‘The Death of Stalin’ Trailer: ‘Veep’ Creator Brings the Funny to Russia

the death of stalin trailer

If you’ve ever watched Veep or The Thick of It and wished you could see them done in a post-World War II Soviet Union, you’re in luck. Armando Iannucci, creator of the above foul-mouthed political comedies and director of The Thick of It’s film spin-off In the Loop, is bringing that same brand of crass comedy to Russia, with love.

The Death of Stalin follows what happens after, well, the death of Joseph Stalin in 1953 and the havoc it wreaks upon his hapless generals and advisers. It has Jeffrey Tambor bumbling around in a bad dark wig. What else do you need?

True to form for any Iannucci production, there’s plenty of cursing in this Russian political satire — though it seems like half the cast completely forgoes the Russian accent and just speaks in their natural American and British brogues — and incompetent politicians. Steve Buscemi is at his bug-eyed best, warning that as the “peacemaker, I’ll f*ck up anyone who gets in my way,” Jason Isaacs looks absolutely fabulous (and tossing off his coat as if he were auditioning to play Anastasia) as droll, scarred general, and then there’s Tambor as the lone American who looks like he got lost on his way to the States. Of course, the lack of actual Russian accents seems be very much part of the joke.

The cast includes Adrian McLoughlin as Joseph Stalin,  Tambor as Georgy Malenkov, Buscemi as Nikita Khrushchev, Olga Kurylenko as Maria Yudina, Michael Palin as Vyacheslav Molotov, and Rupert Friend as Vasily Stalin.

Here’s the synopsis for The Death of Stalin:

In the days following Stalin’s collapse, his core team of ministers tussle for control; some want positive change in the Soviet Union, others have more sinister motives. Their one common trait? They’re all just desperately trying to remain alive.

The Death of Stalin is Iannucci’s second directorial feature after In the Loop, a smart and biting comedy that brought The Thick of It characters to Washington, D.C. He went on to create HBO’s Veep, but left after the fourth season to give new writers and showrunners a chance to revitalize the series, saying, “every show can benefit from new energy and new names and new ideas.” The Death of Stalin looks like Iannucci is still in peak comedy form, however, so it seems like his departure benefited everyone — including Veep, which had one of its best seasons after he left.

The Death of Stalin will open in theaters this fall.

The post ‘The Death of Stalin’ Trailer: ‘Veep’ Creator Brings the Funny to Russia appeared first on /Film.


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First Full Trailer for Armando Iannucci’s New Film ‘The Death of Stalin’

The Death of Stalin Trailer

«I have no idea what is going on!» Entertainment One in the UK has debuted the first official trailer for Armando Iannucci’s new film, The Death of Stalin, a darkly comic look at the internal political landscape of 1950’s Soviet Russia. Based on Fabien Nury’s graphic novel, film is about Russian dictator Joseph Stalin’s last days and the disorganized chaos of the regime after his death in 1953 and 30 years of iron-fisted rule. Adrian McLoughlin plays Joseph Stalin, with an ensemble cast of characters including Rupert Friend, Steve Buscemi, Olga Kurylenko, Jason Isaacs, Andrea Riseborough, Jeffrey Tambor, Paddy Considine, Michael Palin, and Jonathan Aris. This looks like another brilliant, hilarious political satire from Armando Iannucci that might be perfect entertainment for the times. Just fire up the trailer and enjoy. ›››

Continue reading First Full Trailer for Armando Iannucci’s New Film ‘The Death of Stalin’


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The Death of Superman Lives and the Failure of Auteur Theory

I recently watched Jon Schnepp’s detailed documentary The Death of Superman Lives: What Happened. Even if you’re not a fan of comic book movies, this really is a must see documentary if you’re interested in the real process of filmmaking. So here’s the premise. We’re going to give one of DC’s most beloved super heroes to […]

The post The Death of Superman Lives and the Failure of Auteur Theory appeared first on FilmmakerIQ.com.

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Live Blog: Netflix Comic-Con Panel Previews Bright and Death Note

Read our Netflix Comic-Con live blog. Find out what's next straight from the Netflix Comic-Con panel.

Bright and Death Note are set to be showcased at the Netflix Comic-Con panel

Netflix is previewing both Bright and Death Note during a Hall H panel at the San Diego Comic-Con starting at 3:15pm on Thursday, July 20. You can follow along with our Netflix Comic-Con panel live blog below!

Bright is Suicide Squad director David Ayer‘s next project and will be coming to Netflix in December. The film reteams Ayer with Suicide Squad star Will Smith and is also headlined by Joel Edgerton (The Gift, Exodus: Gods and Kings) and Noomi Rapace (The Girl with the Dragon Tattoo, Prometheus). Set in an alternate present-day where humans, orcs, elves and fairies have been coexisting since the beginning of time, this action-thriller directed by David Ayer (Suicide Squad, End of Watch, writer of Training Day) follows two cops from very different backgrounds. Ward, a human (Will Smith), and Jakoby, an orc (Joel Edgerton), embark on a routine night patrol that will alter the future of their world as they know it. Battling both their own personal differences as well as an onslaught of enemies, they must work together to protect a young female elf and a thought-to-be-forgotten relic, which in the wrong hands could destroy everything.

Death Note stars Nat Wolff (Paper TownsThe Fault in Our Stars) as Light Turner, Margaret Qualley (The Nice Guys, The Leftovers) as Mia Sutton, Lakeith Stanfield (Straight Outta Compton, Get OutShort Term 12) as “L,” Paul Nakauchi (Alpha and Omega) as Watari, with Shea Whigham (Agent CarterBoardwalk Empire) as James Turner, and Willem Dafoe (The Boondock SaintsSpider-Man) as the voice of Ryuk the Shinigami. Based on the famous Japanese manga written by Tsugumi Ohba and Takeshi Obata, Death Note follows a high school student who comes across a supernatural notebook, realizing it holds within it a great power; if the owner inscribes someone’s name into it while picturing their face, he or she will die. Intoxicated with his new godlike abilities, the young man begins to kill those he deems unworthy of life.

Directed by Adam Wingard (You’re NextThe Guest), Death Note will premiere globally on Netflix August 25.

The post Live Blog: Netflix Comic-Con Panel Previews Bright and Death Note appeared first on ComingSoon.net.

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‘Death Note’ Trailer: Willem Dafoe’s Death God Sees the Light, But the Rest of the Trailer Does Not

death note trailer

Adam Wingard‘s adaptation of the popular anime and manga Death Note has been wracked by controversy, but you got to give them props for trying. I think.

While the movie has not proven to be loyal to the ethnicity of the characters, the setting, and the cultural context, the new Death Note trailer at least proves that the Netflix movie is at least loyal to the dark, mid-2000s emo aesthetic of the original series. And hey, at least Willem Dafoe‘s Death God Ryuk looks better than the Japanese live-action’s attempt at CGI. So, yay?

The second official trailer for Death Note shows much more of the plot than the first trailer. This trailer follows Light Turner (Nat Wolff) as he rages against the injustice of the world, losing a fight to a group of muggers while defending Margaret Qualley’s Mia Sutton.

Face battered and ego bruised, Light is gifted the mysterious Death Note, in which he reads that any person whose name is written in it will die. He meets the menacing God of Death, Ryuk, played by Willem Dafoe, which looks to be a magnetic performance. The two of them get to work, bestowing gruesome deaths straight out of Final Destination on all the criminals of the world, as well as people that Light doesn’t deem worth living. But an antagonist appears! The idiosyncratic L (LaKeith Stanfield, who seems to be giving his all in this Aspergers-coded performance) leads the charge on the investigation against Light, and accuses him of flying into the sun, but promising Light that “I’m the one to make sure you burn.”

It’s grim! It’s gruesome! It’s really dark! (And I mean that literally, the whole trailer seems to be blanketed in shadows)

Here’s the official synopsis of Death Note from Netflix below:

What if you had the power to decide who lives and who dies? We suggest you obey the rules. Based on the famous Japanese manga written by Tsugumi Ohba and Takeshi Obata, Death Note follows a high school student who comes across a supernatural notebook, realizing it holds within it a great power; if the owner inscribes someone’s name into it while picturing their face, he or she will die. Intoxicated with his new godlike abilities, the young man begins to kill those he deems unworthy of life.

To be honest, the more I learn about this movie, the more I cringe over it. Wingard has defended the whitewashing in this film, arguing on Twitter, “There is no conspiracy to remove Japanese culture from Death Note. It’s a fresh version of the story set in Seattle. Also see The Departed. When moving the setting of Death Note to America we of course made the movie about America. Its not just a copy and paste situation here.”

The names may be changed and the setting may be rainy Seattle, but at least The Departed made an effort to embed the story in the police and mob culture of Boston. I don’t want to go into details about how much this movie swings and misses, like how Light’s nickname “Kira” comes from the Japanese pronounciation of “killer,” or how Light’s vigilantism in the original series stems from his resentment of a Japanese justice system that only convicts the most obviously guilty, leaving other lesser criminals to slip by.

Not to mention the dated aesthetics that recall every emo punk rock band that existed back when the manga series was published in 2003. Even the Japanese live-action movies in 2006 toned down the gothic fashion horrors. Those original movies, by the way, are not great, but they have that dude from Battle Royale chewing up the scenery, so they’ve got their charms.

Maybe I’ll be proven wrong, but Death Note seems like an ill-advised adaptation at this point. Hopefully, I’ll be proven wrong when it debuts on Netflix on August 25.

The post ‘Death Note’ Trailer: Willem Dafoe’s Death God Sees the Light, But the Rest of the Trailer Does Not appeared first on /Film.


/Film

Daily Dialogue theme next week: Unexpected Death

Join the Daily Dialogue crew: 3,320 consecutive days and counting.

The Daily Dialogue theme for next week: Unexpected Death, suggested by Angry Cyborg.

Ah, poor Boromir.

Not just death, but unexpected death. The demise of characters which surprises us. Hey, this is a big thing in TV nowadays. Which character who we didn’t expect got whacked this week? Let’s jump on that bandwagon and come up with some notable cinematic deaths of the unexpected kind.

What to do:

  • Copy/paste dialogue from IMDb Quotes or some other transcript source.
  • Copy/paste the URL of an accompanying video from YouTube or some other video source.
  • Any trivia about the movie which you think would be of interest to readers, we always welcome that.

I’d also ask you to think about why the dialogue is notable. Is there anything about the dialogue which provides some takeaway related to the craft of writing? If so, feel free to share your Dialogue On Dialogue.

Consecutive days of Daily Dialogue posts: 3,320.

Be a part of the proud Daily Dialogue tradition, post a suggestion in a RESPONSE, and have your name emblazoned on a blog post which will forever hold a hallowed spot in the Go Into The Story archives!

Upcoming schedule of themes:

June 26-July 2: Voiceover
July 3-July 9: Sacrifice [Denise Garcia]
July 10-July 16: Church
July 17-July 23: Scientific Explanation [Melinda Mahaffey]

If you have any suggestions for Daily Dialogue themes, please post them in a RESPONSE and I’ll be happy to consider them for the series.

Be sure to post your ideas for this week’s theme: Unexpected Death.

Continued thanks to all of you Daily Dialogue devotees, your suggested dialogue and dialogue themes. Grateful for your ongoing support of this series!


Daily Dialogue theme next week: Unexpected Death was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

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Death on Scenic Drive Exclusive Teaser Premiere

DEATH ON SCENIC DRIVE - TEASER TITLE POSTER (2)

Death on Scenic Drive: Gabriel Carrer’s intimate psycho thriller delivers a punishing trailer

Gabriel Carrer’s Death on Scenic Drive, the new film from Latefox Pictures Inc. and Smak Studios is the follow-up to Carrer’s 2015’s film festival vigilante hit, The Demolisher. We reported on the film earlier this year and now we have your exclusive first look at the berserkly intense teaser trailer.

Written and directed by Canadian filmmaker Carrer, Death on Scenic Drive unravels over the course of three nightmarish days, during the cold winter months at a secluded countryside home. It focuses on a young woman named Larissa (Stephanie Ash), who encounters an entity that transforms her into death itself, and reins a violent storm against Dallas Henson (Ry Barrett) and the family that resides there.

RELATED: Gabriel Carrer talks The Demolisher

The film boasts special make-up effects by The Butcher Shop FX Studio (Bed of the Dead, Female Werewolf), a gripping tense score by Starsky Partridge, who was the lead sound designer for the popular video game, Unreal Tournament, and is shot by cinematographer and producer, Scott McIntyre.

Death on Scenic Drive is currently prepping for a festival run so please visit the film’s official Facebook page for upcoming updates.

And now…that freaking trailer!

The post Death on Scenic Drive Exclusive Teaser Premiere appeared first on ComingSoon.net.

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How Marlon Brando was Almost the Monster in Death Line

Death Line

Cult film director Gary Sherman remembers casting his signature 1972 horror masterpiece Death Line

In the early 1970s, young Chicago-based commercial filmmaker Gary Sherman found himself in London and inexplicably getting complete creative control over a fully-funded British horror film that he co-wrote and directed. That movie was 1972’s Death Line, one of the most remarkable, revolting and ultimately emotionally affecting genre movies not only of its decade, but of all time.

Inspired by the story of notorious cannibalistic Scottish highwayman Sawney Bean, the horrifying fate of The Donner Party and the creation of the London Underground, Death Line tells the bone-chilling tale of the sole surviving descendant of a cave-in during those long-ago early tunnel digs who, after being born and raised cannibalizing the dead, has emerged from under the subway tracks and is now dragging hapless British commuters into his moldering, blood and bone draped lair while frantically searching for a new mate to carry on his diseased lineage.

A clear precursor to Tobe Hooper’s The Texas Chain Saw Massacre and Pete Walker’s Frightmare, Death Line sports a solid and often darkly hilarious performance by the great Donald Pleasence as a Police Inspector trying to get to the bottom of the mystery and a cameo by the legendary Christopher Lee. Starring as “the monster” was actor Hugh Armstrong and while one cannot imagine any actor doing a better job, it’s a little known fact that Sherman almost cast Hollywood legend Marlon Brando in the role.

With Blue Underground prepping to release the film totally uncut in a 2K scan on Blu-ray on June 27th, we spoke at length to Sherman about the making of the movie. In this excerpt he discusses not only how he landed Lee – then the biggest actor in the genre due to his run as Dracula – to appear in the film but the tale on how Brando flirted with fictional cannibalism in the sewers and subway tunnels of London.

ComingSoon.net: How did Christopher Lee end up in Death Line?

Gary Sherman:  First of all, (producer) Paul  (Maslansky) was very close friends with Christopher Lee, and Christopher was over at Paul’s flat, having dinner with him and said, “What are you doing?”  And Paul told him, and he said, “Oh, let me read the script.”  So, Christopher reads the script and says, “I’ll be in this movie, if I don’t have to wear teeth.”

CS:  Of course.  At that point he was just sick of all that, for sure.

Sherman:  Yeah. It was right at the point that Christopher announced that he was never going to wear the teeth again. Anyways, there, actually, there was this connection with, you know, with MI-5 in the original script, but there wasn’t a character representing him, I thought.  You know what?   I’m getting a little ahead of myself.  When I wrote the script, I had Donald Pleasence in mind for Inspector Calhoun.  And so, I ended up flying to New York.  Donald was on Broadway doing Man in the Glass Booth. And, so, he was just about to close that and coming back to London, but we wanted to lock him in, so I flew to New York, gave Donald the script, and he read it, and he loved it, and said, “Oh!  Man!  I wanna do this.  Nobody offers me comedy.  And even though it’s a scary movie, you know, my part is all comedy. And I love it. And I love the juxtaposition of the comedy against the horror.”  So, we signed Donald.  So, when Paul was having dinner with Chris Lee, because Chris, at the time, was the most expensive actor in Europe Because of Dracula.  And, you know, the Hammer films. And there was no way, I mean, what Chris used to get paid for a movie was more than our whole budget.

CS: Right.

Sherman:  So, Chris said, “If I don’t have to wear the teeth and I can do a scene with Donald Pleasence, I will do this for scale.”  So…  I wrote that scene. (Laughs).

CS:  That’s amazing.

Death Line

Sherman:  So, anyhow…  so, now we had Donald Pleasence and Chris Lee and Norm Rossington.  And Jay Cantor, who had been Marlon Brando’s agent, throughout his entire career says, “God, I wonder if Marlon would want to play the monster? He’s in Paris right now, working with Bertolucci on some crazy movie.  So, let me call Marlon, and let me send him the script, and see if he wants to do it!”  And so, Jay does.  And Marlon, who, Jay says, “Marlon loves make-up. He loves putting the make-up on!”  Because, you know, he had that idea, when Francis wanted him for Godfather, and nobody at Paramount wanted him in Godfather…he went and he came up with that whole idea of stuffing his mouth with Kleenex and he went in and blew them away.

CS:  Right.

Sherman:  And so, I know he loves doing that kind of stuff.  So, anyways, Marlon agreed to do it.

Marlon Brando in 1972's The Nightcomers

Marlon Brando in 1972’s The Nightcomers

CS:  Well he’d also just done a horror film with Michael Winner prior to this, 1972’s The Nightcomers.

Sherman: Yeah, which Jay and Laddie (Alan Ladd Jr.) had produced.

CS:  Oh, well, there you go.  Okay.

Sherman:  It was a Jay Cantor, Alan Ladd Jr. and Elliot Kastner who did The Nightcomers.  I mean, there were no two people closer than Jay Cantor and Marlon Brando.  And, so, anyways, then, at the eleventh hour, Marlon’s son, Christian, comes down with pneumonia in Los Angeles and is, like, on a critical list.  So, Marlon has to jump on a plane and goes back to Los Angeles, and we lost Marlon. Which, I mean, we weren’t going to advertise the fact- I mean the whole idea was, is that Marlon is gonna do it and we were never gonna tell any-  we were not gonna put his name on the movie, and it was just kind of gonna get leaked out that, “Maybe that’s Marlon Brando” (Laughs).

The post How Marlon Brando was Almost the Monster in Death Line appeared first on ComingSoon.net.

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Mind the Doors! Death Line Comes to Blu-ray

Death Line

Legendary British horror film Death Line comes to limited edition Blu-ray totally uncut from Blue Underground

In the early 1970s, young Chicago-based commercial filmmaker Gary Sherman found himself in London working, living and loving (he was a single lad, after all) and inexplicably getting complete creative control over a fully-funded British horror film that he co-wrote and directed. That movie was 1972’s Death Line, one of the most remarkable, revolting and ultimately emotionally affecting genre movies not only of its decade, but of all time.

Inspired by the story of notorious cannibalistic Scottish highwayman Sawney Bean, the horrifying fate of The Donner Party and the creation of the London Underground, Death Line tells the bone-chilling tale of the sole surviving descendant of a cave-in during those long-ago early tunnel digs who, after being born and raised cannibalizing the dead, has emerged from under the subway tracks and is now dragging hapless British commuters into his moldering, blood and bone draped lair while frantically searching for a new mate to carry on his diseased lineage.

A clear precursor to Tobe Hooper’s The Texas Chain Saw Massacre and Pete Walker’s Frightmare, Death Line sports a solid and often darkly hilarious performance by the great Donald Pleasence as a Police Inspector trying to get to the bottom of the mystery and a cameo by Christopher Lee. But this is Sherman’s show and the untried director (who would later find fame with classics like Dead and Buried and Vice Squad and the troubled Poltergeist III) sculpts a nightmarish hidden world while giving us one of the greatest human monsters in screen history. “The Man” is a tortured, pathetic creature who is merely trying to survive the only way he knows how: by killing and eating other human beings. And because of his lifetime underground, the only words he can articulate are “Mind the doors”. And he says them often.

DeathLine_BDCombo_keyart4c_REV

Released in America in a dreadfully cut form by AIP as Raw Meat, Death Line is coming to Blu-ray/DVD combo pack in all its totally uncut, gory glory from Blue Underground on June 27th,with  a 2K scan HD transfer from the original, never before seen uncensored negative and loaded with tons of incredible extras including commentaries, new interviews and a collectible booklet. The release is a limited edition with only 3000 copies printed.

Have you seen Death Line? Will you picking up this essential release?

The post Mind the Doors! Death Line Comes to Blu-ray appeared first on ComingSoon.net.

ComingSoon.net

‘Art is Life and Death’: One-Man-Banding in Ghana for ‘Paa Joe & the Lion’

Poetry transcends reality in Ghanaian fantasy coffin doc ‘Paa Joe & the Lion.’

When English filmmaker and artist Ben Wigley set out to make a film about Paa Joe, he wanted it to be an intersection of documentary storytelling and poetry—fitting for someone who designs symbolic fantasy coffins for a living. What’s a fantasy coffin? If you’re a carpenter, have your coffin be a hammer. A filmmaker? Well, maybe this Nikon coffin. By combining experimental vérité filmmaking with abstract poetic sequences, Wigley ruminates on the role of art in feature documentary Paa Joe & the Lion.

Wigley sat down with No Film School after the SXSW premiere in the Visions section to talk about shooting in Ghana by yourself, makeshift duct-taped camera gear, and how most of the art we make revolves around life and death.

NFS: How would you describe the kind of documentary that you wanted to make in Paa Joe and The Lion?

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