(Slightly Belated) Happy Birthday to Accidental Icon, Nick Frost!


Yesterday, March 28, was the 42nd birthday of English comedic actor Nick Frost. Frost “rose to fame” thanks to collaborations with director Edgar Wright and long-time friend Simon Pegg. In fact, it’s Pegg’s fault that Frost became an actor at all.

In 1999, Pegg was cast in a comic sci-fi show for British television called, “Spaced”…directed by Edgar Wright. Pegg suggested his flatmate Frost for the role of Mike, because he made him laugh, even though Frost was working as a waiter and had no prior acting experience. Wright was skeptical, but eventually decided that Frost was brilliant in the part. The rest is showbiz history.

The three went on, of course, to make “The Cornetto Trilogy”*, that consists of Shaun of the Dead, Hot Fuzz and The World’s End. Without Wright, Pegg and Frost made the insanely funny Paul. Both voiced characters (Thompson and Thomson) in Steven Spielberg’s motion capture epic, The Adventures of Tintin (although Wright cowrote the screenplay).

It’s not exactly rare to find Frost’s name in the credits of a film without also finding Pegg’s, but the two names are so inextricably linked in most people’s minds, that it’s worth mentioning.

In 2005, Frost played the homophobic Don in the wonderful Kinky Boots opposite Chiwetel Ejiofor and Joel Edgerton. Even more memorably (in my humble opinion), Frost played Dave in 2009’s critically lauded The Boat That Rocked, about a group of maverick music lovers and rogue DJs that refused to let some puritanical members of the British government stop the 60’s from swinging. (Though it boasted a cast that included Philip Seymour Hoffman, Chris O’Dowd, Bill Nighy, Tom Sturridge, Tom Wisdom, Rhys Ifans, Kenneth Branagh, Emma Thompson and January Jones and was written and directed by Richard “Love, Actually” Curtis, it became the little-seen Pirate Radio in the US). And in 2012, he played one of the dwarves in Rupert Sanders’ Snow White and the Huntsman.

Next month, Frost gets the chance to go it alone once more, this time with his name above the title, in Cuban Fury, which opened in the UK back in February but finally comes to the US on April 11.

“Former teen salsa champion Bruce Garrett (Frost) is now a sad-sack engineer. But his passion for dancing is re-ignited by his crush on his gorgeous new boss Julia (Rashida Jones) and the only way he can win her over is by mastering the art of dance. Now all Bruce needs to do is rediscover his inner passion.”

Take a look at this:

That the producers felt the need to call Frost as Bruce a “sad-sack” is almost redundant, since most of his characters are to some extent just that. They are also, as Bruce tells Chris O’Dowd‘s Drew, full of heart. In less capable hands Cuban Fury, which sounds like a new take on Cinderfella meets Dirty Dancing by way of Strictly Ballroom, might be cringe-worthy. In Frost’s though, I’m willing to not only give it the benefit of the doubt, but the benefit of my dollars at the box office.

Here’s the official trailer:

The cast includes Ian McShane (always a plus), Rashida Jones, Olivia Coleman, Wendi McClendon-Covey and O’Dowd. Director James Griffiths may primarily be known for his work in television sitcoms, but at least they’re good ones like “Up All Night” and “Episodes”. The screenplay is based on Frost’s idea and written with yet another friend, Jon Brown. It opens in US theaters on April 11.

Oh, and look for a Simon Pegg in a blink-and-you’ll-miss-him cameo.

If all goes according to plan, we can look forward to even more Frost on US tv screens as he’s signed on to star in comedy pilot “Sober Companion” in which he will play an inebriated attorney court-ordered to spend 90 days with Justin Long‘s unorthodox sober coach. Let’s hope Frost and Long have at least a fraction of the chemistry that Frost and Pegg share and that Fox picks it up to series.

Once more, a belated wish for a Happy Birthday, Mr. Frost. Let’s all go have a Cornetto to celebrate!

*a Cornetto is a brand of ice cream cone in the UK, kind of like “Nutty Buddy” here in the US. Edgar Wright’s “Cornetto Trilogy” is also known as the “Blood and Ice Cream Trilogy”, each film a reference to a different flavored Cornetto (strawberry, original, and mint, respectively).

Mindscape Becomes Anna

Anna, Mindscape, movie, poster, Mark Strong, Taissa Farmiga, Brian Cox

Remember when I told you about a little film called Mindscape that we were eagerly awaiting because it starred one of our favorites, “serial mischief maker”* Mark Strong? Sure you do. It’s the one about a man with the ability to enter peoples’ minds and memories, directed by Jorge Dorado and produced by the director of  the über-creepy Orphan, as well as the still-playing Non-Stop with Liam Neeson, Jaume Collet-Serra.

Why do I ask, you wonder? Because it would appear that the film is finally going to see the inside of a theater here in the US and to celebrate, it’s gotten a brand new title.  Mindscape will now be known to American audiences as Anna, which also happens to be the name of the character played by Taissa Farmiga. She’s a brilliant, yet troubled sixteen-year-old girl. But is she a victim…or a sociopath?

Leading man Mark Strong plays John Washington, a detective with the unique ability to enter people’s minds and memories (presumably to help people recall event details pertinent to solving cases). Washington takes on the case of a troubled teenage girl named Anna (Farmiga) who is accused of an attempted triple homicide. To uncover the mystery surrounding Anna and her story, Washington will enter her mind and try to find out the truth: is Anna capable of killing, or is there something hidden in her memories that shows otherwise?

Here’s another look at the trailer:

Personally, I’ll be needing “Close your eyes. Let’s begin…” on a continuous loop.

Written by first-time scribe Guy Holmes (which sounds like a nom de plume if you ask me), score by Lucas Vidal (The Raven, Cold Light of Day, Fast & Furious 6), cinematography by Óscar Faura (The Impossible) and also starring Brian Cox (with whom Strong just appeared in Nick Murphy’s Blood),  Indira Varma (“Rome”, “Luther”), Noah Taylor and Saskia Reeves,  Warner Brothers will unleash Anna on theaters and VOD June 6.

Thanks to Bloody Disgusting who got the poster first.

*Creativity Online

Locke Got The Drop on Tom Hardy

Locke, movie, poster, Tom Hardy

Let’s just declare it “Tom Hardy Week”, at least here at JMHO. Earlier in the week, over at the Facebook page, we had a new still to share from Mad Max: Fury Road. The word is that we will finally get a look at Hardy as Max Rockatansky sometime in 2015. Digits crossed, breath not held.

Yesterday, we got a first look at The Drop (aka Animal Rescue) that I first told you about in September of last year. The film features Hardy along with Noomi Rapace (in the first of their two films due out in 2014. The other, of course, is Child 44). The new pics give us a first look at Hardy with costar James Gandolfini (in his final screen appearance). I don’t want to sound cynical, and with all due respect to the late Mr. Gandolfini (as well as the rest of the cast and crew), The Drop will probably get a lot of attention for this reason alone. I’m not suggesting that it won’t deserve to have a light shone on it. Not having seen any of it yet I can’t say for sure, but the director beginning his press tour with stories of the immediate chemistry that his two male stars shared, as well as screenwriter Dennis Lehane (who wrote his first script from his own short story) talking about how he had lobbied for Gandolfini to play the part of Cousin Marv, are the stuff of which PR dreams are made.

The Drop is directed by Michaël Roskam, known primarily for the Oscar-nominated Bullhead and this one also features the lead in that film, Matthias Schoenaerts. I’m hoping the release of pics means a trailer is coming soon, but it doesn’t open in the US until September, so it more likely means it’s about to be added to the Cannes line-up which will be announced in the next week or so. In any case, I have no doubt that there will be much more to show and tell before the release.

Finally we get to the real purpose of this post, which is to bring you the latest “trailer” for Locke.

Lionsgate UK has just dropped a final tease (a UK television spot unless I miss my guess) before the 18th April release of that film. (The US will get it April 25. Actually, make that NY and LA. The rest of us will have to wait and see. So talk it up if you want to see it! And use hashtags lol)

The plot of Locke is deceptively simple:

“Ivan Locke (Hardy) has worked diligently to craft the life he has envisioned, dedicating himself to the job that he loves and the family he adores. On the eve of the biggest challenge of his career, Ivan receives a phone call that sets in motion a series of events that will unravel his family, job, and soul. All taking place over the course of one absolutely riveting car ride, LOCKE is an exploration of how one decision can lead to the complete collapse of a life.”

Considering that Hardy’s costars are heard over the phone and never seen, Locke has a very impressive cast, including Ruth Wilson (“Luther”), Andrew Scott (“Sherlock”), Ben Daniels (“Law & Order: UK”), Olivia Coleman (“Broadchurch”, Tyrannosaur), Tom Holland (The Impossible).

Director Steven Knight (writer of Eastern Promises and Dirty Pretty Things, as well as director of Redemption – or Hummingbird as it was originally known) gathered all of the supporting players in a hotel room and had them call Hardy in the car that he was driving around London as the movie was filmed. So not only does Locke play out in real-time and Hardy is on screen (and in that car) for every second of it, it was practically filmed in real-time as well. (Close. They took all of eight nights to get the job done.)

Here’s the first UK trailer:

The Domestic Version:

and the final 30 second UK trailer, which believe it or not, does have a bit of new material.

Judging from the superlatives listed at the end of these clips alone…it’s possible my ridiculously early wish list for the 2015 awards season will have another name on it by the end of next month.

Watch This. Why? Because The Rock, That’s Why

Hercules, Dwayne Johnson, movie poster

Not to be confused with Kellan Lutz (seriously – not ever), Dwayne Johnson becomes a hirsute Hercules (weird to see him with hair and yet…I like it. The transformation, complete with yak-hair beard, supposedly took a lot of hours each day) in these first pics from Hercules: The Thracian Wars. Actually, it looks like this has already have been shortened to just plain ole’ Hercules, because apparently no one is going to confuse it with the Renny Harlan version which came out mere weeks ago, starring the aforementioned Mr. Lutz.

While it pains me to want to pimp a Brett Ratner film,  with a cast that includes Ian McShane(!), Rufus Sewell(!), Joseph Fiennes, John Hurt and Rebecca Ferguson (“The White Queen”), one has to admit, it’s got potential.

Based on the graphic novel by Steve Moore and Admira Wijaya, “Hercules: The Thracian Wars”, this is a revisionist take on the classic myth set in a world where the supernatural (ie: Gods, Goddesses) does not exist.  Using the legend of Hercules and his twelve labors as the jumping off point, the story begins after they’ve concluded.

“Haunted by a sin from his past, Hercules has become a mercenary.  Along with five faithful companions, he travels ancient Greece selling his services for gold and using his legendary reputation to intimidate enemies.  But when the benevolent ruler of Thrace and his daughter seek Hercules’ help to defeat a savage and terrifying warlord, Hercules finds that in order for good to triumph and justice to prevail… he must again become the hero he once was… he must embrace his own myth… he must be Hercules.”

See (and HEAR with voice-over by Ian McShane!) the first full-length trailer here (brought to us by Machinima – who also brought us those G.I. Joe trailers. Coincidence? No. Not at all.):

The Rock is wearing a lion. Oh yeah…I’m in. Pass the popcorn.

The writers Evan Spiliotopoulos (Lion King 1 1/2, Jungle Book 2, Cinderella III) and Ryan Condal don’t have a lot to recommend them, but maybe this will be their big break! The good news is that a filmmaker who, just my humble opinion, deserves at least a soupcon of our trust, Peter Berg, is among the producers.  It should look gorgeous, in any case, with cinematography by the estimable Dante Spinotti (Last of the Mohicans, LA Confidential, Heat among many others).

We’ll find out when Hercules hits theaters on July 25.

Make a Reservation For Wes Anderson’s The Grand Budapest Hotel

The Grand Budapest Hotel, movie, Poster

via imdb

Wes Anderson‘s The Grand Budapest Hotel, while definitely for adults, earning its R-rating with mature themes as well as blood, death and copious f-bombs, is also as delightfully flaky and multi-layered as one of the beautifully decorated pastries, the “Courtesans au chocolat”, that play a key role in the film. It’s lovingly crafted in Anderson’s signature candy colors and wrapped in an equally pretty pink box, not the one tied with a blue ribbon, but the Grand Budapest Hotel itself.

The film recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend. The story involves the theft and recovery of a priceless Renaissance painting and the battle for an enormous family fortune — all against the back-drop of a suddenly and dramatically changing Continent.

The film is another in a line of Anderson’s charming and brightly colored shadowboxes, this one awash in extravagant shades of topaz, rose and amethyst, and filled with the director’s usual complement of wacky characters to whom he’s given lots of amusing and eloquent things to say and lots of screwball antics to perform.

It begins with an aging writer embarking on a story told to him when he was a younger man, by another aging raconteur who then proceeds to tell the tale of The Grand Budapest Hotel when it was indeed still grand.  So it’s a flashback within a flashback within a flashback, telling a story within a story within a story, spanning three different eras, each with its own production design and color palette. The setting is the fictional European country of Zubrowka, an obvious stand-in for any of a number of Eastern bloc countries like Czechoslovakia or Poland. When the film opens, the titular castle-like hotel, though clearly fallen on hard times, stands as a remnant of a bye-gone era – an era of grace and beauty…and excess.  The year is 1968 and the Grand Budapest Hotel has been refurbished to reflect more utilitarian times, but it is one of the mysteries around which the film revolves that it has been allowed to remain otherwise untouched, a gracefully aging doyenne atop a mountain, looming over the villages below when private property is clearly frowned upon. (Think of how many families could make use of the hotel’s rooms!)

As all of Anderson’s films revolve around some variation of a father/son dynamic, usually a quirky middle-aged man and the precocious boy he takes under his wing, The Grand Budapest Hotel is no exception. This time around, the mentor is played by Ralph Fiennes as “the mysterious Monsieur Gustave H.”, the consummate concierge who is by turns fussy, fastidious, charming, condescending, a little creepy and sweetly endearing. Often these traits are all visible within the same scene The elderly society matrons who seem to make up the lion’s share of the hotel’s guests, provide Monsieur Gustave with ample opportunity to polish his gifts for seduction and flattery to a fine patina, even when they’re dead.

The Grand Budapest Hotel finds Anderson at his most spirited and stylish. As Gustave and “his  lobby boy” named Zero embark on a fateful trip to honor one such dearly departed guest’s memory, they wind up embroiled in a zany murder mystery comprised of a string of antic set pieces that take them from a vast and spooky mansion to a hilarious prison break to a cartoonish ski-and-sled chase from a mountaintop monastery.

Of course along the way they’ll run into a colorful array of  Anderson’s regular company of players. It would be too spoilery for me to tell you who Bill Murray, Bob Balaban, Jason Schwartzman and Owen Wilson play but part of the fun is waiting for them to pop up, since you know they’re bound to. Adrien Brody is obviously having a blast as the villain, all but twirling his mustache like Snidely Whiplash in melodramatic glee, as is an unrecognizable Tilda Swinton, who has far too little screen time. (Apparently both she and Ralph Fiennes agree as Swinton has said that they’ve talked about doing a “prequel” depicting Monsieur Gustave and Madame D’s “love story”.) Edward Norton does a variation of Scout Master Ward from Moonrise Kingdom, as Henckels. New members of the company include F. Murray Abraham, and Jude Law, among several other familiar faces. But it’s Fiennes to whom this movie belongs and who provides the gravitas and is the ambiguous heart and soul of the film. He’s in nearly every frame of the picture. As an actor he’s gotten so good at playing villains or heavy dramatic roles that it’s almost a giddy surprise to discover his impeccable comic timing. He inhabits Monsieur Gustave in such a way that we cannot doubt his sincerity whether he’s berating his lobby boy, vetting Zero’s young girlfriend Agatha (Saoirse Ronan) or complimenting a corpse on her complexion, despite the fact that he remains a bit of a cryptic figure. He’s civilized and refined, at least superficially, but he’s also prone to vulgarity and casual cruelty and his own background is left purposely vague.

The spectre of impending war looms large and the Nazis are given the thinnest of veils instead of being named outright, but Nazi-era anxieties play a huge role.  If one compares The Grand Budapest Hotel to another film set during the same time period, Cabaret, then Gustave H. is like a more genteel version of Joel Grey’s Emcee.

If the only Wes Anderson film you’re familiar with is 2012’s Moonrise Kingdom, a gently deviant story of first love, it might surprise you to discover that The Grand Budapest Hotel is peppered with startling images of violence. After a character tosses a cat out a window, we see its bloody remains on the pavement below before it’s off-handedly discarded in a trash can, not to mention the close-up of some recently amputated fingers. There’s also a brief glimpse of sexual explicitness that feels almost shockingly out of place in a Wes Anderson film. (It’s meant to be jarring and it does earn a well-deserved laugh from the audience.)  Anderson seems ready and willing to indulge a taste for the crude and grotesque. He treats characters’ physical blemishes and deformities as visual one-liners like the shoeshine boy with the prosthetic leg and the bakery girl with “a port wine stain in the shape of Mexico” on her face.

Anderson has said that his inspirations were the wartime comedies of Ernst Lubitsch, like To Be or Not to Be, but this isn’t so much a satire as it is an homage or soft focus mirror image of those films. He gives us the abhorrence of authoritarianism which marked that earlier genre,  not as a crime against humanity, but more as an affront to good taste and Old World etiquette. Despite the humor, the pastels and jewel tones and the near slapstick energy of some of the vignettes, there is a tinge of melancholy wafting through the film, particularly in the section that takes place post-war, centering on Mr. Moustafa (F. Murray Abraham) and The Writer (Jude Law).

The dialogue written by Anderson from a story by Hugo Guinness and inspired by the works of Stefan Zweig, is heavily laced with poetry and gives Gustave the right to be called a genuinely romantic figure, in the truest sense of the term.

Part of Anderson’s charm is his ability to put together the perfect musical canvas upon which to draw his pictures. I’ve been listening to Alexandre Desplat’s memorable score for weeks now.  It will carry you along until it dares you not to tap your toes, especially during the final credits. (You do stay, right?) You must. You’ll want to dance the Hopak like a Cossack or at least throw your arms up to shout “Hey!” when the music stops.

Ultimately, The Grand Budapest Hotel is enchanting,  as well-appointed and smoothly run as its titular establishment. So here’s a question, why is a movie this much fun, this well made and well acted, released in March?  Why wasn’t it saved for the big end-of-the-year awards circus? It played a few well respected festivals like Berlin and Glasgow earlier in the winter, but not the biggies like Cannes, Toronto or Venice or even Tribeca. Was releasing it in March Anderson’s way of thumbing his nose at awards in general? Am I reading too much into this? Quite possibly. Okay, probably.  But I submit that all those of us who care about such things should agree to keep talking about this film and keep it in people’s minds –the minds of the people in a position to have an impact anyway – so that it’s not forgotten at the end of the year.

Sure there will be a lot more films released between now and then, some of them may be flashier, some of them may even be better. But some may not, but by virtue of their place on the calendar may get the accolades.  Just my humble opinion, but I think that at the end of the year we’ll still be thinking that Ralph Fiennes will deserve some mention as a candidate for Best Actor. Even Edward Norton admits, despite the fact that he really wanted to play Monsieur Gustave himself, that no one could have played him as well as Fiennes. Sure he didn’t have to gain or lose any weight or wear a prosthetic nose or anything else, but the delicate balance of the movie rests on his shoulders. Lord knows Fiennes has deserved the recognition many times before and has been overlooked (*coughCoriolanuscough*). He hasn’t been nominated by the Academy since 1996. 1996! C’mon.

Okay, I’m off of my soapbox. Bottom line, you need to check into the four-star establishment that is The Grand Budapest Hotel and let Monsieur Gustave see to your comfort for a couple of hours.

The Grand Budapest Hotel, written and directed by Wes Anderson, with Ralph Fiennes, Tilda Swinton, Adrien Brody, Jude Law, F. Murray Abraham, Tony Revolori, Saoirse Ronan, Edward Norton, Willem Dafoe, Bill Murray, Bob Balaban, Jason Schwartzman, Owen Wilson, Tom Wilkinson, Jeff Goldblum, Harvey Keitel, Mathieu Amalric, Lea Seydoux and Fisher Stevens, is open in select cities in the US and Canada now and is rolling out to more tomorrow March 21.

Final Trailer – Red Band:

How to Make “Courtesans au Chocolat”:

Meet the Cast:

The Central Conceit of Wes Anderson:

Tilda Swinton, Ralph Fiennes, The Grand Budapest Hotel, elevator, Tony Revolori

courtesy Fox Searchlight

Ahhnold is “Gonna Destroy Them” in New Sabotage Trailer

Sabotage, movie, domestic poster, Arnold Schwarzenegger

I have to admit it, Arnie‘s new movie, Sabotage, looks pretty good – if you like this sort of thing (and I must admit that I do).

The Guvenator has undoubtedly been convinced, probably with the able assistance of agents, handlers, etc., that since 61 year old Liam Neeson has been raking in the bucks (he’ll get $20 million for Taken 3, the movie he swore he wasn’t going to do) as a perfectly credible “middle-aged” ass-kicker for hire, why shouldn’t he do it. (Schwarzenegger is 66 and certainly doesn’t need the money – unless he lost everything in a real estate swindle. He’s one of the savviest business men in Hollywood.) If The Expendables franchise hasn’t yet convinced everyone that he’s still got the juice (Last Stand hinted at it, but it bordered on parody with it’s inside jokes like, “I’m too old for this shit” – first made popular by Danny Glover in Lethal Weapon 2, and didn’t get him all the way back.)  Ahhnold‘s got his résumé on dvd and blu-ray. He might be carrying an AARP card as well as a SAG card now, but it’s enough to tell doubters he should be given a chance.

In “Sabotage”, Arnold Schwarzenegger leads an elite DEA task force that takes on the world’s deadliest drug cartels. When the team successfully executes a high-stakes raid on a cartel safe house, they think their work is done – until, one-by-one, the team members mysteriously start to be eliminated. As the body count rises, everyone is a suspect.

The first (long) red-band trailer would seem to give away a big part of the plot, but it’s fun to watch Arnie swagger around with his big gun:

The newest, also red-band, trailer would seem to go further to tell us what the movie is actually about, namely how far would you go for someone you cared about. It’s clearly designed to give us a better look, albeit between the bang bangs and the booms, at the supporting players.

Sabotage is written (with Skip Woods) and directed by David Ayer (End of Watch), and that terrific supporting cast includes: Mireille Enos, Sam Worthington, Terrence Howard, Max (yes thanks, I’ll have another) Martini, Olivia Williams, Harold Perrineau, Josh Holloway, Martin Donovan…oh and that corn-rowed hulk is the Wolfman himself, Joe Manganiello. These things alone tell me that this movie is going to be a cut above Schwarzenegger’s usual ham-fisted action fare and will go a lot further to re-launch him as an action star for the new millennium. Again, JMHO. Feel free to tell me why I’m wrong in the comments below.

Sabotage opens in the US and Canada on March 28 (moved up from April 11) and in the UK on 7 May.

It Ain’t Easy for a Princess: New Trailer for Grace of Monaco

movie, still, trailer, Tim Roth, Nicole Kidman, Grace of Monaco

via imdbpro

There is a new trailer for Olivier Dahan’s Grace of Monaco, that would appear to give us a better idea of what the film is actually about, and what it is not.

The trailer would have us believe that the film is not just a pastiche of Nicole Kidman posing in beautiful period costumes and doing an impression of Princess Grace, (a role for which Jessica Chastain, Emily Blunt, Charlize Theron, Reese Witherspoon, Gwyneth Paltrow, Kate Hudson, Rosamund Pike, Amy Adams, January Jones -really?- and Elizabeth Banks were among those considered) but it is about what the official synopsis has always told us:

The story of former Hollywood star Grace Kelly’s crisis of marriage and identity, during a political dispute between Monaco’s Prince Rainier III and France’s Charles De Gaulle, and a looming French invasion of Monaco in the early 1960s.

Set in 1962, six years after the fairy tale wedding (which set the standard for televised fairy tale weddings)  as Grace née Kelly struggled to reconcile  a longing to return to the big screen, thanks to tempting offers  from the likes of Alfred Hitchcock, with her role as a monarch of a European principality as well as wife to a Prince and mother to two small children.

Add to this Rainier’s modernization of an ailing Monaco was being thwarted by French premier Charles de Gaulle who wanted to impose French taxation on Monaco, and reclaim the principality for France, by force if necessary.

That sounds a lot heavier than your average biopic about a beloved style-icon. Take a look:

Back in January, I mentioned that Grace of Monaco had, after Harvey Weinstein’s controversial move to pull it from  The Weinstein Company schedule (after having moved it from 2013 awards contention to March 2014), leaving everyone to speculate about just how awful it must be, Variety  announced that the film will open the 67th Annual Cannes Film Festival.

Grace of Monaco has a script by Arash Amel (Erased with Aaron Eckhart)  which landed on the 2011 Hollywood Black List. It also stars Tim Roth as Prince Rainier, Frank Langella, Derek Jacobi, Nicholas Farrell, Parker Posey, and Paz Vega (as Maria Callas!) among others.  The film has supposedly firm release dates scheduled for Europe, including the UK in June. With this new trailer, can a domestic date be far behind, or will Harvey wait to see what the response is when it bows at Cannes?