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Director John Curran dishes on the Kennedy family, its legacy, and not worrying about making it look good in this candid interview.

"It cost him the presidency" is the common refrain from those who recall the "Chappaquiddick" incident of July 1969, in which Senator Ted Kennedy drove his car off a small bridge in Chappaquiddick, Massachusetts, and killed Mary Jo Kopechne in the process. What happened, why did it happen, and afterward, the question of what really happened?, has been debated for years. 

In "Chappaquiddick," director John Curran isn't trying to set the record straight. One of the best things about it is its determination to take the facts and present them as objectively as possible, which is not an easy thing to do given the disparate information and theories out there. To his credit, Curran has crafted an effective and engaging drama that hits all the right notes.

I recently sat caught up with Curran over the phone when he attended the Miami International Film Festival in March 2018. We discussed the curse of being a Kennedy, whether Ted would've been president if the events in Chappaquiddick never happened, and why the production took them to Mexico for a key scene. Note: Only the sound of the interview is heard; images are from the film and courtesy of Entertainment Studios Motion Pictures.

Read moreDirector John Curran Discusses Chappaquiddick

Director David Frankel, who made "The Devil Wears Prada" and "Marley & Me," is back with a feel-good holiday movie starring a who's-who of Hollywood elites. 

"Collateral Beauty," which opens nationwide Dec. 16, stars Will Smith as Howard, an ad exec who loses his six-year old daughter. Once confident and proud, Howard is now depressed and not connecting with those around him. With his business failing, his friends and colleagues (Edward Norton, Kate Winslet and Michael Pena) discover Howard wrote letters expressing his displeasure with love, death and time. Accordingly, they hire three actors (Keira Knightley, Helen Mirren, Jacob Latimore) to pretend to be love, death and time, which they hope will allow Howard to express his feelings. The man behind it all is director David Frankel, who's worked with plenty of stars in his career and knows how to handle an ensemble while not losing sight of the earnest honesty of his stories. I recently sat down with Frankel on the balcony at the Regal South Beach to discuss shooting in his hometown of New York City, working with movie stars, and getting an evil eye from Meryl Streep. Note: Only the sound of the interview is heard; images are from the film and courtesy of Warner Bros.

Read moreDirector David Frankel On Collateral Beauty And Working With Movie Stars

Andy Samberg re-teams with his Lonely Island cohorts to delivery this scathing parody of the music industry and celebrity culture.

The brains behind the "Saturday Night Live" viral video sensations "Dick In A Box" and "Like A Boss" hit the big screen June 3rd with "Popstar: Never Stop Never Stopping," a no-holds-barred spoof of the music industry and its biggest stars. Co-produced by Judd Apatow, the film was written, produced by and stars Andy Samberg, Akiva Schaffer and Jorma Taccone, and was directed by Schaffer and Taccone. Better known as The Lonely Island, I recently sat down with the trio to discuss the movie, the music, and the hardest person to get for one of the many cameos in the film.

Read moreAndy Samberg Discusses Popstar: Never Stop Never Stopping
by Matthew Kaiser

Punch Drunk Movies writer Matthew Kaiser interviews Paul Hyett (“The Descent,” “Attack the Block”), the director of the new horror film “Howl,” which is playing as part of the Popcorn Frights Film Festival running October 1-4 at the O Cinema in Wynwood (Miami).

This is your second directing effort after “The Seasoning House,” how do you feel you have grown as a director and what things did you improve upon when tackling “Howl?”

I feel you always learn from every experience, and where “Howl” was different to my first film was that it was technically a lot more difficult. “House” was emotionally more difficult because of the subject matter and that the actresses were very young, so it was more of a performance piece whereas “Howl” was crammed with visual effects, stunt sequences, wire rigs, fire stunts and most difficult part of being contained on a set for pretty much the entire shoot and always having to make it look visually interesting.  When you have a small set, surrounded by greenscreen, practical creatures with 3D elements to be animated in as well as actors and a film crew crammed in one set its difficult to make sure everything flows right and doesn't turn clunky or messy. I think its definetely down to the technical challenges that made “Howl” different to my first film.
The film has been compared to “Snakes on a Plane” with the tagline of “wolves on a train.” Do you think that is a fair synopsis of the film or should people expect more than just a setting and main protagonist?

That is funny, it was a comparison that I expected. I'd like to think there is more to it than that, there's other things going on, we have our zero to hero train guard that has to step up emotionally and physically and has a character arc that shows him having to dig deep and step up in ways that he didn't think he could, to be an alpha male after another character in the film so clearly held that mantle. But saying that, it is supposed to be just a fun, popcorn type movie, an enjoyable creature romp.

Read moreInterview with “Howl” Director Paul Hyett
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