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Tag: Joseph Gordon-Levitt

  • Himesh Patel Talks Chemistry With Joseph Gordon-Levitt, Reuniting With Lily James in ‘Greedy People’

    Himesh Patel Talks Chemistry With Joseph Gordon-Levitt, Reuniting With Lily James in ‘Greedy People’

    Himesh Patel admits the chance to team up with Joseph Gordon-Levitt and Lily James was a “huge pull” in his starring in Potsy Ponciroli’s latest comedy thriller.

    He and James are getting rather good at playing a couple (the pair previously headlined Danny Boyle‘s Yesterday). In Greedy People, releasing in theaters on Friday in the U.S., they feature as new-to-town expectant parents alongside a stellar lineup of Gordon-Levitt, Uzo Aduba, Tim Blake Nelson, Traci Lords, Joey Lauren Adams, Simon Rex and Jim Gaffigan.

    Will, played by Patel, begins work as a cop on a sleepy island town, but is soon forced to navigate an accidental murder and the discovery of a million dollars as a series of bad decisions are made by all involved.

    Gordon-Levitt is Will’s obnoxious partner, Terry, who — avoiding spoilers — does little to make things any less stressful for his colleague on the first day of the job. The comedic chemistry and riffing between the two are brilliant to watch as camaraderie swiftly descends into chaos; a rapport clearly established off-camera.

    “I think there’s a lot of people who, when they get to that level of being a film star, they can be very generous but it’s all part of a bigger ego show,” Patel tells The Hollywood Reporter. “Whereas with [Gordon-Levitt], he just genuinely is. He’s very collaborative. He’s aware of of everything that’s going on. He understands the whole set-up of everything, and he’s committed to his role. And he’s got such a specific role in this – I’d not seen him do anything like this before, so it was really exciting to be working with someone that you admire, but then seeing him do something completely different.”

    The two nailed the southern drawl required for their parts on the fictional island of Providence (originally the film’s title). But Patel, a Brit, had a little help from his American native co-star: “There were a couple of moments with the accent as well, where [Gordon-Levitt] was like, ‘I don’t think we’d say it like this. We’d say it like that,’” Patel continued. “I really appreciated that, to have someone looking out for you and wanting you to do your best work.”

    Himesh Patel said Joseph Gordon-Levitt was “genuinely generous” on set.

    Courtesy of Lionsgate

    It was also an opportunity to reunite with James after their time on set with Boyle for the musical comedy Yesterday (2019), which asked the question: What if The Beatles never existed? “I think we bounce off each other quite well,” Patel says of his and James’ relationship. “It’s just a funny thing when you get on with someone and just trust the other person. There’s this sort of thing going on, a dynamic that neither of us have ever intellectualized, but it worked once and I think it’s worked twice. I joked with her that we obviously have to do a third [film], to cap out the trilogy. And it’ll either be soon or it’ll be when we’re both in our 80s.”

    Greedy People, penned by Michael Vukadinovich, shows what indie films are capable of with a good script and talented cast. Is it an antidote, or at least an example of an antidote, to the notion that successful films require a big budget? “I’d say it’s maybe an example, but we’ll see how it does when it comes out,” Patel says. “The response to the trailer has been really heartening. I think people want to see movies like this. They want movies like this out there. That’s never not been the case, I think it’s just the access to it.”

    Patel says, for example, he’s still unsure of a U.K. release date for the film. “I’m really glad it’s getting a release in the U.S… I think [a lot of these films] are getting made, but have just been going straight to streaming.” (His team later confirmed a Sep. 23 release date in the U.K.)

    In an ideal world, for the actor, it would get a global release. “It’s always good for them to get as much of a theatrical window as possible, that’s how they can compete in that space,” he continues, citing projects like Greedy People. “The blockbusters seem to become the all-encompassing faces of cinemas, because they’re the only ones that can really hold on to space in theaters. Hopefully, things are changing. It ebbs and flows, but I like to be positive about it.”

    It’s a film that leaves you not quite sure who to blame — ultimately, everyone’s flaws contribute to the final product. But what drew Patel to the script as much as anything was “it really felt reminiscent to me of a lot of the Coen brothers‘ work, and how wonderful to have Tim Blake Nelson [a long-time collaborator of the Coen brothers’, such as in O Brother, Where Art Thou? and The Ballad of Buster Scruggs] really put that button on it. There’s quite a few of their films, it’s that thing where you get to the end and you’re like, ‘What? What?’”

    In the pipeline for Patel is a myriad of exciting projects. HBO comedy The Franchise from Veep creator Armando Iannucci and director Sam Mendes depicts the issues faced by a production crew making a superhero film, in which Patel stars as Daniel, and premiering at the Toronto International Film Festival is The Assessment, an upcoming sci-fi thriller from Fleur Fortuné with Elizabeth Olson, Alicia Vikander, and Minnie Driver.

    It’s variation that Patel values most in his job, but laying out a road map for the next few years of his career isn’t as easy as it seems, he says. “I think it’s especially hard to do that as an actor of color,” he tells THR, “to kind of go, ‘Okay, this is what I want to do, and here’s the steps I’m going to take to get there.’ I don’t think it’s quite as simple.”

    With more to come from the star with an already impressive résumé, the future looks bright, and he’s open to it all. “I just want to make sure that whatever I do next is very different to what I’ve done before, and whether that’s with a very well-established writer and director, or it’s with someone very new, I’m easy as long as I feel that there’s a vision there and I really like what’s on the page.”

    Greedy People, a Limelight, Boies Schiller Entertainment, and Hideout Pictures production, premieres in U.S. theaters on Aug. 23 and in the U.K. on Sep. 23.

    Lily Ford

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  • Beverly Hills Cop: Axel F Review: Eddie Murphy’s Wisecracking Return

    Beverly Hills Cop: Axel F Review: Eddie Murphy’s Wisecracking Return

    Axel Foley is back and better than ever. Forty years ago, Eddie Murphy starred in the original Beverly Hills Cop, which blew audiences away and became one of the comedian’s most famous films. This action-comedy hit was followed by two sequels, one of which was so critically maligned that this movie briefly makes fun of it. But thirty years have passed since Beverly Hills Cop III. After CBS put a banana in the tailpipe of a TV pilot that failed to reboot this series in 2013, Netflix took the reins from Paramount, gave Murphy his old Detroit Lions letterman jacket, and said yes to Beverly Hills Cop: Axel F.

    This movie is the entry that fans of the series have deserved for decades. Franchise veteran Jerry Bruckheimer, known for his exceptional work, returns to produce this long-awaited sequel. This film marks the 80-year-old producer’s third movie in the last five weeks after Young Woman and the Sea and Bad Boys: Ride or Die. His work here is terrific. He worked with Netflix to secure a whopping $150 million budget to give the fans something they’ve been hoping for for years, ensuring the highest-quality production.

    Beverly Hills Cop: Axel F is the best entry in the series. It retains the DNA of a classic Eddie Murphy comedy while injecting millions of dollars that the other films did not have. It hits you with nostalgia right from minute one, with Glenn Frey’s “The Heat Is On” blasting through the opening credits, just like moviegoers saw back in 1984. The soundtrack uses needle drops to help you remember those first three movies superbly. However, the key ingredient to a good Beverly Hills Cop movie is seeing Murphy do his schtick as Axel Foley. And boy, that man can run his mouth like a motor, just like he did in the ’80s. It’s good to have him back.

    Fueled by nostalgia, Beverly Hills Cop: Axel F spends the right amount of time playing the hits. It shows off the chaos of a Foley car chase and then kicks off the main story. The plot follows a defense attorney named Jane Saunders (Taylour Paige) looking into a case. This is where the film finds its most significant fault—the story is not very interesting. The crime she is investigating happened offscreen, meaning there isn’t enough here for the audience to connect to these events emotionally.

    In the first movie, Axel is finding the person who killed his best friend. In the second, he’s looking for the people who shot Captain Bogomil. In the third, he’s searching for the person who killed Inspector Todd. The death that kickstarts the events of Beverly Hills Cop: Axel F is nowhere near as compelling. It feels as if the crime happened in a deleted scene that was replaced with a more lighthearted opening action sequence. This event serves as an excuse to put Axel face-to-face with his daughter. We find out soon enough that Jane is Axel’s daughter, estranged from him after years of a rough childhood where Axel was not the father he should have been.

    This storyline is where the heart and soul of the movie come to life. Like many long-delayed sequels to classics of decades past, Beverly Hills Cop: Axel F provides a more mature look at Axel Foley and his shortcomings. His wife is not in the picture, and there are many conversations that Axel and Jane need to have that they haven’t had yet. The movie also puts the right amount of focus on Detective Bobby Abbott (Joseph Gordon-Levitt), who must not only team up with Axel but is also Jane’s ex-boyfriend.

    The action is a shining element of this film. The previous franchise directors (Martin Brest, Tony Scott, and John Landis) did a serviceable job with the action sequences, but they all could have been better. Mark Molloy directs this movie in his feature film debut. Few in history have landed a $150 million franchise film as their first movie, but he does solid work. There’s a standout action set piece with a helicopter, and it feels much more in-camera than the digitized CGI environments of recent Hollywood cinema. There are practical helicopter and truck stunts, which all feel more thrilling than the first three movies.

    The film’s biggest weakness is the string that connects everything. The Beverly Hills Cop movies have never boasted phenomenal screenplays. This script, written by Will Beall (Aquaman), Tom Gormican, and Kevin Etten (The Unbearable Weight of Massive Talent), does its best to provide the characters with an emotional gravitas. However, the crime story at the center could be clearer and more compelling. When we have a story like this, an action-comedy movie must tie everything together with solid action sequences or hilarious comedy set pieces. Unfortunately, the quality of both is too inconsistent for this movie to have the impact it could.

    It can also suffer from its predictability. A character shows up early, and right from their opening scene, it’s extremely easy to predict they will be the surprise villain. The movie also commits a third-act action movie trope where if you’ve seen any action movie in your life, you’ve seen this idea done before. You may roll your eyes a few times, but there’s a lot of charm here.

    Murphy’s career has had its ups and downs. In 2019, he looked like he was on the verge of a resurgence with his fantastic work in Dolemite Is My Name. Since then, he’s made another long-delayed sequel with Coming 2 America and shown up in the underwhelmingly reviewed You People and Candy Cane Lane. This is his best movie since Dolemite, and he brings all that classic charm and signature smile into this character. Gordon-Levitt is always an enjoyable presence in everything he’s in. He’s likable as ever, and he gets some fun action-hero moments that may remind one of his heyday in Inception, The Dark Knight Rises, and Looper.

    Paige gives an excellent performance as Jane. She doesn’t get to flex any comedic chops like you’d expect Axel Foley’s daughter to, but she gets one scene where she matches Murphy’s wit. Another shining element is the score from Lorne Balfe, who has had a history of putting his spin on classic action movie franchises like Mission: Impossible and Bad Boys. He uses that classic iconic Harold Faltermeyer score in all the right places. Some may be disappointed about how long it takes to get a few of the reunions we’ve been waiting for, but it feels so lovely to have Judge Reinhold and John Ashton back in this series, along with a few other familiar faces.

    Beverly Hills Cop: Axel F is a decent sequel that knows how to pull the right heartstrings. It will strike a chord with longtime fans of those original movies, particularly with its 80s score and soundtrack. The film references the first trilogy while telling a new story and putting the right amount of emphasis on the characters and their depth. This movie is a strong debut from Molloy, who brings a grounded authenticity to all the action sequences and lets Murphy let loose.

    SCORE: 6.5/10

    As ComingSoon’s review policy explains, a score of 6 equates to “Decent.” It fails to reach its full potential and is a run-of-the-mill experience.


    Disclosure: ComingSoon received a screener for our Beverly Hills Cop: Axel F review.

    Jonathan Sim

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  • 10 Impeccable Studio Ghibli English Dubs, Including The Boy and the Heron

    10 Impeccable Studio Ghibli English Dubs, Including The Boy and the Heron

    Image: Studio Ghibli

    In defense of English dubs, no one does it better than Studio Ghibli. It’s not a matter of either-or; with the incredible global talents that span the original Japanese voices and the English casts, it just means we get more!

    With the release of The Boy and the Heron, which features Robert Pattinson’s dedicated vocal bird transformation, we’re looking back at the best Studio Ghibli dubs. When it comes to Hayao Miyazaki’s films, care has always been taken between by the Disney and GKIDS distributors to cast the English roles with incredible talent. It’s no easy feat to perform in sync with animation, let alone in a foreign language, but it helps to have the guidance of directors such as Pixar’s Pete Docter (Howl’s Moving Castle) who approach the task with appropriate reverence. While we understand the importance of subtitles—and we’d never take away from the wonderful work of the original Japanese voice casts—dubs help make the films accessible to more audiences. And as an animation fan, I love dubs because I can bask in the art and storytelling without reading and then revisiting with subtitles. It’s a preference and a gateway for more global animation to travel the world.

    Here’s a list of the top 10 English Studio Ghibli dubs we love.

    Sabina Graves

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  • Joseph Gordon-Levitt’s Life-Changing Sundance Saga Started With a T-Shirt

    Joseph Gordon-Levitt’s Life-Changing Sundance Saga Started With a T-Shirt

    This film about a Jersey guy brimming with toxic masculinity was Gordon-Levitt’s feature writing and directing debut. He starred as the title character, with Scarlett Johansson as the woman of his dreams, who still can’t match his distorted, X-rated expectations.

    “That’s what I always wanted,” he says. “Direct a movie that plays Sundance. It was a life goal. Funny enough, I remember loving the experience of watching the movie, but one of the things I remember most afterwards is talking to my mom about the movie. Don Jon deals heavily with the objectification of women—and men as well—but this is something that my mom always raised my brother and me to be quite focused on. And I made a movie about that, but in a roundabout way. It satirizes it and brings that objectification right into your face.”

    “The movie is playing at Sundance, where I wanted it to play, and it played well in front of a big audience, and all that external validation was there. But actually, the first thing that comes to mind when I think of that night is a conversation I had just with my own mom,” he says.

    Years would pass before his next big Sundance experience, but that one would involve the story of a mother too.

    2023 — Flora and Son

    Eve Hewson and Joseph Gordon-Levitt in Flora and Son.

    All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or ‘Courtesy of Sundance Institute.’ Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

    Gordon-Levitt’s latest film, Flora and Son, is set to debut on opening weekend of this year’s Sundance Film Festival. Eve Hewson stars as a single mom in Dublin whose struggle to earn a living while raising a troubled boy has withered most of her other hopes and dreams. She still clings to music as a passion, and Gordon-Levitt plays her online guitar teacher.

    The musical is directed by John Carney, the filmmaker behind the 2007 Sundance musical hit Once. “He strikes a balance between bringing that kind of magic that only a musical can bring, but on the other hand, grounding it in real, human, heartfelt life in a way that I think is pretty unique,” Gordon-Levitt says. “Getting to finally do some music in a movie is momentous for me in a new and different way. Even though it’s kind of a humble musical—that’s more my style.”

    Despite his long history at Sundance, Gordon-Levitt says the annual gathering means more to him than just a platform to show off work. He thinks of it as an inspiration, and quotes something he once heard from that guy who gave him his first Sundance T-shirt. 

    “I would just echo Mr. Redford in trying to direct our focus back to the creative process itself,” Gordon-Levitt says. “Ultimately that’s what the spirit of Sundance is, in my opinion. And the creative process itself is something that people can have—you can have, I can have, anybody can have—whether you get into Sundance or you don’t get into Sundance. It doesn’t have to all be this elite clique of the industry. It can be anybody, everybody.”

    Anthony Breznican

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  • Inside Joseph Gordon-Levitt’s Secret ‘Glass Onion’ Cameo As The ‘Hourly Dong’ (Exclusive)

    Inside Joseph Gordon-Levitt’s Secret ‘Glass Onion’ Cameo As The ‘Hourly Dong’ (Exclusive)

    By Meredith B. Kile‍ , ETOnline.com.

    Rian Johnson landed a truly star-studded cast for “Glass Onion: A Knives Out Mystery” — but there’s one celeb you might have missed!

    ET’s Ash Crossan sat down with the director to discuss Daniel Craig’s latest foray as Detective Benoit Blanc, but also got all the scoop on the film’s “hourly dong” jingle, which was voiced by none other than Joseph Gordon-Levitt.

    “He’s in an episode of [“Poker Face”], this TV show I’m doing with Natasha Lyonne, Joe is the guest star of one of those episodes,” Johnson said of how the cameo came to be. “I just said, you have to trust me, say the word dong really loudly.”


    READ MORE:
    ‘Glass Onion’: Rian Johnson Talks Working With Angela Lansbury and Stephen Sondheim on Their Final Film

    So what is the hourly dong, exactly?

    “There’s a thing on the island where every hour, you hear, ‘Dong!’ and it’s the hourly dong, and goes off every hour,” Johnson explained. “That’s a reference to one of my favourite mystery movies, “Evil Under the Sun”there’s a big [plot point] in it with the ‘noonday gun,’ and they shoot a canon off at noon every day.”

    In “Glass Onion”, however, instead of a cannon, it’s a “dong.” Only that’s not quite what it was supposed to be, Johnson revealed.

    “In the script, it’s written as, I think, the ‘hourly gong,’” he recalled. “One time, when everybody was saying it, [Joseph] said it wrong and said the ‘hourly dong.’ And I said, ‘That’s it, it’s the hourly dong now.’”

    The director also opened up about two more meaningful cameos that he said were “incredible” to cast — Angela Lansbury and Stephen Sondheim. The two share just a small scene in “Glass Onion”, but it ended up being the final on-screen role for both. Lansbury died in her sleep on Oct. 11 at age 96, while Sondheim died at 91 on Nov. 26, 2021.

    “I don’t want to blow it up too much, it’s just one little fun moment that they have,” Johnson said of the scene. “But what it meant for me, besides just how special it is to have both of them in the movie, it meant that I just got to spend 10 minutes with each of them to film this little moment.”


    READ MORE:
    Kate Hudson and Kathryn Hahn on Their ‘How to Lose a Guy in 10 Days’ Reunion in ‘Glass Onion’ (Exclusive)

    “Getting to meet them, getting to tell Angela Lansbury what her work meant to me, telling her about watching the filmed version of ‘Sweeney Todd’ that was on cable when I was a kid and how that really kind of started me loving musical theater… It felt like a very special privilege to get to do that.”

    “Glass Onion: A Knives Out Mystery” is now playing in limited theatres before streaming on Netflix on Dec. 23.

    More From ET: 

    Catherine Zeta-Jones Shares Hilarious Throwback Video of Daughter Carys Channeling Wednesday Addams at School

    ‘Glass Onion: A Knives Out Mystery’ Starts With an Puzzling Invitation: Watch New Clip

    Ciara and Russell Wilson Spread ‘Good Cheer’ for Kids in Denver Hospital

    Melissa Romualdi

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