Second ‘Star Wars’ Anthology Film Could Focus on Boba Fett; New Pics Whet the Appetite 0 13

vanity-fair-star-wars-the-force-awakens-oscar-isaac

Boba Fett is to be the focus of the second “Star Wars Anthology” film, seemingly confirming rumours that first surfaced earlier this year.

Due for release in May 2018, the as-yet-untitled film is currently director-less, following the departure of Josh Trank (rumours abound as to why). Simon Kinberg is scripting, with earlier reports pointing to old-hand Lawrence Kasdan also contributing a draft. Kasdan and Kinberg are reputed to form the “brain trust” of the Star Wars franchise going forward, guiding the direction of the “Anthology” films and any other media which is to be designated as officially canon to the saga.

The body-armoured bounty hunter has always been a fan favourite since his first appearance in The Empire Strikes Back whereas his appearance in Attack of the Clones garnered much less enthusiastic notices.

If the film did include any mention of Fett’s origin, it remains to be seen whether the material from “Clones” will be taken as gospel.  The prequels have merited very little mention in any Force Awakens publicity thus far, so a complete retcon of Fett’s beginnings may not be out of the question. The more likely scenario is that the film would focus on Fett’s early adventures as a bounty hunter, the time-period of which would be relatively uncharted territory for filmed Star Wars entertainment.

In other news, Vanity Fair has debuted a photo-spread and accompanying interview focusing on the making of The Force Awakens, with the cover featuring a group shot of John Boyega (Finn); Daisy Ridley (Rae); Harrison Ford (Han Solo); Peter Mayhew (Chewbacca) and BB-8 (herself).

The interview includes choice quotes from director JJ Abrams and producer Kathleen Kennedy alongside a better look at villain Kylo Ren (this time unmasked), with Adam Driver finally confirmed to be playing him. Oscar Isaac gets a hero shot as Poe Dameron and the magazine has first-looks at Captain Phasma – the chrome-armoured stormtrooper officer played by Gwendoline Christie and Lupita N’Yongo’s motion-captured character, the pirate Maz Kanata.

Check out the revealing pics in our gallery below:

The untitled second “Star Wars Anthology” film is released in May 2018.  Star Wars: Episode VII – The Force Awakens is unleashed on December 18th this year.

Sources: The Wrap, Vanity Fair

Previous ArticleNext Article
I'm a fledgling film writer living in Edinburgh. I write for and edit the film section of The Journal, an online student newspaper and now contribute to Thoughts on Film. I still love the original Star Wars trilogy, which started my film obsession. My other favourites include - Raiders of the Lost Ark; Eternal Sunshine of the Spotless Mind; Blade Runner; The Third Man and The Social Network. When not watching movies, you can normally find me listening to classic rock or watching cricket.

Leave a Reply

Your email address will not be published. Required fields are marked *

Movie Review: Home Again 0 187

This review was previously published at The National.

Despite an obviously talented leading lady in Reese Witherspoon and a family pedigree behind the camera in making this sort of rom-com flutter sweetly off the screen, Home Again struggles to finds its way out of cloying cliché and narrative contrivance.

This is the directorial debut of Hallie Myers-Shyer, daughter of genre stalwart Nancy Meyers (The Holiday, What Women Want). It focuses on the life of Alice Kinney (Witherspoon), a single mum who has just turned 40 and tries her best to raise her two daughters Isabel (Lola Flanery) and Rosie (Eden Grace Redfield) in Los Angeles with her job as an interior decorator.

Freshly separated from her British music mogul husband Austen (Michael Sheen), she embarks on a drunken birthday night celebration that leads to her meeting a trio of 20-something lads – Harry (Pico Alexander), George (Jon Rudnitsky) and Teddy (Nat Wolff) – who are trying their best to break into the Hollywood movie business.

The young men improbably end up staying in Alice’s guest house while they work on finishing the script for their first film. Before long they become an integral part of her life, from Alice embarking on a romantic relationship with Harry to George helping out Isabel with her school play. To quote the title of the director’s mother’s 2009 film – it’s complicated.

Except the film mistakes the kind of enjoyably frothy complexity exemplified by the best of the genre for skin-clawing convolution that renders much of the romantic and comedically-tinged drama of Alice’s life lacking in authenticity. Not that it needs the ring of truth that comes with, say, a Ken Loach picture but you need to be able to invest and believe in these characters’ lives as presented.

The approach to gender and generational relationships is simplistic which, of course, is nothing new to a genre that, at least in its Hollywoodized state, so often throws up films meant to be taken as easy-going fluff. But it’s particularly frustrating here when it squanders the potential thrown up with the initial concept of a woman trying to find herself again once she’s out of a stale relationship by entering into one with a much younger man.

It strangely seems far more interested in the plight of the three young men working as three cogs of one creative machine – director/producer, writer and actor – to get ahead in the movie business.  But even then it smacks of implausibility, like a cheap rom-com version of the bromance found in Entourage but without any of the snarky wit or Hollywood satire. Despite decent chemistry between a likeable assembled cast, Home Again is a tough pill to swallow as it rings false through and through.

3.5 out of 10

Movie Review: Goodbye Christopher Robin 0 212

This review was previously published at The National.

The world of celebrated children’s author A. A. Milne and the creation of his beloved Winnie the Pooh stories are chronicled in this frightfully polite biopic from director Simon Curtis (My Week with Marilyn) that flirts with dipping its toes into darker waters but steadfastly clings to safe tropes and always with its top button firmly fastened.

We start off in 1941 where we find an ageing Milne (Domhnall Gleeson in questionable make-up and greyed hair) and his wife Daphne (Margot Robbie) living on their secluded East Sussex farm. They receive a telegram informing them that their son, C.R. Milne, is missing presumed dead after heading off to fight in World War Two.

We then jump back in time to Milne on the front lines of the First World War. He returns from the fighting a changed man; suffering from PTSD (popped balloons evoking sudden gunfire et al.), becoming increasingly sick of just making people laugh with his West End plays and the general hustle-bustle that comes with big city life.

He convinces his reluctant wife to move to the country for some peace and quiet and where his infant son, Christopher Robin (played by Will Tilston at the younger age, Alex Lawther as he gets older), can go on the childhood adventures he deserves with the support of loving nanny Olive (Kelly Macdonald).

Settling into the kind of serene life he craves, he is inspired to create Winnie the Pooh and the rest of his soon-to-be-beloved friends inspired by the stuffed animals with which his young son has become so enamoured. Unfortunately for Christopher – referred to by everyone as “Billy Moon” – his father uses his real name in the stories, turning him into one of the most famous boys in the nation.

Despite the obvious attraction of it exploring the world famous Pooh stories, it’s a film much more interested in the effect it has on a fractured family clinging on to peacefulness, not least the unwanted attention thrust upon a young boy who simply isn’t equipped to handle it and how his parents carry on oblivious.

If anything it takes a curiously bleak outlook on what these stories mean to the world once they’ve been put out there, conveying a somewhat confusing message for a film that ultimately wants us to celebrate these stories as immortally cherished tales; that the Winnie the Pooh embraced immediately by the public and has now stood the test of time for almost a century is in some way missing the point of what it truly means to the author and a son who, inadvertently or not, was used as a tool of innocence to sell the idea of an idyllic childhood in Milne’s Hundred Acre Wood.

It’s bolstered by almost uniformly moving performances; Gleeson plays Milne with a kind of damaged empathy that makes you feel like you get to know the author beyond the public persona. Macdonald is oftentimes heart-breaking as Christopher’s devoted caregiver and Tilston walks away with the film as the adorably sweet-natured young Christopher. It’s only with Robbie that the film makes a misstep; she’s miscast as Milne’s wife and never stepping out of the shadow of cold motherly cliché.

In spite of its darker leanings, the film remains too buttoned up to properly wrestle with those themes in any sort of lasting way, far too polite to ever dive head first into the murky waters into which the drama intermittently peers.

Wrapped in Ben Smithard’s handsomely old-fashioned cinematography and soaked in Carter Burwell’s perpetually swelling score, it’s an aesthetically and emotionally appealing but nevertheless fairly vanilla period biopic best suited to being enjoyed on a rainy Sunday afternoon with tea and biscuits.

6.5 out of 10