Weird sisters have been spinning their witchy webs in stories dating back to Greek mythology, which included a macabre trio of sisters who passed a single eye between them. There is something of that sense of a closed circle of unknowable femininity between the two teenage girls in September Says, the first film to be directed by Greek Weird Wave actor Ariane Labed, based on the 2020 novel Sisters by Daisy Johnson and set between England and Ireland.
July (Mia Tharia) is timid, a new girl at the high school where her sister September (Pascale Kann) already is marked as unruly, aggressive and peculiar, inclined to bullying; she will appoint herself as her sister’s protector. July is relieved to hang back, even when there is a hint that her sister’s control-freakery might include commanding the weather. There is a whiff of the witch about her, too.
The two girls are of Indian extraction,...
July (Mia Tharia) is timid, a new girl at the high school where her sister September (Pascale Kann) already is marked as unruly, aggressive and peculiar, inclined to bullying; she will appoint herself as her sister’s protector. July is relieved to hang back, even when there is a hint that her sister’s control-freakery might include commanding the weather. There is a whiff of the witch about her, too.
The two girls are of Indian extraction,...
- 5/23/2024
- by Stephanie Bunbury
- Deadline Film + TV
Ethan Hawke has directed, written and/or acted in quite a few notably esoteric projects throughout his multi-faceted career, and he’s now come up with another in Wildcat. This one makes use of four Flannery O’Connor stories that tie in to aspects of the writer’s difficult life and truly do illuminate aspects of it in clever and plausible ways. The general public would have no clue as to what’s going on in this often perceptively made film that connects with her work, but the episodes are frequently weird, abruptly amusing and almost always cleverly pertinent in some way.
There’s no question but that Wildcat is a small, narrowly focused work that will be of interest mainly to college literature students, southern academics and particular female writers. But kudos to Hawke for putting even a small spotlight on this singular American writer who, while working through dreadful medical ailments,...
There’s no question but that Wildcat is a small, narrowly focused work that will be of interest mainly to college literature students, southern academics and particular female writers. But kudos to Hawke for putting even a small spotlight on this singular American writer who, while working through dreadful medical ailments,...
- 9/2/2023
- by Todd McCarthy
- Deadline Film + TV
It’s been a long, arduous journey for Halo Infinite. First announced at E3 2018, the game has faced a series of delays, reports of behind-the-scenes drama, and plenty of criticism after its underwhelming unveiling last July. Hitting the stage at E3 2021, 343 Industries had something to prove: is Halo Infinite truly the future of the beloved shooter series or a misstep for the studio?
During the Xbox and Bethesda conference, 343 not only shied away from showing another scripted gameplay demo but chose not to announce a release date for the game. A short cinematic trailer introducing the campaign’s story and a sizzle reel highlighting the multiplayer component were the extent of 343’s time on the stage. At the moment, Halo Infinite is still labeled as a “Holiday 2020” game.
Whether this will be enough to change the perception around Halo Infinite as a troubled sequel remains to be seen, but...
During the Xbox and Bethesda conference, 343 not only shied away from showing another scripted gameplay demo but chose not to announce a release date for the game. A short cinematic trailer introducing the campaign’s story and a sizzle reel highlighting the multiplayer component were the extent of 343’s time on the stage. At the moment, Halo Infinite is still labeled as a “Holiday 2020” game.
Whether this will be enough to change the perception around Halo Infinite as a troubled sequel remains to be seen, but...
- 6/13/2021
- by John Saavedra
- Den of Geek
We’re not even halfway through the year, but 2021 is shaping up to be a record-breaker for Australian films at the box office.
So far, the 25 local films and documentaries to screen theatrically have grossed $67.5 million, according to Numero.
That number means this is already the second highest year for Australian film on record, having overtaken 2001’s annual result of $63.1 million (not adjusting for inflation).
Our best year at the box office was 2015, when ticket sales tallied $88 million, spurred on Mad Max: Fury Road, The Dressmaker, Oddball, The Water Diviner, Paper Planes and Last Cab To Darwin.
With more than half the year to go, that record could be surpassed come December. By way of comparison, in the first six months of 2015, receipts stood at $34 million.
This is an incredible result at the best of times, but is made more so by the fact exhibition is still disrupted by the...
So far, the 25 local films and documentaries to screen theatrically have grossed $67.5 million, according to Numero.
That number means this is already the second highest year for Australian film on record, having overtaken 2001’s annual result of $63.1 million (not adjusting for inflation).
Our best year at the box office was 2015, when ticket sales tallied $88 million, spurred on Mad Max: Fury Road, The Dressmaker, Oddball, The Water Diviner, Paper Planes and Last Cab To Darwin.
With more than half the year to go, that record could be surpassed come December. By way of comparison, in the first six months of 2015, receipts stood at $34 million.
This is an incredible result at the best of times, but is made more so by the fact exhibition is still disrupted by the...
- 6/4/2021
- by Jackie Keast
- IF.com.au
The dynamics of life and death surround Showtime’s new series “The End.” Set in Australia, this dark comedy explores how a mother and daughter relate to ever-changing circumstances. Creator and writer Samantha Strauss offers a balanced look at the realities of personal growth, while also delving into what it means to be a part of the modern familial unit. Director Jessica M. Thompson comes to ‘End’ as a relative novice in the TV industry; her previous experience extends to the well-received feature “The Light of the Moon.” Jonathan Brough joins as director for four episodes and expands his filmography from series such as “Rosehaven.”
Read More: ‘Miracle Workers’ Season 3: TBS Oddball Anthology Series Brings Its Cast To The ‘Oregon Trail’
Harriet Walter and Frances O’Connor star as the generational duo.
Continue reading ‘The End’ Trailer: The New Dark Comedy Series About Aging & Death Arrives On Showtime This Summer at The Playlist.
Read More: ‘Miracle Workers’ Season 3: TBS Oddball Anthology Series Brings Its Cast To The ‘Oregon Trail’
Harriet Walter and Frances O’Connor star as the generational duo.
Continue reading ‘The End’ Trailer: The New Dark Comedy Series About Aging & Death Arrives On Showtime This Summer at The Playlist.
- 5/24/2021
- by Valerie Thompson
- The Playlist
Exclusive: Wes Ball and his Oddball Entertainment banner are moving into a first-look deal at Paramount Pictures. It reunites him with Emma Watts, the Paramount Motion Pictures Group President who gave Ball his start when she headed Fox and he directed the Maze Runner trilogy for the studio.
Ball runs Oddball with Joe Hartwick Jr, and creative execs Henry Wyler and Mara Gagnon stay at a company whose deal at 20th Century Studios expired.
Mike Ireland and Daria Cercek, the recently named Paramount co-presidents said: “We’re are so happy to be able to partner with Wes and Joe as they bring their unique vision and craftsmanship to Paramount Pictures. Together, we will draw on our existing IP and library titles to reimagine beloved properties, as well as build original worlds like Wes has done so amazingly in the past. We can’t wait to see what comes of this collaboration.
Ball runs Oddball with Joe Hartwick Jr, and creative execs Henry Wyler and Mara Gagnon stay at a company whose deal at 20th Century Studios expired.
Mike Ireland and Daria Cercek, the recently named Paramount co-presidents said: “We’re are so happy to be able to partner with Wes and Joe as they bring their unique vision and craftsmanship to Paramount Pictures. Together, we will draw on our existing IP and library titles to reimagine beloved properties, as well as build original worlds like Wes has done so amazingly in the past. We can’t wait to see what comes of this collaboration.
- 1/22/2021
- by Mike Fleming Jr
- Deadline Film + TV
Though known as a prolific playwright, John Patrick Shanley’s film career is notable as the scribe behind oddball heartfelt romances such as Moonstruck and Joe Versus the Volcano, along with being a writer on everything from unabashed b-movies (Congo) to somber reflections on sexual predation and Catholicism like (Doubt).
Today brings the trailer for his first film in more than a decade, Wild Mountain Thyme, about two feuding but inseparable lovers, Anthony (Jamie Dornan) and Rosemary (Emily Blunt), whose romance in Ireland is complicated by a land dispute involving both their families.
Adapted (and expanded) by Shanley from his own Tony-nominated two-hander Outside Mullingar, it’s fair to say that the film looks nothing short of charmingly idiosyncratic, alternating between slapstick meet-cute scenes and sweeping melodrama. Also starring Emily Blunt, Jamie Dornan, Christopher Walken, and Jon Hamm, it should be worth watching for nothing else than trying to divine Walken’s accent.
Today brings the trailer for his first film in more than a decade, Wild Mountain Thyme, about two feuding but inseparable lovers, Anthony (Jamie Dornan) and Rosemary (Emily Blunt), whose romance in Ireland is complicated by a land dispute involving both their families.
Adapted (and expanded) by Shanley from his own Tony-nominated two-hander Outside Mullingar, it’s fair to say that the film looks nothing short of charmingly idiosyncratic, alternating between slapstick meet-cute scenes and sweeping melodrama. Also starring Emily Blunt, Jamie Dornan, Christopher Walken, and Jon Hamm, it should be worth watching for nothing else than trying to divine Walken’s accent.
- 11/10/2020
- by Michael Snydel
- The Film Stage
Frank Woodley.
Many producers fear the Federal Government’s sweeping media reforms will spell the death knell of Australian features, forcing them and some writers and directors to focus on content for streamers or free-to-air broadcasters.
Lowering the Producer Offset for films to 30 per cent from July 2021 will leave a gap of at least 25 per cent of the budgets which most producers will find impossible to fill, according to producer/distributor Sue Maslin.
“The exceptions will be largely foreign-financed films or local films with cast led by foreign actors making the most of Australian financial incentives, cast, crew and locations. That or extremely low budget films with little hope of competing in the cinema market,” the Film Art Media principal tells If.
“I find this summary dismissal of Australian cinema devastating and will be forced to relegate all feature films currently in development to the bottom drawer until we see...
Many producers fear the Federal Government’s sweeping media reforms will spell the death knell of Australian features, forcing them and some writers and directors to focus on content for streamers or free-to-air broadcasters.
Lowering the Producer Offset for films to 30 per cent from July 2021 will leave a gap of at least 25 per cent of the budgets which most producers will find impossible to fill, according to producer/distributor Sue Maslin.
“The exceptions will be largely foreign-financed films or local films with cast led by foreign actors making the most of Australian financial incentives, cast, crew and locations. That or extremely low budget films with little hope of competing in the cinema market,” the Film Art Media principal tells If.
“I find this summary dismissal of Australian cinema devastating and will be forced to relegate all feature films currently in development to the bottom drawer until we see...
- 10/2/2020
- by The IF Team
- IF.com.au
Jane Seymour.
Jane Seymour’s abiding interest in dementia led to her landing the lead role in Ruby’s Choice, producer/director Michael Budd’s drama with comic overtones, which starts shooting in Brisbane later this month.
The British American actress who made her name in the 1970s as Bond girl Solitaire in Live and Let Die and in TV’s The Onedin Line, Our Mutual Friend and Battlestar Galactica, will play the title role, a loving grandmother who has dementia.
Coco Jack Gillies will portray her 16-year-old granddaughter Tash.
Jacqueline McKenzie is Ruby’s daughter Sharon with Stephen Hunter as her husband Doug.
Emerging Brisbane writer Paul Mahoney wrote the screenplay, pitched it to Budd and it immediately struck a chord as the filmmaker lost his grandmother to dementia.
Budd approached Seymour’s agent knowing it was a subject close to her heart: Seymour served as executive producer on Glen Campbell...
Jane Seymour’s abiding interest in dementia led to her landing the lead role in Ruby’s Choice, producer/director Michael Budd’s drama with comic overtones, which starts shooting in Brisbane later this month.
The British American actress who made her name in the 1970s as Bond girl Solitaire in Live and Let Die and in TV’s The Onedin Line, Our Mutual Friend and Battlestar Galactica, will play the title role, a loving grandmother who has dementia.
Coco Jack Gillies will portray her 16-year-old granddaughter Tash.
Jacqueline McKenzie is Ruby’s daughter Sharon with Stephen Hunter as her husband Doug.
Emerging Brisbane writer Paul Mahoney wrote the screenplay, pitched it to Budd and it immediately struck a chord as the filmmaker lost his grandmother to dementia.
Budd approached Seymour’s agent knowing it was a subject close to her heart: Seymour served as executive producer on Glen Campbell...
- 3/10/2020
- by The IF Team
- IF.com.au
‘Ride Like a Girl.’
The Australian films and feature docs released in cinemas last year, including minor contributions from holdovers, generated more than $40.2 million.
While that trailed the 2018 total of $57.4 million, there are several positives for the screen production industry.
The not-so-good news for the broader screen sector is that the 2019 calendar year B.O. seems certain to fall below $1.2 billion for the first time since 2014.
Ten titles including three feature docs – Damon Gameau’s 2040, Richard Lowenstein’s Mystify: Michael Hutchence and Daniel Gordon’s The Australian Dream – each grossed more than $1 million.
Rachel Griffiths’ Ride Like a Girl was the stand-out, raking in $11.5 million. Arguably, Wayne Blair’s Top End Wedding ($5.2 million), Shawn Seet’s Storm Boy ($5 million) and Rachel Ward’s Palm Beach ($4.4 million) fulfilled their potential and reaped the benefits of wide releases and hefty marketing campaigns – a level of support denied to numerous local films.
The Australian films and feature docs released in cinemas last year, including minor contributions from holdovers, generated more than $40.2 million.
While that trailed the 2018 total of $57.4 million, there are several positives for the screen production industry.
The not-so-good news for the broader screen sector is that the 2019 calendar year B.O. seems certain to fall below $1.2 billion for the first time since 2014.
Ten titles including three feature docs – Damon Gameau’s 2040, Richard Lowenstein’s Mystify: Michael Hutchence and Daniel Gordon’s The Australian Dream – each grossed more than $1 million.
Rachel Griffiths’ Ride Like a Girl was the stand-out, raking in $11.5 million. Arguably, Wayne Blair’s Top End Wedding ($5.2 million), Shawn Seet’s Storm Boy ($5 million) and Rachel Ward’s Palm Beach ($4.4 million) fulfilled their potential and reaped the benefits of wide releases and hefty marketing campaigns – a level of support denied to numerous local films.
- 1/5/2020
- by The IF Team
- IF.com.au
‘Ride Like A Girl’
Watching the 2015 Melbourne Cup, Rachel Griffiths didn’t initially know there was a female jockey in the race.
When the commentator first mentioned Michelle Payne’s name, her ears pricked up. When Payne then crossed the line – the first female jockey to ever win the Cup – the room full of women she was in erupted in cheers.
Griffiths continued to be captivated as Michelle’s brother and strapper Stevie Payne ran out to put the sash on horse Prince of Penzance, and the jockey told her naysayers to “get stuffed” in her first interview after dismounting.
She jumped on Google straight away to find out more about her, and within minutes she knew Michelle was the youngest of 10 children, eight of whom were jockeys. Her mother had died when she was six months old – “which officially makes her a Disney princess, because she has an unexpected...
Watching the 2015 Melbourne Cup, Rachel Griffiths didn’t initially know there was a female jockey in the race.
When the commentator first mentioned Michelle Payne’s name, her ears pricked up. When Payne then crossed the line – the first female jockey to ever win the Cup – the room full of women she was in erupted in cheers.
Griffiths continued to be captivated as Michelle’s brother and strapper Stevie Payne ran out to put the sash on horse Prince of Penzance, and the jockey told her naysayers to “get stuffed” in her first interview after dismounting.
She jumped on Google straight away to find out more about her, and within minutes she knew Michelle was the youngest of 10 children, eight of whom were jockeys. Her mother had died when she was six months old – “which officially makes her a Disney princess, because she has an unexpected...
- 9/24/2019
- by jkeast
- IF.com.au
‘Ride Like a Girl’.
Graeme Mason recognises the structural challenges facing independent films but does not subscribe to the view that this is a down year for Australian cinema.
While the Screen Australia CEO acknowledges 2019 has yet to produce a breakout hit like Peter Rabbit, Lion or Ladies in Black, he rates the year to date as very successful on a number of fronts, including:
Seven films have each grossed each more than $1 million. Exhibitors have high hopes for Rachel Griffiths’ Ride Like a Girl, the Michelle Payne biopic staring Teresa Palmer, which Transmission Films launches on September 26; some pundits think it can make upwards of $10 million. The consistent popularity of feature doc such as Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence. Australian films are making their marks at the Sundance, Venice and Toronto International Film Festivals. Shannon Murphy won the gig of directing two episodes of...
Graeme Mason recognises the structural challenges facing independent films but does not subscribe to the view that this is a down year for Australian cinema.
While the Screen Australia CEO acknowledges 2019 has yet to produce a breakout hit like Peter Rabbit, Lion or Ladies in Black, he rates the year to date as very successful on a number of fronts, including:
Seven films have each grossed each more than $1 million. Exhibitors have high hopes for Rachel Griffiths’ Ride Like a Girl, the Michelle Payne biopic staring Teresa Palmer, which Transmission Films launches on September 26; some pundits think it can make upwards of $10 million. The consistent popularity of feature doc such as Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence. Australian films are making their marks at the Sundance, Venice and Toronto International Film Festivals. Shannon Murphy won the gig of directing two episodes of...
- 9/2/2019
- by The IF Team
- IF.com.au
‘Danger Close: The Battle of Long Tan.’
The box office results for the Australian films and feature docs released in cinemas this year underline yet again the deep polarisation in the indie film market between the higher earners and the also-rans.
The top five titles – Wayne Blair’s Top End Wedding, Shawn Seet’s Storm Boy, Anthony Marais’ Hotel Mumbai, Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence – accounted for $15.8 million or 93 per cent of the Oz releases’ takings.
The Aussie films plus holdovers racked up nearly $17 million through the end of July, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40.6 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
Surveying the challenges facing the indie film business, Transmission Films’ Andrew Mackie tells If:...
The box office results for the Australian films and feature docs released in cinemas this year underline yet again the deep polarisation in the indie film market between the higher earners and the also-rans.
The top five titles – Wayne Blair’s Top End Wedding, Shawn Seet’s Storm Boy, Anthony Marais’ Hotel Mumbai, Damon Gameau’s 2040 and Richard Lowenstein’s Mystify: Michael Hutchence – accounted for $15.8 million or 93 per cent of the Oz releases’ takings.
The Aussie films plus holdovers racked up nearly $17 million through the end of July, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40.6 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
Surveying the challenges facing the indie film business, Transmission Films’ Andrew Mackie tells If:...
- 8/2/2019
- by The IF Team
- IF.com.au
Wayne Blair and Miranda Tapsell on the set of ‘Top End Wedding’.
Wayne Blair’s Top End Wedding has edged past Shawn Seet’s Storm Boy to rank as the highest grossing Australian film this year.
At the half way mark of the year, the Australian films and feature docs released in cinemas, plus holdovers, have racked up a modest $15.6 million, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
So can the industry surpass or match the 2018 calendar year total of $57.4 million? That was the third biggest year ever behind 2001’s $63.1 million and the all-time record of 2015’s $88.1 million, the year of Mad Max: Fury Road, The Dressmaker and Oddball.
Exhibitors are optimistic about the outlook for the rest of the year,...
Wayne Blair’s Top End Wedding has edged past Shawn Seet’s Storm Boy to rank as the highest grossing Australian film this year.
At the half way mark of the year, the Australian films and feature docs released in cinemas, plus holdovers, have racked up a modest $15.6 million, according to the Motion Picture Distributors Association of Australia.
That’s a long way below the $40 million generated in the same period last year, led by Peter Rabbit’s $26.6 million, Breath’s $4.4 million (finishing with $4.6 million) and Sweet Country’s $2 million.
So can the industry surpass or match the 2018 calendar year total of $57.4 million? That was the third biggest year ever behind 2001’s $63.1 million and the all-time record of 2015’s $88.1 million, the year of Mad Max: Fury Road, The Dressmaker and Oddball.
Exhibitors are optimistic about the outlook for the rest of the year,...
- 7/2/2019
- by The IF Team
- IF.com.au
‘Nekrotronic.’
Kiah Roache-Turner’s sci-fi horror comedy Nekrotronic will be released in the Us in select cinemas and on VOD and digital HD on August 9 by Momentum Pictures.
“I’m really excited: I think day-and-date is the future for most independent films in the Us,” Kiah tells If. “Some say it is the end of cinema but it’s not: it’s a different way of delivering films to eyeballs.”
One advantage of the day-and-date strategy is limiting the potential for piracy. The Roache-Turner brothers’ Wyrmwood: Road of the Dead was available on iTunes in the Us before the Australian release. “Piracy killed us,” he says.
Produced by Andrew Mason and Troy Lum for Hopscotch Features and Tristan Roache-Turner for Guerrilla Films, Nekrotronic stars Monica Bellucci as Finnegan, CEO of the sinister Daemokon corporation, who is determined to feast on every human soul on the planet via a new smartphone app.
Kiah Roache-Turner’s sci-fi horror comedy Nekrotronic will be released in the Us in select cinemas and on VOD and digital HD on August 9 by Momentum Pictures.
“I’m really excited: I think day-and-date is the future for most independent films in the Us,” Kiah tells If. “Some say it is the end of cinema but it’s not: it’s a different way of delivering films to eyeballs.”
One advantage of the day-and-date strategy is limiting the potential for piracy. The Roache-Turner brothers’ Wyrmwood: Road of the Dead was available on iTunes in the Us before the Australian release. “Piracy killed us,” he says.
Produced by Andrew Mason and Troy Lum for Hopscotch Features and Tristan Roache-Turner for Guerrilla Films, Nekrotronic stars Monica Bellucci as Finnegan, CEO of the sinister Daemokon corporation, who is determined to feast on every human soul on the planet via a new smartphone app.
- 6/14/2019
- by The IF Team
- IF.com.au
Exclusive: Sonoya Mizuno, who played Araminta Lee, a.k.a the bride, in Warner Bros hit rom-com Crazy Rich Asians, has been tapped as the title character in 20th Century Fox’s Wes Ball-directed Mouse Guard, the film adaptation to David Petersen’s Eisner-winning comic book series. She joins Andy Serkis, Thomas Brodie-Sangster, and Idris Elba in the film, which will be shot using motion capture.
The story takes place in medieval times and follows a brotherhood of mice sworn to protect the fellow rodents in their midst.
Matt Reeves is producing the film through his 6th & Idaho shingle along with Boom! Studios’ Ross Richie and Stephen Christy, as well as Ball and Wes and his producing partner Joe Hartwick via the OddBall production company banner.
In addition to Cra, Mizuno starred in the Netflix miniseries Maniac and appeared in the indie film All About Nina, starring Mary Elizabeth Winstead and Common.
The story takes place in medieval times and follows a brotherhood of mice sworn to protect the fellow rodents in their midst.
Matt Reeves is producing the film through his 6th & Idaho shingle along with Boom! Studios’ Ross Richie and Stephen Christy, as well as Ball and Wes and his producing partner Joe Hartwick via the OddBall production company banner.
In addition to Cra, Mizuno starred in the Netflix miniseries Maniac and appeared in the indie film All About Nina, starring Mary Elizabeth Winstead and Common.
- 3/27/2019
- by Amanda N'Duka
- Deadline Film + TV
Idris Elba is on a hot streak. The star of Netflix’s new series, Turn Up Charlie, is in talks to come aboard Mouse Guard, the 20th Century Fox film adaptation to David Petersen’s Eisner-winning comic book series, which is being directed by Wes Ball (Maze Runner trilogy). If the deal goes through, he’ll join Andy Serkis and Thomas Brodie-Sangster in the motion capture pic, which is set in medieval times and follows brotherhood of mice during medieval times sworn to protect the fellow rodents in their midst.
Matt Reeves is producing the film through his 6th & Idaho shingle along with Boom! Studios’ Ross Richie and Stephen Christy. OddBall (Wes Ball’s production company) is producing the project.
Elba, last seen on the big screen in Avengers: Infinity War, marked his directorial debut with Yardie, which had its U.S. theatrical release earlier this month. He recently signed...
Matt Reeves is producing the film through his 6th & Idaho shingle along with Boom! Studios’ Ross Richie and Stephen Christy. OddBall (Wes Ball’s production company) is producing the project.
Elba, last seen on the big screen in Avengers: Infinity War, marked his directorial debut with Yardie, which had its U.S. theatrical release earlier this month. He recently signed...
- 3/22/2019
- by Amanda N'Duka
- Deadline Film + TV
Ryan Corr and Rachael Taylor in ‘Ladies in Black.’
The good news for Australian cinema: Last year ranks as the third biggest ever for Oz films and feature docs released theatrically in the home market.
Another encouraging trend: Eight of the top 30 grossing titles were feature docs, led by Paul Damien Williams’ Gurrumul, Mark Joffe’s Jimmy Barnes: Working Class Boy, Ray Argall’s Midnight Oil 1984, Naina Sen’s The Song Keepers and Catherine Scott’s Backtrack Boys.
The not-so-good news: The top two films, Will Gluck’s Peter Rabbit and Bruce Beresford’s Ladies in Black accounted for nearly 70 per cent of total revenues, while 39 of the 61 new releases each made less than $100,000.
Collectively, local titles including holdovers racked up $57.4 million in 2018, trailing the 2001 total of $63.1 million, according to the Motion Picture Distributors Association of Australia (Mpdaa)
The all-time record is 2015’s $88.1 million, the year of Mad Max: Fury Road,...
The good news for Australian cinema: Last year ranks as the third biggest ever for Oz films and feature docs released theatrically in the home market.
Another encouraging trend: Eight of the top 30 grossing titles were feature docs, led by Paul Damien Williams’ Gurrumul, Mark Joffe’s Jimmy Barnes: Working Class Boy, Ray Argall’s Midnight Oil 1984, Naina Sen’s The Song Keepers and Catherine Scott’s Backtrack Boys.
The not-so-good news: The top two films, Will Gluck’s Peter Rabbit and Bruce Beresford’s Ladies in Black accounted for nearly 70 per cent of total revenues, while 39 of the 61 new releases each made less than $100,000.
Collectively, local titles including holdovers racked up $57.4 million in 2018, trailing the 2001 total of $63.1 million, according to the Motion Picture Distributors Association of Australia (Mpdaa)
The all-time record is 2015’s $88.1 million, the year of Mad Max: Fury Road,...
- 1/6/2019
- by The IF Team
- IF.com.au
‘Storm Boy’ (Photo: Matt Nettheim).
Given the record number of titles flooding into cinemas this year, Australian feature films and documentaries overall have performed respectably, most as limited releases with minimal marketing.
Some 59 Oz titles have launched this year and the Motion Picture Distributors Association of Australia (Mpdaa) expects the final tally will be 61 – six more than in 2017.
The Mpdaa estimates 722 films will have gone out theatrically by the end of the year – up from 697 last year. Collectively Oz films and feature docs including holdovers have racked up $55.2 million, beating last year’s $49.4 million, which was a market share of 4.1 per cent.
(Source: Mpdaa)
That was also ahead of the 2009 total of $54.8 million. The stand-out of the past 10 years was 2015’s $88.1 million, the year of Mad Max: Fury Road, The Dressmaker and Oddball.
The Mpdaa’s stats do not include Joel Edgerton’s Boy Erased, which has qualified for the...
Given the record number of titles flooding into cinemas this year, Australian feature films and documentaries overall have performed respectably, most as limited releases with minimal marketing.
Some 59 Oz titles have launched this year and the Motion Picture Distributors Association of Australia (Mpdaa) expects the final tally will be 61 – six more than in 2017.
The Mpdaa estimates 722 films will have gone out theatrically by the end of the year – up from 697 last year. Collectively Oz films and feature docs including holdovers have racked up $55.2 million, beating last year’s $49.4 million, which was a market share of 4.1 per cent.
(Source: Mpdaa)
That was also ahead of the 2009 total of $54.8 million. The stand-out of the past 10 years was 2015’s $88.1 million, the year of Mad Max: Fury Road, The Dressmaker and Oddball.
The Mpdaa’s stats do not include Joel Edgerton’s Boy Erased, which has qualified for the...
- 11/30/2018
- by The IF Team
- IF.com.au
‘Ladies in Black.’
As the Australian feature films and feature docs released in cinemas this year have surpassed the calendar 2017 total exhibitors generally are happy with the diversity of product and the number of titles that have resonated with mainstream audiences.
While some say there have been too many niche and small-scale films, the consensus is that local films overall have held their own in a fragmented theatrical market and in the face of competition for eyeballs from the burgeoning Netflix and Stan.
Their outlook for 2019 is even more optimistic – if distributors and exhibitors are smart with their dating.
Through Wednesday, Oz films and feature docs including holdovers have racked up $54.2 million, according to the Motion Picture Distributors Association of Australia (Mpdaa), beating last year’s $49.4 million, which was a market share of 4.1 per cent.
So the industry will finish the year ahead of the 2009 total of $54.8 million. The stand-out...
As the Australian feature films and feature docs released in cinemas this year have surpassed the calendar 2017 total exhibitors generally are happy with the diversity of product and the number of titles that have resonated with mainstream audiences.
While some say there have been too many niche and small-scale films, the consensus is that local films overall have held their own in a fragmented theatrical market and in the face of competition for eyeballs from the burgeoning Netflix and Stan.
Their outlook for 2019 is even more optimistic – if distributors and exhibitors are smart with their dating.
Through Wednesday, Oz films and feature docs including holdovers have racked up $54.2 million, according to the Motion Picture Distributors Association of Australia (Mpdaa), beating last year’s $49.4 million, which was a market share of 4.1 per cent.
So the industry will finish the year ahead of the 2009 total of $54.8 million. The stand-out...
- 11/2/2018
- by The IF Team
- IF.com.au
A kinder, gentler Dirty Dozen, Brian G. Hutton’s Kelly’s Heroes’ screwball nature is best summed up by Jack Davis’s typically Mad poster art. Clint Eastwood plays an army grunt with his eye on a cache of German gold who receives able assistance from a motley crew of misfits including Telly Savalas, Don Rickles and Donald Sutherland
The post Kelly’s Heroes appeared first on Trailers From Hell.
The post Kelly’s Heroes appeared first on Trailers From Hell.
- 6/18/2018
- by Charlie Largent
- Trailers from Hell
Mumbai 16th January 2018: Oddball Motion Pictures a leading film and media production company founded by filmmaker Nitin Upadhyaya announced their association with Chanda Group on Monday werein the latter will be funding a seed capital of upto 250 Crores for the feature films and original digital video content that will be exclusively developed and produced by ODDBall Motion Pictures.
This path breaking deal will help the upcoming Production house develop feature films, long form and short form content across genres, and over time, a platform of their own.
Speaking on the association, Chanda group’s managing director, Rahul Chanda said, “Indian Film & Media sector is one of the fastest growing market and in a country which has an exceptional appetite for information and content, it is about time that this sector is explored as a serious business avenue. This association with ODDBall Motion Pictures will help us to power forward in the Industry.
This path breaking deal will help the upcoming Production house develop feature films, long form and short form content across genres, and over time, a platform of their own.
Speaking on the association, Chanda group’s managing director, Rahul Chanda said, “Indian Film & Media sector is one of the fastest growing market and in a country which has an exceptional appetite for information and content, it is about time that this sector is explored as a serious business avenue. This association with ODDBall Motion Pictures will help us to power forward in the Industry.
- 1/18/2018
- by Stacey Yount
- Bollyspice
04.27.17: This list is now final. While I may in the future see additional films that were released in the awards year of 2016, no more films will be added to this list. (I may add links to reviews of films listed here.)
This ranking includes only new theatrical releases viewed for the awards year of 2016 (for eligibility for the Academy Awards and the Ofcs and Awfj awards); some films released in the UK without Us releases (and so ineligible for those awards this year) may also be included, for my own bookkeeping purposes. Links go to my review. Numbers after each entry are Date First Viewed/NYC Release Date/London Release Date; year is 2016 unless otherwise noted.
worth paying multiplex prices for
[5 stars]
Arrival (10.10/11.11/11.10)
La La Land (10.07/12.09/01.13.17)
A Monster Calls (10.06/12.23/01.01.17)
The Lobster (07.16.15/05.13/10.16.15)
Zootropolis (aka Zootopia) (02.22/03.04/03.25)
A Bigger Splash (10.08.15/05.04/02.12)
Miss Sloane (11.20/11.25/05.12.17)
London Road (06.03.15/09.09/06.12.15)
The Girl with All the Gifts (07.26/02.24.17/09.23)
I, Daniel Blake...
This ranking includes only new theatrical releases viewed for the awards year of 2016 (for eligibility for the Academy Awards and the Ofcs and Awfj awards); some films released in the UK without Us releases (and so ineligible for those awards this year) may also be included, for my own bookkeeping purposes. Links go to my review. Numbers after each entry are Date First Viewed/NYC Release Date/London Release Date; year is 2016 unless otherwise noted.
worth paying multiplex prices for
[5 stars]
Arrival (10.10/11.11/11.10)
La La Land (10.07/12.09/01.13.17)
A Monster Calls (10.06/12.23/01.01.17)
The Lobster (07.16.15/05.13/10.16.15)
Zootropolis (aka Zootopia) (02.22/03.04/03.25)
A Bigger Splash (10.08.15/05.04/02.12)
Miss Sloane (11.20/11.25/05.12.17)
London Road (06.03.15/09.09/06.12.15)
The Girl with All the Gifts (07.26/02.24.17/09.23)
I, Daniel Blake...
- 4/27/2017
- by MaryAnn Johanson
- www.flickfilosopher.com
Alison Nisselle, Greg Mclean, Ian Anderson, Deb Cox and Fiona Eagger.
Greg Mclean and Alison Nisselle are among the five industry leaders honoured by Film Victoria at last night.s Screen Leader Awards.
The Screen Leader Awards were established by Film Victoria in 2012 to recognise screen professionals who.ve shown leadership through their achievements and a commitment to further developing the industry.
This year saw the addition of two new categories to recognise writing and directing.
The inaugural Fred Schepisi Award was presented to Mclean, acknowledging his achievements in directing from his 2005 debut feature Wolf Creek through to his most recent film The Belko Experiment, which screened at the 2016 Toronto International Film Festival.
Nisselle, whose credits include television dramas Phoenix, Janus, Bed of Roses and the feature film Healing, received the Jan Sardi Award for her significant achievement as a screenwriter.
Deb Cox and Fiona Eagger, the duo behind Miss...
Greg Mclean and Alison Nisselle are among the five industry leaders honoured by Film Victoria at last night.s Screen Leader Awards.
The Screen Leader Awards were established by Film Victoria in 2012 to recognise screen professionals who.ve shown leadership through their achievements and a commitment to further developing the industry.
This year saw the addition of two new categories to recognise writing and directing.
The inaugural Fred Schepisi Award was presented to Mclean, acknowledging his achievements in directing from his 2005 debut feature Wolf Creek through to his most recent film The Belko Experiment, which screened at the 2016 Toronto International Film Festival.
Nisselle, whose credits include television dramas Phoenix, Janus, Bed of Roses and the feature film Healing, received the Jan Sardi Award for her significant achievement as a screenwriter.
Deb Cox and Fiona Eagger, the duo behind Miss...
- 10/14/2016
- by Staff Writer
- IF.com.au
The Dressmaker.
Apra Amcos and the Agsc have unveiled the nominees for this year's Screen Music Awards.
The Dressmaker is out in front, up for Best Feature Film Score of the Year and Best Soundtrack Album, thanks to the work of David Hirschfelder.
Also up for gongs are well-known names such as Cezary Skubiszewski, Antony Partos, David Bridie, Michael Yezerski, and duo Adam Gock and Dinesh Wicks.
The most nominated composers are Partos and Yezerski, up for four awards each for work across various productions.
First-time nominees include Darren Seltmann, a former member of the Avalanches, and his singer-songwriter wife Sally. Their song from The Letdown, .Dancing in the Darkness., is up for Best Original Song Composed for the Screen.
Other new faces include Adam Moses, Nicholas Robert Thayer, Tristan Dewey, Helen Grimley and Anthony Egizii.
Winners will be announced November 8 at the City Recital Hall, Sydney. Emmy Award winning...
Apra Amcos and the Agsc have unveiled the nominees for this year's Screen Music Awards.
The Dressmaker is out in front, up for Best Feature Film Score of the Year and Best Soundtrack Album, thanks to the work of David Hirschfelder.
Also up for gongs are well-known names such as Cezary Skubiszewski, Antony Partos, David Bridie, Michael Yezerski, and duo Adam Gock and Dinesh Wicks.
The most nominated composers are Partos and Yezerski, up for four awards each for work across various productions.
First-time nominees include Darren Seltmann, a former member of the Avalanches, and his singer-songwriter wife Sally. Their song from The Letdown, .Dancing in the Darkness., is up for Best Original Song Composed for the Screen.
Other new faces include Adam Moses, Nicholas Robert Thayer, Tristan Dewey, Helen Grimley and Anthony Egizii.
Winners will be announced November 8 at the City Recital Hall, Sydney. Emmy Award winning...
- 9/27/2016
- by Jackie Keast
- IF.com.au
Told with a lovely romantic sweep and full of raw, honest emotion, this is a gay love story that’s also just a great love story, full stop. Yay. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto)
A gay love story that’s also just a great love story, full stop? Yay. Without ever denying the particular challenges that faced gay couples in macho, conservative Australia in the 1970s and 80s, and without ignoring the particular horrors of the AIDS epidemic that ravaged an entire generation of young men, Holding the Man manages to elevate the romance of Tim (Ryan Corr: The Water Diviner) and John (Craig Stott) to the universal in a way that few movies about Lgbt relationships have yet to do. Director Neil Armfield (Candy), fortified by spirited,...
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto)
A gay love story that’s also just a great love story, full stop? Yay. Without ever denying the particular challenges that faced gay couples in macho, conservative Australia in the 1970s and 80s, and without ignoring the particular horrors of the AIDS epidemic that ravaged an entire generation of young men, Holding the Man manages to elevate the romance of Tim (Ryan Corr: The Water Diviner) and John (Craig Stott) to the universal in a way that few movies about Lgbt relationships have yet to do. Director Neil Armfield (Candy), fortified by spirited,...
- 6/3/2016
- by MaryAnn Johanson
- www.flickfilosopher.com
facebook
twitter
google+
From Flushed Away and Hunchback to Titan A.E. and Sky High - the family movies that don't get the love they deserve...
When I sit through a film such as Zootropolis, Rango, Frozen, Wreck-It Ralph, Eddie The Eagle or Coraline, I can’t help but be thankful somebody has bothered. As a parent as well as a movie lover, I’ve grown to really dislike family movies that just turn up to act as a surrogate babysitter for 90 minutes, with no intention of becoming anybody’s favourite film. The films I'm going to talk about are the family movies therefore that I think both try and do something a bit more, yet continue to fly under many people's radar.
A bonus mention before we get going, and number 26 in the list, much to my surprise: Alvin & The Chipmunks 4. I was expecting next to zero from it, courtesy...
google+
From Flushed Away and Hunchback to Titan A.E. and Sky High - the family movies that don't get the love they deserve...
When I sit through a film such as Zootropolis, Rango, Frozen, Wreck-It Ralph, Eddie The Eagle or Coraline, I can’t help but be thankful somebody has bothered. As a parent as well as a movie lover, I’ve grown to really dislike family movies that just turn up to act as a surrogate babysitter for 90 minutes, with no intention of becoming anybody’s favourite film. The films I'm going to talk about are the family movies therefore that I think both try and do something a bit more, yet continue to fly under many people's radar.
A bonus mention before we get going, and number 26 in the list, much to my surprise: Alvin & The Chipmunks 4. I was expecting next to zero from it, courtesy...
- 5/26/2016
- Den of Geek
(l-r) Mike Jones, Peter Mattessi.
The Australian Writers Guild has teamed up with Aftrs to present a panel for young screenwriters at Melbourne's Youth Media Festival in July.
The session, titled Writing for Screen: Finding Your Place, will be toplined by multi-platform scribe Mike Jones, a writer and story lecturer at Aftrs, and screenwriter Peter Mattessi (Eastenders, Waterloo Road)..
The duo will talk about the difficulty of breaking in, and the need for writers to diversify and be flexible in the current multiplatform media environment..
Mattessi currently writes for Neighbours, while Jones most recently wrote Aftrs/Start Vr's Vr Noir: A Day Before the Night..
The Youth Media Festival, held at Acmi on July 2, will also include sessions with The Family Law's Benjamin Law and Peter Ivan, the screenwriter of Oddball.
More information on the session is here.
The Australian Writers Guild has teamed up with Aftrs to present a panel for young screenwriters at Melbourne's Youth Media Festival in July.
The session, titled Writing for Screen: Finding Your Place, will be toplined by multi-platform scribe Mike Jones, a writer and story lecturer at Aftrs, and screenwriter Peter Mattessi (Eastenders, Waterloo Road)..
The duo will talk about the difficulty of breaking in, and the need for writers to diversify and be flexible in the current multiplatform media environment..
Mattessi currently writes for Neighbours, while Jones most recently wrote Aftrs/Start Vr's Vr Noir: A Day Before the Night..
The Youth Media Festival, held at Acmi on July 2, will also include sessions with The Family Law's Benjamin Law and Peter Ivan, the screenwriter of Oddball.
More information on the session is here.
- 5/16/2016
- by Staff Writer
- IF.com.au
Ddp Studios general manager.Caroline Pitcher with senior colourist, Brett Manson.
.
Deluxe.s Ddp Studios in South Melbourne has opened new sound mixing suites with associated sound edit and design suites..
Ddp Studios is a national business, with facilities based in Sydney and Melbourne offering complete integration with data Management, picture, sound post and VFX.
The Ddp Sound Melbourne team is led by sound designer, Paul Pirola, and includes experienced senior mixer Andrew Neil.
Ddp Melbourne.s sound team have completed works on International and Australian films such as, Truth (Cate Blanchett), local thriller The Pack, Oddball, 2:22, and independent film Pawno. They are currently working on Science Fiction Volume 1 for Shane Abbess.
Other recent television credits include Hunters, a highly conceptual television series for the NBCUniversal and Syfy cable network, produced by The Walking Dead.s Gale Anne Hurd..
Also, The Beautiful Lie, a major television series shot and...
.
Deluxe.s Ddp Studios in South Melbourne has opened new sound mixing suites with associated sound edit and design suites..
Ddp Studios is a national business, with facilities based in Sydney and Melbourne offering complete integration with data Management, picture, sound post and VFX.
The Ddp Sound Melbourne team is led by sound designer, Paul Pirola, and includes experienced senior mixer Andrew Neil.
Ddp Melbourne.s sound team have completed works on International and Australian films such as, Truth (Cate Blanchett), local thriller The Pack, Oddball, 2:22, and independent film Pawno. They are currently working on Science Fiction Volume 1 for Shane Abbess.
Other recent television credits include Hunters, a highly conceptual television series for the NBCUniversal and Syfy cable network, produced by The Walking Dead.s Gale Anne Hurd..
Also, The Beautiful Lie, a major television series shot and...
- 5/12/2016
- by Inside Film Correspondent
- IF.com.au
Ddp Studios general manager.Caroline Pitcher with senior colourist, Brett Manson.
.
Deluxe.s Ddp Studios in South Melbourne has opened new sound mixing suites with associated sound edit and design suites..
Ddp Studios is a national business, with facilities based in Sydney and Melbourne offering complete integration with data Management, picture, sound post and VFX.
The Ddp Sound Melbourne team is led by sound designer, Paul Pirola, and includes experienced senior mixer Andrew Neil.
Ddp Melbourne.s sound team have completed works on International and Australian films such as, Truth (Cate Blanchett), local thriller The Pack, Oddball, 2:22, and independent film Pawno. They are currently working on Science Fiction Volume 1 for Shane Abbess.
Other recent television credits include Hunters, a highly conceptual television series for the NBCUniversal and Syfy cable network, produced by The Walking Dead.s Gale Anne Hurd..
Also, The Beautiful Lie, a major television series shot and...
.
Deluxe.s Ddp Studios in South Melbourne has opened new sound mixing suites with associated sound edit and design suites..
Ddp Studios is a national business, with facilities based in Sydney and Melbourne offering complete integration with data Management, picture, sound post and VFX.
The Ddp Sound Melbourne team is led by sound designer, Paul Pirola, and includes experienced senior mixer Andrew Neil.
Ddp Melbourne.s sound team have completed works on International and Australian films such as, Truth (Cate Blanchett), local thriller The Pack, Oddball, 2:22, and independent film Pawno. They are currently working on Science Fiction Volume 1 for Shane Abbess.
Other recent television credits include Hunters, a highly conceptual television series for the NBCUniversal and Syfy cable network, produced by The Walking Dead.s Gale Anne Hurd..
Also, The Beautiful Lie, a major television series shot and...
- 5/12/2016
- by Inside Film Correspondent
- IF.com.au
Just Eat It: A Food Waste Story
The UK Green Film Festival is back at the Glasgow film theatre (Gft) this week with a short series of films exploring environmental issues. Running from 3 to 8 May, it includes screenings of Su Rynard's moving documentary The Messenger, about the decline of songbird populations, and Just Eat It: A Food Waste Story, which will be accompanied by a live satellite link Q&A with directors Jenny Rustemeyer and Grant Baldwin.
Also screening will be animated favourites Oddball And The Penguins and Nausicaä Of The Valley Of The Wind. The festival is community led and supported by environmental organisations across the country....
The UK Green Film Festival is back at the Glasgow film theatre (Gft) this week with a short series of films exploring environmental issues. Running from 3 to 8 May, it includes screenings of Su Rynard's moving documentary The Messenger, about the decline of songbird populations, and Just Eat It: A Food Waste Story, which will be accompanied by a live satellite link Q&A with directors Jenny Rustemeyer and Grant Baldwin.
Also screening will be animated favourites Oddball And The Penguins and Nausicaä Of The Valley Of The Wind. The festival is community led and supported by environmental organisations across the country....
- 5/3/2016
- by Jennie Kermode
- eyeforfilm.co.uk
Plus: CinemaCon to anoint comedy trio; and more…
Dave Bautista will join Ryan Gosling, Harrison Ford and Robin Wright in Alcon Entertainment’s Blade Runner sequel.
Plot points remain under the proverbial wraps, however Alcon said the Guardian Of The Galaxy and Spectre veteran would play “an important supporting role”.
Denis Villeneuve is scheduled to begin shooting in July. Warner Bros and Sony handle North American and international distribution, respectively.
Zac Efron, Anna Kendrick and Adam DeVine will receive the CinemaCon Comedy Stars Of The Year Award on April 14. The trio star with Aubrey Plaza in Fox’s comedy Mike and Dave Need Wedding Dates, set to open in North America on July 8. CinemaCon runs in Las Vegas from April 11-14.Burt Reynolds and Amy Smart have joined Sweet Tomato Films and Character Brigade’s family film And There Was Light. As previously announced, Jack Griffo from Nickelodeon show The Thundermans also stars in the story of a young...
Dave Bautista will join Ryan Gosling, Harrison Ford and Robin Wright in Alcon Entertainment’s Blade Runner sequel.
Plot points remain under the proverbial wraps, however Alcon said the Guardian Of The Galaxy and Spectre veteran would play “an important supporting role”.
Denis Villeneuve is scheduled to begin shooting in July. Warner Bros and Sony handle North American and international distribution, respectively.
Zac Efron, Anna Kendrick and Adam DeVine will receive the CinemaCon Comedy Stars Of The Year Award on April 14. The trio star with Aubrey Plaza in Fox’s comedy Mike and Dave Need Wedding Dates, set to open in North America on July 8. CinemaCon runs in Las Vegas from April 11-14.Burt Reynolds and Amy Smart have joined Sweet Tomato Films and Character Brigade’s family film And There Was Light. As previously announced, Jack Griffo from Nickelodeon show The Thundermans also stars in the story of a young...
- 4/4/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Oddball.
.
Australian family film Oddball, starring Shane Jacobson, is set to open the 2016 Tiff Kids Festival.
Australian feature film Blinky Bill: The Movie and short films Riceballs, Junction, Cinema Dhors, The Trophy Thief and The Supermarket will also be premiering at the festival, which is now in its 19th year. .
Oddball is a comedic feature based on a true story about a chicken farmer, his granddaughter and their mischievous dog saving fairy penguins from extinction in an Australian seaside town..
The festival wraps with its closing night film, the Canadian premiere of Little Door Gods, an animated 3D film from first-time feature director Gary Wang that was inspired by Chinese folklore..
The festival features a total of 139 films, comprising 28 features and 111 shorts hailing from 35 countries, including Australia, Canada, Germany, the Netherlands, Philippines, France, India, South Korea, and many more.
All screenings and events take place at Tiff Bell Lightbox...
.
Australian family film Oddball, starring Shane Jacobson, is set to open the 2016 Tiff Kids Festival.
Australian feature film Blinky Bill: The Movie and short films Riceballs, Junction, Cinema Dhors, The Trophy Thief and The Supermarket will also be premiering at the festival, which is now in its 19th year. .
Oddball is a comedic feature based on a true story about a chicken farmer, his granddaughter and their mischievous dog saving fairy penguins from extinction in an Australian seaside town..
The festival wraps with its closing night film, the Canadian premiere of Little Door Gods, an animated 3D film from first-time feature director Gary Wang that was inspired by Chinese folklore..
The festival features a total of 139 films, comprising 28 features and 111 shorts hailing from 35 countries, including Australia, Canada, Germany, the Netherlands, Philippines, France, India, South Korea, and many more.
All screenings and events take place at Tiff Bell Lightbox...
- 3/31/2016
- by Staff Writer
- IF.com.au
Scare Campaign has secured international sales, including a deal with Metrodome Distribution in the UK..
The film, directed by Colin and Cameron Cairnes (100 Bloody Acres) and produced by Julie Ryan (Red Dog), has sold to the UK, Latin America, the Middle East, Turkey, Greece and Indonesia..
.We are thrilled that the fantastic traction Scare Campaign has gained through positive media reviews, sold out screenings and social media, has translated into an international appetite for the film., Ryan said..
The producer and directors have been doing roadshow screenings, taking the film around the country.
.The conventional wisdom is that younger Australians aren't interested in seeing local films on the big screen, but our experience with these event screenings would suggest otherwise", Colin Cairnes said..
"It has been heartening to see a predominantly young audience come to these events and clearly get a kick out of the film's many twists and turns...
The film, directed by Colin and Cameron Cairnes (100 Bloody Acres) and produced by Julie Ryan (Red Dog), has sold to the UK, Latin America, the Middle East, Turkey, Greece and Indonesia..
.We are thrilled that the fantastic traction Scare Campaign has gained through positive media reviews, sold out screenings and social media, has translated into an international appetite for the film., Ryan said..
The producer and directors have been doing roadshow screenings, taking the film around the country.
.The conventional wisdom is that younger Australians aren't interested in seeing local films on the big screen, but our experience with these event screenings would suggest otherwise", Colin Cairnes said..
"It has been heartening to see a predominantly young audience come to these events and clearly get a kick out of the film's many twists and turns...
- 3/31/2016
- by Staff Writer
- IF.com.au
Sweet, silly, charming. A true story about an unlikely canine-assisted project to protect endangered birds, goofily fictionalized to engage kids. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
So this really happened: about 10 years ago, a farmer in Australia trained one of his Maremma sheepdogs, which had been guarding chickens, to instead protect a colony of endangered penguins that was being decimated by foxes. It was a huge success, and the colony is now thriving. I suspect some aspects of the true story have been embellished for the delightful Oddball and the Penguins — “a fairy tale that really happened” — but that first dog really was called Oddball, and that farmer really is actually named Swampy Marsh. Here, in the town of Warrnambook on Australia’s southeastern coast, Swampy (Shane Jacobson: The Dressmaker) and his gradeschooler granddaughter, Olivia...
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
So this really happened: about 10 years ago, a farmer in Australia trained one of his Maremma sheepdogs, which had been guarding chickens, to instead protect a colony of endangered penguins that was being decimated by foxes. It was a huge success, and the colony is now thriving. I suspect some aspects of the true story have been embellished for the delightful Oddball and the Penguins — “a fairy tale that really happened” — but that first dog really was called Oddball, and that farmer really is actually named Swampy Marsh. Here, in the town of Warrnambook on Australia’s southeastern coast, Swampy (Shane Jacobson: The Dressmaker) and his gradeschooler granddaughter, Olivia...
- 2/12/2016
- by MaryAnn Johanson
- www.flickfilosopher.com
Li Bingbing stars in Nest.
.
Filming has wrapped on the largest ever Chinese-Australian co-production at Village Roadshow Studios on the Gold Coast.
The 3-D Movie, Nest, stars Chinese megastar Li Bingbing, Kellan Lutz (The Twilight Saga, Expendables 3), Kelsey Grammer (Transformers), Stef Dawson (The Hunger Games: Mockingjay), Chinese popstar and actor Wu Chun and Shane Jacobson (The Dressmaker, Oddball, Kenny).
Li Bingbing.s most recent film, Zhongkui: Snow Girl and the Dark Crystal, on which Arclight Films holds the worldwide sales rights, earned $80 million in China last year.
She is best known internatiionally for her work in Transformers: Age of Extinction, Resident Evil: Retribution and Detective Dee: Mystery of the Phantom Flame.
Nest is the largest Chinese-Australian co-production to date, with investment funding from Screen Australia and Screen Queensland, and features an award-winning team both in front of and behind the camera..
Visual FX will be created by Cutting Edge and the world renowned,...
.
Filming has wrapped on the largest ever Chinese-Australian co-production at Village Roadshow Studios on the Gold Coast.
The 3-D Movie, Nest, stars Chinese megastar Li Bingbing, Kellan Lutz (The Twilight Saga, Expendables 3), Kelsey Grammer (Transformers), Stef Dawson (The Hunger Games: Mockingjay), Chinese popstar and actor Wu Chun and Shane Jacobson (The Dressmaker, Oddball, Kenny).
Li Bingbing.s most recent film, Zhongkui: Snow Girl and the Dark Crystal, on which Arclight Films holds the worldwide sales rights, earned $80 million in China last year.
She is best known internatiionally for her work in Transformers: Age of Extinction, Resident Evil: Retribution and Detective Dee: Mystery of the Phantom Flame.
Nest is the largest Chinese-Australian co-production to date, with investment funding from Screen Australia and Screen Queensland, and features an award-winning team both in front of and behind the camera..
Visual FX will be created by Cutting Edge and the world renowned,...
- 2/12/2016
- by Brian Karlovsky
- IF.com.au
There was an underrated, Australian comedy entitled Red Dog, which hit screens back in 2011. Tongue-in-cheek and gloriously deadpan, the Kriv Stenders endeavour was a charming, unexpected joy – and much of the same can be said for Stuart McDonald’s Oddball and the Penguins, another dry-witted, Australian picture with a dog in the title
The post Oddball and the Penguins Review appeared first on HeyUGuys.
The post Oddball and the Penguins Review appeared first on HeyUGuys.
- 2/11/2016
- by Stefan Pape
- HeyUGuys.co.uk
★★★☆☆ What is it about penguins? From marching toward mating grounds in the Antarctic, showing off mad tap-dancing skills or ensuring military-style precision in operations on Madagascar, these little critters know how to captivate a cinema audience. They may not be the first creatures that come to mind when thinking of the wildlife Australia has to offer but in the sleepy Victoria town of Warrnambool these little guys are a very big deal. Oddball and the Penguins is based on the true story of a conservationist family and their rambunctious, remarkable Maremma sheepdog. Stuart McDonald's film is a warm and big-hearted tale with just that right dose of magic, teaching valuable environmental and life lessons along the way.
- 2/11/2016
- by CineVue UK
- CineVue
Ahead of Scare Campaign's Australian limited theatrical release later this month, we have a trailer for the film to tide you over.
Press Release: February 3rd, 2016 – The full trailer has been released for Scare Campaign, the upcoming horror feature film from writers and directors Colin and Cameron Cairnes (100 Bloody Acres) and producer Julie Ryan (Red Dog), to coincide with the news that the film will be officially released in late March through an innovative event-style cinema release.
Scare Campaign, which recently scooped the awards at Melbourne’s Monster Fest, including ‘Best Film’ and ‘Best Direction’, will initially host themed preview screenings in February and March. These include anti-Valentines showings at Dendy Newtown and Dendy Canberra, and then a special screening at Beechworth Lunatic Asylum, the abandoned facility that provided the ominous backdrop for the film. Following this, Scare Campaign will kick off a series of event screenings around Australia...
Press Release: February 3rd, 2016 – The full trailer has been released for Scare Campaign, the upcoming horror feature film from writers and directors Colin and Cameron Cairnes (100 Bloody Acres) and producer Julie Ryan (Red Dog), to coincide with the news that the film will be officially released in late March through an innovative event-style cinema release.
Scare Campaign, which recently scooped the awards at Melbourne’s Monster Fest, including ‘Best Film’ and ‘Best Direction’, will initially host themed preview screenings in February and March. These include anti-Valentines showings at Dendy Newtown and Dendy Canberra, and then a special screening at Beechworth Lunatic Asylum, the abandoned facility that provided the ominous backdrop for the film. Following this, Scare Campaign will kick off a series of event screenings around Australia...
- 2/3/2016
- by Tamika Jones
- DailyDead
After merging his company with Wtfn and producing Oddball with Steve Kearney, Richard Keddie has returned to his roots as an independent producer.
Via his banner The Film Company, Keddie is developing a slate of film and TV projects including Stalking Julia, a feature film on Julia Gillard which will star Rachel Griffiths, who will also co-produce.
It was an amicable split from Wtfn after a partnership of two and a half years. .I decided I am happier running my own company,. he tells If.
He.s co-developing some projects with Us-based Sheila Hanahan Taylor, who was one of the producers on Oddball.
He describes his Gillard biopic, which is based partly on Kerry-Anne Walsh's book The Stalking of Julia Gillard, as completely different from the ABC.s The Killing Season.
Sarah Ferguson's three-part documentary, which examined the forces that shaped Labor during the Kevin Rudd / Julia Gillard leadership years,...
Via his banner The Film Company, Keddie is developing a slate of film and TV projects including Stalking Julia, a feature film on Julia Gillard which will star Rachel Griffiths, who will also co-produce.
It was an amicable split from Wtfn after a partnership of two and a half years. .I decided I am happier running my own company,. he tells If.
He.s co-developing some projects with Us-based Sheila Hanahan Taylor, who was one of the producers on Oddball.
He describes his Gillard biopic, which is based partly on Kerry-Anne Walsh's book The Stalking of Julia Gillard, as completely different from the ABC.s The Killing Season.
Sarah Ferguson's three-part documentary, which examined the forces that shaped Labor during the Kevin Rudd / Julia Gillard leadership years,...
- 11/19/2015
- by Don Groves
- IF.com.au
The Australian films and feature documentaries released this year are set to surpass $80 million in B.O. receipts next week, an all-time record in dollars.
Through last Sunday, the total including holdovers from previous years was $76.5 million, according to the Mpdaa..
As If reported, the previous all-time box office record of $63.4 million set in 2001 was broken in early October.
Buoyed by exceptionally strong word of mouth, The Dressmaker collected $3.06 million in its second weekend, down a mere 3 per cent, boosting its earnings to $8.26 million.
Playing so broadly, Jocelyn Moorhouse.s film is unlikely to take a significant hit from Spectre, which opens on Thursday. The Universal release produced by Sue Maslin looks capable of reaching $20 million.
With such an upside for The Dressmaker and modest contributions from Oddball ($10.6 million after eight weekends) and Alex & Eve ($324,000 after three weekends), the calendar year total could go close to $90 million.
Produced by Wtfn's...
Through last Sunday, the total including holdovers from previous years was $76.5 million, according to the Mpdaa..
As If reported, the previous all-time box office record of $63.4 million set in 2001 was broken in early October.
Buoyed by exceptionally strong word of mouth, The Dressmaker collected $3.06 million in its second weekend, down a mere 3 per cent, boosting its earnings to $8.26 million.
Playing so broadly, Jocelyn Moorhouse.s film is unlikely to take a significant hit from Spectre, which opens on Thursday. The Universal release produced by Sue Maslin looks capable of reaching $20 million.
With such an upside for The Dressmaker and modest contributions from Oddball ($10.6 million after eight weekends) and Alex & Eve ($324,000 after three weekends), the calendar year total could go close to $90 million.
Produced by Wtfn's...
- 11/9/2015
- by Don Groves
- IF.com.au
Australian films are certain to sail past $70 million at the national B.O. next week helped by The Dressmaker. Through last Sunday the feature films and docs released in 2015 plus holdovers had amassed $67.2 million, according to the Mpdaa. As If reported, Australian films had already surpassed the all-time box office record of $63.4 million set in 2001. With a hefty ad spend and an extensive publicity campaign orchestrated by Universal Pictures and mostly positive reviews in the lead-up to the Thursday launch, Jocelyn Moorhouse's dramedy is sure to propel the total past $70 million.
The film starring Kate Winslet, Judy Davis, Liam Hemsworth, Sarah Snook and Hugo Weaving is opening at 284 locations..
The Mpdaa.s $67.2 million tally does not include Strangerland, which had a short theatrical release after its Sydney Film Festival premiere and grossed $100,000, according to Transmission. The market share of Australian films is running at about 6.8 per cent with national takings at around $970 million,...
The film starring Kate Winslet, Judy Davis, Liam Hemsworth, Sarah Snook and Hugo Weaving is opening at 284 locations..
The Mpdaa.s $67.2 million tally does not include Strangerland, which had a short theatrical release after its Sydney Film Festival premiere and grossed $100,000, according to Transmission. The market share of Australian films is running at about 6.8 per cent with national takings at around $970 million,...
- 10/28/2015
- by Don Groves
- IF.com.au
Deals have been closed for the Australian family film in territories including the UK, Middle East and Brazil.
Global Screen has inked deals for Australian feature Oddball in multiple terriroties.
Deals have been sealed in: Great Britain and Ireland (Icon), Italy (Microcinema), Poland (Kino Swiat), Middle East (Gulf Film), Bolivia, Ecuador and Peru (Star Films), Brazil (Globo), Ex-Yugoslavia, Albania and Slovenia (Fivia), Cyprus and Turkey (Medyavizyon).
The film stars Shane Jackson (Kenny), Sarah Snook (Steve Jobs) and Alan Tudyk (I, Robot).
Based on a true story, the plot follows a chicken farmer who trains his dog to protect a penguin sanctuary from fox attacks.
Oddball was produced by Wtfn/The Film Company, Pratical Pictures and Kmunications, in co-production with Screen Australia, Fox International Channels in association with Film Victoria.
The film has been a success at the Australian box office, grossing $6.8 million ($9.3 million Aud) in its first three weeks.
Global Screen has inked deals for Australian feature Oddball in multiple terriroties.
Deals have been sealed in: Great Britain and Ireland (Icon), Italy (Microcinema), Poland (Kino Swiat), Middle East (Gulf Film), Bolivia, Ecuador and Peru (Star Films), Brazil (Globo), Ex-Yugoslavia, Albania and Slovenia (Fivia), Cyprus and Turkey (Medyavizyon).
The film stars Shane Jackson (Kenny), Sarah Snook (Steve Jobs) and Alan Tudyk (I, Robot).
Based on a true story, the plot follows a chicken farmer who trains his dog to protect a penguin sanctuary from fox attacks.
Oddball was produced by Wtfn/The Film Company, Pratical Pictures and Kmunications, in co-production with Screen Australia, Fox International Channels in association with Film Victoria.
The film has been a success at the Australian box office, grossing $6.8 million ($9.3 million Aud) in its first three weeks.
- 10/16/2015
- ScreenDaily
Continuing the 2015 resurgence of Australian cinema, Oddball vaulted past Last Cab to Darwin last weekend to rank as the fourth most popular local film in cinemas this year.
As If foreshadowed last week, the Australian feature films and docs released in 2015 plus holdovers were set to break the previous all-time calendar year record of $63.4 million in 2001, the year of Moulin Rouge!, Lantana, The Man Who Sued God and Crocodile Dundee in La.
Mission: accomplished, as the total surpassed an estimated $64 million on Monday.
Produced by Steve Kearney and Richard Keddie and directed by Stuart McDonald, Oddball collected $1.5 million in its third weekend (slipping by 17 per cent), propelling its earnings to $8.1 million.
Jeremy Sims. Last Cab to Darwin has reached $7.1 million while Deane Taylor.s Blinky Bill: The Movie climbed to $2.3 million after pocketing $424,000 in its third session.
George Miller.s Mad Max: Fury Road is the No. 1 local title...
As If foreshadowed last week, the Australian feature films and docs released in 2015 plus holdovers were set to break the previous all-time calendar year record of $63.4 million in 2001, the year of Moulin Rouge!, Lantana, The Man Who Sued God and Crocodile Dundee in La.
Mission: accomplished, as the total surpassed an estimated $64 million on Monday.
Produced by Steve Kearney and Richard Keddie and directed by Stuart McDonald, Oddball collected $1.5 million in its third weekend (slipping by 17 per cent), propelling its earnings to $8.1 million.
Jeremy Sims. Last Cab to Darwin has reached $7.1 million while Deane Taylor.s Blinky Bill: The Movie climbed to $2.3 million after pocketing $424,000 in its third session.
George Miller.s Mad Max: Fury Road is the No. 1 local title...
- 10/5/2015
- by Don Groves
- IF.com.au
Propelled by Oddball and Blinky Bill: The Movie, next week Australian films are set to smash the record for the biggest B.O. total in a single year.
The feature films and docs released in 2015 plus holdovers have amassed an estimated $61.8 million.
Produced by Steve Kearney and Richard Keddie and directed by Stuart McDonald, Oddball raked in $3.55 million in its second week, lifting its earnings to $6.3 million. Deane Taylor.s Blinky Bill climbed to $1.9 million after pocketing a tad over $1 million in its sophomore session.
So by the end of next week the 2015 total will surpass the current record of $63.4 million set in 2001, the year of Moulin Rouge!, Lantana, The Man Who Sued God and Crocodile Dundee in La..
In that year the Australian films. market share was 7.8 per cent. If the 2001 total was adjusted for inflation then 2015 would not be a record in real terms but the market share is a consistent barometer.
The feature films and docs released in 2015 plus holdovers have amassed an estimated $61.8 million.
Produced by Steve Kearney and Richard Keddie and directed by Stuart McDonald, Oddball raked in $3.55 million in its second week, lifting its earnings to $6.3 million. Deane Taylor.s Blinky Bill climbed to $1.9 million after pocketing a tad over $1 million in its sophomore session.
So by the end of next week the 2015 total will surpass the current record of $63.4 million set in 2001, the year of Moulin Rouge!, Lantana, The Man Who Sued God and Crocodile Dundee in La..
In that year the Australian films. market share was 7.8 per cent. If the 2001 total was adjusted for inflation then 2015 would not be a record in real terms but the market share is a consistent barometer.
- 10/1/2015
- by Don Groves
- IF.com.au
Boosted by the school vacation and word of mouth, Stuart McDonald.s Oddball flew through its second weekend, beating two new high-profile Hollywood films. Roadshow.s rustic comedy featuring Shane Jacobson, Sarah Snook, Alan Tudyk and a fluffy blonde maremma whistled up nearly $1.8 million on 293 screens (jumping by 82 per cent), elevating its tally to a terrific $4.5 million.
That was ahead of Roadshow.s Sicario, the violent Mexican drug cartel thriller directed by Denis Villeneuve and featuring Emily Blunt, Benicio del Toro and Josh Brolin. Sicario scored nearly $1.7 million on 228 screens and $2.1 million including the previous week.s advance screenings, a good result for an MA15+ rated film. Universal.s The Visit, a found footage horror/comedy featuring Olivia DeJonge, Ed Oxenbould and Deanna Dunagan, unearthed a middling $1.1 million in its first weekend on 180 screens. That genre typically is not as appealing here as it is in the Us, where writer-director...
That was ahead of Roadshow.s Sicario, the violent Mexican drug cartel thriller directed by Denis Villeneuve and featuring Emily Blunt, Benicio del Toro and Josh Brolin. Sicario scored nearly $1.7 million on 228 screens and $2.1 million including the previous week.s advance screenings, a good result for an MA15+ rated film. Universal.s The Visit, a found footage horror/comedy featuring Olivia DeJonge, Ed Oxenbould and Deanna Dunagan, unearthed a middling $1.1 million in its first weekend on 180 screens. That genre typically is not as appealing here as it is in the Us, where writer-director...
- 9/28/2015
- by Don Groves
- IF.com.au
Australian film Oddball has reached fourth spot at the Australian box office in its first week of release.
.
Produced by Wtfn Entertainment, the film took $2.68 million in seven days plus $83,000 from previews, trailing Universal's Everest and the second weeks of Fox's Maze Runner: The Scorch Trials and Sony's Pixels. .
.
Wtfn.s chief executive, Daryl Talbot said: .The Australian film market is very competitive and the performance of Oddball shows that audiences resonate with real characters and well-told stories," he said.
.
"Wtfn couldn.t be more delighted with the way our first feature film has been received..
.
"While the film performed well after its release on September 17, it has gone into overdrive since school holidays began this week, doubling its take in two days.
.
Oddball stars Shane Jacobson as Alan .Swampy. Marsh, who trains his Maremma dog Oddball to protect a wild penguin sanctuary from foxes. The film is showing nationally now,...
.
Produced by Wtfn Entertainment, the film took $2.68 million in seven days plus $83,000 from previews, trailing Universal's Everest and the second weeks of Fox's Maze Runner: The Scorch Trials and Sony's Pixels. .
.
Wtfn.s chief executive, Daryl Talbot said: .The Australian film market is very competitive and the performance of Oddball shows that audiences resonate with real characters and well-told stories," he said.
.
"Wtfn couldn.t be more delighted with the way our first feature film has been received..
.
"While the film performed well after its release on September 17, it has gone into overdrive since school holidays began this week, doubling its take in two days.
.
Oddball stars Shane Jacobson as Alan .Swampy. Marsh, who trains his Maremma dog Oddball to protect a wild penguin sanctuary from foxes. The film is showing nationally now,...
- 9/24/2015
- by Inside Film Correspondent
- IF.com.au
Australian films looks like maintaining their impressive momentum at cinemas after the premieres last weekend of Oddball and Blinky Bill: The Movie.
Stuart McDonald.s comedy inspired by the true story of chicken farmer Swampy Marsh, who deploys his sheepdog.to protect an endangered Fairy Penguin population, starring Shane Jacobson, Sarah Snook, Coco Gillies.and Alan Tudyk,.rang up $1.07 million in its first four days on 289 screens, including limited previews. . Deane Taylor.s animated movie which features the voices of.Ryan Kwanten, Toni Collette, Robin McLeavy, David Wenham, Rufus Sewell, Richard Roxburgh, Deborah Mailman, Barry Otto and Barry Humphries, took $335,000 on 266 screens, with previews. . Both are positioned to cash in on the two weeks school vacation with.Oddball appealing to families and Blinky Bill drawing young folk and their parents or carers, so their figures should lift during the week. . Steve Kearney, who produced Oddball with Richard Keddie and Sheila Hanahan Taylor,...
Stuart McDonald.s comedy inspired by the true story of chicken farmer Swampy Marsh, who deploys his sheepdog.to protect an endangered Fairy Penguin population, starring Shane Jacobson, Sarah Snook, Coco Gillies.and Alan Tudyk,.rang up $1.07 million in its first four days on 289 screens, including limited previews. . Deane Taylor.s animated movie which features the voices of.Ryan Kwanten, Toni Collette, Robin McLeavy, David Wenham, Rufus Sewell, Richard Roxburgh, Deborah Mailman, Barry Otto and Barry Humphries, took $335,000 on 266 screens, with previews. . Both are positioned to cash in on the two weeks school vacation with.Oddball appealing to families and Blinky Bill drawing young folk and their parents or carers, so their figures should lift during the week. . Steve Kearney, who produced Oddball with Richard Keddie and Sheila Hanahan Taylor,...
- 9/21/2015
- by Don Groves
- IF.com.au
Australian films are poised to record their highest share of the national box-office for 14 years, which goes a long way towards regaining the faith of audiences after a long lean spell.
Through last Sunday, the feature films and docs released in 2015 plus holdovers had racked up $52.9 million. With Jeremy Sims. Last Cab to Darwin and Neil Armfield.s Holding the Man earning tidy sums and Stuart McDonald.s Oddball and Deane Taylor.s Blinky Bill the Movie opening on Thursday, the total will soon surpass 2009.s $54.7 million.
It might be a stretch but 2015 could come close to the all-time record of $63.4 million in 2001, the year of Moulin Rouge!, Lantana, The Man Who Sued God and Crocodile Dundee in La. After a strong start to the year from Mad Max: Fury Road, The Water Diviner, Paper Planes and That Sugar Film, Aussie films already have eclipsed 2014.s lowly $26.1 million (a market...
Through last Sunday, the feature films and docs released in 2015 plus holdovers had racked up $52.9 million. With Jeremy Sims. Last Cab to Darwin and Neil Armfield.s Holding the Man earning tidy sums and Stuart McDonald.s Oddball and Deane Taylor.s Blinky Bill the Movie opening on Thursday, the total will soon surpass 2009.s $54.7 million.
It might be a stretch but 2015 could come close to the all-time record of $63.4 million in 2001, the year of Moulin Rouge!, Lantana, The Man Who Sued God and Crocodile Dundee in La. After a strong start to the year from Mad Max: Fury Road, The Water Diviner, Paper Planes and That Sugar Film, Aussie films already have eclipsed 2014.s lowly $26.1 million (a market...
- 9/15/2015
- by Don Groves
- IF.com.au
Australian films are poised to record their highest share of the national box-office for 10 years, which goes a long way towards regaining the faith of audiences after a long lean spell.
Through last Sunday, the feature films and docs released in 2015 plus holdovers had racked up $52.9 million. With Jeremy Sims. Last Cab to Darwin and Neil Armfield.s Holding the Man earning tidy sums and Stuart McDonald.s Oddball and Deane Taylor.s Blinky Bill the Movie opening on Thursday, the total will soon surpass 2009.s $54.7 million, the best result in the past 10 years. After a strong start to the year from Mad Max: Fury Road, The Water Diviner, Paper Planes and That Sugar Film, Aussie films already have eclipsed 2014.s lowly $26.1 million (a market share of 2.43 per cent) and 2013's $38.5 million. Despite some critical acclaim, Ruben Guthrie, Women He.s Undressed and Partisan did not resonate strongly and Manny Lewis tanked.
Through last Sunday, the feature films and docs released in 2015 plus holdovers had racked up $52.9 million. With Jeremy Sims. Last Cab to Darwin and Neil Armfield.s Holding the Man earning tidy sums and Stuart McDonald.s Oddball and Deane Taylor.s Blinky Bill the Movie opening on Thursday, the total will soon surpass 2009.s $54.7 million, the best result in the past 10 years. After a strong start to the year from Mad Max: Fury Road, The Water Diviner, Paper Planes and That Sugar Film, Aussie films already have eclipsed 2014.s lowly $26.1 million (a market share of 2.43 per cent) and 2013's $38.5 million. Despite some critical acclaim, Ruben Guthrie, Women He.s Undressed and Partisan did not resonate strongly and Manny Lewis tanked.
- 9/15/2015
- by Don Groves
- IF.com.au
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.