Рэйчел Вайс на Sarasota Film Festival, Тео Джеймс на Tribeca Film Festival, Том Харди не премьере фильма в Лондоне, 15-18.04.2015

  

Весна - время подведения итогов и демонстрации новых фильмов. Все ждут Канны, но перед этим европейским кинофестивалем есть промежуточные американские в Нью-Йорке и Сарасоте. Если фильм не попадает в фестивальный список, то ему грозит только премьера и хорошо, если она будет мировой. Итак, 18 апреля во Флориде, в городке Сарасота, на кинофестивале 2015 Sarasota Film Festival, Рэйчел Вайс выступила не как актриса, а как исполнительный продюсер фильма "Radiator". Фильм чем-то напоминает победителя позапрошлогоднего канского фестиваля "Amour" Майкла Ханеке и рассказывает о двух стариках и их семейной драме, которая пропитана черным юмором. 17 апреля в Нью-Йорке в рамках 2015 Tribeca Film Festival прошел показ фильма "Френни" (Franny) с участием Тео Джеймса, Дакоты Фанинг, Ричарда Гира. Главный герой (Ричард Гир) — филантроп, который, чтобы побороть собственное отчаяние, ставит своей целью наладить отношения молодой пары Оливии (Дакота Фанинг) и Луки (Тео Джеймс), в которые он отчаянно влезает. 15 апреля в Лондоне состоялась премьера фильма "44" (Child 44) в кинотеатре Vue West End, на которой присутствовали Том Харди и Нуми Рапас. Чтож, не зря российские прокатчики вывели это "шедевр" за рамки кинотеатров и оставили его только в сети интернет, он с треском провалился, да так, что "альтернативную" историю послевоенного Советского Союза не поругал только ленивый. Фото и видео смотрим под катом

РЭЙЧЕЛ ВАЙС / RACHEL WEISZ 

18.04.2015 - КИНОФЕСТИВАЛЬ В САРАСОТЕ

Rachel Weisz dons a floral dress while attending a screening of executive-produced film Radiator during the 2015 Sarasota Film Festival on Saturday (April 18, 2015) in Sarasota, Fla 

 
 

Film Review: ‘Radiator’

variety.com: The personal experience of looking after one’s aging parents rings achingly true in “Radiator,” the directorial debut of Tom Browne, co-writer of 2001’s “The Nine Lives of Tomas Katz.” Depicting an adult son trying to support his long-suffering mother as she deals with her unraveling yet domineering husband, this family drama echoes Michael Haneke’s “Amour” in its subject matter, although the grotty setting couldn’t be further from that film’s chic Paris apartment. Flashes of dark humor and deeply resonant performances by the two senior actors (Richard Johnson, Gemma Jones) should help sell this specialty item to select audiences following a well-received London Film Festival bow.

In choosing to set his film at the real Cumbria stone cottage of his deceased parents, Browne takes advantage of a striking Lake District location and a chaotically jumbled interior, which no set decorator could ever hope to match. It’s immediately clear that Mariah (Jones) and especially Leonard (Johnson) are resistant to change, accepting of disorder, and not remotely fazed by the regular incursion of mice into their home. But life has taken a significant turn for the worse now that Leonard refuses to get up from his chair, eat, sleep, or use the bathroom.

Now arrives adult son Daniel (Daniel Cerqueira, the film’s co-writer), summoned from his city life by his mother to take charge of the situation. Mild-mannered, seemingly worn down by the cares of the world, and evidently considered a failure by his father, Daniel struggles to assert his authority. Leonard, meanwhile, assumes a conspiratorial tone with his wife: This whole charade has surely been dreamed up just to make their poor son feel useful, for a change.

Specificities of behavior — Leonard’s eccentricities include slicing slivers of candy bars with a scalpel, and cutting off the corrugated portions of drinking straws — gradually accrue, giving “Radiator” the beguiling conviction of real life. Johnson, aged 87, imbues the character with calm command, offering a withering critique of close family relatives, while seemingly giving no regard to his own mental and physical deterioration. Leonard might be maddening to know, but he’s certainly fascinating to watch.

Browne, who has a solid film acting career under the alternative name of Tom Fisher, elicits performances of notable subtlety from both Jones (with whom he acted in “Shanghai Knights”) and Johnson (the inspired suggestion of leading U.K. casting director Fiona Weir). The filmmaker’s long career as actor, writer and shorts director may provide a clue to the surprisingly star-peppered roster of executive producers for this modestly budgeted effort, which includes Rachel Weisz and Eon’s Barbara Broccoli and Michael Wilson. For Broccoli, “Radiator” represents a happier creative outcome than her other recent foray beyond the Bond franchise, “Silent Storm,” which was likewise presented at this year’s London Film Festival.

ТЕО ДЖЕЙМС / THEO JAMES  

17.04.2015 - TRIBECA FILM FESTIVAL  В НЬЮ-ЙОРКЕ

Andrew Renzi, Theo James, Dakota Fanning, and Richard Gere attend the premiere of "Franny" during the 2015 Tribeca Film Festival at BMCC Tribeca PAC on April 17, 2015 in New York City 

 

ТОМ ХАРДИ / TOM HARDY

15.04.2015 - ПРЕМЬЕРА ФИЛЬМА "№44" В ЛОНДОНЕ

Tom Hardy attends the UK Premiere of "Child 44" at Vue West End on April 16, 2015 in London, England.

 

ria.ru: Фильм "Номер 44" по итогам стартового прокатного уик-энда заработал в США всего лишь $600 тысяч и $2,1 миллиона в мировом прокате при бюджете в $50 миллионов, сообщает издание Variety.

"Когда вы тратите $50 млн на драму, вы должны быть уверены, что снимаете ее в нужный момент и в нужном месте. Если ваш режиссер не Анджелина Джоли, а продюсер не Стивен Спилберг, то, вероятно, не стоит и браться за съемки в такой момент. Сейчас фильм больше похож на те картины, которые можно увидеть лишь на DVD, но не в кинотеатрах", — цитирует издание слова киноаналитика Джеффа Бока.

Ранее стало известно, что компания "Централ Партнершип" отозвала из Минкультуры заявку на получение прокатного удостоверения для фильма "Номер 44". В заявлении отмечается, что по итогам пресс-просмотра в ведомство поступили вопросы о содержании фильма: в первую очередь об искажении исторических фактов и своеобразных трактовок событий до, во время и после Великой Отечественной войны, а также образов и характеров советских граждан той исторической эпохи.

Кроме России, от показа фильма отказались и в Белоруссии, в Грузии премьера была отложена до октября, на Украине фильм был отозван из проката по требованию российской компании "Централ Партнершип", которая владеет правами на фильм и на территории РФ, и на территории Украины.

Действие картины, которую снял Даниэль Эспиноса, разворачивается в СССР времен Сталина. Главный герой — дискредитированный офицер советской разведки Лев Демидов. Как говорится в аннотации к картине, Демидов расследует серию детских убийств, но его деятельность вызывает подозрение у "параноидального советского правительства". В фильме сыграли Том Харди, Нуми Рапас, Гэри Олдмен, Венсан Кассель и другие.

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Tom Hardy-Gary Oldman Thriller ‘Child 44′ a Disaster at Box Office

variety.com: At a time when the box office is dominated by popcorn pics, the failure of “Child 44″ is a perfect example of the challenges facing movies geared toward adult audiences.

The moody thriller about the search for a serial killer in Soviet Russia earned a paltry $600,000 domestically in its opening weekend and a meager $2.1 million internationally. That does not bode well for a film that cost nearly $50 million to produce.

A movie that offers up plenty of Russian accents, pre-Perestroika official corruption and a high preteen body count is a difficult sell in any circumstances, but in this case, nothing seemed to break “Child 44’s” way.

“When you’re spending $50 million on an adult drama, you have to be sure you have the right pieces in place to pull it off,” said Jeff Bock, an analyst with Exhibitor Relations. “In this day and age, if it’s not produced by Steven Spielberg or directed by Angelina Jolie, it’s not going to make it. It’s just going to look like the kind of thing you see in Redbox that never made it to theaters.”

Lionsgate, the studio behind the film, must have realized it had a turkey on its hands. It opted to release the picture about the hunt for a child murderer in just 510 U.S. theaters, a fraction of the number of screens typically reserved for a film of this size.

“The marketing campaign wasn’t very aggressive,” said Phil Contrino, vice president and chief analyst at BoxOffice.com.

The film’s content was too dark to bring in big crowds and the blood-letting was too restrained to appeal to teens or horror fans, leaving the film in limbo. Critics didn’t help matters, handing the picture a lackluster 25% “rotten” rating on Rotten Tomatoes.

Contrino notes it’s also a difficult time to launch a picture for ticket buyers of drinking age, given that indie flicks like “Ex Machina” and “While We’re Young” are taking off with that set.

“It’s a really crowded marketplace right now,” he said. “That makes it tough for things to break out.”

The financial pain of “Child 44″ will be ameliorated somewhat by Lionsgate’s financing structure, which uses foreign pre-sales to limit its downside. CEO Jon Feltheimer has told Wall Street analysts in recent years that using pre-sales as a hedge has limited the studio’s average exposure to about $13 million on each movie. That number will be significantly less for “Child 44,” given that Hunan and another production company are on board as co-financers, which limited Lionsgate’s financial loss to less than $10 million, according to insiders.

“Child 44″ may not have had a Brad Pitt or Spielberg behind it, but it did enjoy a certain pedigree. Rights to the book, which received strong reviews and was a Man Booker Prize finalist, were picked up by Scott Free soon after its publication in 2008 with Ridley Scott on board to direct. By 2012, the project was in development at Lionsgate through its Summit division and “Safe House” director Daniel Espinosa was on board with Scott remaining as a producer.

At various points, it attracted interest from stars like Christian Bale and Leonardo DiCaprio, before tapping Tom Hardy, an actor of great emotional power but limited commercial appeal, for the starring role. Perhaps it would have fared better had it opened after Hardy’s next movie, Warner’s “Mad Max: Fury Road,” which is expected to put up big numbers when it debuts in mid-May.

The failure of “Child 44″ isn’t just attributable to a lack of star power and a wealth of competition. Stories that rely on emotion and not just special effects, and that challenge audiences to dig into material that is about more than men in tights, have migrated to the smallscreen. Shows like “Game of Thrones,” “Mad Men” and “House of Cards” are filling the niche that “Child 44″ once would have comfortably filled, leaving lower-budgeted fare such as “While We’re Young” to compete for what remains of that ticket-buying audience.

“There’s so much good television, many adults just think what’s the point?” said Bock. “People just don’t need to leave their living rooms any more.”

“Child 44″ has also been banned in Russia, which could have been a strong market for the film, for alleged historical inaccuracies. On April 16, culture minister Vladimir Medinsky said the movie, which was due to be released two days later, portrayed Soviet citizens as “physical and moral subhumans, a bloody mass of orcs and ghouls.” Medinsky said the film makes Russia out to be “not a country but Mordor.”

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