In Contention

Tag: Peter Morgan

  • Toronto reception takes ‘360’ back to zero

    The warning signs were there for “360.” An umpteenth reworking of “La Ronde” didn’t seem an obvious fit for either Fernando Meirelles or Peter Morgan — a pretty dispassionate writer even on his best form, he came badly unstuck last year when he veered from his fact-based template with “Hereafter.”

    Meirelles, too, is seeking to bounce back from a flop (2008’s “Blindness,” in case you’ve forgotten), and ensemble members Anthony Hopkins and Jude Law have of late been unreliable indicators of quality.

    Interest in the film seemed to hover mainly in how it might serve Rachel Weisz, whose multiple lead roles this year — including an acclaimed turn in “The Whistleblower” and a buzzy one in “The Deep Blue Sea” — have many wondering if a second Oscar nod could be on the cards. It might be, but tepid reviews following the film’s premiere suggest it won’t be for “360.”

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  • Meirelles’s ‘360’ to open London fest

    I’m trying not to think too much about my hometown film festival right now — with the chaos of Venice only a week away, the idea of diving into another five-films-a-day fortnight shortly afterwards seems somewhat deadly. Still, with this week essentially amounting to the calm before the storm, now is as good a time as any for the London Film Festival to announce that they’ll be kicking off their 55th edition with Fernando Meirelles’s starry erotic drama “360.”

    It’s a choice that’ll bring the requisite glamor to the fest’s opening night — the cast includes Jude Law, Rachel Weisz (set to be the fall festival season’s most ubiquitous face), Anthony Hopkins, Eminem and Ben Foster — but I must admit to being somewhat disappointed.

    The LFF raised its international profile considerably in 2008 and 2009 by opening with major world premieres (“Frost/Nixon” and “Fantastic Mr. Fox,” respectively), and while I’m aware of the difficulty of securing such coups, a curtain-raiser that has already been seen and critically assessed at Toronto — whatever its merits — just doesn’t carry the same level of excitement.

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  • 10/20 OSCARWEB ROUND-UP: ‘Complete Metropolis’ coming to TCM, buzz for Leo, Cameron on the usual talking points

    • Jeffrey Wells reminds of the forthcoming TCM airing of the restored “Metropolis” and one hour documentary “Metropolis Refound.”  I’ll…be…there. [Hollywood Elsewhere]

    • Steve Pond conveys positive word on Christian Bale and (as reported for months here) Melissa Leo’s performances in “The Fighter” from ShoEast. [The Odds]

    • Naomi Watts on “Fair Game,” Valerie Plame and politics in Hollywood. [HitFix]

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  • 10/15 OSCARWEB ROUND-UP: An unpolished ‘Hereafter,’ women dominate doc shorts, CGI in story-driven contenders

    • Melissa Silverstein on female dominance in the documentary shorts field. [Women and Hollywood]

    • Turns out Clint Eastwood filmed an early, unpolished draft of Peter Morgan’s “Hereafter.”  Well…it shows. [Vulture]

    • Speaking of which, David Cohen spotlights the impact of digital wizardry on that story-driven film as well as Darren Aronofsky’s “Black Swan.” [Variety]

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  • Step away from the Blair

    Regular readers (or Twitter followers) may have gathered by now that Peter Morgan isn’t my favorite high-end screenwriter on the scene — I’ve found his recent run of factional biopics, resulting in a pair of Oscar nods for “The Queen” and “Frost/Nixon,” increasingly smug and samey, and was pleased to see him attempting something a little different in Clint Eastwood’s “Hereafter.”

    Going on the mixed Toronto reception for the latter film, the jury is still out on whether Morgan’s flirtation with fiction — spiritually-tinged fiction, no less — has actually been successful. Either way, it would appear that Morgan is quite ready to return to his comfort zone, and more specifically, to his longstanding hobby-horse, Tony Blair.

    Morgan has now dramatized the career of the former British prime minister in three separate projects — with “The Queen” sandwiched by TV films “The Deal” and “The Special Relationship” — each of them giving actor Michael Sheen an opportunity to fine-tune his Blair impersonation.

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  • TIFF: ‘Hereafter’ reviews reflect split opinions but indicate a potential Oscar player

    Yesterday’s knee-jerk reactions to Clint Eastwood’s “Hereafter” fell in the overwhelming negative following an afternoon press screening.  At the time, I noted that festival quick takes should be taken in context and that perhaps more measured responses could tell another tale.

    Well, the embargo lifted roughly 45 minutes ago.  Variety’s Justin Chang has fired off a mostly positive assessment that admits the film’s triptych of stories comes together “creakily” and that the film is “uneven,” but he seems to be willing to cut the filmmaker a little slack by appreciating the lax approach conveying the narrative.  The film is “a beguiling blend of the audacious and the familiar,” he writes, “but is armored against risibility by its deep pockets of emotion, sly humor and matter-of-fact approach to the fantastical.”

    Screen Daily’s Mark Adams, meanwhile, calls the film “a bold change of pace” for Eastwood, praising him for not “resort[ing] to any clever editing to tell the three parallel stories…those interested in a shrewdly made and well-scripted drama about loss and compassion will be intrigued and impressed.”

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  • Eastwood’s “spiritual chick flick”

    You’ve probably read the countless link-backs to Geoff Boucher’s Hero Complex item about Clint Eastwood and how the actor turned down roles like Superman and James Bond in the 1970s.  Well, you wouldn’t know it, but those quotes actually came in the context of an interview concerning “Hereafter,” Eastwood’s 32nd directorial effort which is set to play Toronto this weekend.

    It’s a solid, conventional piece that builds up anticipation for what may or may not be an Oscar play for Warner Bros.  There are no screenings set in LA during the fest (or at least that’s what I’ve been told), though Patrick Goldstein saw the film and had vague praise to offer almost a month ago.

    We get an idea of the film’s plot throughout the piece, which also includes quotes from star Matt Damon.  Writer Peter Morgan was also interviewed but not quoted.  I’ll admit that I haven’t been following its production.  Eastwood burn-out, maybe, but I’m beginning to sense a fire of interest lighting up inside.  Then again, I guess that’s what pieces like Boucher’s are meant to do, so, bravo WB publicity.

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  • Hope Davis is Hillary Clinton

    Hope DavisYou may recall, a few months ago, Kris confessing his undying love for one Ms. Hope Davis, a crush I fully understand even if I don’t entirely share in it. (My heart is still yours, Ms. Keener.) Bottom line: quirky-beautiful woman, wonderful actress, all-round fox.

    So I’m curious to know how Kris feels about the news of his would-be paramour replacing Julianne Moore to play Hillary Clinton in Peter Morgan’s third Tony Blair project “The Special Relationship.”

    I’m quite pleased with the development: great actress that Moore is, she doesn’t quite strike me as a strident enough screen presence for Clinton. I find it easier to imagine Davis walking the walk with tongue ever-so-slightly in cheek, and to be honest, I find her a moderately closer physical match too. (No offence meant, Kris.)

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  • ‘Let the Right One In’ director Alfredson goes British

    Tomas AlfredsonIs a John Le Carré adaptation now some kind of rite of passage for lauded foreign directors crossing over to English-speaking audiences?

    Okay, I’m stretching. Still, it’s interesting that a few years after Fernando Meirelles made the switch with his take on Le Carré’s “The Constant Gardener,” we now have “Let the Right One In” helmer Tomas Alfredson taking on the British author’s defining work “Tinker, Tailor, Soldier, Spy.”

    ScreenDaily reports that UK stalwart Working Title is shepherding the first big-screen version of Le Carré’s classic espionage novel — which was very successfully adapted for TV in the 1970s, with Alec Guinness famously taking on the role of George Smiley, an elderly spy brought out of retirement to hunt an MI6 mole in the Cold War era.

    No cast has yet been announced for the film, which begins shooting next year. In something of a “Frost/Nixon” reunion, the film is being produced by Working Title heads Tim Bevan and Eric Fellner, while Peter Morgan (also an executive producer) is on script duty.

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  • Peter Morgan to join Bond team

    Peter MorganSometimes wishes really do come true in the movies. After March’s depressing (to me, at least) announcement that writer Peter Morgan was returning to the biopic well once more with a third take on Tony Blair, these were the exact words I wrote:

    I’d love to see his evident grace and wit as a dramatist put to work on something loose and fictitious — perhaps even more genre-based.

    Well, somebody somewhere listened to me (okay, probably not), and voilà — Morgan will be co-writing the 23rd film in the James Bond franchise. Collaborating with now-regular Bond writers Neal Purvis and Robert Wade, Morgan will essentially be taking Paul Haggis’s place as the prestige talented drafted in to class up the joint.

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  • Enough already

    Right, so Michael Sheen obviously ignored my career advice to lay off the biopics for a while. That’s okay. He’s a lot more famous and successful than I am, so I guess he probably knows best.

    But seriously, a third go-round playing Tony Blair in yet another factional Peter Morgan-scripted project? If you haven’t heard already, “The Special Relationship” is a planned BBC/HBO collaboration covering the political allegiance between Blair and Bill Clinton at the tail-end of the century. From the Guardian:

    Michael Sheen is due to return as the former prime minister for the third time, alongside Helen McCrory, reprising her Cherie Blair from The Queen. Dennis Quaid is attached to play the ex-US president, reportedly beating Russell Crowe, Philip Seymour Hoffman, Alec Baldwin and Tim Robbins to the role. Julianne Moore is lined up to play Hillary Clinton. Morgan intends to sidestep casting of Monica Lewinsky by showing the former intern solely in archive footage, including video of her closed-door testimony to Congress.

    Sure, Sheen has that particular impression nailed, but what does he (or we, for that matter) stand to gain from reprising it once more? He’s a gifted actor, no doubt — but I can’t be the only one who’d like to see him expand his range a little. (In any case, wouldn’t it be interesting to see another actor’s interpretation of the role?)

    Much the same, in my opinion, goes for Peter Morgan, who is apparently set to make his directorial debut with this. I’d love to see his evident grace and wit as a dramatist put to work on something loose and fictitious — perhaps even more genre-based. Anyway, kvetching aside, I’m sure this will be a typically classy, intelligent effort. Just wake me when it’s over.

  • ‘The Damned United’

    In a recent interview, Michael Sheen bristles at being labelled an impressionist. Understandably so — he’s a fine actor. However, the answer may be to stop doing quite so many biopics of figures from recent British history: so far, we’ve had Tony Blair (twice), David Frost, Kenneth Williams and now Brian Clough, the controversial British football manager whose brief, ill-fated attempt at heading up Leeds United in 1974 is the subject of “The Damned United,” which drops in the UK on March 27.

    Originally developed with Stephen Frears but now helmed by TV journeyman Tom Hooper (“John Adams”), the film also represents yet another dip into fact-oriented waters for writer Peter Morgan — another talented man who I’d like to see try his hand at something different. The trailer below looks jaunty and entertaining enough (though I don’t see the heavily football-steeped story resonating much across the pond), but am I the only one feeling a bit of déjà vu?

  • New to DVD, the real Frost/Nixon Watergate interviews

    Frost/Nixon: The Original Watergate InterviewsAs Ron Howard’s “Frost/Nixon” continues to step up during the film awards season this year, it might be worth noting that Liberation Entertainment has gone to the trouble of putting together a hell of a study guide: “Frost/Nixon: The Original Watergate Interviews,” currently available on DVD.

    Patching together the Watergate portion of Sir David Frost’s legendary four-part interview session with the former Commander-in-Chief, the DVD captures a moment in time that was of course expanded to an edge-of-your-seat drama by playwright Peter Morgan two years ago.

    One thing that I paid attention to, seeing as I’ve never taken the time to view these interviews in the past (and certainly wasn’t around for their original airing), was Nixon’s unmitigated manipulation, reminding me of Robert McNamara’s peculiar obssession with control in Errol Morris’ sublime “The Fog of War” from 2003.  It also adds a whole other perspective to Frank Langella’s performance on stage and screen, clearly an embodiment of Nixon the idea rather than Nixon the man (because a straight impersonation of the man’s disposition from the interviews would have been perhaps overly awkward and flat).

    The piece runs roughly an hour and a half, with introductory and intermission commentary from Frost himself.  There is also, of course, Frost’s book, “Frost/Nixon: Behind the Scenes of the Nixon Interviews,” if you really want to be completest.

    Here’s a trailer for the DVD:

  • Globe cheers, jeers and predictions

    As ever, this morning’s Golden Globe announcement provided a mixed bag of talking points, with some pleasantly zany curveballs at one end of the scale, and a couple of yawnsome autopilot nominees at the other. Like most awards bodies, they’re never going to get it completely right: for every inspired inclusion or omission there’s an equally perplexing one. (Ralph Fiennes for “The Duchess,” anyone?)

    But looking at the nominees from a bargaining perspective — tempering, for example, my disappointment that Richard Jenkins didn’t make the Best Actor cut with the knowledge that Clint Eastwood didn’t either — I’ve come to the conclusion that I’m happier with them than I expected to be.

    With that in mind, I offer below a couple of my own personal highlights and low points of the nominee list (though, given that I haven’t seen “Milk” yet, I’m leaving off that heated topic), followed by some way-too-early, subject-to-change predictions. Feel free to supply your own.

    THE GOOD

    Comedy rules: The comedy/musical categories are usually a dumping ground for filler nominees in less-than-memorable mainstream products, and previously expressed fear that this year, given the lack of high-profile contenders, they could make some really desperate stretches this year. Happily, the HFPA showed genuine resourcefulness by dipping into indie waters to celebrate the oddball wonders of “Happy-Go-Lucky” and “In Bruges,” while singling out the superb, less-discussed likes of Rebecca Hall and Brendan Gleeson for recognition. With classy, intimate works like “Vicky Cristina Barcelona” and “Last Chance Harvey” joining the mix, the resulting set of nominees is, dare I say it, considerably fresher than their dramatic counterparts. How often can you say that?

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  • 12/8 Oscarweb Round-up

    Tom Hanks in Forrest Gump• Lou Lumenick runs down his 10-best list… [Lumenick on Film]

    • …and calls “Mamma Mia!” the guilty pleasure of the year. [Lumenick on Film]

    • Peter Sciretta gets a juicy tid-bit on the “Forrest Gump” sequel “Gump & Co.” from screenwriter Eric Roth: 9/11 killed the idea and all the principles decided it wasn’t relevant anymore.  Interesting. [/Film]

    • Christopher Nolan elaborates on his four favorite scenes from “The Dark Knight.” [USA Today]

    • Anne Thompson goes deep on why “Australia” misses the mark. [Thompson on Hollywood]

    • Mick Brown sits down with “Doubt” star Meryl Streep. [Daily Telegraph]

    • As the ship sinks around him, Gregg Kilday reports on the box office muscle of this weekend’s Oscar contenders. [Hollywood Reporter]

    • Ariel Kaminer tracks the road to the big screen for Bernhard Schlink’s “The Reader.” [New York Times]

    • Eleanor Clift talks the parallels of “Frost/Nixon” to the current administration, parallels writer Peter Morgan certainly didn’t have in mind. [Newsweek]

    • A refreshing list of the year’s superlatives. [New York Magazine]

  • Eastwood/Spielberg team up with Peter Morgan on ‘Hereafter’

    Peter MorganThe day-to-day deal signings and rumored particulars that end up in the trades are generally no interest to me.  I like to wait until we get a little further down the road, but this project really caught my attention.

    Peter Morgan is sure to leap further toward the head of the writing class this year with “Frost/Nixon,” so his involvement in a DreamWorks project with Steven Spielberg and Clint Eastwood above the line is exciting to say the least.  (Though having said that, I never can shake the opinion of one Oscar-nominated writer/director last year who told me of Morgan’s play: “If I knew all I had to do to make a successful play was have characters front and center spouting off exposition, I’d have been writing plays a long time ago.”  I liked the play, but I find it difficult to argue with that criticism.)

    Anyway, enough catty asides.  Here’s the news from Variety on “Hereafter”:

    Clint Eastwood is in talks to direct the supernatural thriller “Hereafter” for DreamWorks.

    Company, led by principals Steven Spielberg and Stacey Snider, picked up the spec penned by “Frost/Nixon” scribe Peter Morgan in March when it was still a part of Paramount Pictures. DreamWorks held onto the project as part of its separation pact with the Melrose studio and has been wooing Eastwood to board the project for months.

    Plot details are being kept under wraps, but it is described as in the vein of “The Sixth Sense.”

    Kathleen Kennedy is producing.

  • REVIEW: “Frost/Nixon” (**)

    Universal Pictures\' Frost/NixonLondon Film Festival

    For director Ron Howard and screenwriter Peter Morgan, “Frost/Nixon” was always going to be a tricky beast to handle. A film adaptation of Morgan’s own stage play that was itself very much about the powers of television, the relationship between text, medium and audience has shifted in ways I’m not sure the film’s makers have fully accounted for.

    It is one thing to portray a momentous televisual event on the stage, where the intimacy and crackle of live human interaction allows for a very different, and rather more immediate, experience of the proceedings. It is quite another to recreate said event for  television’s closer cousin — with the legendary interviews between David Frost and Richard Nixon that form the spine of the narrative widely available, the film has to recreate the spontaneous feel of history in progress, and in doing so, reveal something in a 30-year-old document that we haven’t already seen.

    It’s a tall order, and with Morgan’s script hewing closely to its source, Howard responds to it in the manner he knows best: with the most prosaic of visual aesthetics to hand, a doggedly linear approach to storytelling and the spotlight thrust squarely on a reliable pair of actors. The approach only gets him so far.  Howard’s hands-off direction makes for an oddly bloodless viewing experience, with a lot of talk standing in for any fresh perspective (or frankly, much of a perspective at all) on the events.

    To be honest, we could have seen this coming. It’s difficult to think of a director less-suited to take on the intricate, minutiae-obsessed writing of Peter Morgan than Howard — a director who, even in his finest films, has always been interested in the big picture first, with characters serving history rather than the other way round.

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  • International ‘Frost’ trailer lands

    The site filmtrailer.dk (link via Awards Daily) has posted what appears to be the international trailer for Ron Howard’s upcoming “Frost/Nixon.”  No comment really.  Looks “safe,” I guess.  The meat of the thing will be the interview sequences, of course.  And we’ll see if Peter Morgan has opened the story up from the stage in a way that appeals.  I think it’s a bit dramatic to be using Clint Mansell’s “Fountain” score toward the end, though…