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  • Shelter’ Interview: Director Ric Roman Waugh

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    Opening in theaters on January 30th is the new action thriller ‘Shelter’, which was directed by Ric Roman Waugh (‘Shot Caller’ and ‘Greenland 2: Migration’) and stars Jason Statham (‘The Beekeeper’), Bodhi Rae Breathnach (‘Hamnet‘), Naomi Ackie (‘Star Wars: The Rise of Skywalker’), and Bill Nighy (‘The Constant Gardener’).

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    Moviefone recently had the pleasure of speaking with director Ric Roman Waugh about his work on ‘Shelter’, his first reaction to the screenplay, the emotional core of the movie, crafting the action sequences, working with Jason Statham and Bill Nighy, and finding the right tone for the movie, as well as looking back at his prison masterpiece ‘Shot Caller’ and with ‘Greenland 2: Migration’ also currently in theaters, what it’s like as a filmmaker to have two big movies at the box office at the same time.

    Ric Roman Waugh attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    Ric Roman Waugh attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    You can read the full interview below or click on the video player above to watch our interview.

    Related Article: Movie Review: ‘Shelter’

    Ric Roman Waugh attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    Ric Roman Waugh attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    Moviefone: To begin with, can you talk about your first reaction to the screenplay, what you thought you could bring to it and why you wanted to make this movie?

    Ric Roman Waugh: I was fortunate that Jason had reached out. We’d been trying to work together, and he was talking about this script, which he was super passionate about. When I read it, I got it. Ward Parry‘s script, it just punches you in the gut with great emotion. I thought this is exactly the type of film that I like to do, a movie that can be a big action ride, but has a real emotional thrust in it. So now I’m going to give you your cake and eat it too. I’m going to give you Jason Statham, the action star at his best, but I’m going to remind you what an amazing actor he is as well. My type of heroes, the antihero, the man, or the woman that’s vulnerable, sensitive, dealing with demons, trauma, in crisis, all these things that we love about movies that go back to ‘Shane’ in the ’50s, to ‘Man on Fire’ and ‘The Professional’, because they’re relatable to us. We all deal with different kinds of issues like that. I’ve never been a fan of the 10-foot tall bulletproof, impervious to pain type of hero. I like the mortal human beings and that’s what I love about this movie, is that Jason’s character is not just a man of action, but he’s also a human being and with real sensibilities.

    Jason Statham in 'Shelter'. Photo: Black Bear Pictures.
    Jason Statham in ‘Shelter’. Photo: Black Bear Pictures.

    MF: Can you talk about the relationship between Mason and Jesse, and why he decides to protect her?

    RRW: I think the movie speaks on two levels, and I’ll unpack the first one with you, which is that we all tend to put ourselves in some form of exile, and then we’re quickly reminded how much we need each other. I love that this movie, this story spoke to that, about a man mysterious to us living in this abandoned lighthouse, and he saves this young girl from the sea, who’s been trying to give him the time of day, but he’s been completely shut off. He saves her only to realize that she’s probably there to save him from this form of self-exile that he’s been living in trauma and realizing that she is also in a form of exile to herself of trauma and loss. Then they find family in one another. Again, going back to the movies of ‘Shane’, or ‘Man on Fire’ and ‘The Professional’, it becomes about a hero that must shelter this young girl, but also is cognizant of the dark cloud that follows him, and making sure that doesn’t get cast upon her as well. So, they get that great moral dilemma. Am I going to be selfish and keep this young girl in my life because I finally found family and have a connection again? Or am I going to do the right thing and get her to safety, but not have her in my life? I love that dilemma that runs throughout it. At the same time, we give you this big action ride.

    (L to R) Jason Statham and Bodhi Rae Breathnach attend the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    (L to R) Jason Statham and Bodhi Rae Breathnach attend the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    MF: Can you talk about Jason and Bodhi’s onscreen chemistry, and did they connect right away on set?

    RRW: I got this thing about chemistry. It’s a big thing for me. I think you can put all the best Academy Award winners in front of the camera, but it doesn’t mean they’re going to have chemistry, and we wonder why those movies don’t work. We looked at 500 young girls. There was a wide net. I remember seeing a tape of this little freckled girl, and there was just something about her eyes. There was a deep soul within her, and this vibrancy. So, we brought Bodhi in and did a chemistry test with her and Jason, and it was just electric. We did one of the more emotional scenes in the movie. If you’ve ever been around Jason, Jason Statham is a force of nature. There’s an energy level to him that can be daunting to some people, and intimidating. But Bodhi and him, it was just like electric, watching the two of them together. So, I knew that my job was just to get the hell out of the way, put them in front of the camera and let them do their thing. So, they’re not faking it and they’re not forcing it. It was real, and in fact, I’d remind them, “Don’t be so together as a family unit yet. Still play into the estrangement of things.”

    Jason Statham attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    Jason Statham attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    MF: Can you talk about working with Jason and what he brings to a movie like this?

    RRW: Well, first, Jason is 100% committed to what he’s doing. He is all in, and I met my match with that. I’ve been known to be a juggernaut as well with being very passionate about the things that I’m making, and just waking up every morning wanting to tear into it. That’s Jason. What I also realized is he’s super authentic in his real life, and there is a code that he lives by, the way he respects those around him and demands respect in return. I think they’re all the essential elements that you see in his characters, and that’s why he is so authentic to a lot of people, because he’s living and breathing it in real life. I also really admire the family man he is, and how he is with his kids and with his wife, Rosie (Huntington-Whiteley), and his parents coming to set. So, all those kinds of familial sensibilities were fun to explore in this film, to show you the action star, but humanize him and bring a different aspect to him than you’ve seen before.

    Jason Statham attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    Jason Statham attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    MF: How involved is Jason in choreographing the action and fight sequences?

    RRW: He’s an amazing collaborator. Jason is involved in every aspect of it, and I love that. I love that I’m not going to have to remind him what we’re shooting. I’m not going to have to remind him of what we’re doing. He’s very much about the attention to detail. So, he’s not only involved in the action, he’s involved in every aspect of it, but he also understands that his fighting style is a certain way. He is a real martial artist and a real fighter, so that there’s a way that he wants the choreography to go, because it goes into his more organic way of doing things. I love that, but there was never any moment that I felt like I didn’t have a pure partner in raising the bar together. He’s a prep freak like me as well, which is good because when you rehearse and you get things in a good rhythm, when you get there on the set, you just let it fly, and then you’re raising the bar versus trying to find it. I love that.

    (L to R) Tom Malone, Theo Shakes, Savannah Sachdev, Ali Woods, Paigey Cakey, Jay Urban, Jason Statham, Eddie Hall, Ashley Cain and Big John attend the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    (L to R) Tom Malone, Theo Shakes, Savannah Sachdev, Ali Woods, Paigey Cakey, Jay Urban, Jason Statham, Eddie Hall, Ashley Cain and Big John attend the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    MF: There is an amazing car chase in the movie. What is the secret to shooting a great car chase sequence?

    RRW: To not treat it as a car chase. For me, coming from the stunt world in my early days, a lot of people asked me what it was like to do stunts. I realized over time what they were really wanting to know was, “What did it feel like? What did it feel like to be set on fire? What did it feel like to be driving 200 miles an hour in ‘Days of Thunder’ and crash on purpose,” and the exhilaration and the fear and all those things. So, when I’m shooting action, I’m trying to immerse you in the action the way I was. I’m trying to put you, in this case in the seat, where the cameras are in the car and it’s from the inside out. So, you’re in the character’s point of view and his point of view becomes your point of view. So, when you’re a bucking bronco going down a hill and the car’s falling apart and bullets are going through it, you feel immersed in that. You’re not watching a car chase, you’re in the car being hunted, and you get a different perspective of it. I always called it trying to make your own IMAX ride out of the action, to always be from the inside out.

    (L to R) Naomi Ackie in 'Shelter'. Photo: Black Bear Pictures.
    (L to R) Naomi Ackie in ‘Shelter’. Photo: Black Bear Pictures.

    MF: Can you talk about the tone of the film and the challenges of balancing the action with the emotional core?

    RRW: Tone is everything for me, as a screenwriter, as a filmmaker, and it’s being as true to the tone of the material as you possibly can. Not trying to get too cute with it, and not trying to make it over-serious. It really found its place on Jason’s point of view of really choosing to be elegant, where you’re doing everything in a very grounded and authentic way. You’re not forcing more violence. You’re paying attention to what you would do in front of a child to protect her and protect her innocence. So, when you start playing into the fundamental laws of the familial bond between a pseudo father who’s trying to protect a young child, you let that dictate your tone. You let that become your compass and your guide of where you go. I feel like that’s always the true north star for me in anything I’m doing. ‘Shot Caller’ is a movie that I’ve done that is far more violent, but because the tone of it dictates it. So, you do that in an unflinching way because prison is unflinching.

    (L to R) Bill Nighy and Jason Statham in 'Shelter'. Photo: Black Bear Pictures.
    (L to R) Bill Nighy and Jason Statham in ‘Shelter’. Photo: Black Bear Pictures.

    MF: In my opinion, Bill Nighy is one of the greatest living actors and every breath he takes on screen feels authentic. What is it like directing an actor of his caliber?

    RRW: It was funny, the first day Bill worked, it was the day that he and Jason meet at the end of the movie. I remember my monitors were right around on the other side of the room because it was a very small room, so we couldn’t be inside of it. After the first take, Jason walked over and he goes, “I could hear that guy say anything. It doesn’t even matter what he says.” That’s it. Bill Nighy is just an absolute legend. But I really have been fortunate to work over the years with some of our elder statesmen and stateswomen, like Harriet Walter on this movie, who’s just phenomenal. But from Sam Shepherd to Morgan Freeman to Nick Nolte and my new pal, Bill Nighy, they’re in it. You would think at their time of their life and their body of work, they can phone it in, take the money and run. No, I mean, they just really own the space. That’s what we loved about Bill. Bill came in and just owned it, and we’re talking about turning him into an action star now. He’s an incredible human being, but that work ethic is just next to nothing. It’s amazing.

    Nikolaj Coster-Waldau in 'Shot Caller'. Photo: Saban Films.
    Nikolaj Coster-Waldau in ‘Shot Caller’. Photo: Saban Films.

    MF: You mentioned ‘Shot Caller’, and I think that is one of the greatest prison movies ever made. I feel like the movie has had a renaissance recently thanks to streaming. How do you feel about that movie now? Do you feel like the film is being rediscovered by audiences?

    RRW: Yeah, it’s really rewarding because we made that with a lot of passion and put a lot into it. I went undercover for two years as a parole agent in California to learn the system. I did the first movie ‘Felon’, and then the follow-up ‘Shot Caller’. It’s fun when you make a film that is constantly being discovered and rediscovered and is brought up. It’s really rewarding to have that because I have mine. I have my films that I’ve discovered. I’m like, how the heck did I miss this when it came out? It just blows me away and then becomes a favorite of mine. If ‘Shot Caller’s got a little of that going for its fan base, that’s awesome, because everybody that was involved in it were just amazing people. Nikolaj Coster-Waldau, so proud of what he did, and Jon Bernthal, Jeffrey Donovan, and Holt McCallany. We can just go on and on. We had just an amazing cast of people. What’s fun about ‘Shot Caller’, to give you an example, the prison riot scene when there’s 250 guys that are fighting out there, 200 of them are real (prisoners). We put MMA fighters and certain people around closer to camera, but we had all factions out there, and they would look like they’re going to literally kill each other. Then I would yell “Cut”, and they would all pick each other up and laugh, because they knew there wasn’t a real life or death situation on the prison yard, but they loved and appreciated that we wanted to make it as authentic as it possibly could be. To this day, ‘Shot Caller’ is one of the teaching tools for the California prison system, where they show that to a lot of the new correctional officers, so they can see what is going on in our prison systems.

    (L to R) Gerard Butler as John Garrity, Morena Baccarin as Allison Garrity, and Roman Griffin Davis as Nathan Garrity in 'Greenland 2: Migration'. Photo Credit: Courtesy of Lionsgate.
    (L to R) Gerard Butler as John Garrity, Morena Baccarin as Allison Garrity, and Roman Griffin Davis as Nathan Garrity in ‘Greenland 2: Migration’. Photo Credit: Courtesy of Lionsgate.

    MF: Finally, you also have ‘Greenland 2: Migration’ in theaters right now. As a filmmaker, what is it like having two big films at the box office at the same time?

    RRW: It’s been surreal because they both mean a lot to me in different ways. We made the first movie ‘Greenland’ pre-pandemic, but it came out in the pandemic. We couldn’t even put it in movie theaters in the US when we were already booked in IMAX and Dolby, because there were no theaters open, but then we were watching it go number one around the world. Then Adam Fogelson, who’s our chairman of STX and now at Lionsgate, he just made a bold move to put the biggest streaming deal ever at that point together with HBO. It luckily became a darling where a lot of people really discovered it in a time that we were all sheltered and stuck inside. We never thought we were going to make a second movie. Then when it got the response that we had hoped for, we decided to mirror the timeline, mirror post-pandemic, and mirror a lot of the things that we had dealt with as well. So, I love that we get to finally see what I call the final chapter of the Garritys, and you can watch these movies back-to-back and see a family that faces real crisis, and finds love and atonement again, and then deals with trauma and tragedy. Those are all these things that make it relatable to us. Then this movie with Jason, ‘Shelter’ is really a dear one. I consider it a badge of honor and a real notch on my belt of the movies that I’ve made. I’m very proud of it and very proud of the cast. It’s just been a fantastic ride all the way through. I hope a lot of people get their butts to the theaters this Friday because it’s a big, fun ride, and it will grab you in an emotional way. It’s a special one. I’m happy about it and hope a lot of people will go and see it.

    'Shelter' opens in theaters on January 30th.
    ‘Shelter’ opens in theaters on January 30th.

    What is the plot of ‘Shelter’?

    A former assassin (Jason Statham) is forced to kill his former organization to protect a girl (Bodhi Rae Breathnach) who had been supplying him.

    Who is in the cast of ‘Shelter’?

    • Jason Statham as Mason
    • Bodhi Rae Breathnach as Jesse
    • Bill Nighy
    • Naomi Ackie
    • Daniel Mays
    (L to R) Ric Roman Waugh, Bodhi Rae Breathnach and Jason Statham attend the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    (L to R) Ric Roman Waugh, Bodhi Rae Breathnach and Jason Statham attend the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    List of Ric Roman Waugh Movies:

    Buy Tickets: ‘Shelter’ Movie Showtimes

    Buy Ric Roman Waugh Movies on Amazon

  • Movie Review: ‘Shelter’

    Jason Statham in 'Shelter'. Photo: Black Bear Pictures.
    Jason Statham in ‘Shelter’. Photo: Black Bear Pictures.

    Opening in theaters on January 30 is ‘Shelter,’ directed by Ric Roman Waugh and starring Jason Statham, Bodhi Rae Breathnach, Naomi Ackie, Daniel Mays, Bryan Vigier, and Bill Nighy.

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    Related Article: Jason Statham and Director Guy Ritchie to Reunite for ‘Viva La Madness’

    Initial Thoughts

    Jason Statham attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    Jason Statham attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    Jason Statham is the AC/DC of action movies: just as the legendary Australian band has made the same album 17 times, Statham makes more or less the same movie every year and portrays pretty much the same character each time out. Some, like ‘The Beekeeper,’ operate at a slightly higher level than the others – but we can’t quite say that about ‘Shelter.’

    Statham’s latest action thriller, directed by Ric Roman Waugh, doesn’t break the mold in any way but it also doesn’t quite deliver like some of the star’s better vehicles, spinning its tale in humdrum fashion with little surprises and almost none of the self-aware humor that has marked Statham’s best work.

    Story and Direction

    Ric Roman Waugh attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    Ric Roman Waugh attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    Opening in the Outer Hebrides off the coast of Scotland, ‘Shelter’ finds Statham playing – surprise, surprise – Michael Mason, a man looking to escape his past. An ex-Royal Marine, he hides out alone on a small island next to a defunct lighthouse, drinking his days away and accompanied only by his dog. A former colleague of his delivers supplies every week via trawler, delivered to Mason’s doorstep by Jessie (Bodhi Rae Breathnach), the man’s plucky niece who attempts to befriend Mason but is rudely rebuffed.

    All that changes when a storm capsizes the trawler and Mason springs into action to rescue Jessie. Forced to take care of her, he ventures across the channel on his own for supplies – and once at the local village, those omnipresent surveillance cameras pick up his face and send his image to MI6 (British intelligence) – only under a different name. But there are forces within the government itself – not always working together — that have a keen interest in locating Mason, sending strike teams after him and forcing him to not just take them all out like a toddler brushing his toy soldiers off the table, but to protect Jessie as well and try to get her out of the U.K.

    Ric Roman Waugh attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    Ric Roman Waugh attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    All the usual Statham pieces are in place: he’s a gruff man of few words and deadly moves who’s tormented by his past, he has to protect and/or rescue an innocent person, and his enemies have endless resources and supplies of redshirts to hurl at him. Yet what ‘Shelter’ is missing is a few good laughs here and there as well as a certain amount of energy. Director Ric Roman Waugh – who generated suspense and heart with ‘Greenland 2: Migration’ earlier this month – can’t seem to get this film out of first gear. The snarky Statham humor is almost completely absent, and the film’s drab visual esthetic – this is a movie submerged almost entirely in muted grays, browns, and greens – makes it unpleasant and enervating to look at.

    There are a few good fights (even if Waugh has some trouble tracking them) and Statham and Breathnach share a few moments of warmth and humanity. But the script offers little in the way of reveals or sudden twists (the film curiously feels like there should be a few more), we see the bad guys coming from a mile away (literally in some scenes) and while we end up rooting for our man as usual, it’s all half-hearted at best.

    Cast and Performances

    (L to R) Bill Nighy and Jason Statham in 'Shelter'. Photo: Black Bear Pictures.
    (L to R) Bill Nighy and Jason Statham in ‘Shelter’. Photo: Black Bear Pictures.

    There’s little to say about Jason Statham’s performance here that we haven’t said before. Even his most middling films benefit from his sturdy presence, and he handles the action scenes with his usual aplomb. There’s even a character arc of sorts this time out. But he’s better when he gently pokes fun at himself or the material, and ‘Shelter’ is too self-serious to let him really light up the screen.

    As for the rest of the cast, Bodhi Rae Breathnach shows some grit and confidence as Jessie, but the rest of the cast is merely functional. Naomi Ackie is wasted in a mostly expository role, while Bill Nighy and Arthur Booth go through their pre-ordained motions the best they can. Sadly, French stunt performer Bryan Vigier gets a raw deal as the appropriately named Workman, a killing machine clandestinely sent after Mason who turns out to be the blandest assassin we’ve seen onscreen in a while.

    Final Thoughts

    (L to R) Naomi Ackie in 'Shelter'. Photo: Black Bear Pictures.
    (L to R) Naomi Ackie in ‘Shelter’. Photo: Black Bear Pictures.

    No one expects great art out of Jason Statham; he’s a brand unto himself whose fans know what they’re getting and, for the most part, get it in satisfying fashion. He’s always watchable and is one of our few remaining action heroes who looks like he knows what he’s doing.

    But ‘Shelter’ never fully comes alive narratively or visually – even David Buckley’s synth-heavy score sounds lethargic – and is not as entertaining as the star’s best efforts. But hey, even AC/DC made a few mediocre albums, right?

    ‘Shelter’ receives a score of 55 out of 100.

    Jason Statham attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.
    Jason Statham attends the UK Premiere of ‘Shelter’ at Cineworld Leicester Square on January 20, 2026 in London, England. Photo: StillMoving.Net for Black Bear.

    What is the plot of ‘Shelter’?

    On a remote coastal island, a reclusive man (Jason Statham) rescues a young girl (Bodhi Rae Breathnach) from a deadly storm, drawing them both into danger. Forced out of isolation, he must confront his turbulent past while protecting her, sending them on a tense journey of survival and redemption.

    Who is in the cast of ‘Shelter’?

    • Jason Statham as Michael Mason
    • Bodhi Rae Breathnach as Jessie
    • Bill Nighy as Steven Manafort
    • Naomi Ackie as Roberta Frost
    • Daniel Mays as Arthur Booth
    • Bryan Vigier as James Workman
    'Shelter' opens in theaters on January 30th.
    ‘Shelter’ opens in theaters on January 30th.

    List of Jason Statham Movies

    Buy Tickets: ‘Shelter’ Movie Showtimes

    Buy Jason Statham Movies on Amazon

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  • Movie Review: ‘That Christmas’

    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    Landing on Netflix on December 4th, ‘That Christmas,’ which is driven by the work of festive veteran Richard Curtis (even if his one contribution to cinematic Christmas is the divisive ‘Love Actually’), who here adapts his children’s’ book series, illustrated by Rebecca Cobb.

    Attempting to slot into the highly-prized pantheon of re-watchable Christmas movies (or at least be something that tired parents can plunk sugar-powered children down in front of while they try to sleep off the stresses of the season) is a risky maneuver and its one that this cheery, if somewhat simple comedy just falls short of.

    Related Article: Director Bobby Farrelly and Producer Peter Farrelly Talk ‘Dear Santa’

    Does ‘That Christmas’ Deliver Joy?

    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    If you’ve seen any of Curtis’ scripted work (he also directed ‘Love Actually’ from his own script back in 2003), you’ll know the recipe he’s using here: a multi-stranded story of different characters (pleasingly more diverse than some of his earlier efforts) dealing with crises and ultimately figuring out that coming together and being nice gets the job done.

    Of course, that often counts double in Christmas movies, but it’s still not quite enough to boost this one to the ranks of, say ‘The Muppet Christmas Carol’ or ‘Elf.’ It’s cheery, mostly harmless kiddie affair, shot through with modern thinking about the world (and set in an extremely idealized, if gentrified small English town) but won’t otherwise win many points for originality.

    And those who have seen ‘Arthur Christmas’ from 2011 might get a moment’s whiplash, partly because the animation looks in some ways similar, and because it shares a voice in Bill Nighy, who has handed the Santa reins to Brian Cox this time, but still pops up as a friendly lighthouse keeper. Not discounting that it comes from Locksmith Animation, a company part run by ‘Arthur’ co-writer and director Sarah Smith.

    Script and Direction

    Netflix's 'That Christmas' writer Richard Curtis.
    Netflix’s ‘That Christmas’ writer Richard Curtis.

    Curtis, working with Peter Souter, has taken the basic storylines from his books and mashed them up into one Christmas fable, albeit one grounded in a present-day society (social media and smart phones play a key role at this point.

    It’s all pretty familiar stuff, agreeably multicultural, but still very familiar if you know his work. Yes, characters get into trouble, and there are disagreements, but everything is treated like a warm hug or a steaming mug of cocoa.

    There are few surprises, but that’s not really the point, is it? No-one is expecting a festive family treat to end with one of the presents containing the same “gift” as at ‘Se7en’s conclusion, are they? (Though we would watch ‘A Very David Fincher Christmas.’)

    Simon Otto, who has experience in the animation department of DreamWorks Animation’s mammoth ‘How to Train Your Dragon’ franchise, here drives his team to create some stylish and sweet imagery. It won’t challenge the likes of the ‘Spider-Verse’ movies or ‘The Wild Robot’ for true imagination, but it’s a step ahead of more basic children’s fare.

    Performances

    The voice cast is a big part of why this movie works, a largely British cast finding nuance in Curtis’ treacly writing.

    Brian Cox as Santa

    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    While he’s not as much the focus as in some Christmas movies, the version here is charming and funny, given a little extra gravitas by Cox. In combination with Guz Khan’s chatty reindeer Dasher (for blizzard-y reasons, Father Christmas is down to just the one sleigh-puller), he’s a welcome spin on the staple.

    Fiona Shaw as Ms. Trapper

    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    As the imposing, seemingly icy teacher who factors into at least a couple of the storylines, Shaw is the perfect pick for a role like this –– someone who is viewed one way (particularly by her young charges and those townsfolk who grew up with her tutelage), but who reveals hidden depths.

    India Brown as Bernadette

    Brown brings a peppy energy to the driven Bernadette, who is ultimately left having to oversee Christmas Day with her younger sibling and some friends when their parents are stuck returning from a wedding.

    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    Jack Wisniewski as Danny

    Along with Brown’s Bernadette and Zazie Hayhurst’s Sam, Danny is as close as we get to a real focus for the film’s different narratives. Wisniewski gives the right mix of joy and sorrow as the boy who desperately hopes his father would come and visit.

    Supporting Cast

    ‘That Christmas’ has certainly scored its share of heavyweight performers from the UK and beyond (Curtis’ name certainly helps with that), and the likes of Jodie Whittaker, Rhys Darby, Lolly Adefope and Alex MacQueen all find the right levels for their various characters.

    Final Thoughts

    'That Christmas'.
    ‘That Christmas’. Photo: Netflix.

    “It’s nice, that’s about it” sounds like damning with faint praise, but for a film this mild and somewhat predictable, yet with this big a heart, it feels like the right sentiment.

    A Christmas classic? Hardly. But kids will enjoy it and adults won’t be put off, unless they happen to take their cue from Ebeneezer Scrooge.

    ‘That Christmas’ receives 6 out of 10 stars.

    NVzOzwMS9UslvZbPlGgNp5

    What’s the story of ‘That Christmas’?

    Based on the successful series of children’s books by Richard Curtis (‘Four Weddings and a Funeral,’ ‘Love Actually,’ ‘Yesterday’), ‘That Christmas’ follows a series of entwined tales about love and loneliness, family and friends, and Santa Claus making a big mistake, not to mention an enormous number of turkeys…

    Who is in the voice cast of ‘That Christmas’?

    • Brian Cox as Santa Claus
    • Fiona Shaw as Miss Trapper
    • Jodie Whittaker as Mrs. Williams
    • Bill Nighy as Lighthouse Bill
    • Lolly Adefope as Mrs. McNutt
    • Alex Macqueen as Mr. Forrest
    • Katherine Parkinson as Mrs. Forrest
    • Sindhu Vee as Mrs. Mulji
    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    Other Christmas Movies:

    Buy Richard Curtis Movies On Amazon

    DxVUTQyn

  • ‘That Christmas’ Interview: Richard Curtis and Simon Otto

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    Premiering on Netflix December 4th is the new animated holiday movie ‘That Christmas’, which was written by ‘Love Actually’ director Richard Curtis, based on his own book, ‘That Christmas and Other Stories’. Directed by Simon Otto, the film features the voices of Brian Cox (‘Succession’), Fiona Shaw (‘Star Wars: Andor’), Jodie Whittaker (‘Doctor Who’), and Bill Nighy (‘Living’).

    Related Article: Director Bobby Farrelly and Producer Peter Farrelly Talk ‘Dear Santa’

    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    Moviefone recently had the pleasure of speaking with writer Richard Curtis and director Simon Otto about their work on ‘That Christmas’, adapting Curtis’ novel, Otto’s directorial debut, what he learned from working with Curtis, the challenges of making a Christmas movie, their favorite characters, and why they are excited to have audiences watch the film.

    You can read the full interview below or click on the video player above to watch our interviews.

    Netflix's 'That Christmas' writer Richard Curtis.
    Netflix’s ‘That Christmas’ writer Richard Curtis.

    Moviefone: To begin with, Richard, can you talk about how ‘That Christmas’ came to be?

    Richard Curtis: Well, I’ve got four kids, so I’ve read them 500 children’s books 500 times and eventually I thought I’d write one myself. So, I wrote one and then two years later had another idea. I wrote three books and then a producer friend of mine just said, “I think these might make a lovely film.” I was so delighted at the opportunity to make an animated film. It’s something I’d always wanted to do, but kind of never thought I would. So, it’s been a real Christmas present to me to get the movie made.

    MF: Simon, this is your directorial debut, can you talk about why you wanted to make a Christmas movie for your first film?

    Simon Otto: I mean, it’s always a bit happenstance in the way this works. I had really wanted to direct a feature after doing some television episodes. I’ve been talking to this company called Locksmith Animation who did ‘Ron’s Gone Wrong’ during this time, and they wanted me to be head of animation on one of their projects. I said, “Really, my next step is directing, and I’d love to see if there’s something that can happen there.” So, I was working on multiple projects, and they came back to me with this children’s book called ‘The Empty Stocking’, which they thought would make a lovely Christmas special. I thought, “Yeah, that sounds interesting. Let me have a look.” Very quickly we realized there was a second book and a third book on its way and that Richard Curtis was interested in maybe writing the screenplay. Then for me it was like, “Okay, yes, where can I sign? Where do I need to go?” In this early period, we very quickly realized that instead of doing Christmas specials, to intertwine them into one giant cinematic kind of Christmas movie, and that pitch was very easy to take around town. Netflix was immediately interested.

    'That Christmas'.
    ‘That Christmas’. Photo: Netflix.

    MF: Simon, what was it like working with a filmmaker like Richard Curtis on this project?

    SO: It was so many things, and first and foremost, it was like a free film school for me to be collaborating with somebody with so much experience. But in talking with him, it was the same thing. To him it was a discovery of a completely new way of developing story, script and animation because the timeline is so different. So usually, he would write the screenplay with a producer and then find the director and then make the film. We developed this story based on his books as we were developing the visuals and the storyboards, and they were writing the script alongside our development work. So, I was able to collaborate with him on it over the first year and a half. For me, it was such a tremendous privilege to be doing this. What makes it really interesting for me was that from the get-go, not only was it going to be a movie written by one of my favorite screenwriters, but it was also an unusual type of story for animation because in animation, generally you have a single hero journey against the villain in a fantastical world. This is a multi-threaded storyline with multiple protagonists, no villains, about these three charming children’s books that told quite small moments, and we had a chance to make it big and bring the power of animation to it and make it sweeping and cinematic. What I love about Richard’s writing is, besides a sense of wish fulfillment and a real great study of characters and caricaturing real life, is that he has a way of making small moments feel big. I love that about his films, and I thought that there was something unique that we as animators could bring to that storytelling.

    MF: How important was it to you to make this a family film and not just a movie for kids?

    RC: Well, it’s funny. I think I’ve always been quite a sort of age democrat. When I meet people who are six and seven, I don’t think they’re stupid. In fact, I often assume they’re smarter than me. So, I think it didn’t occur to me that you would write a story and try and oversimplify emotions for kids. I feel as though if you’ve got an interesting story to tell, they will probably enjoy it as much as an adult would. So, I tried to make something that would make, as it were, my daughter and me both happy. As all the filmmakers didn’t think we’re making something for kids. They thought they’re making something as it were for us and us when we were kids.

    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    MF: Simon, how important was it to you to really make a film for the whole family?

    SO: I’ve always felt that I’ve loved animation ever since I was a kid, and by love, I mean I started drawing and copying drawings of the old Disney movies and really loved the world and loved the fact that this could come to life and become something real. So, the idea that you caricature the world as it is and try and be authentic and realistic about it so it’s grounded, that was important to us that we felt like it’s a place you could go visit, these are characters that you know, and these are characters that you recognize from your own life. So very early on, we very quickly agreed that we’re not making a cartoony movie that had cartoony ideas where things could happen that wouldn’t happen in the real world, with the exception of course of Santa and the reindeer, and who’s to say they’re not real? But the idea that we really wanted to believe in this world, and therefore our approach to it was all about the things that we see in our own lives and what amuses us and the idea that our movie is essentially a story where the mess up of our parents, that feels relatable to us as parents: looking away and your toddler is gone or driving into bad weather and not turning around. Some of the mistakes that the parents make are completely relatable and believable mistakes, but it’s the kids that suffer the consequences. But in our world, they’re creative kids and find a way to come around. So, telling stories that are inherently familiar and truthful but sort of combining them and trying to find funny ways to tell them is how we went about it. We never really thought about it as an animated movie, really. I mean we did. Of course, I did for sure, but in terms of writing, we didn’t.

    MF: Richard, which character was the most fun to write?

    RC: Do you know, it’s funny you say fun? In the book about the little boy called ‘Snow Day,’ we just sort of had a slightly sad little boy, and when we made the movie, we made him a latchkey kid with a mom who’s a nurse, who must work too hard in the local community. We had the story about his dad who lets them both down. So, I think for me, in the journey from book to screen, making that character saying, if a kid is a bit lonely and shy, what’s the three-dimensional story about how they got there? I think we found that very satisfying.

    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    MF: Simon, do you have a favorite character in this movie other than Santa Clause?

    SO: I think I’m really connected with Little Danny, and the reason for that is of course, because who doesn’t understand and identify with a kid who’s left alone at Christmas? But I took my family from LA to London to make this film, and I had to take my twelve-year-old kid out of his school and stick him into an international school in London where he was the outsider, he didn’t quite have any friends. He was sad that he had to leave his life behind in LA. Seeing the journey from outsider to having friends and really loving it was close to me, and there’s a lot of tiny little things in the film that I feel close to. Then of course, we had to decide on who plays the villain as father, which you can’t really hear, but if you know it, you hear it. But the dad, when he calls to tell Danny that he’s not going to make it, that’s me. It’s my voice. So, I had to play the villain of the story, which is not really a villain at all, of course.

    MF: Richard, what are you most excited for people to see with this movie?

    RC: Well, I put all my work into it, but in every film the wonderful things are the things I don’t do. So, it’s just the detail in the little faces. There are things that animation can do where a child’s face can have four emotions, joy, worry, excitement, nervousness, all in a second. So, the thing I’m most excited is by people being able to, as it were, admire the art and enjoy the depth of some of the characters and their beautifully animated faces.

    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    MF: Finally, Simon, what are you most excited for audiences to see with this movie?

    SO: I really love what our production design and character design state in terms of authenticity. I feel like it’s rare that in a movie you feel like this is based on something real and something that you could go visit. Our production designer, Justin Hutchinson-Chatburn, came from live action. He’s done both animation and live action, but he paid so much attention to the set dressing of the world, so every room of every kid tells a quite intricate story about the characters. Because it’s a multi-threaded storyline, which is unusual in animation, the fact that you can pretty much quickly understand who these characters are. Danny just recently moved into his house, so the house is not decorated. Paint swabs are still up, but it’s only his room that’s decorated because that’s the nucleus of what the mother cares about. Then Simon/Charlie stories, they have this divided bedroom. One’s naughty, the other one’s nice. One’s nice and clean, the other one’s chaotic with lots of other things. Bernadette’s world is a world of chaos and rainbows and colorful and reinvention, and I just love the authentic place and the world. I’m quite proud of that.

    Interviews conducted by Krisily Fernstrom

    NVzOzwMS9UslvZbPlGgNp5

    What is the plot of ‘That Christmas’?

    ‘That Christmas’ follows a series of entwined tales about love and loneliness, family and friends, and Santa Claus (Brian Cox) making a big mistake, not to mention an enormous number of turkeys!

    Who is in the voice cast of ‘That Christmas’?

    • Brian Cox as Santa Claus
    • Fiona Shaw as Miss Trapper
    • Jodie Whittaker as Mrs. Williams
    • Bill Nighy as Lighthouse Bill
    • Lolly Adefope as Mrs. McNutt
    • Alex Macqueen as Mr. Forrest
    • Katherine Parkinson as Mrs. Forrest
    • Sindhu Vee as Mrs. Mulji
    'That Christmas'. Photo: Netflix.
    ‘That Christmas’. Photo: Netflix.

    Other Christmas Movies:

    Buy Richard Curtis Movies On Amazon

    DxVUTQyn

  • Movie Review: ‘The Wild Robot’

    Roz (Lupita N’yongo) in DreamWorks Animation’s 'The Wild Robot', directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.
    Roz (Lupita N’yongo) in DreamWorks Animation’s ‘The Wild Robot’, directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.

    Opening in theaters on September 27th, ‘The Wild Robot’ is the latest release from ‘Shrek’ and ‘How to Train Your Dragon’ studio DreamWorks Animation and director Chris Sanders, who here adapts Peter Brown’s children’s book to winning effect.

    The tale of a robot whose delivery container crash lands on an isolated island populated entirely by animals, it embraces themes such as figuring out who you really need to be beyond who you’re told to be, and kindness as a survival method.

    Related Article: ‘Black Panther’s Lupita Nyong’o to Star in ‘A Quiet Place’ Spin-Off ‘Day One’

    Does ‘The Wild Robot’ fly?

    (from left) Roz (Lupita Nyong’o) and Brightbill (Kit Connor) in DreamWorks Animation’s 'The Wild Robot', directed by Chris Sanders.
    (from left) Roz (Lupita Nyong’o) and Brightbill (Kit Connor) in DreamWorks Animation’s ‘The Wild Robot’, directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.

    DreamWorks has, like every other animation studio of late, been a little hit-and-miss when it comes to its output. Recognizable properties such as the latest ‘Kung Fu Panda’ offering and ‘Puss in Boots: The Last Wish’ (the latter showing a healthy willingness to experiment, particularly with animation style) have been successes while branching out into newer territory such as ‘Ruby Gillman: Teenage Kraken’ have seen less of a profitable return (it didn’t help that the latter was more blandly generic than even the latest ‘Shrek’ spin-off).

    So it’s good to see that the studio is still willing to take risks, including this adaptation of Peter Brown’s book. It’s a relatively simply narrative, but it does have a lot of heart. A few issues here and there aside, ‘The Wild Robot’ is a welcome, stylish addition to the company’s roster, though seems less likely to generate multiple spin-offs (but don’t count out the franchise-happy team out entirely, particularly if this scores at the box office).

    Script and Direction

    'The Wild Robot' director Chris Sanders. Photo: © Universal Pictures.
    ‘The Wild Robot’ director Chris Sanders. Photo: © Universal Pictures.

    Chris Sanders is a reliable, experienced filmmaker for both DreamWorks and, before that, Disney, and here his talent for finding relatable stories in offbeat places remains fully intact. After all, this is the man who (along with Dean DeBlois, who would run the franchise) helped turn ‘How to Train Your Dragon’ into a sensation.

    ‘The Wild Robot’ also feels of a piece with one of Sanders’ earlier movies –– ‘Lilo & Stitch’ with its combination of family themes and physical comedy. It’s not as anarchic as that film, but there are plenty of entertaining characters, and while the writer/director’s script sometimes falls into schmaltziness, there’s enough of an edge that it is largely undercut by something funny.

    (from left) Fink (Pedro Pascal) and Roz (Lupita N’yongo) in DreamWorks Animation’s 'The Wild Robot', directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.
    (from left) Fink (Pedro Pascal) and Roz (Lupita N’yongo) in DreamWorks Animation’s ‘The Wild Robot’, directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.

    There are few surprises here in the storytelling about a robot who crash lands on an island, learns to interact with the local wildlife and ends up taking care of an orphaned runt of a gosling with the help of a fox. Bonding and learning new ways to live are at the forefront, along with overcoming prejudice.

    Yet it’s in the visuals that the movie itself really soars. DreamWorks has, in the post-Spider-Verse world, shown a willingness to try new styles as first glimpsed with ‘The Bad Guys’ and with ‘Wild Robot,’ that is taken to the next level, its painterly beauty a thing to behold. It really does look like a beautiful children’s tome brought into animated existence and there are some jaw-dropping shots to be found here, not to mention some appealing character designs.

    Performances

    Built around a superb central voice role from Lupita Nyong’o, the film has a few performances worth noting…

    Lupita Nyong’o as Roz/Rummage

    Lupita Nyongó voices Roz in DreamWorks Animation’s 'The Wild Robot', directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.
    Lupita Nyongó voices Roz in DreamWorks Animation’s ‘The Wild Robot’, directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.

    Playing the robot of the title, Nyong’o strikes several sympathetic tones here, working with Sanders to modulate her performance to perfection. When we first meet Roz, she’s the enthusiastic corporate spokes-bot, eager to engage in any task and not realizing how much she’s freaking out the fauna surrounding her. It’s a role ripe with comic potential and Nyong’o fully embraces it. As Roz learns to better understand the animals and unexpectedly bonds with Brightbill the gosling, the story changes with her, maintaining its comic touch but also developing more authentic heart.

    The actor also has a smaller, supporting part as Rummage, a fellow robot that Roz builds from the parts of the other machines that crashed with her, though that’s mostly a channel for exposition.

    Kit Connor as Brightbill

    Kit Connor voices Brightbill in DreamWorks Animation’s 'The Wild Robot', directed by Chris Sanders. Photo: Tyler Curtis/ABImages. © 2024 DreamWorks Animation. All Rights Reserved.
    Kit Connor voices Brightbill in DreamWorks Animation’s ‘The Wild Robot’, directed by Chris Sanders. Photo: Tyler Curtis/ABImages. © 2024 DreamWorks Animation. All Rights Reserved.

    Brightbill the gosling forms the second pillar of the emotional triangle at the heart of the film, and he’s filled with goofy enthusiasm. Connor brings a freshness and real emotion to the role, able to handle the requirements of the young bird’s arc.

    Pedro Pascal as Fink

    Pedro Pascal voices Fink in DreamWorks Animation’s 'The Wild Robot', directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.
    Pedro Pascal voices Fink in DreamWorks Animation’s ‘The Wild Robot’, directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.

    The crafty, yet ultimately good-hearted fox that Roz meets when he tries to steal Brightbill (while still in his egg) is another great role for an actor, one that Pascal brings to life with spirit and a cheekiness that works for the animal.

    Catherine O’Hara as Pinktail

    Catherine O’Hara ADR for 'The Wild Robot' at DreamWorks Animation in Glendale, CA on Monday, April 24, 2023. Photo: Al Seib/ABImages. © DreamWorks Animation LLC.
    Catherine O’Hara ADR for ‘The Wild Robot’ at DreamWorks Animation in Glendale, CA on Monday, April 24, 2023. Photo: Al Seib/ABImages. © DreamWorks Animation LLC.

    The possum parent constantly trying to teach her kids the value of a fake death is a comic highlight of the film who also has weary parenting advice for Roz once the robot starts trying to care for Brightbill. O’Hara, an expert at getting laughs, also infuses the part with some healthy heart and kudos also to the various young actors who play her mischievous kids.

    Supporting cast

    Mark Hamill voices Thorn in DreamWorks Animation’s 'The Wild Robot', directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.
    Mark Hamill voices Thorn in DreamWorks Animation’s ‘The Wild Robot’, directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.

    There are various other standout voices to be found here –– Mark Hamill plays a grumpy bear who ultimately becomes more than that, Matt Berry’s imperious tones just sound right coming from a beaver who is obsessed with chewing down a giant tree, while Bill Nighy is great in a smaller role as Longneck, the wise older goose who takes Brightbill under his wing when it’s time to migrate. And finally, shout outs to Stephanie Hsu (as Vontra, the cheerily evil retrieval operative droid who arrives to take Roz back to her makers) and Ving Rhames as hawk Thunderbolt, who teaches Brightbill how to fly.

    Final Thoughts

    (from left) Fink (Pedro Pascal), Roz (Lupita N’yongo), and Pinktail (Catherine O’Hara) in DreamWorks Animation’s 'The Wild Robot', directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.
    (from left) Fink (Pedro Pascal), Roz (Lupita N’yongo), and Pinktail (Catherine O’Hara) in DreamWorks Animation’s ‘The Wild Robot’, directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.

    ‘The Wild Robot’ may not completely push the boundaries of what an animated movie should be (a lot of the “believe in yourself and become more than you thought you could” messaging will be awfully familiar, particularly to parents or guardians who have brought kids to many of these sorts of films), but it has enough genuine heart and invention to succeed.

    And visually, it’s absolutely stunning in places, letting the imagery do the work but never skimping on the storytelling.

    ‘The Wild Robot’ receives 7 out of 10 stars.

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    What’s the plot of ‘The Wild Robot’?

    ‘The Wild Robot’ follows the journey of a robot –– Rozzum unit 7134, “Roz” (Lupita Nyong’o) for short — that is shipwrecked on an uninhabited island and must learn to adapt to the harsh surroundings, gradually building relationships with the animals on the island and becoming the adoptive parent of an orphaned gosling.

    Who is in the cast of ‘The Wild Robot?

    • Lupita Nyong’o as ROZZUM unit 7134 (“Roz”)
    • Pedro Pascal as Fink
    • Catherine O’Hara as Pinktail
    • Bill Nighy as Longneck
    • Stephanie Hsu as Vontra
    • Mark Hamill as Thorn
    • Matt Berry as Paddler
    • Ving Rhames as Thunderbolt
    (from left) Brightbill (Kit Connor) and Roz (Lupita N’yongo) in DreamWorks Animation’s 'The Wild Robot', directed by Chris Sanders.
    (from left) Brightbill (Kit Connor) and Roz (Lupita N’yongo) in DreamWorks Animation’s ‘The Wild Robot’, directed by Chris Sanders. © 2024 DreamWorks Animation. All Rights Reserved.

    Other Lupita N’yongo Movies:

    Buy Tickets: ‘The Wild Robot’ Movie Showtimes

    Buy Lupita N’yongo Movies on Amazon

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  • Movie Review: ‘The First Omen’

    Nell Tiger Free as Margaret in 20th Century Studios' 'The First Omen'.
    Nell Tiger Free as Margaret in 20th Century Studios’ ‘The First Omen’. Photo by Moris Puccio. © 2024 20th Century Studios. All Rights Reserved.

    Opening in theaters on April 5th is ‘The First Omen,’ which is the sixth film in the franchise and acts as a prequel to 1976’s ‘The Omen.’

    The new movie is directed by Arkasha Stevenson (‘Legion’) and stars Nell Tiger Free (‘Servant’), Maria Caballero (‘Olvido’), Ralph Ineson (‘The Creator’), Sônia Braga (‘Shotgun Wedding’), Bill Nighy (‘Living’), and Charles Dance (‘The Golden Child’).

    Related Article: Nell Tiger Free to Lead ‘The Omen’ Prequel ‘First Omen’

    Initial Thoughts

    Nell Tiger Free as Margaret in 20th Century Studios’ 'The First Omen'.
    Nell Tiger Free as Margaret in 20th Century Studios’ ‘The First Omen’. Photo credit: Moris Puccio/20th Century Studios. © 2023 20th Century Studios. All Rights Reserved.

    ‘The Fist Omen’ successfully connects to the mythology of the original ‘The Omen’ with a strong opening sequence and third act but suffers from pacing issues throughout. Director Arkasha Stevenson crafts some solid scares but fails to keep the momentum building through the second act. However, Nell Tiger Free’s fearless performance carries the movie with the help of strong supporting performances from Maria Caballero, Sônia Braga, Ralph Ineson and Bill Nighy.

    Story and Direction

    Director Arkasha Stevenson and Nell Tiger Free as Margaret on the set of 20th Century Studios' 'The First Omen.'
    (L to R) Director Arkasha Stevenson and Nell Tiger Free as Margaret on the set of 20th Century Studios’ ‘The First Omen.’ Photo by Moris Puccio. © 2024 All Rights Reserved.

    The film is set in Rome in the mid-1970’s and begins by introducing us to Father Brennan (Ralph Ineson), who is investigating a conspiracy within the Catholic Church. We then meet Margaret Daino (Nell Tiger Free), an American sent to Rome to work in an orphanage before taking the veil. Margaret has suffered from strange visions since she was a child and was recruited by longtime mentor Cardinal Lawrence (Bill Nighy).

    Upon arrival at the orphanage, Margaret meets her new roommate, Luz Valez (Maria Caballero), a young woman also preparing to take the veil but who wants to experience as much of life as possible before becoming a nun. Margaret also meets Sister Silvia (Sônia Braga), who runs the orphanage, and a young girl named Carlita Skianna (Nicole Sorace), who suffers from the same strange visions as Margaret.

    Nell Tiger Free as Margaret and Nicole Sorace as Carlita in 20th Century Studios' 'The First Omen'.
    (L to R) Nell Tiger Free as Margaret and Nicole Sorace as Carlita in 20th Century Studios’ ‘The First Omen’. Photo courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.

    While Margaret secretly enjoys Rome’s nightlife with Luz, she also realizes that something strange is happening with Carlita and discovers that her own dark visions have returned. Margaret soon becomes suspicious of Sister Silvia and the other nuns, who lock Carlita away from the other children. When unexplained events begin happening at the orphanage, Margaret is contacted by Father Brennan who shares his theory on the events.

    According to Brennan, there is a secret society within the Catholic church that wants to birth the Anti-Christ so that the modern world will believe in God again. Believing that Carlita is the key, Margaret works with Father Brennan to save Carlita and stop the church from enacting their evil plans, but she soon learns that she can trust no one, including herself.

    Director Arkasha Stevenson has a good feel for crafting scary moments and there are quite a few good ones here, but the set-up can feel slow and unruly at times. While the pacing feels off, the mood and tone is solid and delivers what you would expect from an ‘Omen’ prequel. Stevenson and co-writers Tom Smith and Keith Thomas wisely place the prequel in the mid-1970s, right before the events of the original (erasing the possibility of a ‘First Omen’ sequel) but leading right up to the original movie.

    The location, period setting, production design and costumes are all well executed, which adds to the film’s gothic tone. Stevenson also gets very good performances from her cast, despite the screenplay’s shortcomings.

    ‘Omen’ Mythology

    Ralph Ineson as Father Brennan in 20th Century Studios' 'The First Omen'.
    Ralph Ineson as Father Brennan in 20th Century Studios’ ‘The First Omen’. Photo courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.

    ‘The First Omen’ works best when it is exploring the mythology of the original film in the opening sequence and the third act, but it loses its urgency in the first and second act. Being a prequel, the film is a bit predictable as we know that it will end with the birth of Damian. How they get there doesn’t completely work, and the movie gets lost at times setting up what we all know is coming. However, once it gets there, it’s a race to the finish with a very exciting third act.

    The opening sequence featuring Father Brennan questioning another priest played by Charles Dance feels like a classic ‘Omen’ scene, but then the tone changes once we are introduced to Margaret and we don’t get back to uncovering the conspiracy until later in the film.

    However, the conspiracy is well thought out, and fans of the original will be happy to see a posthumous photo cameo from Gregory Peck, who starred in ‘The Omen,’ connecting this new movie to the original.

    Performances

    Nell Tiger Free and María Caballero in 20th Century Studios' 'The First Omen'.
    (L to R) Nell Tiger Free and María Caballero in 20th Century Studios’ ‘The First Omen’. Photo by Moris Puccio. © 2024 20th Century Studios. All Rights Reserved.

    Actress Nell Tiger Free gives a very good performance and really carries much of the film. As Margaret, she is completely believable as a quiet young American concealing a dark secret of her own and is also fun in her moments when the character is exploring life outside the church. She has some excellent scenes with Father Brennan, Cardinal Lawrence, and Sister Silvia, and has great chemistry with Maria Caballero and Nicole Sorace.

    Speaking of Caballero, she brings Luz alive in a very interesting way, creating a seemingly innocent character who is much more nefarious than one would expect. While Sorace fills her demanding role well, playing a possibly possessed child with very little dialogue.

    Veteran actors Bill Nighy, Sônia Braga and Ralph Ineson are all welcomed additions to the film, but I did wish there was more time to explore their characters. Nighy’s Cardinal Lawrence is a fascinating character but has very little screentime and practically disappears in the middle of the movie. Ineson’s Father Brannan is probably the most developed of the three characters, but again, is not given enough time to truly explore his role.

    Déjà vu?

    Sydney Sweeney in 'Immaculate.'
    Sydney Sweeney in ‘Immaculate.’ Photo: Neon.

    Hollywood is no stranger to delivering two different movies about the same subject at the same time, and in fact has a long track record of doing so. We had two asteroid movies (‘Armageddon’ and ‘Deep Impact’), two volcano movies (‘Volcano’ and ‘Dante’s Peak‘) and even two movies about runner Steve Prefontaine (‘Prefontaine’ and ‘Without Limits’). So, it should be no surprise that we are getting two different “Nunsploitation” horror movies just a few weeks apart.

    The other “Nunsploitation” movie already in theaters is Sydney Sweeney’s “so bad its good” ‘Immaculate’. ‘The First Omen’ is basically the same exact movie, just without the popular ‘Euphoria’ actress and featuring ‘Omen’ mythology. I’m sure the movie will be unable to avoid comparisons to ‘Immaculate,’ and fairly or not, they are basically carbon copies of each other. While I liked ‘Immaculate’ slightly more due to Sweeney’s performance and its tongue-in-cheek vibes, fans of the original series will probably prefer ‘First Omen’ because of its connections to the overall franchise.

    Final Thoughts

    Nell Tiger Free as Margaret in 20th Century Studios' 'The First Omen'.
    Nell Tiger Free as Margaret in 20th Century Studios’ ‘The First Omen’. Photo by Moris Puccio. © 2024 20th Century Studios. All Rights Reserved.

    While ‘The First Omen’ drags through much of the middle, its opening and closing sequences are strong, as is its ties to the original. Nonetheless, Nell Tiger Free gives a very strong performance and is helped by an excellent supporting cast of actors. In the end, while it’s not a home run, ‘The First Omen’ does have an interesting premise and connects to the franchise well-enough to entertain fans of the genre and the series alike.

    ‘The First Omen’ receives 6 out of 10 stars.

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    What is the Plot of ‘The First Omen’?

    The plot follows an American woman (Nell Tiger Free) sent to work at a church in Rome who uncovers a sinister conspiracy to bring about the birth of the Antichrist.

    Who is in the Cast of ‘The First Omen’?

    • Nell Tiger Free as Margaret Daino
    • Sônia Braga as Sister Silvia
    • Ralph Ineson as Father Brennan
    • Bill Nighy as Cardinal Lawrence
    • Tawfeek Barhom as Father Gabriel
    • Maria Caballero as Luz Valez
    • Nicole Sorace as Carlita Skianna
    Bill Nighy as Lawrence in 20th Century Studios' 'The First Omen'.
    Bill Nighy as Lawrence in 20th Century Studios’ ‘The First Omen’. Photo courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.

    Other Movies Similar to ‘The First Omen’:

    Buy Tickets: ‘The First Omen’ Movie Showtimes

    Buy Nell Tiger Free Movies On Amazon

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  • Movie Review: ‘Living’

    Bill Nighy stars in director Oliver Hermanus' 'Living.'
    Bill Nighy stars in director Oliver Hermanus’ ‘Living.’

    Arriving in theaters on December 23rd, ‘Living’ sees Bill Nighy as a man choosing to try and live even in the face of death and is one of the most moving and poignant movies of the year.

    Though his movies have been adapted many times––‘Seven Samurai’ alone is the basis for a wealth of other films––it’s still the brave filmmaker who chooses to tackle one of Akira Kurosawa’s classics.

    In this case, the brave souls include writer Kazuo Ishiguro and director Oliver Hermanus, who bring a new version of Kurosawa’s 1952 drama ‘Ikiru’ to screens.

    Instead of switching genres, the two have largely faithfully adapted the story (with some changes that shrink the running time to under two hours), moving the setting from 1950s Tokyo to 1950s London. It’s a smart choice, as the themes and emotions of post-war Britain were similar to those of Japan.

    Bill Nighy stars in director Oliver Hermanus' 'Living.'
    Bill Nighy stars in director Oliver Hermanus’ ‘Living.’

    Bill Nighy––who according to Ishiguro was one of the reasons he thought the new film could work at all––plays Mr. Williams, a staid, buttoned-up civil servant who works in a department of the London City Council.

    He’s so sunken into duty and free from emotion that co-workers joke about him being known as “Mr. Zombie.” It’s an apt description for a man who ostensibly appears to be alive, but only in the most basic fashion. Stiff upper lips have rarely been stiffer.

    At work, he’s distant (though not always completely cold) with his colleagues and underlings and more concerned with shuffling papers than being concerned with anyone’s feelings. But then, he’s part of a generation of men raised to be proper and reserved, who have been through a global conflict forever changed.

    Then, at home, the widower is still diffident when it comes to his son, Michael (Barney Fishwick), who, encouraged by wife Fiona (Patsy Ferran), is aiming to confront his father about selling the family home so they can get money to buy their own.

    Williams’ world is detonated (albeit silently since he decides not to tell anyone at first) by diagnosis of terminal cancer. It does at least prompt him to act, leaving work for days on end and heading to a coastal town in search of something more in life. He meets and hangs out with disheveled, frequently drunken writer Mr. Sutherland (Tom Burke), who introduces him to the salacious delights of burlesque shows and crowded pubs, but despite opening up enough to start singing in one bar, Williams stills feels buttoned up, complaining that while he’s finally seeking out a life, he’s not good at it.

    Aimee Lou Wood stars in director Oliver Hermanus' 'Living.'
    Aimee Lou Wood stars in director Oliver Hermanus’ ‘Living.’

    He does at least find some solace in Miss Harris (Aimee Lou Wood), a young woman who had worked in his office before moving to a tea house in search of a better job. Her positive energy has a real effect on him, their chaste friendship becoming more of a motivator in his life, even if his son and daughter-in-law confront him about the potential scandal of Williams spending time with her––this is still 1950s London, don’t forget, where people of his standing are expected to be proper.

    And at work, he also becomes more inspired, pushing to help a women’s group get a playground built on a patch of waste ground, seeing it as the most important legacy he can leave behind.

    Opening with beautifully restored archive footage of the period before seamlessly segueing into the movie itself, ‘Living’ is a striking, moving achievement.

    A lot of that is a credit to Nighy, who has excelled in light comedies and heavy dramas (and the occasional blockbuster, acting through CG prosthetics in some of the ‘Pirates of the Caribbean’ movies.)

    Bill Nighy stars in director Oliver Hermanus' 'Living.'
    Bill Nighy stars in director Oliver Hermanus’ ‘Living.’

    Here, he’s the perfect stone-faced performer for Williams, able to imbue the man with an aloof sense of authority that melts into human realization as time marches on and the character learns of his fate. Nighy can say more with a twitch of his lip than some actors can with an entire monologue.

    Which is not to say that Ishiguro’s script isn’t wonderful––it is, finding new layers to the story that even Kurosawa and his esteemed colleagues didn’t dig out.

    Director Hermanus, meanwhile, stages it all with style and grace, an evocation of British life at the time that pops off the screen in different ways, whether it’s the forest of suits and bowler hats boarding a train at the start or the tents full of bawdy behavior that Williams experiences on his trip.

    And Nighy is surrounded by some superb supporting cast members. Wood, a veteran of Netflix series ‘Sex Education’ is a real delight here, her sprightly yet demure Miss Harris a tonic for the viewer as much as she is for Williams. The likes of Alex Sharp, Adrian Rawlings and Oliver Chris shade in his co-workers even if they’re not the biggest part of the story.

    Bill Nighy stars in director Oliver Hermanus' 'Living.'
    Bill Nighy stars in director Oliver Hermanus’ ‘Living.’

    And an awkward scene between Williams and his son is a masterpiece of frosty British reserve, emotions that are bubbling under the surface kept firmly in check.

    If there is one downside to the film, it lies in the pacing towards the end (which also affects the original). Once the inevitable befalls Williams, those left behind are a little at sea, and the narrative is similarly impacted. A slightly overlong speech from a policeman reminiscing about having seen Williams sitting in the playground he helped make a reality feels uncomfortable and momentarily breaks the spell that the movie has so effectively cast.

    Yet it’s a blip in an otherwise unimpeachable film that rewards patience and confirms that Nighy is one of the best actors working today. Like Williams himself, it might seem cold and mannered, but there’s a huge heart at work in ‘Living’.

    ‘Living’ receives 4.5 out of 5 stars.

    Bill Nighy stars in director Oliver Hermanus' 'Living.'
    Bill Nighy stars in director Oliver Hermanus’ ‘Living.’
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  • ‘Living’ Interviews: Bill Nighy and Aimee Lou Wood

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    Opening in theaters on December 23rd is the new drama ‘Living,’ which was directed by Oliver Hermanus (‘Beauty’) and is adapted from the 1952 Japanese film ‘Ikiru’ directed by Akira Kurosawa.

    Set in 1950s London, ‘Living’ stars Bill Nighy (‘Love Actually’) as Mr. Williams, an ordinary civil servant who after receiving a grim diagnosis decides to make the most of his final days with the help of a former colleague named Margaret Harris (Aimee Lou Wood).

    Moviefone recently had the pleasure of speaking with Bill Nighy and Aimee Lou Wood about their work on ‘Living,’ their approach to their roles, and the sweet relationship between their characters.

    Bill Nighy stars in director Oliver Hermanus' 'Living.'
    Bill Nighy stars in director Oliver Hermanus’ ‘Living.’

    You can read our full interview below or click on the video player above to watch our interviews with Nighy, Wood, and director Oliver Hermanus.

    Moviefone: To begin with, Bill, can you talk about your approach to playing Mr. Williams, and what were some of the aspects of the character that you were excited to explore with this film?

    Bill Nighy: I was excited to explore that kind of character from my childhood because I was there. I was a small boy during the fifties. The atmosphere of that period and the way that people conducted themselves, I grew up into that. That post-war era and the kind of reticence that was required of people, the reluctance to express anything big and not to trouble one another with your innermost concerns.

    It was a kind of religion, and it’s probably very unhealthy. I understand in terms of repression and suppression, but it’s also kind of heroic in its way. I was drawn to, as an acting thing, it’s fun to try and express quite a lot with not very much. I’m interested in that. It’s usually called Englishness, but I’m sure there’s characters like Mr. Williams in every culture. But we take the blame for it.

    I just think I’m just really fascinated by that formality, even under great stress, and also procrastination because he spent his life working in an institution designed to facilitate procrastination. I personally procrastinate at an Olympic level. There’s nothing I can’t put off, and I can put it off for as long as you want. When I die, there will be a long list of things I never quite got round to. I’m interested how that personal tendency is expressed in a society because we’re all, my hope it’s not just me, I think everyone has struggles with that tendency.

    Aimee Lou Wood stars in director Oliver Hermanus' 'Living.'
    Aimee Lou Wood stars in director Oliver Hermanus’ ‘Living.’

    MF: Finally, Aimee, can you talk about Margaret’s reaction when she sees her former boss outside of the office and in the real world, and the friendship that they form together that really inspires him to live his life to the fullest?

    Aimee Lou Wood: Well, you know when you were younger and you saw your teacher out, and you go, “What?” Because there are certain people that, in your head, they only exist within that specific space. I think Margaret has that with Mr. Williams because he’s quite a closed book at the start of the film. So, they’ve been in each other’s presence for, I think, 16 months, but they have not connected.

    I think when she sees him out, it’s shocking that he even exists beyond those walls. But then the fact that he has this new hat on, there’s something different about him. That’s how I knew who Margaret was. The minute that line that (screenwriter) Kazuo Ishiguro wrote about, “Oh, and your new hat,” I was like, “Oh, okay. I get who she is.” That she notices all these things, and she can see that there’s something different about him, just by the fact that he has this new hat.

    All of a sudden she can see him in this completely new way. That’s also because he’s seeing life in a completely new way. He’s trying to see things and notice things again, after years of being an autopilot. I think she’s quite taken aback by how seen she feels by him when they’ve been sat near each other for 16 months and she’s never felt that until that day. I think it’s just this really surprising, incredible connection that they have.

    It’s almost sad because you think, they could have had that 16 months ago. They could have had it from the moment that they met if they just had a different perspective. It’s Mr. Williams’ newfound desire to live that brings them together.

    Bill Nighy stars in director Oliver Hermanus' 'Living.'
    Bill Nighy stars in director Oliver Hermanus’ ‘Living.’
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  • Watch Anya Taylor-Joy and Bill Nighy in the teaser trailer for ‘Emma’

    Anya Taylor-Joy stars Jane Austen’s eponymous heroine in ‘Emma.’

    Jane Austen’s Emma Woodhouse has made it to the big screen a few times over the years, and maybe most notably as the source material for 1995’s ‘Clueless.’ This latest version stars Anya Taylor-Joy as Emma Woodhouse, a young woman at the top of her social class in a sleepy town in England. Bill Nighy stars as her father, and from the vibe of this first teaser trailer, director Autumn de Wilde has a very funny film in store for audiences.

     

    ‘Emma’ will be in theaters February 20, 2020.