Category: Movies

First Man solid first round of reviews

First Man  Reviews Time 

Attention Spoiler Alert! Don’t open the links and don’t read below if you don’t want to be spoilered.

Here’s a bunch of First Man Reviews links from the most Important American Cinema resources. In my opinion the movie deserves great Reviews

Damien Chazelle’s First Man, with Ryan Gosling as Neil Armstrong, has opened the seventy-fifth Venice Film Festival, and it’s being greeted with a solid first round of reviews. This is Chazelle’s fourth feature after Guy and Madeline on a Park Bench (2009), Whiplash (2014), and La La Land (2016)—for which he won a best directing Oscar—but the first he hasn’t written himself. Josh Singer (Spotlight, The Post) has based his screenplay on James R. Hansen’s 2005 biography and, writing for IndieWire, Michael Nordine sums up the overall critical reaction well by calling First Man “an anti-thriller of rare intensity.”

Apart from an evidently riveting opening scene, in which Armstrong pilots an experimental aircraft so high in 1961 that NASA tells him he’s “bouncing off the atmosphere,” and a finale capturing that history-making first step on the moon, Chazelle has tamped down on the histrionics and patriotic fervor often associated with the Apollo 11 mission. “Wisely,” writes the Telegraph’s Robbie Collin, “Chazelle has opted to leave spectacle to the blockbusters and instead aims for awe—which is related, but different, and harder to pull off. The former shows you something you haven’t seen before. The latter involves showing you something you see every day from a perspective that makes it newly strange.”

At the Film Stage, Leonardo Goi adds that First Man “unmistakably” bears the marks of Chazelle’s previous work. “Gosling’s Neil Armstrong fits nicely in the universe of career-driven, uber-determined workaholics the thirty-three-year-old director has been following since Whiplash. But in its tragic undertones, complex psychological edifice, and claustrophobic visuals, First Man stands out, in both content and form, as a remarkable, jaw-dropping departure from anything Chazelle has previously made.”

Gosling is winning plaudits for his portrayal of a man who, as the Guardian’s Peter Bradshaw puts it, lacks “what no one in the 1960s called emotional intelligence. The film suggests that this absence of a normal human boiling point is vital to his success: he stays cool and focused in the spacecraft under conditions that would reduce most people to a blinding panic.” Claire Foy (The Crown, Unsane) plays Armstrong’s wife with, as Time’s Stephanie Zacharek notes, “a great deal of astronaut-wife fortitude,” and Corey Stoll is scoring special mentions for his turn as Buzz Aldrin, the second man on the moon. “Stoll has droll moments as the bluntly opinionated Aldrin, who keeps a sufficient lid on the showboating to allow him to remain likable,” writes David Rooney in the Hollywood Reporter. “But the large, predominantly male ensemble generally works more as a cohesive unit than as individual characters.”

For Jessica Kiang at the Playlist, the “absolute knockout performance” actually comes from cinematographer Linus Sandgren (American Hustle, La La Land), who shoots “in deliciously grainy 16 mm and 35 mm and, when we finally get to the moon, cracking open the widescreen glory of 70 mm IMAX.” Sandgren’s work, combined with Tom Cross’s “hypnotic editing,” makes First Man “so immersive in its glitchy, hurtling, melting-metal authenticity,” writes Variety’s Owen Gleiberman, “that it makes a space drama like Apollo 13 look like a puppet show.” And back to Michael Nordine: “Space Force notwithstanding, we tend not to look at the night sky the way we used to; Chazelle restores some of that wonder.”

Damien Chazelle’s First Man, with Ryan Gosling as Neil Armstrong, has opened the seventy-fifth Venice Film Festival, and it’s being greeted with a solid first round of reviews. This is Chazelle’s fourth feature after Guy and Madeline on a Park Bench (2009), Whiplash (2014), and La La Land (2016)—for which he won a best directing Oscar—but the first he hasn’t written himself. Josh Singer (Spotlight, The Post) has based his screenplay on James R. Hansen’s 2005 biography and, writing for IndieWire, Michael  Nordine sums up the overall critical reaction well by calling First Man “an anti-thriller of rare intensity.”

Apart from an evidently riveting opening scene, in which Armstrong pilots an experimental aircraft so high in 1961 that NASA tells him he’s “bouncing off the atmosphere,” and a finale capturing that history-making first step on the moon, Chazelle has tamped down on the histrionics and patriotic fervor often associated with the Apollo 11 mission. “Wisely,” writes the Telegraph’s Robbie Collin, “Chazelle has opted to leave spectacle to the blockbusters and instead aims for awe—which is related, but different, and harder to pull off. The former shows you something you haven’t seen before. The latter involves showing you something you see every day from a perspective that makes it newly strange.”

At the Film Stage, Leonardo Goi adds that First Man “unmistakably” bears the marks of Chazelle’s previous work. “Gosling’s Neil Armstrong fits nicely in the universe of career-driven, uber-determined workaholics the thirty-three-year-old director has been following since Whiplash. But in its tragic undertones, complex psychological edifice, and claustrophobic visuals, First Man stands out, in both content and form, as a remarkable, jaw-dropping departure from anything Chazelle has previously made.”

Gosling is winning plaudits for his portrayal of a man who, as the Guardian’s Peter Bradshaw puts it, lacks “what no one in the 1960s called emotional intelligence. The film suggests that this absence of a normal human boiling point is vital to his success: he stays cool and focused in the spacecraft under conditions that would reduce most people to a blinding panic.” Claire Foy (The Crown, Unsane) plays Armstrong’s wife with, as Time’s Stephanie Zacharek notes, “a great deal of astronaut-wife fortitude,” and Corey Stoll is scoring special mentions for his turn as Buzz Aldrin, the second man on the moon. “Stoll has droll moments as the bluntly opinionated Aldrin, who keeps a sufficient lid on the showboating to allow him to remain likable,” writes David Rooney in the Hollywood Reporter. “But the large, predominantly male ensemble generally works more as a cohesive unit than as individual characters.”

For Jessica Kiang at the Playlist, the “absolute knockout performance” actually comes from cinematographer Linus Sandgren (American Hustle, La La Land), who shoots “in deliciously grainy 16 mm and 35 mm and, when we finally get to the moon, cracking open the widescreen glory of 70 mm IMAX.” Sandgren’s work, combined with Tom Cross’s “hypnotic editing,” makes First Man “so immersive in its glitchy, hurtling, melting-metal authenticity,” writes Variety’s Owen Gleiberman,“that it makes a space drama like Apollo 13 look like a puppet show.” And back to Michael Nordine: “Space Force notwithstanding, we tend not to look at the night sky the way we used to; Chazelle restores some of that wonder.”

Ryan Gosling on First Man and his character

Ryan Gosling on the Movie First Man and his character:

“I don’t think he saw himself as an American hero,” Gosling explains about the legendary astronaut he plays in Damien Chazelle’s period drama.
The American flag barely makes an appearance in Damien Chazelle’s First Man, the biopic about astronaut Neil Armstrong that opens the 75th Venice International Film Festival on Wednesday night. And Chazelle’s portrait of the first man on the moon, starring Ryan Gosling as Armstrong and Claire Foy as his wife, Janet, is more of an intimate character study than patriotic tub-thumper. That, says Gosling, was deliberate.

“Full disclosure, I’m a Canadian, so this might be some form of cognitive dissonance, but I think this achievement was widely regarded not as an American, but as a human achievement, and that’s how we chose to view it,” Gosling said at a press conference in Venice on Wednesday. “I don’t think Neil viewed himself as an American hero, quite the opposite” he added. “Neil was someone who was extremely humble, as were many of these astronauts…the way we made the film was to honor the way Neil viewed himself.”

Chazelle, noting both his approach to Armstrong’s character in the film as well as his decision to go with a very rough and realistic style in shooting the movie — often using restrictive point of view, blurred images and a disruptive soundscape — said the goal was to “try to make it feel like a family documentary, a home movie. that happens to include going to the moon.”

On the technical side, Chazelle noted that the film used 1960s-era NASA equipment to create the authentic look and sound for First Man. “Whenever you hear Ryan’s breathing in the space suit, it’s through a real lunar helmet, through (Apollo 16 astronaut) John Young’s helmet…. If you do the leg work [and] get the real things, I think it always looks and sounds better than what you would make on your own.”

Chazelle and Gosling, along with fellow castmembers Foy, Jason Clarke and Olivia Hamilton, as well as First Man screenwriter Josh Singer, praised the generosity and cooperation of members of Armstrong’s immediate family, as well as those close to the other astronauts involved in the Apollo 11 mission. Foy said Armstrong’s two sons with Janet — Rick and Mark — were key in helping her create an authentic depiction of “how they saw their mom and dad. [Because] their dad wasn’t an astronaut. To them, he was their dad.”

For Chazelle, following Oscar best picture nominees Whiplash and La La Land, the story of First Man was, he said, his first opportunity to make a movie that “wasn’t my own experience.” Adding, “The era, the scope of this, it was all very alien to me. I had to find ways to relate to the story.”

Growing up in the post-moon landing world, Chazelle said, made it easy to take Neil Armstrong’s achievement for granted.

“We grow up with the moon landing already [having] been a fact, with the iconic images and the archival footage,” he noted. “But the more I learned about it, the more fascinated I became in what went into it and, of course, what the costs were of that process. Because they were enormous.”

Ryan Gosling First Man Press Junkets Videos at The 75th Venice FF August 29, 2018

Here’s some Ryan Gosling First Man Press Junkets Videos Interviews at the 75th Venice FF August 29, 2018 

First Man TRAILER 2 has been Released

First Man Trailer 2 has been released by Universal Picture

New First Man Promo Video for Brazilian Cinema Media @AdoroCinema

New FirstMan spot of Ryan Gosling inviting @adorocinema lovers to watch the movie 

New First Man Movie Still

Damien Chazelle The Hollywood Reporter Cover + Magazine Interview

The Hollywood Reporter Cover Mag

This week’s @THR cover is the return of La La Land’s Damien Chazelle, Oscar’s youngest best director winner invites @GallowayOnFilm into the editing room as he races to finish the Venice Film Fest opener First Man. 

Official Toronto Film Festival First Man Schedule

We have the Official schedule of Toronto Film Festival First Man screenings

Link here TIFF

Here’s the link to watch live the press conference of the movie on Sept. 11

First Man has a lot of scheduled screenings @ TIFF 2018. We stil don’t have an official confirmation but Red Carpet of the Movie with the delegation of the film is probably scheduled on Sept. 9 @ 6 pm Roy Thompson Hall. Stay tuned for more infos!  Tickets to watch the movie will be on sale from Sept. 3 on tiff Website.

Update: Save the Date #Tiff18
First Man Canadian Premiere is scheduled on September 10 @ 6 pm Toronto Time – Roy Thompson Hall Theatre. Ryan’s presence is confirmed of course. He would never skip Toronto.
To buy tickets to watch First Man @ Tiff18 tickets visit this page and check the availability
Red Carpet live streaming will be available on Tiff Facebook page. Stay Tuned for all news about Ryan in Toronto.

First Man Official Screenplay To be pre-ordered on Amazon.com

 First Man screenplay is now up for pre-order. Here’s the link

‘First Man: The Annoteted Screenplay’ by Josh Singer (Author), James R. Hansen (Author). He title will be released on October the 9th and costs 39$.

On the heels of their six-time Academy Award®-winning smash, La La Land, Oscar®-winning director Damien Chazelle and star Ryan Gosling reteam for Universal Pictures’ First Man, the riveting story of NASA’s mission to land a man on the moon, focusing on Neil Armstrong and the years 1961-1969. A visceral, first-person account, based on the book by James R. Hansen, the movie explores the sacrifices and the cost–on Armstrong and on the nation–of one of the most dangerous missions in history.

First Man: The Annotated Screenplay is the official companion to the movie, and features a wealth of stunning photography, alongside the full shooting script.

Academy Award®-winning screenwriter Josh Singer (Spotlight) and James R. Hansen, whose book First Man is the only authorized biography of Armstrong, provide an in-depth commentary on the challenges of dramatizing a fact-based historical motion picture. Exclusive annotations separate those facts from the dramatic fictions the filmmakers utilized, as well as explain the overarching dramatic choices made in telling the story of the man behind the icon.

New Exclusive First Man Movie Stills released by Entertainment Weekly

Entertainment Weekly has released 2 brand new stills of the movie First Man by Daniel McFadden for Universal Pictures

As Ryan Gosling sat in a spacesuit, bathed in blue light and strapped into a capsule modeled on the specifications of the Gemini 8 spacecraft, he became acutely aware of how claustrophobic the 1966 mission into Earth’s orbit must have been for its astronauts, Neil Armstrong and David Scott. “It’s really hard in a film to convey just how small these capsules were and just how terrifying it was hurtling through space in these,” the First Man star said.

The Gemini 8 mission was just one of the milestones leading up to NASA’s 1969 manned moon landing, the event that inspired director Damien Chazelle to turn his sights to outer space for his new film, re-teaming with his La La Land lead Gosling, who plays Armstrong. “There’s actually a tendency now to take some of these things for granted and forget just how difficult and unlikely and really risky and dangerous and crazy the whole endeavor was,” Chazelle explained of the stakes.

Armstrong died in 2012, but his family stepped up to help Chazelle recreate the astronaut’s life. Gosling met with Armstrong’s sister, June; Chazelle even managed to get the blueprints to Armstrong’s house so that he could build it to scale. “It was amazing to watch Neil’s kids, Rick and Mark, come into the house they had grown up in and see the level to which the crew was working to get this right,” Gosling said.

Chazelle shot the earthbound scenes first before moving on to the more challenging and tightly orchestrated flight sequences, which featured scale replicas of the capsules and LED screens playing footage of space to re-create what the astronauts would have seen out of the windows. “It takes hours to get to see a little piece of usable footage, and sometimes the whole day goes by without anything to show for it,” the Oscar-winning director said.

In another exclusive still from the film, Gosling’s Armstrong sits with Buzz Aldrin (Corey Stoll) and Michael Collins (Lukas Haas) at a NASA press conference for the now-famous Apollo 11 mission that took them successfully to the moon. “Even though they were the three selected to be on this historic mission, there were 400,000 people who had made this possible,” Gosling said. “They were the final ones to execute it, but you get a sense from the astronauts that no one wanted to be the one that was the weak link.”

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