(Welcome to Tales from the Box Office, our column that examines box office miracles, disasters, and everything in between, as well as what we can learn from them.)
As we've seen in recent years, horror remains a recipe for success at the box office. Truthfully, it's been that way for decades. Another trend that has emerged in the aftermath of the pandemic is faith-based cinema breaking out in theaters, with the controversial "Sound of Freedom" leading the way. To that end, controversy can sometimes fuel massive ticket sales. 20 years ago, one movie combined every single one of those elements to deliver the biggest R-rated movie of all time. That movie was "The Passion of the Christ."
Directed by Mel Gibson, the film focuses on the last 12 hours of in the life of Jesus of Nazareth, played by James Caviezel. The film begins with Jesus praying after the Last Supper before being betrayed by Judas Iscariot.
As we've seen in recent years, horror remains a recipe for success at the box office. Truthfully, it's been that way for decades. Another trend that has emerged in the aftermath of the pandemic is faith-based cinema breaking out in theaters, with the controversial "Sound of Freedom" leading the way. To that end, controversy can sometimes fuel massive ticket sales. 20 years ago, one movie combined every single one of those elements to deliver the biggest R-rated movie of all time. That movie was "The Passion of the Christ."
Directed by Mel Gibson, the film focuses on the last 12 hours of in the life of Jesus of Nazareth, played by James Caviezel. The film begins with Jesus praying after the Last Supper before being betrayed by Judas Iscariot.
- 2/24/2024
- by Ryan Scott
- Slash Film
Benedict Fitzgerald, the co-writer of Mel Gibson’s The Passion of the Christ, has died. He was 74.
Fitzgerald died Jan. 17 after a long illness at his home in Marsala, Sicily, his cousin Nancy Morgan Ritter told The Hollywood Reporter.
Best known for his work on Gibson’s 2004 Biblical epic, the highest-grossing Christian film, as well as the highest-grossing independent film of all time, Fitzgerald’s other credits include co-writing the screenplay for John Huston’s Wise Blood (1979), the adaptation of Flannery O’Connor’s novel.
Born on March 9, 1949, in New York, Fitzgerald was born into a literary household. His deeply Catholic mother, Sally, was a writer and editor and his father, Robert, was a poet, United States Poet Laureate (1984-1985), critic, and famed translator of classic ancient Greek and Latin texts, who was responsible for perhaps the most well-known translation of Homer’s The Odyssey.
In the late 1950s, Fitzgerald’s family...
Fitzgerald died Jan. 17 after a long illness at his home in Marsala, Sicily, his cousin Nancy Morgan Ritter told The Hollywood Reporter.
Best known for his work on Gibson’s 2004 Biblical epic, the highest-grossing Christian film, as well as the highest-grossing independent film of all time, Fitzgerald’s other credits include co-writing the screenplay for John Huston’s Wise Blood (1979), the adaptation of Flannery O’Connor’s novel.
Born on March 9, 1949, in New York, Fitzgerald was born into a literary household. His deeply Catholic mother, Sally, was a writer and editor and his father, Robert, was a poet, United States Poet Laureate (1984-1985), critic, and famed translator of classic ancient Greek and Latin texts, who was responsible for perhaps the most well-known translation of Homer’s The Odyssey.
In the late 1950s, Fitzgerald’s family...
- 1/22/2024
- by Abid Rahman
- The Hollywood Reporter - Movie News
Benedict Fitzgerald, best known as the screenwriter of The Passion of the Christ, died at home in Marsala, Sicily after a long illness on January 17, 2024. He was 74 and no cause of death was given by his family.
He first won acclaim for his screenplay adaptation of Flannery O’Connor’s novel Wise Blood, cowritten with his brother, Michael. The film, produced in 1979 by Michael and Kathy Fitzgerald and directed by John Huston, starred Brad Dourif, Harry Dean Stanton, and Ned Beatty.
Fitzgerald specialized in literary adaptions, among them Zelda, (starring Natasha Richardson and Timothy Hutton) in 1993; Joseph Conrad’s Heart of Darkness in 1993 (starring John Malkovich); a television mini-series of Truman Capote’s In Cold Blood in 1996 and Moby Dick in 1998 (starring Patrick Stewart as Ahab and nominated for 5 primetime Emmy awards).
The Passion Of The Christ (2004), the...
He first won acclaim for his screenplay adaptation of Flannery O’Connor’s novel Wise Blood, cowritten with his brother, Michael. The film, produced in 1979 by Michael and Kathy Fitzgerald and directed by John Huston, starred Brad Dourif, Harry Dean Stanton, and Ned Beatty.
Fitzgerald specialized in literary adaptions, among them Zelda, (starring Natasha Richardson and Timothy Hutton) in 1993; Joseph Conrad’s Heart of Darkness in 1993 (starring John Malkovich); a television mini-series of Truman Capote’s In Cold Blood in 1996 and Moby Dick in 1998 (starring Patrick Stewart as Ahab and nominated for 5 primetime Emmy awards).
The Passion Of The Christ (2004), the...
- 1/21/2024
- by Bruce Haring
- Deadline Film + TV
Benedict Fitzgerald, co-screenwriter of “The Passion of the Christ,” died Jan. 17 in Marsala, Sicily, after a long illness, his cousin Nancy Ritter told Variety. He was 74.
Fitzgerald co-wrote 2004’s “The Passion of the Christ” with director and producer Mel Gibson. The biblical epic remains the highest-grossing independent film of all time.
Fitzgerald first received acclaim for his screenplay adaptation of the Flannery O’Connor novel “Wise Blood,” which he co-wrote with his brother Michael. Michael and Kathy Fitzgerald produced the John Huston-directed film, which starred Brad Dourif, Harry Dean Stanton and Ned Beatty.
“Wise Blood” marked the beginning of Fitzgerald’s many literary adaptations, including 1993’s “Zelda” with Natasha Richardson and Timothy Hutton, and Joseph Conrad’s “Heart of Darkness” (1993), starring John Malkovich. He wrote the miniseries adaptations of Truman Capote’s “In Cold Blood” (1996) and Herman Melville’s “Moby Dick” (1998), starring Patrick Stewart as Captain Ahab. Both series were nominated for several Emmy Awards.
Fitzgerald co-wrote 2004’s “The Passion of the Christ” with director and producer Mel Gibson. The biblical epic remains the highest-grossing independent film of all time.
Fitzgerald first received acclaim for his screenplay adaptation of the Flannery O’Connor novel “Wise Blood,” which he co-wrote with his brother Michael. Michael and Kathy Fitzgerald produced the John Huston-directed film, which starred Brad Dourif, Harry Dean Stanton and Ned Beatty.
“Wise Blood” marked the beginning of Fitzgerald’s many literary adaptations, including 1993’s “Zelda” with Natasha Richardson and Timothy Hutton, and Joseph Conrad’s “Heart of Darkness” (1993), starring John Malkovich. He wrote the miniseries adaptations of Truman Capote’s “In Cold Blood” (1996) and Herman Melville’s “Moby Dick” (1998), starring Patrick Stewart as Captain Ahab. Both series were nominated for several Emmy Awards.
- 1/21/2024
- by Caroline Brew
- Variety Film + TV
Jesus, Mary, and Joseph! This afternoon, a new rumor is sweeping across social media, suggesting Mel Gibson is ready to shoot The Passion of the Christ 2 later this year. To be absolutely clear, Jordan Ruimy, who writes for World of Reel, cites no sources for this exclusive information. According to Ruimy, Gibson is re-teaming with The Passion of the Christ actor Jim Caviezel for the sequel, The Passion of the Christ: Resurrection. The report suggests Resurrection has been developing for almost a decade.
Ruimy says The Passion of the Christ 2 focuses on “the twenty-four hours encompassing Jesus’ passion and the events that occurred three days between his crucifixion and resurrection.”
Regardless of this news not having been officially confirmed by Gibson, a follow-up has been rumoured about for years, with many wondering whether Jim Caviezel would be too old to reprise his role if they focus on the resurrection,...
Ruimy says The Passion of the Christ 2 focuses on “the twenty-four hours encompassing Jesus’ passion and the events that occurred three days between his crucifixion and resurrection.”
Regardless of this news not having been officially confirmed by Gibson, a follow-up has been rumoured about for years, with many wondering whether Jim Caviezel would be too old to reprise his role if they focus on the resurrection,...
- 1/12/2023
- by Steve Seigh
- JoBlo.com
Whether you are religious or not, there is no denying that Jesus Christ is one of the most influential and important figures in human history. His life and teachings have inspired billions of people worldwide, and have been the subject of many movies over the years. The crucifixion is undeniably the most significant event in the short but meaningful life of Jesus.
In this blog post, we will take a look at 10 of the best movies about Jesus Christ. We’ve ranked these Biblical epics based on an aggregate of viewers’ ratings.
10/10
Risen (2016)
Director: Kevin Reynolds
Starring: Joseph Fiennes, Tom Felton, Peter Firth
IMDb User Rating 6.3/10 29K Rt Audience Score 70 10K Meta User Score 6.9 Votes 85
“Risen” is a 2016 historical drama about the aftermath of Jesus Christ’s crucifixion. With a budget of 20 million, “Risen” is a 2016 American epic biblical drama film directed by Kevin Reynolds.
The story follows Clavius (Joseph Fiennes), a high-ranking Roman soldier,...
In this blog post, we will take a look at 10 of the best movies about Jesus Christ. We’ve ranked these Biblical epics based on an aggregate of viewers’ ratings.
10/10
Risen (2016)
Director: Kevin Reynolds
Starring: Joseph Fiennes, Tom Felton, Peter Firth
IMDb User Rating 6.3/10 29K Rt Audience Score 70 10K Meta User Score 6.9 Votes 85
“Risen” is a 2016 historical drama about the aftermath of Jesus Christ’s crucifixion. With a budget of 20 million, “Risen” is a 2016 American epic biblical drama film directed by Kevin Reynolds.
The story follows Clavius (Joseph Fiennes), a high-ranking Roman soldier,...
- 10/28/2022
- by Buddy TV
- buddytv.com
Michael Rooker, of Guardians Of The Galaxy and The Walking Dead fame, is reuniting with his Henry: Portrait Of A Serial Killer director John McNaughton on a film adaptation of Flannery O'Connor's A Good Man Is Hard To Find. The Passion Of The Christ scribe Benedict Fitzgerald wrote the screenplay. The O’Conner story, a duel between The Grandmother and The Misfit, revisits familiar territory for Rooker and McNaughton; the author’s 1950s character The Misfit is cut from the…...
- 5/11/2017
- Deadline
Every once in a while we bear witness to the cinematic resurrection of the messiah. He is absent from the silver screen for a period of years, and then, all at once, it’s as if Hollywood suddenly remembers that there is a market for film adaptations of Bible stories. We find ourselves on the cusp of one such movie wave, as last year saw the release of Last Days In The Desert, February gave us Risen by Kevin Reynolds, news has broken of a Mary Magdalene biopic in development, and now, Oscar nominated screenwriter Randall Wallace has confirmed plans for a sequel to 2004’s The Passion Of The Christ.
Directed by Academy Award winner Mel Gibson, and co-written by Gibson and Benedict Fitzgerald, The Passion Of The Christ is a brutal, graphic depiction of the final 12 hours of the life of Jesus Of Nazareth – featuring torture and crucifixion – adapted...
Directed by Academy Award winner Mel Gibson, and co-written by Gibson and Benedict Fitzgerald, The Passion Of The Christ is a brutal, graphic depiction of the final 12 hours of the life of Jesus Of Nazareth – featuring torture and crucifixion – adapted...
- 6/10/2016
- by Sarah Myles
- We Got This Covered
The best movie culture writing from around the internet-o-sphere. There will be a quiz later. Just leave a tab open for us, will ya? “The Story of Hollywood in 10 Films” — Robbie Collin at The Telegraph attempts a simply/impossible feat of boiling down American industry filmmaking into .000000001% of its output. “The industry grew into itself, the star system formed, and filmmakers from around the world fluttered, moth-like, to Hollywood, bringing European elegance and style with them. Some, like Ernst Lubitsch and F W Murnau, were already successes at home. Others, like the Italian-born Francesco Capra, arrived in America as children and were seduced by Hollywood on its home turf. The film of 1934 was Capra’s It Happened One Night, and the Oscars agreed. (It was the first to win in all five major categories.) Here was another comedy that centered on an ordinary man on the make – in this case, Clark Gable...
- 7/29/2014
- by Scott Beggs
- FilmSchoolRejects.com
Director Alister Grierson acknowledges ABC1 has given his film Parer.s War a tough time-slot next Sunday night, programmed against the finale of Downton Abbey on Seven and the Logie Awards on Nine.
So he.s keen to bang the promotional drum for the dramatised saga of WWII cameraman Damien Parer, whose work almost cost him the woman he loved.
.It.s a very romantic movie, a nice change from my movies which usually show people getting blown up,. said Grierson, whose first feature was Kokoda, the story of Australian soldiers stranded in the Papua New Guinea jungle in 1942, which screens on SBS1 on Saturday night.
The director credits the ABC with giving him, producer Andrew Wiseman, screenwriter Alison Nisselle and DoP Mark Wareham a lot of creative freedom on the $4.5 million production, a generous budget for a telemovie. Matt Le Nevez plays Parer with Adelaide Clemens as the woman he loved,...
So he.s keen to bang the promotional drum for the dramatised saga of WWII cameraman Damien Parer, whose work almost cost him the woman he loved.
.It.s a very romantic movie, a nice change from my movies which usually show people getting blown up,. said Grierson, whose first feature was Kokoda, the story of Australian soldiers stranded in the Papua New Guinea jungle in 1942, which screens on SBS1 on Saturday night.
The director credits the ABC with giving him, producer Andrew Wiseman, screenwriter Alison Nisselle and DoP Mark Wareham a lot of creative freedom on the $4.5 million production, a generous budget for a telemovie. Matt Le Nevez plays Parer with Adelaide Clemens as the woman he loved,...
- 4/22/2014
- by Don Groves
- IF.com.au
Mary Mother of Christ! A prequel to Mel Gibson's biblical film is currently casting, with script by Benedict Fitzgerald and Barbara Nicolosi
File under growing trend for origins stories and new glut of biblical films: a prequel to The Passion of the Christ is in the works. Mary Mother of Christ (hopefully they'll add an exclamation mark) is currently casting, from a script by Benedict Fitzgerald (who co-wrote Mel Gibson's crucifixion movie) and Barbara Nicolosi.
The role of Mary has already gone to 15-year-old Odeya Rush, a veteran of miracle baby films, following her role in The Odd Life of Timothy Green. Peter O'Toole is tipped to come out of retirement to play Simeon, who reportedly blessed the infant Jesus, while Julia Ormond is pencilled in as Elizabeth, mother of John the Baptist.
Ben Kingsley is apparently circling the role of original baddie King Herod. The producers are...
File under growing trend for origins stories and new glut of biblical films: a prequel to The Passion of the Christ is in the works. Mary Mother of Christ (hopefully they'll add an exclamation mark) is currently casting, from a script by Benedict Fitzgerald (who co-wrote Mel Gibson's crucifixion movie) and Barbara Nicolosi.
The role of Mary has already gone to 15-year-old Odeya Rush, a veteran of miracle baby films, following her role in The Odd Life of Timothy Green. Peter O'Toole is tipped to come out of retirement to play Simeon, who reportedly blessed the infant Jesus, while Julia Ormond is pencilled in as Elizabeth, mother of John the Baptist.
Ben Kingsley is apparently circling the role of original baddie King Herod. The producers are...
- 9/28/2012
- by Catherine Shoard
- The Guardian - Film News
I was wondering how come nobody has thought to make a sequel to Mel Gibson’s The Passion of the Christ, but thank God it seems a prequel is getting into full swing.
Oscar winner Ben Kingsley is circling the role of King Herod, one of the nastiest Biblical troublemakers, in Mary Mother of Christ.
After co-scripting Gibson‘s hit epic drama writer Benedict Fitzgerald has teamed with Barbara Nicolosi on a sequel titled Mary Mother of Christ and they’ve already managed to get a major star circling: Odeya Rush (The Odd Life of Timothy Green) as Mary, Peter O’Toole (Lawrence of Arabia) as Symeon and Julia Ormond (Man of Steel) as Mary’s cousin, Elizabeth.
Directed by Sanctum helmer Alister Grierson the film would follow Mary attempts to defy the evil Herod to protect her young son, Jesus.
The cast may also include Judi Dench (Casino Royale...
Oscar winner Ben Kingsley is circling the role of King Herod, one of the nastiest Biblical troublemakers, in Mary Mother of Christ.
After co-scripting Gibson‘s hit epic drama writer Benedict Fitzgerald has teamed with Barbara Nicolosi on a sequel titled Mary Mother of Christ and they’ve already managed to get a major star circling: Odeya Rush (The Odd Life of Timothy Green) as Mary, Peter O’Toole (Lawrence of Arabia) as Symeon and Julia Ormond (Man of Steel) as Mary’s cousin, Elizabeth.
Directed by Sanctum helmer Alister Grierson the film would follow Mary attempts to defy the evil Herod to protect her young son, Jesus.
The cast may also include Judi Dench (Casino Royale...
- 9/28/2012
- by Nick Martin
- Filmofilia
Sir Ben Kingsley has been linked to the role of Herod in Mary Mother of Christ. The Iron Man 3 and Ender's Game actor is eyeing the role of the villainous king in the tale of the birth of Jesus, reports The Wrap. The script was penned by The Passion of the Christ co-writer Benedict Fitzgerald and Barbara Nicolosi. Odeya Rush will play Mary, with Peter O'Toole as Symeon and Julia Ormond taking on the (more)...
- 9/28/2012
- by By Hugh Armitage
- Digital Spy
The Passion Of The Christ might not be the obvious candidate for the prequel treatment, but it's in the works, and the producers want Sir Ben Kingsley to play the biblical villain, King Herod. The movie, dubbed Mary Mother Of Christ, is being written by Passion's co-writer, Benedict Fitzgerald, and will focus on Mary (Odeya Rush) and her efforts to save her son despite Herod's demand to kill all babies in his search for the son of god. Julia Ormond is signed on to play Elizabeth, Mary's cousin, while Peter O'Toole has also been linked with a role.
- 9/28/2012
- Sky Movies
Mel Gibson's The Passion of the Christ was so successful it's amazing that nobody has thought to make a sequel to it before, but now it would appear that a prequel is getting into full swing and its even courting its first Oscar winner. Sources close to the production are saying that Sir Ben Kingsley is currently circling the upcoming film Mary Mother of Christ, which is being directed by Australian filmmaker Alister Grierson. Should Kingsley sign on The Wrap says that he would play the role of King Herod, who will be the villain in the story as Mary defies him in order to project her son, Jesus. The script was written by Benedict Fitzgerald (who co-wrote The Passion of the Christ with Gibson) and Barbara Nicolosi, and the cast already includes Odeya Rush (The Odd Life of Timothy Green) as Mary, Peter O'Toole as Symeon, and Julia Ormond...
- 9/28/2012
- cinemablend.com
Ben Kingsley is reportedly circling the role of King Herod in Alister Grierson's “Mary Mother of Christ” project at Lionsgate reports The Wrap.
An unofficial prequel of sorts to the events seen in Mel Gibson’s “The Passion of the Christ,” the story revolves around Mary’s attempts to defy King Herod in order to save her son, Jesus. Benedict Fitzgerald, who co-wrote 'Passion' with Mel Gibson, is co-writing this script with Barbara Nicolosi.
The cast already includes Odeya Rush as Mary, Peter O’Toole as Symeon and Julia Ormond as Mary's cousin Elizabeth. Producers are seeking Judi Dench for the role of Anna the Prophetess and Hugh Bonneville for Satan.
An unofficial prequel of sorts to the events seen in Mel Gibson’s “The Passion of the Christ,” the story revolves around Mary’s attempts to defy King Herod in order to save her son, Jesus. Benedict Fitzgerald, who co-wrote 'Passion' with Mel Gibson, is co-writing this script with Barbara Nicolosi.
The cast already includes Odeya Rush as Mary, Peter O’Toole as Symeon and Julia Ormond as Mary's cousin Elizabeth. Producers are seeking Judi Dench for the role of Anna the Prophetess and Hugh Bonneville for Satan.
- 9/28/2012
- by Garth Franklin
- Dark Horizons
Ben Kingsley isn’t often evil on screen, but when he is, it’s usually fun to watch. Tony Stark is set to face him as a villain in Iron Man 3 and now he’s considering playing one of the nastiest Biblical troublemakers, King Herod in Mary Mother Of Christ.Though the name sounds like something heavy fell on the writer’s fingers while they were typing the title, Mary is actually being dubbed an unofficial prequel to Mel Gibson’s The Passion Of The Christ.Co-written by Passion’s Benedict Fitzgerald alongside Barbara Nicolosi, the eventual film will chart Mary's (Odeya Rush) attempts to defy Herod and save her son. Peter O’Toole is attached to play Symeon, and Julia Ormond is Mary’s cousin Elizabeth.Sanctum director Alister Grierson is on board to call the shots and the producers are also looking at offering roles to Judi Dench and Hugh Bonneville.
- 9/28/2012
- EmpireOnline
Sir Ben Kingsley is touted to be sniffing after the role of King Herod in the prequel to Passion of the Christ, imaginatively-titled, Mary Mother of Christ. If successful in bagging the part, Kingsley would portray evil King Herod in the story which plots Herod and Mary at loggerheads over her son, Jesus.
Kingsley’s last family-friendly persona, George Melies in Martin Scorsese’s Hugo would soon become distant memory if he donned the crown of King Herod. As he’s got the thespy chops to eat the hind legs off Shakespeare’s donkey, the notion of Ben Kingsley going Biblical evil is one which could lead to nods and noms.
The script was penned by Passion of the Christ scribe Benedict Fitzgerald and Barbara Nicolosi. Saddled in the director’s chair is Alister Grierson whose previous film was the hollow James Cameron-produced mess (not unlike an axe wound) Sanctum.
Kingsley’s last family-friendly persona, George Melies in Martin Scorsese’s Hugo would soon become distant memory if he donned the crown of King Herod. As he’s got the thespy chops to eat the hind legs off Shakespeare’s donkey, the notion of Ben Kingsley going Biblical evil is one which could lead to nods and noms.
The script was penned by Passion of the Christ scribe Benedict Fitzgerald and Barbara Nicolosi. Saddled in the director’s chair is Alister Grierson whose previous film was the hollow James Cameron-produced mess (not unlike an axe wound) Sanctum.
- 9/27/2012
- by Gem Seddon
- We Got This Covered
Ben Kingsley is circling the project "Mary Mother of Christ," which has been dubbed as a prequel to Mel Gibson's "The Passion of the Christ," an individual familiar with the project has told TheWrap. Kingsley would play the role of King Herod in this film, to be directed by Alister Grierson. The story revolves around Mary's attempts to defy King Herod in order to save her son, Jesus. The script was written by Benedict Fitzgerald and Barbara Nicolosi. Fitzgerald co-wrote "The Passion of the Christ" with Mel Gibson. Odeya Rush has been cast...
- 9/27/2012
- by Liza Foreman
- The Wrap
Despite its graphic violence, controversy-courting director and refusal to speak English, Mel Gibson's Passion of the Christ went on to earn more than $600 million worldwide, a financial feat that generally inspires a sequel. Of course, that's not exactly possible when it comes to the story of Jesus. So, if you can't top the greatest story ever told, why not make its prequel? That's the thinking behind Mary Mother of Christ, a drama that backers tell Deadline will be a "Biblical prequel to the story of The Passion Of The Christ," in part because it's co-penned by Passion scribe Benedict Fitzgerald and former nun turned screenwriter Barbara Nicolosi. While the feature's financiers may want to play up Mary Mother of Christ's ties to Passion, Gibson will not be involved in this so-called prequel. Instead televangelist Joel Osteen is executive producing the picture, and Sanctum helm Alister Grierson has signed on...
- 5/23/2012
- cinemablend.com
Alister Grierson ("Sanctum") is set to helm the Biblical feature "Mary Mother Of Christ" for Aloe Entertainment, Bright Light Pictures and Motive Entertainment says Deadline
"The Passion of the Christ" scribe Benedict Fitzgerald is co-writing the script with Barbara Nicolosi which has lead to remarks from backers that this could be considered a prequel of sorts. The narrative deals with Mary’s attempt to defy King Herod to save her child.
Casting is already underway with Israeli actress Odeya Rush set to play Mary while Julia Ormond and Peter O’Toole will take supporting roles. Lionsgate will distribute States-side.
"The Passion of the Christ" scribe Benedict Fitzgerald is co-writing the script with Barbara Nicolosi which has lead to remarks from backers that this could be considered a prequel of sorts. The narrative deals with Mary’s attempt to defy King Herod to save her child.
Casting is already underway with Israeli actress Odeya Rush set to play Mary while Julia Ormond and Peter O’Toole will take supporting roles. Lionsgate will distribute States-side.
- 5/23/2012
- by Garth Franklin
- Dark Horizons
An Australian director is to helm a new project about the mother of Jesus, with a Texan pastor as executive producer and a marketing campaign targeting Christians.
Announced at Cannes Film Festival, Mary Mother of Christ will be directed by Sanctum and Kokoda’s Alister Grierson.
The film marks Grierson’s first non-Australian story, working from a script by Barbara Nicolosi and Benedict Fitzgerald who co-wrote the screenplay to Mel Gibson’s The Passion of the Christ.
The film will have a faith-based marketing campaign in the Us, according to Deadline, lead by Motive Entertainment who specialise in the faith market.
Motive were behind the marketing campaign of The Passion of the Christ which earned $125m in its opening five days and The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe which grossed $1bn worldwide.
That marketing will also make use of Ep and pastor of the Lakewood Church in Houston Texas,...
Announced at Cannes Film Festival, Mary Mother of Christ will be directed by Sanctum and Kokoda’s Alister Grierson.
The film marks Grierson’s first non-Australian story, working from a script by Barbara Nicolosi and Benedict Fitzgerald who co-wrote the screenplay to Mel Gibson’s The Passion of the Christ.
The film will have a faith-based marketing campaign in the Us, according to Deadline, lead by Motive Entertainment who specialise in the faith market.
Motive were behind the marketing campaign of The Passion of the Christ which earned $125m in its opening five days and The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe which grossed $1bn worldwide.
That marketing will also make use of Ep and pastor of the Lakewood Church in Houston Texas,...
- 5/23/2012
- by Colin Delaney
- Encore Magazine
Sanctum director Alister Grierson will helm Mary Mother Of Christ, which its backers are calling the Biblical prequel to the story of The Passion Of The Christ, perhaps because this film’s scribe, Benedict Fitzgerald, co-wrote the other movie with Mel Gibson. Fitzgerald wrote this one with Barbara Nicolosi. Israeli actress Odeya Rush will play Mary. Julia Ormond, and Peter O’Toole are also in the cast. Lionsgate will distribute the film in North America with Hyde Park handling international sales at Cannes. Texas pastor Joel Osteen signed on the be exec producer. Mary Aloe of Aloe Entertainment and Shawn Williamson of Bright Light Pictures are producing. Motive Entertainment, which helped sell faith-based pics The Passion Of The Christ and The Chronicles Of Narnia, will provide the same service here. Pic is Mary’s attempt to defy King Herod to save her child. Grierson is repped at CAA, Rush is repped at Wme,...
- 5/22/2012
- by MIKE FLEMING
- Deadline
Australian director Alister Grierson has signed a deal to direct "Mary Mother of Christ," a Biblical story to be distributed in the United States by Lionsgate. The deal was announced at the Cannes Film Festival, where Hyde Park Entertainment is currently handling international sales. Grierson's previous films include the 3D underwater thriller "Sanctum," which was released last year, and 2006's World War II action film "Kokoda." Benedict Fitzgerald, who co-wrote the screenplay for Mel Gibson's blockbuster "The Passion of the Christ," co-wrote "Mary Mother of Christ" with Barbara Nicolosi. Israeli actress Odeya Rush has...
- 5/22/2012
- by Steve Pond
- The Wrap
San Antonio -- The American taxpayer may be getting into the movie business.
In a real-life case of drugs and extortion that could itself make a pretty good screenplay, federal prosecutors have forced a Mexican drug trafficker to turn over his stake in a planned prequel to Mel Gibson's 2004 blockbuster "The Passion of the Christ."
If the movie gets made, the U.S. government will receive a cut of the profits.
Some of the big names behind the Hollywood project include megachurch pastor Joel Osteen, who had no idea about the script's unsavory backstory.
"When you get a script, you just don't think to say `Hey, was this script ever tied to a Mexican cartel?'" said Donald Iloff, a spokesman for Osteen's Lakewood Church in Houston. The script was already being handled by a legitimate production company when Osteen got involved.
Jorge Vazquez Sanchez pleaded guilty this week...
In a real-life case of drugs and extortion that could itself make a pretty good screenplay, federal prosecutors have forced a Mexican drug trafficker to turn over his stake in a planned prequel to Mel Gibson's 2004 blockbuster "The Passion of the Christ."
If the movie gets made, the U.S. government will receive a cut of the profits.
Some of the big names behind the Hollywood project include megachurch pastor Joel Osteen, who had no idea about the script's unsavory backstory.
"When you get a script, you just don't think to say `Hey, was this script ever tied to a Mexican cartel?'" said Donald Iloff, a spokesman for Osteen's Lakewood Church in Houston. The script was already being handled by a legitimate production company when Osteen got involved.
Jorge Vazquez Sanchez pleaded guilty this week...
- 5/15/2012
- by Harry Bradford
- Huffington Post
Portuguese actor Diogo Morgado has been cast as Joseph in Aloe Entertainment's "Mary, Mother of Christ."
He joins Camilla Belle, Al Pacino, Peter O'Toole and Julia Ormond in the action drama about the biblical journey of young Mary and Joseph during the terrible reign of Herod the Great. James Foley ("Glengarry Glen Ross") is directing from a script by Barbara Nicolosi and "The Passion of the Christ" co-writer Benedict Fitzgerald.
The film is scheduled to begin principal photography in October.
Morgado turned up at the end of a global search to cast the lead.
"We saw a huge amount of young actors and a couple were great," Foley said. "We thought we had finished our search when a tape appeared with this incredible guy. A major future star walked in the room, and I knew we had found the one."
Morgado, repped by the Park Noack Agency in the U.
He joins Camilla Belle, Al Pacino, Peter O'Toole and Julia Ormond in the action drama about the biblical journey of young Mary and Joseph during the terrible reign of Herod the Great. James Foley ("Glengarry Glen Ross") is directing from a script by Barbara Nicolosi and "The Passion of the Christ" co-writer Benedict Fitzgerald.
The film is scheduled to begin principal photography in October.
Morgado turned up at the end of a global search to cast the lead.
"We saw a huge amount of young actors and a couple were great," Foley said. "We thought we had finished our search when a tape appeared with this incredible guy. A major future star walked in the room, and I knew we had found the one."
Morgado, repped by the Park Noack Agency in the U.
- 8/5/2009
- by By Jay A. Fernandez
- The Hollywood Reporter - Movie News
Screenwriter Benedict Fitzgerald sued Mel Gibson and several film companies involved with "The Passion of the Christ" for $10 million in February 2008, claiming that Gibson and others vastly understated the budget for the 2004 blockbuster, which went on to earn over $610 million. The writer's suit claimed Gibson told him the budget for the movie would be in the $4 million to $7 million range, but that it was significantly higher ($30 million). Fitzgerald also claimed that Gibson told him he would not receive any money from the film, but considered it a gift of his faith. His attorneys also claimed Gibson spent tens of thousands of dollars on his children's education while filming in Italy and paid a chiropractor $78,000. They contended those expenses lowered payments to Fitzgerald. Attorneys for the actor and Academy Award-winning director contended that Gibson did not know the intricacies of the film's budget. Now, a settlement has been reached and the...
- 5/26/2009
- WorstPreviews.com
Mel Gibson has settled a lawsuit brought by a screenwriter over his 2004 movie The Passion Of The Christ. Writer Benedict Fitzgerald had sued Gibson for $$10 million in February 2008, claiming that the star had substantially understated the budget for the blockbuster, leading him to accept a lower salary than he would normally. Legal papers had alleged that Gibson claimed the budget would be $$4 million to $$7 million, but that it actually ended up being between $$25 million and $$50 million. Fitzgerald added that he was later blocked (more)...
- 5/19/2009
- by By Lara Martin
- Digital Spy
Mel Gibson's "The Passion of the Christ" headache has been eased. He has settled the million lawsuit screenwriter Benedict Fitzgerald filed against him for allegedly underpaying him.
Fitzgerald sued Gibson in February 2008, alleging the actor/filmmaker understated the film's budget; thus, paying him with "substantially less than what he would have taken had he known the true budget of the film."
He said Gibson told him the budget for the movie would cost up to million, when the actual cost reached million to million.
He also claimed that he was not paid additional money when the 2004 religious film became a blockbuster, grossing more than 0 million worldwide.
Fitzgerald sued Gibson in February 2008, alleging the actor/filmmaker understated the film's budget; thus, paying him with "substantially less than what he would have taken had he known the true budget of the film."
He said Gibson told him the budget for the movie would cost up to million, when the actual cost reached million to million.
He also claimed that he was not paid additional money when the 2004 religious film became a blockbuster, grossing more than 0 million worldwide.
- 5/19/2009
- icelebz.com
Mel Gibson has settled a lawsuit with the screenwriter of his religious epic Passion Of The Christ.
Benedict Fitzgerald, who co-wrote the 2004 film, filed suit against the actor/director in 2008, maintaining the superstar had cheated him out of millions of dollars in potential earnings.
He alleged he was only paid $75,000 (£50,000) and had to borrow hundreds of thousands from Gibson to cover his expenses. The Passion Of The Christ went on to gross an estimated $600 million (£400 million) worldwide.
Fitzgerald claimed he should have been paid a fee more in line with the true cost of the movie, and asked a judge to force Gibson to come up with the accounts.
The matter was settled on Monday, reports TMZ.com. No details were released.
Benedict Fitzgerald, who co-wrote the 2004 film, filed suit against the actor/director in 2008, maintaining the superstar had cheated him out of millions of dollars in potential earnings.
He alleged he was only paid $75,000 (£50,000) and had to borrow hundreds of thousands from Gibson to cover his expenses. The Passion Of The Christ went on to gross an estimated $600 million (£400 million) worldwide.
Fitzgerald claimed he should have been paid a fee more in line with the true cost of the movie, and asked a judge to force Gibson to come up with the accounts.
The matter was settled on Monday, reports TMZ.com. No details were released.
- 5/19/2009
- WENN
Mel Gibson has one less headache to deal with now. The Oscar winner has managed to avoid a potentially embarrassing trial and settled a lawsuit filed by the screenwriter of Gibson's hugely successful The Passion of the Christ. Benedict Fitzgerald had claimed he was seriously underpaid by Gibson and producers for the 2004 hit that grossed more than $600 million theatrically worldwide, and the scribe was seeking a minimum of $10 million in make-good money. Jury selection was set for June 3. But in a three-page filing obtained by E! News, Team Mel on Friday asked the judge to scrap the trial, announcing a settlement had been agreed to but still needed to be formalized. Terms of the deal remain...
- 5/18/2009
- E! Online
DVD Playhouse—May 2009
Paramount Centennial Collection Paramount Studios releases two more classic titles from its library on special edition DVD: The Man Who Shot Liberty Valance is John Ford’s last masterpiece (although he would go on to direct two more very good films) from 1962: about an Eastern lawyer (James Stewart) who travels west only to find primal brutality in the form of sadistic bandit Liberty Valance (Lee Marvin, great as always) and pragmatic brutality in local rancher Tom Doniphon (John Wayne), each two sides of a coin that represent a way of life slowly dying out as Stewart’s modern brand of civilization tames the West. A perfect film, period. Howard Hawks’ El Dorado is essentially a remake of his earlier classic Rio Bravo, with John Wayne, Robert Mitchum and a young James Caan as lawmen joining forces against corrupt cattle barons. Great fun. Two disc sets.
Paramount Centennial Collection Paramount Studios releases two more classic titles from its library on special edition DVD: The Man Who Shot Liberty Valance is John Ford’s last masterpiece (although he would go on to direct two more very good films) from 1962: about an Eastern lawyer (James Stewart) who travels west only to find primal brutality in the form of sadistic bandit Liberty Valance (Lee Marvin, great as always) and pragmatic brutality in local rancher Tom Doniphon (John Wayne), each two sides of a coin that represent a way of life slowly dying out as Stewart’s modern brand of civilization tames the West. A perfect film, period. Howard Hawks’ El Dorado is essentially a remake of his earlier classic Rio Bravo, with John Wayne, Robert Mitchum and a young James Caan as lawmen joining forces against corrupt cattle barons. Great fun. Two disc sets.
- 5/12/2009
- by Allen Gardner
- The Hollywood Interview
The writer suing Mel Gibson over The Passion Of The Christ has asked a Los Angeles judge to order a more thorough accounting of the movie's finances.
Benedict Fitzgerald, who co-wrote the 2004 film, filed legal action against Gibson last year, claiming the superstar cheated him out of millions of dollars in potential earnings.
He alleges he was only paid $75,000 (£49,340) and had to borrow $200,000 (£131,580) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (£400 million) worldwide.
Fitzgerald claims he was told the film's production budget was between $4 million and $7 million (£2.6 million and £4.6 million).
Gibson recently provided the court with evidence that the movie's budget was actually around $30 million (£20.7 million) - but Fitzgerald is adamant the real numbers are much higher and has asked the judge overseeing the case to order a re-evaluation of the picture's accounts.
Fitzgerald claims he should have been paid a fee more in line with the true cost of the movie, according to TMZ.com.
Benedict Fitzgerald, who co-wrote the 2004 film, filed legal action against Gibson last year, claiming the superstar cheated him out of millions of dollars in potential earnings.
He alleges he was only paid $75,000 (£49,340) and had to borrow $200,000 (£131,580) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (£400 million) worldwide.
Fitzgerald claims he was told the film's production budget was between $4 million and $7 million (£2.6 million and £4.6 million).
Gibson recently provided the court with evidence that the movie's budget was actually around $30 million (£20.7 million) - but Fitzgerald is adamant the real numbers are much higher and has asked the judge overseeing the case to order a re-evaluation of the picture's accounts.
Fitzgerald claims he should have been paid a fee more in line with the true cost of the movie, according to TMZ.com.
- 4/15/2009
- WENN
Camilla Belle (Push, 10,000 BC), Jonathan Rhys Meyers and Peter O'Toole will star in Aloe Entertainment’s faith-based film Mary, Mother of Christ. Belle has been cast as Mary. Jonathan Rhys Meyers will take on the double role of Gabriel and Lucifer, while Peter O'Toole is set as Symeon, who meets Mary and her family in the temple shortly after Jesus' birth. The filmmakers are also seeking Al Pacino and Jessica Lange for the respective roles of Herod and Anna the Prophetess. Earlier this week Pacino signed on to star in a new adaptation of Shakespeare’s King Lear. Argentinean director Alejandro Agresti (The Lake House) will direct the film, scheduled to begin shooting in May in Morocco with production partner Dune Films. Benedict Fitzgerald, who co-wrote Mel Gibson’s The Passion of the Christ, wrote the screenplay with Barbara Nicolosi. The film will follow Mary's youth, young love, her life...
- 2/6/2009
- by James Cook
- TheMovingPicture.net
In a bid to attract the same faith-based moviegoers that made "The Passion of the Christ" a smash in 2004, Aloe Entertainment is producing "Mary, Mother of Christ," which MGM will release in spring 2010.
Camilla Belle, who is onscreen in "Push," which opens Friday, has been cast as Mary. Jonathan Rhys Meyers will take on the double role of Gabriel and Lucifer, while Peter O'Toole is set as Symeon, who meets Mary and her family in the temple shortly after Jesus' birth.
The filmmakers are seeking Al Pacino and Jessica Lange for the respective roles of Herod and Anna the Prophetess.
Argentinean director Alejandro Agresti ("The Lake House") will direct the film, scheduled to begin shooting in May in Morocco with production partner Dune Films. Benedict Fitzgerald, who co-wrote "Passion," wrote the "Mary" screenplay with Barbara Nicolosi.
Mary Aloe and Rodrigo Berlanga are producing. The executive producers are Mike Dolan,...
Camilla Belle, who is onscreen in "Push," which opens Friday, has been cast as Mary. Jonathan Rhys Meyers will take on the double role of Gabriel and Lucifer, while Peter O'Toole is set as Symeon, who meets Mary and her family in the temple shortly after Jesus' birth.
The filmmakers are seeking Al Pacino and Jessica Lange for the respective roles of Herod and Anna the Prophetess.
Argentinean director Alejandro Agresti ("The Lake House") will direct the film, scheduled to begin shooting in May in Morocco with production partner Dune Films. Benedict Fitzgerald, who co-wrote "Passion," wrote the "Mary" screenplay with Barbara Nicolosi.
Mary Aloe and Rodrigo Berlanga are producing. The executive producers are Mike Dolan,...
- 2/5/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
Mel Gibson has been ordered to attend court for a deposition concerning the lawsuit filed against him by a screenwriter of his religious film "The Passion of the Christ."
Los Angeles Superior Court Judge Gregory W. Alarcon told the actor/director's legal camp that Gibson may be made to answer questions at a pre-court testimony to satisfy the root cause of the problem.
Writer Benedict Fitzgerald has sued the "Lethal Weapon" star for allegedly cheating him out of millions of dollars. According to the lawsuit, Gibson told the screenwriter that the movie would cost up to million, but the real budget was set between million to million.
Fitzgerald also claimed he was refused extra money when the film became a smash hit at the box office. The movie went on to earn almost 0 million in the U.S. alone.
Los Angeles Superior Court Judge Gregory W. Alarcon told the actor/director's legal camp that Gibson may be made to answer questions at a pre-court testimony to satisfy the root cause of the problem.
Writer Benedict Fitzgerald has sued the "Lethal Weapon" star for allegedly cheating him out of millions of dollars. According to the lawsuit, Gibson told the screenwriter that the movie would cost up to million, but the real budget was set between million to million.
Fitzgerald also claimed he was refused extra money when the film became a smash hit at the box office. The movie went on to earn almost 0 million in the U.S. alone.
- 11/28/2008
- icelebz.com
Christ, you know it ain't easy. Mel Gibson has lost his gambit to avoid a court appearance in relation to screenwriter Benedict Fitzgerald's lawsuit that claims the iconic actor, producer and director diluted Fitzgerald's earnings from the blockbuster religious pic The Passion of the Christ. Fitzgerald maintains that Gibson made the budget on the independent pic by adding on personal expenses such as educational costs for his kids. Gibson has been deposed and will have to appear in court to address the charges. For more click here...
- 11/27/2008
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
A judge has told Mel Gibson that he must attend court to answer questions in a lawsuit filed by a screenwriter on The Passion Of The Christ. Co-writer Benedict Fitzgerald claims that Gibson deceived him over the 2004 film's scale, alleging that he took a low wage because he was told it would be a low-budget movie. Los Angeles Superior Court Judge Gregory Alarcon has now ordered Gibson, who directed (more)...
- 11/27/2008
- by By Sarah Rollo
- Digital Spy
The Los Angeles judge overseeing Mel Gibson's lawsuit against the co-screenwriter of his epic film The Passion Of The Christ has ordered the star to attend court for a deposition.
On Monday L.A. Superior Court Judge Gregory W. Alarcon told Gibson's lawyers that it was likely the Lethal Weapon actor would be made to answer questions at a pre-court testimony to get to the bottom of the money spat with writer Benedict Fitzgerald.
Fitzgerald is suing Gibson, who directed the controversial religious epic, over accusations he cheated the screenwriter out of millions of dollars in potential earnings. He alleges he was swindled out of millions as the star advised him the movie's budget was between $4 million and $7 million (GBP2.6 million and GBP4.6 million).
He was only paid $75,000 (GBP49,340) and had to borrow $200,000 (GBP131,580) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (GBP400 million) worldwide.
And on Tuesday night, the judge demanded that Gibson appear at a deposition before the end of January, despite Gibson's lawyers claims that the star is too busy working on his latest film, Edge of Darkness, to appear in court.
Fitzgerald also accuses Gibson of eroding his payments by attaching his kid's school bills to the movie's budget, as well as a $78,000 (GBP52,000) chiropractor bill.
On Monday L.A. Superior Court Judge Gregory W. Alarcon told Gibson's lawyers that it was likely the Lethal Weapon actor would be made to answer questions at a pre-court testimony to get to the bottom of the money spat with writer Benedict Fitzgerald.
Fitzgerald is suing Gibson, who directed the controversial religious epic, over accusations he cheated the screenwriter out of millions of dollars in potential earnings. He alleges he was swindled out of millions as the star advised him the movie's budget was between $4 million and $7 million (GBP2.6 million and GBP4.6 million).
He was only paid $75,000 (GBP49,340) and had to borrow $200,000 (GBP131,580) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (GBP400 million) worldwide.
And on Tuesday night, the judge demanded that Gibson appear at a deposition before the end of January, despite Gibson's lawyers claims that the star is too busy working on his latest film, Edge of Darkness, to appear in court.
Fitzgerald also accuses Gibson of eroding his payments by attaching his kid's school bills to the movie's budget, as well as a $78,000 (GBP52,000) chiropractor bill.
- 11/27/2008
- WENN
Mel Gibson could be quizzed in court over his legal battle with the co-screenwriter of The Passion Of The Christ, after a Los Angeles judge tentatively ordered the star to stand for a deposition.
Benedict Fitzgerald is suing Gibson, who directed the controversial religious epic, over accusations he cheated the screenwriter out of millions of dollars in potential earnings.
He claims Gibson engaged in a "chronic and conspiratorial pattern of deceit" by telling him he was working on a project with a budget of between $4 million and $7 million (GBP2 million and GBP3.5 million).
Fitzgerald alleges he was only paid $75,000 (GBP37,500) and that he had to borrow $200,000 (GBP100,000) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (GBP300 million) worldwide.
In April Gibson was granted a privacy motion in the suit to allow only his and Fitzgerald's legal teams access to the movie's financial information.
However, L.A. Superior Court Judge Gregory W. Alarcon may order the actor to sit for a pre-court testimony to get to the bottom of the money spat with Fitzgerald.
But according to E! Online, Gibson is not happy about possibly being forced to take the stand, because he was unaware of the matter - insisting the movie's accountant took care of financial matters.
And the website reports Gibson is too busy shooting his movie, Edge of Darkness to attend a deposition.
In the documents, Gibson says, "Production would be severely disrupted if I had to miss a day or more of shooting to attend (a) deposition in Los Angeles."
The judge will reportedly make his decision on Wednesday.
Benedict Fitzgerald is suing Gibson, who directed the controversial religious epic, over accusations he cheated the screenwriter out of millions of dollars in potential earnings.
He claims Gibson engaged in a "chronic and conspiratorial pattern of deceit" by telling him he was working on a project with a budget of between $4 million and $7 million (GBP2 million and GBP3.5 million).
Fitzgerald alleges he was only paid $75,000 (GBP37,500) and that he had to borrow $200,000 (GBP100,000) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (GBP300 million) worldwide.
In April Gibson was granted a privacy motion in the suit to allow only his and Fitzgerald's legal teams access to the movie's financial information.
However, L.A. Superior Court Judge Gregory W. Alarcon may order the actor to sit for a pre-court testimony to get to the bottom of the money spat with Fitzgerald.
But according to E! Online, Gibson is not happy about possibly being forced to take the stand, because he was unaware of the matter - insisting the movie's accountant took care of financial matters.
And the website reports Gibson is too busy shooting his movie, Edge of Darkness to attend a deposition.
In the documents, Gibson says, "Production would be severely disrupted if I had to miss a day or more of shooting to attend (a) deposition in Los Angeles."
The judge will reportedly make his decision on Wednesday.
- 11/26/2008
- WENN
Looks like Mel Gibson is in for a grilling. A Los Angeles judge has ordered the Oscar winner to sit for a deposition in a battle over money from his megahit The Passion of the Christ. Screenwriter Benedict Fitzgerald claims he was screwed out of $10 million from the 2004 blockbuster and wants to ask Gibson to explain why. In a ruling today, Superior Court Judge Gregory W. Alarcon agreed. According to Fitzgerald's court documents, Gibson got the writer to accept a lower-than-normal fee to cowrite Passion by insisting it was a very low-budget indie production and that Gibson himself would refrain from taking any revenue until he had properly compensated his crew. Some...
- 11/25/2008
- E! Online
Latest: Mel Gibson has appealed to a Los Angeles judge to grant a privacy motion in his legal battle with the co-screenwriter of The Passion Of The Christ, in a bid to keep financial records about the 2004 film secret.
Benedict Fitzgerald is suing Gibson, who directed the controversial religious epic, over accusations he cheated the screenwriter out of millions of dollars in potential earnings.
He claims Gibson engaged in a "chronic and conspiratorial pattern of deceit" by telling him he was working on a project with a budget of between $4 million and $7 million (GBP2 million and GBP3.5 million).
Fitzgerald alleges he was only paid $75,000 (GBP37,500) and that he had to borrow $200,000 (GBP100,000) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (GBP300 million) worldwide.
In a court motion filed on Tuesday, lawyers working for Gibson and his Icon Productions company, which is also named as a defendant, are seeking to seal the movie's financial information, and only allow Fitzgerald's attorneys access to them.
Gibson's appeal comes just days after he filed papers asking a judge to dismiss the fraud allegations filed against him by Fitzgerald.
The two parties are due to meet in court for a hearing on 20 June.
Benedict Fitzgerald is suing Gibson, who directed the controversial religious epic, over accusations he cheated the screenwriter out of millions of dollars in potential earnings.
He claims Gibson engaged in a "chronic and conspiratorial pattern of deceit" by telling him he was working on a project with a budget of between $4 million and $7 million (GBP2 million and GBP3.5 million).
Fitzgerald alleges he was only paid $75,000 (GBP37,500) and that he had to borrow $200,000 (GBP100,000) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (GBP300 million) worldwide.
In a court motion filed on Tuesday, lawyers working for Gibson and his Icon Productions company, which is also named as a defendant, are seeking to seal the movie's financial information, and only allow Fitzgerald's attorneys access to them.
Gibson's appeal comes just days after he filed papers asking a judge to dismiss the fraud allegations filed against him by Fitzgerald.
The two parties are due to meet in court for a hearing on 20 June.
- 4/3/2008
- WENN
Mel Gibson has filed legal papers asking a judge to dismiss a fraud allegation filed in a recent lawsuit by the co-screenwriter of his religious epic The Passion Of The Christ.
In his lawsuit, Benedict Fitzgerald claimed Gibson, who directed the controversial 2004 film, engaged in a "chronic and conspiratorial pattern of deceit" by telling him he was working on a project with a budget of between $4 million and $7 million (GBP2 million and GBP3.5 million).
Fitzgerald claims he was only paid $75,000 (GBP37,500) and that he had to borrow $200,000 (GBP100,000) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (GBP300 million) worldwide.
However, in legal documents filed on Tuesday, Gibson claims Fitzgerald had to know The Passion Of The Christ's budget due to the extensive publicity the film attracted.
The actor/director, who is named as a defendant alongside his Icon Productions company, also claims Fitzgerald waited too long to file his suit and hasn't offered an adequate explanation for the delay.
A hearing is set for 20 June.
In his lawsuit, Benedict Fitzgerald claimed Gibson, who directed the controversial 2004 film, engaged in a "chronic and conspiratorial pattern of deceit" by telling him he was working on a project with a budget of between $4 million and $7 million (GBP2 million and GBP3.5 million).
Fitzgerald claims he was only paid $75,000 (GBP37,500) and that he had to borrow $200,000 (GBP100,000) from Gibson to cover expenses. The Passion Of The Christ went on to gross an estimated $600 million (GBP300 million) worldwide.
However, in legal documents filed on Tuesday, Gibson claims Fitzgerald had to know The Passion Of The Christ's budget due to the extensive publicity the film attracted.
The actor/director, who is named as a defendant alongside his Icon Productions company, also claims Fitzgerald waited too long to file his suit and hasn't offered an adequate explanation for the delay.
A hearing is set for 20 June.
- 3/21/2008
- WENN
MGM has acquired North American distribution rights to "Myriam, Mother of the Christ", the biblical story of Mary. The screenplay is written by Benedict Fitzgerald, who penned "The Passion of the Christ".
The film, slated to bow around Easter 2008, is a dramatic rendering of the key events in Mary's life leading up to the birth of Jesus and the holy family's journey from Egypt to Nazareth following the death of King Herod. The story is told from Mary's point of view as she gradually understands the unfolding of God's plan and responds to her calling. No director or cast is attached.
"We believe that a feature of this quality and pedigree will have an inherent appeal to many movie consumers in North America," MGM chief operating officer Rick Sands said. "The film has the potential to become a perennial favorite each holiday season."
MGM will work with its home entertainment partner, 20th Century Fox, on the film's DVD release.
Fitzgerald and Richard Garzilli are producing "Myriam" alongside John Garbett and Erik Lomis.
The film, slated to bow around Easter 2008, is a dramatic rendering of the key events in Mary's life leading up to the birth of Jesus and the holy family's journey from Egypt to Nazareth following the death of King Herod. The story is told from Mary's point of view as she gradually understands the unfolding of God's plan and responds to her calling. No director or cast is attached.
"We believe that a feature of this quality and pedigree will have an inherent appeal to many movie consumers in North America," MGM chief operating officer Rick Sands said. "The film has the potential to become a perennial favorite each holiday season."
MGM will work with its home entertainment partner, 20th Century Fox, on the film's DVD release.
Fitzgerald and Richard Garzilli are producing "Myriam" alongside John Garbett and Erik Lomis.
- 1/23/2007
- The Hollywood Reporter - Movie News
Opens
Wednesday, Feb. 25
"The Passion of the Christ" is the work of a Christian traditonalist. In depicting the last dozen hours in the earthly life of Jesus of Nazareth, Mel Gibson, who directs a script he wrote with Benedict Fitzgerald, takes the gospels according to Matthew, Mark, Luke and John as literal truth. There is no allowance for metaphor or myth, no hint of contemporary interpretation. This is not "The Last Temptation of Christ", Martin Scorsese's adaptation of Nikos Kazantzakis' novel that speculates on the torments and self-doubts of Jesus. This movie is an act of faith.
And that is a two-edged sword. People will see what they want to see in a movie shorn of any point of view not in literal accord with the gospels. True believers will bear witness to holy writ. Others -- nonbelievers or even less literal-minded Christians -- will be troubled by the film's staunch adherence to a story line and characters that have been used by bigots to fuel hatred for centuries.
As the film arrives swathed in controversy over its near-pornographic violence and concerns about its potential to incite anti-Semitism, the opening weekend's boxoffice should surpass its reported $25 million cost. That combination of controversy, curiosity and conviction could continue the movie's good fortune for weeks to come.
The problem with focusing narrowly on the "passion" of Christ -- meaning the suffering and ultimate redemption in the final moments of Jesus' life -- instead of his ministry, in which he preached love of God and mankind, is that the context for these events is lost. The Crucifixion was not only the culmination of several years of religious teachings but the fulfillment of Jesus' promise to die for the sins of mankind.
True, many viewers know this "back story." Pity anyone though who comes to this movie without a knowledge of the New Testament. For them, a handful of brief flashbacks to earlier days will fail to do the trick. Yet even a Bible student might wonder why Gibson would choose to downplay the self-sacrifice and love that went into Jesus' submission to torture and death. The spiritual significance of the Crucifixion gets swamped in an orgy of violence visited upon Jesus' body. Indeed, it's doubtful any human being could remain conscious for his own execution were he to endure the level of physical abuse graphically depicted here.
This, then, is a medieval Passion Play with much better effects. Flesh is flayed in grotesque detail. Body fluids spurt in exquisite patterns. Slow motion captures any action or glance Gibson deems significant.
All the characters are portrayed in the extreme. Pontius Pilate (Hristo Naumov Shopov) is a weak and frightened political operative in a lonely outpost of the Roman Empire. His soldiers are half-witted sadists and buffoons. King Herod Luca De Dominicis) is a foppish decadent. The Jews are a bloodthirsty rabble easily manipulated by the high priest Caiphas (Mattia Sbragia) and other Pharisees, jealous of their political power and social control. (Gibson has removed a line, reportedly in an earlier version, in which one Jew shouts, "May his blood be on us".)
The two Marys, the mother of Jesus (Maia Morgenstern) and Mary Magdalene (Monica Bellucci), are reduced to tearful onlookers. And, hard to imagine, the key figure here, Jesus himself (a game, blood-crusted Jim Caviezel), is such a punching bag for most of the movie that the filmmakers lose sight of his message. In early scenes and the flashback, Caviezel has the look and gravity to portray the warm and compassionate rabbi that Jesus was. But we get only these snippets of his humanity. (One bizarre flashback focuses solely on his former occupation, that of a carpenter.) More troubling is Gibson's decision to make Jesus into a victim of political intrigue, thus denying him his martyrdom.
Why do so many disciples follow this man? What does his promise of eternal life mean in the context of these events? Gibson's intense concentration on the scourging and whipping of the physical body virtually denies any metaphysical significance to the most famous half-day in history.
Technically, the film is a beauty. After a false start with music more befitting a horror film, John Debney's score acquires a chorus and builds brilliantly to the climax. Inspired by Caravaggio, cinematographer Caleb Deschanel and costume designer Maurizio Millenotti hew to a strict earthen palette of grays, browns, white, beige and burgundy. The play of shadow and light, especially the use of torches in interior scenes, presents stunning tableaus. Francesco Frigeri's sets on the Cinecitta Studios lot and the use of the 2,000-year-old city of Matera beautifully capture the Middle Eastern world of that epoch without calling attention to the design itself.
Gibson's insistence that his actors learn the language of the period works very well. Using Aramaic for Jewish characters and street Latin for Romans, the movie puts us at a necessary remove to witness the biblical story. If only Gibson had chosen to highlight spiritual truth rather than physical realism.
THE PASSION OF THE CHRIST
Newmarket Films
Icon Prods.
Credits:
Director: Mel Gibson
Screenwriters: Mel Gibson, Benedict Fitzgerald
Producers: Mel Gibson, Bruce Davey, Steve McEveety
Executive producer: Enzo Sisti
Director of photography: Caleb Deschanel
Production designer: Francesco Frigeri
Music: John Debney
Special effects makeup: Keith Vanderlaan
Costume designer: Maurizio Millenotti
Editor: John Wright
Cast:
Jesus: Jim Caviezel
Mary: Maia Morgenstern
Mary Magdalene: Monica Bellucci
Satan: Rosalinda Celantano
Caiphas, the High Priest: Mattia Sbragia
Pontius Pilate: Hristo Naumov Shopov
Claudia Procles: Claudia Gerini
Judas Iscariot: Luca Lionello
Running time -- 126 minutes
MPAA rating: R...
Wednesday, Feb. 25
"The Passion of the Christ" is the work of a Christian traditonalist. In depicting the last dozen hours in the earthly life of Jesus of Nazareth, Mel Gibson, who directs a script he wrote with Benedict Fitzgerald, takes the gospels according to Matthew, Mark, Luke and John as literal truth. There is no allowance for metaphor or myth, no hint of contemporary interpretation. This is not "The Last Temptation of Christ", Martin Scorsese's adaptation of Nikos Kazantzakis' novel that speculates on the torments and self-doubts of Jesus. This movie is an act of faith.
And that is a two-edged sword. People will see what they want to see in a movie shorn of any point of view not in literal accord with the gospels. True believers will bear witness to holy writ. Others -- nonbelievers or even less literal-minded Christians -- will be troubled by the film's staunch adherence to a story line and characters that have been used by bigots to fuel hatred for centuries.
As the film arrives swathed in controversy over its near-pornographic violence and concerns about its potential to incite anti-Semitism, the opening weekend's boxoffice should surpass its reported $25 million cost. That combination of controversy, curiosity and conviction could continue the movie's good fortune for weeks to come.
The problem with focusing narrowly on the "passion" of Christ -- meaning the suffering and ultimate redemption in the final moments of Jesus' life -- instead of his ministry, in which he preached love of God and mankind, is that the context for these events is lost. The Crucifixion was not only the culmination of several years of religious teachings but the fulfillment of Jesus' promise to die for the sins of mankind.
True, many viewers know this "back story." Pity anyone though who comes to this movie without a knowledge of the New Testament. For them, a handful of brief flashbacks to earlier days will fail to do the trick. Yet even a Bible student might wonder why Gibson would choose to downplay the self-sacrifice and love that went into Jesus' submission to torture and death. The spiritual significance of the Crucifixion gets swamped in an orgy of violence visited upon Jesus' body. Indeed, it's doubtful any human being could remain conscious for his own execution were he to endure the level of physical abuse graphically depicted here.
This, then, is a medieval Passion Play with much better effects. Flesh is flayed in grotesque detail. Body fluids spurt in exquisite patterns. Slow motion captures any action or glance Gibson deems significant.
All the characters are portrayed in the extreme. Pontius Pilate (Hristo Naumov Shopov) is a weak and frightened political operative in a lonely outpost of the Roman Empire. His soldiers are half-witted sadists and buffoons. King Herod Luca De Dominicis) is a foppish decadent. The Jews are a bloodthirsty rabble easily manipulated by the high priest Caiphas (Mattia Sbragia) and other Pharisees, jealous of their political power and social control. (Gibson has removed a line, reportedly in an earlier version, in which one Jew shouts, "May his blood be on us".)
The two Marys, the mother of Jesus (Maia Morgenstern) and Mary Magdalene (Monica Bellucci), are reduced to tearful onlookers. And, hard to imagine, the key figure here, Jesus himself (a game, blood-crusted Jim Caviezel), is such a punching bag for most of the movie that the filmmakers lose sight of his message. In early scenes and the flashback, Caviezel has the look and gravity to portray the warm and compassionate rabbi that Jesus was. But we get only these snippets of his humanity. (One bizarre flashback focuses solely on his former occupation, that of a carpenter.) More troubling is Gibson's decision to make Jesus into a victim of political intrigue, thus denying him his martyrdom.
Why do so many disciples follow this man? What does his promise of eternal life mean in the context of these events? Gibson's intense concentration on the scourging and whipping of the physical body virtually denies any metaphysical significance to the most famous half-day in history.
Technically, the film is a beauty. After a false start with music more befitting a horror film, John Debney's score acquires a chorus and builds brilliantly to the climax. Inspired by Caravaggio, cinematographer Caleb Deschanel and costume designer Maurizio Millenotti hew to a strict earthen palette of grays, browns, white, beige and burgundy. The play of shadow and light, especially the use of torches in interior scenes, presents stunning tableaus. Francesco Frigeri's sets on the Cinecitta Studios lot and the use of the 2,000-year-old city of Matera beautifully capture the Middle Eastern world of that epoch without calling attention to the design itself.
Gibson's insistence that his actors learn the language of the period works very well. Using Aramaic for Jewish characters and street Latin for Romans, the movie puts us at a necessary remove to witness the biblical story. If only Gibson had chosen to highlight spiritual truth rather than physical realism.
THE PASSION OF THE CHRIST
Newmarket Films
Icon Prods.
Credits:
Director: Mel Gibson
Screenwriters: Mel Gibson, Benedict Fitzgerald
Producers: Mel Gibson, Bruce Davey, Steve McEveety
Executive producer: Enzo Sisti
Director of photography: Caleb Deschanel
Production designer: Francesco Frigeri
Music: John Debney
Special effects makeup: Keith Vanderlaan
Costume designer: Maurizio Millenotti
Editor: John Wright
Cast:
Jesus: Jim Caviezel
Mary: Maia Morgenstern
Mary Magdalene: Monica Bellucci
Satan: Rosalinda Celantano
Caiphas, the High Priest: Mattia Sbragia
Pontius Pilate: Hristo Naumov Shopov
Claudia Procles: Claudia Gerini
Judas Iscariot: Luca Lionello
Running time -- 126 minutes
MPAA rating: R...
Opens
Wednesday, Feb. 25
"The Passion of the Christ" is the work of a Christian traditonalist. In depicting the last dozen hours in the earthly life of Jesus of Nazareth, Mel Gibson, who directs a script he wrote with Benedict Fitzgerald, takes the gospels according to Matthew, Mark, Luke and John as literal truth. There is no allowance for metaphor or myth, no hint of contemporary interpretation. This is not "The Last Temptation of Christ", Martin Scorsese's adaptation of Nikos Kazantzakis' novel that speculates on the torments and self-doubts of Jesus. This movie is an act of faith.
And that is a two-edged sword. People will see what they want to see in a movie shorn of any point of view not in literal accord with the gospels. True believers will bear witness to holy writ. Others -- nonbelievers or even less literal-minded Christians -- will be troubled by the film's staunch adherence to a story line and characters that have been used by bigots to fuel hatred for centuries.
As the film arrives swathed in controversy over its near-pornographic violence and concerns about its potential to incite anti-Semitism, the opening weekend's boxoffice should surpass its reported $25 million cost. That combination of controversy, curiosity and conviction could continue the movie's good fortune for weeks to come.
The problem with focusing narrowly on the "passion" of Christ -- meaning the suffering and ultimate redemption in the final moments of Jesus' life -- instead of his ministry, in which he preached love of God and mankind, is that the context for these events is lost. The Crucifixion was not only the culmination of several years of religious teachings but the fulfillment of Jesus' promise to die for the sins of mankind.
True, many viewers know this "back story." Pity anyone though who comes to this movie without a knowledge of the New Testament. For them, a handful of brief flashbacks to earlier days will fail to do the trick. Yet even a Bible student might wonder why Gibson would choose to downplay the self-sacrifice and love that went into Jesus' submission to torture and death. The spiritual significance of the Crucifixion gets swamped in an orgy of violence visited upon Jesus' body. Indeed, it's doubtful any human being could remain conscious for his own execution were he to endure the level of physical abuse graphically depicted here.
This, then, is a medieval Passion Play with much better effects. Flesh is flayed in grotesque detail. Body fluids spurt in exquisite patterns. Slow motion captures any action or glance Gibson deems significant.
All the characters are portrayed in the extreme. Pontius Pilate (Hristo Naumov Shopov) is a weak and frightened political operative in a lonely outpost of the Roman Empire. His soldiers are half-witted sadists and buffoons. King Herod Luca De Dominicis) is a foppish decadent. The Jews are a bloodthirsty rabble easily manipulated by the high priest Caiphas (Mattia Sbragia) and other Pharisees, jealous of their political power and social control. (Gibson has removed a line, reportedly in an earlier version, in which one Jew shouts, "May his blood be on us".)
The two Marys, the mother of Jesus (Maia Morgenstern) and Mary Magdalene (Monica Bellucci), are reduced to tearful onlookers. And, hard to imagine, the key figure here, Jesus himself (a game, blood-crusted Jim Caviezel), is such a punching bag for most of the movie that the filmmakers lose sight of his message. In early scenes and the flashback, Caviezel has the look and gravity to portray the warm and compassionate rabbi that Jesus was. But we get only these snippets of his humanity. (One bizarre flashback focuses solely on his former occupation, that of a carpenter.) More troubling is Gibson's decision to make Jesus into a victim of political intrigue, thus denying him his martyrdom.
Why do so many disciples follow this man? What does his promise of eternal life mean in the context of these events? Gibson's intense concentration on the scourging and whipping of the physical body virtually denies any metaphysical significance to the most famous half-day in history.
Technically, the film is a beauty. After a false start with music more befitting a horror film, John Debney's score acquires a chorus and builds brilliantly to the climax. Inspired by Caravaggio, cinematographer Caleb Deschanel and costume designer Maurizio Millenotti hew to a strict earthen palette of grays, browns, white, beige and burgundy. The play of shadow and light, especially the use of torches in interior scenes, presents stunning tableaus. Francesco Frigeri's sets on the Cinecitta Studios lot and the use of the 2,000-year-old city of Matera beautifully capture the Middle Eastern world of that epoch without calling attention to the design itself.
Gibson's insistence that his actors learn the language of the period works very well. Using Aramaic for Jewish characters and street Latin for Romans, the movie puts us at a necessary remove to witness the biblical story. If only Gibson had chosen to highlight spiritual truth rather than physical realism.
THE PASSION OF THE CHRIST
Newmarket Films
Icon Prods.
Credits:
Director: Mel Gibson
Screenwriters: Mel Gibson, Benedict Fitzgerald
Producers: Mel Gibson, Bruce Davey, Steve McEveety
Executive producer: Enzo Sisti
Director of photography: Caleb Deschanel
Production designer: Francesco Frigeri
Music: John Debney
Special effects makeup: Keith Vanderlaan
Costume designer: Maurizio Millenotti
Editor: John Wright
Cast:
Jesus: Jim Caviezel
Mary: Maia Morgenstern
Mary Magdalene: Monica Bellucci
Satan: Rosalinda Celantano
Caiphas, the High Priest: Mattia Sbragia
Pontius Pilate: Hristo Naumov Shopov
Claudia Procles: Claudia Gerini
Judas Iscariot: Luca Lionello
Running time -- 126 minutes
MPAA rating: R...
Wednesday, Feb. 25
"The Passion of the Christ" is the work of a Christian traditonalist. In depicting the last dozen hours in the earthly life of Jesus of Nazareth, Mel Gibson, who directs a script he wrote with Benedict Fitzgerald, takes the gospels according to Matthew, Mark, Luke and John as literal truth. There is no allowance for metaphor or myth, no hint of contemporary interpretation. This is not "The Last Temptation of Christ", Martin Scorsese's adaptation of Nikos Kazantzakis' novel that speculates on the torments and self-doubts of Jesus. This movie is an act of faith.
And that is a two-edged sword. People will see what they want to see in a movie shorn of any point of view not in literal accord with the gospels. True believers will bear witness to holy writ. Others -- nonbelievers or even less literal-minded Christians -- will be troubled by the film's staunch adherence to a story line and characters that have been used by bigots to fuel hatred for centuries.
As the film arrives swathed in controversy over its near-pornographic violence and concerns about its potential to incite anti-Semitism, the opening weekend's boxoffice should surpass its reported $25 million cost. That combination of controversy, curiosity and conviction could continue the movie's good fortune for weeks to come.
The problem with focusing narrowly on the "passion" of Christ -- meaning the suffering and ultimate redemption in the final moments of Jesus' life -- instead of his ministry, in which he preached love of God and mankind, is that the context for these events is lost. The Crucifixion was not only the culmination of several years of religious teachings but the fulfillment of Jesus' promise to die for the sins of mankind.
True, many viewers know this "back story." Pity anyone though who comes to this movie without a knowledge of the New Testament. For them, a handful of brief flashbacks to earlier days will fail to do the trick. Yet even a Bible student might wonder why Gibson would choose to downplay the self-sacrifice and love that went into Jesus' submission to torture and death. The spiritual significance of the Crucifixion gets swamped in an orgy of violence visited upon Jesus' body. Indeed, it's doubtful any human being could remain conscious for his own execution were he to endure the level of physical abuse graphically depicted here.
This, then, is a medieval Passion Play with much better effects. Flesh is flayed in grotesque detail. Body fluids spurt in exquisite patterns. Slow motion captures any action or glance Gibson deems significant.
All the characters are portrayed in the extreme. Pontius Pilate (Hristo Naumov Shopov) is a weak and frightened political operative in a lonely outpost of the Roman Empire. His soldiers are half-witted sadists and buffoons. King Herod Luca De Dominicis) is a foppish decadent. The Jews are a bloodthirsty rabble easily manipulated by the high priest Caiphas (Mattia Sbragia) and other Pharisees, jealous of their political power and social control. (Gibson has removed a line, reportedly in an earlier version, in which one Jew shouts, "May his blood be on us".)
The two Marys, the mother of Jesus (Maia Morgenstern) and Mary Magdalene (Monica Bellucci), are reduced to tearful onlookers. And, hard to imagine, the key figure here, Jesus himself (a game, blood-crusted Jim Caviezel), is such a punching bag for most of the movie that the filmmakers lose sight of his message. In early scenes and the flashback, Caviezel has the look and gravity to portray the warm and compassionate rabbi that Jesus was. But we get only these snippets of his humanity. (One bizarre flashback focuses solely on his former occupation, that of a carpenter.) More troubling is Gibson's decision to make Jesus into a victim of political intrigue, thus denying him his martyrdom.
Why do so many disciples follow this man? What does his promise of eternal life mean in the context of these events? Gibson's intense concentration on the scourging and whipping of the physical body virtually denies any metaphysical significance to the most famous half-day in history.
Technically, the film is a beauty. After a false start with music more befitting a horror film, John Debney's score acquires a chorus and builds brilliantly to the climax. Inspired by Caravaggio, cinematographer Caleb Deschanel and costume designer Maurizio Millenotti hew to a strict earthen palette of grays, browns, white, beige and burgundy. The play of shadow and light, especially the use of torches in interior scenes, presents stunning tableaus. Francesco Frigeri's sets on the Cinecitta Studios lot and the use of the 2,000-year-old city of Matera beautifully capture the Middle Eastern world of that epoch without calling attention to the design itself.
Gibson's insistence that his actors learn the language of the period works very well. Using Aramaic for Jewish characters and street Latin for Romans, the movie puts us at a necessary remove to witness the biblical story. If only Gibson had chosen to highlight spiritual truth rather than physical realism.
THE PASSION OF THE CHRIST
Newmarket Films
Icon Prods.
Credits:
Director: Mel Gibson
Screenwriters: Mel Gibson, Benedict Fitzgerald
Producers: Mel Gibson, Bruce Davey, Steve McEveety
Executive producer: Enzo Sisti
Director of photography: Caleb Deschanel
Production designer: Francesco Frigeri
Music: John Debney
Special effects makeup: Keith Vanderlaan
Costume designer: Maurizio Millenotti
Editor: John Wright
Cast:
Jesus: Jim Caviezel
Mary: Maia Morgenstern
Mary Magdalene: Monica Bellucci
Satan: Rosalinda Celantano
Caiphas, the High Priest: Mattia Sbragia
Pontius Pilate: Hristo Naumov Shopov
Claudia Procles: Claudia Gerini
Judas Iscariot: Luca Lionello
Running time -- 126 minutes
MPAA rating: R...
- 2/23/2004
- The Hollywood Reporter - Movie News
Remakes can be curious entities, at times nothing so much as pallid retakes of the original effort.
However, in the case of the CBS miniseries "In Cold Blood", once again based on Truman Capote's pioneering true-crime masterpiece, the attempt yields something new and powerful. Though different in approach from the riveting black-and-white feature film that Richard Brooks directed in 1967, CBS' four-hour presentation with Anthony Edwards, Eric Roberts and Sam Neill is a spare yet resonant telling of evil at large.
With a minimum of dialogue and exposition, the latest "In Cold Blood" reveals itself an unadorned picture of bloody transgression and serrated sin loose in the heartland. By the artful absence of what is not said or shown, a kind of dramatic negative space, CBS' "In Cold Blood" hits with demanding force.
Here two losers become killers, pursued by those who are legally and ethically doing their job of policing. We meet those responsible for a case of murder in 1959, wherein a Kansas family was slaughtered while the rest of their farming community slept. And so we witness events leading up to this horrible slaying as well as the subsequent hunt by the Kansas Bureau of Investigations.
As judiciously scripted by Benedict Fitzgerald and discerningly directed by Jonathan Kaplan, we are fully plunged into the dark, unquiet world of death and violence where delusive dreams and unquenchable longing takes four lives.
Moreover, Edwards and Roberts, as the drifting killers plagued by sooty vagaries and grubby whims, make uncomfortably pressing the dumb nature of errant evil; the blank, dead-end ways of two men adrift in their own lives, cut off from the larger context of cause and effect. Perry Smith (Roberts) and Dick Hickock (Edwards) found one another while serving prison time.
Now out of the slammer, they are looking to pull off what Hickock sees as the big crime (he calls it "a cinch, a perfect score"), the two having sloppily schemed to rob well-off farmer Herb Clutter (Kevin Tighe), who supposedly has stashed his cash in a home safe. There will be no witnesses. Clutter and his kin are to be murdered once the money is gotten.
As Hickock and Smith roam the gamy side of the American Dream, Clutter and kin stand as the very model of homegrown purity and honor, churchgoers who have achieved much. Clutter is an inward but good man who works hard providing for his ill wife Bonnie (Gillian Barber) and their kids (Robbie Bowen, Margot Finley). But like all perfect families, there are imperfections under the patina.
And then all does comes to grief when, on a still Sunday in November, Smith and Hickock enter the Clutters' home, only to find there is no safe, no hidden money. The family is cruelly executed, and Hickock and Smith make off with $41. After passing some bum checks they head south to Mexico. Now KBI's Alvin Dewey (Neill), a methodical and deliberate man and a friend of the Clutters, dedicates himself to capturing the killers. As Dewey states at a press conference, "However long it takes, I'm going to know what happened in that house."
Insistent and unrelenting, this TV version of a wicked, bloody act is often difficult and disagreeable to watch; a rendering coolly and edgily conjured by production designer Mark Freeborn and crisply etched into memory by director of photography Peter Woeste's haunting and lyrical compositions.
Here the American scene looms with barren, empty remove, imbued with the tenebrous worry and moody loss of something painted by Edward Hopper. Bedrooms and roadside hash joints are like the peeling, forgotten chambers of the heart, dimly known and seldom ventured fully into. As well as the visuals, Hummie Mann's haunting score creates a penetrating presence of suffering and surrender, abandonment and desertion without absolution or relief.
IN COLD BLOOD
CBS
Pacific Motion Pictures
and Hallmark Entertainment
Executive producer Robert Halmi Sr.
Producer Tom Rowe
Associate producers George Horie, David W. Rose
Director Jonathan Kaplan
Writer Benedict Fitzgerald
Based on the book by Truman Capote
Music Hummie Mann
Production designer Mark Freeborn
Art director Scott Dobbie
Editor Michael Ornstein
Director of photography Peter Woeste
Casting Julie Selzer
Canadian casting Lynne Carrow
Cast: Anthony Edwards, Eric Roberts, Sam Neill, Leo Rossi, Kevin Tighe, Louise Latham, Gwen Verdon, Bethel Leslie, L.Q. Jones, Gillian Barber
Airdates: Sunday, November 24 and
Tuesday, November 26, 9-11 p.m.
However, in the case of the CBS miniseries "In Cold Blood", once again based on Truman Capote's pioneering true-crime masterpiece, the attempt yields something new and powerful. Though different in approach from the riveting black-and-white feature film that Richard Brooks directed in 1967, CBS' four-hour presentation with Anthony Edwards, Eric Roberts and Sam Neill is a spare yet resonant telling of evil at large.
With a minimum of dialogue and exposition, the latest "In Cold Blood" reveals itself an unadorned picture of bloody transgression and serrated sin loose in the heartland. By the artful absence of what is not said or shown, a kind of dramatic negative space, CBS' "In Cold Blood" hits with demanding force.
Here two losers become killers, pursued by those who are legally and ethically doing their job of policing. We meet those responsible for a case of murder in 1959, wherein a Kansas family was slaughtered while the rest of their farming community slept. And so we witness events leading up to this horrible slaying as well as the subsequent hunt by the Kansas Bureau of Investigations.
As judiciously scripted by Benedict Fitzgerald and discerningly directed by Jonathan Kaplan, we are fully plunged into the dark, unquiet world of death and violence where delusive dreams and unquenchable longing takes four lives.
Moreover, Edwards and Roberts, as the drifting killers plagued by sooty vagaries and grubby whims, make uncomfortably pressing the dumb nature of errant evil; the blank, dead-end ways of two men adrift in their own lives, cut off from the larger context of cause and effect. Perry Smith (Roberts) and Dick Hickock (Edwards) found one another while serving prison time.
Now out of the slammer, they are looking to pull off what Hickock sees as the big crime (he calls it "a cinch, a perfect score"), the two having sloppily schemed to rob well-off farmer Herb Clutter (Kevin Tighe), who supposedly has stashed his cash in a home safe. There will be no witnesses. Clutter and his kin are to be murdered once the money is gotten.
As Hickock and Smith roam the gamy side of the American Dream, Clutter and kin stand as the very model of homegrown purity and honor, churchgoers who have achieved much. Clutter is an inward but good man who works hard providing for his ill wife Bonnie (Gillian Barber) and their kids (Robbie Bowen, Margot Finley). But like all perfect families, there are imperfections under the patina.
And then all does comes to grief when, on a still Sunday in November, Smith and Hickock enter the Clutters' home, only to find there is no safe, no hidden money. The family is cruelly executed, and Hickock and Smith make off with $41. After passing some bum checks they head south to Mexico. Now KBI's Alvin Dewey (Neill), a methodical and deliberate man and a friend of the Clutters, dedicates himself to capturing the killers. As Dewey states at a press conference, "However long it takes, I'm going to know what happened in that house."
Insistent and unrelenting, this TV version of a wicked, bloody act is often difficult and disagreeable to watch; a rendering coolly and edgily conjured by production designer Mark Freeborn and crisply etched into memory by director of photography Peter Woeste's haunting and lyrical compositions.
Here the American scene looms with barren, empty remove, imbued with the tenebrous worry and moody loss of something painted by Edward Hopper. Bedrooms and roadside hash joints are like the peeling, forgotten chambers of the heart, dimly known and seldom ventured fully into. As well as the visuals, Hummie Mann's haunting score creates a penetrating presence of suffering and surrender, abandonment and desertion without absolution or relief.
IN COLD BLOOD
CBS
Pacific Motion Pictures
and Hallmark Entertainment
Executive producer Robert Halmi Sr.
Producer Tom Rowe
Associate producers George Horie, David W. Rose
Director Jonathan Kaplan
Writer Benedict Fitzgerald
Based on the book by Truman Capote
Music Hummie Mann
Production designer Mark Freeborn
Art director Scott Dobbie
Editor Michael Ornstein
Director of photography Peter Woeste
Casting Julie Selzer
Canadian casting Lynne Carrow
Cast: Anthony Edwards, Eric Roberts, Sam Neill, Leo Rossi, Kevin Tighe, Louise Latham, Gwen Verdon, Bethel Leslie, L.Q. Jones, Gillian Barber
Airdates: Sunday, November 24 and
Tuesday, November 26, 9-11 p.m.
- 11/21/1996
- The Hollywood Reporter - Movie News
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