Hey, London actors! Stay in the loop and be sure to check back every week for projects currently in production in the place you call home. Here’s the 411 on what’s filming big and small in your city. “Spider-Man: Far From Home” Look out, here comes the Spider-Man! Samuel L. Jackson and Cobie Smulders have been spotted shooting the “Spider-Man” sequel in London this week. The duo are reprising their roles of Nick Fury and Maria Hill, respectively, in “Spider-Man: Far From Home,” which is scheduled to be released sometime in 2019. So far, filming has taken place around the grounds of office blocks in Tower Bridge and will film around the area for the next few months. Mary Gail Artz and Sarah Finn will be reprising their roles as casting directors. Read about how Finn went from acting in theatre to casting Marvel’s blockbusters! Check out Backstage’s London audition listings!
- 9/7/2018
- backstage.com
Welcome to Rumorville! Here you can learn about casting news that’s about to break in Hollywood. These speculations might be only rumors, but that doesn’t mean you can’t follow the trail all the way to the audition room. “Spider-Man: Homecoming” Sequel While Jake Gyllenhaal prepares to bring Leonard Bernstein back to life in the upcoming biopic “The American,” we may see the versatile actor in another, slightly more sinister role just as soon. First reported by The Sun, Gyllenhaal is currently in talks to join the upcoming “Spider-Man: Homecoming” sequel as the villain Mysterio. Tom Holland will be reprising his role as Peter Parker and Michael Keaton will also be reprising his role as Vulture. This would mark Gyllenhaal’s first time in a comic book movie, joining the very long list of Marvel actors. Sarah Finn, alongside Mary Gail Artz, has returned to cast this one,...
- 5/25/2018
- backstage.com
1987 was an exceedingly awesome year for kid-centric horror movies. In the span of just a few months, we were treated to both Tibor Takács’ The Gate and Fred Dekker’s The Monster Squad, and honestly, there may have not been a better year to be a young genre fan during that decade than in good ol’ 1987. And while there were an incredible amount of quality horror movies for this writer to dig into from that 12-month span of releases, one movie that I always had a deep appreciation for was The Gate, a story that I related to on numerous levels, even if I never happened to summon a horde of demons from digging a hole in my backyard.
An ambitious and good-hearted modern fairy tale that bluntly examined the universal horrors of growing up—both literally and figuratively—The Gate is an admirable genre debut from Takács, who had previously worked in Canadian television,...
An ambitious and good-hearted modern fairy tale that bluntly examined the universal horrors of growing up—both literally and figuratively—The Gate is an admirable genre debut from Takács, who had previously worked in Canadian television,...
- 7/11/2017
- by Heather Wixson
- DailyDead
The ’80s were a special time for horror films, specifically slashers, as filmmakers with or without talent rushed to capitalize on the success of films like Halloween and Friday the 13th. Of course, for every The Burning horror fans also got a dozen low-rent duds. One such example that leans closer to the latter is 1981’s Don’t Go in the Woods. Devoid of pesky details like character or narrative, the film is entertainingly terrible. Specialty label Vinegar Syndrome is releasing the film to Blu-ray this week with an impressive-looking 2K restoration and a solid selection of special features. Included among them are three commentary tracks — one with the film’s director, one with the director and members of the cast/crew, one with members of The Hysteria Continues! podcast. Keep reading to see what I heard on the Hysteria Continues commentary track for Don’t Go in the Woods. Don...
- 3/9/2015
- by Rob Hunter
- FilmSchoolRejects.com
Stars: Jack McClelland, Mary Gail Artz, James P. Hayden, Angie Brown, Ken Carter, David Barth, Larry Roupe, Amy Martell, Tom Drury, Laura Trefts, Alma Ramos, Carolyn Braza, Frank Millen, McCormick Dalten, McCormick Dalten, Cecilia Fannon | Written by Garth Eliassen | Directed by James Bryan
Sometimes horror films rely one one thing…and that is gore, but there are certain criteria that must be met to make it more than just another forgettable b-movie. There has to be a setting, a storyline and some kind of reason that at least keep the movie coherent for the fans. This is why Don’t Go In the Woods fails for me.
The fact that the movie was placed on the “Video Nasty” list in the UK is enough to catch my interest, but now in our more enlightened times when we get to see it uncut I can’t help but understand why the...
Sometimes horror films rely one one thing…and that is gore, but there are certain criteria that must be met to make it more than just another forgettable b-movie. There has to be a setting, a storyline and some kind of reason that at least keep the movie coherent for the fans. This is why Don’t Go In the Woods fails for me.
The fact that the movie was placed on the “Video Nasty” list in the UK is enough to catch my interest, but now in our more enlightened times when we get to see it uncut I can’t help but understand why the...
- 2/24/2015
- by Paul Metcalf
- Nerdly
Dont Go in the WoodsAlone! (1982) (DVD Review) Directed By: James Bryan Starring: Jack McClelland, Mary Gail Artz, James P. Hayden Rated: R/Region: 1:33/Number of disc: 1 Available from Code Red Four campers meet a sadistic killer in the woods. The police start investigating what is going on in the woods when missing persons reports start coming in. Will the four campers survive their excursion into the woods or will they all suffer the fate…...
- 9/14/2013
- Horrorbid
Crime dramas, conspiracy thrillers, and down-home narratives about youthful angst will be among the new shows entering our homes this fall TV season. All will be seeking actors for a range of roles: guest spots, recurring, perhaps even a principal part. We spoke to CDs of several shows to find out what they might need. "Body of Proof," Drama, ABCAs the title suggests, "Body of Proof" is a crime drama. But it's somewhat different from the usual fare, says casting director Rosalie Joseph. In addition to solving murders, the characters are advocates for the victims, giving peace and closure to their survivors. Set in Philadelphia (but shot in Providence, R.I.), the story centers on Dr. Megan Hunt (Dana Delaney), a top-notch neurosurgeon who is forced to give up her medical practice in the wake of a devastating car crash and resume her career as a medical examiner. But within...
- 9/1/2010
- backstage.com
Suggested by -- as opposed to based on -- "A Prayer for Owen Meany", Mark Steven Johnson's "Simon Birch" is a sincere if somewhat treacly rendering of the John Irving novel.
In condensing the material, Johnson has smoothed over most of the quirky Irving edges, leaving precious little to keep the sentimental element in check.
But while heartstrings get yanked with regularity, Johnson's assured first-feature direction and uniformly strong cast make it palatable. Good word-of-mouth could help overcome the lack of big names (unless you count Jim Carrey's straight narration and bookend screen appearances) and give little "Simon" a modest boxoffice boost.
Impressive 3-foot-1, 11-year-old newcomer Ian Michael Smith plays the colorful title character -- the smallest child born at fictional Gravestown Memorial Hospital -- who grew up, in a manner of speaking, to become an outspoken troublemaker with an old soul and a funny voice.
Basically ignored by his parents, Simon usually hangs around his best friend Joe Joseph Mazzello), born out of wedlock to a pretty, perky mother (Ashley Judd) and an unknown father.
But the boys' more or less idyllic childhood receives a rude awakening when a towering foul ball hit by Simon During an afternoon baseball game meets with tragic results and the secret identity of Joe's dad becomes a pressing concern.
Meanwhile, Simon, who has always believed himself an instrument of God, is given an opportunity to put destiny to the test when a wayward busload of school children (shades of "The Sweet Hereafter") plunges into icy waters.
In addition to Smith's casting-agent's-dream of a performance, the picture benefits greatly from Mazzello's strong, sensitive turn, while the always-effective Judd is cast perfectly as Joe's dream of a mom. Providing sturdy support are Oliver Platt as Judd's kindly beau, David Strathairn as a stiff reverend who manages to let Simon's theological outbursts get under his skin, Dana Ivey as Joe's stern grandmother and Jan Hooks as a frazzled, chain-smoking Sunday school teacher.
Carrey -- obviously recruited to lend the little film some "Truman Show"-sized significance -- appears only briefly at the beginning and end while biding time in between providing sporadic, largely unnecessary narration.
While the script is not without charm and humor, there is an inescapable episodic feel to the period piece, no doubt a result of trying to cut the Irving book to a feature-length serving.
But it all certainly looks great. The extensive Canadian backdrops are basked in warm golden hues thanks to cinematographer Aaron E. Schneider, who neatly captures the story's fable-like aspects. David Chapman's small-town '60s production design and the costumes credited to Betsy Heimann and Abram Waterhouse are also right on the money, while Marc Shaiman's score sounds appropriately wide-eyed.
In a final bid to lure the "Phenomenon" crowd, Babyface wrote and performs the pining end-title track, "You Were There". Guess Eric Clapton was busy.
SIMON BIRCH
Buena Vista Pictures Distribution
Buena Vista/Hollywood Pictures presents in association with Caravan Pictures
a Roger Birnbaum and Laurence Mark production
A Mark Steven Johnson film
Director-screenwriter: Mark Steven Johnson
Suggested by the novel "A Prayer for Owen Meany" by: John Irving
Producers: Laurence Mark and Roger Birnbaum
Executive producer: John Baldecchi
Director of photography: Aaron E. Schneider
Production designer: David Chapman
Editor: David Finfer
Costume designers: Betsy Heimann,
Abram Waterhouse
Music: Marc Shaiman
Casting: Mary Gail Artz and Barbara Cohen
Color/stereo
Cast:
Simon Birch: Ian Michael Smith
Joe Wenteworth: Joseph Mazzello
Rebecca Wenteworth: Ashley Judd
Ben Goodrich: Oliver Platt
Rev. Russell: David Strathairn
Miss Leavey: Jan Hooks
Grandmother Wenteworth: Dana Ivey
Hildie Grove: Beatrice Winde
Running time -- 110 minutes
MPAA rating: PG...
In condensing the material, Johnson has smoothed over most of the quirky Irving edges, leaving precious little to keep the sentimental element in check.
But while heartstrings get yanked with regularity, Johnson's assured first-feature direction and uniformly strong cast make it palatable. Good word-of-mouth could help overcome the lack of big names (unless you count Jim Carrey's straight narration and bookend screen appearances) and give little "Simon" a modest boxoffice boost.
Impressive 3-foot-1, 11-year-old newcomer Ian Michael Smith plays the colorful title character -- the smallest child born at fictional Gravestown Memorial Hospital -- who grew up, in a manner of speaking, to become an outspoken troublemaker with an old soul and a funny voice.
Basically ignored by his parents, Simon usually hangs around his best friend Joe Joseph Mazzello), born out of wedlock to a pretty, perky mother (Ashley Judd) and an unknown father.
But the boys' more or less idyllic childhood receives a rude awakening when a towering foul ball hit by Simon During an afternoon baseball game meets with tragic results and the secret identity of Joe's dad becomes a pressing concern.
Meanwhile, Simon, who has always believed himself an instrument of God, is given an opportunity to put destiny to the test when a wayward busload of school children (shades of "The Sweet Hereafter") plunges into icy waters.
In addition to Smith's casting-agent's-dream of a performance, the picture benefits greatly from Mazzello's strong, sensitive turn, while the always-effective Judd is cast perfectly as Joe's dream of a mom. Providing sturdy support are Oliver Platt as Judd's kindly beau, David Strathairn as a stiff reverend who manages to let Simon's theological outbursts get under his skin, Dana Ivey as Joe's stern grandmother and Jan Hooks as a frazzled, chain-smoking Sunday school teacher.
Carrey -- obviously recruited to lend the little film some "Truman Show"-sized significance -- appears only briefly at the beginning and end while biding time in between providing sporadic, largely unnecessary narration.
While the script is not without charm and humor, there is an inescapable episodic feel to the period piece, no doubt a result of trying to cut the Irving book to a feature-length serving.
But it all certainly looks great. The extensive Canadian backdrops are basked in warm golden hues thanks to cinematographer Aaron E. Schneider, who neatly captures the story's fable-like aspects. David Chapman's small-town '60s production design and the costumes credited to Betsy Heimann and Abram Waterhouse are also right on the money, while Marc Shaiman's score sounds appropriately wide-eyed.
In a final bid to lure the "Phenomenon" crowd, Babyface wrote and performs the pining end-title track, "You Were There". Guess Eric Clapton was busy.
SIMON BIRCH
Buena Vista Pictures Distribution
Buena Vista/Hollywood Pictures presents in association with Caravan Pictures
a Roger Birnbaum and Laurence Mark production
A Mark Steven Johnson film
Director-screenwriter: Mark Steven Johnson
Suggested by the novel "A Prayer for Owen Meany" by: John Irving
Producers: Laurence Mark and Roger Birnbaum
Executive producer: John Baldecchi
Director of photography: Aaron E. Schneider
Production designer: David Chapman
Editor: David Finfer
Costume designers: Betsy Heimann,
Abram Waterhouse
Music: Marc Shaiman
Casting: Mary Gail Artz and Barbara Cohen
Color/stereo
Cast:
Simon Birch: Ian Michael Smith
Joe Wenteworth: Joseph Mazzello
Rebecca Wenteworth: Ashley Judd
Ben Goodrich: Oliver Platt
Rev. Russell: David Strathairn
Miss Leavey: Jan Hooks
Grandmother Wenteworth: Dana Ivey
Hildie Grove: Beatrice Winde
Running time -- 110 minutes
MPAA rating: PG...
- 8/31/1998
- The Hollywood Reporter - Movie News
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