|MARTIN SCORSESETHE IRISHMANMASTERPIECEIRISHMANSCORSESETRAILER|
It looks like Martin Scorsese is missing his pals at Netflix. The streaming giant essentially gave Scorsese a blank check to make The Irishman, and now that the legendary filmmaker is back working with a regular studio, he’s reportedly getting nostalgic for that Netflix freedom. Scorsese is currently working on Killers of the Flower Moon, which stars both Leonardo DiCaprio and Robert De Niro. The movie already has a budget over $220 million dollars, which is rumored to be giving studio Paramount more than a few sleepless nights.
Richard Rushfield broke this story in his Ankler newsletter, stating that there are rumors swirling that Netflix could swoop in and grab Martin Scorsese’s Killers of the Flower Moon. Rushfield states these are nothing but rumors for now, but does add that even if Netflix doesn’t come to the rescue, Scorsese would sure like them to. As the story goes, Paramount is nervous about Flower Moon‘s current $225 million budget – and not even the presence of box office draw Leonardo DiCaprio is soothing these worries.
Scorsese had money to burn and a wealth of freedom on the Netflix-released The Irishman, and Paramount’s worry over the budget seems to have him pining for that sweet, sweet Netflix support system. Again: None of this means Netflix is going to ride in on a white horse and take Killers of the Flower Moon away. Still, it’s interesting to learn how fond of Netflix Scorsese has become – and who can blame him? He’s been making movies the old fashioned way for decades, and then Netflix went ahead and gave him tons of money and freedom to do whatever the heck he wanted. Who wouldn’t want to return to that?
Based on a true story, and the book of the same name by David Gran, Killers of the Flower Moon tells the story of the Osage murders of the 1920s. At the time, the Osage Nation in Oklahoma had become extremely wealthy due to oil being discovered beneath their land. Then, as the book jacket explains “one by one, the Osage began to be killed off. The family of an Osage woman, Mollie Burkhart, became a prime target. One of her relatives was shot. Another was poisoned. And it was just the beginning, as more and more Osage were dying under mysterious circumstances, and many of those who dared to investigate the killings were themselves murdered.” The FBI, still in its infancy at the time, began investigating, and sent in a former Texas Ranger, Tom White, to try to find the killer or killers. White put together an undercover team to get to the bottom of things, and ended up exposing a conspiracy in the process.
As a lifelong Scorsese fan, I’m of the opinion that studios and producers should give him as much damn money and freedom as he wants to get his films made, but hey, that’s me. Scorsese is set to start...
Meanwhile six-time nominee 'Little Women' only won one award, for costume design, in an awards ceremony that featured numerous onstage comments praising the work of female directors.
The 2020 Oscars marked another disappointing awards ceremony for the team behind Netflix's Martin Scorsese-directed mob drama, The Irishman. After being shut out at the Golden Globes and Screen Actors Guild Awards, the epic, decade-spanning and decade-in-the-making story starring Robert De Niro and Oscar nominees Al Pacino and Joe Pesci failed to win any of the 10 Oscars for which it was nominated.
Still, Scorsese got a few shout-outs from the stage, with Chris Rock and Steve Martin mentioning the film and the director in their monologue and best director winner Bong Joon Ho taking a minute to note how, as an aspiring director, he was particularly inspired by Scorsese, comments that prompted the Academy Awards audience to give Scorsese a standing ovation.
Meanwhile, other top nominees had a relatively disappointing night, with six-time nominees Jojo Rabbit, Marriage Story and Little Women only taking home one award each. Little Women's prize was arguably the lowest profile award of those one by Jojo Rabbit and Marriage Story, only taking home the prize for best costume design. It's poor showing was somewhat ironic given that a theme throughout the show was praising the work of female directors, like Little Women helmer Greta Gerwig, despite the fact that none were nominated for best director again this year. Jojo Rabbit won best adapted screenplay while Marriage Story's Laura Dern won the best supporting actress award she was expected to take home
While Once Upon A Time in Hollywood won two awards, for production design and best supporting actor Brad Pitt, writer-director-producer Quentin Tarantino didn't win any of the awards for which he was nominated including high-profile prizes best original screenplay, best director and best picture.
Similarly, 11-time nominee Joker only won two awards, for best score and best actor Joaquin Phoenix, high-profile victories but a significant drop, numbers-wise, from its leading spot among nominated films.
Also while Parasite was predicted to do well at the 2020 Oscars, with the best picture race shaping up as a battle between the Bong Joon Ho film and Sam Mendes' 1917, many pundits expected 1917 to win best picture or for Mendes to win best director, if not both, particularly after 1917 won the top prizes at the BAFTA Awards last week, in the middle of Oscar voting, after winning the top prizes at the DGA Awards and PGA Awards. And while 1917 won three awards, all were in technical categories.
Other multiple Oscar nominees that were shut out included Harriet and The Two Popes.
Source: Hollywood Reporter
“Why you all wet, baby?” This question takes on eerie resonance throughout Martin Scorsese’s masterful 2010 adaptation of Shutter Island, which turns 10 today. It’s uttered both in flashback and in the present, by different characters with different emotional weight each time. It’s also part of the key to unlocking this film’s strange, disturbing pleasures. At first glance, Shutter Island is centered around a jaw-dropping third-act twist related to its lead character, a sweaty and determined U.S. Marshal on the hunt for a missing patient at a spooky mental institution on an isolated, stormy island. But if you know the story well enough, you come to the realization that what’s revealed in the third act isn’t a twist at all, and is simply a clarification of what makes this film so tragic and so special in Scorsese’s filmography.
Naturally, there are spoilers ahead.Insanity is Catching
When Shutter Island was first announced, I did something I don’t often do when it comes to filmmakers and their literary choices for adaptations: I read the Dennis Lehane novel on which the film would be based. Like the film, the book is about Edward, or Teddy, Daniels, a gruff U.S. Marshal on an assignment at a mental institution on the eponymous island. Teddy and his partner Chuck are beset upon by mentally ill patients, emotionally distant staff members, the possibility of an escaped lunatic, and more. Only, in the end, it turns out that Teddy isn’t really on assignment…because he isn’t Teddy at all.
Teddy is, instead, Andrew Laeddis, an anagram of the name Edward Daniels. Chuck isn’t his partner, but Andrew’s psychiatrist Lester Sheehan, and the entire story up to this reveal has been a last-ditch effort on the part of a few kindly doctors on the island to make Andrew accept reality. He is the missing patient Teddy was tasked with finding, having been in the institution for years for killing his wife after she drowned their children. Either Andrew can accept this painful truth and take steps to get better, or he may be lobotomized by the less emotionally invested medical staff at the institution. What’s more, it’s revealed that this isn’t the first time Andrew and his psychiatrist have gone through this ordeal; Andrew just keeps forgetting, choosing to live in a fantasy instead.
When I read the book, I genuinely hated the ending. Hated it. I felt that the surprise at the end was a sloppy, lazy, Twilight Zone-style twist meant to pull the rug out from under the reader without any underpinning of emotional logic. I was, of course, still intrigued by another collaboration between Scorsese and Leonardo DiCaprio. But I was even warier than before, because I feared that the film would follow the book to a T. If you know the book and the movie, then you know that screenwriter Laeta Kalogridis’...
Although “The L Word: Generation Q” may have tried desperately to speak to a “new generation” of queer women and non-binary folks, fresher creative voices quickly rose to the top in its place. Though people still watched. Showtime’s “Work in Progress” was the best queer comedy of the year, Netflix’s “Feel Good” was an unexpected delight, and “Vida” is returning just in time for queer audiences to catch up on the best show about queer women of color on TV. Yet another contender released a promising first trailer today: “Betty” is a stylish and youthful portrait of Brooklyn teen skaters that already appears extremely queer.
The six-part half-hour arrives on HBO from filmmaker Crystal Moselle, who quickly made waves in 2015 with her her riveting documentary hybrid “The Wolfpack.” “Betty” is adapted from her second feature, the similarly hybridized “Skate Kitchen,” which followed a group of teenage girl skaters in New York City. The film premiered at the 2018 Sundance Film Festival to positive reviews and was released by Magnolia Pictures that year.
In his B+ review of “Skate Kitchen” out of Sundance, IndieWire’s Eric Kohn wrote: “The streetwise alternative to ‘Girls,’ the movie weaves together such a complete vision of its subjects that the rest of the world barely exists. Of course, there's a long-standing precedent to capturing this subculture — ‘Kids’ did it, with more adventurous storytelling twists, more than 20 years ago — but Moselle's subjects hold their own with the surprising ability to clarify their emotions through the cathartic process of hanging out.”
“Betty” features many of the film’s original stars, most of whom had not acted before, including Kabrina Adams, Dede Lovelace, Nina Moran, Rachelle Vinberg, and Ajani Russell. All accomplished skaters in their own right, the first trailer shows the charismatic crew navigating various crushes and friendship trials with compelling panache and humor.
“Betty” is directed, co-written, and executive produced by Moselle. Lesley Arfin and Patricia Breen are also co-writers. Arfin, who also EPs, is a comedy writer best known for co-creating the Netflix series “Love” with Judd Apatow and Paul Rust.
HBO will release “Betty” beginning May 1 at 11 pm ET. Check out the exciting first trailer below: