Archive for Movies
Earlier this week, Max attended a UK gala screening for Bitter Harvest at the The Ham Yard Hotel in London, England. I have added high quality photos from the screening to the gallery. I’m sorry for the delay in getting these added!
Posted on 25 February 2017by Emilywith 0 Comments
Posted on 11 February 2017by Emilywith 0 Comments
DEADLINE.COM – Simon Pegg, Mike Myers, Max Irons (The Riot Club) and Dexter Fletcher (Lock, Stock And Two Smoking Barrels, Kick-Ass) have joined Margot Robbie in the cast of Vaughn Stein’s noir thriller Terminal.
Terminal tells the story of two hit-men (Fletcher and Irons) as they embark on a borderline suicide mission for a mysterious employer and a high paycheck. Along the way, the unlikely pair come across a dynamic woman named Annie (Robbie) who may be more involved than they had originally suspected.
It is being produced by David Barron of BeaglePug (Harry Potter And The Deathly Hallows: Part 2, The Legend Of Tarzan) Molly Hassell (Braven, The Trust) and HFG’s Arianne Fraser alongside Tom Ackerley, Josey McNamara, Sophia Kerr and Robbie under their LuckyChap Entertainment banner.
HFG arranged financing with Ingenious Media, RuYi Media and Miscellaneous Entertainment. Executive producers are John Jencks, D. Todd Shepherd, Joe Simpson, George Waud, Shelley Madison, Charles Auty, Simon Williams, Delphine Perrier and Henry Winterstern.
HFG is handling international sales and CAA represents the U.S. rights.
Pegg will next appear in Paramount’s Star Trek Beyond, while Irons will soon be seen in ITV’s Tutankhamun. Fletcher will next be seen in Eddie The Eagle for 20th Century Fox, and Myers is creating a new series for HBO.
Pegg is represented by Dawn Sedgwick Management and UTA, while Irons by Tavistock Wood and UTA. Fletcher is represented by WME and Independent Talent Group, and Myers by Untitled Entertainment.
The Highland Film Group slate includes Jon Avnet’s Three Christs starring Richard Gere; Scott Mann’s action-packed thriller Final Score; Lin Oeding’s thriller Braven starring Jason Momoa; Kevin Connolly’s Gotti starring John Travolta; Steven C. Miller’s Southern Fury with Nicolas Cage and Marauders starring Bruce Willis; the Brewer Brothers’ The Trust starring Nicolas Cage and Elijah Wood; and Osgood Perkins’ The Blackcoat’s Daughter starring Emma Roberts, which had its world premiere at Toronto Film Festival, where it was acquired by A24.
Posted on 31 May 2016by Emilywith 0 Comments
FLAVOURMAG.CO.UK – Spotlight Pictures announced today that it will launch international sales for the highly emotive $21million dollar epic, BITTER HARVEST, at the American Film Market next month.
Directed by George Mendeluk (The Kidnapping of the President), the film features an exceptional ensemble cast of established and rising stars including, young British sensation, Max Irons (The Riot Club) Academy Award® Nominee, Terence Stamp (Star Wars: Episode I – The Phantom Menace, Golden Globe® Nominee, Barry Pepper (Maze Runner: The Scorch Trail), Samantha Barks (Les Miserables) and Tamer Hassan (Layer Cake). Edited by Academy Award® Nominee, Stuart Baird (SKYFALL, CASINO ROYALE, DIE HARD 2) with photography by Douglas Milsome (ROBIN HOOD: PRINCE OF THIEVES, THE SHINING), BITTER HARVEST was produced on location in Ukraine and at Pinewood Studios.
Set between the two World Wars and based on true historical events, BITTER HARVEST is the first major dramatic film to convey the untold story of the Holodomor, the genocidal famine engineered by Joseph Stalin that killed millions in Ukraine.
The film follows the journey of Yuri (Max Irons), an artistic soul born into a family of Ukrainian warriors, who struggles to win the approval of his stern grandfather Ivan (Terence Stamp), father Yaroslav (Barry Pepper) and the heart of Natalka (Samantha Barks). Yuri finds his life changed forever with the invasion by the Bolsheviks and the subsequent persecution of his family and fellow countrymen as Stalin’s deliberate regime of terror extends across Eastern Europe.
Upon confirming the deal, Spotlight’s CEO Matt McCombs commented, “We have been tracking this amazing BITTER HARVEST production for many months and watched carefully as the producers, using the incredible editing and post-production skills of Stuart Baird, honed a very special film. We even sat in on several NRG Focus Groups, increasingly excited by the audience reaction. We are very proud to be presenting the film for sales at the AFM.”
In explaining his involvement, producer Ian Ihnatowycz said, “As the grandson & son of Ukrainians who fled the communists in the 40s, I had long been mystified as to the almost complete lack of awareness in the West about the Holomodor. While the actual number of deaths is undetermined, even the most modest estimate is that over 6 million were deliberately starved to death. These were innocent men, women and children and, in all conscience, I couldn’t let this period of Ukrainian history remain in the shadows”.
The film will have its world market premiere during the AFM on Monday, November 9, at the AMC Santa Monica at 3pm.
Posted on 28 October 2015by Emilywith 0 Comments
TORONTO – When Max Irons first read the script for “The Riot Club,” he was repulsed by the explosive drama about an elite but depraved Oxford society.
“I hated it. I thought it was such an unpleasant reality,” the 29-year-old admitted in an interview at last fall’s Toronto International Film Festival.
But at his agent’s insistence, he read it again — more slowly the second time — and realized the film would offer a rare, unflinching look at the top tier of the British class system.
“I think that is pretty important. We’ve spent a lot of time looking at areas of English society and the class system, and yet this particular area has sort of been off limits,” he said.
“The Riot Club” opens Friday in Vancouver, Toronto and Montreal. Directed by Lone Scherfig (“An Education”), the film follows two first-year students at Oxford University who join an exclusive society called the Riot Club.
Laura Wade wrote the script based on her play “Posh” and has insisted the club is fictional. But that hasn’t stopped critics from noticing similarities to Oxford’s notorious Bullingdon Club, which once counted U.K. Prime Minister David Cameron and London Mayor Boris Johnson among its members.
Irons, the son of actor Jeremy Irons, plays Miles, who is at first seduced by the club’s perks. But he’s later horrified by its power. Sam Claflin plays Alistair, whose entitlement has festered into seething resentment of the poor.
These tensions reach a violent breaking point at a drunken pub dinner, during which the boys lash out at Miles’s girlfriend (Holliday Grainger) and an outspoken sex worker (Natalie Dormer).
Several of the young actors met with real “Bullingdon boys” in preparation for the film. Irons recalled one club member saying, “The minute you walk into these rooms … the rules that apply outside no longer apply in here.”
“I think the thing you got from a lot of them was this is a unique three years out of their lives,” Irons said. “They could sort of surrender themselves to hedonism and just go nuts.”
The film attracted controversy when it received British Film Institute funding in 2013. The Guardian reported that some Conservative MPs felt the movie was biased and meant to remind voters of Cameron and Johnson’s privileged backgrounds ahead of the 2015 general election.
In a separate interview at the Toronto film festival, Scherfig chuckled when asked about the outcry.
“That kind of attention is also a form of enthusiasm,” said the Danish director. “I like that England is so politicized. I think it’s a big virtue in their country. When they don’t talk about football, they do talk about politics. You have ongoing debate and this film plays a role in that debate.”
Scherfig also explored class in “An Education,” a 2009 coming-of-age tale that helped launch Carey Mulligan’s career. But the director called her previous film “more innocent.”
“(‘The Riot Club’) says that privilege is something you have to handle with great responsibility and these boys don’t,” she said. “They behave really badly because they can and they will get away with it.”
Posted on 26 March 2015by Emilywith 0 Comments
Lone Scherfig’s “The Riot Club” is a blistering attack on English society that argues the country’s class system is alive, thriving and totally unapologetic.
The adaptation of Laura Wade’s 2010 play “Posh” centers on an elite Oxford club for high society types and a raucous night out that ends in tragedy and a cover-up. It is scheduled to cross the pond and open in the United States on March 27.
That may be a challenge for the film, as its targets and investigation into the limits of social mobility could get lost in translation. Race, not caste, remains America’s dominant obsession, but Scherfig and her cast of up-and-coming leading men maintain that the film’s message will be able to traverse the Atlantic.
“The issue of how power and money divide people and how that leads to corruption exists everywhere,” said Max Irons, one of the film’s stars. “These clubs aren’t just in England. Yale has the Skull and Bones, and they are important jumping off points for higher office and control of the corporate world.”
Irons is the son of actors Jeremy Irons and Sinéad Cusack, so he comes from the upper echelons of English society. Not everyone was as well versed. Scherfig, a Danish director best known for “An Education,” and other members of the cast treated Oxford’s club system as foreign countries. That unfamiliarity with the mores of the film’s protagonists was an asset, “The Riot Club” team claims.
“Lone just approached this from an outsider’s perspective,” said Sam Claflin, another of the film’s leads. “Going through that journey of understanding, we really grew to love the world and the characters.”
Claflin hails from a middle class background, so the elite clubs that “The Riot Club” sends up were just as alien to him as Scherfig.
“This is basically a gang culture but in the upper class,” he said. “It’s really no different, other than they get away with it. It’s who you know, and that gives you a free pass to do whatever you want. Money buys you power.”
To be sure, the first half of the movie, which shows the good-looking members of the club drinking to excess, driving fast cars, wearing elegant clothes and generally behaving like charismatic rogues, makes the world of power and privilege seem enormously appealing. It’s only in the picture’s second act, when Scherfig and Wade dramatize how these social ties are able to brush aside a shocking act of violence, that the picture’s moral compass becomes more pronounced.
The pivot from attraction to repulsion led Scherfig to liken the film to vampire pictures.
“I hope you’re seduced in beginning, but are left asking questions in the end,” she said. “It’s like theater in that it poses questions rather than builds bridges that leave you in harmony.”
The characters in the picture are all young men in their late teens and early 20s navigating adulthood. It’s a period that Scherfig previously explored in “An Education,” which looked at a precocious high schooler and her relationship with an older man, and “One Day,” which centered on two friends who meet after graduating from college.
“The way you perceive things at that age, the choices you make and how you are finding your feet morally and finding your values is an incredibly interesting period to study in a person’s life,” said Scherfig.
When “The Riot Club” debuted last year in the United Kingdom, it landed with the kind of pop that it probably won’t enjoy on these shores. The club at the center of the film is loosely modeled on the Bullingdon Club, an exclusive dining group at Oxford that counts Prime Minister David Cameron and Mayor of London Boris Johnson as members. The film’s look at the dark underside of this brand of institutional elitism and the country’s tilt toward more conservative politics inspired fierce debate.
“People got angry,” said Irons. “This is a film, like life, where there isn’t any poetic ending. The cold hard truth is, not everyone is born equal and equal justice doesn’t exist. If that makes you angry and gets younger people to take an interest and maybe cast their vote in a different direction, then we’ve done our job.”
Names like David Cameron and Boris Johnson may be unfamiliar to American moviegoers, but social inequity isn’t just an English affliction. It’s universal.
Welcome to “The Riot Club.”