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variety.com

11.01.2024 / 20:09

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How ‘Ferrari’ Sourced $70 Million Vintage Cars to Create Authentic Racing Sequences

Todd Gilchrist editor Michael Mann’s 12th film, “Ferrari” was always meant to do more than catalog the achievements of a legendary racing team and its automotive parent. Even so, its story climaxes with a pivotal race in the brand’s history — the 1957 Mille Miglia — that required a tremendous amount of work, and more than a little luck to recreate.

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The Best Movie Moments of 2023

Variety staffers reflected on some of the most standout scenes from the year’s top contenders. For 2023, there’s been no shortage of imaginative and inspiring storytelling crafted by both award-winning pros and newcomers — and each one has gifted audiences memorable scenes that have left us laughing, crying, and with plenty to think about long after the credits have rolled.

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10 Essential Christmas Albums, From Phil Spector to Motown to ‘Charlie Brown’

Todd Gilchrist editor Great Christmas songs, and great versions of great Christmas songs, are as plentiful as letters to Santa Claus. It’s the holiday for which various-artists compilations were seemingly created (and why the two-disc set “Now That’s What I Call Christmas” was certified 6x platinum just three years after its 2001 release).

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How ‘Winning Time”s Rollerblade-Wearing Cameraman Helped Capture More Than L.A. Lakers Gameplay On the Court

Todd Gilchrist editor Season one of “Winning Time: The Rise of the Lakers Dynasty” ended on an appropriately triumphant note with the Los Angeles Lakers’ victory over the Boston Celtics in the 1980 NBA Championships. Not only was Jerry Buss (John C.

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James Cameron Spotlights ‘The Abyss’ Underwater Training in New ‘Deep Dive’ Documentary Clip

Todd Gilchrist editor Even among James Cameron’s epic and frequently arduous productions, from “Titanic’s” nine months of filming to the three years spent on “Avatar: The Way of Water,” “The Abyss” was particularly ambitious — and difficult: The 1989 thriller was shot almost entirely underwater, requiring its crew and cast to learn how to shoot, and act, while using diving equipment with which many of them were completely unfamiliar. “You show up to do a diving movie, you’re going to have to dive,” says Cameron in a new clip from bonus features accompanying the film’s digital release on Tuesday.

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Variety’s 10 Screenwriters to Watch for 2023 Include Scribes for ‘The Marvels,’ ‘Rustin’ and ‘The Color Purple’

Todd Gilchrist editor In a year in which evaluating the contributions of writers became a major point of contention across the entertainment industry, Variety is especially pleased to announce its list of 10 Screenwriters to Watch. Some among them are scribes whose work has already made waves — cultural as much as commercial — with others on the precipice of transforming this year’s awards season and the broader landscape of film for years to come.

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Wes Anderson on How ‘Asteroid City’ Star Jason Schwartzman Helped Inspire His Latest Film

Todd Gilchrist editor Wes Anderson’s “Asteroid City” is a nesting doll of a film—a television broadcast of a documentary about a play, assembled with the same precision and detail as Anderson’s “The Royal Tenenbaums,” “The Grand Budapest Hotel” and “The French Dispatch” among others. Thematically, the connective tissue between its layers of reality, like many of those earlier films, is the notion and processing of loss.

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Screenwriters Behind ‘BlackBerry,’ ‘Flamin Hot’ Share How They Turned Brands Into Stories: ‘We Never Saw Our Movie as a Product Movie’

Todd Gilchrist editor Intellectual property — the books, films, characters and properties that get butts into seats — has long been a cornerstone of Hollywood moviemaking. But many of this year’s films have drawn from less likely, though perhaps inevitable, sources of inspiration: products and brands.

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‘Sleepless in Seattle,’ ‘Punch-Drunk Love’ 4K Reissues Anchor Sony Pictures Home Entertainment’s Columbia Classics Vol. 4 Box Set

Todd Gilchrist editor “Sleepless in Seattle,” “Punch-Drunk Love” and four more films from Columbia Pictures will make their 4K Ultra HD debut Feb. 13, 2024, via Sony Pictures Home Entertainment. Columbia Classics 4K Ultra HD Collection Vol.

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‘A Haunting in Venice’ to Get Digital Release on Halloween

Anna Tingley If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. “A Haunting in Venice” is getting a digital release just in time for Halloween. Kenneth Branagh‘s third Agatha Christie adaptation, which hit theaters in September, will debut on digital retailers and Hulu on Oct.

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Composer Claudio Simonetti Breaks Down His Scores For ‘Suspiria,’ ‘Deep Red’ and ‘Dawn of the Dead’ Ahead of Nationwide ‘Demons’ Tour

Todd Gilchrist editor For horror fans, Claudio Simonetti is a household name. First a founding member of rock group Goblin, whose work is synonymous with filmmaker Dario Argento’s genre standard-bearers “Deep Red” and “Suspiria,” a producer and pop artist in his native Italy, and later a lead composer on Argento’s “Tenebre,” Lamberto Bava’s “Demons” and more, Simonetti and his collaborators turned iconoclastic takes on scoring — utilizing the sounds of prog rock and disco — into iconic pieces of film music.

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Offset Plots a Powerful New Course, Post-Migos, With ‘Set It Off’: Album Review

Todd Gilchrist editor It’s been a long, hard road to Offset’s third solo album. Originally scheduled for release in November 2022 before the shooting death of fellow Migos member Takeoff, “Set It Off” shows major artistic growth for the Atlanta rapper and sets a new course for him as a solo artist — and features top-level collaborations from Travis Scott, Future, Don Tolliver, Latto, his wife Cardi B and more, and production from hitmakers like Metro Boomin, Boi-1da and Vinylz.

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‘Caligula: The Ultimate Cut’ Review: The Taming of a Screwed Production, Minus the Penthouse Taint

Todd Gilchrist editor In “Caligula: The Ultimate Cut,” absolute power corrupts absolutely, but even using absolutely all of the footage shot for the notorious production back in 1976 does not necessarily result in a better film. The most expensive independent film ever produced until that time, “Caligula” was conceived by late Penthouse founder Bob Guccione as a sexually explicit film that also featured real actors and high production values; hiring bestselling author Gore Vidal to write a script for Italian avant-garde director Tinto Brass (“Salon Kitty”), Guccione subsequently attracted such respected thespians as Malcolm McDowell, Peter O’Toole, John Gielgud and Helen Mirren to star.

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How Gareth Edwards’ Sci-Fi Opus ‘The Creator’ Achieved Blockbuster Scale at a Fraction of the Cost

Todd Gilchrist editor As costs spiral upward for production infrastructure, visual effects and good old fashioned star wattage, blockbuster budgets tend to be one of the closely guarded secrets in Hollywood. Yet in the weeks and months leading to the release of “The Creator,” due Sept.

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James Cameron Surprises Beyond Fest With 4K Premiere of ‘The Abyss,’ Recalls Nearly Dying During Filming: ‘It Was Almost Check-Out Point’

Todd Gilchrist editor James Cameron appeared Wednesday at Los Angeles genre festival Beyond Fest for a Q&A about “The Abyss” after a screening of the film’s seldom-seen two-hour and 51-minute Special Edition. Unbeknownst to attendees (but later confirmed by festival programmers), the DCP presentation turned out to be the 4K transfer Cameron announced last year, physical and streaming versions of which he said were “out of his hands” but all work has long been completed.

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Kylie Minogue’s ‘Tension’ Keeps Her Drumbeat Going ‘Padam Padam’ With 11 Slabs of Pop Perfection: Album Review

Todd Gilchrist editor As the platonic ideal of a pop star aging gracefully in her career, Kylie Minogue knows what kind of artist she is and for 35 years has stuck to that identity — and better than that, embraced it. “Tension” is her sixteenth album, and it’s not only as good as the ones she released 10 or 20 or more years ago, it’s just like them: full of shiny, irresistible, easily digestible songs whose sole purpose is to make listeners fall in love and dance, if not always in that order.

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‘A Haunting In Venice’ Review: Kenneth Branagh Brings a Supernatural Dimension to His Hercule Poirot Series

Todd Gilchrist editor An adult-oriented crowd pleaser of the sort that seldom gets made any longer without superheroes being involved, and better than that, is quite entertaining, “A Haunting in Venice” extends 2023’s streak as the Year That Hollywood Lured Grown-Ups Back To Theaters. Less prestigious than practiced in spotlighting the star wattage of its pedigreed cast, Kenneth Branagh’s third Agatha Christie adaptation offers a nimble stopgap between drier art-house fare, traditional studio tentpoles and scrappy genre material leaching ticket sales from their pricier competitors — while satisfying all three potential audiences.

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