Edward Norton, adapted from the Jonathan Lethem novel. Looks pretty darned good, Norm.
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Lionel Essrog (Edward Norton), a lonely private detective living with Tourette Syndrome, ventures to solve the murder of his mentor and only friend, Frank Minna (Bruce Willis). Armed only with a few clues and the engine of his obsessive mind, Lionel unravels closely guarded secrets that hold the fate of New York in the balance. In a mystery that carries him from gin-soaked jazz clubs in Harlem to the hard-edged slums of Brooklyn and, finally, into the gilded halls of New York’s power brokers, Lionel contends with thugs, corruption and the most dangerous man in the city to honor his friend and save the woman who might be his own salvation.
Edward Norton directed, wrote, produced and stars in “Motherless Brooklyn.” The film’s journey to the screen began in 1999 when Norton saw the cinematic potential in Jonathan Lethem’s novel Motherless Brooklyn and its unforgettable central character. But from the beginning, Norton aimed to transpose Lethem’s contemporary characters into a different period and plot and give it a distinctive atmosphere by re-setting the drama in the 1950s—a time of great change in New York City.
The film’s stellar ensemble cast also includes Bruce Willis, Gugu Mbatha-Raw, Bobby Cannavale, Cherry Jones, Michael Kenneth Williams, Leslie Mann, Ethan Suplee, Dallas Roberts, Josh Pais, Robert Ray Wisdom, Fisher Stevens, with Alec Baldwin and Willem Dafoe.
Norton also produced the film with his Class 5 Films producing partner Bill Migliore; Michael Bederman; and MWM Studios’ Gigi Pritzker and Rachel Shane. Adrian Alperovich, Sue Kroll, Daniel Nadler, Robert F. Smith, and Brian Niranjan Sheth served as executive producers.Behind the scenes, Norton collaborated with two-time Oscar-nominated director of photography Dick Pope (“Mr. Turner,” “The Illusionist”), production designer Beth Mickle (“Drive,” “Collateral Beauty”), Oscar-nominated editor Joe Klotz (“Precious,” “The Butler”) and costume designer Amy Roth (TV’s “The Looming Tower,” “Indignation”).
Music plays an important role in setting the tone and establishing the period of “Motherless Brooklyn.” The score is composed by Daniel Pemberton (“Steve Jobs,” “All The Money In The World,” “Oceans 8,” “Spider Man: Into The Spiderverse”) and features Wynton Marsalis on the trumpet. The film also features an original song written and performed by Thom Yorke.
Warner Bros. Pictures presents a Class 5 Films / MWM Studios Production, “Motherless Brooklyn.” Slated for release on November 1, 2019, the film will be distributed worldwide by Warner Bros. Pictures.
Didn’t see trailer and I don’t know about you guys, but I’m still horrified by the pull quotes on the Hidden Life trailer.
Seriously! I watched that trailer and when Owen Glieberman’s quote slowly unfurled on the screen I was like ‘oh brother…’.
Watched Weathering With You and Once Upon a Time in Hollywood today. They had some surprising similarities, but I will say I loved both.
Weathering With You in particular is an astonishingly beautiful movie which does a lot with a mix of intrigue, romance, and some of the best animation ever put to cinema. The sort of movie that just sweeps me off my feet emotionally. Quite frankly, though it’s not as good as Your Name, it is still a 10/10 to me.
Looks really solid, I am somewhat skeptical of Edward Norton directing himself in such a showy role because his career can come across a bit self absorbed sometimes and I worry that it could turn into a very self indulgent exercise of him telling us how great he is but the trailer is great and does relieve some of this worry. I’m starting to get jazzed for this season.
Also other news, I mentioned this in a different thread but still, I saw Portrait of a Lady on Fire earlier in the week and it is really fantastic, it’s definitely going to be right up there with the best of the year for me and I really hope it gets the recognition it deserves when people see it!
This looks great. Thom Yorke is coming for his Oscar.
That’s what they said about Thom Yorke in Suspiria.
But that song wasn’t good. This one is.
If this sticks the landing would Dafoe be more likely to get a nom for this or Lighthouse? Norton looks solid in this as well…but not much chatter about him.
Looking like a great year for him but neither feel like winning roles, not because they don’t look deserving but because they don’t look like they the sorts of roles that win Oscars… Which is sad because he is someone who really should have an Oscar by now – it’s weird that we are talking about him and not Ed Norton on this post (despite the fact that he’s often cited as being overdue) but I do really think Dafoe is the more overdue one
I hope no actor is considered “overdue” and the best man wins. People may disagree with Rami Malek’s win, but one impressive thing was that he won without being considered overdue.
I mean to some extent I agree – if a performance is so good then it should win over someone who is overdue – I didn’t really like BR so I am not really on board with that example (though I do think he was very good in a very middle brow movie) but I was controversially team Olivia Coleman for actress last year for example which is an even better example since she was up against someone ridiculously overdue (though I would’ve been happily either way there because I did actually love Glen Close in the wife too)…
When I talk about people being overdue I am generally either hoping that someone consistently great and who seems like they should have an Oscar gets the right role that is actually the best or that I believe they have had a role that they should’ve won for… In Dafoe’s case I mean it in both – I think he has had roles that have been so good that they were the best or close to the best of their years and I really hope he wins an Oscar some time for something that he really deserves to win one for.
One final point though – since they do give out Oscars for people being overdue I’m going to have opinions on who those should be even if I’m not 100% onboard with it happening.
I love Olivia Colman, I’ve loved and have been looking forward to her work long before The Favourite and if her Oscar speech told us anything about her it’s that she is not just a great actress but a genuinely nice person, too and while on one hand I’m happy the winner won for an astonishingly good performance, on the other I would have given the edge to Close, not because of the overdue status but because whenever a lead acting race is down to two, I always go with the bigger role. Close had to carry her film alone, Colman had so much help in that department that her film in the end honestly didn’t even have a lead. Or if it did, it had three. The Wife only had one.
Mmm I agree with most of that, I really loved both performances but when it comes down to it, category fraud or reliance on others or not, when we finally get to nominees I feel like I have to judge performance v performance and I just really adored Colman in that role and couldn’t help but give her the slight edge but it was one of those categories where I would’ve been super happy with either.
I was absolutely shocked they didn’t give it to Glenn Close (AGAIN) but I couldn’t be mad at them for giving it to Colman, either. Both are great, the Academy just has to stop being a jerk to former. Luckily all the goodwill from last year secured Close several promising projects so it very much looks like next year she will have that addiction drama with Mila Kunis; the Ron Howard directed Hillbilly Elegy with Amy Adams and if they keep on schedule, then also Sunset Boulevard that is at last in pre-production and is supposed to start rolling later this year.
The fact that Ethan Hawke, IMO better than everyone in the Oscar shortlist, wasn’t even nominated for First Reformed still really, truly irks me.
In my opinion at least the 25 best male lead performances of the year weren’t nominated last year. That lineup was a disaster
That was true of quite a few lineups last year though, I mostly choose to pretend the Oscars last year never happened and move on!
Agreed. Though I was glad that Schrader pulled a nomination.
Between this, Fast Color and The Morning Show, Gugu Mbatha-Raw is definitely getting some well-deserved exposure this year. And yes, I’m still salty she didn’t get an Oscar nomination in the 2014/2015 season. She literally made history with two wildly different, critically acclaimed lead performances while also becoming the first actress of colour headlining two films in the same year written and directed by women of colour and yet zero love during awards season ? Fuck that.