Joel Edgerton (born 23.06.74) Joel Edgerton is an Australian actor, producer and screenwriter, best known for his roles in films like 'Star Wars Episode 2: Attack of The Clones' and 'The Great Gatsby' and 'The Warrior'.
Net Worth: According to Celebrity Net Worth in 2013, Joel Edgerton has a net worth of three million USD.
Childhood: Joel Edgerton was born in Blacktown, New South Wales, Australia, to Michael and Marianne Edgerton. He attended The Hills Grammar School in Sydney, graduating in 1991. After this, he moved to the University of Western Sydney, where he studied at Nepean Drama School. Edgerton then went on to work at Sydney Theatre Company amongst other venues.
Career Edgerton: made his screen debut in an episode of the Australian television show, 'Police Rescue', in 1995. This was followed by his feature film debut the following year in 'Race the Sun'. After appearing in a series of short films and television movies, Edgerton landed a role in 'Star Wars Episode 2: Attack of the Clones' in 2002. In 2004, Edgerton appeared in the film 'King Arthur' alongside Clive Owen before reprising his role in 'Star Wars Episode 3: Revenge of the Sith'. In 2006, Edgerton appeared in the film 'Smokin' Aces', before landing a main role in the television series 'Dangerous' in 2007. Edgerton later appeared in the children's animated movie, 'Legend of the Guardians: The Owls of Ga'Hoole' in 2010. The following year, Edgerton shot into the limelight following his starring role opposite Tom Hardy in 'Warrior'. This was followed by an appearance in 'Zero Dark Thirty' in 2012, and a large part in 2013's 'The Great Gatsby'. Also in 2013, Edgerton wrote his first feature-length screenplay for 'Felony', which also saw Edgerton star. In 2014, Edgerton appeared opposite Christian Bale in the Ridley Scott film 'Exodus: Gods and Kings'.
The offbeat horror movie It Comes at Night is getting great reviews even as it freaks out moviegoers.
It stars Joel Edgerton, who also served as a producer on the project. And he says he was immediately caught off-guard by the screenplay, which was written by director Trey Edward Shults. "Reading the script I immediately thought it was like an immigration and refugee film," Edgerton says. "The house is a country. The family is the culture of the people. And it says come on over, you other family, share our country, we will offer you resources you need, but if you step out of line, you're governed by our rules. The risk of losing our trust is very heavy."
Joel Edgerton It Comes At Night
And Edgerton says that the setting adds other themes as well. "They have to become survivalists," he notes. "They don't have a history in the military or as servicemen. They're not necessarily capable people. Yet normal people find ways of becoming resourceful, improvisational and capable. And there are a lot of emotions that come with it: paranoia, fear, seclusion, inclusion and exclusion."
Continue reading: Joel Edgerton Went Native For It Comes At Night
This sharply original horror film not only approaches its premise from an unexpected angle, but it creates characters who add a psychological depth that makes the film far more involving than expected. And scarier too. Writer-director Trey Edward Shults is doing a lot more than just frightening the audience with an enigmatic post-apocalyptic story, he's also provoking thought with some seriously intriguing subtext.
It's set in an isolated farmhouse that's been boarded-up to fend off the chaos outside, where a grisly disease has swept across America, killing everyone who contracts it. After his father-in-law (David Pendleton) dies from the illness, Paul (Joel Edgerton) is desperately trying to protect his wife Sarah (Carmen Ejogo) and 17-year-old son Travis (Kelvin Harrison Jr.). So when a stranger, Will (Christopher Abbott), turns up, he reacts harshly. But Will tells him that he's only looking for supplies to help his wife Kim (Riley Keough) and their young son Andrew (Griffin Robert Faulkner). Hesitantly, Paul and Sarah bring this family into their home. But the layers of mistrust grow between them, always with the added tinge of terror that one of them might be infected with this extremely contagious disease.
The story is told through Travis' eyes, as he watches and listens to the unsettling paranoia creeping up around him. This includes his freaky nightly dreams, followed by roaming alone though the pitch-black house. All of the actors are terrific at capturing the earthier edges of their characters, with moments of humour and compassion contrasting against their darker suspicions. Harrison adeptly provides the audience with an entry point into this situation, while Edgerton anchors the movie as a man so consumed by his fear that he's not quite in control of his actions. Everyone tries to talk some sense, but for him this only makes them less trustworthy. Each of the actors stirs some suggestive ambiguity into his or her performance, making the audience wonder as well.
Continue reading: It Comes At Night Review
Forests can be mysterious and bewildering places, but for Paul and his family it is one filled with horror and - at least at nighttime. When he meets a family of three in the vast woodland surrounding his home, he is of course suspicious about their journey. Nonetheless, he provides them with shelter at his boarded up house, with the strict condition that all rules regarding their security will be followed to the letter. They must only go out in groups, there is only one way in and out of the property and that door must be kept locked with only one set of keys which are on Paul's person at all times, and most importantly, they must never go out after dark. Of course, when the door is found to be open one evening, no-one is admitting to leaving it unlocked. Naturally, the two families start to become seriously mistrustful of each other and the real monster of the story makes his face known.
Continue: It Comes At Night - Trailer and Clips
While this film tackles a huge issue in the history of race relations in America, it's also a remarkably involving true story about a couple tenaciously holding on to each other in the middle of a storm of oppression. By taking such a personal approach, writer-director Jeff Nichols grounds the movie in authenticity, eliciting fine performances from the entire cast, with especially notable turns from Ruth Negga and Joel Edgerton.
It's 1958, and cross-racial marriage is illegal in Virginia. So Richard Loving (Edgerton) takes his pregnant black girlfriend Mildred (Negga) across the state line to Washington D.C. to get married. When they return to the family farm, they're immediately arrested and exiled to Washington, where they start a family. But Mildred longs to raise their three children back in their rural hometown, with their extended families around them. When Richard consults a civil-liberties lawyer (Nick Kroll), he finds that there may be some legal hope for them if they are willing to take on the system. This requires the help of a constitutional expert (Jon Bass) and the tenacity to stand up to a century of ingrained prejudice.
The film is written and directed with a sharp attention to detail, which means including some facts that are rather messy. This sometimes leaves scenes feeling unfinished, but the point is that real life isn't as tidy as it is in the movies. This also means that the film never tries to build a melodramatic sense of momentum, remaining intimate and somewhat reticent, echoing Richard and Mildred's personalities. Many of the biggest scenes take place off camera, while we are instead watching these steely, softspoken people who changed American law by quietly remaining true to their love for each other. Both Negga and Edgerton deliver subtle, wrenching performances as everyday people who express their strong views mainly in telling glances and touches that say more than words ever could.
Continue reading: Loving Review
Joel Edgerton and Ruth Negga who play Richard Loving and Mildred Jeter Loving in Jeff Nichols' new movie 'Loving'. Seen at the New York premiere held at the Landmark Sunshine Theater - New York, United States - Thursday 27th October 2016
With its grindingly low-key tension and unusual perspectives, this Western has a chance to revamp the genre in intriguing ways. The first-rate cast adds plenty of depth to the usual roles, including a strong female point-of-view from Natalie Portman, who also produced the film. But some rather simplistic thematic touches undermine the originality, and the film never quite cracks through the surface to become something meaningful.
It's set in 1871 New Mexico, where Jane (Portman) lives on a hidden ranch with her outlaw husband Bill (Noah Emmerich) and their young daughter. But Bill's been badly injured, and the notorious scoundrel Bishop (Ewan McGregor) has vowed to track him down. For help Jane turns to her ex-fiance Dan (Joel Edgerton), an angry gunslinger who has never got over being abandoned by Jane all those years ago. He agrees to help her, and of course Bill isn't too happy about this, but he's too injured to protest. And Jane is so fiercely independent that she refuses to let her history with these two men define her future.
The premise is packed with all kinds of intriguing layers, but the script continually over-explains everything with a series of flashbacks to Jane's earlier encounters with Dan, Bishop, Bishop's hotheaded brother (Boyd Holbrook) and a particularly brutal desperado (Rodrigo Santoro). Not one of these people has even a hint of morality about them, which gives the actors a chance to inject a lot of complex texture into their performances. These are tough-minded men who never stop to think about the rule of law. And Portman's Jane is steelier than all of them, a woman who makes her own hard decisions in a place that doesn't let anyone off easily. Portman is terrific in the role, even if director Gavin O'Connor (Warrior) undermines her with his rather straightforward approach. Even so, her scenes with Edgerton and McGregor crackle with subtext.
Continue reading: Jane Got A Gun Review
The Hollywood Film Awards fire the starting pistol on awards season in the movie industry.
British star Carey Mulligan was among the winners at the 19th annual Hollywood Film Awards for her central role as Maud in the new movie Suffragette, a laundry worker who joins the fight for the right for women to vote.
The 30 year old star, who gave birth to her first child with husband Marcus Mumford just a few months ago, won Best Actress at the 2015 edition of the gongs, which are the first major ceremony in a long run of black-tie events leading up to the Academy Awards on February 28th.
The Hollywood Film Awards winners are announced in advance and are not televised, but prominently features movies not on general release and are a reasonable indicator of what will be on offer during awards season.
Here’s what you need to know about Natalie Portman’s new film, ‘Jane Got A Gun’.
Natalie Portman is taking on a whole new genre with her latest film, Jane Got a Gun. The trailer for the upcoming movie was released earlier this week and it bears all the hallmarks of an epic Western including gun slinging, shoot outs and a torrid but ultimately ill-fated romance.
Natalie Portman at the 68th Cannes Film Festival in May 2015.
Beautifully written and directed, this fact-based drama is an odd mixture of excellent acting and not-quite-right casting. Anton Corbijn clearly knows the subject, since he's a celebrity photographer making a movie about a celebrity photographer. But in this case, the subject of those photos is the elusively magnetic James Dean, a tricky person to recreate dramatically.
It's set in early 1955, as James Dean (Dane DeHaan) has just finished filming East of Eden and is hoping to land the lead role in Rebel Without a Cause. No one knows who he is yet, but freelance photographer Dennis Stock (Robert Pattinson) has a feeling he could become a big star. When Dennis' agent (Joel Edgerton) lands a commission from Life magazine, Dennis follows James from Hollywood to New York and home to his Indiana farm. But James is evasive and mercurial, and it takes a lot of tenacity for Dennis to crack through his shell to get the shots he needs. Eventually they even become friends, inspiring each other to pursue their dreams on their own terms.
The plot is loose, focussing more on the internal journeys these two men take than on any constructed storyline. And the film switches back and forth between their perspectives, which kind of leaves it without a point of view. But this gives both Pattinson and DeHaan the space to create authentic and complex characters. Pattinson gives his most layered performance yet, especially in scenes involving Dennis' ex-wife and young son (Stella Schnabel and Jack Fulton). Meanwhile, DeHaan creates a character who's thoughtful and fascinating, haunted by his past relationships and unafraid to stand up to the Hollywood system in the form of mogul Jack Warner (a scene-chewing Ben Kingsley). The problem is that, despite a lot of subtle (and more obvious) physical touches, DeHaan never echoes Dean's wiry, hungry energy.
Continue reading: Life Review
James Dean is a rising superstar; handsome, slick, smart and mild-mannered, and yet rebellious with dreams of being a famous actor. For passionate Life Magazine photographer Dennis Stock, Dean poses the perfect subject for his latest project and he's determined to capture the star in all his glory ahead of the release of his break-out movie 'Easy Of Eden'. It takes little persuasion on Stock's part to get Dean to agree to the project and the pair set out on a journey from Hollywood, through New York, and over to Fairmont, Indiana where Dean was originally from. Stock's plan is to capture the raw emotion and energy of this iconic figure of angst and coolness, and it doesn't take long before the two start to build an extraordinary friendship, that's made all the more heart-breaking on screen when you consider it's the final months of his life.
Continue: Life Trailer
The now filmmaker says his new movie is a little different from the usual thriller.
Australian actor Joel Edgerton has been starring in movies for 20 years, from homegrown hits like Erskineville Kings (1999) to playing Luke Skywalker's uncle in the Star Wars prequel trilogy to acclaimed films like Animal Kingdom, Zero Dark Thirty and The Great Gatsby. Now at 41, he has moved into writing and directing with The Gift, a twist on the classic horror-thriller genre.
Joel Edgerton takes the thriller genre to a new level in 'The Gift'
"I really loved Fatal Attraction, Cape Fear, even Pacific Heights," he notes, going on to say that his primary inspiration was from Austrian award-winner Michael Haneke. "Funny Games really rattled me, in terms of a movie where you have a couple who are besieged by somebody else. And when I watched Cache it was really interesting, because if you are halfway intelligent you are constantly guessing what is going on. You are put right in the same mindset as the central characters, as they try to piece together the truth."
Continue reading: The Gift Lets Joel Edgerton Play With The Thriller Genre
Date of birth
23rd June, 1974
This sharply original horror film not only approaches its premise from an unexpected angle, but...
Forests can be mysterious and bewildering places, but for Paul and his family it is...
While this film tackles a huge issue in the history of race relations in America,...
Loving is a new film that documents the lives of Mildred and Richard Loving, a...
With its grindingly low-key tension and unusual perspectives, this Western has a chance to revamp...
Gifted director Jeff Nichols takes on another genre in his fourth film with actor Michael...
Jane Hammond has always been an independent woman, but living in the developing West is...
For a biopic of a real-life person, this feels like an oddly standard mob thriller....
Alton is a very special young boy who has been given a unique gift. When...
Beautifully written and directed, this fact-based drama is an odd mixture of excellent acting and...
James Dean is a rising superstar; handsome, slick, smart and mild-mannered, and yet rebellious with...