Nearly eight years after it called wrap, “Project Greenlight” is back! Newly named “Project Greenlight: New Generation,” the documentary series will premiere on Max this Thursday, July 13, 2023. Now under the producing power and tutelage of multihyphenate Issa Rae (“Insecure”), audiences will get a look at the filmmaking process as first-time filmmakers get a chance to bring their dreams to feature-length reality. “Project Greenlight: New Generation” will debut its eight-episode Season 1 on July 13. You can watch Project Greenlight: Season 1 with a 7-Day Free Trial of Max.
How to Watch ‘Project Greenlight’ 2023 Reboot Premiere When: Thursday, July 13, 2023 Where: Max Stream: Watch with a 7-Day Free Trial of Max. 7-Day Free Trial$9.99+ / month Max via amazon.com
Get 20% Off Your Next Year of Max When Pre-Paid Annually
About ‘Project Greenlight’ 2023 Reboot Premiere
Now produced by “Insecure” creator/star Issa Rae, the reboot of “Project Greenlit” will offer a window into the filmmaking process...
How to Watch ‘Project Greenlight’ 2023 Reboot Premiere When: Thursday, July 13, 2023 Where: Max Stream: Watch with a 7-Day Free Trial of Max. 7-Day Free Trial$9.99+ / month Max via amazon.com
Get 20% Off Your Next Year of Max When Pre-Paid Annually
About ‘Project Greenlight’ 2023 Reboot Premiere
Now produced by “Insecure” creator/star Issa Rae, the reboot of “Project Greenlit” will offer a window into the filmmaking process...
- 7/13/2023
- by Ashley Steves
- The Streamable
HBO is giving a second life to an acclaimed show that ended far too soon. On Wednesday, the network announced plans to revive documentary series Project Greenlight, more than a decade after the program's original run. Produced by Ben Affleck and Matt Damon, the series involves the search for a first-time director and chronicles the behind-the-scenes process of turning a script into a feature film.
10 Best Movies of 2013
"Project Greenlight was ahead of its time," said Affleck in a statement. "Now that technology has caught up to the concept, we...
10 Best Movies of 2013
"Project Greenlight was ahead of its time," said Affleck in a statement. "Now that technology has caught up to the concept, we...
- 4/30/2014
- Rollingstone.com
No surprise there. It goes without saying that James Cameron's sci-fi spectacle Avatar has the potential to clean house at the 8th Annual Ves Awards for its breath taking visuals by the acclaimed Weta Digital. Cameron will also be picking up a well-deserved Lifetime Achievement Award. In the outstanding animated feature category, the nominees include Up, 9, Coraline, Cloudy with a Chance of Meatballs and Ice Age: Dawn of the Dinosaurs.
The official press release is as followed:
3-D Films Dominate With Most Noms as Avatar grabs 11, Coraline 4, and Visual Effects Company Weta Digital Snags Most Company Noms with 9
Los Angeles, January 19, 2010 - The Visual Effects Society (Ves) today announced the nominees for the 8th Annual Ves Awards ceremony recognizing outstanding visual effects artistry in over twenty categories of film, animation, television, commercials and video games. Nominees were chosen Saturday, January 16, 2010, by numerous blue ribbon panels of Ves members who...
The official press release is as followed:
3-D Films Dominate With Most Noms as Avatar grabs 11, Coraline 4, and Visual Effects Company Weta Digital Snags Most Company Noms with 9
Los Angeles, January 19, 2010 - The Visual Effects Society (Ves) today announced the nominees for the 8th Annual Ves Awards ceremony recognizing outstanding visual effects artistry in over twenty categories of film, animation, television, commercials and video games. Nominees were chosen Saturday, January 16, 2010, by numerous blue ribbon panels of Ves members who...
- 1/22/2010
- Screen Anarchy
James Cameron's "Avatar" led the list of nominations announced Monday by the Visual Effects Society, scooping up 11.
The animated "Coraline," another movie released in 3D, followed with four nominations.
New Zealand-based Weta Digital, which worked on "Avatar," led the company noms with nine.
For visual effects in an effects-driven motion picture feature, the nominees are "2012," "Avatar," "District 9," "Star Trek" and "Transformers: Revenge of the Fallen."
Noms for supporting visual effects in a movie went to "Angels & Demons," "The Box," "Invictus," "The Road" and "Sherlock Holmes."
"9," "Cloudy With a Chance of Meatballs," "Coraline," "Ice Age: Dawn of the Dinosaurs" and "Up" were nominated for outstanding animation in an animated feature.
Ves noms in 20 categories, covering film, animation, TV, commercials and video games were chosen Saturday by blue-ribbon panels of Ves members, meeting in Burbank, San Francisco and London.
The eighth annual Ves Awards will be handed out on Feb.
The animated "Coraline," another movie released in 3D, followed with four nominations.
New Zealand-based Weta Digital, which worked on "Avatar," led the company noms with nine.
For visual effects in an effects-driven motion picture feature, the nominees are "2012," "Avatar," "District 9," "Star Trek" and "Transformers: Revenge of the Fallen."
Noms for supporting visual effects in a movie went to "Angels & Demons," "The Box," "Invictus," "The Road" and "Sherlock Holmes."
"9," "Cloudy With a Chance of Meatballs," "Coraline," "Ice Age: Dawn of the Dinosaurs" and "Up" were nominated for outstanding animation in an animated feature.
Ves noms in 20 categories, covering film, animation, TV, commercials and video games were chosen Saturday by blue-ribbon panels of Ves members, meeting in Burbank, San Francisco and London.
The eighth annual Ves Awards will be handed out on Feb.
- 1/18/2010
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
Opens
Friday, Aug. 22
New York and Los Angeles
Anyone who has been watching the HBO series "Project Greenlight" already has a good idea of the faults of this debut feature because they have been extensively detailed by the producers, screenwriter, directors and just about everybody else connected with the production. The second feature to have its creation documented by the popular reality series, "The Battle of Shaker Heights" is rather superior to the first effort, "Stolen Summer", but not by much.
Like the earlier film, it is another heartfelt coming-of-age story that plays much more like a television movie than a theatrical feature and is likely to achieve similarly dismal boxoffice results. It makes one wonder if the creators of "Project Greenlight" are deliberately trying to create bad films in order to make for better television.
As well commented upon in the series, the most distinctive element of the film is the excellent lead performance by Shia LaBeouf ("Holes"), who plays the central role of Kelly Ernswiler, a troubled 17-year-old high school student. Kelly's main passion in life is participating in re-enactments of famous military battles, though his natural rebelliousness prevents him from playing by the rules.
Kelly is going through an awkward adolescent stage: He's dissatisfied at school, where he often knows more than his teachers, he's being harassed by a schoolyard bully
and he harbors deep resentment toward his father, a former addict who now devotes himself to social work.
Kelly finds a new friend in Bart (Elden Henson), a fellow war re-enactor whose upper-class upbringing contrasts sharply with his own modest lifestyle. When Kelly becomes romantically smitten with Bart's beautiful, about-to-be-married older sister, Tabby (Amy Smart), it leads to complications that confuse him even more.
As the series well depicts, there's an obvious disconnect between the sensitive if inconsistent screenplay by Erica Beeney and the conflicted treatment it has received at the hands of first-time directors Kyle Rankin and Efram Potelle. Most notably, the film veers sharply back and forth between broad comedy and heartfelt drama, ultimately succeeding on neither level.
The dramatic scenes, which have apparently been minimized at the directive of the Miramax overseers, feel truncated and undeveloped and generally don't play very well. The comedic segments fare better, though several sequences are far too overdone, most notably the opening fake-battle scene and an episode in which Kelly gets elaborate revenge on his teenage tormentor. With a running time of 80 minutes, the film feels choppy and unfocused, clearly the result of the limited budget and shooting schedule, the inexperience of the principal creators and the conflicting goals of the filmmakers and the studio.
This is not to say that the enterprise doesn't display a degree of talent. The directors do impressive work on some individual scenes, even if their sensibilities ultimately don't match the material. Beeney's screenplay, while not terribly original or cohesive, at least reveals a personal approach that bodes well for future efforts, and her main character, Kelly, is a distinctive and original creation. The character is superbly realized by LaBeouf, who well balances the role's comedic and emotional demands and whose screen presence always commands attention.
The supporting cast members are generally effective in their often under-realized roles, with particularly sterling work by Henson as Kelly's bemused buddy, Smart as the confused object of Kelly's desire and Anson Mount as her smooth fiance.
Kathleen Quinlan and William Sadler are solid as Kelly's well-meaning parents, even if they are afforded limited screen time.
The film's technical aspects, while clearly reflecting the production's budgetary limitations, reflect the competent professionalism of everyone involved.
The Battle of Shaker Heights
Miramax Films
LivePlanet
Credits: Directors: Kyle Rankin, Efram Potelle
Screenwriter: Erica Beeney
Producers: Chris Moore, Jeff Balis
Executive producers: Rick Schwartz, Joel Hatch, Ben Affleck, Matt Damon
Associate producers: Alex Keledjian, Larry Tanz, Marc Joubert
Director of photography: Thomas E. Ackerman
Production designer: Lisa K. Sessions
Film editor: Richard Nord
Music: Richard Marvin. Cast: Kelly Ernswiler: Shia LaBeouf
Bart Bowland: Elden Henson
Tabby Bowland: Amy Smart
Lance: Billy Kay
Eve Ernswiler: Kathleen Quinlan
Sarah: Shiri Appleby
Abe Ernswiler: William Sadler
Harrison Bowland: Ray Wise
Miner Weber: Anson Mount
Running time -- 80 minutes
MPAA rating: PG-13...
Friday, Aug. 22
New York and Los Angeles
Anyone who has been watching the HBO series "Project Greenlight" already has a good idea of the faults of this debut feature because they have been extensively detailed by the producers, screenwriter, directors and just about everybody else connected with the production. The second feature to have its creation documented by the popular reality series, "The Battle of Shaker Heights" is rather superior to the first effort, "Stolen Summer", but not by much.
Like the earlier film, it is another heartfelt coming-of-age story that plays much more like a television movie than a theatrical feature and is likely to achieve similarly dismal boxoffice results. It makes one wonder if the creators of "Project Greenlight" are deliberately trying to create bad films in order to make for better television.
As well commented upon in the series, the most distinctive element of the film is the excellent lead performance by Shia LaBeouf ("Holes"), who plays the central role of Kelly Ernswiler, a troubled 17-year-old high school student. Kelly's main passion in life is participating in re-enactments of famous military battles, though his natural rebelliousness prevents him from playing by the rules.
Kelly is going through an awkward adolescent stage: He's dissatisfied at school, where he often knows more than his teachers, he's being harassed by a schoolyard bully
and he harbors deep resentment toward his father, a former addict who now devotes himself to social work.
Kelly finds a new friend in Bart (Elden Henson), a fellow war re-enactor whose upper-class upbringing contrasts sharply with his own modest lifestyle. When Kelly becomes romantically smitten with Bart's beautiful, about-to-be-married older sister, Tabby (Amy Smart), it leads to complications that confuse him even more.
As the series well depicts, there's an obvious disconnect between the sensitive if inconsistent screenplay by Erica Beeney and the conflicted treatment it has received at the hands of first-time directors Kyle Rankin and Efram Potelle. Most notably, the film veers sharply back and forth between broad comedy and heartfelt drama, ultimately succeeding on neither level.
The dramatic scenes, which have apparently been minimized at the directive of the Miramax overseers, feel truncated and undeveloped and generally don't play very well. The comedic segments fare better, though several sequences are far too overdone, most notably the opening fake-battle scene and an episode in which Kelly gets elaborate revenge on his teenage tormentor. With a running time of 80 minutes, the film feels choppy and unfocused, clearly the result of the limited budget and shooting schedule, the inexperience of the principal creators and the conflicting goals of the filmmakers and the studio.
This is not to say that the enterprise doesn't display a degree of talent. The directors do impressive work on some individual scenes, even if their sensibilities ultimately don't match the material. Beeney's screenplay, while not terribly original or cohesive, at least reveals a personal approach that bodes well for future efforts, and her main character, Kelly, is a distinctive and original creation. The character is superbly realized by LaBeouf, who well balances the role's comedic and emotional demands and whose screen presence always commands attention.
The supporting cast members are generally effective in their often under-realized roles, with particularly sterling work by Henson as Kelly's bemused buddy, Smart as the confused object of Kelly's desire and Anson Mount as her smooth fiance.
Kathleen Quinlan and William Sadler are solid as Kelly's well-meaning parents, even if they are afforded limited screen time.
The film's technical aspects, while clearly reflecting the production's budgetary limitations, reflect the competent professionalism of everyone involved.
The Battle of Shaker Heights
Miramax Films
LivePlanet
Credits: Directors: Kyle Rankin, Efram Potelle
Screenwriter: Erica Beeney
Producers: Chris Moore, Jeff Balis
Executive producers: Rick Schwartz, Joel Hatch, Ben Affleck, Matt Damon
Associate producers: Alex Keledjian, Larry Tanz, Marc Joubert
Director of photography: Thomas E. Ackerman
Production designer: Lisa K. Sessions
Film editor: Richard Nord
Music: Richard Marvin. Cast: Kelly Ernswiler: Shia LaBeouf
Bart Bowland: Elden Henson
Tabby Bowland: Amy Smart
Lance: Billy Kay
Eve Ernswiler: Kathleen Quinlan
Sarah: Shiri Appleby
Abe Ernswiler: William Sadler
Harrison Bowland: Ray Wise
Miner Weber: Anson Mount
Running time -- 80 minutes
MPAA rating: PG-13...
- 8/22/2003
- The Hollywood Reporter - Movie News
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