Juno Temple-Fronted Period Drama ‘Little Birds’ & Sci-Fi Drama ‘Intergalactic’ Lead Sky Drama Slate

Read on: Deadline.

EXCLUSIVE: A period drama starring Dirty John star Juno Temple and a sci-fi drama set in the 23rd Century are the first two original commissions from recently promoted Sky drama chief Cameron Roach.
Temple, who also starred in films such as Antonement …

‘Dirty John’ Star Juno Temple on Finale’s ‘Absolutely Brilliant’ Uber Car Chase (Video)

Read on: TheWrapTheWrap.

(Warning: This post contains spoilers for Bravo’s “Dirty John” finale)

The finale of Bravo’s true-crime-podcast-turned-limited-series “Dirty John” aired Sunday, giving viewers the chilling conclusion to the fictionalized version of the tale of Debra Newell (Connie Britton) and the con man who seduced her and tormented her family, John Meehan (Eric Bana).

While the eight-episode season ended with many a frightening and dramatic moment, there was at least one funny bit that sticks out from an otherwise intense finale: a car chase Debra’s daughter, Veronica (Juno Temple), gets in with John — while sitting in the back of an Uber.

Also Read: ‘Dirty John’: Juno Temple on Veronica’s ‘You Know I’m Right’ Attitude Heading Into Finale (Video)

“When I read that I was like, ‘This is absolutely brilliant that I’m doing an Uber car chase right now,’” Temple told TheWrap in an interview last week.

Veronica is using the ride-share service to get home after a night on the town when she notices John parked outside her house, and as soon as he tries to zoom off she orders her driver to follow him all the way to her little sister Terra’s (Julia Garner) house.

“I don’t have a driver’s license, so I don’t know if that was put in there for that, because it’s probably easier than a process trailer,” Temple said. “But I also think, in today’s society, [with] how much everyone depends on Uber, it just makes it so funny that she’s in her night-out party frock in an Uber and this poor guy that’s roped into this situation, you know? I thought it was genius.”

Also Read: ‘Dirty John’ Star Juno Temple StudioWrap Portraits (Exclusive Photos)

She then camps out at her sister’s apartment complex all night — and ropes the guy into staying with her.

“It also, I think, heightens that ‘don’t judge a book by its cover’ [part]. You know she’s in a glitter dress and like, ‘I’m going to protect my sister,’” Temple said.

When it comes to the more serious moments in the finale — like how Terra is attacked by John in a parking lot and must kill him in self defense, just as the real Terra Newell did — Temple says she didn’t talk to the family about their experience to draw upon for her performance.

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“I’m not quite sure how one would broach that question with the family you know?” Temple said. “And I think in that moment for me I thought about what it would be if I was with my family and how that would feel, you know? Because I think everyone can relate to the idea of being worried about a family member and also being proud and truly dumbfounded.”

Watch the interview above and hear Temple explain how the show ends in an “life imitating art imitating life” way.

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‘Dirty John’: Juno Temple on Veronica’s ‘You Know I’m Right’ Attitude Heading Into Finale (Video)

Read on: TheWrapTheWrap.

The finale of Bravo’s “Dirty John” airs Sunday night, wrapping up the on-screen version of the real-life story of John Meehan (Eric Bana), the con man who wooed and deceived Newport Beach interior designer Debra Newell (Connie Britton). You know, the story made infamous by the Los Angeles Times true-crime podcast.

TheWrap spoke with Juno Temple — who plays Debra’s very suspicious daughter, Veronica — this week about where her character is at mentally, as both the fictional Newells and viewers at home see how this tale ends.

“I think she is worried,” Temple said, in the interview above. “I think she’s pretty frightened for her mum. And I think she’s frustrated. I think she feels a little betrayed and also I think Veronica is someone who knows she’s right. So she feels a kind of, ‘You know I’m right, because I’m always right.’ I think she has that attitude, you know? But I think also, even she has been surprised by what information has come out about John and that the more she’s dug the more really dark stuff she’s found out.”

Also Read: Eric Bana on Challenge of Creating a Version of Real-Life ‘Dirty John’ You Won’t ‘Wanna Turn Off’

Temple told TheWrap that Veronica, who has been wary of John from Day 1, “takes no prisoners” and is ready to protect her mother at all costs. And let’s not forget John is pretty weird with Veronica, too.

“There’s the later moment where she’s at her safe and he says, you know, ‘What’s in the safe, kiddo?’ Which is a weird invasion of privacy, you know?” Temple said. “And also ‘kiddo,’ I think that’s a moment of, first and foremost I’m an adult, and secondly, ‘You’re nowhere even close to my father, so I don’t know who you think you are or why you think you can act that way in this house.’”

Also Read: Connie Britton Explains Her Plan to Keep You From Screaming at ‘Dirty John’s’ Debra Every Week

Last Sunday’s “Dirty John” was the most-watched episode of the series so far, with 3 million total viewers, making it Bravo’s most-watched scripted series telecast ever, according Nielsen’s “Live + 3 Day” data.

Watch our interview with Temple above.

“Dirty John” season finale airs Sunday, Jan. 13 at 10/9c on Bravo.

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Simon Pegg-Juno Temple Starrer ‘Lost Transmissions’ Wraps Shoot For Royal Road, Underlying Tension & Pulse

Read on: Deadline.

Shoot has wrapped on Simon Pegg and Juno Temple starrer Lost Transmissions.
Writer-director Katharine O’Brien’s feature also stars Alexandra Daddario, Tao Okamoto, Rosanna Arquette, and Bria Vinaite.
Temple portrays Hannah, an aspiring singer/songwrite…

‘Dirty John’: Julia Garner & Juno Temple To Co-Star In Bravo True Crime Anthology Series

Read on: Deadline.

Ozark star Julia Garner and Juno Temple (Vinyl) are set for key roles opposite Connie Britton and Eric Bana in Dirty John, Bravo’s true-crime scripted anthology series from Universal Cable Productions, Los Angeles Times Studios and Atlas Entertai…

Juno Temple, Lena Headey & Mark Kassen To Star In Mickey Keating’s Las Vegas Heist Drama ‘Crooks’ – Cannes

Read on: Deadline.

Black Mass star Juno Temple, Games of Thrones’ Lena Headey and Jobs’ Mark Kassen are to star in Crooks, the latest feature from rising star Mickey Keating.
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‘Unsane’ Film Review: Claire Foy Is or Isn’t Going Mad in Steven Soderbergh’s Thriller

Read on: TheWrapTheWrap.

Although it may unfairly (and reductively) be described as “that movie Steven Soderbergh shot on an iPhone,” “Unsane” is a nerve-wracking, remarkably timely movie about the unwanted attention women receive from men, and the often-unpleasant consequences of trying to speak up about it.

Soderbergh, working fast and aggressive but perfectly in control, recruits “The Crown” star Claire Foy for an intimate, disturbing psychological thriller that deftly transcends its cheapie backstory and dingy look to explore the fortitude required to survive an insidious, traumatic encounter in a world that doesn’t believe, or understand, how much pain they can cause.

Foy plays Sawyer Valentin, a skilled but troubled businesswoman who makes no room — and has no time — for ambiguity, professionally or personally: at the office she earns top marks treating clients with ruthless honesty, and then utilizes dating apps at night to instigate hookups where she guarantees action but makes it absolutely clear there’s no romantic future.

Also Read: Steven Soderbergh Wants to Only Shoot Movies on iPhone Now: ‘This Is the Future’

Realizing that she is still haunted by the face of David Strine (Joshua Leonard), a man who once stalked her, Sawyer investigates a nearby facility that offers support groups for victims like herself. But she inadvertently commits herself to their care after filling out what she thinks is routine paperwork, landing in a ward alongside Nate Hoffman (Jay Pharoah), Violet (Juno Temple) and others with more severe mental disabilities.

When Sawyer’s efforts to prove her mental well-being seem to be interpreted repeatedly as acts of hostility, she prevails upon Nate to call her mother Angela (Amy Irving) for help. But just as her mother shows up to seek her release, Sawyer is confronted by a vision of David inside the facility, working as a member of its staff. Desperate to leave the asylum as the faculty increasingly ignore her pleas for help, Sawyer plummets into a downward spiral of fear and self-doubt, further challenging her to question what about her experiences, and even her memories, is and is not real.

Also Read: ‘The Crown’ Producers Apologize to Stars Claire Foy and Matt Smith Over Pay Gap ‘Media Storm’

There’s something sort of exhilarating about the epiphany that the movie arrives at, oh, halfway or so through regarding Sawyer’s treatment; whether or not it’s all in her head, co-writers Jonathan Bernstein and James Greer skillfully pinpoint the feeling that women must experience in dealing not just with harassment but also the institutions that are supposed to protect them from it, and then transpose that directly upon the audience. But rather than driving viewers mad with anticlimactic ambiguity, Bernstein and Greer resolve that central mystery so that the film can deal with her circumstances in a more direct and realistic, yet terrifying way.

(It bears noting that the writing here represents a giant leap forward from the team’s previous screenplays, including “Larry the Cable Guy: Health Inspector” and the Jackie Chan vehicle “The Spy Next Door.”)

Watch Video: ‘Godless:’ Watch the Trailer for Steven Soderbergh’s Netflix Western Series

Unlike too many other times when filmmakers mistook a story’s narrative quandary for its message and its ultimate meaning, Soderbergh acknowledges the “is this happening or not” business as a necessary hook for trailers and general intrigue but discards it to look more deeply into a culture of toxicity with regards to the treatment of women by men.

What eventually unfolds is a dialectic, really, between a damaged but resilient woman and a world unable, or unwilling, to come to terms with her true pain. As Sawyer, Foy draws an astute distinction between rationally understanding herself and how her behavior comes across to others, most notably the staff at the institution, and the vulnerability of dealing with emotional injuries that do not and will not easily heal.

It’s her candor about what she deals with on a daily basis that lands Sawyer in the asylum, but the response by the staff is largely one of indifference; prescriptions and platitudes quickly take the place of deeper and more substantial investigation into her traumatic past. Not only are her more immediate claims about David in the asylum dismissed, their root causes — the events that initially drove her to seek help — are never investigated, metaphorically and literally reducing another woman’s feelings to sensationalistic hysteria.

Also Read: ‘The Crown’ Producers Apologize to Stars Claire Foy and Matt Smith Over Pay Gap ‘Media Storm’

Suffice it to say that the “no duh”-ness of these ideas might make “Unsane” a more obviously unpleasant experience for some viewers, but even without those thematic underpinnings, Soderbergh crafts an unsettling, top-notch cat-and-mouse game from minimal elements, including, yes, the iPhone upon which he apparently shot the film. (Mileage may vary on the effectiveness of its murky, deep-focus cinematography, but it feels all of a piece with the subject matter and locations.)

Notwithstanding a possibly credulity-stretching lack of supervision by the asylum staff, the slow escalation of Sawyer trying to be heard, and getting ignored and abandoned to deal with one triggering event after another, becomes positively maddening the longer she spends among people who are ostensibly there to help her — and with or without David there to dredge up a terrifying experience she moved 450 miles to escape.

Foy brings a knowing precision to her performance, giving Sawyer the bluntness, and clarity, of a person who for her own sake cannot afford vagueness or, perhaps more accurately, a margin for error. Simultaneously mature and self-aware and desperately vulnerable, Foy’s performance recognizes the character’s need for help is sufficient that she unwittingly leads herself into a dangerous situation with the institution.

As David, meanwhile, Leonard oozes a homicidal creepiness that feels even ickier when he’s being nice; the actor seems to completely understand the character’s pathetic delusions about their relationship, and never sacrifices believability for the sake of emphasizing an unease that already exists simply by virtue of the persistence and intractability that Sawyer ascribes to him in her characterizations of the limited relationship they once shared.

This film follows “Magic Mike,” “Side Effects” and “Logan Lucky,” a chain of films by Soderbergh where he seems to alight on a genre, or an idea, but instead of just following it to a conventional end, resolves that hook early and then delves into the typically unexplored aftermath, or maybe just something more interesting. This is the closest that the filmmaker has thus far delved into horror, but his aptitude for building tension, and his sensitivity to characters too often defined by the world’s perception of them, has only appreciated with time, making it add up to something more than the component parts of any particular genre.

In which case, whether shot on an iPhone or just screened on one, “Unsane” effortlessly flexes Soderbergh’s skill as a storyteller and a technician, injecting the atmosphere and mechanics of a creepy scenario with a substance that deepens and elevates it to the stuff of a harrowing, intimate reality.



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‘Wonder Wheel’ Review: Woody Allen Takes ‘Streetcar’ Again, to Diminished Effect

Read on: TheWrapTheWrap.

Woody Allen seems increasingly haunted by the Tennessee Williams play “A Streetcar Named Desire.” The basic situation of that Williams classic was reused for Allen’s “Blue Jasmine,” which won Cate Blanchett an Oscar, and it is repurposed again (but somewhat transposed) for “Wonder Wheel,” a film about a frustrated woman in 1950s Coney Island named Ginny (Kate Winslet).

Allen was often at his best in earlier films when he dealt with the character of a failed creative person, like Dianne Wiest’s Holly in “Hannah and Her Sisters,” but his sympathy for people like that has dried up over time. Ginny is a former actress who now waits on tables at a clam house on the boardwalk, but she tells herself that she is just playing the “thankless” part of a waitress.

She has a boorish husband named Humpty (James Belushi) whose young daughter Carolina (Juno Temple) is on the run from the mob, and Ginny is embroiled in an affair with a younger lifeguard named Mickey (Justin Timberlake) whom she sees as her last chance for escape.

Watch Video: ‘Wonder Wheel’ Trailer: Kate Winslet, Justin Timberlake Take on 1950s Coney Island

One of Allen’s main dramatic subjects throughout his career has been the selfishness of people engaging in love affairs that are foolish, reckless, or inappropriate, and that is the animating principle of “Wonder Wheel.” Vittorio Storaro’s camerawork does a lot of the heavy lifting here, casting a magic hour glow over everything until Allen is ready to expose the romantic delusions of his characters.

When Winslet’s Ginny relates an important monologue about her past, Storaro has the light keep changing dramatically around her hair as she speaks, and there are times here when this great cinematographer indulges in what might be described as over-photographing. The beauty of the images sometimes feels like it is there for its own sake rather than for the sake of the narrative.

Blanchett got her Oscar for “Blue Jasmine” because Allen gave her the opportunity to break down and mentally unravel in a colorfully histrionic fashion in practically every scene. He has given Winslet a similar assignment and opportunity here, and she enters whole-heartedly into many demanding long takes where Ginny reveals her dashed hopes and her strident needs. This is a weak, sometimes deluded woman at the end of her tether who nearly always has a headache, and her desperation when it comes to holding on to Mickey’s affections starts to become very overbearing as the film goes on.

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On the day of Ginny’s 40th birthday, Carolina cries, “It’s a milestone!” and Ginny snaps back, “It’s a tombstone.” Her destructive young son Richie (Jack Gore, “Billions”) keeps starting fires everywhere, and Ginny keeps yelling at everyone as she realizes that she is losing Mickey to Carolina. The stealing from “A Streetcar Named Desire” gets pretty shameless when we hear that Ginny’s young drummer husband committed suicide and that she always hears his drums in her head — just like Blanche DuBois always hears the waltz that was playing the night her own young husband killed himself.

Allen is 81 years old, yet he still has retained the romantic point of view of a teenager who hasn’t seen or experienced much of anything yet about life. Mickey wants to be a playwright, and he speaks with Ginny about tragic plays and how tragic protagonists are destroyed by a fatal flaw, but Allen is too self-aware and cold a creative personality to create a genuine tragedy in “Wonder Wheel.” Instead, he makes a gesture towards a tragic situation.

Also Read: Kate Winslet Reunites With James Cameron to Join ‘Avatar’ World

He knows what a tragedy would be like theoretically, but he is unable to create one himself because he doesn’t have enough conviction to do so. Allen’s writing oscillates here between stilted dialogue that sounds like dialogue and the kind of formality of phrasing that is probably an echo of his own youth in Brooklyn in the 1950s.

Towards the end of “Wonder Wheel,” Ginny retreats back to the shack she shares with Humpty, and she puts on an old costume from a play she was in, just as Blanche DuBois puts on an old Mardi Gras outfit in the penultimate scene of “Streetcar.” At one crucial point, Storaro floods Winslet’s face with white light so as to strip her character bare, but what we see is an actress straining in a wordy role, not the soul of the ruined Ginny.

Allen is one of our greatest comic artists. But when it comes to drama, he is usually too distant and remote from his characters to make them live for us or to make us care for them.

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‘Wonder Wheel’ Trailer: Kate Winslet, Justin Timberlake Take on 1950s Coney Island (Video)

Read on: TheWrapTheWrap.

Amazon Studios released the first trailer for Woody Allen’s latest film “Wonder Wheel,” which is opening at the New York Film Festival (NYFF) next week.

This not only marks the first time Allen has had an awards season film since “Match Point” in 2005, but also the first film that Amazon will distribute on its own.

The story follows four people whose lives intersect at the Coney Island amusement park during the 1950s. Kate Winslet plays Ginny, a former actress turned waitress who’s married to a carousel operator named Humpty, played by Jim Belushi. Elsewhere is a lifeguard named Mickey, played by Justin Timberlake and Carolina — Humpty’s daughter who’s hiding out from mobsters — played by Juno Temple.

Also Read: Woody Allen’s ‘Wonder Wheel’ Will Be Amazon’s First Solo Distribution Film

Mickey narrates the story, although it’s unclear if the story is true or he’s embellished it.

Either way, there’s a lot going on. Ginny and Humpty fight as Humpty struggles with drinking, mobsters arrive on the boardwalk, Ginny berates Carolina, and there’s shots of the amusement park.

“When it comes to love we often turn out to be our own worst enemy,” Winslet’s Ginny says.

“Wonder Wheel” premieres at the conclusion of the NYFF on Oct. 14. Then Amazon will distribute the film in select theaters starting Dec. 1.

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Juno Temple to Co-Star With Claire Foy in Steven Soderbergh’s Next Movie (EXCLUSIVE)

Read on: Variety.

Juno Temple is set to co-star with “The Crown’s” Claire Foy in Steven Soderbergh’s next movie, sources tell Variety. The official title of the pic, which Soderbergh will direct, is currently unknown, but sources says it has a working title of “Unsane.” Plot details are being kept under wraps, but insiders say Soderbergh shot the… Read more »

Juno Temple & Janelle Monae To Star In ‘Philip K. Dick’s Electric Dreams’ Episode

Read on: Deadline.

Juno Temple (Vinyl, The Dark Knight Rises) and Janelle Monae (Hidden Figures, Moonlight) are set for lead roles in an episode of Philip K. Dick’s Electric Dreams sci-fi anthology series from Ronald D. Moore, Michael Dinner, Bryan Cranston and Sony Pictures TV.
The show, based on short stories by the award-winning novelist, was commissioned by Channel 4, who will air the series later this year in the UK. It will launch on Amazon Prime in the U.S.
Temple and Monae will lead…

Janelle Monae, Juno Temple Join ‘Philip K Dick’s Electric Dreams’ Series

Read on: TheWrapTheWrap.

More big names are on board to help tell the stories of Philip K. Dick.

Sony Television announced Wednesday that Janelle Monae and Juno Temple have joined the cast of “Philip K. Dick’s Electric Dreams,” a 10-episode sci-fi anthology series that will adapt a number of the renowned author’s short stories.

Both actresses will star in the “Autofac” episode, which features a world where human civilization is in shambles. Despite society and the world as we know it having collapsed, a massive, automatic product-manufacturing factory continues to operate according to the principles of consumerism — humans consume products to be happy, and in order to consume continuously, they must be denied freedom of choice and free will. When a small band of rebels decide to shut down the factory, they discover they may actually be the perfect consumers after all.

Also Read: ‘The Man in the High Castle’ Review: Amazon’s Alternate-History Thriller Is a Beautiful Nightmare

Monae, who recently starred in “Hidden Figures” and “Moonlight,” will play Alexis, an Autofac representative. Temple, who recently appeared on “Vinyl,” will play Emily, one of the rebels.

Sony also announced that Jay Paulson (“Mad Men”) and David Lyons (“Revolution”) will appear in the episode, but didn’t disclose their parts.

Travis Beacham, co-writer of “Pacific Rim,” will write the episode and Peter Horton (“Grey’s Anatomy”) will direct.

The series has cast a number of big-name actors for its other installments, including Steve Buscemi, Greg Kinnear, Anna Paquin, Terrence Howard, Richard Madde and Vera Farmiga. Bryan Cranston, who is an executive producer on the series, also stars.

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Other writers signed on include Ronald D. Moore (“Battlestar Galactica”), Michael Dinner (“Justified”), Tony Grisoni (“Fear and Loathing in Las Vegas”), Jack Thorne (“National Treasure”), Matthew Graham (“Life on Mars”), David Farr (“The Night Manager”) and Dee Rees (“Mudbound”).

“Electric Dreams” will air later this year in the U.K. on Channel 4 before being available on Amazon Prime.

This is the second Dick property to land with a premiere on Amazon Prime. The first, “Man in the High Castle,” was renewed for a third season.

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