Film to Premiere at a special one-night, invitation-only, engagement sponsored by HBO(R) on October at the AMC Empire 25 on 42nd Street
New York, NY – September 25, 2013 – (Hispanicize Wire) – ProyectoNEXT, a new showcase for emerging Latino and Urban talent sponsored by HBO, will debut next month with the New York premiere of director Henry Barrial’s “The House That Jack Built.” The one-night, invitation-only feature presentation will take place October 2 in Manhattan at the AMC Empire 25.
Hailed by The Hollywood Reporter as a “convincing portrait of a neighborhood and its Nuyorican culture,” and “a majestic journey of crime, family drama, and redemption” by The Awards Circuit, “The House That Jack Built” stars Bronx native E.J. Bonilla and features an all-Latino cast of Caribbean descent from New York, including Melissa Fumero, Leo Minaya, Flor De Liz Perez, Saundra Santiago, John Herrera, and Rosal Colon.
“HBO is extremely excited to partner in the...
New York, NY – September 25, 2013 – (Hispanicize Wire) – ProyectoNEXT, a new showcase for emerging Latino and Urban talent sponsored by HBO, will debut next month with the New York premiere of director Henry Barrial’s “The House That Jack Built.” The one-night, invitation-only feature presentation will take place October 2 in Manhattan at the AMC Empire 25.
Hailed by The Hollywood Reporter as a “convincing portrait of a neighborhood and its Nuyorican culture,” and “a majestic journey of crime, family drama, and redemption” by The Awards Circuit, “The House That Jack Built” stars Bronx native E.J. Bonilla and features an all-Latino cast of Caribbean descent from New York, including Melissa Fumero, Leo Minaya, Flor De Liz Perez, Saundra Santiago, John Herrera, and Rosal Colon.
“HBO is extremely excited to partner in the...
- 9/26/2013
- by El Mayimbe
- LRMonline.com
Mumbai Mantra, the media and entertainment division of the Mahindra Group, is collaborating with Sundance Institute for the inaugural Mumbai Mantra Sundance Institute Screenwriters Lab 2012. Eight feature film projects have been selected through a rigorous evaluation process of submissions from Indian screenwriters from around the world . These Screenwriting Fellows will have the opportunity to work intensely on their feature film scripts with the support of Creative Advisors (established Screenwriters and Directors) in an environment that encourages innovation and creative risk-taking. Through one-on-one story sessions with the Creative Advisors, the Screenwriting Fellows will engage in an artistically demanding process that offers indispensable lessons in craft, a fresh perspective on their work and a platform to fully realize their material.This year.s Screenwriting Fellows who will go through an immersive five day workshop (March 11-16) at a Club Mahindra Resort are: . Charudutt Acharya (Sonali Cable Centre). Shonali Bose & Nilesh Maniyar (Margarita,...
- 3/14/2012
- Filmicafe
Mumbai Mantra | Sundance Institute Screenwriters’ Lab 2012 announced eight feature-film projects for its inaugural edition. Anusha Rizvi and Mahmood Farooqui’s Opium and Shonali Bose and Nilesh Maniyar’s Margarita, With a Straw are two of them.
The selected 8 Screenwriting Fellows will get an opportunity to develop their works under the guidance of Creative Advisors at a workshop for 5 days from March 11-16, at Club Mahindra Resort in Lonavala.
The selected 8 projects are:
• Charudutt Acharya (Sonali Cable Centre)
• Shonali Bose & Nilesh Maniyar (Margarita, With a Straw)
• Vikas Chandra (Toothache)
• Rajnesh Domalpalli (Avani)
• Prashant Nair (Umrica)
• Anusha Rizvi & Mahmood Farooqui (Opium)
• Ajitpal Singh (Manjhi)
• Kartik Singh (Public School).
The group of Creative Advisors include Guillermo Arriaga (Amores Perros, 21 Grams), Marcos Bernstein (Central Station, Foreign Land), Michael Goldenberg (Harry Potter and the Order of the Phoenix, Contact),Asif Kapadia (The Warrior, Senna), Shekhar Kapur (Bandit Queen, Elizabeth), Kasi Lemmons (Talk to Me, Eve’s Bayou), Anjum Rajabali (Rajneeti,...
The selected 8 Screenwriting Fellows will get an opportunity to develop their works under the guidance of Creative Advisors at a workshop for 5 days from March 11-16, at Club Mahindra Resort in Lonavala.
The selected 8 projects are:
• Charudutt Acharya (Sonali Cable Centre)
• Shonali Bose & Nilesh Maniyar (Margarita, With a Straw)
• Vikas Chandra (Toothache)
• Rajnesh Domalpalli (Avani)
• Prashant Nair (Umrica)
• Anusha Rizvi & Mahmood Farooqui (Opium)
• Ajitpal Singh (Manjhi)
• Kartik Singh (Public School).
The group of Creative Advisors include Guillermo Arriaga (Amores Perros, 21 Grams), Marcos Bernstein (Central Station, Foreign Land), Michael Goldenberg (Harry Potter and the Order of the Phoenix, Contact),Asif Kapadia (The Warrior, Senna), Shekhar Kapur (Bandit Queen, Elizabeth), Kasi Lemmons (Talk to Me, Eve’s Bayou), Anjum Rajabali (Rajneeti,...
- 3/12/2012
- by NewsDesk
- DearCinema.com
Patricia Clarkson and Stanley Tucci share more in common than critical accolades and impressive resumes. Both actors enjoyed professional breakthroughs somewhat later in life, after struggling through their 20s and early 30s. Each credits the Steven Bochco series "Murder One" as a major turning point in their careers. And both share similar perspectives on their craft and the business -- not to mention a wicked sense of humor.Clarkson and Tucci have teamed up before in projects Tucci has co-written and directed, beginning with the 2000 film "Joe Gould's Secret." In 2007, the pair played a married couple estranged by tragedy who repeatedly pretend to meet for the first time in "Blind Date," inspired by a film from the late Dutch director Theo van Gogh. This month, the duo will reteam as a far more lighthearted couple in "Easy A," a smart new comedy from director Will Gluck and writer Bert V. Royal.
- 9/9/2010
- backstage.com
The New York Yankees and the Philadelphia Phillies aren't exactly the fiercest of rivals, but there is sure to be blood — or maybe just some home runs, botched calls and heated arguments with umpires — when the two baseball teams collide for Game 1 of the World Series this evening (so long as the rain stays away that is!).
As New Yorkers and Philadelphians prepare for battle, we got to wondering about some of the other rivalries already in place between the two cities — in motion picture form, that is. I'm not necessarily talking about fictional competitions between NYC and Philly, so much as stacking movies set in those cities against one another.
Through that framework, you'd be surprised at how many competing movies there are between the Empire and Keystone States — just hit the jump and see the head-to-head match-ups for yourself!
The Ghost Story: "Ghostbusters" (NYC) vs "The Sixth Sense...
As New Yorkers and Philadelphians prepare for battle, we got to wondering about some of the other rivalries already in place between the two cities — in motion picture form, that is. I'm not necessarily talking about fictional competitions between NYC and Philly, so much as stacking movies set in those cities against one another.
Through that framework, you'd be surprised at how many competing movies there are between the Empire and Keystone States — just hit the jump and see the head-to-head match-ups for yourself!
The Ghost Story: "Ghostbusters" (NYC) vs "The Sixth Sense...
- 10/28/2009
- by Josh Wigler
- MTV Movies Blog
The 2009 American Film Market today announced its schedule of seminars and conferences to be held between Nov. 4 and 11. Celebrating its 30th year, the Afm will showcase panels on film financing opportunities, local and international distribution trends, marketing strategies and digital technologies. The sessions will include film executives, producers, writers, directors, distributors, financiers and attorneys. This year’s seminars and conferences will include the annual “Afm Finance Conference” on Friday, Nov. 6; “Pitch Me!” on Saturday, Nov. 7; “No Direction Home – Changing Indie Distribution Strategies” on Sunday, Nov. 8; “Writing for the Genre World” on Monday, Nov. 9; “Case Study: How to Package and Finance Your Independent Project Overseas” on Monday, Nov. 9; and “The New Hollywood Movie Studio, New Media and Social Networking” on Tuesday, Nov. 10.
Programming the seminars and conferences will be the American Society of Cinematographers, British Academy of Film & Television Arts/Los Angeles, Directors Guild of America, Film Independent, Hong Kong Trade Development Council,...
Programming the seminars and conferences will be the American Society of Cinematographers, British Academy of Film & Television Arts/Los Angeles, Directors Guild of America, Film Independent, Hong Kong Trade Development Council,...
- 10/16/2009
- by sean
- FamousMonsters of Filmland
In boxing lore, there have been few comeback stories as inspirational as the precipitous fall and equally dramatic ascension of Depression-era fighter James J. Braddock.
Appropriately dubbed the Cinderella Man by Damon Runyon, Braddock and his change of fortune provided a shred of hope for the hard-knock lives and times of his fellow working-class Americans.
Reuniting with his A Beautiful Mind star, Ron Howard and Russell Crowe bring the Braddock story to vivid life in a superbly acted, beautifully shot, highly engaging drama that ranks as one of Howard's best efforts.
It's certainly the first studio release of the year that could rightfully lay claim to any early Oscar buzz. The picture not only boasts a winning ensemble, with equally terrific performances from on-a-roll Paul Giamatti and Renee Zellweger, but it also is a technical knockout, steeped in period atmosphere that practically reeks of authenticity.
But while it doesn't flinch from the lower-key, darker recesses of the era, it still manages to hit the necessary, audience-grabbing posts. Even with all those traditionally male-skewing boxing sequences, there's also a strong emphasis on home and family that will ensure Cinderella Man is an equal-opportunity draw, in turn giving Universal a Seabiscuit-sized happily ever after at the boxoffice.
The screenplay, credited to Cliff Hollingsworth and A Beautiful Mind's Akiva Goldsman, picks up on Crowe's Braddock in the throes of a promising career. The New Jersey-based Bulldog of Bergen, known for a healthy tenacious streak and a formidable right hand, was on his way to the big time when a badly broken right hand and a consequential defeat at the hands of light heavyweight champ Tommy Loughran sent his career into a downward spiral.
Of course, the fact that his bad-luck streak happens to coincide with the stock-market crash of 1929 only exacerbates matters, and Braddock soon finds himself unable to make ends meet for wife Mae (Zellweger) and his three kids.
Drowning in debt and facing the prospect of a New Jersey winter without heat in their drab basement apartment, Braddock is not above begging when his old, indefatigable manager Joe Gould (Giamatti) shows up offering him a one-shot chance at redemption.
Deemed too old and too hungry to step back in the ring, Braddock surprises the skeptics, and himself for that matter, by knocking out his rising-star opponent with the help of a newly discovered hook developed logging all those hours of dock work.
Soon, Braddock finds himself back on track and carrying the hopes and dreams of millions of struggling average Joes on his shoulders. But an impending face-off against world heavyweight champ Max Baer, who already has killed two men in the ring, raises the stakes considerably for Braddock and his family.
Always a stickler for period detail, Howard outdoes himself here. Working with production designer Wynn Thomas and costume designer Daniel Orlandi, he evokes the time and place right down to the faces of the smallest bit players.
When the power is cut in Jim and Mae's flat in the dead of winter, Salvatore Totino's ever-probing camera captures each stifled breath, and thanks to the meticulously re-created surroundings (using Toronto's empty Maple Leaf Gardens as a credible substitute for the old Madison Square Garden Bowl), you almost can catch a whiff of the smoke and sweat and desperation.
But the picture's greatest effect is Crowe. With his head cocked to one side almost in anticipation of the blows that will come his way both in and out of the ring, he makes Braddock an introspective everyman who might be down but never is completely out for the count.
Giamatti, who just keeps getting better, brings a never-say-die urgency to the role of Braddock's scrappy manager, while Zellweger takes what could have been a thankless role and gives it her own indelible imprint.
There's also good work from Bruce McGill as a cigar-chomping boxing promoter, Paddy Considine as a co-worker of Braddock's who doesn't fare quite so well and Craig Bierko as a taunting Baer.
Putting the finishing touches on this thoroughly satisfying production is Thomas Newman's elegant score, which, like everything else here, never strains for cheap sentiment.
Cinderella Man
Universal
Universal Pictures, Miramax Films and Imagine Entertainment present a Brian Grazer production in association with Parkway Prods.
Credits:
Director: Ron Howard
Screenwriters: Cliff Hollingsworth, Akiva Goldsman
Story: Cliff Hollingsworth
Producers: Brian Grazer, Ron Howard, Penny Marshall
Executive producer: Todd Hallowell
Director of photography: Salvatore Totino
Production designer: Wynn Thomas
Editors: Mike Hill, Dan Hanley
Costume designer: Daniel Orlandi
Music: Thomas Newman
Cast:
Jim Braddock: Russell Crowe
Mae Braddock: Renee Zellweger
Joe Gould: Paul Giamatti
Max Baer: Craig Bierko
Mike Wilson: Paddy Considine
Jimmy Johnston: Bruce McGill
Ford Bond: David Huband
MPAA rating PG-13
Running time -- 144 minutes...
Appropriately dubbed the Cinderella Man by Damon Runyon, Braddock and his change of fortune provided a shred of hope for the hard-knock lives and times of his fellow working-class Americans.
Reuniting with his A Beautiful Mind star, Ron Howard and Russell Crowe bring the Braddock story to vivid life in a superbly acted, beautifully shot, highly engaging drama that ranks as one of Howard's best efforts.
It's certainly the first studio release of the year that could rightfully lay claim to any early Oscar buzz. The picture not only boasts a winning ensemble, with equally terrific performances from on-a-roll Paul Giamatti and Renee Zellweger, but it also is a technical knockout, steeped in period atmosphere that practically reeks of authenticity.
But while it doesn't flinch from the lower-key, darker recesses of the era, it still manages to hit the necessary, audience-grabbing posts. Even with all those traditionally male-skewing boxing sequences, there's also a strong emphasis on home and family that will ensure Cinderella Man is an equal-opportunity draw, in turn giving Universal a Seabiscuit-sized happily ever after at the boxoffice.
The screenplay, credited to Cliff Hollingsworth and A Beautiful Mind's Akiva Goldsman, picks up on Crowe's Braddock in the throes of a promising career. The New Jersey-based Bulldog of Bergen, known for a healthy tenacious streak and a formidable right hand, was on his way to the big time when a badly broken right hand and a consequential defeat at the hands of light heavyweight champ Tommy Loughran sent his career into a downward spiral.
Of course, the fact that his bad-luck streak happens to coincide with the stock-market crash of 1929 only exacerbates matters, and Braddock soon finds himself unable to make ends meet for wife Mae (Zellweger) and his three kids.
Drowning in debt and facing the prospect of a New Jersey winter without heat in their drab basement apartment, Braddock is not above begging when his old, indefatigable manager Joe Gould (Giamatti) shows up offering him a one-shot chance at redemption.
Deemed too old and too hungry to step back in the ring, Braddock surprises the skeptics, and himself for that matter, by knocking out his rising-star opponent with the help of a newly discovered hook developed logging all those hours of dock work.
Soon, Braddock finds himself back on track and carrying the hopes and dreams of millions of struggling average Joes on his shoulders. But an impending face-off against world heavyweight champ Max Baer, who already has killed two men in the ring, raises the stakes considerably for Braddock and his family.
Always a stickler for period detail, Howard outdoes himself here. Working with production designer Wynn Thomas and costume designer Daniel Orlandi, he evokes the time and place right down to the faces of the smallest bit players.
When the power is cut in Jim and Mae's flat in the dead of winter, Salvatore Totino's ever-probing camera captures each stifled breath, and thanks to the meticulously re-created surroundings (using Toronto's empty Maple Leaf Gardens as a credible substitute for the old Madison Square Garden Bowl), you almost can catch a whiff of the smoke and sweat and desperation.
But the picture's greatest effect is Crowe. With his head cocked to one side almost in anticipation of the blows that will come his way both in and out of the ring, he makes Braddock an introspective everyman who might be down but never is completely out for the count.
Giamatti, who just keeps getting better, brings a never-say-die urgency to the role of Braddock's scrappy manager, while Zellweger takes what could have been a thankless role and gives it her own indelible imprint.
There's also good work from Bruce McGill as a cigar-chomping boxing promoter, Paddy Considine as a co-worker of Braddock's who doesn't fare quite so well and Craig Bierko as a taunting Baer.
Putting the finishing touches on this thoroughly satisfying production is Thomas Newman's elegant score, which, like everything else here, never strains for cheap sentiment.
Cinderella Man
Universal
Universal Pictures, Miramax Films and Imagine Entertainment present a Brian Grazer production in association with Parkway Prods.
Credits:
Director: Ron Howard
Screenwriters: Cliff Hollingsworth, Akiva Goldsman
Story: Cliff Hollingsworth
Producers: Brian Grazer, Ron Howard, Penny Marshall
Executive producer: Todd Hallowell
Director of photography: Salvatore Totino
Production designer: Wynn Thomas
Editors: Mike Hill, Dan Hanley
Costume designer: Daniel Orlandi
Music: Thomas Newman
Cast:
Jim Braddock: Russell Crowe
Mae Braddock: Renee Zellweger
Joe Gould: Paul Giamatti
Max Baer: Craig Bierko
Mike Wilson: Paddy Considine
Jimmy Johnston: Bruce McGill
Ford Bond: David Huband
MPAA rating PG-13
Running time -- 144 minutes...
- 6/21/2005
- The Hollywood Reporter - Movie News
In boxing lore, there have been few comeback stories as inspirational as the precipitous fall and equally dramatic ascension of Depression-era fighter James J. Braddock.
Appropriately dubbed the Cinderella Man by Damon Runyon, Braddock and his change of fortune provided a shred of hope for the hard-knock lives and times of his fellow working-class Americans.
Reuniting with his A Beautiful Mind star, Ron Howard and Russell Crowe bring the Braddock story to vivid life in a superbly acted, beautifully shot, highly engaging drama that ranks as one of Howard's best efforts.
It's certainly the first studio release of the year that could rightfully lay claim to any early Oscar buzz. The picture not only boasts a winning ensemble, with equally terrific performances from on-a-roll Paul Giamatti and Renee Zellweger, but it also is a technical knockout, steeped in period atmosphere that practically reeks of authenticity.
But while it doesn't flinch from the lower-key, darker recesses of the era, it still manages to hit the necessary, audience-grabbing posts. Even with all those traditionally male-skewing boxing sequences, there's also a strong emphasis on home and family that will ensure Cinderella Man is an equal-opportunity draw, in turn giving Universal a Seabiscuit-sized happily ever after at the boxoffice.
The screenplay, credited to Cliff Hollingsworth and A Beautiful Mind's Akiva Goldsman, picks up on Crowe's Braddock in the throes of a promising career. The New Jersey-based Bulldog of Bergen, known for a healthy tenacious streak and a formidable right hand, was on his way to the big time when a badly broken right hand and a consequential defeat at the hands of light heavyweight champ Tommy Loughran sent his career into a downward spiral.
Of course, the fact that his bad-luck streak happens to coincide with the stock-market crash of 1929 only exacerbates matters, and Braddock soon finds himself unable to make ends meet for wife Mae (Zellweger) and his three kids.
Drowning in debt and facing the prospect of a New Jersey winter without heat in their drab basement apartment, Braddock is not above begging when his old, indefatigable manager Joe Gould (Giamatti) shows up offering him a one-shot chance at redemption.
Deemed too old and too hungry to step back in the ring, Braddock surprises the skeptics, and himself for that matter, by knocking out his rising-star opponent with the help of a newly discovered hook developed logging all those hours of dock work.
Soon, Braddock finds himself back on track and carrying the hopes and dreams of millions of struggling average Joes on his shoulders. But an impending face-off against world heavyweight champ Max Baer, who already has killed two men in the ring, raises the stakes considerably for Braddock and his family.
Always a stickler for period detail, Howard outdoes himself here. Working with production designer Wynn Thomas and costume designer Daniel Orlandi, he evokes the time and place right down to the faces of the smallest bit players.
When the power is cut in Jim and Mae's flat in the dead of winter, Salvatore Totino's ever-probing camera captures each stifled breath, and thanks to the meticulously re-created surroundings (using Toronto's empty Maple Leaf Gardens as a credible substitute for the old Madison Square Garden Bowl), you almost can catch a whiff of the smoke and sweat and desperation.
But the picture's greatest effect is Crowe. With his head cocked to one side almost in anticipation of the blows that will come his way both in and out of the ring, he makes Braddock an introspective everyman who might be down but never is completely out for the count.
Giamatti, who just keeps getting better, brings a never-say-die urgency to the role of Braddock's scrappy manager, while Zellweger takes what could have been a thankless role and gives it her own indelible imprint.
There's also good work from Bruce McGill as a cigar-chomping boxing promoter, Paddy Considine as a co-worker of Braddock's who doesn't fare quite so well and Craig Bierko as a taunting Baer.
Putting the finishing touches on this thoroughly satisfying production is Thomas Newman's elegant score, which, like everything else here, never strains for cheap sentiment.
Cinderella Man
Universal
Universal Pictures, Miramax Films and Imagine Entertainment present a Brian Grazer production in association with Parkway Prods.
Credits:
Director: Ron Howard
Screenwriters: Cliff Hollingsworth, Akiva Goldsman
Story: Cliff Hollingsworth
Producers: Brian Grazer, Ron Howard, Penny Marshall
Executive producer: Todd Hallowell
Director of photography: Salvatore Totino
Production designer: Wynn Thomas
Editors: Mike Hill, Dan Hanley
Costume designer: Daniel Orlandi
Music: Thomas Newman
Cast:
Jim Braddock: Russell Crowe
Mae Braddock: Renee Zellweger
Joe Gould: Paul Giamatti
Max Baer: Craig Bierko
Mike Wilson: Paddy Considine
Jimmy Johnston: Bruce McGill
Ford Bond: David Huband
MPAA rating PG-13
Running time -- 144 minutes...
Appropriately dubbed the Cinderella Man by Damon Runyon, Braddock and his change of fortune provided a shred of hope for the hard-knock lives and times of his fellow working-class Americans.
Reuniting with his A Beautiful Mind star, Ron Howard and Russell Crowe bring the Braddock story to vivid life in a superbly acted, beautifully shot, highly engaging drama that ranks as one of Howard's best efforts.
It's certainly the first studio release of the year that could rightfully lay claim to any early Oscar buzz. The picture not only boasts a winning ensemble, with equally terrific performances from on-a-roll Paul Giamatti and Renee Zellweger, but it also is a technical knockout, steeped in period atmosphere that practically reeks of authenticity.
But while it doesn't flinch from the lower-key, darker recesses of the era, it still manages to hit the necessary, audience-grabbing posts. Even with all those traditionally male-skewing boxing sequences, there's also a strong emphasis on home and family that will ensure Cinderella Man is an equal-opportunity draw, in turn giving Universal a Seabiscuit-sized happily ever after at the boxoffice.
The screenplay, credited to Cliff Hollingsworth and A Beautiful Mind's Akiva Goldsman, picks up on Crowe's Braddock in the throes of a promising career. The New Jersey-based Bulldog of Bergen, known for a healthy tenacious streak and a formidable right hand, was on his way to the big time when a badly broken right hand and a consequential defeat at the hands of light heavyweight champ Tommy Loughran sent his career into a downward spiral.
Of course, the fact that his bad-luck streak happens to coincide with the stock-market crash of 1929 only exacerbates matters, and Braddock soon finds himself unable to make ends meet for wife Mae (Zellweger) and his three kids.
Drowning in debt and facing the prospect of a New Jersey winter without heat in their drab basement apartment, Braddock is not above begging when his old, indefatigable manager Joe Gould (Giamatti) shows up offering him a one-shot chance at redemption.
Deemed too old and too hungry to step back in the ring, Braddock surprises the skeptics, and himself for that matter, by knocking out his rising-star opponent with the help of a newly discovered hook developed logging all those hours of dock work.
Soon, Braddock finds himself back on track and carrying the hopes and dreams of millions of struggling average Joes on his shoulders. But an impending face-off against world heavyweight champ Max Baer, who already has killed two men in the ring, raises the stakes considerably for Braddock and his family.
Always a stickler for period detail, Howard outdoes himself here. Working with production designer Wynn Thomas and costume designer Daniel Orlandi, he evokes the time and place right down to the faces of the smallest bit players.
When the power is cut in Jim and Mae's flat in the dead of winter, Salvatore Totino's ever-probing camera captures each stifled breath, and thanks to the meticulously re-created surroundings (using Toronto's empty Maple Leaf Gardens as a credible substitute for the old Madison Square Garden Bowl), you almost can catch a whiff of the smoke and sweat and desperation.
But the picture's greatest effect is Crowe. With his head cocked to one side almost in anticipation of the blows that will come his way both in and out of the ring, he makes Braddock an introspective everyman who might be down but never is completely out for the count.
Giamatti, who just keeps getting better, brings a never-say-die urgency to the role of Braddock's scrappy manager, while Zellweger takes what could have been a thankless role and gives it her own indelible imprint.
There's also good work from Bruce McGill as a cigar-chomping boxing promoter, Paddy Considine as a co-worker of Braddock's who doesn't fare quite so well and Craig Bierko as a taunting Baer.
Putting the finishing touches on this thoroughly satisfying production is Thomas Newman's elegant score, which, like everything else here, never strains for cheap sentiment.
Cinderella Man
Universal
Universal Pictures, Miramax Films and Imagine Entertainment present a Brian Grazer production in association with Parkway Prods.
Credits:
Director: Ron Howard
Screenwriters: Cliff Hollingsworth, Akiva Goldsman
Story: Cliff Hollingsworth
Producers: Brian Grazer, Ron Howard, Penny Marshall
Executive producer: Todd Hallowell
Director of photography: Salvatore Totino
Production designer: Wynn Thomas
Editors: Mike Hill, Dan Hanley
Costume designer: Daniel Orlandi
Music: Thomas Newman
Cast:
Jim Braddock: Russell Crowe
Mae Braddock: Renee Zellweger
Joe Gould: Paul Giamatti
Max Baer: Craig Bierko
Mike Wilson: Paddy Considine
Jimmy Johnston: Bruce McGill
Ford Bond: David Huband
MPAA rating PG-13
Running time -- 144 minutes...
- 6/16/2005
- The Hollywood Reporter - Movie News
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