If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? This summer, the truth belongs to seven billion people.
We are coming close to … Disclosure Day.
Universal Pictures is proud to release a new original event film created and directed by Steven Spielberg. The film stars SAG winner and Oscar® nominee Emily Blunt (Oppenheimer, A Quiet Place), Emmy and Golden Globe winner Josh O’Connor (Challengers, The Crown), Oscar® winner Colin Firth (The King’s Speech, Kingsman franchise), Eve Hewson (Bad Sisters, The Perfect Couple) and two-time Oscar® nominee Colman Domingo (Sing Sing, Rustin).
From Spielberg’s CLOSE ENCOUNTERS OF THE THIRD KIND, to E.T, to WAR OF THE WORLDS, check out this first look at his latest film and see DISCLOSURE DAY in theaters 06.12.26.
Based on a story by Spielberg, the screenplay is by David Koepp, whose previous work with Spielberg includes the scripts for Jurassic Park, The Lost World: Jurassic Park, War of the Worlds and Indiana Jones and the Kingdom of the Crystal Skull. Combined, those films earned more than $3 billion worldwide. Koepp also wrote the script for this 2025’s Jurassic World Rebirth.
DISCLOSURE DAY is produced by five-time Academy Award® nominee Kristie Macosko Krieger (The Fabelmans, West Side Story) and by Spielberg for Amblin Entertainment. The executive producers are Adam Somner and Chris Brigham.
Director Steven Spielberg on the set of DISCLOSURE DAY.
Steven Spielberg is one of the industry’s most successful and influential filmmakers. The top-grossing director of all time, Spielberg has helmed such blockbusters as Jaws, E.T. The Extra-Terrestrial, the Indiana Jones franchise and Jurassic Park.
Among his myriad honors, he is a three-time Academy Award® winner, including Oscars® for Best Director and Best Picture for Schindler’s List, which received a total of seven Oscars®, and for Best Director for Saving Private Ryan. His most recent film, The Fabelmans, was released by Universal in 2022 and received seven Academy Award® nominations, including for Directing, Best Original Screenplay, Best Actress and Best Picture.
JAY KELLY, the new film from Academy Award nominee Noah Baumbach, follows famous movie actor Jay Kelly (George Clooney) and his devoted manager Ron (Adam Sandler) as they embark on a whirlwind and unexpectedly profound journey through Europe. Along the way, both men are forced to confront the choices they’ve made, the relationships with their loved ones, and the legacies they’ll leave behind.
The teaser trailer features “Jay Kelly Theme,” an original score by Nicholas Britell.
The cast includes George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Grace Edwards, Stacy Keach, Jim Broadbent, Patrick Wilson, Eve Hewson, Greta Gerwig, Alba Rohrwacher, Josh Hamilton, Lenny Henry, Emily Mortimer, Nicôle Lecky, Thaddea Graham, Isla Fisher, Louis Partridge, Charlie Rowe.
JAY KELLY opens in select theaters November 14 and on Netflix December 5.
Does something magical happen when you create music? Many folks believe that. Perhaps a main proponent of that notion is Irish filmmaker John Carney. He’s illustrated that belief in a trilogy of beloved films: ONCE, BEGIN AGAIN, and SING STREET. And now he’s stretched that trilogy into a “quadrilogy” (perhaps calling them a quartet is more in line with the music themes) with his new film opening this weekend. But this tune-filled dramedy has a “hook” that is almost universal. Here the songs are in service of mending a family. It can’t completely repair this particular family, but it may just bring this single mother and her teenage son a tad closer, so at least they’re not spending their evenings screaming at one another. Adding to the tension is their “hand-to-mouth” existence, being part of the hard-working lower middle class of Ireland. That’s the setting for the story of this dup, hence the title FLORA AND SON.
When we first meet Flora (Eve Hewson), she’s charging into the local pub-turned-disco, at “full speed”, hand in hand with her best “gal pal”. Soon they’re splitting up on the dance floor in search of “after-hours companionship”. And when her “overnight guest” at her shabby apartment hears mention of her son, he practically bursts out the front door ala’ the Kool-Aid Man. Soon we meet that fourteen-year-old son Max (Oren Kinlan) when a local constable comes over to deliver a stern warning about his petty thievery. One more “pinch” and he’s in the “system”. When the “bobby” leaves, the two begin their regular “screamfest”. Flora is not getting any help from Max’s dad, Ian (Jack Reynor), a former rock bassist who’s now sharing a nicer pad with his wealthy new girlfriend, though Ian gets Max on most weekends. Hmm, Max has inherited his pop’s musical interests, though Max is more into rap and techno-pop. When Flora sees a beaten-up guitar sticking out of a dumpster, she grabs it, has it repaired, and gifts it to Max as a belated birthday present. And…he wants no part of it (cue another nasty “row”). But it grabs the interest of Flora, especially after seeing a singing competition sign outside a nearby bar. Now she’s got to learn to play it. After viewing countless video pitches for online lessons, she settles on a hunky, “mellow dude” from the States, Jeff (Joseph Gordon-Levitt). After an awkward first session, the two begin to connect through the “web”. Could this become more than a “teacher/student” rapport, even though he’s thousands of miles away? And what of Max? Could music mend the estranged mother/son bond? More importantly, could this shared passion keep Max on the “straight and narrow” and out of the detention facility?
She’s the first name in the title and really the first person on screen, so I’ll start off singing (not as nicely as the leads do) the praises of Ms. Hewson as the delightfully shocking, sometimes abrasive, and always unpredictable Flora. She provides the pulsing beat to this story as we watch her fighting the courts, her friends, her ex, and her own inner insecurities. Hewson perfectly captures Flora’s “take no prisoners’ stance, but she also shows us how this “tough mama” tries to onceal her worries and concerns, especially for “and son”. I’ll get to him in a moment since Hewson’s strongest scene partner may be that “laid-back” charmer, Mr. Gordon-Levitt. Denied physical interaction, JGL’s Jeff communicates with his crooning and through his questioning eyes. Jeff’s struggling to keep a “professional distance”, though we seem him letting his guard down as this Irish “wild card” draws him in, and, somehow, becomes his teacher. And now to Max, who starts off an a smarmy punk, but Kinlan gives him a sad vulnerability. whether yearning to fit in with the “lads” or impress the local “video vixen”.Max has an emdearing awkwardness which offsets his boasting rap lyrics (which are truly hysterical). And proving that the “apple doesn’t fall far from the tree”, his equally talented pop Ian also scores lots of laughs thanks to the warm, comedic turn by Reynor (so good in Carney’s SING STREET). We’re set up to dislike him as a “deadbeat dad”, but we soon see that Ian is trying to “step up”, and is eventually drawn back into his boy’s life via music (Reynor’s face as he hears Max’s song mix is priceless).
Oh, I forgot to mention that this smart script is also from director Carney. He deftly balances the scenes showing the joy of musical creation with some hilarious exchanges. and plenty of heart-breaking drama. At the story’s onset, it appears that Max will not find his way and will soon be crushed by society. We can see how Flora becomes his lifeline by never giving up or giving in. Plus we get to witness her renewed joy and happiness. Though she’s inspired by that contest money, the music becomes the oxygen invigorating her. Carney makes that part of the tale come alive using a clever visual trick to break through the laptop screen to forge an intimate connection between Flora and Jeff. And though everything’s not neatly wrapped up by the sweet finale, we’re left with hope for all the principals. Sure, it’s another charming ode to melody from Mr. Carney, but it’s also a wondrous story of a fractured family who can learn a new way to harmonize. To put it simply, FLORA AND SON truly hits all the right notes.
3.5 Out of 4
FLORA AND SON is now playing at select theatres and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas. It also streams exclusively on AppleTV+ beginning on Friday, September 29, 2023
We Are Movie Geeks is giving you tickets to an evening celebrating the upcoming Apple Original Film FLORA AND SON where you and a guest will be treated to a live musical performance by The Irish Aires followed by a special screening of the film. FLORA AND SON in theaters and streaming on Apple TV+ September 29.
Visit the link below FOR YOUR CHANCE TO SNAG TICKETS while supplies last! Concessions will be provided to those that attend.
So, do you think movie fans will escape the holiday shopping mania for some good old-fashioned swashbuckling? What, you think most of them never “buckled a swash”. Well, not for a couple of years or so when KING ARTHUR: LEGEND OF THE SWORD was the first of several box office duds of Summer 2016. But why give it another go? From many reports, it appears that another movie company wants to set up its own “universe”, much like Marvel Studios. But they and Warner/DC have all those known superheroes, Disney’s got their animated classics to remake in live-action, and Universal’s monster legacy started and ended with the Tom Cruise MUMMY. Since there are loads of secret agents, why not go back to the old legends (plus they’re in the public domain). It’s been eight years since Ridley Scott tried to start a new medieval franchise with Russell Crowe as the Sherwood Forest hero. Plus archery is cool again thanks to Katniss of THE HUNGER GAMES, WONDER WOMAN, and one of THE AVENGERS, Hawkeye (plus the TV heroes Oliver Queen of “Arrow” and Darryl of “The Walking Dead”). So it may be the perfect time to grab the hot young star of another franchise and dress him up in green as ROBIN HOOD.
The narrator tells us at the start of the flick that he can’t remember the exact year (way to cover your…tights), but he takes us to not-so-merry ole’ England when handsome young Robin of Loxley (Taron Egerton) halts the plans of horse thief, the lovely maid named Marian (Eve Hewson). This “meet cute” during a crime leads to a passionate romance that’s halted by a letter from the Draft Board, signed by that nasty ole’ Sheriff of Nottingham (Ben Mendelsohn). Quite a slick notice, maybe the village has a Ye Olde Kinko’s? Anywho, Robin is shipped off to Arabia to fight in the Crusades. But the young man is disgusted by the brutality shown toward the captured enemy soldiers by his superior officer. When Robin tries to stop the abuse of one prisoner, he’s rewarded with an arrow in the gut. So he’s homeward bound on the medical ship, along with that same soldier (a stowaway). Arriving home Robin is stunned to find his estate in ruins after being grabbed by the Sheriff over back taxes. Heading over to the church, old pal Friar Tuck (Tim Minchin) informs him that he was declared dead two years ago. Walking through the mines (the town’s main income source), Robin spies his old flame Marian, serving up soup with a new beau (or maybe husband or fiance), aspiring politico Will Scarlet (Jamie Dornan). Suddenly that prisoner pulls Robin off the street. He translates his birth name to the English moniker of John (Jamie Foxx) and warns him of revealing himself to Marian because he’s got a plan. To stop the excessive taxes of the working class, and cut off funds for the army that invaded his country, John suggests that Robin must become a masked, unknown, “thief in the night”, taking back those funds. But he’d keep a good portion and present it to the Sheriff in order to learn of his devious plans. Wow, just hours off the boat and John knows a scheme to disrupt this foreign land? Wow. Could his crazy scheme work? And what will happen when Marian finally hears of Robin’s “resurrection”?
With the odds stacked against them (mainly the script, art direction, etc.) the cast does their best to put a new spin on these classic characters. Bouncing back from the last two KINGSMAN flicks, Egerton appears to have a lock on being the British Tom Cruise (in terms of doing as much stunt work as possible, general energy and enthusiasm, along with, well, height). His Robin has more of a vulnerable side (especially in his star-crossed romance) while adding an air of mystery with the whole masked alter ego angle. Foxx has a tougher time with the “all over the place” take on “little” John, going quickly from avenging angry father to cool mastermind, then switching to driving mentor mode, sort of an Obi-Wan Kenobi of bow and arrow rather than lightsabres. Although his humor is curtailed, the fast-talking funny Foxx occasionally breaks through. Hewson is quite the lovely, resilient heroine, but the choice of heavy, smoky eyeshadow (how long would it take her to wipe that off at night, if there was cold creme way back when), thick eyeliner, and low cut tops (with slacks always) distracts. She glows when near Robin, but there’s little heat with the other member of the flick’s romantic triangle (again, that script). I’m speaking of Dornan, who has little of the Christian Grey charisma as Scarlet, who seems ill at ease when trying to rally the underclasses. It appears he’s been set up for a more prominent role in the sequel (uh, right). Perhaps as big as Mendelsohn’s sneering screeching Sheriff, which doesn’t seem much different from his previous villain performance earlier in the year in READY PLAYER ONE, who was pretty close to his ROGUE ONE: A STAR WARS STORY baddie (oh, this doesn’t bode well for next year’s CAPTAIN MARVEL). The gifted character actor is too versatile to be locked into so many similar roles. Still, he’s not chewing the scenery as much as F.Murray Abraham who shows up mid-film as the despicable Cardinal. Saddled with a ratty pageboy wig, he stumbles in the kind of part Vincent Price could’ve played in his sleep. Well, at least Minchin is able to coax a few chuckles as the often confused Tuck.
The director and screenwriters are all feature film “newbies”, so the lackluster end product is not a jarring surprise. But then all the off-camera artists collide and fumble in this confusion. Just a few minutes into the flick and the anachronisms are flying faster than the min-harpoons (or are they railroad spikes) out of an Arab sniper’s gattling gun-like crossbow, which easily zips through concrete like melted butter. That’s a few minutes before John loses a limb to little discomfort (as the villain in a much-better medieval flick remarked, “It’s just a scratch!”) and is soon clinging to the bottom of a ship at sea. The streets of Nottingham are covered in pristine, unscratched tile as if it were a just-opened shopping mall, while the distant mines belch flame into the blue sky. The script resorts to the secret identity superhero “bit’ as Robin becomes the mysterious outlaw nicknamed “The Hood”, but it seems like a weak spin on Zorro, the Scarlet Pimpernel, and, of course, Batman, with John as his own “Alfred”. As the Sheriff speaks in the town square, the filmmakers indulge in some ham-fisted swipes at current political rhetoric (“They hate us for our freedom!”) which is almost as incongruous, though not as “icky” as his soliloquy to Robin about being beaten by priests as a boy (the whole bit about different bruise color…yeesh). But that’s in line with the film’s view of the church as diabolical masterminds who make Hydra look like grade-school hooligans. In between, we get the action sequences abetted with CGI (the spike-like arrows), clumsy stormtrooper-style armor that proves useless against Robin’s quiver, quick disorienting cuts along with “bullet-time” bits of mayhem. Speaking of “BT”, the costume design is a strange blend of THE MATRIX and STAR WARS prequel togs, particularly the Sheriff who’s always seen in a long power-blue leather duster?! The only time he doesn’t seem out of place is at a castle masquerade party (?!) in which half the guests look like they’re headed to a 70’s-themed Las Vegas disco! And this time there’s almost no mention of royalty (the king is said once or twice), and Sherwood Forest is just hinted at in the first of two endings. Needless to say, this film feels every second of two hours, while proving that the last great film on this legend was over 40 years ago (ROBIN AND MARIAN). This ROBIN HOOD steals valuable time and money from filmgoers and gives absolutely nothing back in return.
A new ROBIN HOOD is coming! From director Otto Bathurst, ROBIN HOOD stars Taron Egerton, Ben Mendelsohn, Eve Hewson, Tim Minchin, and Jamie Foxx and opens November 21, 2018.
Robin of Loxley (Taron Egerton) a war-hardened Crusader and his Moorish commander (Jamie Foxx) mount an audacious revolt against the corrupt English crown in a thrilling action-adventure packed with
gritty battlefield exploits, mind-blowing fight choreography, and a timeless romance.
Here’s a first look at director Otto Bathurst’s (Peaky Blinders & Black Mirror) ROBIN HOOD starring Taron Egerton, Jamie Foxx, Jamie Dornan, Eve Hewson and Tim Minchin.
In the latest version from Sherwood Forest, Robin Hood (Taron Egerton) a war-hardened Crusader and his Moorish commander (Jamie Foxx) mount an audacious revolt against the corrupt English crown in a thrilling action-adventure packed with gritty battlefield exploits, mind-blowing fight choreography, and a timeless romance.
In 2016 Egerton was named one of the ’30 under 30’ Forbes list and was nominated for a BAFTA EE Rising Star Award.
Alongside Matthew McConaughey and Reese Witherspoon, Egerton has leant his voice to recently released new musical animation comedy SING Egerton recently finished filming opposite Ansel Elgort in a movie version of Billionaires Boys Club.
