Update: Variety is reporting that the Ryan Reynolds and Colin Hanks John Candy documentary will likely be picked up by Amazon’s Prime Video, with the comedy said to be in negotiations for the film. Colin Hanks will be directing the documentary, with Reynolds on board as a producer. Hanks, whose father Tom Hanks memorably co-starred with the late comic legend in Splash and Volunteers (which also starred Hanks’ future wife Rita Wilson), apparently has the full corporation of the Candy family. This includes his widow, Rose and their two children, Jen and Chris. The film will reportedly contain home videos and never seen footage from the archive, as well as interviews with Candy’s friends and family. No release date is set yet, although given that John Candy is a Canadian icon, maybe a fall TIFF debut is in the cards?
Original Story: John Candy is a comedy legend.
Original Story: John Candy is a comedy legend.
- 2/10/2023
- by Kevin Fraser
- JoBlo.com
With Hollywood in a state of disruption, the town’s producers face a challenge to creatively reinvent themselves. Reflecting this process, Peter Guber, long a top movie dealmaker, this week set forth plans for the grand opening in 2019 of a privately funded 18,000-seat stadium (Chase Center) that will totally transform the Mission Bay section of San Francisco. Last year, a Guber-backed $350 million soccer stadium for Major League Soccer’s Los Angeles Football Club in downtown L.A. also opened its doors –- the city’s first new open-air arena since the 1960s.
Why is a major filmmaker now producing stadiums? It’s part of Guber’s emergence as a major sports maven, encompassing co-ownership of the Golden State Warriors as well as the Los Angeles Dodgers, in addition to major stakes in entities like AXiomatic and Team Liquid, representing entry into gaming and e-sports. As in former years, Guber has...
Why is a major filmmaker now producing stadiums? It’s part of Guber’s emergence as a major sports maven, encompassing co-ownership of the Golden State Warriors as well as the Los Angeles Dodgers, in addition to major stakes in entities like AXiomatic and Team Liquid, representing entry into gaming and e-sports. As in former years, Guber has...
- 11/30/2018
- by Peter Bart
- Deadline Film + TV
Two 1980's science fiction efforts from the 'eighties: Millennium is an expensive book adaptation with Kris Kristofferson and Cheryl Ladd navigating a time travel story about body snatchers from the future. R.O.T.O.R is direct to video and strictly from hunger. Oh, the agony… However, both films surely have lessons to teach the budding filmmaker who thinks moviemaking is easy. Millennium and R.O.T.O.R. Blu-ray Color Scream Factory Street Date February 23, 2016 / 26.99
Reviewed by Glenn Erickson
Scream Factory plumbs the depths of the MGM library, which includes not only the holdings of United Artists, Orion and the old American-International Pictures, but also an alphabet soup of smaller outfits that were bought up in the 1990s. The independent productions seen on this Scream Factory Blu-ray double bill give us two kinds of science fiction properties. One is an expensive Canadian production with a big star, and the other is a...
Reviewed by Glenn Erickson
Scream Factory plumbs the depths of the MGM library, which includes not only the holdings of United Artists, Orion and the old American-International Pictures, but also an alphabet soup of smaller outfits that were bought up in the 1990s. The independent productions seen on this Scream Factory Blu-ray double bill give us two kinds of science fiction properties. One is an expensive Canadian production with a big star, and the other is a...
- 2/21/2016
- by Glenn Erickson
- Trailers from Hell
Donald Sterling is finally expressing remorse about the racist comments that got him banned from the NBA ... this according to former L.A. Kings owner Bruce McNall who says Donald told him he feels "terrible" during a phone call a few days ago. McNall was out in Malibu on Wednesday and told us he's been friends with Sterling for years -- and had a conversation with the disgraced L.A. Clippers owner just the other day.
- 5/8/2014
- by TMZ Staff
- TMZ
It was officially announced today by CEO Courtney Solomon that After Dark Films has acquired the rights to showcase Adam Gieraschs Autopsy and Jody Dwyers Aussie horror pic Dying Breed as part of its After Dark Horrorfest series. The Horrorfest lineup is nearly complete with the five previously announced titles being The Broken, The Butterfly Effect 3: Revelation, From Within, Perkins' 14 and Slaughter. Adam Gierasch directed Autopsy, from a script he wrote with Jace Anderson and E.L. Katz. Adam and Jace previously collaborated as writers on the Dario Argento film, Mother of Tears, and are currently in production on Night of the Demons that Adam is directing. Autopsy stars Robert Patrick (Balls of Fury, Terminator 2), Jessica Lowndes (90210) and Jenette Goldstein (Aliens) with Ross McCall (Band of Brothers). Jessica Horowitz, Steve Markoff, Bruce McNall and Warren Zide produced. More inside....
- 10/28/2008
- bloody-disgusting.com
BERLIN -- "Asylum" is a psychological thriller without bothering much with psychology. Come to think of it, the thrills are pretty much missing, as well.
Director David MacKenzie, who received critical plaudits in some quarters in 2003 for "Young Adam", has thoroughly consulted the Alfred Hitchcock playbook to create the atmosphere and suspense for this tale of (literally) mad love. Certainly Mark Mancina's score, reminiscent of Bernard Herrmann's scores for the late master, and numerous images want to put audiences in a Hitchcock frame of mind. It's hard, however, to imagine Hitchcock even raising an eyebrow over this weak story.
Natasha Richardson adds plenty of glamour and marquee value to this Paramount Classics release. The fun of the movie comes in watching this intelligent and always interesting actress navigate the heroine's implausible course of obsessive love and increasing psychosis. It's a star turn evocative of the way Joan Fontaine or Susan Hayward used to entertain audiences, especially women. But audiences have changed greatly since those days. Despite the cool calculation of MacKenzie's direction, the movie's overheated emotionalism will look and feel mostly silly to today's audiences. Theatrical prospects appear slim.
Perhaps the basic premise in this tale, written by Patrick Marber ("Closer") from a Patrick McGrath novel, is that in any madhouse it's hard to tell who's crazier -- the patients or the doctors. The minute the new deputy head of an English asylum drives onto the grounds with his wife of 12 years and young son, you sense things are going to go very wrong. The movie quickly lets you know that this is a loveless marriage. Stella (Richardson) smokes cigarettes in a manner that screams boredom with her life. Occasionally, someone reminds her to "behave," which must mean she's been a bad girl before.
Her inattentive and unfeeling husband Max (Hugh Bonneville) -- talk about a physician who needs to heal himself -- arranges for a greenhouse to be repaired so Stella can at least putter with her plants. The patient brought in to do the repairs is Edgar Stark (a brooding Marton Csokas), a sculptor jailed for having brutally murdered his wife. He has problems with jealousy, you understand, but he is the favorite patient of Dr. Cleave (Ian McKellen in a mischievous performance where every line feels like an innuendo). The good doctor assures one and all that Edgar Stark -- don't you love that name! -- is harmless despite a habit of skulking that reminds you of Anthony Perkins in "Psycho".
Well, wouldn't you know, the bored housewife and the wife killer fall into a passionate affair virtually the moment they lay eyes on each other. He escapes, she follows him to London and they set up housekeeping in what looks like an abandoned building. Soon enough, he reverts to his jealous behavior.
Things only get worse, but other than those mesmerized by Richardson -- she does possess certain magic -- few are likely to find the downward spiral of events either credible or compelling. The filmmaking skills of MacKenzie and a top-notch production team keep one mildly interested, yet the payoff is decidedly not worthy of these collective skills. The story is just too nonsensical to hold water.
ASYLUM
Paramount Classics
Seven Arts Pictures/Samson Films
Credits: Director: David MacKenzie; Writer: Patrick Marber; Based on the novel by: Patrick McGrath; Producers: Laurence Borg, David E. Allen, Mace Neufeld; Executive producers: Michael Barlow, Natasha Richardson, Robert Rehme, Baron Davis, Steven Markoff, Bruce McNall, Chris Curling, Harmon Kaslow, John Buchanan; Director of photography: Giles Nuttgens; Production designer: Laurence Dorman; Music: Mark Mancina; Costumes: Consolata Boyle; Editors: Colin Monie, Steven Weisberg. Cast: Stella: Natasha Richardson; Peter: Ian McKellen; Edgar: Marton Csokas; Max: Hugh Bonneville; Charlie: Gus Lewis; Brenda: Judy Parfitt; Mr. Straffen: Joss Ackland.
MPAA rating R, running time 99 minutes.
Director David MacKenzie, who received critical plaudits in some quarters in 2003 for "Young Adam", has thoroughly consulted the Alfred Hitchcock playbook to create the atmosphere and suspense for this tale of (literally) mad love. Certainly Mark Mancina's score, reminiscent of Bernard Herrmann's scores for the late master, and numerous images want to put audiences in a Hitchcock frame of mind. It's hard, however, to imagine Hitchcock even raising an eyebrow over this weak story.
Natasha Richardson adds plenty of glamour and marquee value to this Paramount Classics release. The fun of the movie comes in watching this intelligent and always interesting actress navigate the heroine's implausible course of obsessive love and increasing psychosis. It's a star turn evocative of the way Joan Fontaine or Susan Hayward used to entertain audiences, especially women. But audiences have changed greatly since those days. Despite the cool calculation of MacKenzie's direction, the movie's overheated emotionalism will look and feel mostly silly to today's audiences. Theatrical prospects appear slim.
Perhaps the basic premise in this tale, written by Patrick Marber ("Closer") from a Patrick McGrath novel, is that in any madhouse it's hard to tell who's crazier -- the patients or the doctors. The minute the new deputy head of an English asylum drives onto the grounds with his wife of 12 years and young son, you sense things are going to go very wrong. The movie quickly lets you know that this is a loveless marriage. Stella (Richardson) smokes cigarettes in a manner that screams boredom with her life. Occasionally, someone reminds her to "behave," which must mean she's been a bad girl before.
Her inattentive and unfeeling husband Max (Hugh Bonneville) -- talk about a physician who needs to heal himself -- arranges for a greenhouse to be repaired so Stella can at least putter with her plants. The patient brought in to do the repairs is Edgar Stark (a brooding Marton Csokas), a sculptor jailed for having brutally murdered his wife. He has problems with jealousy, you understand, but he is the favorite patient of Dr. Cleave (Ian McKellen in a mischievous performance where every line feels like an innuendo). The good doctor assures one and all that Edgar Stark -- don't you love that name! -- is harmless despite a habit of skulking that reminds you of Anthony Perkins in "Psycho".
Well, wouldn't you know, the bored housewife and the wife killer fall into a passionate affair virtually the moment they lay eyes on each other. He escapes, she follows him to London and they set up housekeeping in what looks like an abandoned building. Soon enough, he reverts to his jealous behavior.
Things only get worse, but other than those mesmerized by Richardson -- she does possess certain magic -- few are likely to find the downward spiral of events either credible or compelling. The filmmaking skills of MacKenzie and a top-notch production team keep one mildly interested, yet the payoff is decidedly not worthy of these collective skills. The story is just too nonsensical to hold water.
ASYLUM
Paramount Classics
Seven Arts Pictures/Samson Films
Credits: Director: David MacKenzie; Writer: Patrick Marber; Based on the novel by: Patrick McGrath; Producers: Laurence Borg, David E. Allen, Mace Neufeld; Executive producers: Michael Barlow, Natasha Richardson, Robert Rehme, Baron Davis, Steven Markoff, Bruce McNall, Chris Curling, Harmon Kaslow, John Buchanan; Director of photography: Giles Nuttgens; Production designer: Laurence Dorman; Music: Mark Mancina; Costumes: Consolata Boyle; Editors: Colin Monie, Steven Weisberg. Cast: Stella: Natasha Richardson; Peter: Ian McKellen; Edgar: Marton Csokas; Max: Hugh Bonneville; Charlie: Gus Lewis; Brenda: Judy Parfitt; Mr. Straffen: Joss Ackland.
MPAA rating R, running time 99 minutes.
- 3/23/2005
- The Hollywood Reporter - Movie News
BERLIN -- "Asylum" is a psychological thriller without bothering much with psychology. Come to think of it, the thrills are pretty much missing, as well.
Director David MacKenzie, who received critical plaudits in some quarters in 2003 for "Young Adam", has thoroughly consulted the Alfred Hitchcock playbook to create the atmosphere and suspense for this tale of (literally) mad love. Certainly Mark Mancina's score, reminiscent of Bernard Herrmann's scores for the late master, and numerous images want to put audiences in a Hitchcock frame of mind. It's hard, however, to imagine Hitchcock even raising an eyebrow over this weak story.
Natasha Richardson adds plenty of glamour and marquee value to this Paramount Classics release. The fun of the movie comes in watching this intelligent and always interesting actress navigate the heroine's implausible course of obsessive love and increasing psychosis. It's a star turn evocative of the way Joan Fontaine or Susan Hayward used to entertain audiences, especially women. But audiences have changed greatly since those days. Despite the cool calculation of MacKenzie's direction, the movie's overheated emotionalism will look and feel mostly silly to today's audiences. Theatrical prospects appear slim.
Perhaps the basic premise in this tale, written by Patrick Marber ("Closer") from a Patrick McGrath novel, is that in any madhouse it's hard to tell who's crazier -- the patients or the doctors. The minute the new deputy head of an English asylum drives onto the grounds with his wife of 12 years and young son, you sense things are going to go very wrong. The movie quickly lets you know that this is a loveless marriage. Stella (Richardson) smokes cigarettes in a manner that screams boredom with her life. Occasionally, someone reminds her to "behave," which must mean she's been a bad girl before.
Her inattentive and unfeeling husband Max (Hugh Bonneville) -- talk about a physician who needs to heal himself -- arranges for a greenhouse to be repaired so Stella can at least putter with her plants. The patient brought in to do the repairs is Edgar Stark (a brooding Marton Csokas), a sculptor jailed for having brutally murdered his wife. He has problems with jealousy, you understand, but he is the favorite patient of Dr. Cleave (Ian McKellen in a mischievous performance where every line feels like an innuendo). The good doctor assures one and all that Edgar Stark -- don't you love that name! -- is harmless despite a habit of skulking that reminds you of Anthony Perkins in "Psycho".
Well, wouldn't you know, the bored housewife and the wife killer fall into a passionate affair virtually the moment they lay eyes on each other. He escapes, she follows him to London and they set up housekeeping in what looks like an abandoned building. Soon enough, he reverts to his jealous behavior.
Things only get worse, but other than those mesmerized by Richardson -- she does possess certain magic -- few are likely to find the downward spiral of events either credible or compelling. The filmmaking skills of MacKenzie and a top-notch production team keep one mildly interested, yet the payoff is decidedly not worthy of these collective skills. The story is just too nonsensical to hold water.
ASYLUM
Paramount Classics
Seven Arts Pictures/Samson Films
Credits: Director: David MacKenzie; Writer: Patrick Marber; Based on the novel by: Patrick McGrath; Producers: Laurence Borg, David E. Allen, Mace Neufeld; Executive producers: Michael Barlow, Natasha Richardson, Robert Rehme, Baron Davis, Steven Markoff, Bruce McNall, Chris Curling, Harmon Kaslow, John Buchanan; Director of photography: Giles Nuttgens; Production designer: Laurence Dorman; Music: Mark Mancina; Costumes: Consolata Boyle; Editors: Colin Monie, Steven Weisberg. Cast: Stella: Natasha Richardson; Peter: Ian McKellen; Edgar: Marton Csokas; Max: Hugh Bonneville; Charlie: Gus Lewis; Brenda: Judy Parfitt; Mr. Straffen: Joss Ackland.
MPAA rating R, running time 99 minutes.
Director David MacKenzie, who received critical plaudits in some quarters in 2003 for "Young Adam", has thoroughly consulted the Alfred Hitchcock playbook to create the atmosphere and suspense for this tale of (literally) mad love. Certainly Mark Mancina's score, reminiscent of Bernard Herrmann's scores for the late master, and numerous images want to put audiences in a Hitchcock frame of mind. It's hard, however, to imagine Hitchcock even raising an eyebrow over this weak story.
Natasha Richardson adds plenty of glamour and marquee value to this Paramount Classics release. The fun of the movie comes in watching this intelligent and always interesting actress navigate the heroine's implausible course of obsessive love and increasing psychosis. It's a star turn evocative of the way Joan Fontaine or Susan Hayward used to entertain audiences, especially women. But audiences have changed greatly since those days. Despite the cool calculation of MacKenzie's direction, the movie's overheated emotionalism will look and feel mostly silly to today's audiences. Theatrical prospects appear slim.
Perhaps the basic premise in this tale, written by Patrick Marber ("Closer") from a Patrick McGrath novel, is that in any madhouse it's hard to tell who's crazier -- the patients or the doctors. The minute the new deputy head of an English asylum drives onto the grounds with his wife of 12 years and young son, you sense things are going to go very wrong. The movie quickly lets you know that this is a loveless marriage. Stella (Richardson) smokes cigarettes in a manner that screams boredom with her life. Occasionally, someone reminds her to "behave," which must mean she's been a bad girl before.
Her inattentive and unfeeling husband Max (Hugh Bonneville) -- talk about a physician who needs to heal himself -- arranges for a greenhouse to be repaired so Stella can at least putter with her plants. The patient brought in to do the repairs is Edgar Stark (a brooding Marton Csokas), a sculptor jailed for having brutally murdered his wife. He has problems with jealousy, you understand, but he is the favorite patient of Dr. Cleave (Ian McKellen in a mischievous performance where every line feels like an innuendo). The good doctor assures one and all that Edgar Stark -- don't you love that name! -- is harmless despite a habit of skulking that reminds you of Anthony Perkins in "Psycho".
Well, wouldn't you know, the bored housewife and the wife killer fall into a passionate affair virtually the moment they lay eyes on each other. He escapes, she follows him to London and they set up housekeeping in what looks like an abandoned building. Soon enough, he reverts to his jealous behavior.
Things only get worse, but other than those mesmerized by Richardson -- she does possess certain magic -- few are likely to find the downward spiral of events either credible or compelling. The filmmaking skills of MacKenzie and a top-notch production team keep one mildly interested, yet the payoff is decidedly not worthy of these collective skills. The story is just too nonsensical to hold water.
ASYLUM
Paramount Classics
Seven Arts Pictures/Samson Films
Credits: Director: David MacKenzie; Writer: Patrick Marber; Based on the novel by: Patrick McGrath; Producers: Laurence Borg, David E. Allen, Mace Neufeld; Executive producers: Michael Barlow, Natasha Richardson, Robert Rehme, Baron Davis, Steven Markoff, Bruce McNall, Chris Curling, Harmon Kaslow, John Buchanan; Director of photography: Giles Nuttgens; Production designer: Laurence Dorman; Music: Mark Mancina; Costumes: Consolata Boyle; Editors: Colin Monie, Steven Weisberg. Cast: Stella: Natasha Richardson; Peter: Ian McKellen; Edgar: Marton Csokas; Max: Hugh Bonneville; Charlie: Gus Lewis; Brenda: Judy Parfitt; Mr. Straffen: Joss Ackland.
MPAA rating R, running time 99 minutes.
- 2/12/2005
- The Hollywood Reporter - Movie News
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