BREAKING MOVIE NEWS
Last February, author Tess Gerritsen received information that would, over the course of a year, fuel a monumental legal action against Warner Bros and New Line Cinema. That battle pertained to the record breaking, crowd pleasing, Academy Award-winning film Gravity - which, as it happens, shared its title and bits of space terror with a novel that existed over a decade before the film's genesis.
When we factor in Harry Potter and the Prisoner of Azkaban and more recently, the visual feast that was Gravity, it's not wonder that people were excited by the idea that Alfonso Cuaron might be the one to helm the anticipated Harry Potter spinoff/prequel(ish) film(s) Fantastic Beasts and Where to Find Them.
But on the other hand, a prequel to The Shining isn't like a prequel to, say, Star Wars or The Thing. There aren't exactly choice puzzle pieces that need to fit into place. If the script has ambition, The Overlook Hotel could be a blank slate for any filmmaker with a bit of imagination.
Nikki Finke--despite her scandals of late--is generally a credible source in Hollywood's dealings. So if she says Alfonso Cuarón is in negotiations with Warner Bros. to take on the helm of Fantastic Beasts And Where To Find Them, we'd bet she has solid cause.
Gravity traveled through two administrations at Warner Bros., struggling to earn a greenlight as Cuaron pitched a $100 million thrill ride primarily through the eyes of one superstar. Originally that would be Angelina Jolie, with Robert Downey Jr. providing the support, but none of the parties involved expected a daunting technical process that basically involved the invention of entirely new technology.
The film recently earned a few Oscar nods, and also landed Cuaron the 2014 Golden Globe Award for Best Director. Soon, Gravity’s many fans will be able to bring the film home. On Friday, Warner Bros. Home Entertainment announced Gravity will hit Blu-ray 3D, Blu-ray, DVD and Digital on February 25.
The purpose of the video, as you might imagine, is to put Cuaron’s accomplishment back on the radars of Oscar voters as we head into the final days of this year. I pray that it is rewarded with Oscar’s blessings, but understand that this is a very crowded year, and the movie already has plenty of victories under its belt.
Clooney, to his credit, isn’t exactly some diva leading man who simply wanted to insert himself into another scene (though I doubt Warner Bros. had ANY issue bringing this A-lister back into what’s essentially a two-actor stage play). He’s an Oscar-nominated director with a string of pedigreed dramas on his resume. And I commend him for offering advice to Cuaron … and to Cuaron for actually taking it.
As many incredible technological and visual achievements the film features, however, Cuaron doesn’t want people to solely focus on them. Instead, all of those leaps forward were made because they were what the story needed in order to be told visually. Asked about balancing the sound, visual design and atmosphere, the director said that it was when all three came together to help convey the emotional journey that it was most important.
You've heard that "in space, nobody can hear you scream." And while the science in Gravity isn't entirely accurate, the fact that sound waves cannot carry in the emptiness of space means that many moments in the film don't have accompanying sounds to go with them
Movie studios have traditional tracking numbers, which can give them ideas weeks ahead of time how their films will perform when they finally open. And while we occasionally get glimpses of those in the press, we mostly rely on something a lot more public and people-oriented: pre-sales at online ticket sellers like Fandango and MovieTickets.com. Fandango in particular is good about sharing their data, and when they promote strong sales, it usually indicates a hit its on its way.
Alfonso Cuaron's Gravity opens in sneak previews tonight and everywhere tomorrow, and as you might have heard, we're pretty crazy about it. Cuaron's technical wizardry, which creates the actual feeling that you are somehow floating in space, is the big sell, but the performances from Sandra Bullock and George Clooney elevate the film to some surprisingly emotional highs. Sure, they were cast partly because they're big names who can draw audiences, but they add a key human component to what could have just been a special effects extravaganza
So many marketing campaigns use a variation of the recommendation “See It On The BIGGEST Screen Possible” that when a film actually deserves such an accolade, it can fall on deaf ears. Gravity deserves to be experienced on the largest IMAX screen in your town. This new clip explains why.
pre-release tracking for the outer space-set drama that stars Sandra Bullock and George Clooney suggests it will make somewhere between $35 to $40 million when it opens next weekend in the US. Part of this could be put down to the A-list talent attached. A portion of this estimate is being allotted to the film’s release in 3D and IMAX 3D. Aside from boosting the sense of a cinematic event, these screenings also mean higher ticket prices.
Lost in space. You think you understand how terrifying and alienating that would feel, and then you see Alfonso Cuaron's Gravity, one of the most visually stunning and visceral movies about space travel, ever. Starring Sandra Bullock and George Clooney as a pair of astronauts cut loose in orbit when debris destroys their spacecraft...
The director of Children of Men and Y Tu Mama, Tambien produces a stunning achievment in filmmaking – and storytelling – that takes an audience on a breathtaking, break-neck space jaunt that delivers the closest replication of zero-gravity fear and exultation as we’ve ever seen on screen.
The movie’s so mind-bogglingly special, so groundbreaking, that I had to assemble the Gravity crew to gush on a quick podcast about why we were transfixed by Cuaron’s masterpiece. I guarantee you will not hear a more spirited discussion on Gravity … at least, not until the movie opens on Oct. 4 and you guys can join the conversation!
The first feature that Cuaron has directed since 2006's Children of Men, the new film stars Sandra Bullock as Dr. Ryan Stone, a medical engineer who is sent to space for the first time so that she can help work on a failing satellite. Paired with astronaut Matt Kowalsky (George Clooney), the mission is going fine until they learn of a debris cloud that is coming right for them.
"When I stood up as the final credit rolled, I don’t mind admitting that I immediately had to sit down again, a Bambi-like wobble coursing through my limbs, as if I'd just re-encountered gravity myself. For sheer transference of experience upon the audience, I can think of no film quite like it,"
Even though it stars two of the most famous people in the world, Sandra Bullock and George Clooney, Alfonso Cuaron's Gravity is really going to sell itself on one thing: its effects. And it's not about CGI monsters or giant explosions or anything you might expect
In the movie, which was written by Cuaron and his son Jonas, Sandra Bullock stars as Dr. Ryan Stone, a scientist who is in space fixing a satellite when things go horribly wrong. The craft is hit by a field of space debris that leaves her and astronaut Matt Kowalsky (George Clooney) stranded in space and losing oxygen.
It’s a rare thing when a movie markets itself at the nerdvana that is San Diego Comic Con before making its world premiere at a cinema celebration as prestigious as the Venice Film Festival. But this is exactly the incredible journey Alfonso Cuarón’s upcoming Gravity is making.
Set up in Hall H this afternoon at Comic-Con is Entertainment Weekly's Visionaries panel, which celebrates some of Hollywood's current "uncompromising directors" who have been electrifying audiences with their work, and who have some highly anticipated projects coming up. For Marc Webb, it's The Amazing Spider-Man 2.
From San Diego, Gravity continues its goodwill press tour by shifting into a more conventional awards season trot. As we reported earlier, Cuaron’s film – which follows a pair of astronauts stranded after a space explosion – will open this year’s Venice Film Festival. After that, it’s expected to stop at the Toronto International Film Festival and, possibly, Telluride.
We may be neck deep in summer blockbuster season, but fall really isn't that far away-- and if you count the beginning of fall as the start of the film festival season, it's really not far. The Venice Film Festival may be far away and expensive to reach, but it's a major component of the autumn rush toward Oscars, and one contender we've been eyeing for years has just staked its claim on Venice's share of awards buzz