Goodbye Christopher Robin (2017) - News Poster


Where Else You've Seen James From The End of the F***ing World

  • BuzzSugar
There's a lot to love about the Netflix show The End of the F***ing World, a dark, witty, and unconventionally romantic British import based on a graphic novel that premiered earlier this year. In the show, two teenage social outcasts named James and Alyssa run away for their humdrum school and dysfunctional families, only to find themselves in a dilemma bigger than they could have ever predicted. For the role of James, a 17-year-old self-diagnosed psychopath who only befriends Alyssa (Jessica Barden) so that he can kill her, The End of the F***ing World needed to cast someone who could be awkwardly charming and nervously unpredictable. The role needed someone you could find endearing even though you're afraid of what he might do next. Enter Alex Lawther, a 22-year-old English actor who, after this performance and a slew of high-profile upcoming roles, is poised to be a household name.
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First Look At Judi Dench & Sophie Cookson In Lionsgate’s ‘Red Joan’

Lionsgate has released a first look at the upcoming Red Joan, a new feature based on Jennie Rooney’s best-selling novel of the same name. The film is inspired by the remarkable true story of a woman accused of being the Kgb’s longest-serving British spy.

Now in post-production, Red Joan filmed on location across England and stars Judi Dench (Skyfall, Shakespeare in Love) and Sophie Cookson (Kingsman: The Secret Service, Gypsy) as the eponymous central character. We have our first look at the two below.

Stephen Campbell Moore (The Child in Time, Goodbye Christopher Robin), Tom Hughes (Victoria, London Town), Ben Miles (The Crown, Woman in Gold), and Tereza Srbova (Eastern Promises, Inkheart) join Dench and Cookson in this suspenseful drama directed by Trevor Nunn.

2000: Joan Stanley (Dench) is living in contented retirement in suburbia at the turn of the millennium. Her tranquil life is suddenly disrupted when
See full article at The Hollywood News »

This Video Highlights The Best Cinematography of 2017

I've got a wonderful video here for you to watch from No Film School, which highlights the best cinematography that we've seen in film throughout the course of 2017. There were some seriously beautiful looking films this year. A couple of my favorites that were featured in this video supercut include Blade Runner 2049 and Dunkirk. The other films listed include Chasing Coral, Casting JonBenét, KediMudboundWonder WheelGood TimeThe Florida Project, and Columbus. Some of the other best Cinematography from this past year includes WonderstruckThe Shape of Water, Darkest Hour, War For The Planet of the Apes, Goodbye Christopher Robin, and more that weren't included in the video. Are there any other films that you think should be added to the list?
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Palestinian Annemarie Jacir’s ‘Wajib’ Wins Big at Dubai Festival

Palestinian Annemarie Jacir’s ‘Wajib’ Wins Big at Dubai Festival
Dubai, United Arab Emirates — The 14th Dubai Int’l Film Festival handed out prizes Dec. 13 at an afternoon awards ceremony preceding the evening gala premiere of “Star Wars: The Last Jedi.” The Muhr feature jury, headed by prominent German actress Martina Gedeck, gave the best fiction feature nod to the poignant Palestinian father-son drama “Wajib,” helmed by Annemarie Jacir. The film also nabbed the best actor kudo, shared by real-life father and son co-stars, Mohammed and Saleh Bakri.

Syrian director Ziad Khalthoum secured the best non-fiction prize for “Taste Of Cement,” focusing on the dire situation for Syrian construction workers in Beirut. Lebanese helmer Lucien Bourjeily scored the special jury prize for the drama “Heaven Without People.”

Rounding out the feature awards, Algerian Sofia Djama took best director for the France-Belgium-Qatar production “The Blessed,” while Menha El Batroui earned the best actress nod for her work in indie Egyptian drama “Cactus Flower.”

Prolific Egyptian
See full article at Variety - Film News »

Wonder, Paddington 2, and live action family films' return

Simon Brew Dec 1, 2017

Wonder and Paddington 2 both have kindness at heart - and both prove that the live action family movie can still hit big.

I’ve taken to this site several times in the past to bemoan the lack of quality live action family movies to take my offspring to over the years. That when they arrive, they tend to generally be cheap and cheerful, but not always very good. Instead, though, the bulk of films aimed at families tend to be animated. I’d wager at least 80% of them have some kind of talking animal.

No bad thing, as a rule. As much as I’m opposed to the kind of film that’s a surrogate babysitter when I’m paying £30 for the privilege, I’ve found more life, more story and more things to talk about in some animated features than you’d find in 100 live action alternatives.
See full article at Den of Geek »

Margot Robbie Is 'Just Not Willing' to Avoid Wearing Sequins on I, Tonya Press Tour

Margot Robbie Is 'Just Not Willing' to Avoid Wearing Sequins on I, Tonya Press Tour
It’s going to be a busy awards season for Margot Robbie, which means tons of red carpet looks. The 27-year-old Australian actress is receiving huge praise for her portrayal of the polarizing pro ice skater Tonya Harding in the film I, Tonya, and it seems the sparkly skater aesthetic has influenced the actress’s off-screen style.

Robbie kicked off the awards show circuit at the the 27th Annual Gotham Awards Monday night, wearing a glittering green Saint Laurent dress featuring a head-turning high slit and one-shoulder neckline. She teamed the look with black ankle-strap sandals and a tiny Roger
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‘Call Me by Your Name’ Is Best Opener of 2017; ‘Darkest Hour’ Launches Well

  • Indiewire
‘Call Me by Your Name’ Is Best Opener of 2017; ‘Darkest Hour’ Launches Well
Two year-end Oscar contenders, “Call Me by Your Name” (Sony Pictures Classics) and “Darkest Hour” (Focus Features), opened well over the Thanksgiving holiday. “Call Me by Your Name” is now the top initial weekend platform grosser of the year, at a level often seen by films that end up as Oscar leaders. While Wednesday opener “Darkest Hour” didn’t perform at the same level, Focus launched the World War drama at a level consistent with its favorable reviews and strong media positioning.

“Bombshell: The Heddy Lamarr Story” (Zeitgeist/Kino Lorber) enjoyed an excellent initial New York single theater showing, as yet another documentary about creative world figure drew unexpected interest.

Read More:‘Call Me by Your Name’ Screenwriter James Ivory Loves the Story Too Much to Think About Sequels

Two robust recent openers, “Three Billboards Outside Ebbing, Missouri” (Fox Searchlight) and “Lady Bird” (A24), showed continued strength, pulling crossover interest
See full article at Indiewire »

‘The Man Who Invented Christmas’ Review: A Corny Hat on a Festive Hat

We’ve reached the point where we’ve adapted certain stories so many times that we now need a myth for the myth. We made too many Peter Pan adaptations, so we got Finding Neverland. We made too many Winnie the Pooh stories, so we got Goodbye Christopher Robin. And because we’ve adapted A Christmas Carol too many times, we’ve now got Bharat Nalluri’s The Man Who Invented Christmas, a story that could have provided an interesting look at Charles Dickens but instead couches a bunch of familiar touchstones in coincidence and random observations. It’s a …
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Tough Mother and Rookies Make Up Supporting Actress Oscar Race

Tough Mother and Rookies Make Up Supporting Actress Oscar Race
Motherhood is a common theme for supporting actresses this year, from Emmy winners Laurie Metcalf and Allison Janney parenting lead actress potentials Saoirse Ronan and Margot Robbie in “Lady Bird” and “I, Tonya,” respectively. Then there’s Mary J. Blige’s tough matriarch in “Mudbound,” a commanding performance by the singer. Matriarch Catherine Keener is not to be trusted in “Get Out” while Holly Hunter is loving parent to a sick daughter in “The Big Sick.” And there’s a mother of a different kind with Melissa Leo in “Novitiate,” playing a Mother Reverend grappling with change. Other potential nominees include previous winner Octavia Spencer, standing out in the strong ensemble of “The Shape of Water,” previous nominee Kristen Scott Thomas bringing grace to the wife of Winston Churchill in “Darkest Hour,” and newcomer Hong Chau, stealing scenes as a political activist in “Downsizing.” Buzz is also high on Lesley Manville, though “[link
See full article at Variety - Film News »

Genre, Indie and Blockbuster Directors Jostle for Awards Attention

Genre, Indie and Blockbuster Directors Jostle for Awards Attention
From Paul Thomas Anderson to Guillermo del Toro to Patty Jenkins, a wide variety of directors across genres are vying for attention this awards season.

Paul Thomas Anderson

“The Phantom Thread

Not a frame of Anderson’s latest has yet been seen by the public, nor is much known about it, but he’s the rare filmmaker whose name alone can stoke anticipation. The fact that this 1950s-set film about the fashion world also stars Daniel Day-Lewis, who plans to retire from acting, only piques interest further.

Darren Aronofsky


Easily the most divisive studio film of 2017, and presumably intentionally so, Aronofsky’s “Mother!” could curry favor among his fellow directors for the sheer boldness of his vision, as he and star Jennifer Lawrence ascend ever-escalating levels of madness.

Sean Baker

The Florida Project

An indie darling du jour thanks to his sleeper “Tangerine,” Baker returned with yet another warm, sly-humored study of
See full article at Variety - Film News »

‘Three Billboards’ Joins ‘Lady Bird’ as a Female-Centric Specialized Smash

  • Indiewire
‘Three Billboards’ Joins ‘Lady Bird’ as a Female-Centric Specialized Smash
For the second straight weekend, a strongly reviewed new film with a central female character broke through the clutter of this mixed fall season to great success. “Three Billboards Outside Ebbing, Missouri” (Fox Searchlight) joined “Lady Bird” (A24) as the best starts among the many top titles vying for attention, and both did so by a wide margin above other films. “Lady Bird” added other top cities and proved its first week was no fluke, showing results unequaled since “La La Land” last year.

The grosses in both cases are early results, but the films look in prime position for both greater success and maximum attention just as the awards jockeying is reaching high gear. And given that both are female-centered, and not historical figure-based like so many other titles, makes them even more vital at the moment.


Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Metacritic: 86; Festivals include: Venice,
See full article at Indiewire »

Stream 2 Tracks From Carter Burwell’s Score For ‘Three Billboards Outside Ebbing, Missouri’ [Exclusive]

This fall, you’ve likely been hearing plenty of music from Oscar-nominated composer Carter Burwell. He’s put his magic touch already on “Goodbye Christopher Robin” and “Wonderstruck,” and this month, he shows his talent and range once again with the score for “Three Billboards Outside Ebbing, Missouri.”

The new film by Martin McDonagh (“Seven Psychopaths,” “In Bruges“) follows Mildred Hayes (Frances McDormand), who makes a bold move, commissioning three signs leading into her town with a controversial message directed at William Willoughby (Woody Harrelson), the town’s revered chief of police, after months have passed without a culprit in her daughter’s murder case.

Continue reading Stream 2 Tracks From Carter Burwell’s Score For ‘Three Billboards Outside Ebbing, Missouri’ [Exclusive] at The Playlist.
See full article at The Playlist »

‘Goodbye Christopher Robin’ Producer On True Story Behind A.A. Milne’s Works – The Contenders London Video

‘Goodbye Christopher Robin’ Producer On  True Story Behind A.A. Milne’s Works – The Contenders London Video
“I was astonished to discover, after reading the screenplay, that Christopher Robin was real. I think we had all enjoyed the books, but never computed that actually, Christopher Robin was inspired by A.A. Milne's own son,” Goodbye Christopher Robin producer Damian Jones said of the true-life basis for the Fox Searchlight film. He spoke during Deadline’s inaugural The Contenders London event this month. Directed by Simon Curtis, the drama explores the tragic true-life…
See full article at Deadline »

‘Lady Macbeth’ Leads 2017 British Independent Film Awards Nominations

Lady Macbeth topped the list of nominations for the 2017 British Independent Film Awards (Bifa) announced this morning by Maisie Williams and Hayley Squires at The London Edition.

Debut features dominate the nominations list, with the first-time writers, producers and directors of Lady Macbeth, I Am Not a Witch and God’s Own Country all recognised in the three newcomer categories – Debut Screenwriter, Breakthrough Producer sponsored by Creativity Media and The Douglas Hickox Award for Best Debut Director – as well as Best Screenplay sponsored by BBC Films, Best Director and Best British Independent Film.

Included in Lady Macbeth’s 15 nominations are nods for Florence Pugh, Naomi Ackie and Cosmo Jarvis for their performances; Naomi is nominated twice, for Best Supporting Actress and Most Promising Newcomer sponsored by The London Edition. The film has also been nominated for five technical categories, newly introduced this year, including Best Cinematography sponsored by Blackmagic Design,
See full article at The Hollywood News »

Review: Goodbye Christopher Robin (2017)

When people aspire to succeed, it can sometimes result in quite incredible tales of fighting the odds to achieve victory. However, some stories of real-life achievement are not always as clear cut and blissful in their nature. And back in the mid-20s, when Winnie-the-Pooh was first released into a post-WW2 world, the story of its author A. A. Milne and its inspiration (his young son Christopher Robin Milne and his Teddy Edward) went a little lost, as the books and the character became some of the most cherished in all of children’s literature. In fact, I was not aware at all of the details of the story behind 100-Acre Wood and Winnie The Pooh and his friends but this new film from Simon Curtis (My Week with Marilyn) arrives to tell that very tale…and not everything is as sweet as honey that’s for sure.

Starting off rather concisely,
See full article at The Cultural Post »

Movie Review: Goodbye Christopher Robin

This is not a children’s story about a child. It’s an adult story about a family. Goodbye Christopher Robin illuminates the rather gloomy profile of author A.A. Milne and his family—principally his son, Christopher Robin—and the inspiration behind Winnie the Pooh and its wild success.

Whatever pre-conceived optimisms you have about this film, toss them out and refresh your expectations. This is not the snuggly-wuggly, starry-eyed portrayal you may have hoped for. Audiences expecting a partially animated, frolicsome romp will be largely disappointed when they find that their anticipated “hunny” pots and boisterous, bouncing tigers have been replaced with bits of adapted crude war footage and the minutiae of a writer-turned-veteran’s Ptsd-induced depression.

If you can get past that, then you’re in for a fairly satisfying ride, despite some meandering storylines. Though sad, it is a fascinating portrayal. Goodbye Christopher Robin explores the relationships
See full article at CinemaNerdz »

‘The Man Who Invented Christmas’ Review: Charles Dickens Gets a Winsome but Weary ‘Shakespeare in Love’ of His Own

‘The Man Who Invented Christmas’ Review: Charles Dickens Gets a Winsome but Weary ‘Shakespeare in Love’ of His Own
It’s only been a few short weeks since Winnie the Pooh got the “Shakespeare in Love” treatment in “Goodbye Christopher Robin” — a film that inspired this critic to lament that “we used to tell stories; now we just tell stories about how we used to tell stories” — which means that we’re already long overdue for another saccharine period fable about the creation of another literary icon. Enter Ebenezer Scrooge, who came to Charles Dickens at a moment when both men were at a low point in their lives.

The year was 1843, the great author (a manic Dan Stevens) was 31, and his massive fame was ebbing in the wake of three consecutive flops. With the winter settling in and a certain lifestyle to maintain, Dickens was in desperate need of a Christmas miracle. There was only one problem: There hadn’t been a Christmas miracle in almost 1,843 years. You see,
See full article at Indiewire »

Film Review: ‘The Man Who Invented Christmas’

Film Review: ‘The Man Who Invented Christmas’
Of all the books Charles Dickens wrote, none has been more often adapted for the screen than “A Christmas Carol,” drawing under its spell stars as diverse as Albert Finney, Bill Murray, Jim Carrey, Mickey Mouse and the Muppets. Rather than retelling the classic once again, fresh take “The Man Who Invented Christmas” focuses on Dickens himself, revealing the equivalently satisfying story of how the English author conceived his beloved yuletide novella — while offering a chance for a splendidly cast Christopher Plummer to play Ebenezer Scrooge in the process.

Satisfying as it is to see a late-career Plummer tackle the iconic role, the subject of this particular film remains Scrooge’s creator, who may have had more in common with the old miser than audiences realize. The year was 1843, by which time Dickens (played here by “Downton Abbey” star Dan Stevens) had already tasted success, only to lose his publishers’ confidence after a series of “flops” (although
See full article at Variety - Film News »

‘Wonderstruck’: How Carter Burwell’s Percussive Score Carries Two New York Stories Divided by 50 Years

‘Wonderstruck’: How Carter Burwell’s Percussive Score Carries Two New York Stories Divided by 50 Years
For Todd Haynes’ “Wonderstruck,” composer Carter Burwell created his loveliest and most ambitious score, entering the interior worlds of two deaf children, Rose (Millicent Simmonds) and Ben (Oakes Fegley), who flee to New York 50 years apart and discover a mysterious connection at the American Museum of Natural History.

“It was about how to play those two periods [1927 and 1977] and those two kids, but at the same time not having it feel like two movies,” said Burwell, who previously collaborated with Haynes on the Oscar-nominated “Carol,” HBO Series “Mildred Pierce,” and glitter-rockfest “Velvet Goldmine.”

Finding Their Voices

Wonderstruck” weaves in and out of the black-and-white silent movie world of Rose, which, without dialogue, relies heavily on Burwell’s score, and the gritty world of Ben. Each kid searches for a missing parent to solve a puzzle and becomes immersed in two very different New Yorks (one ascendant in ’27 and the other at its nadir in ’77).

See full article at Indiewire »
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