I was experiencing into the performance,” he explains. “You hope that ultimately the size of all that these men contended with --- the desperation, the madness and uncertainty -- will feel present in the movie theater.”
From the cold and ruthless forest in “The Revenant,” Gleeson dons neatly pressed suits as Jim Farrell in “Brooklyn” where he plays opposite Saoirse Ronan who plays Eilis, an Irish immigrant in America who must choose between two countries, two men and two destinies.
Eilis’ Irish lover, Jim Farrell (Gleeson), had to be both an opposite attraction and a legitimate threat to Eilis’ New York lover, Tony Fiorello (Emory Cohen). Gleeson knew he, too, had to find a subtle but visceral chemistry with Saoirse Ronan, to put the question mark in the audience’s mind. “Life in Brooklyn may offer Eilis more, but it was my job to make Jim seem worth staying in Ireland for,“ he says. “I really wanted to create a connection with Saoirse that you would feel is worth fighting for.”
Like his castmates, Gleeson related to Eilis’ experience in his own way. “I think everybody’s known a sense of displacement at one time or another, of not having a clear home,” he says. “I’ve certainly been familiar with that at various times in my life -- and I thought it was captured brilliantly in this story. Then there’s a lot of romance and fun to the story, which is very appealing.”
“Brooklyn” director John Crowley says that Gleeson’s take on the character brought out the bittersweetness of the story. “There’s a consummate intelligence to Domhnall,” says Crowley. “He thinks very deeply about all his roles and he brings an intensity and maturity to Jim that bounces beautifully off of Emory as Tony. It was so important that Jim and Tony occupy vastly different spaces, that they be totally opposite versions of men that Eilis could see herself with – and Emory and Domhnall brought completely different but equally compelling feelings that underline her choice.”
“Brookyln” [PG] opens exclusively at Ayala Malls Cinemas starting January 27 while “The Revenant” [R16]opens February 3 in theatres (also in IMAX screens) nationwide – both from 20th Century Fox to be distributed by Warner Bros.
In “The Revenant” by Oscar winner filmmaker Alejandro G. Iñárritu and Leonardo DiCaprio takes on the title role, plays the role of Captain Andrew Henry, a real-life historical figure who was one of the founders of the Rocky Mountain Trading Company and a leader of the expedition up the Missouri River.
Inspired by true events, “The Revenant” is an epic story of survival and transformation on the American frontier. While on an expedition into the uncharted wilderness, legendary explorer Hugh Glass (Leonardo DiCaprio) is brutally mauled by a bear, then abandoned by members of his own hunting team. Alone and near death, Glass refuses to succumb. Driven by sheer will and his love for his Native American wife and son, he undertakes a 200-mile odyssey along with Henry’s (Gleeson) soldiers through the vast and untamed West on the trail of the man who betrayed him: John Fitzgerald (Tom Hardy). What begins as a relentless quest for revenge becomes a heroic saga against all odds towards home and redemption.
For Domhnall Gleeson, playing the role of Fitzgerald’s disappointed Captain, it was thrilling to go up against Hardy as Captain Henry realizes he has been duped. “Tom has brought an edge to Fitzgerald where you never know which way he’s going to go,” Gleeson says. “My character feels beaten down by Fitzgerald, but then he starts to hold his ground – and it was really exciting to go toe-to-toe with Tom.”
Gleeson notes that the script gives Captain Henry a fictionalized arc beyond what history knows of him. “The real Andrew Henry was respected, whereas in this story you see him as an uncertain man learning to be leader. He goes on a journey, growing into the man he was said to be,” he explains. From the start, Gleeson understood the film was going to be a purposefully challenging experience. “Before we even started shooting, Alejandro said he wanted it to be a tough experience for the actors – and he was true to his word. We were put in unusual circumstances and challenging conditions but it was exciting because it was so different,” he comments. “I certainly have never done anything like it before. There’s an exhilaration to making a movie in a way that people just don’t make movies anymore.”
Gleeson says the roughness of the shoot enriched the performances. “My character is meant to find his circumstances horribly difficult, he’s meant to feel out of place and so I poured everything I was experiencing into the performance,” he explains. “You hope that ultimately the size of all that these men contended with --- the desperation, the madness and uncertainty -- will feel present in the movie theater.”
From the cold and ruthless forest in “The Revenant,” Gleeson dons neatly pressed suits as Jim Farrell in “Brooklyn” where he plays opposite Saoirse Ronan who plays Eilis, an Irish immigrant in America who must choose between two countries, two men and two destinies.
Eilis’ Irish lover, Jim Farrell (Gleeson), had to be both an opposite attraction and a legitimate threat to Eilis’ New York lover, Tony Fiorello (Emory Cohen). Gleeson knew he, too, had to find a subtle but visceral chemistry with Saoirse Ronan, to put the question mark in the audience’s mind. “Life in Brooklyn may offer Eilis more, but it was my job to make Jim seem worth staying in Ireland for,“ he says. “I really wanted to create a connection with Saoirse that you would feel is worth fighting for.”
Like his castmates, Gleeson related to Eilis’ experience in his own way. “I think everybody’s known a sense of displacement at one time or another, of not having a clear home,” he says. “I’ve certainly been familiar with that at various times in my life -- and I thought it was captured brilliantly in this story. Then there’s a lot of romance and fun to the story, which is very appealing.”
“Brooklyn” director John Crowley says that Gleeson’s take on the character brought out the bittersweetness of the story. “There’s a consummate intelligence to Domhnall,” says Crowley. “He thinks very deeply about all his roles and he brings an intensity and maturity to Jim that bounces beautifully off of Emory as Tony. It was so important that Jim and Tony occupy vastly different spaces, that they be totally opposite versions of men that Eilis could see herself with – and Emory and Domhnall brought completely different but equally compelling feelings that underline her choice.”
“Brookyln” [PG] opens exclusively at Ayala Malls Cinemas starting January 27 while “The Revenant” [R16]opens February 3 in theatres (also in IMAX screens) nationwide – both from 20th Century Fox to be distributed by Warner Bros.
Monday, January 18, 2016
SUCCESS STORY IN MODERN-DAY AND TRUE-TO-LIFE TELENOVELA MOVIE “JOY” [PG]
The quote on family that says “No family is perfect. We argue, we fight. We even stop talking to each other at times, but in the end, family is family, the love will always be there” is all true in the upcoming modern-day true-to-life telenovela movie “Joy” starring Academy Award winner Jennifer Lawrence directed by acclaimed filmmaker David O. Russell that also stars Robert De Niro, Bradley Cooper, Virginia Madsen, Edgar Ramirez, Isabella Rosselini, Diane Ladd and Dascha Polanco.
“Joy” joins a long legacy of films about chasing dreams of success in business and family -- but it does so in its own comedic, emotional and inventive ways. The story began with the unlikely but real-life narrative of Joy Mangano, who in the 1990s became a new kind of television star and entrepreneurial powerhouse with a series of household inventions, including the famed, “self-wringing” Miracle Mop, which kicked-off the Long Island single mother’s ongoing business empire.
The story – with its everyday contours but outsized dreams -- grabbed the attention of David O. Russell, always drawn to that very specific mix. He saw in it the blossoming of a gutsy, ingenious woman and an inspiring story of someone taking a chance on long-buried dreams while never losing the sense of duty to family at her core.
Says Russell: “The idea that drew me was how you tell the story of more than 40 years of a life, from the magic of childhood, through marriage, divorce and single parenthood, to going back to fulfilling on those childhood dreams? How do you tell the story of a person’s soul – and how that soul is comprised of all the people we love, the ideas we have, the things we cherish? “Joy” brings together all these pieces. You have trauma and love. You have a girl who grows up in her father's metal garage and in her mother’s refuge of soap operas filled with strong women. You have a dreamer ex-husband in the basement who is still a friend and a loving sister who is an envious rival. And you have a cable television station in Lancaster, Pennsylvania that becomes a factory of dreams. In the middle of it all, you see Joy develop a quietly fierce determination that sees her through.”
Russell also saw “Joy” as the chance to tell a different kind of rise-to-riches story: the story of a business magnate’s emergence from a blue-collar domestic world still oft-ignored in cinematic epics.
“Half or more of the movie is based on Joy Mangano, and the other half is based on daring women I’ve been aware of and read about for many years,” Russell explains. “That includes Lillian Vernon, who started the first big mail order catalogs for household products. It also includes numerous other women I’ve known, who dared to start ventures, some that succeeded and some that failed. I am fascinated by the kind of spirit that drives someone to start a venture out of their home and try to break a new path for themselves and their families. So many women throughout history have felt dead ended and had to carve out their own opportunities.”
Because the film is created as a lived experience of Joy’s up-and-down search for happiness, JOY is also Russell’s most visually inventive film. Joy’s everyday reality – and the constant tug-of-war she faces between necessity and achievement – is punctuated in bursts by hyper-melodramatic soap opera sequences, song-and-dance, surreal daydreams and bewitching snowflakes.
Russell muses. “In the soap opera world all these big, gothic, melodramatic things happen. People are constantly speaking about betrayal, treachery, money and death – so it’s like Gogol, Tolstoy or Dostoevsky. But soap operas are also often about bold women and aspiration, and that’s why they strike a chord.”
“Joy” opens February 17 in cinemas nationwide from 20th Century Fox to be distributed by Warner Bros.
“Joy” joins a long legacy of films about chasing dreams of success in business and family -- but it does so in its own comedic, emotional and inventive ways. The story began with the unlikely but real-life narrative of Joy Mangano, who in the 1990s became a new kind of television star and entrepreneurial powerhouse with a series of household inventions, including the famed, “self-wringing” Miracle Mop, which kicked-off the Long Island single mother’s ongoing business empire.
The story – with its everyday contours but outsized dreams -- grabbed the attention of David O. Russell, always drawn to that very specific mix. He saw in it the blossoming of a gutsy, ingenious woman and an inspiring story of someone taking a chance on long-buried dreams while never losing the sense of duty to family at her core.
Says Russell: “The idea that drew me was how you tell the story of more than 40 years of a life, from the magic of childhood, through marriage, divorce and single parenthood, to going back to fulfilling on those childhood dreams? How do you tell the story of a person’s soul – and how that soul is comprised of all the people we love, the ideas we have, the things we cherish? “Joy” brings together all these pieces. You have trauma and love. You have a girl who grows up in her father's metal garage and in her mother’s refuge of soap operas filled with strong women. You have a dreamer ex-husband in the basement who is still a friend and a loving sister who is an envious rival. And you have a cable television station in Lancaster, Pennsylvania that becomes a factory of dreams. In the middle of it all, you see Joy develop a quietly fierce determination that sees her through.”
Russell also saw “Joy” as the chance to tell a different kind of rise-to-riches story: the story of a business magnate’s emergence from a blue-collar domestic world still oft-ignored in cinematic epics.
“Half or more of the movie is based on Joy Mangano, and the other half is based on daring women I’ve been aware of and read about for many years,” Russell explains. “That includes Lillian Vernon, who started the first big mail order catalogs for household products. It also includes numerous other women I’ve known, who dared to start ventures, some that succeeded and some that failed. I am fascinated by the kind of spirit that drives someone to start a venture out of their home and try to break a new path for themselves and their families. So many women throughout history have felt dead ended and had to carve out their own opportunities.”
Because the film is created as a lived experience of Joy’s up-and-down search for happiness, JOY is also Russell’s most visually inventive film. Joy’s everyday reality – and the constant tug-of-war she faces between necessity and achievement – is punctuated in bursts by hyper-melodramatic soap opera sequences, song-and-dance, surreal daydreams and bewitching snowflakes.
Russell muses. “In the soap opera world all these big, gothic, melodramatic things happen. People are constantly speaking about betrayal, treachery, money and death – so it’s like Gogol, Tolstoy or Dostoevsky. But soap operas are also often about bold women and aspiration, and that’s why they strike a chord.”
“Joy” opens February 17 in cinemas nationwide from 20th Century Fox to be distributed by Warner Bros.
Wednesday, January 13, 2016
Now Showing: Our Brand is Crisis from Warner Bros.Pictures [R13]
Now Showing in all theaters Nationwide from Warner Bros. Pictures
Wednesday, January 6, 2016
ACADEMY AWARD NOMINEE AND FIRST-TIME DIRECTOR TIM MILLER HELMS “DEADPOOL”
Make no mistake about it, the term first-time director may project an impression of being inexperienced, yet despite the fact that Tim Miller’s first feature film is “Deadpool,” his unique approach in filmmaking makes him acutely ready to helm this year’s hotly anticipated superhero movie starring Ryan Reynolds in the titular role.
Tim Miller is already an Academy Award nominee for his previous work in the movie “Gopher Broke” nominated for the Best Animated Short Film. Miller is also the co-founder of Blur Studio, which specializes in visual effects and animation for the motion picture and videogame industries.
Moreover, his experience and work in the fantastic title sequences and breakthrough CG action shots for films such as the highly-acclaimed “The Girl with The Dragon Tattoo” by David Fincher, “Thor: The Dark World” and Taylor’s Marvel adaptations make Miller bring his own kind of storytelling and action into the movie “Deadpool” adapted from the Marvel Comics created in 1991 by Fabian Nicieza and Rob Liefeld.
“Deadpool” which also stars Morena Baccarin, Gina Carano, TJ Miller and Ed Skrein tells the origin of Wade Wilson (Reynolds), whose terminal cancer is ‘cured’ by the same Weapon X program that created Wolverine, leaving him permanently disfigured, but impervious to pain and able to regenerate from his wounds. A pop culture-literate antihero different amongst comic book characters, “Deadpool” has been dubbed as ‘The Merc with a Mouth” who can break the fourth wall and flip superhero conventions in their head.
Miller recalls that a (20th Century) Fox executive who’d been working on the “X-Men: First Class” movie had seen his work on a piece he had done for a DC universe project, “He thought X-Men: First Class” could use some help with working out the detailed action choreography, so I was brought on to help with that. He was like, “You understand superheroes and how they fight each other. He came down and we met, and by the end of that meeting he said, “You know, I think you should really be directing your own film. You’re a first-timer so I can’t get you on anything big, but we have this other film… Deadpool. Are you interested?” I’d read the script already and I thought it was great, so I jumped at the chance. And then there were a whole series of hurdles to jump over, to make sure Ryan liked me, to make sure [the producer] Lauren Shuler Donner liked me, to make sure I wasn’t some kind of crazy weirdo,” shares Miller.
Tim Miller’s “Deadpool” movie features endless references to Reynolds’ own dalliances with the superhero universe, and most especially his lead role in “Green Lantern.” Suffice to say, Wade Wilson isn’t a fan. “Please don’t make the super-suit green,” he tells the facility scientists. “Or animated.” When Fox showed off a teaser for the film at Comic-Con, the studio poked fun at their own first go at the character. “From the studio that inexplicably sewed his mouth shut the first time, comes five-time Academy Award viewer Ryan Reynolds…”
A different kind, in fact, not-the-hero-you’re-expecting saves the day when “Deadpool” opens February 10 in Philippine cinemas from 20th Century Fox to be distributed by Warner Bros.
Tim Miller is already an Academy Award nominee for his previous work in the movie “Gopher Broke” nominated for the Best Animated Short Film. Miller is also the co-founder of Blur Studio, which specializes in visual effects and animation for the motion picture and videogame industries.
Moreover, his experience and work in the fantastic title sequences and breakthrough CG action shots for films such as the highly-acclaimed “The Girl with The Dragon Tattoo” by David Fincher, “Thor: The Dark World” and Taylor’s Marvel adaptations make Miller bring his own kind of storytelling and action into the movie “Deadpool” adapted from the Marvel Comics created in 1991 by Fabian Nicieza and Rob Liefeld.
“Deadpool” which also stars Morena Baccarin, Gina Carano, TJ Miller and Ed Skrein tells the origin of Wade Wilson (Reynolds), whose terminal cancer is ‘cured’ by the same Weapon X program that created Wolverine, leaving him permanently disfigured, but impervious to pain and able to regenerate from his wounds. A pop culture-literate antihero different amongst comic book characters, “Deadpool” has been dubbed as ‘The Merc with a Mouth” who can break the fourth wall and flip superhero conventions in their head.
Miller recalls that a (20th Century) Fox executive who’d been working on the “X-Men: First Class” movie had seen his work on a piece he had done for a DC universe project, “He thought X-Men: First Class” could use some help with working out the detailed action choreography, so I was brought on to help with that. He was like, “You understand superheroes and how they fight each other. He came down and we met, and by the end of that meeting he said, “You know, I think you should really be directing your own film. You’re a first-timer so I can’t get you on anything big, but we have this other film… Deadpool. Are you interested?” I’d read the script already and I thought it was great, so I jumped at the chance. And then there were a whole series of hurdles to jump over, to make sure Ryan liked me, to make sure [the producer] Lauren Shuler Donner liked me, to make sure I wasn’t some kind of crazy weirdo,” shares Miller.
Tim Miller’s “Deadpool” movie features endless references to Reynolds’ own dalliances with the superhero universe, and most especially his lead role in “Green Lantern.” Suffice to say, Wade Wilson isn’t a fan. “Please don’t make the super-suit green,” he tells the facility scientists. “Or animated.” When Fox showed off a teaser for the film at Comic-Con, the studio poked fun at their own first go at the character. “From the studio that inexplicably sewed his mouth shut the first time, comes five-time Academy Award viewer Ryan Reynolds…”
A different kind, in fact, not-the-hero-you’re-expecting saves the day when “Deadpool” opens February 10 in Philippine cinemas from 20th Century Fox to be distributed by Warner Bros.
Wednesday, December 16, 2015
“JOY” MOVIE STARRING JENNIFER LAWRENCE NOMINATED IN BEST PICTURE AND BEST ACTRESS CATEGORY
Academy Award® winner Jennifer Lawrence stars in this year’s highly-anticipated movie “Joy” this awards season directed by of David O. Russell that probes four decades in the upward-moving life of a single-mom-turned-business-magnate to explore how daring, resilience and the persistence of vision carry people from the ordinary into extraordinary moments of creation, striving and love.
“Joy” has recently been nominated for two major awards in the upcoming (2016) Golden Globes – Best Motion Picture, Comedy and Best Actress In a Motion Picture, Comedy (Jennifer Lawrence). "I am incredibly grateful to be recognized by the Hollywood Foreign Press for my role in JOY. It was an enormous privilege to play such an amazing woman. And it is an honor to be among the other extraordinarily talented women in this category. I share this with David O. Russell and the incredible cast and crew,” says Lawrence on her nomination.
The movie is based loosely on the life and rise of inventor and home shopping star Joy Mangano, the genre-blurring story of JOY follows the wild path of a hard-working but half-broken family and the young girl who ultimately becomes its shining matriarch and leader in her own right. The result is an emotional and human comedy about a woman’s rise – navigating the unforgiving world of commerce, the chaos of family and the mysteries of inspiration while finding an unyielding source of happiness.
“Joy” follows on the heels of David O. Russell’s “The Fighter,” “Silver Linings Playbook” and “American Hustle,” which between them garnered 25 Oscar® nominations. Each unleashed an unforgettable array of cinematic characters yet also honed in on a singularly compelling idea: the allure and trials of re-inventing oneself. Joy takes that same idea somewhere new – as Russell takes on the question of how one person, confronted with madcap circumstances, endless obstacles and a long road of self-searching, forges a meaningful, joyful life. While Joy’s life moves forward, the film’s style hearkens back in time, revisiting and redesigning the craftsmanship and melodrama of classical Hollywood cinema for our image-laden times.
Joining Lawrence is a typically wide-ranging Russell ensemble including Robert De Niro as Joy’s hot-tempered yet hopelessly romantic father; Edgar Ramirez as Joy’s ex-husband, a struggling musician living in the basement … with her father; Diane Ladd as Joy’s insightful and influential grandmother; Virginia Madsen as Joy’s soap-opera addicted mother; Isabella Rossellini as her father’s well-off Italian lover; Dascha Polanco as Joy’s life-long friend and confidante,; Elisabeth Rohm as Joy’s rivalrous sister and Bradley Cooper as the mogul-style home shopping executive who becomes both Joy’s ally and adversary.
Says Lawrence: “This is a story about so many things. It’s not just the story of Joy. It’s about family, imagination, faith in yourself, about the ruthlessness of success and what it means when you find it. I love most of all how much Joy changes. I loved taking her from vulnerable and self-deprecating to cold and strong, and I loved that she turns into a real matriarch of her family.”
“Joy” opens very soon in Philippine cinemas this February 17, 2016 from 20th Century Fox to be distributed by Warner Bros.
Wednesday, November 25, 2015
Now Showing: Victor Frankenstein from 20th Century Fox [PG]
“Victor Frankenstein” is now Showing in your favorite cinemas (November 25 in Phils.) from 20th Century Fox to be distributed by Warner Bros.
Thursday, October 22, 2015
Watch the Official Trailer of "Joy" on Youtube
“Joy” is the
story of a mother, an ordinary citizen whose determination led her to invent
the miracle mop while trying to find a way to make both ends meet and provide
for her family despite insurmountable obstacles. A rags-to-riches story about a girl who
becomes a matriarch in her own right by inventing the miracle mop that lifted a
heavy burden off from millions of housewives across the globe.
“Joy” opens February 17 in cinemas (Phils.) nationwide from
20th Century Fox to be distributed by Warner Bros.
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