‘Shell’ aims to take some comedically horrific jabs at beauty standards, Hollywood hypocrisy and rich types putting their faith in dodgy technology, yet the stew of different ideas never quite gels.
And in a world in which ‘The Substance’ exists, it looks all the more an example of skin-deep satire.
Writer Jack Stanley’s previous credits include Netflix action thriller ‘Lou’ and 2023’s ‘The Passenger’ and ‘Shell’ follows a familiar pattern for his script work –– a decent idea somewhat undercut by a descent into trope and familiar plot turns.
As director, Max Minghella finds some entertaining moments, but the overall effect is somewhat hindered by a lack of grasp on tone and some very predictable points being made.
Moss’s ‘Handmaid’s Tale’ connection to Minghella might explain her presence in this when she’s otherwise normally known for more complex and intriguing stories. But she’s perfectly fine in the role of an actress suffering the slings and arrows of a near-future Hollywood.
Kate Hudson, meanwhile, has a largely predictable role as a seemingly beneficent owner of the eponymous beauty company who turns out –– to surely no-one’s surprise –– be harboring some dangerous secrets.
Both the leads do solid work, but neither can really prevent it from going off the rails in the final act.
The themes presented in ‘Shell’ are worth repeating; it’s just a shame that the movie has a very basic view on them all. There’s some gloopy body horror to be had, but it’s a minor effort in the genre.
Desperate to reclaim her career, once-beloved actress Samantha Lake (Elisabeth Moss) is drawn into the glamorous world of wellness mogul Zoe Shannon (Kate Hudson)—only to uncover a monstrous truth beneath its flawless surface.
Who is in the cast of ‘Shell’?
Elisabeth Moss as Samantha Lake
Kate Hudson as Zoe Shannon
Arian Moayed as Dr. Hubert
Kaia Gerber as Chloe Benson
Este Haim as Lydia Elizabeth Berkley as Jenna Janero Amy Landecker as Detective Flores Lionel Boyce as Detective Abramson
Moviefone recently had the pleasure of speaking with Elisabeth Moss about her work on ‘Shell’, her first reaction to the screenplay, her character’s arc, the challenges of being an actress in Hollywood, why she thinks this is one of Kate Hudson’s best performances and what it was like being directed by her friend Max Minghella.
Moviefone: To begin with, can you talk about your first reaction to the screenplay and what were some of the aspects of this character that you were excited to explore on screen?
Elisabeth Moss: I thought the script was so fantastic. Max sent it to me after I literally texted him and said, “When are you going to ask me to do a movie with you?” So, I basically shamelessly asked for a job. He sent me the script that he had been thinking about sending to me, but he was worried I wouldn’t like it, and then I’d have to say no, and then it would be awkward on set. But thank God because I loved it. It was just so unusual and interesting and funny. I think for me as Samantha, I think there are a lot of parts that I play that are very dramatic and that’s great and I love that. Obviously, I gravitate towards that. Like, it’s my fault. But I love comedy and I love being able to have a sense of humor and do something a little bit different. She’s probably closer to me in a lot of ways and I’ve also been an actress for 37 years. So, I understand what it’s like to be an actor and I understand what it’s like to be struggling. I understand what it’s like to not get jobs. I’ve not gotten jobs for far longer than I have gotten jobs. So that feeling of being an actor in LA. is something that I’m very familiar with. So, it was fun to kind of be able to tap into that.
MF: Can you talk about the difficulties Samantha is having with her career when she starts her treatment at Shell, and how that changes her life in both good and bad ways?
EM: So, as I’m sure you and your readers are familiar with, there is an idea of how one is supposed to look like as an actress in Hollywood. It’s changing, which is great, and there are so many incredible, talented actors, and actresses of all different shapes and sizes, but there is still, I think, this idea of beauty that exists just in the world. As you age, it gets harder, and the parts get less. Again, that is changing as well, which is awesome, but it is a thing. There’s this like constant search for youth in our society. So, anything that brings us that, whether it’s the latest thing of putting whatever on your face, you should put on your face. It’s so believable that if you found some treatment that made you look whatever your ideal age was, I mean, everybody would sign up for it. It’s very relatable. So, I felt like that was something that even though it’s very tongue-in-cheek and it’s quite broad some of the comedy and some of the horror elements as well, it’s meant to be camp, but at the same time, it’s not that far off from putting snails on your face.
MF: Can you talk about the friendship Samantha begins with Zoe and why she is drawn to her as a person and role model?
EM: I think it’s what we all find incredibly attractive and how we all feel about Kate Hudson. When I came on and then Kate came up as a possibility, I remember it was just the coolest, best idea because she is that person that is so aspirational. She’s obviously stunning. She’s also talented and she’s unique and my being starstruck by her was not that different from Samantha. I remember saying to Max, “I literally have to do no acting here”. I can’t believe I’m about to meet Kate Hudson or I can’t believe I’m talking to Kate Hudson. She’s an icon and just that girl that you want to be, you know, she’s got that thing. She’s got that It-Factor and always has.
MF: What was Kate Hudson like to have as a scene partner?
EM: I think this is honestly one of her best performances. It was remarkable getting to watch her. She’s always been considered incredibly talented from the very beginning. We all know that, but I think she’s pulling out even more complicated and interesting work than we’ve ever seen from her. I mean, I think that’s universally acknowledged. So, it was super fun. She’s very adventurous, fearless, and she works incredibly hard. I think that’s the thing that most actors find is that the best actors work hard. They work on their lines, and they want to do it again or they’re not satisfied with that take, and they want to try something else. They want direction and they want notes. The best actors really work at it. She does not rest on her laurels. She is not somebody who’s like, “I’m a movie star. I’m just going to do what I want to do and you’re just going to enjoy it.” She really tries to push herself.
MF: Finally, you worked with Max Minghella as an actor on ‘The Handmaid’s Tale’ but what was it like being directed by your friend on this film?
EM: It was very seamless, honesty. We’re close friends, Max and I, we talk about movies all the time. We talk about TV shows all the time. We’re kind of very similar to people in a lot of ways. I’ve directed him, obviously, and I’ve worked with him for years before I started directing him. So, he’s been on set with me a lot, you know? So, he knows what works for me and that there’s no ego. There’s pussy footing around. There’s no being careful with each other. It’s very easy to just be like, “Can we just do this?” Or like, “What do you think about this?” And he would also ask me questions and get my help with things or get my opinion on things. It’s very collaborative. It was seamless. We literally could have walked from one set where he was directing to the next room where I was, and it would have been completely seamless.
Desperate to reclaim her career, once-beloved actress Samantha Lake (Elisabeth Moss) is drawn into the glamorous world of wellness mogul Zoe Shannon (Kate Hudson)—only to uncover a monstrous truth beneath its flawless surface.
Opening in theaters on November17th, ‘Next Goal Wins’ is the latest movie from New Zealand filmmaker Taika Waititi and sees him deploying a familiar blend of sweet and silly.
In the past few years, Waititi has spent his time flip-flopping between the giant likes of Marvel movies (he directed 2017’s ‘Thor: Ragnarok’, which was a resounding success and last year’s ‘Thor: Love and Thunder’, generally seen as less of a hit) and the territory at which he has excelled, the low-key comedy.
This new effort, which Waititi actually shot before ‘Love and Thunder’, got caught up in the bizarre Armie Hammer sex text scandal, which resulted in the actor being replaced in the film by Will Arnett, with scenes re-shot to accommodate the change.
Yet with extra time to noodle on the movie, has the usually reliable (and Oscar-winning) filmmaker scored a winner? The answer is yes and no.
‘Next Goal Wins’ was always going to be tricky proposition given its soccer content (a sport that, while it has vastly grown in popularity in the States, in large part to the efforts of its women’s national team is still sometimes niche entertainment.
Yet the focus here is on the personalities and the underdog spirit of the natives of American Samoa, who for years had the reputation of the worst national soccer team in the world (well earned, since they could seemingly not score a goal –– and lost 31-0 to Australia in a world cup qualifier back in 2001.
What could have been seen as mocking of small-town (or island mentality) is instead a warm embrace –– not that anyone would have expected that of the director with some Māori in his family background and who makes strides in representation.
Because the movie is based on the 2014 documentary and references real-life events, there are only so many paths he could have taken with this one, but the road he chooses to travel is genuinely funny and moving places, even if it can feel familiar at times.
Waititi wrote the script with Iain Morris, an English writer who created British sitcom ‘The Inbetweeners’ and collaborated with the director on HBO’s ‘Flight of the Conchords’. The combination works here; it all feels very much in the Waititi style and comedy patter, featuring lots of undercutting of moments and confounding expectations. It chugs along at a fair pace, though at an hour and 45 minutes, there are moments that could still have been trimmed.
Sometimes, though, like Rongen’s habit of cribbing from other speeches to power his own motivational locker room talks, Waititi and Morris do end up borrowing from other, better movies from the genre and the style to find meaning and heart in the movie.
There are some very expected steps here, and not every plotline hits its mark. The interaction between Rongen and transgender player (Kaimana) turns nasty at one point, fueled by Rongen’s frustration with the team’s lack of ability, and he calls her by her old, “registered” name. The incident is soon glossed over and is never really addressed again. Though the two do have a touching/inspirational moment later in the film, it feels like an untied thread.
In terms of the directing style, Waititi largely lets the story lead the flow of the film and has the benefit of some beautiful locations (albeit in Hawaii, not American Samoa).
Michael Fassbender is the driving force of the film, showing off some solid comic chops and making you believe in Rongen’s arc as he evolves from frustrated former pro to happy coach.
But the various players all have a moment or two to shine, with newcomer Kaimana proving more than up to the challenge of the conflicted Jaiyah, who is struggling with her own gender identity and confidence issues. There’s also great work from the likes of Oscar Kightley as the endlessly positive Tavita, president of the local island’s football association (not to mention also restauranter and cameraman for the local TV show that interviews notable people arriving at the airport).
And, of course, Waititi regular Rachel House makes an impact as Tavita’s wife, Ruth, the power behind the throne.
The more famous actors, such as Elisabeth Moss and Will Arnett, largely take a backseat (Moss’s character in particular is mostly thankless), but another Waititi repeat collaborator, Rhys Darby has a fun moment near the start.
There is plenty of gentle joy to be found here. ‘Next Goal Wins’ definitely won’t be accused of being startlingly original or game-changing in any way, but it fits perfectly into the director’s canon of movies such as ‘Hunt for the Wilderpeople’ and ‘What we Do in the Shadows’. It can’t compare to either or those (or his award-winning ‘Jojo Rabbit’), but it’ll certainly be the cause of a few smiles and one or two tears.
If this is the result of Waititi taking more time away from the MCU, then the audience is the real winner.
‘Next Goal Wins’ receives 7 out of 10 stars.
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What’s the story of ‘Next Goal Wins’?
Loosely based on a true story (first chronicled in a 2014 documentary of the same name), ‘Next Goal Wins’ looks to tell a heartwarming underdog tale.
The American Samoa soccer team suffered the worst loss in World Cup history, crashing out to Australia 31-0 in 2001. With the 2014 World Cup approaching, the team recruits down on his luck, maverick coach Thomas Rongen (Michael Fassbender) to help turn their fate around.
Who else is in ‘Next Goal Wins’?
The ‘Next Goal Wins’ ensemble also includes Oscar Kightley, David Fane, Rachel House, Will Arnett, Elisabeth Moss, Chris Alosio, Rhys Darby, Kaitlyn Dever and Waititi (who pops up a couple of times as a local priest).
Kelly Preston, Jenny Seagrove, Sally Phillips, and Elizabeth Dormer-Phillips in ‘Off the Rails’
British filmmaker Jules Williamson began working in film as a runner and cites producer David Puttnam (‘The Duellists’, ‘Chariots of Fire’, ‘Local Hero’) as a major influence on her work in both narrative and documentary. Her first short film, 2002’s ‘Tattoo’ was nominated for Best Shot Film at the BAFTAs, and she has since worked mainly in British television. ‘Off the Rails’ is her feature film directorial debut. Inspired by events in her only life, ‘Off the Rails’ is an ensemble comedy about three friends in their 50s who are reunited by the death of a fourth. As soap star Cassie (Kelly Preston), journalist Kate (Jenny Seagrove), and doctor Liz (Sally Phillips) have gotten older, and their lives have gotten busier, they’ve put their once close friendships on the back burner. After their friend Anna’s funeral, the three are joined by her daughter Maddie (Elizabeth Dormer-Phillips) on a quest to re-create their trip from twenty years earlier. Although things go a bit awry, they begin to patch up old wounds and find strength in each other as they move towards new beginnings. Set to an all-Blondie soundtrack, ‘Off the Rails’ is a perfect blend of comedy, romance, and fabulous European vistas.
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Director Jules Williamson spoke to Moviefone about her feature directorial debut.
Moviefone: How did you first come up with the idea for ‘Off The Rails’?
Jules Williamson: I originated the idea nearly 19 years ago. It’s based on my own life. The reason that I was drawn to the idea was because I thought it would resonate with many women. I had the idea just after I’d made my first short film. It was nominated for a BAFTA, it was in the Palm Springs Film Festival. I had used the Interrail when I was 19 with my three best friends, and we promised each other we would do the trip again. Then, as I was making the short film, I was in my mid 30s and thinking about what I wanted to do as a feature. It struck me that we probably weren’t going to go interrailing when we were 40 because we were all busy doing other things. We wouldn’t be able to take a month off, let alone a week. So I wondered where would those women be in their lives? The characters are not my real friends; they’re made up. But what would happen if four friends didn’t mean up when they meant to, but then they were forced to? And how would they deal with that? Would it be a good thing? Would it be a bad thing? So I like very much the idea of friendship being an empowering force, so I wanted that to be the thing that kind of propelled them into the next stage of their lives. So while revisiting the physical journey, they also revisit their friendship and by the end of it, they would be ready for a new beginning. Now I’m older, I see that women in their 50s have this very interesting period of their lives where there is this new stage, new beginning open to them. Often they don’t quite know where they’re going to go with that, because society is quite hard on that age group. So it was very important to me that there was a sense at the end of a very positive outcome.
MF: Do you think because you waited so much longer to make the film that you were able to sort of tap into things that aren’t necessarily shown in most movies?
Williamson: Definitely. When I was in my mid 30s, I had no idea about menopause. I thought your 40s were when you were middle-aged, but the thing is, society has moved on so fast. Thank God. So now 60s is the new 50s and all that sort of thing. So I think being in your 50s is a really interesting time. Now that I’m in my 50s, I could tap into all of that. I was really keen to talk about menopause in it. ‘Off The Rails’ is a comedy-drama, or in some ways, I would actually say it’s more of a drama-comedy, but I wanted to see women talking about the menopause. I hadn’t seen that. I’ve seen it on TV in a brilliant, brilliant series called ‘Fleabag,’ but I haven’t seen it on film. Sally Phillips and I basically made up that scene. We had discussed it beforehand because Sally hadn’t reached menopause yet, so she hadn’t quite caught on to all the aspects of it. I spent a lot of time telling her about it, which of course she loved. I say very wryly that she loved it because she was a bit horrified. We did have a laugh about it all. I personally feel that age brings all sorts of positive aspects to professions. Certainly with filmmaking. I have enough experience to not be fazed by making a feature film. I did wait a long time, but it was the right time.
MF: Could you talk about the casting process for your lead roles?
Williamson: We obviously always knew we wanted women of around that age, so that was fairly straightforward. There are a lot of actresses of that age group, but there aren’t that many roles. The industry is changing, but the fact that it’s taken so long to make female centered films, and there are still so few films that I’m aware of about women in their 50s. It tends to be the ‘Bridesmaids’ age group, or it tends to be the kind of 70s age group, but that midlife is represented. So casting them wasn’t really that difficult, because the actresses were there. What I love about the casting is that they’re all so different. And in real life, all the women were so different. But they were perfect. They just absolutely fitted the bill for each individual woman. They became very, very close while filming. There was this wonderful connection between them. My style of directing helps everybody connect, and I was very keen to kind of allow them to feel that they were those characters and give them room to play, and to own them and to find those moments where they were just being the characters rather than just saying the lines. We did quite a bit of improvising and I think that really helps. They loved it because we had a lot of fun.
MF: Were the locations you filmed the same places from your actual trip when you were younger?
Williamson: Over the years, I have come up with many different journeys. I did a lot of research into how we could basically make the journey come off the rails, which obviously makes them in the story, the characters come off the rails. So I had all sorts of journeys, and one where they went to Sarajevo. In this instance, we knew that we wanted to cover those countries in particular – Paris and Italy. We weren’t 100% sure what we were going to end up, but I know Mallorca very well, from having spent holidays there as a child, and then I returned to Mallorca as an adult. One of the producers mentioned the Light of God festival. So we thought, why don’t we make that the ending? So that’s how we came to focus on Palma as the final destination point. So we shot that all in Mallorca, but we also went to Barcelona, where we caught the mainline train. We had different trains. We had a little wooden train in Mallorca, which was supposed to be the Italian train. We had the Main Line train in Spain, which we used for the train from Paris. Then we used a station in Barcelona as Paris, and Kings Cross Station in London, as the security in Paris. The Eurostar stood in for itself. So we shot in Mallorca, Spain, London and Paris, and then we had a day in Surrey, where we filmed the opening church scene. We had 38 locations in 26 days across four countries.
MF: How did the music of Blondie become part of the film?
Williamson: The film is very much influenced by ‘The Big Chill’, which is one of my favorite films, which has an iconic soundtrack. I love music. It’s a big part of my sort of creative vision. So when I met Bill Kenwright, the producer – there are two producers Arabella Page Croft, who I originated the story with – and Bill. Bill immediately picked up on ‘The Big Chill’, because he also loves it. I had talked about Blondie in the story because I love Debbie Harry. She’s just, she’s so cool. So when we were talking, just before we started filming, Bill came up with the idea of having a full-blown Blondie soundtrack. He worked tirelessly to get us that music. I think it’s great because the songs really resonate.
MF: How do you hope people will feel when the film is over?
Williamson: It’s a film about grief partly, but it’s also a film about hope. Given the last year and a half coming up to two years that the world has had, I feel that it’s incredibly timely. And so that’s, that’s the first thing. The second thing is the power of friendship. Women have got this extraordinary connection to each other, which enables them to do extraordinary things. And I think the third thing is that as we’ve been talking about women in the 50s, it’s a tricky time, and often they’ve felt like society has forgotten about them. So what I love about the ending, which was always my intention, was that women feel like anything is possible. That new beginnings are possible. They can start again, or they don’t have to start again, whatever they want to do. So, really, my most important message is when I suppose or have hope and empowerment.
MF: Could you recommend another film directed by a woman you think readers should see out?
Williamson: A filmmaker that I absolutely love is Jane Campion. I’m a massive Jane Campion fan. I really love what she does. A lot of films are very serious, but she also is able to bring some kind of humor into those characters as well. I’m thinking specifically about the series she did, ‘Top of the Lake,’ which I absolutely adored. Particularly the second season. Yeah, I just love her filmmaking. I love how absolutely I am engrossed by her work.
‘Top of the Lake’ and ‘Top of the Lake: China Girl’
Thomas M. Wright and Elisabeth Moss in ‘Top of the Lake’
With this year’s ‘The Power of the Dog’ catapulting Jane Campion back into the spotlight with awards season hype, now is a great time to revisit deeper cuts in her triumphant filmography. Reuniting with Gerard Lee, who co-wrote her debut feature film ‘Sweetie’, Campion’s foray into television was as enigmatic as you’d expect. She shared directing credits on the mystery drama with Garth Davis (‘Lion’) and Ariel Kleiman (‘Yellowjackets’). Starring Elisabeth Moss, the first season follows Detective Robin Griffin (Moss) as she investigates the disappearance of a pregnant 12-year-old girl in New Zealand. Holly Hunter also stars as a mysterious spiritual leader. In season two, Detective Griffin returns to Sydney, Australia to investigate the death of an unidentified Asian girl found at the popular suburb Bondi Beach. Like her films, Campion explores themes of physical and emotional abuse, and specifically how toxic masculinity can have deadly effects on women in vulnerable communities.
What you can’t see can, in fact, hurt you. That’s the official premise of the upcoming “Invisible Man” remake from Blumhouse Productions.
Universal and Blumhouse are reimagining the classic tale by H.G. Wells, which has inspired numerous film and television adaptations, including the 1933 black-and-white movie starring Claude Rains.
Now, an official description reveals more details about the plot:
“Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass (Moss) escapes in the dead of night and disappears into hiding, aided by her sister (Dyer), their childhood friend (Hodge) and his teenage daughter (Reid).
But when Cecilia’s abusive ex (Jackson-Cohen) commits suicide and leaves her a generous portion of his vast fortune, Cecilia suspects his death was a hoax. As a series of eerie coincidences turns lethal, threatening the lives of those she loves, Cecilia’s sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see.”
It seems like the movie wants to tap into topics of the current time, like toxic masculinity and the #MeToo movement. Addressing pressing issues of the day, within the horror genre, is something Blumhouse has done well before (see: “Get Out,” “Us”).
“The Invisible Man” opens in theaters February 28, 2020.
Blessed be the fruit — “The Handmaid’s Tale” will be back for a fourth season.
Hulu has renewed the Emmy-winning drama, which will wrap up Season 3 in two weeks.
Season 3 has followed the aftermath of June’s decision not to flee Gilead with her infant baby. She stayed to save her first daughter, Hannah, but encountered setbacks in that quest. She returned to being a Handmaid, attempted to gain the help of Serena (Yvonne Strahovski), and has been marshaling the support of fellow handmaids and the network of Marthas.
“The Handmaid’s Tale” was the first streaming show to win a Primetime Emmy. Star Elisabeth Moss also won the Emmy for Best Actress in a Drama.
The show also earned 11 Emmy nominations this year, though the series as a whole was not eligible. Since three episodes from Season 2 aired within the eligibility window, only individual nominations were permitted.
Netflix has been drawn in by “The Power of the Dog.”
The streamer has nabbed worldwide rights to the upcoming film starring Benedict Cumberbatch and Elisabeth Moss. Netflix made a deal with Cross City Films, the in-house sales division of See-Saw Films, after sales launched at the Cannes Film Festival, per Variety. The plan is to release the film in 2021, both in theaters and on the streaming service.
“The Power of the Dog” is based the Thomas Savage novel that was published in 1976. It tells the story of two brothers — one who is gentle and one who is cruel — that jointly own a ranch in Montana. When the gentle one, Phil (Cumberbatch), marries a local widow (Moss), his brother, George, sets out to destroy her and her son.
Jane Campion is the film’s director and screenwriter, and she is producing with Emile Sherman, Iain Canning, Roger Frappier, and Tanya Seghatchian. The project comes from See-Saw Films and Big Shell Films/Max Films Production in association with Brightstar and BBC Films. Executive producers are Rose Garnett of BBC Films, Simon Gillis of See-Saw, and Brightstar’s John Woodward.
The wait for “The Power of the Dog” is set to be a long one, but in the meantime, there’s more from both Cumberbatch and Moss on the way.
The project reteams Moss with the creator of the crime thriller series “Top of the Lake,” for which the actress won a Golden Globe.
“The Power of the Dog” is an adaptation of the Thomas Savage novel, which tells the story of wealthy Montana brothers Phil (Cumberbatch) and George Burbank. Together, they own the biggest ranch in their Montana valley. When George secretly marries local widow Rose (Moss), an angry Phil wages a relentless war to destroy her and her son.
“‘The Power of the Dog’ is a sublime novel that deserves a life on the big screen. I couldn’t stop thinking about the story, it really haunted me. The themes of masculinity, nostalgia and betrayal are an intoxicating mix,” Campion said in a statement.
“ It will be the first time I’ve worked with a male lead, which is exciting.”
Cumberbatch is just coming off a cameo in “Avengers: Endgame” and HBO’s “Brexit.” Moss recently appeared in the horror hit “Us” and will debut the third season of Hulu’s “The Handmaid’s Tale” in June.
Blessed be the fight — a new trailer for “The Handmaid’s Tale” Season 3 is upon us.
Hulu’s Emmy-winning drama returns in June with June (Elisabeth Moss), aka Offred, ready to ignite a revolution. Season 2 ended with June nearly escaping Gilead with her baby. Instead, she gave the infant girl to Emily (Alexis Bledel) to take with her to Canada, and stayed behind to save her older daughter Hannah — and take down the patriarchy.
It was unclear how June would operate after fleeing the Waterford household, but it seems she ends up back in the red and white uniform of a handmaid. And she’s seeking allies, including Serena Joy (Yvonne Strahovski) and possibly Commander Lawrence (Bradley Whitford), who founded the Colonies but also enabled Emily to escape.
Speaking of the Colonies, showrunner Bruce Miller told Indiewire the third season will return to the desolate landscape.
“We will be revisiting the Colonies. It was really a such a stunning achievement in terms of art direction and cinematography and directing,” he said. “It was so beautiful and I would love to continue to dive deeper into how Gilead uses the discarded women.”
The first three episodes of “The Handmaid’s Tale” Season 3 premiere June 5 on Hulu. The other 10 episodes will debut weekly.
Elisabeth Moss is moving from under his eye to “The Invisible Man.”
The Emmy-winning “Handmaid’s Tale” star is in talks to star in a reboot of the classic monster movie from Blumhouse Productions and “Saw” creator Leigh Whannell.
Johnny Depp, originally tapped to play the title character, is no longer involved in the project.
“The Invisible Man” is the first venture in Universal’s fresh strategy for rebooting its monster classics. The studio had previously planned a shared universe with Dracula, Bride of Frankenstein, and others, but those plans were put on hold after the underwhelming response to Tom Cruise’s “The Mummy” in 2017.
Now, Universal is taking a more individualized approach for each property. “The Invisible Man” will not be part of an interconnected universe.
H.G. Wells’ classic novel has inspired numerous film and television adaptations, including the 1933 black-and-white movie starring Claude Rains.
Moss can next be seen in Jordan Peele’s highly-anticipated horror film “Us” on March 22, and then in Season 3 of “The Handmaid’s Tale” starting June 5.
