I hope you didn’t tune into last night’s stripped-down Oscars ceremony for the musical performances. If so, then you definitely missed them all, as the Best Original Song nominees were performed during the pre-show while the Red Carpet was going on.
Celeste, H.E.R., Leslie Odom, Jr., Laura Pausini, Daniel Pemberton, and Diane Warren performed live atop the Dolby Family Terrace, and by most accounts they were one of the highlights of the evening. But if there’s one that stood out to me it was Molly Sandén and her choir of Icelandic children singing the Oscar-nominated song “Husavik” from the actual town of Husavik. And as you might expect from a song from over-the-top Netflix comedy Eurovision, Sandén and her young charges go all-out.
Check out all of the Best Original Song performances that have been cleared by the artists. If the final two are made available I’ll update the post.
Your emcee and DJ for last night’s Oscars was The Roots founding member, Ahmir “Questlove’ Thompson, which made it the perfect time to drop the first full trailer for his directorial debut, Summer of Soul (…Or, When the Revolution Could Not Be Televised). The film, which won the Grand Jury and Audience Awards at Sundance earlier this year, chronicles the 1969 Harlem Cultural Festival. The two-week-long event featured an amazing lineup of Black artists including Stevie Wonder, Gladys Knight & the Pips, Nina Simone, B.B. King, Sly and the Family Stone, and Mahalia Jackson, but has largely been ignored or forgotten by history.
This documentary brings the incredible Harlem Cultural Festival roaring back into the spotlight. I had never heard of the event before this film and it blew me away that such a thing existed without there being more talk of its legacy. That’s pretty much what Questlove was going for here, to remind people that this tremendous moment in Black musical history took place and it needs to be appreciated. I think you can guess, but I quite liked it.
Summer of Soul will be released onto Hulu and theaters on July 2nd.
Tonight was not only for honoring the films of last year, but to promote what many are expecting will be the Oscar contenders of next year. A new trailer for Steven Spielberg’s West Side Story ran during the telecast (which was full of cast from the film), revealing his snappy remake of the Broadway sensation and classic 1961 movie.
The irony about debuting this trailer during tonight’s Oscars, one that has been scaled back because of the pandemic, is that under normal circumstances West Side Story would likely have been a nominee. But the film has been delayed by 20th Century Studios for nearly a year, and will drop this holiday season.
A story of young love and gang warfare in 1957 New York, the song and dance drama stars Ansel Elgort, Rachel Zegler, David Alvarez, Ariana DeBose, Mike Faist, Corey Stoll, Brian d’Arcy James, Curtiss Cook, Ezra Menas, Ben Cook, Sean Harrison Jones, Patrick Higgins, Josh Andrés Rivera, Julius Anthony Rubio, Maddie Ziegler, and Ana Isabelle. Rita Moreno who won an Oscar for Best Supporting Actress for her role as Anita in the 1961 film, returns for this one and was also a presenter tonight.
And with that, the awards season that just would never end, has drawn to a close. The 93rd Academy Awards were held tonight in a subdued, intimate ceremony that sped along at a pretty decent clip, even though winners were basically allowed to talk for as long as they wanted. Even without all of the bells and whistles, there was still a lot that went on tonight, including a little bit of history.
Nomadland took the top prize of the night, Best Picture, on its way to winning three awards in total, including Best Director for Chloe Zhao and Best Actress for Frances McDormand. The win marks McDormand’s third Oscar, while Zhao becomes only the second woman to win for director.
In a slightly unusual move, the night actually ended on the acting categories, which led some (including myself) to assume it meant we were in for a splash. The McDormand win was expected by most analysts, and the final win for Best Actor went to Anthony Hopkins for The Father. He had been coming on strong late, but since he wasn’t even there to accept it felt like a whimper to close the show.
There was a lot of history to be made in the Best Supporting field, where Minari‘s Youn Yuh-jung became the first Asian woman to win an Oscar in 63 years, not since Miyoshi Umeki won in the same category for 1958’s Sayonara. And in Best Supporting Actor, Daniel Kaluuya won his first Oscar for his charismatic performance in Judas and the Black Messiah.
The full list of winners is below:
WRITING (ORIGINAL SCREENPLAY)
JUDAS AND THE BLACK MESSIAH, Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas
MINARI, Written by Lee Isaac Chung
[WINNER] PROMISING YOUNG WOMAN, Written by Emerald Fennell
SOUND OF METAL, Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance
THE TRIAL OF THE CHICAGO 7, Written by Aaron Sorkin
WRITING (ADAPTED SCREENPLAY)
BORAT SUBSEQUENT MOVIEFILM, Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad
[WINNER] THE FATHER, Screenplay by Christopher Hampton and Florian Zeller
NOMADLAND, Written for the screen by Chloé Zhao
ONE NIGHT IN MIAMI…, Screenplay by Kemp Powers
THE WHITE TIGER, Written for the screen by Ramin Bahrani
INTERNATIONAL FEATURE FILM
[WINNER] ANOTHER ROUND, Denmark
BETTER DAYS, Hong Kong
COLLECTIVE, Romania
THE MAN WHO SOLD HIS SKIN, Tunisia
QUO VADIS, AIDA?, Bosnia and Herzegovina
ACTOR IN A SUPPORTING ROLE
SACHA BARON COHEN, The Trial of the Chicago 7
[WINNER] DANIEL KALUUYA, Judas and the Black Messiah
LESLIE ODOM, JR., One Night in Miami…
PAUL RACI, Sound of Metal
LAKEITH STANFIELD, Judas and the Black Messiah
MAKEUP AND HAIRSTYLING
EMMA, Marese Langan, Laura Allen and Claudia Stolze
HILLBILLY ELEGY, Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney
[WINNER] MA RAINEY’S BLACK BOTTOM, Sergio Lopez-Rivera, Mia Neal and Jamika Wilson
MANK, Gigi Williams, Kimberley Spiteri and Colleen LaBaff
PINOCCHIO, Mark Coulier, Dalia Colli and Francesco Pegoretti
COSTUME DESIGN
EMMA, Alexandra Byrne
[WINNER] MA RAINEY’S BLACK BOTTOM, Ann Roth
MANK, Trish Summerville
MULAN, Bina Daigeler
PINOCCHIO, Massimo Cantini Parrini
DIRECTING
ANOTHER ROUND, Thomas Vinterberg
MANK, David Fincher
MINARI, Lee Isaac Chung
[WINNER] NOMADLAND, Chloé Zhao
PROMISING YOUNG WOMAN, Emerald Fennell
SOUND
GREYHOUND, Warren Shaw, Michael Minkler, Beau Borders and David Wyman
MANK, Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin
NEWS OF THE WORLD, Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett
SOUL, Ren Klyce, Coya Elliott and David Parker
[WINNER] SOUND OF METAL, Nicolas Becker, Jaime Baksht, Michellee Couttolenc, Carlos Cortés and Phillip Bladh
SHORT FILM (LIVE ACTION)
FEELING THROUGH, Doug Roland and Susan Ruzenski
THE LETTER ROOM, Elvira Lind and Sofia Sondervan
THE PRESENT, Farah Nabulsi and Ossama Bawardi
[WINNER] TWO DISTANT STRANGERS, Travon Free and Martin Desmond Roe
WHITE EYE, Tomer Shushan and Shira Hochman
SHORT FILM (ANIMATED)
BURROW, Madeline Sharafian and Michael Capbarat
GENIUS LOCI, Adrien Mérigeau and Amaury Ovise
[WINNER] IF ANYTHING HAPPENS I LOVE YOU, Will McCormack and Michael Govier
OPERA, Erick Oh
YES-PEOPLE, Gísli Darri Halldórsson and Arnar Gunnarsson
ANIMATED FEATURE FILM
ONWARD, Dan Scanlon and Kori Rae
OVER THE MOON, Glen Keane, Gennie Rim and Peilin Chou
A SHAUN THE SHEEP MOVIE: FARMAGEDDON, Richard Phelan, Will Becher and Paul Kewley
[WINNER] SOUL, Pete Docter and Dana Murray
WOLFWALKERS, Tomm Moore, Ross Stewart, Paul Young and Stéphan Roelants
DOCUMENTARY (SHORT SUBJECT)
[WINNER] COLETTE, Anthony Giacchino and Alice Doyard
A CONCERTO IS A CONVERSATION, Ben Proudfoot and Kris Bowers
DO NOT SPLIT, Anders Hammer and Charlotte Cook
HUNGER WARD, Skye Fitzgerald and Michael Scheuerman
A LOVE SONG FOR LATASHA, Sophia Nahli Allison and Janice Duncan
DOCUMENTARY (FEATURE)
COLLECTIVE, Alexander Nanau and Bianca Oana
CRIP CAMP, Nicole Newnham, Jim LeBrecht and Sara Bolder
THE MOLE AGENT, Maite Alberdi and Marcela Santibáñez
[WINNER] MY OCTOPUS TEACHER, Pippa Ehrlich, James Reed and Craig Foster
TIME, Garrett Bradley, Lauren Domino and Kellen Quinn
VISUAL EFFECTS
LOVE AND MONSTERS, Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox
THE MIDNIGHT SKY, Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins
MULAN, Sean Faden, Anders Langlands, Seth Maury and Steve Ingram
THE ONE AND ONLY IVAN, Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez
[WINNER] TENET, Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher
ACTRESS IN A SUPPORTING ROLE
MARIA BAKALOVA, Borat Subsequent Moviefilm
GLENN CLOSE, Hillbilly Elegy
OLIVIA COLMAN, The Father
AMANDA SEYFRIED, Mank
[WINNER] YUH-JUNG YOUN, Minari
PRODUCTION DESIGN
THE FATHER, Production Design: Peter Francis; Set Decoration: Cathy Featherstone
MA RAINEY’S BLACK BOTTOM, Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton
[WINNER] MANK, Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
NEWS OF THE WORLD, Production Design: David Crank; Set Decoration: Elizabeth Keenan
TENET, Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
CINEMATOGRAPHY
JUDAS AND THE BLACK MESSIAH, Sean Bobbitt
[WINNER] MANK, Erik Messerschmidt
NEWS OF THE WORLD, Dariusz Wolski
NOMADLAND, Joshua James Richards
THE TRIAL OF THE CHICAGO 7, Phedon Papamichael
FILM EDITING
THE FATHER, Yorgos Lamprinos
NOMADLAND, Chloé Zhao
PROMISING YOUNG WOMAN, Frédéric Thoraval
[WINNER] SOUND OF METAL, Mikkel E. G. Nielsen
THE TRIAL OF THE CHICAGO 7, Alan Baumgarten
MUSIC (ORIGINAL SCORE)
DA 5 BLOODS, Terence Blanchard
MANK, Trent Reznor and Atticus Ross
MINARI, Emile Mosseri
NEWS OF THE WORLD, James Newton Howard
[WINNER] SOUL, Trent Reznor, Atticus Ross and Jon Batiste
MUSIC (ORIGINAL SONG)
[WINNER] FIGHT FOR YOU, from Judas and the Black Messiah; Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
HEAR MY VOICE, from The Trial of the Chicago 7; Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
HUSAVIK, from Eurovision Song Contest: The Story of Fire Saga; Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson
IO SÌ (SEEN), from The Life Ahead (La Vita Davanti a Se); Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
SPEAK NOW, from One Night in Miami…; Music and Lyric by Leslie Odom, Jr. and Sam Ashworth
BEST PICTURE
THE FATHER, David Parfitt, Jean-Louis Livi and Philippe Carcassonne, Producers
JUDAS AND THE BLACK MESSIAH, Shaka King, Charles D. King and Ryan Coogler, Producers
MANK, Ceán Chaffin, Eric Roth and Douglas Urbanski, Producers
MINARI, Christina Oh, Producer
[WINNER] NOMADLAND, Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, Producers
PROMISING YOUNG WOMAN, Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers
SOUND OF METAL, Bert Hamelinck and Sacha Ben Harroche, Producers
THE TRIAL OF THE CHICAGO 7, Marc Platt and Stuart Besser, Producers
ACTRESS IN A LEADING ROLE
VIOLA DAVIS, Ma Rainey’s Black Bottom
ANDRA DAY, The United States vs. Billie Holiday
VANESSA KIRBY, Pieces of a Woman
[WINNER] FRANCES MCDORMAND, Nomadland
CAREY MULLIGAN, Promising Young Woman
ACTOR IN A LEADING ROLE
RIZ AHMED, Sound of Metal
CHADWICK BOSEMAN, Ma Rainey’s Black Bottom
[WINNER] ANTHONY HOPKINS, The Father
GARY OLDMAN, Mank
STEVEN YEUN, Minari
In another good showing for the domestic box office, Mortal Kombat opened with $22.5M, the second-best weekend of the pandemic era. It’s another successful release for Warner Bros., whose Godzilla vs. Kong became tops on that list when it opened just last month. Mortal Kombat was actually pushed back a week in order to give both films a bit more breathing room. Seems to have worked.
Directed by Simon McQuoid, far from a well-known filmmaker, with zero A-list stars, Mortal Kombat didn’t really need any of that. Fans of the video games were eager for a new film that would be superior to the cult classic but still pretty awful 1995 movie, and its panned 1997 sequel. The promise to see all of the R-rated action, blood, gore, and Fatalities on the big screen was a big draw, even with the film opened simultaneously on HBO Max.
Overall reviews were mixed (I quite liked it), with a 55% Rotten Tomatoes score from critics but a B+ Cinemascore from audiences. Worldwide it has hooked $50.1M
Surprisingly, at least to me, Demon Slayer: Mugen Train was just slightly behind with $19.5M, the best foreign-language film debut ever. The highly-anticipated R-rated anime already has $435M worldwide. The $12,188 per-theater-average is the best since Sonic the Hedgehog last year.
On the surface, The Mitchells vs. The Machines takes on a lot of topics we’ve seen done to death. The dysfunctional family whose different personalities have more precedent than their blood relation, that goes on a doomed road trip in an effort to bond. That disconnect is made worse by social media and the ease of technology, with our faces buried in screens all day, who has time to talk with their family about one another’s day? What the animated comedy, which Netflix picked up from Sony in the midst of the pandemic crisis, has done is put all of this in the blender with apocalyptic artificial intelligence doomsday scenarios and quite frankly, the shit shouldn’t work at all. It’s just so much going on; but that’s also part of the film’s explosive, quirky charm that celebrates how weird all of our families are in their own way.
Like a cross between National Lampoon Vacation and I, Robot, co-directors/co-writers Michael Rianda and writer Jeff Rowe’s film leaps off the screen with boundless energy. As it’s produced by Phil Lord and Chris Miller, you can almost see echoes of their tremendously fun Spider-Man: Into the Spider-Verse the way it taps into the splashy elements of comic book style art. But it also goes beyond that, as the chief character in the film, Katie Mitchell (voiced by Abbi Jacobson), is an aspiring filmmaker who turns everything about her life into a movie. This is expressed quite creatively by having her, essentially, take over the film for herself and do all sorts of wild things with it. Considering Katie and her family are dealing with a robot takeover of the world, you can imagine things are already pretty far out there.
Like many creative spirits, Katie found herself a misfit in high school. The other kids just didn’t get her, and that was tolerable mainly because she loves her family. She gets along famously with her weird, dinosaur-obsessed little brother Aaron (voiced by Rianda), and her homemaker mom Linda (Maya Rudolph). Her outdoorsy father Rick (Danny McBride) on the other hand, they just don’t seem to connect anymore. He doesn’t undestand Katie and all of her tech and movie stuff; it’s just foreign to him when he’d rather have the family outdoors chopping wood. When Katie gets into film school in California, she thinks she’s finally found “her people”, and can’t wait to fly off and meet her new friends.
“You need to fix this”, Linda tells her husband, who has always been the guy to take it upon himself to repair anything. But now it’s his family that needs a tune-up, and so he decides to cancel Katie’s plane ticket so the entire Mitchell clan can road trip the journey.
Katie is not amused.
The family drama is soon usurped by humanity’s capture by a rogue PAL virtual assistant (Olivia Colman, having too much fun), who is not happy that her creator has tried to replace her with a newer model. So PAL turns all of the worlds machines against it, luring us in cleverly with the promise of free Wifi (who can resist free Wifi???), with the Mitchells as humankind’s last chance at survival.
Perfectly balancing humor with impactful family melodrama, The Mitchells vs. the Machines reinforces its core themes repeatedly, but manages to do so without being repetitive. The emotional and generational gap between Katie and Rick is what drives them apart, but the Mitchells all have their quirks which make them unique. While it may look like these differences are a wedge, it’s also what makes them special and can bring them together. Stuff like that is hard to see from up close. The Mitchells are weird, that’s just a fact; and they love one another for it rather than attempting to be perfect like their neighbors, who are voiced by “perfect” real-life couple Chrissy Teigen and John Legend. Because this idea is developed constantly throughout, the payoff at the end is wholly satisfying.
Furthermore, this movie is just incredibly funny with sight gags flying at your a mile a minute. You’ll wish you had a family pet Monchi, who sorta resembles a dog, but also a little bit like a pig, and maybe even a loaf of bread? Not even the killer robots can quite figure him out, but they might want to watch him in Katie’s homemade “Dog Cop” movies because they are hilarious! If they don’t make a series of short films or spinoffs it’ll be a crime! So many one-liners and visual goofs zip by (Best Buy is known as “Good Get”) this is easily one of the movies that will benefit from repeat viewing.
Lord and Miller have always attracted stellar voice casts ever since Cloudy with a Chance of Meatballs, and this is no different. Along with the main cast voicing the Mitchell crew, you get fun vocal performances from Fred Armisen and Beck Bennett as a pair of malfunctioning droids accepted by the Mitchells, Charlyne Yi as Aaron’s love interest and equally dinosaur-loving neighbor, and even Conan O’Brien. Let’s just say Saturday Night Live is very well represented.
I would’ve loved to have seen The Mitchells vs. the Machines on a big screen, where the visuals could pop even greater than they already do. It probably would’ve made a killing in theaters, too, as theaters have been starved for animation that feels slightly off the beaten track from Disney and Pixar. Sony Pictures Animation has been excellent at crafting films that are a lot like the Mitchells themselves; funky, a bit peculiar, and ultimately very rewarding.
The Mitchells vs. the Machines is out now in select theaters, and will debut on Netflix beginning April 30th.
*SPOILERS of Falcon and the Winter Soldier below!!*
It’s been the question I’ve been fielding all day ever since the finale of The Falcon and the Winter Soldier. “What’s next?” Well, Marvel Studios aren’t going to let fans of Sam Wilson twist in the wind for long, as they’re planning to continue the story on the big screen.
THR reports that a fourth Captain America film is in the works, one led by Anthony Mackie whose Sam Wilson finally took up the shield for himself. The series largely dealt with Sam’s reluctance to become Captain America, due to reservations about fighting for a country where racism is as prevalent as ever. But he overcame those doubts, humbled the replacement Cap, John Walker, and finally decided to be the hero Steve Rogers wanted him to be.
The series has been received with acclaim by critics and fans alike, so Marvel isn’t going to mess with what works. They’re bringing back showrunner Malcolm Spellman to co-write this new Captain America film alongside Dalan Musson, a staff writer who actually penned the powerful fifth episode titled “Truth”. That episode is the one that revealed Isaiah Bradley’s past and it’s worth wondering whether his story will be part of this movie, as well. Or perhaps this is where we see more of his grandson, Eli Bradley, the future hero known as Patriot?
There a dozen possible story threads from the series that Captain America 4 could follow. Will Bucky (Sebastian Stan) return by Cap’s side? Will Sharon Carter’s (Emily VanCamp) turn to the dark side have an immediate impact? And what about John Walker (Wyatt Russell), who is now fully the USAgent and working alongside the mysterious Valentina (Julia Louis-Dreyfus) who has shady plans of her own.
And does this news have anything to do with Chris Evans’ rumored return as Captain America? Deadline adds that if such a project with Evans exists, it would be separate from Mackie’s.
No word on a director but you’d have to think Marvel is considering Kari Skogland, who did such a great job on the series. If so, this would be her first feature since 2007’s The Stone Angel.
During the production of The Fate of the Furious, it became clear that Vin Diesel and director F. Gary Gray had a rapport. And for a while it seemed Gray might continue on in the franchise for a while similar to Justin Lin, although it was the latter who ended up returning for F9 and beyond. But Diesel and Gray are getting that change to work together again, on a film appropriately-titled Muscle.
Deadline reports Gray will direct Diesel in Muscle, an action-comedy set up at STXfilms. Details on the plot are being kept under wraps, but the latest script was written by John Swetnam (Into the Storm) and Falcon and the Winter Soldier showrunner Malcolm Spellman. Spellman is also just been tapped to co-write a fourth solo Captain America movie.
This will be Gray’s next project and will shoot later this year. He and Diesel first worked together on the 2003 drama, A Man Apart.
Jennifer Lawrence and Adam McKay are currently working together on the upcoming comedy, Don’t Look Up, with star-studded cast in tow. But the two were supposed to teamup for something else first. A few years ago McKay was set to direct Lawrence in Bad Blood, a riches-to-rags film about corporate con artist Elizabeth Holmes. We’ve heard nothing about it since, but now McKay is offering a positive update.
Appearing on the Happy Sad Confused podcast, McKay says Bad Blood is still in the works with Lawrence on board to star…
“In the case of Jen Lawrence, I’ve known Jen for a while…One of the first meetings she ever did in Los Angeles was after her first movie was with me, and … I think she was 17, she might’ve been 18. She worshipped Step Brothers, so when her agent said, ‘Who do you want to meet with?’ I’m sure they weren’t so happy to hear her answer: ‘The guy who did Step Brothers.’ So I’ve known Jen for a long time and have always been dying to work with her…We have been developing the Bad Blood [film]… That is still in development.”
Elizabeth Holmes was a fast-rising star of the corporate world, having founded Theranos, a health tech company, at the age of 19. Years later, she became one of the richest women in the world when she developed a technology that would make blood testing much easier and faster. The company, and Holmes herself, were worth billions. The problem is it was all a fraud. The technology didn’t work. When that became public knowledge, Holmes lost everything.
Holmes’ story is really popular right now, as Hulu has their own project, The Dropout, on the way led by Amanda Seyfried.
As for when Bad Blood will get rolling, it’s hard to say. McKay has a lot on his plate, including a Parasite series for HBO.
As the movie business continues to try and survive the COVID-19 outbreak, many have begun to speak out about the industry’s future. Even before the pandemic, the entire Hollywood framework had begun to change as streaming outlets became more prominent, mid-level films giving way to a plethora of blockbusters, and more. Two of the loudest and most respected voices on the topic are Martin Scorsese and Paul Schrader, which makes any collaborative effort from them both intriguing from a creative standpoint but also for what it might say about their respective career directions.
According to Schrader in a New Yorker piece, he and Scorsese are planning to team-up for a series that will tackle one of their favorite issues: religion. The two infamously collaborated on The Last Temptation of Christ, a controversial film that saw Scorsese direct Schrader’s script.
“Yeah. Well, Scorsese and I are planning something, and it is . . . it would be a three-year series about the origins of Christianity,” said Schrader. “It’s based on the Apostles and on the Apocrypha. It’s called ‘The Apostles and Apocrypha.’ Because people sort of know the New Testament, but nobody knows the Apocrypha. And back in the first century, there was no New Testament, there’s just these stories. And some were true, and some weren’t, and some were forgeries.”
The likelihood is a prestige drama series from Scorsese and Schrader would go to a streaming outlet. Scorsese has been working with digital distribution exclusively starting with Netflix on The Irishman ,and Apple for the upcoming Killers of the Flower Moon. Schrader’s last film was the acclaimed First Reformed, while he has The Card Counter on the way led by Oscar Isaac, Tye Sheridan, and Tiffany Haddish.
We’ll see where this goes, but Scorsese and Schrader are two filmmakers who have found a way to stay relevant even during the winds of change.
