The name “Frank Grillo” does not get thrown around a whole lot, but I think that’s going to change over the next few years. The memorable (albeit small) turns in decent-to-strong films like Warrior and The Grey count for something — well, I at least like to think they count for something — but Joe Carnahan‘s plans to have him lead the Death Wish remake is, quite easily, the biggest step of his entire career thus far. And it’s not a bad step in its own right, either.
But there’s still another supporting turn waiting for him — a good one, it seems. According to Variety, Grillo is the latest (and possibly one of the final) additions to Kathryn Bigelow‘s Osama bin Laden film, tentatively titled Zero Dark Thirty. We don’t know who he’ll be playing, or how big his role will prove to be, but it’s putting him in the company of some big talent; thankfully, I think he’ll be able to acquit himself with relative ease.
The main cast is headlined by Joel Edgerton (his Warrior co-star), Jessica Chastain, Jason Clarke, Édgar Ramírez, Mark Strong, Nash Edgerton, Kyle Chandler, Jennifer Ehle, and Harold Perrineau. Zero Dark Thirty (we’ll just call it that for now) will open on December 19th, thanks to Sony Pictures; Universal have just acquired the international rights.
Is this a good addition for Bigelow and the rest of the cast?
Welcome to the latest episode of our official podcast, The Film Stage Show. This week, editor Nick Newman, writer Danny King, and I dive right into Richard Linklater‘s 12-year intimate epic Boyhood. After that, we take a look at the films coming to theaters and home video in the coming week, including Noah, Twin Peaks: The Entire Mystery, Guardians of the […]
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
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