Martin Scorsese’s Silence, a historical drama about faith in feudal Japan, will open in time to qualify for the Academy Awards.
Paramount Pictures said on Monday that Silence will open with
a limited release on December 23 with a nationwide expansion to follow
sometime in January.
Whether the film, a decades-long passion project for Scorsese, would
be ready in time for release this year had been a major question mark in
Hollywood’s awards season. Scorsese’s last two feature films, The Wolf
of Wall Street and Hugo, collected a total of 16 Oscar nominations.
Silence, which stars Andrew Garfield, Adam Driver and Liam Neeson, is
based on Shusaku Endo’s 1966 novel. It’s about two Portuguese Jesuit
missionaries travelling to 17th-century Japan to spread Christianity and
find their missing mentor.
'Braveheart' screenwriter Randall Wallace says he is writing a follow-up to the biblical blockbuster that will focus on the resurrection of Jesus.
(The Hollywood Reporter) Mel Gibson and writer Randall Wallace are working on a sequel to The Passion of the Christ that will tell the story of the resurrection of Jesus, Wallace tells The Hollywood Reporter.
Wallace, nominated for an Academy Award for scripting Gibson's 1995 best picture Oscar winner Braveheart, on Thursday (reluctantly) confirmed rumors that he has begun to write a script for a story about the resurrection, telling THR that the project is becoming too difficult to keep under wraps.
Wallace, who most recently directed and co-wrote the 2014 faith-based drama Heaven Is for Real, says he and Gibson began to get serious about a sequel to The Passion, the most successful independent film of all time, while making Hacksaw Ridge, which Gibson directed and Wallace co-wrote. Hacksaw Ridge opens in November and centers on World War II Army medic Desmond Doss, the first conscientious objector to be awarded the Congressional Medal of Honor.
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Wallace was a religion major at Duke University and says the resurrection was a specialty of his. "I always wanted to tell this story," he says. "The Passion is the beginning and there's a lot more story to tell."
A rep for Gibson declined to comment on the filmmaker-actor's involvement in a Passion sequel.
The Passion, Gibson's story of the persecution and crucifixion of Jesus, was released in 2004 by the independent Newmarket Films and earned a whopping $612 million worldwide on a $30 million production budget. Since then, many in Hollywood have presumed a sequel would someday be made, but Gibson has moved on to other projects.
Rumors swirled anew last month when Gibson was a surprise guest at Liberty University's graduation ceremony to do an advance screening of Hacksaw Ridge and was asked about a Passion follow-up. He expressed interest in making a sequel but was not specific about his involvement. Wallace says demand in the Christian community influenced his and Gibson's willingness to do another film.
"The evangelical community considers The Passion the biggest movie ever out of Hollywood, and they kept telling us that they think a sequel will be even bigger," Wallace says.
No studio or financial backing has been lined up for the project, which is still in the early script stage. But Wallace indicates there are several financiers interested in investing. "It's too early to talk money," he adds. "This is such a huge and sacred subject."
In February, Sony released Risen, which tells the story of the resurrection, though Gibson wasn't involved. The movie made $46 million worldwide on a $20 million budget.
"May I be permitted to make a Xenomorph analogy? It’s like Aliens.
The Latin Mass people are like the Colonial Marines. We certainly have
the tools, but there is definitely a lack of… discipline. And
cohesion.
(As an aside, yes, absolutely, I wanna be Vasquez. Not Ripley.
VASQUEZ. One of the great movie lines of all time…"
(WebProNews) A very peculiar sci-fi movie called “Iron Sky” is making its way through the circuit of film festivals in Europe this season, yet it is conspicuously not coming anywhere near the United States. The flick is replete with great stuff Americans love to watch: spaceships, fighting Nazis, fighting Nazi invaders from space, Jerry Bruckheimer-levels of explosions, a campy yet potent sense of dark humor and… President Sarah Palin?
Oh. Now it all makes sense why it’s staying away from the U.S. Well, sort of.
In the film, the President of the United States is female, does adorn a certain someone’s signature red dress suit, sports a very familiar hairdo-and-glasses combo, and has the initials S.P. But it’s not a former governor of Alaska.
Already, this movie sounds more like a fantasy horror than sci-fi comedy. At any rate, “Iron Sky” confidently offers something for everybody to either love or hate, which is all the makings of a summer blockbuster, right?
The film, which is in English, depicts a fleet of Moon Nazis that intent on invading Earth so as to resume their mission of world domination. The last first and last line of defense for the United States of America, and the rest of the world, I fear, is the commander-in-chief of the United States, the aforementioned Palinesque Stephanie Paul.
This movie is like a Choose Your Own Adventure book gone absolutely berserk on angel dust, but “Iron Sky” is surreal enough to entice just about anybody’s interest. Just try to watch the the trailer below without quietly craving more.
When it was announced that Mel Gibson was teaming with writer Joe Eszterhas for a biblical epic about Jewish historical figure Judah Maccabee, we more or less assumed that it would mean the death of his long-gestating Viking epic, which was originally supposed to team Gibson with William Monahan, Graham King and Leonardo DiCaprio. Monahan even confirmed late last year that he never wrote a word for the project and that, as far as he knew, it never went past the announcement. Well, it looks like throughout all his recent struggles, Gibson never gave up on his Viking dreams.
At a recent American Cinematheque Q&A [via L.A. Times] after a screening of "Mad Max," Gibson revealed that he's "got a couple of things on the boil, a couple of projects that I'm writing. I just got a second draft of something I'm really excited about today." Questioned whether it was his Judah Maccabee project, Gibson surprisingly replied -- to the delight of the crowd -- that "it's actually a Viking thing. Vikings, as you know, are very unsympathetic characters and these guys will be bad. I sort of hooked up again with Randall Wallace, who did the script on 'Braveheart.' Yeah, it's pretty good. It's called 'Berserker.'"
Questioned whether the Vikings will have horns on their hats as is the typical stereotype, Gibson said "they did not have horns. No, I don't think they had horns. They're going to look real." He continued, "They're not going to be running around like the '50s," referencing Richard Fleischer's 1958 pic 'The Vikings' starring Kirk Douglas and Tony Curtis. "I want to make something real and visceral."
Gibson also later confirmed that the team on board the earlier iteration of the project (King, DiCaprio, Monahan) was pretty much gone, adding that "things begin and people wander off and do their thing and I do my thing. I just took my stuff and wrote it with Randall. Where it goes from here is anyone's guess." No word on if the plan to film the whole project in the defunct Old Norse and Anglo-Saxon languages is still going ahead but, either way, we've definitely got fingers crossed that Gibson can make it all happen.
The Q&A also touched on George Miller's latest 'Mad Max' film, which Gibson more or less confirmed as the same feature film he was going to star in with Miller in the early '00's -- as we previously reported. He did, however, interestingly add that he had met his replacement, Tom Hardy, some time ago. "I like that kid [George's] got, Tom Hardy. He's a very interesting actor. He reminds me of one my sons a bit but I had lunch with him, he's a firecracker. It'll be good. He was already cast [at the time], he just wanted to check in. I don't know, maybe it was like 'Is it okay?' I was like 'Sure, it's fine. Have a ball, knock yourself out. I got better things to do.'"
As for his Judah Maccabee project? "I'm working with Joe Eszterhas on that. That's from the last two books of the Old Testament, which is like; [turns to audience] just read it some time. Maccabee 1 and 2. Just read it, it's like a Western. It's an amazing story. It's heroic beyond belief. The entire might of the Seleucid Empire, which was Persia, their whole objective at the time was to wipe Judea off the map and they almost did it except for this little hold out that miraculously grew and wanted it all back again."
All in all, it certainly sounds like Gibson has plenty on his plate with the two histrorical epics and, if the reception from the crowd at the Q&A are any indication, it seems like his troubled times are behind him. Forgive and forget, Leo?
"The Rite" takes exorcism more seriously than I expected it to. It begins with the supposition that Satan is “alive and active in the world” and assumes that satanic possession takes place and that the rite of exorcism works. Otherwise, we wouldn't have a movie, would we? In metaphysical terms, I must immediately jump on the word “alive.” In what sense can a being that exists outside of time and space be said to be alive? Active, yes.
The movie is based on the actual experiences of Father Gary Thomas, a California priest who was assigned by his bishop to study exorcism at the Vatican. In "The Rite," he becomes Father Michael Kovak (Colin O'Donoghue) from Chicago, and the closing credits tell us he's now working in a Western suburb. That's a fib. The director, Mikael Hafstrom, should say three “Hail Marys” and make a good act of contrition.
Father Michael is not a saint. He enters the seminary as a way to get a four-year college education before taking his vows, and then tries to leave the novitiate. Discovering the cost of his education would then roll over into a $100,000 student loan, he reconsiders and agrees to attend a monthlong course in Rome. This sort of detail is more refreshing than shots of him silhouetted against ancient desert structures while monks intone Gregorian chants.
In Rome, he attends classes, debates scripture, and then is advised to spent some time with an experienced exorcist, Father Lucas Trevant (Anthony Hopkins). This too is from the book by Matt Baglio, although in the book, this priest is Italian. As Hopkins appears onscreen, "The Rite" slips into gear and grows solemn and effective. Hopkins finds a good note for Father Trevant: friendly, chatty, offhand, self-effacing, realistic about demonic possession but not a ranter. He takes the kid along while treating the apparent possession of a pregnant young woman.
That something happens to make people seem possessed I have no doubt. Diagnosing whether Satan is involved is above my pay grade. What I must observe is that demonic possession seems very rare, and the Church rejects the majority of such reports. Yet it approaches epidemic proportions in "The Rite," almost as if it were a virus. The film is like one of those war movies where everybody gets wounded but John Wayne.
Still, I found myself drawn in. It is sincere. It is not exploitative; a certain amount of screaming, frothing and thrashing comes with the territory. My own guess is that people get the demons they deserve. While true believers go into frenzies, the Masters of Wall Street more cruelly lose joy in their wives and homes.
In Rome, Father Lucas meets a journalist named Angeline (Alice Braga), who like most women in the movies, even journalists, lacks a second name. She follows them on assignment, but it is one of the film's virtues that she does not get romantically involved. In a correct casting decision, Braga is attractive but not a sexpot. This movie was filmed largely in Hungary. In Hollywood, the role would have had Megan Fox written all over it.
Hafstrom uses what I assume are some Hungarian interiors to go with his exteriors in Rome. A centuries-old library is especially impressive. The ancient presence of the Vatican is evoked to great effect; a reminder that although Satan is in fashion in many denominations, when you want to exorcise, you call in the experienced professionals. The priests are not blind believers. Father Kovak argues at one point that a psychiatrist might be more appropriate. When they get into the trenches with the demons, there is spiritual hand-to-hand fighting, but Father Trevant, Father Kovak and Angeline are as realistic as probably possible.
This is I suspect a more realistic film than "The Exorcist," although not its equal. The real Father Gary Thomas has cited "The Exorcism of Emily Rose" (2005) as more accurate. I admire "The Rite" because while it delivers what I suppose should be called horror, it is atmospheric, its cinematography is eerie and evocative, and the actors enrich it. It has given some thought to exorcism. Grant its assumptions, and it has something to say.
Hardcopy Issue Date: March 2011
Online Publication Date: Mar 1, 2011, 14:26
Starring Anthony Hopkins, Colin O’Donoghue, Ciarán Hinds
Warner Brother Enterprise presents a film directed by Mikael Håfström
based loosely on a book by Matt Baglio, The Rite: The making of a modern exorcist, 2009
rated: PG-13 for disturbing thematic material, violence, frightening images, and language including sexual references.
The biggest difference between the film The Rite and the book on which it is loosely based is the character of the man called to Rome to be trained as an exorcist. In the film, this man is the fictional Michael Kovak, an affable seminarian who doubts his vocation and suffers from weak faith. In the book, this man is a real person, Father Gary Thomas, a well-educated 57-year-old American priest who was requested by his bishop in 2005 to train for the position of exorcist for his diocese. People who have read the book may find this difference distracting. However, it ends up being unimportant. Taken as a whole, the film is surprisingly accurate about the phenomenon of diabolical possession.
The film deals with three exorcisms. The first case is that of a young pregnant woman. The exorcist helping her is Father Lucas Trevant (Anthony Hopkins), an intense, charismatic priest originally from Wales but living alone in Italy in a suitably spooky house. Seminarian Michael Kovak is sent to train under Father Lucas. His training is hands-on. During a series of exorcisms on the young woman, Michael sees her exhibit disturbing behaviours, such as speaking a variety of languages in different voices, displaying superhuman strength, uttering obscenities, writhing, choking, spitting, and convulsing when touched by a Crucifix or sprinkled with holy water. All these phenomena are consistently documented by reputable exorcists, which means the filmmakers did their homework. Oddly, Michael remains unconvinced of any supernatural explanation and insists the woman needs a psychiatrist.
The second case is that of a young boy who has been bitten ferociously by an evil “mule” and displays knowledge of things he cannot know through natural means. Father Lucas asks pointed questions to determine whether or not the boy is suffering from child abuse. He becomes convinced it is a genuine case of extraordinary diabolic activity. As part of the exorcism, he demands to see the boy’s pillow, tears it apart, and finds inside the confirmation of his diagnosis. Again, the filmmakers did their homework. Exorcists emphasize the importance of correct diagnosis, and do indeed report the discovery of strange hidden objects as a sign of demonic activity in some cases. At this stage in the film, the seminarian Michael begins to believe.
The third case is that of Father Lucas himself. This part of the film is the most sensationalistic and the least catechetical. Accurate reflection of Church teaching breaks down because the seminarian Michael successfully performs the exorcism on Father Lucas with the aid of a female journalist. The Catholic Church does not allow seminarians to perform exorcisms. If they attempt to do so, they are unlikely to be successful. An exorcism is to be performed only by a faithful priest appointed by his bishop. Also, experienced exorcists discourage the popular idea that the devil normally attacks the exorcist as revenge for the exorcism ritual.
"My husband and I prayerfully discerned our calling to found this company to make authentically Catholic films for wide distribution. Our first film is entitled Requiem of a Soul and is the life story of St. Germaine Cousin. Go HERE to view our newly launched website. We have completed a 30 min short film and plan to complete an entire feature length movie once we have the funds. A trailer can be viewed on the site..."
Why is modern youth so goofy ? The movies shown on long-haul airplane flights rarely promise to be anything but silly, but a movie from Catalonia recently made this ever hopeful 12-hour prisoner watch, and suggested an answer – liberty! The movie may have said more than it meant.
Here is the story. A young couple, unmarried but living together as is the way of “partners” today, are shown agreeing to part company if either of them ever feels like it. However, they love one another enough to hire together an apartment where she is happy to make with her man her first domestic nest. Alas, he has to be hospitalized with a grave liver problem, requiring a transplant for him to survive.
Visiting him regularly and caringly in the hospital, she offers him a part of her own liver. At last he accepts. The doctors find her compatible. The transplant is performed. Both recover from the operation. Joyfully he returns to the apartment to rejoin the girl who has saved his life, but he finds her… different! While he was in the hospital, a male colleague at her place of work took an interest in her, and she in turn found him attractive. So when the “partner” whom she saved rejoins her, she tells him that they may be bonded by his having in him a physical part of her, but he no longer has the best part of her, which is her heart! Weakly he comments, “What a pity!” But given their original agreement, what more was there to say?
The movie ends with her gently weeping in his arms, leaving open the possibility of a happy-ever-after ending, whereby he would regain her heart’s affections, etc, etc. However, it seems just as probable that she will “move on” (as they say today) to her new “partner”. In fact, to any bond created by her considerable sacrifice she even seems likely to prefer freedom for her feelings.
Now nothing in the movie remotely promotes the Catholic formula for such domestic happiness of man and woman as this “valley of tears” allows of, namely, a girl keeps her heart in reserve for the one man she will marry, marries him, and then never lets him go. But the movie does quite objectively suggest that that “liberty” which can cut off a girl’s deepest natural instincts of nest-making and self-sacrifice for her man, is not necessarily going to make her happy. Girls, if you are looking for happiness in this life, let alone for eternity, trust Mother Church. Kyrie Eleison.
