Impressive #CrimsonPeak is Vintage Guillermo del Toro

Crimson Peak, Guillermo del Toro, Jessica Chastain, Tom Hiddleston, Mia Wasikowska, movie, poster

Contrary to those ads you’ve been seeing and the trailers with Nick Cave‘s “Red Right Hand” playing beneath it, make no mistake, Guillermo del Toro‘s Crimson Peak is a true Gothic romance that just happens to have ghosts in it (as well as copious amounts of blood and blood-like substances).What it is not, is a horror movie. The director himself has not called it that. He’s actually compared it to Hitchcock, particularly Rebecca or George Cukor’s Gaslight (both of which are apt comparisons), but it is as a horror film, that it is being marketed. It was shot February through May and completed in December 2014, but Universal wanted to release it at Halloween, so here we are in October 2015. Make no mistake, there are thrills and chills, and it’s full of murderous intent and malice-aforethought, but no real “scares”, at least in terms of what movie-goers born post-Freddie Kruger and weaned on the Paranormal and Insidious series’ as well as remakes of Halloween, The Fog and Poltergeist, would consider truly scary.

Mia Wasikowska is Edyth Cushing, an aspiring novelist, whose biggest champion is her wealthy industrialist father (Jim Beaver). Her aspirations make her something of an outsider to her social climbing contemporaries who prove that the male publishing world isn’t alone in thinking she should be concentrating on getting a husband.  So of course, it is is Edyth that the mysterious Thomas Sharpe (Tom Hiddleston), a rakish English demi-noble (his title, “Baronet”, is thrown around a lot) plucks from the bouquet of dewy young things presented to him upon his arrival in turn-of-the-century Buffalo. He quickly marries her, after the shocking (and incredibly brutal) death of her father, who had objected to the match on grounds we are not immediately privy to (made known to him by his hired detective Holly, played by Burn Gorman), then whisks her away to a molding, crumbling estate back in (extremely) rural England, full of ghastly secrets and even ghastlier ghosts.

When her heart is stolen by a seductive stranger, a young woman is swept away to a house atop a mountain of blood-red clay: a place filled with secrets that will haunt her forever. Between desire and darkness, between mystery and madness, lies the truth behind Crimson Peak.

The film, written by the director and Matthew Robbins (Mimic) who started it in 2006 and finally finished during filming, is visually stunning in typical del Toro style. All of the colors are rich and over-saturated. Both Wasikowska and Jessica Chastain often look like they belong in a Pre-Raphaelite painting. A lot of the sumptuous fabrics used in designer Kate Hawley‘s costumes are vintage, from the period depicted. The set design (all of which was built from the ground up specifically for the film by art director Thomas E. Sanders) is, in a word, incredible. Every scene, particulary once the film moves to spooky Allerdale Hall, could have been captured by an artist’s brush as well as the lens of Danish cinematographer Dean Laustsen.  del Toro has said that he wanted his movie to look like a Technicolor Mario Bava film (Bava was a painter before he was a director/cinematographer) and, JMHO, he’s succeeded. (You will hear about Crimson Peak come awards season. It will be up for all of the technical awards – as it should be.)

But this film owes as much to Bava as it does Hammer Studios in its hay-day. Charlie Hunnam‘s Dr. McMichael is a “good guy” straight out of their repertory company. The grand score, by Fernando Velasquez, and the dialogue, particularly in the early scenes, is straight out of a period-perfect Penny Dreadful (speaking of which, there are shades of the Showtime series as well – again, not a bad thing at all), with a lot of stilted delivery of the phrase “my child”.

Watching Wasikowska and Hiddleston, it’s hard to imagine Emma Stone and Benedict Cumberbatch in their roles. Hiddleston, in particular, was made for this type of film (if you haven’t seen his tortured, soulful vampire in Only Lovers Left Alive, remedy that. Immediately) and the site of him in white tie and tails is indeed impressive and utterly swoon-worthy. Wasikowska gets to be the heroine of her own story, in a departure from the Gothic formula. del Toro has imbued her with the intelligence and resiliance to not only recognize the dastardly shenanigans of her new husband and his creepy sister, but to defend herself against them.

The Sharpes are a tragic pair, certainly not your typical villains, created by equal parts nurture and nature, and it is Jessica Chastain’s Lucille that is the beating pulse of this movie. Lucille is fierce and determined, with a stare that is both ice cold and blazing with intensity. She doesn’t go full-tilt bozo until the final reel, but it is a payoff the film has been ratcheting toward from the start and what we’ve been waiting for. (Even then we feel some small measure of sympathy for her.) I don’t want to spoil anything, particularly since most of the plot twists are easily untangled while you watch, but trust me – there are monsters and there are monsters.

See Crimson Peak and see it at a theater in all its glory. I’m not usually one to endorse what I consider marketing gimicks, but I highly recommend IMAX for this one.  It deserves the biggest screen  you can find. Come back and let me know what you think.

Advertisements

It’s Here, It’s Here! It’s Finally #Oscars Day (And My Predictions Are Finally Finished!)

Osczars, Academy Awards, predictions, movies

Okay, I’m attempting to get my predictions in, just at the wire, which is par for my course, so here are my thoughts on the subject:

First, I think that this year, there will be no one film that runs away with all of the awards for which it has been nominated and the love will be spread around quite a bit. I like this idea. Considering all of the many movies made and how few are recognized at the big dance, a nomination should be its own reward. As someone (J.K. Simmons perhaps) said at an awards show earlier this year, if you’re in the room, you’re already a winner.

Of my favorite films this year (which are many, I can’t limit myself to just 10, and in no particular order):
Frank
The Drop
Locke
The Grand Budapest Hotel
A Most Violent Year
Boyhood
Birdman
Guardians of the Galaxy
Only Lovers Left Alive
Snowpiercer
Gone Girl
Nightcrawler
Mr. Turner
HTTYD2
Inherent Vice
The Trip to Italy

I’m amazed that so many of them are still in the Oscar mix and of course, just as surprised that so many of them are not.

Remember when Gone Girl was released and it automatically became the front-runner for Best Picture? That didn’t last long. It doesn’t take away my enjoyment of the movie though. And it will probably be remembered a lot longer than some of those films that were recognized. (Does anyone believe that The Theory of Everything bears repeat viewings?) Guardians of the Galaxy was just too popular and made too much money for anyone to “take seriously”.  It has been in the mix for a handful of technical awards, but let’s be honest. All of the technology, makeup and CGI would not have made that film what it was without the performances of Chris Pratt and company.

Snowpiercer was another film that was declared an instant classic with film scribes all over the interwebz begging for some awards recognition for the “best film of the year”.  Sorry, too “niche-y”, too sci-fi, too dystopian, too grimy, too…foreign.

Tilda Swinton, however, should have been recognized. Her part was originally written for a man. Even though it was adapted slightly for her, she spent two hours every day in the makeup chair.  How is it possible that this extraordinary talent has only been nominated for one Oscar (that she won – for Michael Clayton)?  If no one could get past her gargantuan teeth in Snowpiercer, what about for her haunting, languidly sexy vampire in Only Lovers Left Alive? How was that movie missed by so many? It is perfection.  (Full disclosure, I adore this woman. I can’t wait to see her in Judd Apatow‘s Train Wreck.)

Coulda, shoulda, woulda. In the Best Actor category, neither of the two actors who should win were even nominated. My first choice would have been Tom Hardy for Locke, a virtuoso performance in a singular film, but I’d have been happy with Jake Gyllenhaal for Nightcrawler. That said, of those actors who did manage to snag a nomination, Eddie Redmayne has the momentum after his SAG and BAFTA wins, although admittedly the latter award was given in his own backyard and it would have been a surprise if he hadn’t won. I’d much prefer, however, that Michael Keaton get the prize for what is a career defining (not to mention rejuvenating) role in Birdman. I’m against giving Oscars as career achievement awards (unless they are actually called that), but. unlike Redmayne and even Benedict Cumberbatch, journeyman Keaton created a character from scratch and made us care about him, and that’s what it’s all about.

What’s really exciting is that it’s now Oscar Day and we’re still debating these things. This is an exciting year, in my humble opinion, precisely because there are still a few question marks regarding the evening’s festivities, which means that there may yet be some surprises to be found and

Aside from the speeches, (and I won’t go into some of the wacky and unexpected examples of those, because once a name has been read, all bets are off. Whatever anyone says or does, they can’t take the statue away from you, so have it with your one-armed pushups like Jack Palance or just whoop for ten minutes like Cuba Gooding, Jr.) it seems like it’s been quite a while since any of us who pay attention to these things, was actually surprised.

But surprises can happen. There have been quite a few unexpected wins in (what seems like) the recent past. For example, Adrien Brody for The Pianist in 2002 over the likes of Jack Nicholson, Michael Caine, Nicholas Cage, and Daniel Day Lewis. Deserving or not, and I happen to think he was, no one saw that coming. Then Brody’s director Roman Polanski, upset DGA winner Rob Marshall (Chicago). this is an aberration on the order of 1999’s Shakespeare in Love win over Saving Private Ryan (what?!), not to mention perhaps the most infamous examples, Marisa Tomei in 1992 over Judy Davis, Joan Plowright, Miranda Richardson and Vanessa Redgrave (!!) and then 2004’s Crash over Brokeback Mountain. So anything is possible.

While most of us on the outside looking in this year have Best Actor down to a battle between Redmayne and Keaton, it is definitely within the realm of possibility for Bradley Cooper to sneak in and snatch it out from under them. This is Cooper’s third nomination in three years and he did the whole body transformation thing – packing on 50 pounds of muscle to play Navy Seal Chris Kyle – which the Academy loves. The one actor who appears to be out of the running completely is Cumberbatch. This after months of assumptions that he was the front-runner for The Imitation Game, which has also all but dropped out of the race. Cumberbatch has been covered in the dust of Redmayne and Keaton. I have no doubt, though, that he’ll be back for future races. Sorry Steve Carell. You are the proverbial luckless snowball.

Best Actress, Best Supporting Actress and Best Supporting Actor are all pretty much done deals. Despite the four other names announced in each of those categories, only one has been cleaning up at all of the under-card races. Julianne Moore (Still Alice), Patricia Arquette (Boyhood) and J.K. Simmons (Whiplash), respectively, are virtual locks to win the big one. All that’s left are those speeches. I don’t expect any of them to pull a Roberto Benigni. Too bad.

I believe it’s entirely possible that the Best Director and Best Picture races will be split, just like at BAFTA where Director was given to Alejandro Iñárritu and Pic to Boyhood, and yesterday at the Independent Spirit Awards where the opposite was true and Richard Linklater walked away with Director and Birdman, Best Picture. I’ve often said it’s illogical to nominate a film without its director, but it’s almost the norm this year: Selma without Ava Duvernay, The Theory of Everything but no James Marsh, American Sniper without Clint Eastwood– this is what happens when you expand Best Picture to as many as 12 but don’t expand the other categories! Insanity! (How then to explain Bennett Miller but no Foxcatcher?) Anyway, in the case of Boyhood’s Linklater and Birdman’s Iñárritu, if the Academy splits, it may just be a case of wanting to recognize two of the best films of the year without playing Solomon exactly, but without actually choosing.

That said, I make the call for Birdman a. because it’s a movie about actors (and they comprise the largest Academy voting bloc) and b. it has a slight edge in the guild awards. But, no matter who takes home the hardware, when it comes to these two films, fans of well-written, well-acted, well-directed, just plain well-made (and yes okay, independent) movies are the winners. Here’s hoping their success heralds a new wave of quirky, inventive, intelligent, cinematic square pegs.

On with the show:

BEST PICTURE
American Sniper
*Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Selma
The Theory of Everything
Whiplash

BEST DIRECTOR
*Alejandro González Iñárritu, Birdman
Wes Anderson, The Grand Budapest Hotel
Richard Linklater, Boyhood
Morton Tyldum, The Imitation Game
Bennett Miller, Foxcatcher

I have to go with Iñárritu, because of his DGA win. It is extremely rare that the winner of the Director’s Guild Award does not win the Academy Award. BUT – see above. Linklater could pull it out.

Best Actor
Steve Carell, Foxcatcher
Bradley Cooper, American Sniper
Benedict Cumberbatch, The Imitation Game
**Michael Keaton, Birdman
*Eddie Redmayne, The Theory of Everything

BAFTA was icing, but Redmayne won the Screen Actors Guild award. See above re: voting bloc. Academy voting actors are SAG voting actors.

Best Actress
Marion Cotillard, Two Days, One Night
Felicity Jones, The Theory of Everything
*Julianne Moore, Still Alice
Rosamund Pike, Gone Girl
Reese Witherspoon, Wild

Best Supporting Actress
*Patricia Arquette, Boyhood
Laura Dern, Wild
Keira Knightley, The Imitation Game
Emma Stone, Birdman
Meryl Streep, Into the Woods

Best Supporting Actor
Robert Duvall, The Judge
Ethan Hawke, Boyhood
Edward Norton, Birdman
Mark Ruffalo, Foxcatcher
*J.K. Simmons, Whiplash

Best Original Screenplay
Birdman, Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris and Armando Bo
Boyhood, Richard Linklater
Foxcatcher, E. Max Frye and Dan Futterman
*The Grand Budapest Hotel, Wes Anderson and Hugo Guiness
Nightcrawler, Dan Gilroy

Grand Budapest will get this award not only as a consolation prize for best picture (it did after all score a great many other nominations as well), but because it’s a truly wonderful story. Wes Anderson is a very literary filmmaker. The WGA win is a harbinger unless it won only because the guild’s first choice, Boyhood, was ineligible. But I don’t think so. Nightcrawler won the Independent Spirit Award and I would not be unhappy if the Academy recognized Dan Gilroy (in place of Jake Gyllenhaal).

Best Adapted Screenplay
American Sniper, Jason Hall
*The Imitation Game, Graham Moore
Inherent Vice, Paul Thomas Anderson
The Theory of Everything, Anthony McCarten
Whiplash, Damien Chazelle

Another consolation prize since The Imitation Game scored eight noms but won’t win any other major category. And again, Graham Moore took home the WGA.award, but his closest Academy competition (The Theory of Everything) wasn’t eligible, so Anthony McCarten could steal.

Best Documentary Feature
*CITIZENFOUR
Finding Vivian Maier
Last Days in Vietnam
The Salt of the Earth
Virunga

Thanks to HBO and Netflix, I’ve seen four of the five and on the merits, this is a hard choice to make. I’m going with CITIZENFOUR because it’s a juggernaut.

Best Costume Design
*The Grand Budapest Hotel, Milena Canonero
Inherent Vice, Mark Bridges
Into the Woods, Colleen Atwood
Mr. Turner, Jacqueline Durran
Maleficent, Anna B. Sheppard

Grand Budapest, Birdman and Into the Woods all won Costume Guild awards, because they have several categories. The Academy lumps them all together. Canonero is an Academy favorite (with 3 previous wins), although so is Atwood, who also has three. I think Grand Budapest will win. Canonero’s costumes for this film re-imagined a real period in history, one that has been put on screen many times, and made them seem fresh and new.

Best Cinematography
*Birdman, Emmanuel Lubezki
The Grand Budapest Hotel, Robert D. Yeoman
Ida, Ryszard Lenczweski and Lukasz Zal
Mr. Turner, Dick Pope
Unbroken, Roger Deakins

If I were voting, I’d have to go with Dick Pope‘s gorgeous Turner-like landscapes in Mr. Turner or sentimental favorite Roger Deakins, who is nominated for his 12th Oscar. Last year’s winner, Emmaneul Lubezki, for whom this is his seventh nomination, will win again because the camera work in Birdman is still a major talking point, even among lay-people.

Best Hair & Makeup
Foxcatcher, Bill Corso and Dennis Liddiard
*The Grand Budapest Hotel, Frances Hannon and Mark Coulier
Guardians of the Galaxy, Eliazabeth Yianni-Georgiou and David White

Guardians could pull out an upset, but for me, this category was decided the minute I saw Tilda Swinton in The Grand Budapest Hotel.

Best Editing
American Sniper, Joel Cox and Gary Roach
*Boyhood, Sandra Adair
The Grand Budapest Hotel, Barney Pilling
The Imitation Game, William Goldenberg
Whiplash, Tom Cross

Why Boyhood? Twelve YEARS of footage. Now, I have to hand it to the editor of Whiplash as well. Miles Teller may have taught himself to play the drums for the role, but the tight editing made it fascinating, especially the finale, but still….twelve YEARS of footage. And it wasn’t just a cobbled together Frankenfilm. The result was lyrical and beautiful.

BEST SOUND EDITING
*American Sniper, Alan Robert Murray and Bub Asman
Birdman, Martin Hernandez and Aaron Glascock
The Hobbit: The Battle of the Five Armies, Brent Burge and Jason Canovas
Interstellar, Richard King

Unbroken, Becky Sullivan and Andrew DeCristofaro

This category is about creating an aural picture, that coincides with and reinforces the visual one. All of the nominees in this category are worthy. And for this reason Richard King, who created sound in the vacuum of space in Interstellar could upset, but think about what you heard when you saw American Sniper. Think about the juxtaposition of the horrors of war with what was happening at home. That is sound editing.

BEST SOUND MIXING
American Sniper, John Reitz, Gregg Rudloff and Walt Martin
Birdman, Jon Taylor, Frank A. Montaño and Thomas Varga
Interstellar, Gary A. Rizzo, Gregg Landaker and Mark Weingarten
Unbroken, Jon Taylor, Frank A. Montaño and David Lee
*Whiplash, Craig Mann, Ben Wilkins and Thomas Curley

Sound MIXING is creating a balanced blend,of the sounds that the sound editor has created. So doesn’t that mean that the film which wins that category should automatically win for mixing? Not necessarily. While Sniper could win, in this particular instance, it’s important that Whiplash be recognized, particularly for a sound category, especially when that aforementioned final sequence won’t have been. The sound mix is everything to this movie. That said, I could see Birdman’s jazz percussion soundscape sneaking in a win, But we’ll go with Whiplash.

Best Visual Effects
Captain America: The Winter Soldier, Dan DeLeeuw, Russell Earl, Bryan Grill and Dan Sudick
Dawn of the Planet of the Apes, Joe Letteri, Dan Lemmon, Daniel Barrett and Erik Winquist
Guardians of the Galaxy, Stephane Ceretti, Nicolas Aithadi, Jonathan Fawkner and Paul Corbould
*Interstellar, Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher
X-Men: Days of Future Past, Richard Stammers, Lou Pecora, Tim Crosbie and Cameron Waldbauer

Some pundits are going with the team from Apes, both for its incredible effects (and their ability to make us care about the motion capture apes as well as all of their CGI tricks), and for the fact that this same team was nominated for Rise of the Planet of the Apes and didn’t win. That could also be a mark in Interstellar‘s favor. Interstellar should win on its own merits though. Whatever else you liked or didn’t like about Christopher Nolan‘s megafilm, it was visually stunning.

Best Foreign Film
Wild Tales, Damián Szifrón; Argentina
Tangerines, Zaza Urushadze; Estonia
Timbuktu, Abderrahmane Sissako; Mauritania
*Ida, Pawel Pawlikowski; Poland
Leviathan, Andrey Zvyagintsev; Russia

Ida is probably the film in this category that most people have seen. It’s been available on Netflix since December and has already won quite a few awards, including yesterday’s Independent Spirit Award. It’s also good enough to have been nominated for its stunning black and white cinematography and was in the conversation, at one time, for Best Picture.

BEST ORIGINAL SCORE
*The Grand Budapest Hotel, Alexandre Desplat
The Imitation Game, Alexandre Desplat
Interstellar, Hans Zimmer
Mr. Turner, Gary Yershon
The Theory of Everything, Jóhann Jóhannsson

Alexandre Desplat has been another Academy bridesmaid in recent years. Eight nominations since 2007, but without a win. He works on prestige films that get Academy recognition, but he’s also just that good. That he is nominated twice this year alone is testament to both of those facts. I do think he’ll finally win, but it gets trickier when one has to choose for which film. My personal choice is The Grand Budapest Hotel. As I’ve already said, I loved the score (as I did Desplat’s work on Anderson’s Moonrise Kingdom. Both quirky, toe-tapping and memorable). I can’t remember the score for any of the other films, although I remember enjoying them at the time. It is possible that because Desplat is competing against himself, that he might split the vote, leaving the door open for someone else. If that’s the case, it will probably be Jóhann Jóhannsson, who won the BAFTA.

BEST ORIGINAL SONG
“Lost Stars” from Begin Again, Gregg Alexander and Danielle Brisebois
“I’m Not Gonna Miss You” from Glen Campbell: I’ll Be Me, Glen Campbell and Julian Raymond
“Everything is Awesome” from The LEGO Movie, Shawn Patterson
*“Glory” from Selma, John Stephens and Lonnie Lynn
“Grateful” from Beyond the Lights, Diane Warren

This is another virtual lock. It not only evokes the film, but it’s a good song in its own right.

Best Animated Film
Big Hero 6
The Boxtrolls
*How to Train Your Dragon 2
Song of the Sea
The Tale of Princess Kaguya

I don’t know why The Lego Movie was not nominated. Even if it had been, I’d have been rooting for HTTYD2, for sentimental reasons and because it’s a great movie. It won the Annie, as did its predecessor, but this year it will also win Best Animated Feature since it doesn’t have a Pixar entry to beat. So yay! (Although I’m still bummed about John Powell‘s score snub that year and this.)

Best Short Film – Animated
**The Bigger Picture
The Dam Keeper
*Feast
Me and My Moulton
A Single Life

I loved them all and while my personal favorite might be The Bigger Picture, which was just so damn clever, I think Feast will win because, much like last year’s Paperman, it was the most seen. It’s also very sweet and deceptively simple.

Best Short Film -Live Action
Aya
Boogaloo and Graham
Butter Lamp
Parvaneh
*The Phone Call

Boogaloo and Graham pulled out a BAFTA win, and if that seemed like a hometown favorite (about two boys and their baby chicks), I’m equally as surprised that The Phone Call didn’t win there. It stars Sally Hawkins as a mental health worker at a suicide hotline and Jim Broadbent as her caller, both actors familiar to Academy voters, plus it’s the fictional companion to Crisis Hotline: Veterans Press 1. (See below) For those reasons I’m going with The Phone Call, even though some are touting the virtues of Parvaneh, from Switzerland, about an Afghan immigrant who travels to Zurich.
Best Short Film – Documentary
*Crisis Hotline: Veterans Press 1

Our Curse
The Reaper
White Earth

I’ve seen the shorts programs. (Hey, if you want to prognosticate with any accuracy, you have to) and Crisis Hotline: Veterans Press 1 is both gut-wrenching and topical. We all say we hate the war but love the warrior. We need to do a better job of proving it.

BEST PRODUCTION DESIGN
*The Grand Budapest Hotel, Adam Stockhausen and Anna Pinnock
The Imitation Game, Maria Djurkovic and Tatiana Macdonald
Interstellar, Nathan Crowley, Gary Fettis and Paul Healy
Into the Woods, Dennis Gassner and Anna Pinnock
Mr. Turner, Suzie Davies and Charlotte Watts

Anna Pinnock is another dual nominee, but her collaboration with Adam Stockhausen on Grand Budapest should win her the award. Despite the Academy’s proclivity to give this award to a musical if one is available, the highly stylized look of Wes Anderson‘s film is its core.

There you have it, my predictions for the 2015 Academy Awards. Got ’em in, with a nanosecond to spare, but I got ’em in. So what else is new? Want to start making predictions for next year?

UPDATE: I went 21 for 24 – same as last year. I’m always surprised, not by the fact that I missed a few, but the ones that I miss. 

Oscar Nominations 2015: The Fallout

Oscars, nominations, Academy Awards, AMPAS, poster, Neil Patrick Harris

This morning, Thursday January 15, 2015, the Academy of Motion Picture Arts & Sciences President Cheryl Boone Isaacs (along with a somnambulant Chris Pine, J.J. Abrams, and Alfonso Cuarón) stood on a mountain top (okay a stage) to hand down that august body’s nominations for the 87th annual Academy Awards. Given the complete hodge-podge and mishmash of this year’s list of nominees, seemingly culled together by blind monkeys banging away at keyboards, I can understand why they do it at the arse-crack of dawn (at least for those on the West Coast). They’re hiding under the cover of darkness.

I have to say I’m not really all that shocked by who was nominated, but rather surprised, puzzled and, yes, a little pissed-off, by who wasn’t.

One step forward and two steps back: last year I fantasized about more than one person of color being nominated for Best Actor. This pipe-dream was unfullfilled, but at least one black actor not named Denzel managed to slip past the color barrier (Chiwetel Ejiorfor), even if they did ultimately hand the prize to the middle-aged white guy. I was left with the thought that perhaps a corner had been turned and that in subsequent years we would begin to see nominees more reflective of the culture. This year is not one of those years.

Despite a mesmorizing performance by David Oyelowo as the man known as Dr. Martin Luther King, Jr. (rather than a two-dimensional bold-faced type legend) in Selma, for which he received nothing but glowing reviews, the actor did not receive an Academy Award nomination. Neither did the film’s director Ava DuVernay, who until a week ago when the Director’s Guild also snubbed her, had been favorited to become the first African-American female director nominated.

Back when I began ruminating on the subject, I had thought that Oyelowo might just snatch the Oscar most were then already giving to Benedict Cumberbatch, the way I so desperately wanted Ejiofor to get the Oscar he so richly deserved, instead of the anointed Matthew McConaughey. (Don’t get me wrong, I am a fan of both Ben and Matty, as you well know, but the award is for Best Performance, not body of work or for being an all-around brilliant actor/charming human.) Now of course, Oyelowo was ignored and Cumberbatch will almost certainly lose to either Eddie Redmayne or (more likely in this arena) Michael Keaton.

If Oyelowo was too dark for them or they couldn’t pronounce his name (O-yellow-o, and he’s been around long enough for people to get it right), the Academy could have opted for the equally deserving Guatemalan/Cuban actor, Oscar Isaac. When are they going to recognize this man? Bradley Cooper has been nominated three years in a row! After the egregious omission of Isaac’s name on last year’s list for Inside Llewyn Davis, I should have been prepared. A Most Violent Year (which incidentally included David Oyelowo in a fantastic supporting performance) probably wasn’t seen by enough voting members. I know the National Board of Review doesn’t mean much in the grand scheme of things, but the film’s win should at least have put it on the radar. Maybe Isaac is just too good…like his costar Jessica Chastain (also denied after a year that also included The Disappearance of Eleanor Rigby, Miss Julie and Interstellar). When we expect greatness, perhaps it’s not as likely to be rewarded? No, that can’t be right. Otherwise how the hell does one explain Meryl Streep? She made a movie? BAM! here’s a nomination!

Even if the Academy can only see white, I’m puzzled by the representatives it chose. As I mentioned on Facebook, I am a fan of both Steve Carrell and Bradley Cooper, but fake noses and weight gain/loss need to stop being reasons for nominations, let alone wins (Nicole Kidman and Matty again, respectively). I love you both, I do, but neither of you were better than Oyelowo or Isaac or Ralph Fiennes or Tom Hardy or Timothy Spall or Jake Gyllenhaal, all of whom are more deserving. JMHO.

So, moving on to Best Actress, the race boils down to Julianne Moore and four other white women. Doesn’t matter which ones. Moore, an exceptionally talented actress who has never won, has already been chosen for her role in Still Alice, a film 99.9% of the country has not had a chance to see yet. Another weird and mystical Oscar phenomenon, this one has plucked Moore’s name from the magic hat, while leaving two other actresses, Jennifer Aniston and Jessica Chastain, both in similar situations, in the lurch.  (Cake, like Still Alice has not opened yet here in Boston, a city which is usually on the 2nd rollout tier right behind NY & LA. A Most Violent Year, which I was lucky enough to see last summer, opens this weekend) Then there’s Golden Globe winner Amy Adams. Adams was, up until this morning, thought to be in a horserace with Moore. Like Moore she’s been nominated many times before, but has never won. Not even nominated. Some pundits are putting it down to the fact that reviews for Tim Burton‘s Big Eyes were decidedly mixed, even while Adams was praised, and that “it wouldn’t be worth nominating her again if she wasn’t going to take the prize”*.  Adams might disagree.

It is nice that Rosamund Pike got a nod for Gone Girl, though she’s apparently meant to carry the banner for the entire film which failed to get recognition for director David Fincher, screenwriter Gillian Flynn, or costar Ben Affleck. (Hell, I thought they’d at least nominate the Oscars’ telecast host, Neil Patrick Harris for Best Supporting Actor. He was worthy and that would have made good tv.) I adore Marion Cotillard, but her nomination was a surprise, especially for a French film that while it’s received a lot of critical praise, no one not on a list for Academy screeners has seen. However, she could have been nominated for The Immigrant and I’d have been happy, so I won’t quibble here. The category is rounded out by Reese Witherspoon and Felicity Jones, to absolutely no one’s surprise.

Best Supporting Actor does happen to include some truly great performances, including Edward Norton in Birdman and J.K. Simmons in Whiplash, but as much as I love Mark Ruffalo, I think Channing Tatum gave the better supporting performance in Foxcatcher. And anyone who knows me, knows that it is no small thing for me to praise Tatum-tot.  And don’t get me started on Robert Duvall. Another nomination for longevity.

On the distaff side, Laura Dern came out of left field to pick up her first nomination since 1992 (for Rambling Rose), after being forgotten by the Golden Globes and SAG. Keira Knightley, Emma Stone and Meryl Streep were all Globe nominated, as was Patricia Arquette, the Globe winner receiving her first Academy nomination for a film in which she gets to age twelve years on camera. Nice choices, but what a nice surprise it would have been if Tilda Swinton‘s name had been called this morning for Snowpiercer. (Although why her performance in Only Lovers Left Alive has not been part of the conversation is beyond me. Same reason Tom Hardy hasn’t been, I guess.)

There is so much head-scratching to be done over today’s announcement that I’m making myself dizzy.  Where’s JC Chandor for Best Screenplay, let alone director or Best Picture? And where’s Christopher Nolan? Remember when the interwebz declared the race over before it had even begun and Interstellar would be the winner? I don’t care what the science means and whether or not it’s realistic, it wasn’t nearly as confusing as Inception and it had the heart missing from most cold and earnest sci-fi extravaganzas.

For some odd reason, there are only eight Best Picture nods this year, when there can be as many as ten. As you can probably guess, I’m very pleasantly surprised that The Grand Budapest Hotel is among them, but the question is begged, how then, did Selma wind up as one of them?“ It’s only the fourth movie to be so nominated without first having been nominated by any of the major guilds:  the Producers Guild, the Writers Guild (for which it was ineligible), the Directors Guild and the Screen Actors Guild. The only other bone the film received was Best Original Song, a surprise to no one. This is a film that not only directed itself (like fellow Best Pic nominee American Sniper), but it also wrote itself and was acted by holograms. And then there’s Bennett Miller, who got a Director nomination, but what does that mean if his film, Foxcatcher, did not? What, exactly, is his achievement other than directing Carrell and Ruffalo to nominations of their own?

Ironically, I’m watching as I type this, Phil Lord and Christopher Miller, the writer/directors of The Lego Movie, accept the Critics Choice Award for Best Animated Feature. It’s ironic because while this movie has been hailed audiences and critics alike and was widely expected to take the Oscar, was not even nominated for one! (Admittedly, I will root for How to Train Your Dragon 2 for sentimental reasons as well as the fact that it’s a damn fine film.)

Another bit of irony, the above mentioned group just handed the aforementioned un-nominated Jessica Chastain its first ever “MVP Award” because of the four extraordinary performances she gave this year.  She is the epitome of class and grace, something the Academy could use some more of.

Of course, none of the above grousing means I won’t be eagerly awaiting my high holy day and preparing by watching with bated breath the SAG and BAFTA awards shows.  I’ll be back before February 22 with my predictions. (I went 23 for 24 last year, so I have a lot to live up to, even if only in my own mind LOL) We all need time to see all of those live action and animated shorts.

Here’s the complete list of nominees:

BEST PICTURE

American Sniper

Birdman (The Unexpected Virtue of Ignorance)

Boyhood

The Grand Budapest Hotel

The Imitation Game

Selma

The Theory of Everything

Whiplash

BEST DIRECTOR

Alejandro González Iñárritu, Birdman (The Unexpected Virtue of Ignorance)

Richard Linklater, Boyhood

Bennett Miller, Foxcatcher

Wes Anderson, The Grand Budapest Hotel

Morten Tyldum, The Imitation Game

BEST ACTOR

Steve Carell, Foxcatcher

Bradley Cooper, American Sniper

Benedict Cumberbatch, The Imitation Game

Michael Keaton, Birdman (The Unexpected Virtue of Ignorance)

Eddie Redmayne, The Theory of Everything

BEST ACTRESS

Marion Cotillard, Two Days, One Night

Felicity Jones, The Theory of Everything

Julianne Moore, Still Alice

Rosamund Pike, Gone Girl

Reese Witherspoon, Wild

BEST SUPPORTING ACTOR

Robert Duvall, The Judge

Ethan Hawke, Boyhood

Edward Norton, Birdman (The Unexpected Virtue of Ignorance)

Mark Ruffalo, Foxcatcher

J.K. Simmons, Whiplash

BEST SUPPORTING ACTRESS

Patricia Arquette, Boyhood

Laura Dern, Wild

Keira Knightley, The Imitation Game

Emma Stone, Birdman (The Unexpected Virtue of Ignorance)

Meryl Streep, Into the Woods

BEST ADAPTED SCREENPLAY

American Sniper, Jason Hall

The Imitation Game, Graham Moore

Inherent Vice, Paul Thomas Anderson

The Theory of Everything, Anthony McCarten

Whiplash, Damien Chazelle

BEST ORIGINAL SCREENPLAY

Birdman (The Unexpected Virtue of Ignorance), Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. and Armando Bo

Boyhood, Richard Linklater

Foxcatcher, E. Max Frye and Dan Futterman

The Grand Budapest Hotel, Screenplay by Wes Anderson; Story by Wes Anderson & Hugo Guiness

Nightcrawler, Dan Gilroy

BEST CINEMATOGRAPHY

Birdman (The Unexpected Virute of Ignorance), Emmanuel Lubezki

The Grand Budapest Hotel, Robert D. Yeoman

Ida, (Ryszard Lenczweski and Lukasz Zal

Mr. Turner, Dick Pope

Unbroken, Roger Deakins

BEST COSTUME DESIGN

The Grand Budapest Hotel, Milena Canonero

Inherent Vice, Mark Bridges

Into the Woods, Colleen Atwood

Mr. Turner, Jacqueline Durran

Maleficent, Anna B. Sheppard

BEST FILM EDITING

American Sniper, Joel Cox and Gary Roach

Boyhood, Sandra Adair

The Grand Budapest Hotel, Barney Pilling

The Imitation Game, William Goldenberg

Whiplash, Tom Cross

BEST MAKEUP AND HAIRSTYLING

Foxcatcher

The Grand Budapest Hotel

Guardians of the Galaxy

BEST MUSIC (ORIGINAL SCORE

The Grand Budapest Hotel (Alexandre Desplat)

The Imitation Game (Alexandre Desplat)

Interstellar (Hans Zimmer)

Mr. Turner (Gary Yershon)

The Theory of Everything (Jóhann Jóhannsson)

BEST MUSIC (ORIGINAL SONG)

“Lost Stars” from Begin Again

“I’m Not Gonna Miss You” from Glen Campbell: I’ll Be Me

“Everything is Awesome” from The Lego Movie

“Glory” from Selma

“Grateful” from Beyond the Lights

BEST PRODUCTION DESIGN

The Grand Budapest Hotel (Adam Stockhausen; Anna Pinnock)

The Imitation Game (Maria Djurkovic; Tatiana Macdonald)

Interstellar (Nathan Crowley; Gary Fettis, Paul Healy)

Into the Woods (Dennis Gassner; Anna Pinnock)

Mr. Turner (Suzie Davies; Charlotte Watts)

BEST SOUND EDITING

American Sniper

Birdman (The Unexpected Virtue of Ignorance)

The Hobbit: The Battle of the Five Armies

Interstellar

Unbroken

BEST SOUND MIXING

American Sniper

Birdman (The Unexpected Virtue of Ignorance)

Interstellar

Unbroken

Whiplash

BEST VISUAL EFFECTS

Captain America: The Winter Soldier

Dawn of the Planet of the Apes

Guardians of the Galaxy

Interstellar

X-Men: Days of Future Past

BEST ANIMATED FEATURE FILM

Big Hero 6

The Boxtrolls

How to Train Your Dragon 2

Song of the Sea

The Tale of Princess Kaguya

BEST FOREIGN LANGUAGE FILM

Wild Tales (Damián Szifrón; Argentina)

Tangerines (Zaza Urushadze; Estonia)

Timbuktu (Abderrahmane Sissako; Mauritania)

Ida (Pawel Pawlikowski; Poland)

Leviathan (Andrey Zvyagintsev; Russia)

BEST DOCUMENTARY FEATURE FILM

CITIZENFOUR

Finding Vivian Maier

Last Days in Vietnam

The Salt of the Earth

Virunga

BEST DOCUMENTARY (SHORT SUBJECT)

Crisis Hotline: Veterans Press 1

Joanna

Our Curse

The Reaper

White Earth

BEST SHORT FILM (ANIMATED)

The Bigger Picture

The Dam Keeper

Feast

Me and My Moulton

A Single Life

BEST SHORT FILM (LIVE ACTION)

Aya

Boogaloo and Graham

Butter Lamp

Parvaneh

The Phone Call

* Variety’s Ramin Setoodeh

Benedict Cumberbatch & Co. Work to Win the War in 1st Trailer for The Imitation Game

Benedict Cumberbatch, Alan Turing, movie, photo, The Imitation Game

Benedict Cumberbatch as Alan Turing in The Imitation Game – photo via KinoGallery

Undoubtedly, one of this year’s most anticipated films (and no, not just by me) is The Imitation Game in which Benedict Cumberbatch plays Alan Turing, the genius mathematician who helped devise the Nazi-code breaking Enigma Machine.

We finally have a first trailer, coming just as it is announced that the film will open the BFI London Film Festival in October. Appropriate to be sure, since judging from this trailer alone, the film will be a British acting master class.

While the trailer obviously focuses on the Enigma project and his team of crack code-breakers, it is no spoiler if I tell you that Turing’s “secret” is that he is homosexual, a “crime” for which he is persecuted (and prosecuted) by the laws and society he helped to save.

Based on the real life story of legendary cryptanalyst Alan Turing, the film portrays the nail-biting race against time by Turing and his brilliant team of code-breakers at Britain’s top-secret Government Code and Cypher School at Bletchley Park, during the darkest days of World War II.

The Imitation Game also stars Mark Strong, Keira Knightley, Matthew Goode, Rory Kinnear, Steven Waddington, Tuppence Middleton and Charles Dance. Graham Moore‘s screenplay topped the annual Black List (the list of the best un-produced Hollywood scripts) in 2011. Directed by Morten Tyldum (Headhunters), making his English-language debut,  Harvey and The Weinstein Company will release the film in the UK 14th November and in the US one week later on November 21, and it is already being given awards consideration.

Two, Two, Two Geezers in One! Tom Hardy Films Legend

Ronnie Kray, Frances Shea, Reggie Kray, photo, Legend

Ronnie Kray, Frances Shea, Reggie Kray at the 1965 wedding of Frances and Reggie

British actor extraordinaire, Tom Hardy has already played a number of diverse characters including  Robert Dudley to Anne-Marie Duff’s Queen Elizabeth,  Heathcliff to (future fiance) Charlotte Riley‘s Cathy, incarcerated hardman/mad man Charlie Bronson, and of course arch-villain Bane, to name but a few.  He’s already set to add Sir Elton John to that list in the upcoming Rocket Man.  But first, he’ll add not one, but two O.G.’s (original geezers) to his resume.

Filming began this week on writer/director Brian Helgeland‘s Legend in which Hardy plays both Reggie and Ronnie Kray, the sadistic twins who ran a murder and protection racket in London during the 50s and 60’s (that probably gave Whitey Bulger something to aspire to) and palled around with socialites, MPs and entertainers. Their exploits were nearly single-handedly (double handedly?) responsible for the creation of the British tabloid  industry.  (So don’t confuse it with the 1985 Tom Cruise fantasy. There be no unicorns here.)

We got the first images from the set in London via the Daily Mail. Smartly, STUDIO CANAL/Working Title decided to follow that up with  an official image.  Brilliant move.

Tom Hardy, Reggie Kray, Ronnie Kray, Legend, movie, still

photo credit: Greg Williams/STUDIOCANAL

It’s obvious though that the appetite for news of  this film has just barely been whetted, probably all due to the fact that Hardy is one of a triumvirate of current British “IT” Boys (that also includes Tom Hiddleston and Benedict Cumberbatch) and this film’s stunt casting. Not only have the paparazzi been staked out at most of the London shooting locations, but news agencies all over the world have published the photos as if this were real news.

Seen below are Hardy as Reggie Kray filming scenes with bride Emily Browning as his ill-fated first wife, Frances Shea, as well as some shots of Hardy, as twin Ronnie, in which he appears to have prosthetic jowls. (Actually some are Hardy and some are his stand-in. Can you tell the difference?)

The storyline is simple,

Identical twin gangsters Ronald and Reginald Kray terrorize London during the 1950s and 1960s.

but little is known about the actual plot of the movie, although a little more of the cast has been revealed. The cast also features David Thewlis, Christopher Eccleston, Chazz Palminteri and Tara Fitzgerald.

I’m curious who will be/has been cast as the twins’ mother, Violet. The thing about the Krays was, despite their reputations for some truly depraved behavior,  they really did go home every night to the small East End house in which they still lived with mum.  She was played by Billie Whitelaw in the 1990 film, The Krays, in which Spandau Ballet’s Gary and Martin Kemp played Ronnie and Reggie.  Whitelaw’s Violet was very nearly as scary as her sons. Can’t wait to find out not only whom Helgeland has cast, but what delicious lines he’s written for her.

More information will surely follow.  Legend doesn’t have a release date yet. I expect an initial announcement will be made soon.

Don’t Know Daniel Bruhl? You Will: Trailers for Rush and The Fifth Estate

Rush, Chris Hemsworth, Daniel Bruhl

poster courtesy Touchstone via IMP Awards

Daniel César Martín Brühl González Domingo is a thirty-five year old Spanish-born German actor probably best known to English-speaking audiences for Quentin Tarantino’s Inglourious Basterds. Daniel Brühl played Fredrick Zoller, the face of Joseph Goebbels’ planned cinematic propaganda campaign, a sort of Nazi Audie Murphy.

Of course, before QT “discovered” him, Brühl had payed his dues in a lot of German television and smaller film roles, until his break-out in 2003’s festival favorite Good Bye Lenin. The first thing I saw him in, which sent me to imdb to look him up, was a little-seen film from 2004, Ladies in Lavender with Dames Judi Dench and Maggie Smith (and directed by Tywin Lannister himself, Charles Dance). Brühl plays Andrea, a violin prodigy who survives a shipwreck and washes up on the beach near the Cornish home of sisters played by Dench and Smith. The film is about his effect on the sisters, their small village and a beautiful German woman played by Natasha McElhone.  It’s a well-crafted, elegant little gem with wonderful performances from the principals and the supporting cast made up of the usual brilliant British character actors like David Warner, Miriam Margolyes, Freddie Jones, Clive Russell, and Toby Jones.

Brühl turned up in The Bourne Ultimatum as the brother of the now deceased Marie Kreutz (Franka Potente) and as Julie Delpy’s love interest in her blood-soaked version of the tale of Elizabeth Bathory, The Countess. He also appeared in her 2 Days in Paris and 2 Days in New York.  His days on the fringes, however, are about to come to an end.

Daniel Brühl is about to be seen in two very high profile films, Ron Howard’s Rush, opposite Chris Hemsworth and Bill Condon’s The Fifth Estate, starring Benedict Cumberbatch as WikiLeaks founder Julian Assange. The latter film has just been chosen to open this year’s Toronto International Film Festival (TIFF).

Rush is the story of the intense rivalry between Formula 1 drivers, Austrian Niki Lauda (Bruhl) and British James Hunt (Hemsworth). The film is actually Lauda’s story, focusing on his horrific crash in 1976 and how his rivalry with Hunt fueled his triumphant comeback.

“Set against the sexy, glamorous golden age of Formula 1 racing in the 1970s, the film is based on the true story of a great sporting rivalry between handsome English playboy James Hunt, and his methodical, brilliant opponent, Austrian driver Niki Lauda. The story follows their distinctly different personal styles on and off the track, their loves and the astonishing 1976 season in which both drivers were willing to risk everything to become world champion in a sport with no margin for error: if you make a mistake, you die.”

With a screenplay by Peter Morgan (The Queen, Frost/Nixon, The Last King of Scotland) Rush is set to be something of a comeback for director Howard. It’s his first feature since 2011’s The Dilemma. ( I’d love to know what he was thinking with that one. A rare misstep to be sure, but it was practically off a curb into oncoming traffic).

Take a look at the latest trailer (#3) for Rush below:

Now take a look at the 1st trailer.

It’s not difficult to figure out that they’re using the face of Thor to sell this movie. Hemsworth is, right now, the bigger name, at least with American audiences,  so naturally he has a bigger presence in the latest domestic trailer. The first one, however, would seem to be a more balanced overview of what the movie is about.

Either way, despite the fact that this is based on true story, the trailers I’ve seen don’t leave me with the feeling that I’ve seen the whole thing. I want to see how Howard has handled both the scenes on the speedway (the excitement of which is NOT easily captured on film) as well as the well-documented private lives of the two racers. (Although I’d venture to guess that most of the buyers of tickets to Rush probably had never heard of Lauda and Hunt prior to the first trailers.)

Rush also stars Olivia Wilde, Natalie Dormer, Christian Mackay, Alexandra Maria Lara and Jamie Sives (as well as a host of the European versions of “that guy” whom you may recognize even if you don’t know their names). It opens in the UK on 13th September and September 27 in the US.

Daniel Brühl, Benedict Cumberbatch, The Fifth Estate

photo courtesy Dreamworks via imdb

Speaking of true stories, The Fifth Estate covers a period of much more recent history. In fact, one could say that it’s a story without an ending since the fate of WikiLeaks’ Julian Assange has yet to be sealed. (As of this writing he’s still in the Ecuadorian Embassy in London, where he’s been given political asylum since June of 2012.)

In The Fifth Estate, Assange is played by Benedict Cumberbatch. The film is told through the eyes of Daniel Brühl’s character, Assange’s friend and colleague, Daniel Domscheit-Berg (aka Daniel Schmitt), a German technology activist named by Foreign Policy magazine in 2011 to its list of top global thinkers. Bit of trivia: Brühl replaced James McAvoy, who had to drop out because of his commitment to “Macbeth” in London. Joel Kinnaman was reportedly interested in the role (just as Jeremy Renner was interested in that of Assange) but Brühl won out.

from Dreamworks:
“…{The Fifth Estate} follows the heady, early days of WikiLeaks to its abrupt end after a series of controversial and history changing info leaks. The website’s overnight success brought instant fame to its principal architects, but as their power expanded across the globe, Daniel Domscheit-Berg (Bruhl) grew increasingly disillusioned with Assange’s (Cumberbatch) questionable tactics and ethics. The rift between the two friends became irreparable and their ideological differences tore them apart, but not before they revolutionized, for better and worse, the flow of information to news media and the world at large.”

The first trailer was released last week. Take a look:

If the action is the real star of Rush, in The Fifth Estate, Brühl holds his own going toe to toe with Cumberbatch, one of the best actors working today. (He could probably play a convincing Muppet, he’s so good.) He also shares the screen with an outstanding international cast that includes Stanley Tucci, Laura Linney, Alicia Vikander, Anthony Mackie, Carice van Houten, David Thewlis, Peter Capaldi, Dan Stevens and Moritz Bleibtreu.

With a big neon “Oscar Bait” sign plastered over it, The Fifth Estate is based on the books “Inside WikiLeaks: My Time with Julian Assange at the World’s Most Dangerous Website” by Daniel Domscheit-Berg and “WikiLeaks: Inside Julian Assange’s War on Secrecy” by Luke Harding. The screenplay is by first time feature writer Josh Singer, best known for tv’s “Fringe”, “Lie to Me”, “Law & Order: SVU” and “The West Wing”.

After its World Premiere at TIFF (the Venice lineup has yet to be announced, but it could well close the Festival on September 7), the film will be released in the US on October 18, but not until 1st January in the UK.

If those two films aren’t enough to raise Brühl’s profile, there’s always A Most Wanted Man, based on a John Le Carré novel (who in turn based the book on a true story) and directed by Anton Corbijn (The American, Control).

“When a half-Chechen, half-Russian, tortured half-to-death immigrant turns up in Hamburg’s Islamic community, laying claim to his father’s ill gotten fortune, both German and US security agencies take a close interest: as the clock ticks down and the stakes rise, the race is on to establish this most wanted man’s true identity – oppressed victim or destruction-bent extremist?”

The cast of that one includes Rachel McAdams (in role coveted by Carey Mulligan, Amy Adams and Jessica Chastain -!-), Robin Wright, Philip Seymour Hoffman and Willem Dafoe.  No trailer yet (an Italian site has one but it was taken down), but expect one soon. In the meantime, here’s Le Carré discussing the source novel back in 2008:

A Most Wanted Man will be released in the UK on 22nd November. No US date yet.

You don’t know Daniel Brühl? You will.