‘The Roses’ director Jay Roach. Photo: Dan Steinberg Photography.
‘The Roses‘ tells the story of a couple, Theo (Benedict Cumberbatch) and Ivy (Olivia Colman), and what happens when stress and resentment start to take over their lives.
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Director Jay Roach joined Moviefone for a cooking class at The Gourmandise School in Santa Monica as a celebration of the fact that Searchlight Pictures’ ‘The Roses’ is now available to buy on Digital.
When ‘The Roses’ came to Jay Roach, Olivia Colman and Benedict Cumberbatch were already attached to the project. He explains why they were the perfect choice to play this couple.
Jay Roach: I could just imagine them as a couple and they each have such specific personal mythologies and coping strategies and somehow Benedict’s enjoyable confidence and his comfort in his own skin, seeing that undermined by the story early and then seeing Olivia who’s so easygoing but then gets a little taste of success. I just somehow, with this great screenplay I got, and at the same time that they had developed and they had never worked together, I had a sense that they might get on and they might also have really excellent battles and conflict and the stuff that keeps you suspenseful like, oh how’s that gonna work out? So that’s how I felt about it. I’m such huge fans of both of them so it was a pretty easy equation to solve.
Jay Roach Explains What The Biggest Challenge Of Filming ‘The Roses’ Was
Jay Roach attends ‘The Roses’ home release event. Photo: Searchlight Pictures
With a movie like ‘The Roses’, there are a lot of aspects that go into it – including big fights that cause the couple to destroy things. When asked what the most important thing to get right was, director Jay Roach reveals it was the food.
Jay Roach: The most important thing for us was to get the food right. I wasn’t that much of a foodie but everybody around me were all foodies like, you can’t mess this up, make sure you get this food right. And so we just wanted to make it seem authentic that she really cared about the food as a whole, her restaurant’s growth and expansion is a big part of the story and so you had to believe that people would want to eat that great food. We had to shoot it in a way that made it seem delicious and we had a great food consultant, Ali Dhabu is an amazing chef in London and we shot in his restaurant. So we always had the comfort that we could pull it off. But I also found it interesting to then turn the food into a weapon sometimes. She throws cake, we have one crazy point, they end up spiking each other’s food, it’s an interesting primal thing. We all love food and we all love the sensation of great smells and great tastes but what happens when that turns into part of the battle, you know? And so that was the challenge.
‘The Roses’ digital release event. Photo: Dan Steinberg Photography.
What’s the story of ‘The Roses’?
Life seems easy for picture-perfect couple Ivy (Olivia Colman) and Theo (Benedict Cumberbatch): successful careers, a loving marriage, great kids.
But beneath the façade of their supposed ideal life, a storm is brewing –– as Theo’s career nosedives while Ivy’s own ambitions take off, a tinderbox of fierce competition and hidden resentment ignites.
Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
Preview:
Disney brought several movies to its CinemaCon 2025 presentation.
The likes of ‘Tron: Ares,’ ‘The Fantastic Four: First Steps’ and more were showcased.
‘Avatar: Fire and Ash’ also showed footage, alongside Pixar’s Elio, Freakier Friday and the new, live-action/CG ‘Lilo & Stitch
While it is still looking to rebuild its fortunes, Disney can at least look back on 2024 as one with several big hits, especially ‘Inside Out 2’ and ‘Deadpool & Wolverine.’
But it will have to prove that this year’s slate can match past successes. Luckily, the Mouse House has more strings to its bow than even the likes of Universal or Warner Bros., and heavy hitters including Pixar, Marvel and James Cameron’s ‘Avatar’ series primed and ready with new entries, plus the return of ‘Tron’ to the grid… er, cinemas.
Following the usual stuff about sponsors and theater owners (got to play to the crowd!), the Disney presentation signaled the end of CinemaCon’s studio events and began with the traditional sizzle reel of upcoming movies, framed in amusing fashion by having ‘Lilo & Stitch’s titular blue troublemaker wander through the rest of the slate.
Getting the presentation off to its formal stage start was Alan Bergman, co-chairman of Disney Entertainment.
He was joined by Andrew Cripps, head of theatrical distribution at the studio to unveil the typically packed schedule of movies the studio will have across the rest of the year, and to extol the fact that Disney movies are Disney movies are typically in theaters an average of three weeks longer than any other studio.
2025’s live-action ‘Lilo & Stitch’. Photo: Walt Disney Pictures.
The latest animated-to-live-action conversion project faces additional pressure following ‘Snow White’s poor showing at the box office this past month. With Disney bosses pushing pause on a planned ‘Tangled’ live-action movie, ‘Lilo’ will need to perform in order to keep that particular strand of the company’s strategy alive beyond ‘Moana,’ due next year.
Some fresh, sneak peek footage from the new movie was screened for the crowd, featuring Stitch on a trip with Lilo and family; they go to a restaurant where the little blue alien causes the requisite chaos even as Lilo tries to teach him to behave. Some of what was shown has already popped up in the trailer, including Stitch squirting her with a soda gun.
(L to R) Lindsay Lohan and Jamie Lee Curtis at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
Jamie Lee Curtis and Lindsay Lohan were ushered on stage to promote this sequel to the 2003 original, which moves the story forward and features even more body-switching chaos than last time as Curtis’ Tess and Lindsay’s Anna Coleman switch places with their teenage daughter/granddaughter.
Curtis and Lohan cued up a look at some brand new footage from the movie, which according to the duo has been playing well with test audiences.
Curtis says that the film was…
“Made to be seen on a big screen.”
The scene played showed Tess and Anna trying to win back Anna’s boyfriend –– but in different bodies.
‘Freakier Friday’ brings body swap chaos to theaters on August 8th.
(L to R) Jared Leto and Jeff Bridges at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
The studio went all out with a light show to promote the third ‘Tron’ movie, and also brought Jeff Bridges and new franchise face Jared Leto to the stage.
Bridges said,
“To be back on the grid was incredible, and working with Jared… It was a great time.”
For his part, Leto said he was obsessed and this was everything he wanted from a movie. It took him to a world he had never seen before.
Leto described his character, Ares:
“An advanced program that crosses over to real world to fulfill his directive.”
After confirmation of Nine Inch Nails doing the music for the new movie, we got a look at some new footage.
What was screened was a look at Ares riding his bike in the real world, with Bridges’ Kevin Flynn narrating. We also see him ask Ares, “Are you ready? Because there is no coming back…”
‘Tron: Ares’ departs the grid for our world on October 10th.
With ‘The Amateur’ due on screens next week, its chunk of the presentation was minimal, limited to a full version of the scene in the pool we glimpse in the trailer, but show full-length here. It was followed by the trailer.
‘The Amateur,’ as mentioned, will find a way into theaters on April 11th.
Elle Fanning at the Disney presentation at CinemaCon 2025 in Las Vegas.Photo: Disney.
The new ‘Predator’ movie from ‘Prey’s Dan Trachtenberg immediately looked interesting, since the Predator creature is more of a protagonist in this one, and it takes place on a new planet where he’s been exiled and must fight his way back.
Star (no, not as the Predator!) Elle Fanning arrived on stage to confirm that this movie breaks new ground in the ‘Predator’ universe. She also said something unprecedented happens. Her character is not being chased, she teams up with Predator and you see him in new light.
She cued up the first trailer for the new movie, which sees the Predator battling a giant, nearly invincible beast with Fanning’s help.
‘Predator: Badlands’ stalks into cinemas on November 7th.
Strong, for the record, plays Jon Landau, Springsteen’s manager and producer. He said he sees the role as Lewis to Springsteen’s Clark.
White, meanwhile, explains that the movie charts Springsteen’s teenage years to around 1982.
Jeremy Allen White as Bruce Springsteen in ‘Deliver Me From Nowhere.’ Photo: 20th Century Studios.
We got a first look at the trailer for the new movie, which is directed by Scott Cooper. The footage wraps up showing Springsteen in concert performing ‘Born to Run.’
‘Deliver Me from Nowhere’ has yet to announce when it’ll be delivered to theaters.
(L to R) Emma Mackey and Jamie Lee Curtis at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
James L. Brooks’ new comedy drama stars Emma Mackey as an idealistic young politician who juggles familial issues and a challenging work life while preparing to take over the job of her mentor, the state’s longtime incumbent governor (Albert Brooks).
She co-stars with Jamie Lee Curtis, and the latter returned to the stage alongside Mackey for the presentation.
Brooks, meanwhile, received the Cinema Vérité Award on stage and called for more movies to have a 35-day window in theaters.
Director James L. Brooks receives the Cinema Vérité Award at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
He also had a great quote about previewing movies with audiences:
“A woman came up to me and said the loveliest words: ‘they’re crying in the ladies toilet.’ Compare that to data.”
After Brooks’ emotional speech, we got a first look at the movie itself. The scene that played took place in a bar, where Curtis’ character takes Ella to meet her father, Woody Harrelson. They haven’t spoken in years after he dated her friend.
That was followed the trailer.
‘Ella McCay’ will be in cinemas on September 19th.
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From there, it was time to look at team Searchlight’s output, following a victory lap for the awards success of ‘A Real Pain’ and ‘A Complete Unknown.’ The studio arm’s new offering is…
Unlike the 1989 version, this Jay Roach-directed sees Cumberbatch and Colman as a successful chef and her businessman husband whose lives start to fall apart when he’s fired.
Things go from bad to worse, and as we saw in the trailer that played, it gets to the point where she has him at gunpoint.
‘The Roses’ fights for its place in theaters on August 29th.
Talking of guns, we moved on to one of the studio’s biggest… Marvel!
First up was the next movie from the prolific superhero franchise.
(L To R) David Harbour, Hannah John-Kamen, Wyatt Russell, Florence Pugh, David Harbour, and Julia Louis-Dreyfus at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
The ‘Thunderbolts*’ portion of the show kicked off with a funny bit about the cast being MIA –– Wyatt Russell appeared to have lost a lot of cash in the casino with co-star Julia Louis-Dreyfus hoping the movie makes money so they can pay his debts!
The scene featured the Thunderbolts driving through New York as Harbour’s Red Guardian tries to bond with Bucky Barnes (Sebastian Stan). The team has to fight their way through bad guys to Avengers tower.
(L To R) Hannah John-Kamen, Sebastian Stan, Florence Pugh, David Harbour, and Wyatt Russell in ‘Thunderbolts*’. Photo: Marvel Studios.
We got an extended look at the Avengers Tower scene where Louis-Dreyfus gathers the gang –– after having sent them to kill each other and being frustrated that they teamed up.
There was also a very brief look at the introduction of Sentry (Lewis Pullman). And following that? A sizzle reel of scenes from the movie, which appears to be full of chaotic fun.
‘Thunderbolts*’ heads to cinemas on May 2nd. Less than a month for this one, folks!
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That was followed by Marvel boss Kevin Feige, currently in the UK on the set of ‘Avengers: Doomsday,’ (which is “days away from the start of production”) confirming the appearance of the original X-Men team in the new movie.
We also got our first look at Julia Garner as the Silver Surfer, who cautions that planet Earth is “marked for death.” Kirby’s Sue Storm says they’ll “fight the threat as a family”.
‘The Fantastic Four: First Steps’ flies into theaters on July 25th.
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To switch tracks (but still be galactic rather than Galactus), it was the turn of the animation arm(s).
Zoe Saldaña at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
Pixar’s latest finds a young lad dreaming of being abducted by aliens.
Zoe Saldaña, who plays the title character’s Aunt Olga, arrived on stage to talk about the new ‘toon.
A scene from the movie was shown in 3D, showing Elio brought on board an alien spaceship that is more like a living planet via a tractor beam, where he meets the vessel’s AI. He’s been recruited to join the universe’s smartest creatures to work together as a collective… But have they made a mistake? Elio meets and bonds with a young alien creature.
‘Elio’ heads into space (and theaters) on June 20th.
Ke Huy Quan introduces ‘Zootopia 2’ at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
Thanksgiving sees the return of Judy Hopps (Ginnifer Goodwin) and Nick Wilde (Jason Bateman), the mismatched buddy duo of rabbit police officer and crafty fox. This time around, they’re on an undercover mission to stop a murderous reptile (Ke Huy Quan’s Gary).
In a video introduction, we got Bateman changing the show’s title to “ZinemaCon” and there are animal jokes about theaters –– AMZ, Pandango, Fur D X, followed by giving other Disney movies critter-like makeovers (‘Thundercolts,’ ‘Sealio,’ ‘The Fantastic Fur.’)
‘Zootopia 2’. Photo: Disney.
Quan arrived on stage to discuss the sequel and his role as Gary the snake. And that Judy and Nick go to a therapy animal (played by ‘Abbot Elementary’s Quinta Brunson) to sort their strained friendship –– which we saw in a scene from the movie. That was followed by a scene of Nick and Judy at Marsh resort trying to track down Gary.
‘Zootopia 2’ goes wild in theaters on November 26th.
Zoe Saldaña at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
James Cameron appeared via video from New Zealand, where he’s still at work on the latest ‘Avatar’ outing. He was sorry he isn’t there in person, but he did tell the crowd he’d sent some footage.
He promised “increased emotional heart and soul,” and that the Sully family will be put through the wringer (again) as they face the Ash People. We’ll also meet the Wind Traders.
Saldaña (who has been part of the franchise since the 2009 original) returned to the stage to introduce the footage.
Zoe Saldaña at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
We saw Jake and wife Neytiri (Saldaña) flying a dragon creature to Wind Traders’ ship where Miles “Spider” Socorro (Jack Champion), the son of Miles Quaritch, lives now.
That preceded a reel of other scenes, including Jake telling Neytiri they can’t live in hate, humans attacked the Na’vi, a shot of the whale-like creatures we met in ‘The Way of Water,’ the return of Stephen Lang’s Quaritch and Varang, the Na’vi leader of the volcano-dwelling Ash People threatening Kiri (Sigourney Weaver), the daughter of Dr. Grace Augustine’s Na’vi avatar who was adopted by the Sully family.
‘Avatar: Fire and Ash’ welcomes us back to Pandora on December 19th.
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And that’s all, folks!
(L To R) Julia Louis-Dreyfus, Wyatt Russell, and Hannah John-Kamen at the Disney presentation at CinemaCon 2025 in Las Vegas. Photo: Disney.
(L to R) Edward Norton and Monica Barbaro star in ‘A Complete Unknown’.
Moviefone recently had the pleasure of sitting down in-person with Edward Norton and Monica Barbaro to talk about their work on ‘A Complete Unknown’, playing Pete Seeger and Joan Baez respectively, learning to sing and play instruments like their characters, Seeger and Baez’s relationships with Dylan, working with Timothée Chalamet, and what audiences will learn about Dylan’s legacy.
You can read the full interviews below or click on the video player above to watch our interviews.
Moviefone: To begin with, Edward, can you talk about your approach to playing Pete Seeger and how challenging was it to learn how to play his instruments the same way he played them?
Edward Norton: The music, and fortunately this enormous body of recorded music and a lot of what Pete Seeger did, he did live, and so you get to hear his music, but you also get to hear, he talked to the crowd a lot and his vocal demeanor, his kind of odd formalism, and it was a great access point and there is an amazing amount of footage of him. That was a good place to start, there’s an abundant, recorded visual and auditory library of Pete. I think until you start trying to unpack what he’s doing musically; you don’t realize how much virtuosity he had as a banjo and a guitar player. He’s a monster of a musician, and I’ve played guitar a long time, but I realized in many ways that it was going to be very difficult on the banjo because there’s a lot of modern professional banjo players who don’t even play in the style that Pete Seeger played in. He had this special long-necked, you wouldn’t call it a baritone banjo, but it was a long neck banjo, and he played a picking style that’s very old-fashioned and not a lot of people do anymore. It was an interesting process to navigate the music with our great music supervisor, and James (Mangold) and teachers that I had. It was a challenge is the short answer. That was probably the thing I felt the most. Not anxious, but you really want to get that right. You don’t want to not do justice to what amazing musicians these people were.
Monica Barbaro attends Searchlight Pictures’ ‘A Complete Unknown’ World Premiere on Dec 10, 2024 in Los Angeles.
MF: Monica, I understand you had an opportunity to talk to Joan Baez before you began shooting. How did that help inform your performance and did it put you at ease about portraying her on screen?
Monica Barbaro: Well, I was at a place, we had already started filming, and I just kept having dreams about her. It’d be specifically dreams where we were hanging out, and we kept having a great time. I’d wake up in a good mood, and so I was like, “I think subconsciously something’s telling me that it’s going to be okay, and you should reach out.” I knew at that point that Ed had spoken to her, he knows her, and all I’ve heard is that she’s a very creatively generous person, and so I felt emboldened to reach out. I felt like, if it were Joan, she would reach out. So, I was like, “Okay, this is an exercise also in preparing for the bit of confidence that I think she has.” We just had a beautiful conversation, and she was very generous with her time, and she answered my questions, and I can safely say her memoirs and her documentaries are all very honest. There was nothing that I felt like she was withholding. So that was just wonderful to confirm that the research I had been doing was on the right path, and what she had offered up was true to her experience.
MF: Monica, can you talk about the challenges of learning and preparing for all the musical sequences and really matching the sound of your voice to hers?
MB: I think I’ve studied her so intensely that all I hear are the differences. I got to work with a lovely vocal coach and what we talked about was really trying to capture some of the more iconic qualities of her voice, the things that everyone says when they describe her voice, like she has this beautiful, tight vibrato, this sort of angelic sound, which I think comes also from singing in high keys, that I at the time couldn’t sing in. So just getting to the point of having comfortability with those qualities was the thing that I felt like would at least sell that believability early on. I didn’t play guitar either, so I had a great guitar teacher who just doubled down on teaching me her finger picking style. We just tried to formulate some version of Joan with tons of hours of training.
MF: Monica, can you talk about how Baez and Dylan’s relationship is depicted in the film and what it was like working on that with Timothée Chalamet?
MB: I mean, I’m such a fan of his work. I am an even bigger fan now. He’s an incredible actor, and knowing he was a part of this project was a part of what made me want to do it. Also, James Mangold, of course, and the subject matter. But I had complete trust in him. I mean, I had heard some of his recordings as we were preparing, and so I had even duetted with his voice as Bob. But when we met up and had a music rehearsal, I just was completely blown away. He’s an incredible actor, he worked so hard, and to me, he really got a lot of that Bob Dylan essence, and we could just, I think, kind of trust each other’s work, and we could show up as our characters and sort of let the scene unfold. We didn’t spend a lot of time sitting down and figuring out who we thought they were or what we thought this meant. We took our sort of siloed processes and bridged them in the moment in the scenes that you see. James was an incredible advocate for us and leader in that process, and it was just a beautiful, very present experience.
MF: Finally, Edward, can you talk about how Pete Seeger and Bob Dylan’s friendship is depicted in the film and what you hope audiences learn about both of their legacies?
EN: I think in a funny way, I never want to impose an idea. I think an audience should get to have their own relationship with it. Here’s my point. A great filmmaker will leave people with a lot to resolve for themselves and not instruct emotionally, morally or anything. I think James’ done something quite beautiful in this, in that he lets Dylan be Dylan and Pete be Pete, and they have different kinds of integrity. Joan Baez has her own. I think he gives you this portrait of the different types of integrity that a person can have, and he lets them collide with each other. Different people are going to feel very different ways about it all and then go through the prism of their own experiences and their own mentors and their own people they think they did something for. If you get that right, it transcends the fact that these people were musicians. It can be about teachers or anyone who had a mentor or anyone who had an ally who they went sideways with. I think it’s the paradox of people being able to love each other and admire each other and get into cross-purposes with each other that makes it kind of interesting. I think that there was a moment that the film depicts that a lot of people who have great talent and great passion kind of collided with each other. This thing came up and out in the Zeitgeist through Dylan, and then it changed. You know what I mean? I love the way the film sort of almost, it’s like the Beatles breaking up. Everything can’t last. Maybe if anything, it’s like, it’s just the observation of that fact that is poignant.
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What is the plot of ‘A Complete Unknown’?
Set in the influential New York music scene of the early 60s, ‘A Complete Unknown follows 19-year-old Minnesota musician Bob Dylan’s (Timothée Chalamet) meteoric rise as a folk singer to concert halls and the top of the charts – his songs and mystique becoming a worldwide sensation – culminating in his groundbreaking electric rock and roll performance at the Newport Folk Festival in 1965.
(L to R) Boyd Holbrook, Ed Norton, Timothée Chalamet, Monica Barbaro, and Elle Fanning attend Searchlight Pictures’ ‘A Complete Unknown’ World Premiere on Dec 10, 2024 in Los Angeles.
‘A Complete Unknown,’ which stars Timothée Chalamet as Bob Dylan, chronicles the music icons early days, from his initial arrival in New York to his taking the folk scene by storm with his powerful lyrics and catchy tunes.
Directed by James Mangold, who previously brought the world the likes of ‘Walk the Line’ (about fellow music sensation Johnny Cash) and ‘Ford Vs. Ferrari’ (the true life tale of the clash between the car companies around the famed Le Mans race), the new movie sees Dylan shaking up his act by going electric and siring rock as the voice of a generation –– defining one of the most transformative moments in 20th century music.
The movie has already made a strong entry into the awards race, and Searchlight Pictures held a virtual press conference with Mangold, Chalamet, Fanning, Barbaro, Holbrook and Norton.
Here are 10 things we learned at that press conference, edited for clarity and length. ‘A Complete Unknown’ will be in theaters on December 25th.
1. Mangold was Transfixed by the Real Story the Film is Based On
Director James Mangold attends Searchlight Pictures’ ‘A Complete Unknown’ World Premiere on Dec 10, 2024 in Los Angeles.
Mangold and Jay Cocks adapted the script from Elijah Wald’s book ‘Dylan Goes Electric! Newport, Seeger, Dylan and the Night that Split the Sixties.’
James Mangold: It came about because there was a wonderful book by Elijah Wald that covered this period and did a really beautiful job of bracketing this moment, this convulsion that happened in Newport 65 and what led up to it. Then as Jay Cocks and I were developing the script, it occurred to me that this fable really should begin with Bob’s arrival in New York. I found it almost like a fairy tale. This idea of a young man, almost a man with no name or changing his name upon arrival with a few bucks in his pocket, carrying a guitar case and a Moleskine notebook with some scrawling in it, landing at the bedside of his hero in a VA hospital in New Jersey to sing him his song. He’s traveled all this way to sing. I mean, that this is a true story blows my mind.
With a few years between landing the role and starting work on the film, the actor had time to prepare to play Dylan.
Timothée Chalamet: It was daunting because it is Bob Dylan. At the beginning of the process, I wasn’t in the Church of Bob the way I am now, the way I’m a humble disciple now. The years I got to prepare for this role is unlike the time I’ve had for any other role. So at some point it stopped becoming work and it just became a process of osmosis and just living in the material, living in the world of the sixties. When it came time to shoot with Edward and Monica and Elle and Boyd, we were constantly throwing around little facts or tidbits or video clips or letters we were finding about these characters from the period.
3. Monica Barbaro Also Threw Herself into Preparing to Play Joan Baez
As with Chalamet, the ‘Top Gun: Maverick’ actor had a lot of work to get ready to be Baez.
Monica Barbaro: When Jim cast me in the film, I had five months to learn to sing and play guitar, and that did not feel like a long time. So, I was very anxious. Yet during the strike, we weren’t allowed to work with our coaches necessarily, but it was this cool time to take the training and process the work and be a little bit more solo with it, stretch and try things on my own. I think that was around the time when I started working on singing and playing at the same time, which was just a whole other level of musical proficiency that I just did not have and did not understand. Sometimes it’s like patting your head and rubbing your stomach.
4. Edward Norton Was a Big Fan of Dylan, Seeger and co. Before Taking on the Film
Norton’s familiarity with the main players was a big plus in his own preparation.
Edward Norton: I’ve marinated in the Church of Bob for my whole adult life. If you’re someone who came up in New York City in the theatre with even a passing interest in human affairs, Pete Seeger was a paragon. He was a folk singer who cleaned up the Hudson River. You knew about Pete Seeger. My first job as a waiter was right next to a restaurant that was in Pete Seeger’s house, and I used to go there all the time. I’ve played guitar for many years, and I know this music. So there’s the preparation that wasn’t… I didn’t walk into it happily naive to the ethos of it or the essence of it. Banjo was a new animal for me. They say dying is easy, comedy is hard. Well, I think guitar is easy and banjo is hard. So that was fun. That was a lot of fun.
5. Elle Fanning Had to Get Creative Given Her More Fictionalized Role
Elle Fanning attends Searchlight Pictures’ ‘A Complete Unknown’ World Premiere on Dec 10, 2024 in Los Angeles.
With Sylvie based on a real-life figure, but with more flexibility, Fanning had different challenges.
Elle Fanning: You can do the facts and the searching, but really your bible is the script, and working with your actors and talking to Jim and carving out a story and a cinematic experience that people are going to care about. I felt like I cared so much for her on the page, and her emotion just jumped out at me. So I wanted to do justice of honoring know Suze and Bob’s relationship, but also making sure that that emotional weight was there in the part that I had.
6. Boyd Holbrook Was Intimidated Playing Johnny Cash For a Big Reason
Boyd Holbrook attends Searchlight Pictures’ ‘A Complete Unknown’ World Premiere on Dec 10, 2024 in Los Angeles.
Holdbrook had good reason to be nervous, since Mangold had already shepherded Joaquin Phoenix to an Oscar nomination playing Cash in ‘Walk the Line.’
Boyd Holbrook: Yeah, it was kind of daunting in the beginning when Jim asked me to do it. But following Joaquin’s great performance, it was daunting in a way, but then as I understood what the part was about and its functionality in Bob’s life, it was a really exciting challenge. I didn’t play and sing at the same time. I think I lied to you, Jim. I think I told you I did! But there’s this extraordinary pressure that bottlenecks you down into the day of shooting where you have to figure this out. So for me it was really exciting to do it in a fresh way, and to see what this other version of Johnny Cash was, and a mentor to Bob. Maybe not a mentor, but a comrade.
7. Mangold Hopes Audiences Seek Out Big Screens to See the Movie
Though so many movies go to streaming these days and something such as ‘A Complete Unknown’ might not be on the scale, of, say ‘Gladiator II,’ the director feels it deserves to be seen on a big screen.
Mangold: I want all our movies to be seen on the big screen. That’s why we make them. I’ve been very lucky so far, particularly movies like this where it’s getting harder and harder to get them made and going out theatrically. But it is a singular experience, and I think that this movie has a kind of scale to it that really asks for that kind of experience. The enveloping sound of these concerts, whether intimate or gigantic, is just our sound team did awesome work on this movie, and it’s an anamorphic film, so it’s wide screen and just looks amazing on the big screen.
8. Part of Chalamet’s Road to Dylan Included Visiting the Musician’s Old Haunts
The actor didn’t just dig into Dylan’s musical side –– he also made pilgrimages to where he was born in Minnesota.
Chalamet: They were hugely informative. I don’t think they were informative in an academic sense. I wasn’t trying to excavate the exact places he walked or understand what homework was assigned on a specific day. I really just wanted to put myself in the environment, the weather, the roads, the iron ore of it all that gives him that grit in his voice, that to this day makes it so surprising and impressive that he wrote songs like “North Country Blues,” or “Rocks and Gravel” and stuff that was beyond a 19– or 20–year–old at the time. Again, it was a process of osmosis. It wasn’t anything prescriptive.
9. Chalamet Sung Most of the Songs Live in the Film
Though Mangold and his team had crafted the usual pre-recorded soundtrack for Dylan and co., Chalamet had his director’s confidence to perform on set.
Mangold: We laid down what’ll be a soundtrack album full of music in the studio. But then we started shooting and the first scene we did, you guys have seen the movie, the first scene with singing in it that we did was the one in which he sings a song for to Woody Guthrie in the hospital. Timmy came to me and said, “I just want to do it.” There was this whole moment on set where people behind the scenes are, “Well, the shots will never cut. He’ll be singing a different tempo from one shot to the next and we can’t get a good recording here.” I have my hats off to Timmy because he was the one who was like, “I just want to do it.” And he did. All I did was run interference for him in the sense of going, “Whatever happens, we can fix it later.” We didn’t have to fix a thing.
10. Fanning was Blown Away Hearing Chalamet Play for the First Time
Elle Fanning wasn’t sure what to expect when it came to Chalamet playing Dylan, but he really nailed the role.
Fanning: The first day on set for me was when he’s singing, “A Hard Rain’s Going to Fall.” I am an audience member in that scene. I don’t have any lines or anything, but I remember I had such an anticipation, like butterflies. You could feel like this bubbling anticipation. The audience knew what they were about to see, but I didn’t know what to expect. Obviously I know he’s a brilliant actor, and I was, ‘Of course he’s going to knock it out of the park.’ He gave us a full concert.
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What is the plot of ‘A Complete Unknown’?
Set in the influential New York music scene of the early 60s, ‘A Complete Unknown follows 19-year-old Minnesota musician Bob Dylan’s (Timothée Chalamet) meteoric rise as a folk singer to concert halls and the top of the charts – his songs and mystique becoming a worldwide sensation – culminating in his groundbreaking electric rock and roll performance at the Newport Folk Festival in 1965.
Opening in theaters on December 25th is the new biopic ‘A Complete Unknown’, which chronicles the early life and career of legendary musician Bob Dylan.
Director James Mangold delivers a brilliant and vibrant biopic about legendary musician Bob Dylan that completely captures his complex mystic and iconic music. Mangold wisely focuses on the early part of Dylan’s career, beginning with his arrival in New York, his rise in the folk music scene, and culminating with his controversial choice to “go electric” at the 1965 Newport Folk Festival.
Timothée Chalamet gives a career-defining performance as Dylan and is completely hypnotic in the role. The actor completely embodies the character with the awkward cool and determination of Dylan and is remarkable in the musical sequences, so much so that at times you forget you are not actually watching Dylan. Chalamet’s performance is supported by excellent turns from both Monica Barbaro as Joan Baez, and Ed Norton as folk musician Pete Seeger.
The movie begins in 1963 by introducing us to an awkward young song writer, who has just arrived in New York City and has already adopted the persona of Bob Dylan (Timothée Chalamet). Dylan’s first move is to visit his hero, Woody Guthrie (Scoot McNairy), who is dying in a local hospital. Dylan performs a song he has written for Woody and impresses folk legend Pete Seeger (Ed Norton).
Seeger soon introduces Dylan on the popular New York folk music scene, and while trying to get his first album produced, meets artist Sylvie Russo (Susan Rotolo in real life) played by Elle Fanning, and young musician Joan Baez (Monica Barbaro). Dylan soon begins having relationships with both women, while his musical career takes off.
Confused by his new success and being labeled “the voice of his generation” by the media, Dylan seeks support from fellow musician Johnny Cash (Boyd Holbrook). Dylan continues to struggle with his success and pushes to create new music that doesn’t fit into the mold of what Seeger and others want for him. It all culminates with the 1965 Newport Folk Festival, where Dylan is the headliner and famously causes a riot by using an electric guitar.
Based on author Elijah Wald’s ‘Dylan Goes Electric’, the script by Mangold and Jay Cocks is excellent and the choice to focus on the first three years of Dylan’s career rather than a life-spanning biopic was a smart one. Mangold, of course, is no stranger to rock n’ roll biopics having made the Johnny Cash film ‘Walk the Line,’ but in my opinion this is a far superior movie and putting ‘Logan’ aside, may be the best work of Mangold’s impressive career.
Focusing on this specific period allows the director to really examine how Robert Zimmerman became Bob Dylan, and his impact on music and society. 1960s New York comes alive in a vibrant way, and the images shown reflect what we’ve seen of Dylan in that time. Mangold is also able to spotlight the folk music movement of the early 60s, Dylan’s role in that, and how controversial it was in that community when Dylan “betrayed” them and went electric.
Obviously, if you are Dylan fan you will love the music as it is mostly his, with a few traditional songs and music from Pete Seeger and Johnny Cash thrown in. All the big Dylan hits of that time are included such as ‘Masters of War’, ‘Blowing in the Wind’, ‘Maggie’s Farm’, and of course, ‘Like a Rolling Stone’. The musical performances are fantastic, and the actors, who sang themselves, remarkably sound like the people they are portraying, especially Chalamet and Barbaro.
Full disclosure: I’m a self-proclaimed Bob Dylan expert. I’ve personally been studying his music as a fan for the last 30 years and have seen him live in concert easily over 20 times. So, I was ready to be quite critical of the movie, but to be honest, I fell so in love with the characters, the performances, the music and Mangold’s direction, that I really left the theater with very little to complain about.
However, if I had to be critical, at 2 hours and 21 minutes, the movie is a little long. It didn’t bother me much, but I think you could have a much tighter film if you cut 10 minutes or so from the run time. The easiest way to do this would be to cut one or two of the musical numbers. Look, I love ‘Masters of War’, but do we need to see Dylan perform it twice in the same movie?
Also, I understand having Norton perform one of Pete Seeger’s songs at the beginning of the movie to establish who that character is, but also watching him perform at the Newport Festival towards the finale seemed unnecessary. My guess would be that Mangold got a little too precious with the musical performances and didn’t want to “cut any of his babies”, and I totally get that, and in the long run doesn’t really hurt the movie much.
My other small critique would be that the film completely skips Dylan’s seminal 1965 tour of England, which is where he was first introduced to electric guitars. The movie makes mention of the trip before and after it happens, but never took the time to explore it and I have a theory as to why Mangold made that choice.
D.A. Pennebaker’s groundbreaking 1967 documentary ‘Don’t Look Back’ chronicles in real time Dylan’s tour of England, and my guess would be that Mangold did not want to retread that territory. If that is the case, then that was a smart choice, as one of my issues with director Michael Mann’s boxing biopic ‘Ali’ was that the third act was a shot for shot remake of the Oscar-winning documentary ‘When We Were Kings’.
Mangold has really assembled a wonderful ensemble cast but obviously the movie hinges on Timothée Chalamet’s performance. The young actor who has been excellent in films like ‘Call Me by Your Name’, ‘Wonka’ and the ‘Dune’ series gives his best work to date as Dylan. I would imagine this was a daunting character for Chalamet to play and he completely nails it from beginning to end.
The actor perfectly embodies Dylan, his awkward coolness, and his legendary mystic. His musical performances are astounding and the best compliment I can give him is to say that there were times I forgot I was watching an actor and thought I was really watching Dylan. It is easily one of the best male performances of this year and I would be shocked if he doesn’t at least get nominated for an Oscar, and depending on who else is in the competition, I would imagine he’ll be the frontrunner.
Also deserving of an Oscar nomination is Monica Barbaro who is incredible as Joan Baez. Not only does the actress look like Baez, but she also sounds exactly like her when she is singing and has excellent chemistry with Chalamet. Their love story, for me, was the heart of the movie. Elle Fanning, who plays Dylan’s other love interest Sylvie, has a bit of a thankless role, as I did feel her character was given short shrift by the script. Regardless, the actress is a ray of sunshine in all her scenes and has wonderful chemistry with Chalamet too.
Ed Norton could also end up earning an Oscar nomination for his work, as the actor gives a quiet yet strong performance as Dylan’s mentor and eventual rival, Pete Seeger. It’s also worth mentioning Boyd Holbrook’s fun performance as Johnny Cash, but with two short scenes, it is basically a glorified cameo. Finally, Scoot McNairy has the difficult job of playing an afflicted Woody Guthrie, and while his performance didn’t quite work for me, the actor made the most of the situation.
In the end, ‘A Complete Unknown’ is probably the best version of a Bob Dylan movie we could ever ask for. And it’s important to remember that Bob Dylan isn’t even a real person … he’s a mysterious character that a young Robert Zimmerman created in New York in the early 60s. Given that, director James Mangold has created a biopic that both honors the legend of Bob Dylan, while examining the real man behind the persona, without ruining the mystic that the artist has spent so many decades cultivating.
I expect the film will receive an Oscar nomination for Best Picture and Best Adapted Screenplay, and possibly a nomination for Best Director as well. In a year that saw disappointing biopics of both Bob Marley (‘Bob Marley: One Love‘) and Amy Winehouse (‘Back to Black‘), I can safely say that ‘A Complete Unknown’ is the best biopic about a popular musician we’ve seen in recent years and features a transcending and career-defining performance from Timothée Chalamet.
‘A Complete Unknown’ receives 9 out of 10 stars.
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What is the plot of ‘A Complete Unknown’?
Set in the influential New York music scene of the early 60s, ‘A Complete Unknown follows 19-year-old Minnesota musician Bob Dylan’s (Timothée Chalamet) meteoric rise as a folk singer to concert halls and the top of the charts – his songs and mystique becoming a worldwide sensation – culminating in his groundbreaking electric rock and roll performance at the Newport Folk Festival in 1965.
Movies where characters have no names, and only referred to as “Mother” or other archetypes, always make us suspicious. While it can work in book form, film is a much more visual medium and therefore a more specific one, and while that lack of specificity may make a story on the page more universal or metaphorical, the more concrete language of film may demand a little more out of its characters.
That’s especially true when you set them in a realistic – if also unnamed – time and place, as Marielle Heller’s film ‘Nightbitch’ does. An adaptation of Rachel Yoder’s 2021 novel, the movie stars Amy Adams as a stay-at-home mom (named ‘Mother’) who has given up a career as an artist and pretty much all of her self-identity to take care of her toddler (‘Son’). But Mother’s frustration with her choices manifests itself in some seemingly peculiar ways, leaving ‘Nightbitch’ in an uneasy and not super-successful limbo between satire, allegory, and body horror exercise.
Mother (Amy Adams) has given up her career as an artist to stay at home and take of, as she puts it, “a person who will pee in your face without blinking.” Her daily routine with her son – walks in the neighborhood, trips to the supermarket, crafts and games in the house, the same thing every day for lunch – becomes soul-crushingly numbing; she showed her work “at the Modern” once, but is “just dumb now.”
She attends mommy groups at the library but confesses in voiceover that she hates the other moms, all of whom seem to be having a much blissful experience than she is. Meanwhile, the barely present Husband (Scoot McNairy) is off traveling most days for his anonymous job, leaving Mother to take care of Son, run the house, and listen to Husband’s whining about how their relationship isn’t what it was before Son came along. “What happened to my wife?” he asks at one point. “She died in childbirth,” says Mother bitterly.
It is those punishing early days of motherhood that ‘Nightbitch’ (the film) gets right, with director Heller saying that Rachel Yoder’s book impacted her just as she stayed home for several years with her own young children. But while Heller has a great eye for emotional and physical detail in the everyday lives of dysfunctional people (just watch her marvelous ‘Diary of a Teenage Girl’ or the brilliant ‘Can You Ever Forgive Me?’), she is less sure-footed when ‘Nightbitch’ takes a turn into surrealism with a touch of body horror.
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Mother begins to notice fuzz growing on her back and face, while her teeth seem to sharpen; a bump on the end of her spine soon elongates into what appears to be a tail. Wild dogs begin congregating around her house at night, sometimes leaving her their kills. She herself craves raw meat. And finally one night, Mother changes into a canine form, running on all fours through her nameless suburban neighborhood as if she’s just been released from solitary confinement. She’s free, she’s an animal, she’s a primal force of nature – she’s herself.
Or is she? While such a transformation may work on the page, putting it on film makes it more literal and clunky. We’re never quite sure whether it’s all in Mother’s mind or not, and the earlier, emotionally truthful parts of the story simply don’t sit well with its flights of fancy. At one point, an enigmatic librarian named Norma (the great Jessica Harper) gives Mother a book called “A Field Guide to Magical Women,” suggesting that Mother is part of a long line of women who have “delayed their own greatness” (including Mother’s own mom). But just as things seem to come to a head – both in Mother’s own interior life and in her increasingly strained relationship with Husband – the story comes to a pat conclusion that seems to tie things up in simplistic fashion.
‘Nightbitch’ offers up some rich material for both Heller and Adams to mine, and hits upon some stark truths about motherhood – truths that often get buried in society’s rush to make it seem like it must be the ultimate achievement and defining moment in every woman’s life. But the film’s fantastical extension of those ideas doesn’t go very far, and the movie retreats from them almost as soon as it begins to explore them.
We can watch Amy Adams in just about anything, and ‘Nightbitch’ is really a showcase for her. Although Mother is more an idea than a full character in many ways, Adams brings a complexity to this woman that provides the main drive for the film. Mother’s exhaustion, boredom, and inner tension is palpable, as is her barely suppressed – and fully earned – rage when confronted with Husband’s neediness. And when her animalistic tendencies take over, her sexuality comes out unexpectedly as well, simmering, raw, and long-buried but still powerful. Although Adams is hampered by the script’s queasy sort of twilight existence, she still delivers a well-rounded and poignant performance.
Scoot McNairy, playing his second insecure male this year after his turn in the American remake of ‘Speak No Evil,’ does not fare nearly as well as Husband, a one-dimensional punching bag who pretty much deserves every (symbolic) blow he takes. Husband is clueless, unsympathetic, and emotionally absent, which makes his abrupt character turn toward the end of the film feel hollow. McNairy is a good actor who’s not served well by this role, and while Husband certainly represents a certain kind of husband and father (not all, but a lot) who see their role as merely bringing home the bacon while leaving the parenting to their partners, the film’s portrayal comes up short.
Although they’re all pretty thinly-drawn in a way, the women from the mommy group that Mother reluctantly hangs out with are at least fun to watch in a comic sense, and it’s always nice to see our beloved Jessica Harper (‘Suspiria,’ ‘Phantom of the Paradise’) onscreen even if her narrative thread ultimately doesn’t lead much of anywhere.
With award season upon us, there’s a good chance that Amy Adams might land her seventh Oscar nomination for ‘Nightbitch,’ and it would certainly be well-deserved. Whether she can win or not in a field that’s already looking fiercely competitive – with ‘Anora’ star Mikey Madison, ‘Babygirl’ lead Nicole Kidman, and Angelina Jolie from ‘Maria’ all in the running, among others – remains to be seen.
We just wish the movie around her was better. While the more realistic parts of ‘Nightbitch’ are on target much of the time, the film’s more allegorical or fantastical elements just don’t mesh as well, at least on film, and the director is never able to solve that problem. And instead of committing all the way to one direction or the other, ‘Nightbitch’ just kind of quickly wraps things up. Amy Adams’ provocative performance deserves better, but in the end this ‘Nightbitch’ lacks bite.
‘Nightbitch’ receives 6.5 out of 10 stars.
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What is the plot of ‘Nightbitch’?
An overwhelmed and frustrated stay-at-home mother (Amy Adams) begins to seemingly transform into a dog as she yearns to rediscover her own identity.
Moviefone recently had the pleasure of speaking with Amy Adams about her work on ‘Nightbitch’, developing the project as a producer, her approach to playing her character and the difficulties in her marriage, and the challenges of working with children and dogs.
You can read the full interview below or click on the video player above to watch our interviews with Adams and director Marielle Heller.
MF: To begin with, can you talk about developing this project as a producer and the themes you wanted to explore on screen as an actress?
Amy Adams: Well, I read the novel before there was a screenplay, so I was brought early on to produce it with Sue Naegle and Annapurna Pictures. Then, we immediately got Mari (director Marielle Heller) on board and Mari’s unique perspective and how she brought that unique tone from the novel into the screenplay. I thought the tone was unique. I thought it dealt with so many important issues. It brings up not only motherhood, parenthood, relationships, community, generational trauma, all these things, of course, that I love to dive into. I really wanted to tell this story.
MF: Can you talk about the frustrations that your character is having with her husband and motherhood in general?
AA: I think as we find her in the film, she’s at this place where she and father (Scoot McNairy) haven’t really communicated effectively how there would be an equitable division inside of the home. She’s taken on the bulk of responsibility of parenthood. What I love about what Mari’s done with the film and how Scoot McNairy plays the father is that he really isn’t the antagonist of the film and nor is motherhood the antagonist. There’s always a conflict of, and I think that feels so human and so true, between feeling lost and feeling like you’ve lost yourself and yet loving the new life that you could create, but not knowing how important communication and community is through that. Again, I think Scoot does such a wonderful job of playing this husband because he is so loving and invested. He just doesn’t know what’s going on and she hasn’t been able to communicate the truth and the depth of her frustration and her loss of self.
MF: Finally, there is an old saying that you should “never work with children or animals,” and you do both in this film. What was that like for you?
AA: I said that making this movie was a lot like having a baby. Now that I’m done, I’m like, “It was not hard at all.” But I think in the moment, if I’m really being honest, there were some challenges, but it was such a wonderful experience. These boys, Emmett and Arleigh (Snowden), they’re these twins that we worked with, were so open and kind of reminded me of the natural give and take of acting that sometimes can get away from me in bigger themes. It kind of brought me back to the play of acting, and it was a lot of fun to work with them. They were so beautiful and the whole set rallied around the experience. We had the prop master constantly bringing new things for them to play with, and Mari down here talking to them. It was a full community working with these kids.
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What is the plot of ‘Nightbitch’?
The film concerns a magical realism-style story of a stay-at-home mom (Amy Adams) who sometimes transforms into a dog.
Jesse Eisenberg has long been an acquired taste as an actor, but as a director, his second feature, ‘A Real Pain,’ shows tremendous growth from his 2022 debut behind the camera, ‘When You Finish Saving the World.’ While that film felt incomplete and abrasive in ways, ‘A Real Pain’ brings tremendous emotional sensitivity and a more focused wit to the story of two cousins traveling together to the land of their family’s heritage, and the issues that journey brings up.
Eisenberg also wrote and stars in the picture as the more grounded of the two characters, but the showcase performance is undoubtedly that of Kieran Culkin, who comes off his incredible run on ‘Succession’ to create a character here that is complex, irritating, endearing, and deeply wounded. ‘A Real Pain’ seems deceptively modest at first, but is a powerfully funny and poignant look at family, loneliness, depression, and heritage.
David (Jesse Eisenberg) and Benji (Kieran Culkin) are cousins who were super-tight as kids but have drifted apart as adults. David is married, with a child and a solid but unglamorous job in tech, and anxiety-ridden. Benji is much looser, and living in what could best be described as a state of arrested development, although there’s ultimately more to it than that.
The two, who haven’t seen each other in years, meet at the airport for a flight to Poland, where they will tour both sites related to their family and the Holocaust thanks to money left to them by their late, beloved grandmother. From the start, Benji is much more devil-may-care, even smuggling weed aboard an international flight to David’s horror. Once they get to Poland and meet up with the rest of their tour group, Benji’s free-spiritedness manifests itself even more in ways both charming and exasperating, both to David and the group.
Whether it’s berating the cerebral tour guide James (Will Sharpe) for not exhibiting more emotion at the sites they visit, or abruptly deciding not to sit in the paid-for first class section of the train (because of a sudden interest in human rights), or having the group enact a battle scene at a memorial in the middle of a park, Benji dominates the tour with his outsized personality and antics. That sets him at odds with the more reserved David, who struggles with issues of his own and is often embarrassed at his cousin’s behavior. But as more of their family history comes to light, the double meaning of the movie’s title emerges as well: yes, Benji is a real pain, but he’s also dealing with the real pain of mental illness, which has led him to some dark places that he and David must confront.
But while that sounds grim – and the movie does feature some heavy emotional moments – much of ‘A Real Pain’ is scathingly funny, again thanks to Benji’s interactions with the tour group and the world around him. It’s a tonal balancing act managed beautifully by Eisenberg’s sharp script and unfussy direction, and given resonance by a series of locations both lovely and somber in Poland, shot magnificently by Michel Dymek. In one particularly haunting sequence, the group travels through some lush countryside only to arrive at the real Majdanek concentration camp, the setting for one of the movie’s most quietly and almost overwhelmingly powerful scenes.
As we noted above, Jesse Eisenberg as an actor is not always everybody’s cup of tea: he’s specialized throughout his career I twitchy, neurotic, highly intellectual characters who often can’t see past their own anxieties. But following his nuanced work on the ‘Fleishman is in Trouble’ miniseries, Eisenberg here brings more gravitas and even playfulness to the role of David, who may not possess the same free spirit as his cousin but is working hard to be content with who he is.
Yet Eisenberg generously cedes the spotlight to his sparring partner Culkin, who just dominates the proceedings throughout the movie. His Benji is at first righteous, arrogantly self-confident, casually careless, and determined to push people’s buttons. But that hides a far deeper pain embedded in his very soul, which Culkin brings out masterfully as he slowly peels away Benji’s bravado and lets us see the frightened boy inside. It’s a masterful performance from an actor who’s truly coming into his own, effortlessly turning our exasperation with Benji into empathy and compassion.
The supporting cast – which includes Jennifer Grey, Will Sharpe, and others – complete their assignments believably and humorously as the rest of the tour group that David and Benji are on, sketching out portraits of exactly the sort of people you’d meet on a trip like this and the way their interactions unfold, as they are briefly united as traveling partners and even friends who find themselves willing to share bits of themselves with complete strangers.
‘A Real Pain’ is the kind of “small” independent film (albeit released by Disney subsidiary Searchlight Pictures) that may seem humble in its scope but actually says something quite large about family history in every sense of the word. It’s also a poignant reminder of how important it is to learn where we come from and to stay in touch with the people we love, a theme that Eisenberg skillfully makes clear without being heavy-handed or cloying.
It’s also funny as hell, lovely to look at, and should be in the Oscars conversation for best supporting actor and best original screenplay at the very least. ‘A Real Pain’ is anything but as a movie, and is an encouraging vehicle for both the future directorial career of Jesse Eisenberg and the continuing evolution of Kieran Culkin as one of our stealth best actors.
‘A Real Pain’ receives 8.5 out of 10 stars.
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What is the plot of ‘A Real Pain’?
When cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) embark on a tour of Poland as a tribute to their late grandmother, longstanding tensions and unresolved issues in their relationship and family history come to the surface.
Moviefone recently had the pleasure of speaking with acclaimed actress Sarah Paulson about her work on ‘Hold Your Breath’, her first reaction to the screenplay, why she wanted to make the film, her character and her relationship with her daughter, preforming in sandstorms, working with two directors, and how acting opposite Ebon Moss-Bachrach on this movie made her appearance on ‘The Bear’ easier.
Sarah Paulson in ‘Hold Your Breath’. Photo: Searchlight Pictures.
Moviefone: To begin with, can you talk about your first reaction to the screenplay and why you wanted to be part of this project?
Sarah Paulson: Well, my first reaction when I read the screenplay was, yes, I would like to do this. It was partly because I was really excited about playing a woman living in this time-period. I hadn’t read a lot about the Dust Bowl. Of course, I knew about it in terms of our country’s history and what was happening during that time and why it happened. But I was really interested in portraying a woman in that time-period and playing a mother. What hit me the most significantly about it was this idea of, yes, it is a psychological horror film, but it was the psychological component that was more interesting to me. The monster as it were, is the air itself and of course, created by our own over-harvesting of the land. It created this terrible situation for so many people in that part of our country at that time that it just seemed to me like a very potent space to create a movie like this. Also, just very clearly as it was written on the page, the juxtaposition of the stark beauty of the landscape of the film was very evident and present on the page. I thought that that would be a kind of wonderful world to inhabit as well.
MF: Can you talk about the hard life that Margaret lives and the difficult choices she makes to protect her family?
SP: I think one of the things that was interesting too about it was just that this is a woman who was essentially on her own, and this happened to a lot of women at this time during the Dust Bowl. Their husbands had to go off and try to find some way of making money, and the women were left home alone to fend for themselves. It was really challenging. I don’t know, I felt like I couldn’t imagine how I would fare in that same environment. So, there was heroism to her real commitment that was connected to her desire to take care of her children. It was not about her own survival, but it was about making sure that her family was safe and taking on a role traditionally reserved for the man of the house, that she had to do this on her own. That was very interesting to me as well.
Sarah Paulson in ‘Hold Your Breath’. Photo: Searchlight Pictures.
MF: Was it difficult shooting the sandstorm sequences?
SP: Well, that was what was so fun about it to me. A lot of them are practical and that made it exciting to play because I wasn’t having to simulate responding to dust in my eyes, my mouth and my nose. I would come home at night, and I would find things in my ears you can’t even imagine, in terms of dirt and dust in my nose, my eyes, my scalp, and under my fingernails. I kind of loved it because it meant I wasn’t having to pretend or simulate the difficulty of that. I was inside it. There were a couple of times where I asked the prop department to put more dust in the air and to make the fans blow faster and harder and to hit me more directly with them so that I would have more to work against it. I have to say it was an enormous amount of fun. Listen, as actors, we are all encouraged and need desperately to use our imaginations, but anytime you can be looking at an actual blazing fire versus an imagined one is going to be, for me anyway, much more potent than imagining a fire they’re going to put in later with visual effects. The same thing with the dust. It’s like looking up into a big, bright blue sky and imagining there’s a dust storm. That is not the same as looking up and the special effects department has got so much swirling in the air that it is scary. I just think it enhances something from an acting standpoint because anytime something can feel more real to me, I would argue and hope that therefore it would encourage a more real response from me and a more truthful performance.
MF: Can you talk about Margaret’s relationship with her daughter and working with actress Amiah Miller?
SP: Well, I loved Amiah so much immediately. Amiah and I share an agent, so I got slipped her audition before I think it even made its way to our directors. I wrote to them immediately and said, “I think there’s just no question that this is our girl.” They had the same reaction when they saw her audition. It was just so self-possessed, emotional, full and real. She was just a joy to work with. I’m sure she’s going to be a big fat superstar, and I hope she’ll still take my call. It’s always exciting. I mean, Amiah hasn’t had a ton of work experience. So, it was a lovely thing. Yet she’s at the precipice of becoming a grown woman. So, it was wonderful to be able to watch her navigate what it was like to be on a set and how she was able to navigate probing these emotional places in herself. She was just such a consummate professional and an incredible scene partner who was always just right there with me, emotionally, always, and never afraid to meet me right where I was and encouraged me to be just that much more truthful. I just can’t say enough about her. I loved being her mother, even if it was only for a moment.
Amiah Miller in ‘Hold Your Breath’. Photo: Searchlight Pictures.
MF: Have you ever worked with two directors at the same time before and what was your experience like working with Karrie Crouse and Will Joines?
SP: Gosh, have I had that experience before? I don’t know that I have. I really loved it because it was also very fascinating for me to watch them try to figure it out. It was always interesting who would tend to come up and give me a note versus who would give Annaleigh Ashford a note. It was different, and it was so interesting how they chose to divvy up their responsibilities. I think also what I really loved was Karrie wrote the script and Will has so much admiration for her, respect and love for her, but real admiration and reverence for what she created. He always wanted her to have what she wanted and what she had imagined or dreamt of when she was writing it. So, it was a very beautiful thing to watch them work together so cohesively and with such support of one another, and they’re each other’s biggest fans and champions. They were absolutely a unit the entire time. I never felt that thing of, “Someone’s going to have a big fight when they get home tonight”. It was never like that. They were really like one. It was like being directed by one person.
Ebon Moss-Bachrach in ‘Hold Your Breath’. Photo: Searchlight Pictures.
MF: Finally, can you talk about working with Ebon Moss-Bachrach, and did you shoot ‘Hold Your Breath’ before you appeared on ‘The Bear’?
SP: This movie was first, and it was wonderful that it was first because we get to do a lot of harrowing, dark, fraught things together. Then I got to go be on the set of ‘The Bear’, which is an incredibly intimidating set to walk onto because I was such a rabid fan of the show. I’d seen every episode more than once. We got to do all that stuff that was intense together and then it was wonderful to me that I had that time with him because we got to know each other a little bit, even though we knew each other in New York as young actors in a real cursory way. But then because I shot that first and then we did ‘The Bear’ afterwards, I was just saying how it was a very intimidating set to walk onto because I had watched ‘The Bear’ with such fervor and I was so obsessed and possessed by it and had watched each episode multiple times. I was really walking onto that set as an enormous fan. So, it was very comforting to me to look across the room at Ebon because I knew him so intimately because of the way we worked together, it really mitigated some of my terror being around all those superstars on that show.
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What is the plot of ‘Hold Your Breath’?
In 1930s Oklahoma, a young mother (Sarah Paulson ) haunted by the past becomes convinced that a mysterious presence in dust storms is threatening her family and takes extraordinary measures to protect them.
Taylor Swift in the ‘Love Story’ video. Courtesy of Taylor Swift’s YouTube channel.
Though she’s long since proved herself as a powerhouse creator for songwriting and performance, Taylor Swift’s directorial career has so far stretched to music videos for her tracks and, more recently, short film ‘All Too Well’.
Now, she’s making the jump to full-fledged film director with an untitled movie for Searchlight.
“Taylor is a once in a generation artist and storyteller. It is a genuine joy and privilege to collaborate with her as she embarks on this exciting and new creative journey,” Searchlight presidents David Greenbaum and Matthew Greenfield say in a statement.
The new movie is being kept quiet for now––all we really know is that it’ll draw from a script that Swift has written. Beyond that, we’ll have to wait for casting and other announcements. But we’d be shocked if the movie didn’t have some relationship element, given the usual emotional depth of the performer’s songs.
Swift made history at this year’s VMA Awards as the only solo artist ever to be honored with two Best Direction awards for her work on ‘All Too Well’ and ‘The Man’. She is the first artist ever to win three Video of the Year awards and only the second female to direct the winning video for Best Longform Video with ‘All Too Well’. The short is also eligible for an Oscar.
Taylor Swift in ‘All Too Well: The Short Film (Behind The Scenes).’ Courtesy of Taylor Swift’s YouTube channel.
And it’s not like she hasn’t been connected to movies in the past. A wealth of films and trailers have used her music, and she’s also shown up in front of the camera too.
She followed that up with a voice role in Illumination’s 2012 animated adaptation of Dr. Seuss’ ‘The Lorax’, playing Audrey alongside the likes of Danny DeVito, Ed Helms and Betty White.
Next was ‘Cats’ (though she, along with many of her co-stars might rather wish to forget it), playing perky cat Bombalurina in the CG/live-action musical adaptation, for which she also collaborated on a new song, ‘Beautiful Ghosts’.
‘All Too Well’ saw her in front of the camera as well as behind it, and more recently, she had a small role in David O. Russell’s ‘Amsterdam’ as Liz Meekins, the worried daughter of a recently deceased military man who is convinced he was murdered. That saw her sharing scenes with the likes of Christian Bale and John David Washington and gave her the chance to sing on screen.
We don’t yet know whether she’ll appear in the new movie, but we’re fairly confident she will write music for it.
Taylor Swift in the ‘Anti-Hero’ video. Courtesy of Taylor Swift’s YouTube channel.
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