Category Archive : FilmTV

Over 10 films to date and an 11th scheduled for late September of 2025, Saw is a franchise that rivals most in terms of both output and fandom. It had a run of 7 straight films over 7 years which began with the out of nowhere Saw in 2004 and culminating with Saw 3D in 2010. Its consistency may have trailed off temporarily with scattered entries following in 2017, 2021, and 2023, but the series as a whole is well known and has branched off into nearly every conceivable type of media. From comics and novels to video games and toys, Saw may just be primed to start another legendary run in the 2020s. Saw III was a runaway train that is still the highest grossing film in the series, but it was almost not even made after the original creators were done. With traps that were some of the most creative and even including Tobin Bell’s favorite to actors lying about their appearances in the movie, lets see just what happened to Saw III.

Saw II was an immediate and massive success. The first Saw came out of nowhere and was based on a short film that Leigh Whannell and James Wan made after graduating film school. They had written a feature length one but couldn’t get it made right away so instead focused the short film on one of the traps that the series would become so famous for. The final feature length film would come out first at Sundance in January of 2004 and then wide release in late October. To say it was a hit would be a drastic understatement. In fact, it sits up there with Halloween, Blair Witch, Paranormal Activity, and The Texas Chainsaw Massacre as the most profitable independent horror films ever. It made nearly 104 million on its 1.2-million-dollar budget and a franchise was born. Part II would come out the next year and also make a killing. The budget was over doubled to 4 million, but it still brought in a staggering 153 million. A third was assured but that’s where the original creators wanted to stop.

Leigh Whannell and James Wan who created, stared, wrote, and directed the first film, and Darren Lynn Bousman who directed part II had no interest in a third one even with the profits near guaranteed. Unfortunately, their friend and producer of the series Greg Hoffman passed shortly after the release of the second movie. The three creators got together when they heard of their friend’s death and decided to make a third movie that they would also dedicate to his memory. On top of that, they created a character named Mark Hoffman for him that would play a major role in the series going forward. Wan would get a story credit, Whannell would write the screenplay, and Bousman would come back to direct. Bousman would also direct part 4 and Spiral later on in the franchise.

Wan and Whannell have had major careers outside of the Saw franchise both together with Insidious and separately with The Conjuring for Wan and The Invisible Man for Whannell. Bousman would also direct Repo! The Genetic Opera and the remake of Mother’s Day amongst a few other horror hidden gems. Whannell wanted to write something a little different, a little more personal. He even describes it as a sort of father daughter story between Tobin Bell’s John and Shawnee Smith’s Amanda. The movie has multiple storylines really, with Amanda’s quest to save John Kramer and the usual main character going through a trial or trials in this case. It’s a formula that the series would copy a few times, but it certainly started with Saw III.

Saw III

The movie opens with Donnie Wahlberg’s character from the previous movie breaking out of the trap he was put into at the end of Saw II. He is in the very room that Saw took place in, and the studio actually asked the production team behind Scary Movie 4 if they could use their replica parody room which they were granted. We then move to the police finding yet another Jigsaw crime scene. This one is different because there was no way for the victim to survive, even if they got out of the trap. This goes against Jigsaw’s self-imposed rules which makes detective Kerry, played by a returning Dina Meyer, question everything before she too is taken. Her trap proves to be unwinnable as well and we finally see the main story. A doctor is kidnapped and tasked with keeping John Kramer alive until his latest trial victim is tested. That victim, Jeff, must go through a series of rooms and make sacrifices to protect the people that were involved in the tragic death of his son. The movie is tests upon tests and full of father child relationships.

For the cast, the returning players such as Shawnee Smith, Tobin Bell, and Dina Meyer were easy and expected. Donnie Wahlberg’s character returning was kept heavily under wraps, and he even adamantly denied his involvement with the third movie. New actors to the series include Angus MacFadyen and Bahar Soomekh as the two other leads who it is revealed are husband and wife. MacFadyen was a fan of original horror films and loved the first movie, so he signed on immediately after reading the script. Apart from appearing briefly in the next Saw film, he wouldn’t have any other horror credits but has had a long career before and after today’s film. As for Soomekh, she had appeared in the academy award winning Crash from 2004 and so the studio wanted her in Saw III to have a current big name for non-horror fans. Speaking of non-horror fans. Bahar was in that camp and even needed help from production and special effects teams during one of the gorier scenes near the end of the movie.

Monica Potter was offered a contract to come back as her character from the first movie but declined as she felt there wasn’t anything new to add in her role. While she declined to come back, there is another cameo besides Donnie Wahlberg detective with Leigh Whannell also showing up briefly as Adam which was equally designed to be kept a secret. With a bigger movie comes a bigger budget and Saw III had ballooned from 1 million for the first movie to 4 million on the second and III being given 10 million to work with. It was shot in just under a month, 27 days, in Toronto the full script was only given to actors that made it to the final scenes similar to the first two films. This practice was also because Whannell stayed on set most days to adjust or fully rewrite scenes and some of them were turned into the actors scribbled on napkins just before the shooting was to take place. To save on some of the budget, where digital effects would be used to show transitions between scenes, the production instead chose to use camera tricks. The earliest example of this is when things shift from that first crime scene to Kerry’s apartment, Dina Meyer had to run between sets, quickly strip, and get into the bathtub for the shot.

The movie itself first ran over two hours before cuts. One of these involved taking out a scene in which Jigsaw regretted his actions. Tobin Bell was glad this was cut as he felt he had a firm grasp on the character and this scene, along with needless back story elements, just didn’t fit in with the overarching story. Speaking of Bell, Saw III has his favorite trap in the whole franchise. The team tried, and continues to try, to make the traps unique. The first victim that Jeff comes across is being sprayed with water in a freezer to die by cold. This was a conscious choice as others had been burned to death and bled to death earlier in the series. Bell’s favorite involved the man who drunkenly killed Jeff’s son, and he is strapped to a table that will break all of his limbs and neck by turning them 180 degrees if Jeff doesn’t get him out of there. As with the first two films, all of the traps were done with practical effects including fake pigs that were filled with very real but cleaned maggots.

Saw III

Like many horror movies, especially in the 2000s, the movie had to be sent back and forth between the studio and the then-MPAA. In an interesting turn, the movie wasn’t returned over and over again for on screen violence, it was asked to be edited down for the emotional abuse. The original creators never envisioned helping to create the “torture porn” genre along with Hostel but they also never imagined the gore not being a problem. TV shows like CSI and Law and Order were cited as a gage of what could and couldn’t be seen by audiences and after 7 edits, Saw III finally received an R rating. The movie was released on October 27th, 2006, and was an immediate hit. It opened at number one and would end up as the highest grossing film in the franchise even to this day. Off of it’s 10-million-dollar budget it made a staggering 165 million dollars in theaters. Per usual, the movie was not received well by critics but that has never stopped a horror movie from making money and probably never will.

The marketing helped immensely with the hype and the end result gross. A comic con clip was wildly popular and the MPAA refused to allow it to be shown as a teaser in theaters. The clip was eventually shown at the Spike TV Scream Awards alongside an appearance from Tobin Bell, Shawnee Smith, and Bousman. Furthermore, head of marketing for Lions Gate Tim Palen came up with an idea to use some of Tobin Bell’s blood and mix it with ink to create special posters. The first was auctioned off with the proceeds going to Red Cross and all others being sold for $20.00. The home video market was also a massive success for Saw III with the DVD and Blu ray coming out the following January. It sold 1.6 million units the first day and ended the week with an astonishing 2.5 million units. There was an unrated cut released the same day and then the studio had the foresight to release an extended directors cut the same week as Saw 4 was released. All told, the movie made an additional 47 and a half million dollars on the home video scene.

Saw III remains a highpoint in the franchise for sales but was far from the final entry. While others wouldn’t make as much money, the series was still ever popular and continues to today. The franchise has lasted over 20 years and will seemingly always be up to play a game and now you can say you know what happened to Saw III.

A couple of the previous episodes of What Happened to This Horror Movie? can be seen below. To see more, head over to our JoBlo Horror Originals YouTube channel – and subscribe while you’re there!

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Amazon-MGM is plotting its own tentpole franchise, with one of its biggest-ever theatrical filmsRed One, due to hit theatres on November 15th, just in time for Christmas. With an estimated $250 million price tag, the studio will have to overcome bad buzz from behind the scenes for it to become the franchise it is no doubt hoping for. You can watch the new trailer in the embed above. In it, Dwayne Johnson plays the North Pole’s Head of Security, who has to team with an infamous bounty hunter (Chris Evans) to save Santa Claus (J.K. Simmons), who’s been kidnapped by evil forces hoping to end Christmas. 

Early reactions to the holiday action film have dropped online. Does it live up to the bad buzz? Junior Felix would post, “GUYS! I had a BLAST with #RedOneMovie !! It’s funny, full of great action and even better characters. In a time when we truly need some good cheer in this world, RED ONE brings it and then some! Oh and the world building is some of the best I’ve seen in a while!”

Meanwhile, Jonathan Sim makes no bones about the absurdity of the movie as he writes, “RED ONE is one of the most ridiculous Christmas movies I’ve ever seen. Occasionally enjoyable, but Jake Kasdan directs this outrageous premise like a very serious action thriller, only ever pausing to have Chris Evans’s character scream, “What is happening?!” every few minutes. Mind-numbing stupidity, absurdly expensive, and somehow cheap-looking at times. #RedOneMovie

Hunter Bolding would become overtaken with so much Christmas spirit that he was able to overlook its faults, “I’d love to say how bad I thought Red One was, but to be honest, some holiday cheer came over me, and it ended up as a fun romp through the North Pole. Very cute. #RedOne”

Kevin Fenix would full-on glow about this movie, as he said, “#RedOne is pure Christmas magic! Fun, funny, and full of what makes it the most magical time of the year. Also, unexpectedly amazing world building that begs further exploration, and a surprisingly emotional performance by @TheRock that genuinely had me shed a few tears”

Kristen Maldonado would also be wowed by Red One‘s world-building around the known lore of Santa Claus and the North Pole. She writes, “#RedOne is an action-packed holiday showdown, but my favorite part had to be the mythology introduced! They level up the holiday magic we know and love, while adding a fresh perspective with mythological characters we don’t often see represented. A blast for the whole family!”

Meanwhile, Matt Neglia looks to be agreeing with the bad buzz as he feels that all the ridiculousness has caused the film to fall short, “Putting RED ONE on the naughty list for 2024. Unfunny and visually repulsive, even the action lacks excitement & entertainment. The only watchable scene features Kristofer Hivju in full-body prosthetics as Krampus, slapping the coal out of Dwayne Johnson. Nearly everyone appears embarrassed to be there, delivering ridiculous dialogue about rescuing Santa, saving Christmas, and spreading holiday cheer—all while Chris Evans exasperatedly yells “What?!” at each new plot development, gadget or mythological power. An eye-rolling, overproduced waste of both talent and budget.”

Dwayne Johnson reunites with his Jumanji writer/director, Jake Kasdan, for this movie. The Jumanji movies were received well and became hits at the box office. The fact that Red One is directed by Kasdan, whose Jumanji movies were smash hits for Sony, points towards this potentially being a big success. However, Johnson’s track record at the box office has been mixed as of late, with Black Adam seen as a disappointment, although his Red Notice still ranks as Netflix’s most popular movie ever.

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A new episode of our What Happened to This Celebrity series just dropped on the JoBlo Originals YouTube channel, and with this one we’re taking a look at the life and career of one of the most beloved actors of his generation: Keanu Reeves. Here’s a guy who has been in the acting world since the 1980s, and just keeps getting more and more popular as the years go by. How is this possible? Well, it helps when you can play a dog-avenging badass like John Wick… and it also helps to have a reputation as being one of the most kind, warmhearted people in Hollywood. To hear all about Keanu Reeves, and to celebrate a very cool dude, check out the video embedded above.

As mentioned in the video, Reeves’ acting skills have been criticized, but he has made some great movies and brought to life some iconic characters. He’s best known for playing John Wick, Ted “Theodore” Logan from the Bill & Ted movies, and Neo from the Matrix franchise – but he has also played a Sam Raimi villain (in The Gift), gone up against Satan himself on more than one occasion (Constantine and The Devil’s Advocate), starred in one of the best action movies to never receive a sequel (Point Break – which did get a remake, but the less said about that, the better), starred in an action movie that received a Keanu-less sequel most fans wish hadn’t been made (Speed), and worked in some well-liked dramas (River’s Edge, My Own Private Idaho) and comedies (Parenthood). One recent, largely overlooked gem in his filmography is the romantic comedy Destination Wedding, which reunited him with his Bram Stoker’s Dracula (and A Scanner Darkly and The Private Lives of Pippa Lee) co-star Winona Ryder. Reeves cut his dialogue in the most recent John Wick movie down to the bare minimum, but if you want to see him deliver a great performance and a whole lot of dialogue, check out Destination Wedding.

Are you a Keanu Reeves fan? Check out the new episode of What Happened to This Celebrity, then let us know by leaving a comment below.

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PLOT: An unrivaled and highly elusive lone assassin, the Jackal, makes his living carrying out hits for the highest fee. But following his latest kill, he meets his match in a tenacious British intelligence officer who starts to track down the Jackal in a thrilling cat-and-mouse chase across Europe, leaving destruction in its wake.

REVIEW: The Day of the Jackal is a title that resonates even if you have not seen the 1973 film or the novel it was based on. Loosely remade in 1997 as The Jackal, starring Bruce Willis and Richard Gere, the core plot of the Frederick Forsyth novel followed a master assassin attempting to kill the President of France and the investigation to stop him. While the original film was a critical and box office success, the dated subject matter has been ripe for a contemporary update. The new Sky/Peacock limited series The Day of the Jackal dramatically changes the plot and characters while keeping the core cat-and-mouse dynamic between the titular killer and the agent tasked with hunting him down. The new iteration of the story takes a deeper look at the parallels between the hunter and the hunted to deliver a psychologically complex portrait of two people on opposite sides with masterful performances from Eddie Redmayne and Lashana Lynch.

Updating the story from 1960s France to modern-day Europe, The Day of the Jackal centers on the assassin (Eddie Redmayne) as he expertly undertakes a job involving disguises, complex choreographed sniper skills, and a perfectly timed escape. Redmayne portrays The Jackal as a natural mimic who balances his professional life with a secret family, including a young son and a wife, Nuria (Ursula Corbero). While The Jackal ties up loose ends on the job that opens the series, he is recruited for a new target by a wealthy cabal looking to take out a high-profile adversary. As The Jackal balances his carefully curated dual lives, his recent kill has resulted in a multinational hunt for his whereabouts despite no one knowing who or where he is. That is despite the single-minded focus of MI-6 agent Bianca (Lashana Lynch), who has made it her responsibility to find The Jackal and bring him to justice.

The ten-episode series has a propulsive start as we become intimately informed about how The Jackal operates. Eddie Redmayne has played nuanced characters before, but I cannot recall his role with this level of duality or sociopathy. There is a charming, James Bond-like quality to The Jackal but there is also an undercurrent that makes you question whether you should like him a an individual. He is talented and calculating, and when we see him disarmed as a family man, he can be likable, but we never forget he is a murderer. Redmayne adopts The Jackal’s chameleon-like ability to change his appearance, voice, and demeanor, making him even more frightening. However, the perspective of this series also shows the motivations behind why he does what he does, which offers more humanity to the performance than we saw in the previous adaptations of the novel. Redmayne keeps you invested in The Jackal as both a villain and an antihero for the duration of the series, even when he must make difficult choices in the final episodes.

While the two storylines do not directly converge for several episodes, the parallels between The Jackal and Bianca’s arc are numerous. Lashana Lynch has already shown she has the chops to play a spy in No Time To Die as well as a superhero in the Marvel Cinematic Universe, but her turn as the single-minded agent using her brains and cunning to track down a killer is one of the actor’s most impressive turns to date. Bianca, like The Jackal, drops her personal life at a moment’s notice when she is called by her superiors, including Osita Halcrow (Chukwudi Iwuji) and Isabel Kirby (Lia Williams) as she tries to foil another death, this time of entrepreneur Ulle Dag Charles (Khalid Abdalla). Bianca risks disappointing her daughter and husband, but it is in the service of the greater good that puts her and The Jackal on a collision course, which the series continually amps up through each successive chapter. Had the series only focused on Bianca and not The Jackal, this series would have remained a stunning showcase for Lashana Lynch. The limited screen time shared between Redmayne and Lynch allows each character to develop fully without relying on the other.

Brian Kirk, Anthony Philipson, Paul Wilmshurst, and Anu Menon directed the ten-episode series, which Ronan Bennett scripted. Bennett, a novelist and writer, is best known for the BBC historical limited series Gunpowder and Michael Mann’s 2009 biopic Public Enemies. At times, the series feels like two different shows following shared arcs with the supporting players, including Charles Dance, Eleanor Matsuura, Richard Dormer, and Kate Dickie, existing in one and not the other. Alongside the standout leads, Ursula Corbero is fantastic and continues to make me wonder why she is not leading more projects like this. My only complaint, without divulging any spoilers, is how the series wraps up the finale. In many ways, it works within the context of how the story unfolds, but I could not help feeling a bit underwhelmed at the lack of a more conclusive ending.

From the Bond-esque opening credits complete with a sultry title song to the balance of character development, political intrigue, and realistic stakes, The Day of the Jackal is at once indebted to the 007 franchise and its antithesis. This grounded, realistic thriller takes time to develop the protagonist and antagonist while leaving audiences wondering which side they trust and whether they should or should not. This is not a clean-cut espionage story or even an action-oriented tale. The Day of the Jackal is a worthy modernization of the classic novel and delivers two of the year’s better performances on film or the small screen. Eddie Redmayne and Lashana Lynch are absolutely fantastic and somewhat eclipse the minor shortcomings of the project itself. If you come into this series expecting it to be like Mission: Impossible or The Bourne Identity, you will be disappointed, but if you are a fan of Slow Horses and Tinker Tailor Soldier Spy, you are in for a treat.

The Day of the Jackal premieres on November 7th on Peacock.

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Paddington 4

The lovable bear is back. Paddington in Peru has the task of following two movies that had near-perfect positive reactions. Plus, the original director, Paul King, sits this one out. So, now that the film has been screened in the U.K., reactions are hitting social media. How is it faring this time around? Paddington in Peru “follows Paddington and the Brown family as they visit Aunt Lucy in Peru. A thrilling adventure ensues when a mystery plunges them into an unexpected journey through the Amazon rainforest and to the mountain peaks of Peru.” Ben Whishaw returns to voice Paddington, with Hugh Bonneville, Emily Mortimer, Madeleine Harris, Samuel Joslin, Julie Walters, Jim Broadbent, Olivia Colman, Antonio Banderas, and Imelda Staunton rounding out the cast.

Paul Klein of Film Hounds stated, “#PaddingtonInPeru doesn’t hit the heights of 2. But it’s still a lovely, funny, exciting film that knows the charm is in how earnest the Bear is. Olivia Colman as a singing nun is a highlight.”

Kelechi Ehenulo posted that this third entry fell below the first two, “#PaddingtonInPeru is my least favourite in the franchise, missing Paul King’s magic and dare I say it, I missed Sally Hawkins (Mortimer innocent though). However, its heart and intention is in the right place with Paddington himself never losing his charm. Colman steals the show.”

Darren Mooney calls Paddington in Peru “pretty fine” while taking a shot of Dial of Destiny as he says, “Look, at least Paddington in Peru is the best Indiana Jones film to star Antonio Banderas, so there’s that. Paddington in Peru is pretty fine. It’s funny and charming, but you really miss the active involvement of Paul King and Simon Farnaby, who share a story credit.”

Clarisse Loughrey was not nearly as forgiving on the film as she also makes a bear pun, “sorry to be the BEARer of bad news, but PADDINGTON IN PERU is kind of a letdown”

Meanwhile, Carl Roberts would glow about the movie, saying, “#PaddingtonInPeru is an early Christmas treat for the whole family. A wonderfully entertaining, funny and heartfelt movie that rarely puts a foot wrong throughout. Fun, bubbly and truly superb. Pack the marmalade sandwiches and enjoy the ride!”

Two things have been constant in the newly released reviews for this film — the movie stood no chance against Paddington 2 and it’s “just fine” and Olivia Colman comes away as the highlight of the film. A factor that many have pointed out is that Paul King‘s direction is sorely missed. However, the former series director always aimed to hand off the franchise. King stated that “because there’s so much Paddington source material, you could make 50 Paddington movies. I’d be a hundred years old and still doing Paddington.” If there was only enough source material to make two or three films, King said that things might have been different, but he was “really pleased” with where they left Paddington after the second movie and that it was “time to let go and give somebody else a shot.“

Recently, it was announced that there will be a Paddington 4 as well as a TV adaptation. “We are also working on a new TV series and a new movie to come in 2027, ’28,” said Françoise Guyonnet, CEO of StudioCanal Kids & Family, noting that 2028 will mark the 70th anniversary of the franchise. “Of course, the big event for the StudioCanal family is the release of Paddington in Peru.”

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van der beek cancer

James Van Der Beek has announced that he has been diagnosed with colorectal cancer, a form that begins in the colon or rectal area.

Speaking with People, James Van Der Beek announced, “I have colorectal cancer. I’ve been privately dealing with this diagnosis and have been taking steps to resolve it, with the support of my incredible family…There’s reason for optimism, and I’m feeling good.”

While James Van Der Beek didn’t go into any specific details over his cancer diagnosis, there is a lot of information online As per the American Cancer Society, most developments of this cancer start as polyps; if cancer forms within, it can then expand to the walls of the colon or rectum. The stage of cancer can be determined depending on how deep into the walls it is. As far as how many men it may affect, they note that there is a 1 in 23 lifetime risk of developing this form of cancer, although that would be based on numerous factors. They also list five-year survival rates — provided it is localized, meaning it hasn’t spread out of the region — in the low 90% range.

The news hasn’t only been a surprise to fans but even family members of James Van Der Beek, who offered his apologies after he discovered that many relatives found out via the web. In a social media post, the actor wrote, “There’s no playbook for how announce these things, but I’d planned on talking about it at length with People magazine at some point soon … to raise awareness and tell my story on my own terms. But that plan had to be altered early this morning when I was informed that a tabloid was going to run with the news.”

Despite the news of his cancer diagnosis, James Van Der Beek is keeping busy enough, with a selection of projects lined up. One — due out later this month as a Tubi Original — is Sidelined: The QB and Me, based on a young adult novel. But Van Der Beek will always be best known for Dawson’s Creek and Varsity Blues.

We here at JoBlo.com want to wish James Van Der Beek the best in the process of his cancer treatment and recovery.

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Andrea Arnold’s sixth feature, Bird, follows Bailey (Nykiya Adams) as she navigates life in a squat in Kent with her father Bug (Barry Keoghan) and her brother Hunter (Jason Buda). Her relationship with her father is volatile, and her brother and his friends are preoccupied with making and watching YouTube videos of people getting beaten up. Bailey cuts a lonely figure, until she meets the mysterious Bird (Franz Rogowski) who seems to be the hero that she is looking for.

Arnold’s debut feature, Red Road, was released while I was studying film at Kent University in 2006. I was encouraged by a tutor to support a “local filmmaker” by going to see it at the Gulbenkian Cinema on campus, and so here began perhaps the most formative cinematic relationship of my life. I’d been deeply moved by the depth of Kate Dickie’s performance in that film, how Arnold draws out her yearning and sadness. I’ve always had the impression that there’s a real maternal kindness that Arnold offers her characters, a fierce duty of protection and a refusal to place judgement on them despite their sometimes-antisocial behaviour.

When watching Bird, I found myself wondering if Franz Rogowski’s character was in fact how Arnold saw herself – an ethereal being who has the wisdom to know the importance of tenderness where there is chaos, and who embraces the healing qualities of giving love to others, despite having so many unanswered questions of her own. This idea that kindness and love are as sort of superpower may sound trite, but they are essential components that are missing in the lives of so many of Arnold’s characters; and, of course, in real people who live in the sorts of worlds that her characters inhabit. I actually think there’s something quite radical about that.

It’s hard not to feel nostalgic watching the film; whether it be the soundtrack full of surprising needle drops (Coldplay, The Verve, Blur), a score by Burial whose work notably invokes themes of crossing time and space, or its dreamlike quality, something magical that is familiar in Arnold’s work but that is cranked up more than ever to deliver something of an urban fairy tale. Bird is a film full of the ghosts of Arnold’s past; certain moments that feel like a revisiting of her previous films: a woman stomping along a road pushing a pram (Wasp); a stone turtle ornament in a garden (American Honey); or some traveller boys trotting by on horses (Fish Tank).

Bird premiered this year at the Cannes Film Festival, where Arnold was awarded the Golden Coach Award in recognition of her work as a director, and it feels like exactly the right moment to pause and reflect on the work of one of the most celebrated British filmmakers of her generation.

It feels strange to be opening an interview by talking about conclusions. But I really got the sense from watching Bird that it has culminated from so many themes and ideas that you explore a lot in your work. What made you go back to Kent where you did Fish Tank? Why this moment in your career?

I never feel that I make that sort of tangible choice really. The things that appear just appear, and then I just have to go and discover them. The idea for this film came to me a very long time ago, and it was just an image at that point. I had to then go on that journey. And the thing about the film is that it stopped-started a lot because I did other things. I can usually tell when something needs me to keep on at it, because it won’t leave me alone, so I can’t drop it. And I find it so fascinating, because it’s out of my hands – almost like it just kind of niggles at me, or sort of keeps on at me until I deal with it.

If you’re somebody who writes or if you’re a painter or a sculptor, or if you’re a poet, or somebody who does whatever, you have some artistic expression. I think that each work is an exploration of your own psyche on some level, and I think it’s something you don’t understand about yourself, or that you haven’t worked out. It’s something that is important for you to deal with. That’s how it is for me anyway. Every film feels a bit like that. So, in that way, I don’t have a choice. I think somebody like [Robert] Bresson said that sometimes you have an idea for something, and it’s like you’re pulling at a bit of string. And sometimes you pull the string, it doesn’t go very far. It just goes there [gestures a short distance with hands]. And sometimes you pull at a bit of string, and it goes on and on and it unravels and unravels and doesn’t stop unravelling.

I think that certain ideas that I have, or certain things that come to me, are like that. They just keep on. I keep on. It did seem odd to me that I would go back to something that is set around my childhood, where I grew up. I don’t know, it just kind of took me there. I think I won’t again, though, actually. I think it’s interesting what you said, because maybe Bird might be some kind of some sort of culmination of something.

While watching Bird, I noticed so many moments where small interactions or certain motifs were signalling to something from your previous films, almost like a ghost from the past. I got the impression you’re thinking a lot about cinema, and about how we are consuming images, maybe how that’s changing.

I don’t feel that our worlds have changed massively with the fact that we are all viewing so many visual, two-dimensional images. And I think that I definitely incorporated that into the film. I think about it a lot, because I’m very interested in the sensual world, the world that we can see and feel and touch and hear and smell as I feel our lives are becoming increasingly two dimensional through images. And I know that’s what film is as well. I’m always a little bit frustrated with film in that [sense]. I always wish you could touch it and feel it and smell it. And maybe that’s the future, who knows? Or maybe that’s theatre… I don’t know.

But I do feel there’s a limitation to what we understand about the world through the two-dimensional image. A lot of us are consuming the world in this way, without really getting out there and experiencing it. You know, we are all now consuming the world through the screen. And my younger friends, or children of my friends, tell me that they don’t go out anymore very much. They do everything on their social media. They hardly meet up. That’s because they feel they can control the way they look, the way they are, the way they come across, the way they present themselves.

I’ve got that sort of curiosity about all that going on all the time. And when I started to make Bird, I didn’t really have so much. I had Bailey filming things, because I realised that for a teenager like Bailey, how do I show her emotional interior? How do I show what she might be feeling? I do really believe in cinema, and that how you put images together can manage to convey someone’s interior self. But I also thought it’s kind of interesting that she experiences the world through her phone, through these images, and that says a lot about what’s going on with her. So, in the very beginning, when we started, I realised that was quite a powerful thing, and so I started filming more with the phone.

Youth and youth culture is something that you come to time and time again. What we often see presented is a young person who wants to grow up. They always want to get away, to be an adult. Bailey feels different, in that her womanhood is being thrust upon her in a way that she maybe doesn’t want.

What I find really interesting is when I’ve written something, and I’ve got certain ideas about how I want it to be, I then go on a journey with the making of it. The interesting juggling act you have to do is when you bring together all the elements. such as the locations or the people. (and) they all then bring something different or new or something perhaps you weren’t expecting or weren’t planning on. I know some directors, they’ll have an idea in their mind, and they go out to get (it) exactly, they’ll want exactly what they had in their mind. And they will go off and try to do that. Whereas I always like to write a script, and although I have an emotional place I want to reach within that, I’ll look for people that I just feel fascinated by, and Nykiya was one of those people.

The character written was more of a joker, a bit more expressive and ‘out there’. And Nykiya wasn’t really like that. She was a bit more… I wouldn’t say reserved, but she was just a different kind of girl. It’s funny, this thing about when you’re casting, because some people just rouse your life force or something, you sort of… come alive when you meet them. And she did that when she came in the room. I was like, ‘Oh!’ I sat up, you know, and there was something about her very being, when she walked in the room. I just felt very curious. The main reason I cast (her) was because of that feeling I had that I can’t put into words or explain, but (she) was different to what was written. So then I had to find another way of expressing this character which wasn’t quite what I’d written in the script. But the resistance was always there, the defiance – all that was always in the script, the world around her being chaotic. How do you navigate when you’re in the world where everything around you is so completely chaotic? How do you do that?

I’d like to talk about Barry Keoghan who plays Bug. In many ways he’s quite a menacing character, but there’s also a part of him that’s very childlike, and very sweet. You seem to be very comfortable with these men that have this hyper-masculine quality, but who are searching for the complication inside themselves.

I met Barry at some Halloween thing. I’d seen him in some other things, only small things. And then The Banshees of Inisherin came out. I just absolutely loved it. I just loved him straight away. You just go, ‘Yeah, that feels totally right. He feels right.’ I feel if you cast somebody that feels very close to what you’ve written, there’s lots of work to do, but everything kind of falls into place, you know, in a very natural way. You’re not trying to make something that doesn’t exist, he just fell into that role very easily. And he is not that person, but he knows how to be (that person). What I love about him as well – which is what I love about a lot of the actors I work with – he’s never the same twice, he’s very much alive. Even though you’ve got a script, you’re hoping for them to find the life there. He brings the life to those moments.

He’s the antithesis to the character of Bird, who is so different to a lot of the men that we’re used to seeing in your films. I felt that what the film was saying – and what I felt Bird was trying to say – is that in the lives that these people live, actually the only thing you really need is basic kindness. I found that really moving, because a lot of what the characters are lacking in Bird is anyone showing them that kindness. And he’s just this pure hero for doing that.

I feel like his character is there for you to find. It’s really hard talking about your work, because the whole point of making a film is to leave question marks, and not dot the i’s and cross the t’s. It’s to give something for the audience to put themselves into and to have their own experience with. It’s hard not to give the things away that you feel are secrets. They’re like little sort of things you put in there that you want people to discover and have their own relationship with. So I hate to sort of explain it, you know. I don’t want to explain it. Sometimes I don’t understand myself anyway, you know, like when I started with his character, I wasn’t even sure what he was going to be, or how he was, or what it was. And then by going on the journey, I found my own version of him. And I’ve got lots of feelings about Bird, but they’re mine. I know that people interpret the film in lots of ways, and I like to leave it that way. I feel like they’re (the characters), they’re the meatiness of the film. Anything you make, you want to leave things for people to discover, and debate in the pub afterwards like, ‘What did that mean?’ I think I had the same thing with Cow, and that got read by so many people like a big feminist thing, and all about slavery, or about the lack of control over your body, and I found that absolutely fascinating. So that’s one of the challenges, to try and not say why. I also think it takes away from people when they go and see it.

When do you have that feeling that a film isn’t yours anymore? I think that must be so hard; I can tell you how I’ve read your film, but you might not have felt that way, and you sort of need to let that go.

I’m happy to put it out in the world. You know, I never watch my films again after they play, never. You put it into the world, then everyone has a relationship with it, or not, or whatever. And that feels very much like it’s its own thing now – it’s out there. I don’t want to watch it ever again. Every now and again, occasionally people will show me.

When was the last time?

When I was in Cannes this year and I got this Golden Coach award, they put together fantastic little clips, a selection of things from my films. And I found it so moving to see. They did it very beautifully as well, they picked all my favourite things without me even knowing, because they’re directors and they know. And I sit there and I’m watching this compilation of my work, and I haven’t watched some of it for years, and I found it so moving. It’s like watching my past flash before my eyes. And I got really emotional, because it was such a beautiful thing that they gave to me. So, in that way, that was kind of nice, but I wouldn’t want to do it every day.

The post Andrea Arnold: ‘I’m very interested in the sensual world’ appeared first on Little White Lies.

quincy jones

Quincy Jones, the legendary musician and producer who amassed 28 competitive Grammys over his staggering career, has passed away. He was 91.

With collaborations with the likes of Michael Jackson, Frank Sinatra, Ella Fitzgerald, and countless others, it’s hard to put into words just what sort of legacy Quincy Jones left behind. Working consistently since the 1950s, Jones made his mark almost immediately on the music world, getting his start in Chicago before tagging along for a European tour where he could showcase his jazz talents.

But it was the 1960s when Quincy Jones truly emerged as an artist, not only producing Sinatra’s classic It Might as Well Be Swing album, but lending to film soundtracks as well. His breakout on that front was for Sidney Lumet’s The Pawnbroker, but it would be for In Cold Blood that Jones earned his first Oscar nomination for Best Original Score. He would be nominated in that category and Best Original Song a total of six times, even nabbing a Best Picture nod for producing The Color Purple. While he did not win any competitive Oscars, Quincy Jones was honored with the Jean Hersholt Humanitarian Award in 1995. He, too, notably did the title song for Sanford and Son.

Quincy Jones would hit a much younger audience when he teamed with Michael Jackson, producing 1979’s Off the Wall, 1982’s Thriller (the best-selling album ever) and 1987’s Bad – we’re talking “Don’t Stop ‘Til You Get Enough”, “Wanna Be Startin’ Somethin’”, “Beat It”, “Billie Jean”, “The Way You Make Me Feel”, Man in the Mirror”, and so many more. The ‘80s also found Quincy Jones leading “We Are the World”, the iconic charity song that featured a who’s who of legendary singers.

In a statement to the Associated Press, the family wrote, “Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing. And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”

In addition to his 28 Grammys – the most recent of which was in 2019 – and Oscar, Quincy Jones also nabbed a Tony for Best Revival of a Musical (The Color Purple) and Outstanding Music Composition for a Series (Roots).

Leave your condolences and give us your favorite Quincy Jones works below.

The post Legendary 28-time Grammy winner Quincy Jones dies at 91 appeared first on JoBlo.

quincy jones

Quincy Jones, the legendary musician and producer who amassed 28 competitive Grammys over his staggering career, has passed away. He was 91.

With collaborations with the likes of Michael Jackson, Frank Sinatra, Ella Fitzgerald, and countless others, it’s hard to put into words just what sort of legacy Quincy Jones left behind. Working consistently since the 1950s, Jones made his mark almost immediately on the music world, getting his start in Chicago before tagging along for a European tour where he could showcase his jazz talents.

But it was the 1960s when Quincy Jones truly emerged as an artist, not only producing Sinatra’s classic It Might as Well Be Swing album, but lending to film soundtracks as well. His breakout on that front was for Sidney Lumet’s The Pawnbroker, but it would be for In Cold Blood that Jones earned his first Oscar nomination for Best Original Score. He would be nominated in that category and Best Original Song a total of six times, even nabbing a Best Picture nod for producing The Color Purple. While he did not win any competitive Oscars, Quincy Jones was honored with the Jean Hersholt Humanitarian Award in 1995. He, too, notably did the title song for Sanford and Son.

Quincy Jones would hit a much younger audience when he teamed with Michael Jackson, producing 1979’s Off the Wall, 1982’s Thriller (the best-selling album ever) and 1987’s Bad – we’re talking “Don’t Stop ‘Til You Get Enough”, “Wanna Be Startin’ Somethin’”, “Beat It”, “Billie Jean”, “The Way You Make Me Feel”, Man in the Mirror”, and so many more. The ‘80s also found Quincy Jones leading “We Are the World”, the iconic charity song that featured a who’s who of legendary singers.

In a statement to the Associated Press, the family wrote, “Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing. And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”

In addition to his 28 Grammys – the most recent of which was in 2019 – and Oscar, Quincy Jones also nabbed a Tony for Best Revival of a Musical (The Color Purple) and Outstanding Music Composition for a Series (Roots).

Leave your condolences and give us your favorite Quincy Jones works below.

The post Legendary 28-time Grammy winner Quincy Jones dies at 91 appeared first on JoBlo.

Grief is the spectre that haunts Andrea Arnold’s work like Catherine Earnshaw fated to forever roam the Yorkshire moors. Hauntings keep the past alive; this is not mere nostalgia, but a conscious carrying of the past with us into the present, for better or for worse. In Red Road, the devastated Jackie, still seeking justice for the death of her husband and daughter, is driven to make a heinous false accusation against their killer. Star, the teenage girl at the heart of American Honey, flees a life of poverty and abuse, only to find herself in a romance with an unstable drifter. Even Cow, Arnold’s 2021 documentary about the depressing daily life of a dairy cow named Luma, plays out with the same sadness, as we see Luma’s calf being taken away from her shortly after birth, and are confronted with the short, sharp shock of Luma’s death when she ceases to become profitable as an asset.

Continuing the animal theme that began with her short films Dog and Wasp and continued into features with Fish Tank, her sixth feature Bird is a continuation of ideas that have endured across her 23-year career. As in all her films, the lead is a young woman with a turbulent home life – 12-year-old Bailey (newcomer Nykiya Adams), who roams the vicinity of her squat with a sullen scowl and a jutted jaw, like she’s itching for a fight. Who can blame her?

There is harshness always lingering in the periphery, notably in the form of her absent mother’s violent boyfriend Skate (James Nelson-Joyce) and her charismatic but volatile father Bug (Barry Keoghan, covered in a biosphere’s worth of insect tattoos), but also in the gang her half-brother Hunter (Jason Buda) is a member of, who enact vigilante justice on locals they have deemed in need of a duffing up. Bailey, on the cusp of teendom, shows signs of internalising this, pestering Hunter to join his gang, and reacting with (admittedly justified) hostility when Bug announces he’s marrying his girlfriend of three months at the weekend.

Exhausted and angry, Bailey flees into the estuary fields, where she meets a strange man who introduces himself as Bird (Franz Rogowski, with his soft, lilting German accent and wide, bright eyes, imbued with a grace Bailey has not encountered much). She reacts – as any street-smart kid would – with suspicion, immediately whipping out her phone to film him and threatening to get her brother to beat him up if he “tries anything”. Bird, unconcerned, performs a small dance. He explains he’s looking for his people, and Bailey reluctantly gives him directions to the address scribbled on the back of a cigarette packet. Before he leaves, Bird looks up at the sunrise for a long moment. “It’s beautiful, isn’t it?’ he remarks to Bailey. “What is?’’ she grouses, having had enough of this weirdo. He smiles gently. “The day.”

Despite her hostility (forged by a world which hasn’t given her much to be optimistic about so far), Bailey can’t shake a lingering curiosity about the odd Bird, and after covertly following him for a bit, she offers – again couched in a sort of reluctance – to help him find his family, despite, or perhaps owing to, the possible implosion of her own. Bird’s plight offers not only a distraction for Bailey but also a glimpse of kinship.

Bird, who takes all Bailey’s barbs on the chin, is more maternal than paternal, earnestly telling Bailey she’s beautiful after she denigrates her appearance (both her parents call her ugly after she shaves her hair in a fit of pre-teen rebellion) and proving a pro with her younger siblings on a day trip to the beach. It’s at the seaside that Bailey wades out into the gentle tide and floats on her back – a scene that mirrors the end of American Honey.

In both instances, Arnold communicates a sense of peace that comes from nature, but also the idea of a rebirth. For Star, the realisation has finally come that she can live life on her own terms, but for Bailey, it’s an indication of how comfortable she has become. For one brief moment, she’s a kid again, floating on her back, looking up at the sky, not burdened by her father’s madcap moneymaking ventures involving hallucinogenic toads, or her mother’s clearly abusive relationship and the threat that poses to her little sisters and brother

Perhaps unexpectedly, Bird calls to mind Spielberg’s seminal sci-fi E.T. the Extra-Terrestrial, in which another child forms a friendship with a mysterious visitor looking for a home (Bird and Bailey, E.T. and Elliott). While Bird skews more “magical realism” than outright fantasy, it possesses the same self-serious young protagonist, dogged by a grief they are too young to formally articulate or process. Similarly, as Spielberg’s film was praised for its darker take on American suburbia, Arnold subverts the idea of the working-class estates of North Kent as pervasively grim.

The squat in which Bailey lives is run-down, but characterised by its sunlight and the personalised marks that make it home. Children laugh and shout and play in the streets. Over the credits, the cast, crew and locals lip-sync to Fontaines D.C.’s “Too Real” which is used in the film. This is no kitchen sink drama; those most marginalised by years of British austerity are making do, and they’re as entitled to magic as the rest.

Bailey’s feelings of rejection have led her to reject the world back in turn, but the arrival of Bird – and the slow unfurling of his own isolation – starts to change her perspective. Crucially, it isn’t one grand gesture that does it, but instead a patchwork of moments, not all of which come from Bird himself. The flawed parental figures of Bird are not monsters, but rather hopelessly human, able to grow and change along with Bailey herself, they in turn fucked up by circumstance. So there is grief here, yes, in the overcast skies and pavement cracks. It lingers for what was lost and what was never allowed to begin with. But a haunting doesn’t have to be a bad thing. Perhaps it can be a reminder that we’re never truly alone, even when we feel it the most.

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ANTICIPATION.

Even being a little lukewarm on Cow, I’m always keen to catch up with Arnold.
4

ENJOYMENT.

Laughter, fear, tears – and more toad slime than I was expecting.
4

IN RETROSPECT.


A magical, energetic marvel from one of the UK’s finest filmmakers.

5


Directed by



Andrea Arnold

Starring



Franz Rogowski,


Barry Keoghan,


Nykiya Adams

The post Bird review – a magical, energetic marvel appeared first on Little White Lies.