'Cause everyone hates reading subtitles right?
An English language remake of the popular French supernatural drama, Les Revenants ('The Returned'), is reportedly in development, as the original prepares to premiere in the US on Halloween (31st Oct.) on the Sundance channel. The Canal+ drama aired earlier in the UK this year and a second season, currently in development, will air on Channel 4 next year.
Anne Consigny Starred In The French Language 'Les Revenants.'
The US remake will apparently be aired on cable channel A&E, who adapted Hitchcock's Psycho movie into the recently aired Bates Motel. A&E's Executive Vice President David McKillop spoke of his channel's enthusiasm for airing the show: "The Returned takes an incredibly unique approach, filled with suspense and twists and turns, to the subject of the living dead," he said, via Digital Spy.
Continue reading: U.S. Version Of French Zombie Hit 'The Returned' In Development
The french zombie drama closes for a season, but did it underwhelm or were we left still wanting more?
Les Revenants - or The Returned for us Anglophones - has drawn to an end after eight thrilling, zombie-filled episodes. With the small French mountain community at grips with the invading undead menace. After a thoroughly well-received initial seven episodes, the pressure was on for the writers to live up to expectations. But how did the episode hold up? Here's what the critics are saying for the finale of the French apocalyptic drama.
Anne Consigny stars in the show
This article obvious contains spoilers. Closing with the town's citizens holed up away from the rest of the world in an isolated hostel and with the undead seemingly winning their gun battle with the police, one concern that critics seem to have found with the season finale is the sloppy ending, rendering the series is an unnecessary limbo between season one and two.
Lambert Wilson, Anne Consigny, Hippolyte Girardot and Cannes Film Festival - Anne Duperey, Pierre Arditi, Sabine Azema, Lambert Wilson, Anne Consigny, Hippolyte Girardot Monday 21st May 2012 'Vous N'avez Encore Rien Vu' (You ain't seen nothin yet) premiere during the 65th Cannes Film Festival
Nerio Winch is a self made multi billionaire. While relaxing on his yacht one day he is pulled to his death by a scuba diver who had been lying in wait. Nerio's death throws his company into financial distress, as Nerio apparently has no living heirs to carry on the business.
Continue: The Heir Apparent: Largo Winch Trailer
When the imaginative Georges (Dussollier) finds a wallet in a parking garage, he begins to wonder about the owner. He hands the wallet to a cop (Amalric) and goes home to his wife (Anne Consigny), with whom he has two adult children (Forestier and Vladimir Consigny). Meanwhile, the wallet's owner, Marguerite (Azema), also begins to wonder about this strange man who found it. But when they get in contact, strange obsessions lead to irrational decisions and actions. Or maybe they're just imagining what could possibly happen.
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Only a few days before the sugar plums and wassail are set on the table, Junon Vuillard (Catherine Deneuve), the grand matriarch of a family of lunatics, is diagnosed with a serious case of lymphoma, the same disease that already claimed her eldest son Joseph. The film opens with her husband Abel (Jean-Paul Roussillon) mourning over his son with a startlingly breezy candor. Employing shadow puppets, the lineage of the Vuillard family in its current incarnation is explained, leading to Ivan (Melvil Poupad), the youngest of Junon's children.
Continue reading: A Christmas Tale Review
Julian Schnabel's The Diving Bell and the Butterfly takes its title from said book, and, like its source material, the film has a spiffy discordance to it. When Bauby (the great Mathieu Amalric) opens his eyes, so does the camera, and we are struck by the light in the same petrified and blurry way that Bauby is. Manipulated to Brakhage-like lengths, the image has the same effect as Jean-Do's fumbling voiceover; we are as unsure of his footing as he is. His pleading to not sew up an eye threatened by infection becomes our begging; we don't want to lose the slight view we have. Then, with little preparation, we aren't with the protagonist anymore, and we are looking at a frozen, terminally-twitched face in a hospital bed.
Continue reading: The Diving Bell And The Butterfly Review
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