Latest news with #ExMachina
Daily Mirror
11 hours ago
- Entertainment
- Daily Mirror
28 Years Later director Danny Boyle breaks down Covid parallels in new sequel
Much-claimed director Danny Boyle has described landmarks 'being transformed' in front of our eyes during the 2020 Covid pandemic - as he reflects on the parallels to 28 Years Later lead character The film 28 Years Later explores a fictional infected mainland - and director Danny Boyle has said that the strange Covid times we lived through five years ago has helped viewers relate to the lead character Jamie. Set in a post-apocalyptic city, 28 Years Later tells the story of a highly contagious virus and its detrimental effects on the population, which leads to societal collapse. The film shows Jamie taking his 12-year-old son across a causeway to the abandoned and infected mainland. Now, Danny Boyle has spoken about the parallels to the Covid era in a Reddit Q & A, about how a city can be 'transformed overnight' yet 'still be recognisable'. During the pandemic many of us saw our towns and cities take on a new identity for a while and strange sights were spotted on high streets and of in our local supermarkets. Mr Boyle said: "What Covid did, it happened everywhere in the world, suddenly a city can be transformed overnight and still be recognisable. Suddenly it didn't just belong to movies. Who would have thought that recognisable landmarks can be transformed in front of your eyes. 'That's a wonderful opportunity for filmmakers to build on, and we duly did. That's a connection to something everyone's experienced. Over a longer period of time, after the urgency to stay safe (mask wearing, disinfecting everything, distrusting who you were meeting, was anyone sneezing in the room), you can't keep that up for very long. 'You start to explore risk. As humans, you just do. How far can I go? That increases over time. When you apply that mentality over 28 years, the amount of risks you'll take is huge. Jamie, our lead character, takes his 12-year-old son across a causeway to an infected mainland. 28 days after an outbreak he'd be a madman. But 28 years later he's a hero for bringing his son out - it reflects all our shared mentalities." Help us improve our content by completing the survey below. We'd love to hear from you! 28 Years Later writer, Alex Garland, finally confirmed that recent political events influenced the making of the third instalment. While fans of the franchise initially suspected that the global Coronavirus pandemic may have served as a massive inspiration for 28 Years Later, Alex— who directed Ex Machina and Civil War — denied any links between the upcoming zombie horror film and the global lockdowns. Instead, the Academy Award-nominee was reportedly inspired by Brexit, and claims much of 28 Years Later has been inspired by Britain's decision to leave the EU back in 2016. Speaking to Empire about the script and its influences, Alex said: "Covid was not on my mind because it was too recent and too present, but Brexit was." He noted a "sense of the globe just sort of shifting its position" and "not really looking in this direction," all of which served as inspiration for the treatment of the movie.
Geek Tyrant
a day ago
- Entertainment
- Geek Tyrant
Even Alex Garland Can't Beat Malenia in ELDEN RING and He Talks About His Experience — GeekTyrant
If you've ever rage-quit after your tenth attempt to beat Malenia in Elden Ring , you're in good company, director Alex Garland knows your pain. The acclaimed filmmaker behind Ex Machina and Annihilation , who's also set to direct the upcoming Elden Ring movie from A24, is currently on his seventh playthrough of the game. Turns out, he's still stuck on the same boss that haunts the dreams of countless Tarnished: Malenia, Blade of Miquella. In an interview with IGN while promoting 28 Years Later , Garland confessed: "It's Malenia who's the tough one. I'm now on my seventh playthrough of that game. I've leveled up, I've got lots of juice, and a cool sword, and stuff like that, and I just throw myself at them again, and again, and again, and again. 'That was the technique I learned with 'Dark Souls.' It's not that you get better, it's more like monkeys and typewriters. You just keep doing it, and eventually, one day, they're dead." Garland's struggle with Malenia is hilariously relatable. She's notorious for regaining health with every hit she lands, even if you block, and her hyper-aggressive moveset makes even the most leveled-up builds feel undercooked. It took my forever to beat this character! Her second phase, where she transforms into the Goddess of Rot, kicks off with a deadly AOE that can one-shot you if you're not already sprinting in the opposite direction. And Garland? He's still stuck in the same masochistic loop the rest of us fell into… learning by dying. Over, and over. But it's not all pain and panic rolls. Garland does find a silver lining in other boss fights, like Starscourge Radahn: "Radahn is really easy. You just summon a bunch of guys, they take down half his health, and then you keep hitting him.' Which, sure, works in the base game, but any Tarnished who's braved the Shadow of the Erdtree DLC knows that strategy won't fly with Promised Consort Radahn. That rematch is a full-blown endurance test with no summons, a brutal arena, and attacks designed to break your spirit. Whether you're a first-time player or the director tasked with adapting Elden Ring for the big screen, the struggle is universal. Garland gets that, and it's a good sign for the film. Between his persistent trial-and-error playstyle and George R. R. Martin's involvement as a producer, the Elden Ring adaptation might actually capture the spirit of the game, not just the lore, but the real emotional loop of failure, perseverance, and triumph. In other words… suffering.
Daily Record
4 days ago
- Entertainment
- Daily Record
Prime Video quietly adds 'unforgettable' war movie from 28 Days Later writer
Prime Video has subtly added 'one of the finest war films ever released', leaving viewers utterly gobsmacked. Warfare, which was only in cinemas earlier this year, has already made its way to streaming platforms. This means that fans can now enjoy the 2025 title from the comfort of their own homes, as long as they have an Amazon Prime subscription. The film is a joint effort by Ray Mendoza and Alex Garland, who both co-wrote and co-directed it. Garland is renowned for his work on popular horror films such as 28 Days Later and its sequel, as well as the comic book adaptation Dredd. He also penned and directed the sci-fi thrillers Ex Machina, Annihilation and the 2024 war film Civil War. Mendoza, a former U.S. Navy SEAL turned American military technical advisor and film producer, makes his debut as a writer and director with Warfare. The film draws heavily from Mendoza's personal experiences during the Iraq War, reports Surrey Live. In particular, it recounts an incident he and his platoon faced on 19 November 2006, following the Battle of Ramadi. The script was crafted based on testimonies from the actual platoon members, and the narrative unfolds in real time. While the film is rooted in reality, featuring real people and true events, only Mendoza and the character of Miller, to whom the film is dedicated, retain their real names for their character counterparts. The rest of the squad are given alternate, fictional names. The cast features a host of familiar faces, including Netflix's Stranger Things star Joseph Quinn, Heartstopper's Kit Connor, Michael Gandolfini and Will Poulter, to name just a few. Upon its release, Warfare was met with rave reviews, securing a 93% rating on Rotten Tomatoes as both critics and audiences lauded its realistic depiction. Filmgoers who've caught early screenings have been eagerly posting their reviews online, many positioning it amongst the top tier of war films. As one viewer remarked: "Easily one of the best war movies in recent years. Didn't expect it to go this deep." Another chimed in: "Warfare is an unforgettable, intense war film experience that hit all of us hard in the best way. It's not just a film, it's something you survive. The movie drops you into the heart of a real-life Iraq mission, and from the first shot to the last breath, it never lets you look away." A particular fan pointed out its authentic take on conflict, stating: "This movie is unironically one of the best war movies released. Warfare shows you the reality of a battle. That's what makes it perfect. It gives you a real grounded feel of combat, and not some fairy tale Lone Survivor type of story. You have to watch it to see the hype." One fan shared their thoughts online, stating: "I have a feeling that Warfare will go down as one of the greatest war movies ever made. Think Black Hawk Down, Band of Brothers, Apocalypse Now to name just a few... then forget 'em. Warfare changes the whole genre. It's almost like the action is real time. When someone yells out 'Inbound 10 minutes!' it is 10 minutes. There are no Hollywood heroics. No superhuman action. Just real memories of those who were there. No dramatic background music to tell you something is about to happen." Another viewer praised director Alex Garland, asserting: "Without a shadow of a doubt, Warfare is the most powerful, intense and moving experience I have ever had inside of a movie theatre. Extraordinary acting, career-best direction from Alex Garland and sound design that's unlike anything I ever ever experienced."
Perth Now
4 days ago
- Entertainment
- Perth Now
28 Years Later writer Alex Garland is ‘sort of done with directing'
Alex Garland never thought about directing the 28 Years Later trilogy. The 55-year-old scribe reunited with his 28 Days Later co-writer and director Danny Boyle, 68, for the upcoming horror flick and its two sequels, though has now revealed he never considered helming 28 Years Later himself as he decided he was 'sort of done with directing'. Speaking with about whether he wanted to direct 28 Years Later, Garland said: 'No. I was certainly, at that point, sort of done with directing and wanted to write for other people. '[That] was one thing, but also, even if Danny hadn't wanted to do it … I think if Danny hadn't wanted to direct it, that probably would have just ended it at that point. And I certainly wouldn't have wanted to step in and, take that role.' Garland - who made his directing debut with 2014's Ex Machina and has recently helmed films like Civil War and Warfare - added 28 Days Later was 'the product of lots of people working together', which he insisted had to be the case for the 28 Years Later trilogy. He explained: 'It just wasn't the dynamic by which the original film was made. 'And the original film was the product of lots of people working together. Cast, crew and sort of broadly… But within it was some kind of interaction between me and Danny. And that had to be true for this one as well.' As the Rage Virus resurfaces in a quarantined Britain, 28 Years Later - which stars Aaron Taylor-Johnson, Jodie Comer, Ralph Fiennes and Jack O'Connell - follows a new generation that ventures into the heart of the ruins - uncovering buried secrets, evolving threats, and a fight for survival that could change everything. 28 Years Later will see Garland and Boyle return to the series after sitting out 2007's 28 Weeks Later, which was directed and co-written by Juan Carlos Fresnadillo. Garland previously explained he chose to leave the 28 Days Later franchise because he 'couldn't be in a cynical mindset' to make a sequel. He told The Playlist: 'It was this. 28 Days Later was a very uncynical film. It had a punk sensibility. And in order to make a follow-up to it, you couldn't be in a cynical mindset. 'There's various reasons why that wouldn't have worked. And enough time had passed [with us]. There was a key idea that felt tonally correct to what we did 20-something years ago.'' 28 Years Later will be followed by 28 Years Later: The Bone Temple, which will hit cinemas in 2026. Boyle recently revealed the sequel would also see the return of Cillian Murphy's 28 Days Later protagonist Jim, while the third and final 28 Years Later movie would make the character a 'very dominant element'. The filmmaker told Collider: 'There's a story arc across all three films. The principle of this is what we sold to Sony. And they immediately said, 'Don't say it's a trilogy. We said, 'No, we are going to say it's a trilogy.' Because it is! We're not going to lie to people! 'Not all the characters run through all three films, but some of them do. There's a character in this one, played by Ralph Fiennes, who is a massive part of the second film. 'Cillian Murphy is an element in the second film and a very dominant element in the third film.'
Toronto Star
30-05-2025
- Entertainment
- Toronto Star
Stratford Festival's much-awaited ‘Macbeth' — with motorcycles and violent gangs — is a feeble letdown
Macbeth 2 stars (out of 4) By William Shakespeare, directed by Robert Lepage. Until Nov. 2 at the Avon Theatre, 99 Downie St., Stratford Ont. or 1800-567-1600 STRATFORD — I shudder when I think about how much money was poured into the Stratford Festival's latest 'Macbeth,' which opened Wednesday at the Avon Theatre. Inside The program of director Robert Lepage's production, created in collaboration with his company Ex Machina, is a four-page insert listing the hundreds of donors who have bankrolled this revival, which will tour to Montreal, Quebec City and Ottawa next year. Indeed, it's an expensive, extravagant and altogether epic endeavour. And yet, this highly anticipated staging amounts to nothing more than a feeble letdown, despite some glimpses of brilliance and its starry cast of Stratford favourites. ARTICLE CONTINUES BELOW Lepage sets his version of the Scottish Play in the context of the Quebec Biker War, a drug-related turf war between two motorcycle gangs that terrorized the city of Montreal for nearly a decade, leaving more than 160 people dead between 1994 and 2002. Ariane Sauvé's set drops the audience into the heart of the action. Its centrepiece is an imposing two-storey motel, frequented by Macbeth (Tom McCamus) and his fellow outlaws, dressed in leather (the costumes are designed by Michael Gianfrancesco) and riding on spiffed-up motorcycles that zoom around the stage. Impressive as this mise-en-scène is, however, Lepage's high-concept and heavily edited treatment feels like it's constantly trying to square a circle. Any attempt to draw parallels between these 'Macbeth' characters and the historical figures involved in the Quebec Biker War only proves futile. Tom McCamus as Macbeth in 'Macbeth.' David Hou/Stratford Festival Is King Duncan (David Collins) supposed to represent former Hells Angels leader Maurice Boucher? Is the story meant to depict the warring factions and hierarchy within a single group — or between two opposing gangs? None of this is entirely clear. Lepage says in his program note that any director leading a production of 'Macbeth' should 'choose a context in which contemporary audiences can better grasp the twists and turns of the intrigue and the psychological complexities of the characters.' But instead of offering clarity, his own concept — as typical of most Shakespeare productions placed in a setting that's based on a real historical event — merely adds more confusion. The most laughably ridiculous moment: when Macduff (Tom Rooney) and his gang of burly biker men start chopping down Birnam Wood to use as 'camouflage' as they stage their final attack on Macbeth. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW If you're able to look past these incongruities, there are bright spots to this production — at times imaginative and cheeky, throwing reverence to the wind. In particular, some of the design elements conceived by Lepage are stunning. Perhaps his greatest coup de theatre comes right at the top of the show: In his prologue, two assassins steer a small boat into the middle of the lake. In it is the traitorous Thane of Cawdor, his head tied up in a gunny sack. The men strap him to a pair of concrete blocks, then push him overboard, setting forth a chain of events that will see Macbeth driven to madness by his own ambition and thirst for power. Later on, Lepage pulls off yet another. I'm loathe to spoil what it is, but it involves a scorching scene transition between Banquo's murder and Macbeth's banquet (depicted here, of course, as a backyard barbecue cookout). There's a cinematic feel to much of this production. (After the prologue, in fact, Lepage projects a series of opening credits onto a screen at the front of the stage.) But in the end, these visual set pieces feel more like self-serving gimmicks, some of which hinder instead of help to serve the story itself. Members of the company in 'Macbeth.' David Hou/Stratford Festival Sauvé's set is so large and unwieldy that the scene transitions, particularly in the first half, take far too long, killing any sense of momentum. Those motorcycles are also so overused that by the fifth or sixth time they're rolled out, I wondered if Lepage was just trying to justify the expense of making them. A poorly conceived production of 'Macbeth' can be redeemed by a strong set of performances. But that's not the case here. Throughout, I rarely got the sense from this ensemble that they're living in a world of hypermasculinity and violence. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW With his deep, sonorous voice, McCamus' rather traditional take on Macbeth is cold and calculating. But though great in the first half of the play, McCamus overdoes his subsequent scenes of madness. Writhing on the floor, like a helpless creature, it feels as though he's playing a caricature of Macbeth rather than the character himself. As Lady Macbeth, Lucy Peacock delivers a performance that's similarly one of diminishing returns. She's terrifyingly domineering and manipulative early on, goading her husband into murdering Duncan and seizing the crown. Peacock's voice, almost maniacal, flirts between complete seriousness and carefree glibness. But Peacock's interpretation of Lady Macbeth's famous sleepwalking scene feels surprisingly dull, with her speech lacking both energy and a coherent through-line on opening night. From front-left: Tom Rooney as Macduff, André Sills as Ross and Austin Eckert as Malcolm with members of the company in 'Macbeth.' David Hou/Stratford Festival Graham Abbey fares far better as Banquo, Macbeth's friend-turned nemesis. But both Collins and Rooney are uncharacteristically stiff and, at times, unintelligible. (The poor sound amplification, and the fact they're all miked, is part of the problem.) Among the bikers, however, it's André Sills and Emilio Vieira who are most convincing, as Ross and Lennox, respectively. Kudos to Maria Vacratsis, as well, who plays the Porter (the motel manager in this version) and milks the laughs with her sexually charged speech in the second act. The witches (played by Aidan deSalaiz, Paul Dunn and Anthony Palermo) are portrayed as a trio of transgender prostitutes and drug addicts, scorned by Macbeth, yet whose prophesies lead to his downfall. This is a fascinating take, but one that I felt could be presented more sensitively. You really could say that about this production as a whole. Brash and bold yet lacking in its finer details, it's proof that no amount of money nor special effects can correct for a misguided vision.
