One of the major question marks of this year’s fall slate was Steven Spielberg‘s Abraham Lincoln biopic, aptly titled Lincoln. Shot last fall, we got a few peeks of Daniel Day-Lewis as our 16th President, but word has been quiet on when we’ll actually get to see the film. With Abraham Lincoln: Vampire Hunter out of the way, leaving very little impact, Disney and DreamWorks have now set a November 9th, 2012 limited release for the film, before expanding wide on November 16th.
This is earlier than last year’s Spielberg double hitters of War Horse and The Adventures of Tintin arrived in the states, a move perhaps exuding more confidence amidst the strong awards season. But like last year, I doubt we’ll see this one getting a premiere on the fall film festival circuit, as producers previously revealed they want to steer clear of the current presidential election. In its initial limited run, it will go up against Joe Wright‘s period drama Anna Karenina and the next James Bond film, Skyfall. It will then face The Twilight Saga: Breaking Dawn – Part 2 in smart counter-programming in wide release, along with a limited bow from the Cannes hit Rust and Bone.
DDL, who may already be getting his Oscar speech ready, is backed up by Joseph Gordon-Levitt, Tommy Lee Jones, David Strathairn and John Hawkes in the film that will be focusing on Lincoln’s pivotal role at the end of the Civil War. With a script by Tony Kushner, Lincoln also includes James Spader, Lee Pace, Jackie Earle Haley, Sally Field, Michael Stuhlbarg, Hal Holbrook, Walton Goggins, Bruce McGill, Tim Blake Nelson, David Oyelowo, Joseph Cross and David Costabile.
Are you looking forward to seeing Lincoln later this year?
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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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