I do, to varying degrees, like all the actors at the center of the next story, but doesn’t this sound like a casting report that would have hit us in 2000? As it goes, Deadline reports that Heather Graham and Carrie-Anne Moss will co-star with Joe Mantegna and Kevin Dillon in Compulsion, which Egidio Coccimiglio has started to direct. And he’s directing the film in Canada, no less.
Scripted by Floyd Byars, the drama follows a cynical, grown-up child star (Moss) who “fears nothing about death” and a chef (Graham), who “fears nothing in life” and is trying to get herself on the Food Network. Mantegna and Dillon‘s roles aren’t being disclosed right now — I’d guess the latter’s playing a love interest to one character, the former a father. (This is based on almost nothing, by the way.) It’s a nice little quartet of onscreen performers, though I’ll require an extra bit or two of information before making some kind of concrete judgement.
Has any interest generated for yourself when it comes to Compulsion?
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 […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
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