TAG | Kyle Chandler
Netflix recently ordered a psychological thriller from Damages creators Todd A. Kessler, Daniel Zelman, and Glenn Kessler that promises to explore "the wounds and emotional demons that lie at the core of a contemporary American family." The Live Feed reports Kyle Chandler has signed on to star as the responsible brother, a family man working in law enforcement. The character is described as the opposite of the black-sheep brother who stirs up trouble and tension among the siblings when he returns to town.
Chandler is free because Showtime passed on his pilot The Vatican. I have enjoyed Chandler popping up for a few scenes in some great movies since Friday Night Lights signed off in 2011, but I am sure I will also enjoy binge-watching Chandler dive back into a long-form character on Netflix. I just enjoy Kyle Chandler.
It isn’t easy getting a movie made, even for guys like Leonardo DiCaprio and Martin Scorsese. Then again, considering the duo was out to make a movie about a notorious stockbroker with an insatiable sexual drive, obsessive lust for drugs and habit of indulging in highly debauch activities, it is somewhat understandable that studios were hesitant to bring Jordan Belfort’s story to screen.
The Wolf of Wall Street covers Belfort’s (DiCaprio) rise in the stockbroking realm in the 1990s. He walks in hungry for money, but strives to attain it honestly. However, the instant he gets a taste of life with the big bucks, it flips a switch and he’s got no problem throwing all of his morals out the window in exchange for enormous paychecks, an endless supply of Quaaludes and the ability to keep his firm on top, even if he has to scam his clients to make it happen. Hit the jump for more.
To ring in The Wolf of Wall Street’s Christmas Day debut, DiCaprio and Scorsese as well as Rob Reiner who plays Belfort’s father, Kyle Chandler who steps in as the FBI agent trying to bring Belfort down, writer Terence Winter, producer Emma Tillinger Koskoff, and the guys who took the plunge and gave the project a chance, Red Granit’s Joey McFarland and Riza Aziz, hit the press circuit in New York City. The gang talked about finding the material, financing the production, the soon-to-be infamous Quaalude overdose scene and loads more, and you can catch ...
Friday Night Lights is sure to go down in history as one of the greatest TV dramas of all time, but fans have been clamoring for just a bit more since the NBC show’s series finale in 2011. Executive producer Peter Berg and many FNL castmembers have been teasing the possibility of a Friday Night Lights movie for the past few years now. Though the show initially began as a spinoff of Berg’s Billy Bob Thornton-fronted 2004 film of the same name, this proposed new film would follow Kyle Chandler’s Coach Taylor and Connie Britton’s Tami Taylor.
Steve recently had a chance to speak with Berg in anticipation of his upcoming feature directorial effort Lone Survivor, and during the course of their conversation he provided an update on the status of the Friday Night Lights movie by saying it’s most likely not going to happen. Hit the jump for more.
Speaking with Steve, Berg revealed that the Friday Night Lights movie probably won’t come to fruition, adding that his feelings on the prospect of the movie have changed:
“There’s not gonna be a movie. We talked about it, some people thought it was a good idea, some didn’t; I’ve come to believe it’s probably not a good idea and I seriously doubt it’s gonna happen.”
While fans understandably want to spend more time with the Taylors, Friday Night Lights ended on a pitch perfect note with its series finale, which felt like a very fitting sendoff for the characters. Chandler had been a bit ...
Paramount Pictures has released a new trailer for director Martin Scorsese's new film The Wolf of Wall Street, and it's fantastic. Based on the memoir of Jordan Belfort, the stranger-than-fiction pic stars Leonardo DiCaprio as a hard-partying, drug-addicted stockbroker who was indicted in 1998 for security fraud and money laundering and served a 22-month federal prison stretch. Whereas the film's first trailer was more of a tone piece (a batshit crazy tone, but a tone nonetheless), this more traditional trailer lays out the film's plot as we follow Belfort's rise to power and struggle to stay on top. The highlight here is the chemistry between DiCaprio and Jonah Hill, which is brilliant. The two play off of each other extremely well, and just when I thought it wasn't possible for me to be more excited about Scorsese's return to dark comedy territory, this trailer has ramped up my anticipation even more.
Hit the jump to watch the new trailer. The film also stars Kyle Chandler, Matthew McConaughey, Jean Dujardin, Margot Robbie, Jon Bernthal, and Rob Reiner. The Wolf of Wall Street opens on December 25th.
[This is a re-post of my review from the 2013 Sundance Film Festival. The Spectacular Now opens today in limited release.]
"Live in the moment" is a nice platitude and a crappy life philosophy. Vivacity is all well and good. We should appreciate the present, but we can't live only for the present. We have to think about tomorrow because we're probably going to be there. In his wonderful new film The Spectacular Now, director James Ponsoldt explore the live-for-the-moment mentality with an authentic and earnest look at high school emotions, anxiety about the future, and first love. Led by extraordinary performances from stars Miles Teller and Shailene Woodley, The Spectacular Now is a thoroughly charming and surprisingly powerful coming-of-age story about the fear of looking ahead and the seductive safety of living in the present.
Sutter Keely (Teller) is the life of the party. He knows everyone's name and always has access to booze. After breaking up with his girlfriend Cassidy (Brie Larson), Sutter drunkenly drives home only to awake on the front lawn of classmate Aimee Finicky (Woodley). Aimee is pretty, but shy and removed from the popular crowd. Sutter's attempts at a rebound quickly turn into genuine feelings towards Aimee. Their relationship blossoms as they become drinking buddies, he gets her to come out of her shell, and she nudges him towards the introspection he's thoroughly avoided.
Ponsoldt explored excessive drinking in his previous film, Smashed, but unlike that feature, Spectacular Now isn't about the quest to get sober. It's ...
Kathryn Bigelow’s latest feature has been basking in endless praise since its limited Oscar qualifying release in December while also being criticized for its perceived glorification of torture as a means to attain important information in the hunt for Osama Bin Laden. I do not fully buy into either aspect surrounding the film- by that I mean while I think the film is kind of great, it’s also not a perfect film and I think in no way shape or form glorifies the acts people commit to get the information they seek. ZERO DARK THIRTY is intense and engrossing, but it drags due to its bloated runtime and lacks emotional depth.
The film details the decade long hunt for the mastermind of the September 11th attack and begins with a pitch black screen as we hear 911 calls on the morning of the attacks. Using that as a backdrop alone does not earn the film the emotion I wanted from the crescendo of intensity at the end of the film when we finally get our man, but it starts it off in an engaging fashion. Just because it didn’t focus on the emotional depth from the characters that I would have preferred doesn’t mean that I don’t recognize the skill of Bigelow’s direction. The introduction and the final half hour of film are marvels of tense filmmaking, while the middle of the film I found myself drifting in and out as far as my interest in the events. At first I mistook my feelings as boredom, but essentially I feel it’s just indifference and the fact that the information exchanges happen in such a whirlwind that instead of being in control of my understanding of the events I was just sort of along for the ride rather I connected with it or not.
I’m not a news junkie and I don’t follow current events as closely as some more involved in this story might, but I’m not ignorant to the portrayal of an event I’m perfectly aware of the ending to. I wanted nothing more than to be fascinated by the investigation involved in tracking Bin Laden and there were stretches that I was just that, but certain techniques used by Bigelow and the way the script is written/performed felt a bit more overwhelming and garbled. Essentially at times I felt like I was in a conversation with someone who tends to mumble and rather than ask them to repeat themselves when I didn’t understand what they said, I just kind of nodded, smiled and moved on to the next subject.
Jessica Chastain as a character evolves from someone fresh off the boat in a situation where she has to become comfortable with CIA torture techniques to do her job, to someone who may or may not be too personally involved with the tracking down of a subject to the point that we question if the ethics involved is truly the right thing. Her character is the most developed in the film and you still know almost nothing about her- with no back-story or insight to what is really driving her, the obsession she develops seems more dangerous than ethical and the last shot allows for any number of assumptions about the toll the investigation really played on her. Chastain herself plays the role great and towards the end delivers one of the best lines of the year.
I also really loved Jason Clarke’s performance, but again he’s a character we know nothing about. We know he’s effective as a device to torture detainees and that he loves monkeys and his demeanor is that of someone doing what he’s got to do to get information. Then there are the folks in S.E.A.L. Team 6 that we spend the final half hour with and again there’s not enough time to care about them as people. Sure there’s tension in the staging of the climactic raid on the compound that Bin Laden may or may not be in, but as characters there’s no connection with anyone one of them where you could pick one out and hope nothing bad happens to that one specifically. The raid itself is a legit piece of tense action cinema and well worth the price of admission- the score during the buildup gets the pulse pumping and sound design during the raid is phenomenal. This is a scene that is intricately detailed and paced in an authentic and harrowing way.
My initial reaction to ZERO DARK THIRTY was that I felt the film was overhyped, but I think it’s important to clarify that I do not mean that it’s overrated. Bigelow’s film is worth the praise many people are bestowing upon it, but the extent that I personally believe in that praise is dialed back a bit. At over two and a half hours I feel there’s quite a bit in the middle of this film that could have been chopped down and it would have been better for it. The length is also why I feel the lack of character development for the majority of the cast is as disappointing as it was for me personally. However, even in spite of my issues with the film it is definitely a nail biting procedural that climaxes with a heart pounding action sequence. In the end, for me ZERO DARK THIRTY falls just short of being one of the best films of the year.
Written By: Luke (@CrummyLuke on Twitter)
The post Zero Dark Thirty Movie Review appeared first on MoviesOnline.
I would never come outright and say I’m vindicated in the fact that I don’t keep up to date on all details of current events or even past historical events when a film comes out that’s “Based on true events.” I will say though that it affords me the capability to be truly captivated by said movie when I get a chance to see the dramatized versions of the event. Ben Affleck’s ARGO captures a time period that I not only knew nothing about, but kicked me to the edge of my seat from the get go and left me there for the duration.
Set during the Iranian hostage situation in the late 70′s early 80′s Affleck’s film sets a perfectly fleshed out time period and characters that feel real. Affleck stars as a CIA operative tasked with coming up with the idea that will hopefully get 6 US Embassy members out of the hostile situation alive. Affleck’s performance, while subdued, is still pretty good while the individual performances from each of the escaped Embassy members are good, no one stands out in particular aside from maybe the welcome and hilarious cutaways to John Goodman and Alan Arkin’s Hollywood characters and whenever Bryan Cranston is on screen.
The bare minimum character set up is employed to develop these individuals, which is just enough to care about rather or not they make it (should you not already know the outcome). What really sells ARGO though is the meticulous attention to detail for the setting and tense set pieces. The audience (or at least me) felt much like one of the hostages with a bag over my head knowing someone is aiming a gun at me and the unbearable anticipation of that person pulling the trigger. Another apt comparison would replace the aimed firearm as a noose that tightens ever so slightly the longer the film goes while we as an audience keep waiting for the chair to be kicked out from under us.
Affleck’s previous film THE TOWN, which I loved, compares similarly to ARGO in that Affleck handles the material with such poise with so many different stellar storylines or plot mechanics that at times it would be nice if one stood out more than another. That being said, while there isn’t a standout performance in ARGO, I still think the film is superior to THE TOWN as a tighter even more engaging and affecting experience.
I’m not naive enough to end this without saying that in the harrowing last half hour of film the dramatization of events feels embellished and manipulative- but I didn’t care. I’m not one to lift my nose at depicting real life events in the Hollywood system and proclaim them to be absurd and transparent in their attempts to illicit tension. The fact of the matter is that real or not, the last half hour of ARGO is a fantastic display of tension that culminates in an emotional way that I quite frankly wasn’t expecting.
It is remarkable to me that I can be so head over heels for a film that doesn’t have a performance to nail the film down. ARGO is a marvel of tension and drama that’s slow in its setup to a series of set pieces that had my heart nearly beating out of my chest. Aflleck handles the film with such skill and subtlety that can make the last half hour seem a bit out of character to the rest of the film. Regardless, ARGO is easily one of the better movies of this year and one that I cannot wait to experience over and over again.
Written By: Luke (@CrummyLuke on Twitter)
A new trailer for director Kathryn Bigelow’s (The Hurt Locker) thriller Zero Dark Thirty has been released. The film documents the decade-long hunt for Osama bin Laden, culminating in the now-famous SEAL Team Six operation. The new cut is heads above the first trailer, in which a war room speech presided over the trailer with scenes of covert operations taking place. This time around, we actually see the words being spoken in the war room as well as the soldiers in the thick of it, with their boots on the ground. And the sense of tension here is much more palpable, as it should be.
Hit the jump to watch the trailer. The film stars Jessica Chastain, Chris Pratt, Mark Strong, Scott Adkins, Joel Edgerton, James Gandolfini, and Kyle Chandler. Zero Dark Thirty opens on December 19th.
Click over to Apple to watch in HD.
Here’s the synopsis for Zero Dark Thirty:
For a decade, an elite team of intelligence and military operatives, working in secret across the globe, devoted themselves to a single goal: to find and eliminate Osama bin Laden. Zero Dark Thirty reunites the Oscar(R) winning team of director-producer Kathryn Bigelow and writer-producer Mark Boal (The Hurt Locker) for the story of history's greatest manhunt for the world's most dangerous man.
The first trailer and poster for Ben Affleck's Argo has gone online. The film, based on a true story, centers on a CIA agent (Affleck) who attempts to rescue six Americans trapped in the home of the Canadian embassador during the 1979 Iranian Revolution. The rescue mission was to go in under the auspices of filming a science fiction movie entitled "Argo". The trailer makes the movie look like Ocean's Eleven combined with a tense historical thriller. I really like what I'm seeing from the trailer, and there's a good chance Affleck could 3-for-3 in his successful directing career.
Hit the jump to check out the trailer and poster. The film also stars Bryan Cranston, John Goodman, Kyle Chandler, Kerry Bishe, and Alan Arkin. Argo opens October 12th.
Click over to Apple to see the trailer in HD.
Here's the official synopsis for Argo:
Based on true events, “Argo” chronicles the life-or-death covert operation to rescue six Americans, which unfolded behind the scenes of the Iran hostage crisis—the truth of which was unknown by the public for decades. On November 4, 1979, as the Iranian revolution reaches its boiling point, militants storm the U.S. embassy in Tehran, taking 52 Americans hostage. But, in the midst of the chaos, six Americans manage to slip away and find refuge in the home of the Canadian ambassador. Knowing it is only a matter of time before the six are found out and likely killed, a CIA “exfiltration” specialist ...
The cast of Ben Affleck’s next directorial project Argo continues to be awesome, as Friday Night Lights star Kyle Chandler is the latest to sign on. The Warner Bros. pic now boasts Affleck, Bryan Cranston, John Goodman, Alan Arkin, and Scoot McNairy as part of its stellar cast. USA Today reports (via The Playlist) that Chandler’s role is a small one, but doesn’t add any further details. The film is based upon a 2007 Wired magazine article entitled “How the CIA Used a Fake Sci-Fi Flick to Rescue Americans from Tehran.” The feature documents a rescue mission launched by the CIA for a group of diplomats in Tehran that involved a rouse to convince the Iranian government that the diplomats were actually a Hollywood film crew scouting locations.
Affleck is set in the lead role as the CIA exfiltration expert who develops the plan, with Arkin playing a Hollywood producer who’s also an O.S.S. veteran and is described as “equal parts bookie and rabbi,” Cranston onboard as an Irish CIA agent from Boston, and Goodman playing Oscar-winning Planet of the Apes makeup artist John Chambers who aids the CIA in their mission. George Clooney and Grant Heslov are producing under their Smokehouse banner. Argo is eyeing a 2012 release.