The deal for The Inventor was negotiated between Blue Fox, The Exchange, Slated and Rippberger of SIE Films. His legacy proves that through our actions, we can inspire those around us-girls, boys, women, and men-to be curious, to challenge the status quo, to think in new ways, and to be inventors in their own lives.” “The results are amazing and we are proud to take INVENTOR to theaters and audiences nationwide.”Īdded Capobianco, “I am thrilled that Blue Fox has leaped forward to bring ‘The Inventor’ to theaters where audiences can experience Leonardo da Vinci’s adventures on the big screen. It’s a route few filmmakers take but we are thrilled they did,” said James Huntsman of Blue Fox. “We applaud Jim and his talented team and artist and actors for jumping into the world of stop motion animation. KMBO will release the pic in France in January 2024, with mk2 handling rights in other international territories. Producers included Robert Rippberger for SIE Films, Capobianco, Adrian Politowski and Martin Metz. There are nods to genre classics – particularly Stanley Kubrick’s The Shining, also, of course, set in an isolated snow-bound location – but the whole sequence feels oddly half-hearted, as if it was bolted on to give what might have been a relatively subtle psychological suspense tale a late boost of commercial appeal.Capobianco directed from his own script, with Pierre-Luc Granjon serving as co-director. Most of the story’s credibility goes out the door with the big plot twist and thereafter the film becomes a pretty standard home-invasion shocker, with Mary pitted against a hammer-wielding psycho. But before he can start treatment, an approaching snow storm cuts off the house, leaving Mary to deal with her apparitions alone. A heart-pounding thriller about a widowed child psychologist who lives in an isolated existence in rural New England. When Mary begins witnessing the missing boy’s dead-of-night appearances, her online supervising therapist (Oliver Platt) suggests “sleep parasomnia”. When a troubled young boy ( Room’s Jacob Tremblay) she was treating goes missing and is presumed dead, Mary, already wracked with guilt over Stephen’s fate, becomes convinced that the boy’s ghost is haunting her house.īased on a well-regarded screenplay that was on the 2012 Black List from UK-born exec-turned-screenwriter Christina Hodson, and steered by British TV director Farren Blackburn (best known for BBC miniseries The Fades), the film builds its suspense very slowly, watching Mary’s anguish increase as she prepares to put her son in a home. Watts – a genre fan favourite most recently seen in the Divergent series – plays Mary, a widowed child psychologist living in an isolated (but very picturesque) New England home with her paralysed and vegetative son Stephen (played by Screen Star of Tomorrow Charlie Heaton, currently getting noticed in Netflix’s Stranger Things). The film’s style might be slightly better suited to the international marketplace, where independents will distribute during November and December. Offering little in the way of shock and gore, Shut In looks unlikely to make much of a mark with its wide November 11 US opening through EuropaCorp. Watts and a decent supporting cast lend the proceedings a bit of class, but that isn’t nearly enough to salvage this EuropaCorp/Lava Bear production. Most of the story’s credibility goes out the door with the big plot twist. But before long, this disappointingly limp thriller devolves into something much more generic, relying on slasher movie tropes and a wildly improbable plot twist for its effect. For a while, it looks like Shut In might develop into a vaguely Hitchcockian psychodrama with Naomi Watts standing in for one of the Master of Suspense’s frequent blonde leads.
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