(Photo by Warner Brothers/courtesy Everett Collection. Thumbnail: Buena Vista Pictures, Columbia/Courtesy Everett Collection)

All Danny Glover Movies, Ranked by Tomatometer

The journey to fame and employment for every movie star is different, but Danny Glover‘s background of working in the public sector with a side theater hobby stands unique among his peers. His work for the city drove Glover’s strong political and social activism, which translated into his major movie debut, 1984’s Places in the Sun. More critically acclaimed films he starred in the years following that ran along the same lines, including prominent Black stories, among them The Color Purple, To Sleep With Anger, Bopha!, Beloved, and Grand Canyon.

But because he broke through in the ’80s, buddy-cop action flicks were what the people demanded, and Glover delivered. His Roger Murtaugh from Lethal Weapon is the best example of the buttoned-down family man foil to a loose-cannon partner, and together Murtaugh and Riggs rode through three more sequels. In fact, Glover’s mainstream bread-and-butter was playing these sympathetic yet strong authority figures or trustworthy officers, in films like Witness, Predator 2, Shooter, Operation Dumbo Drop, and even the original Saw. And he even eventually reached the highest office in the land when he became President of the United States in disaster movie 2012.

Glover has continually worked since getting that big break in 1984, all the more impressive that he was 40 when it happened. Recently, he’s been making appearances in vital contemporary Certified Fresh movies, including Dreamgirls, Beyond the Lights, and Sorry To Bother You. In 2019 alone, he was in The Last Black Man in San Francisco, The Dead Don’t Die, and Jumanji: The Next Level. And now we’re taking those and more as we rank all Danny Glover movies by Tomatometer! —Alex Vo

All Brian Dennehy Movies Ranked

Brian Dennehy’s film debut was in the Burt Reynolds sports comedy Semi-Tough, a fitting start for a former university football player. His imposing size fit him well in bruising, enforcer-type roles, like in Sylvester Stallone’s F.I.S.T., with character names like Big Tom (Tommy Boy) and Big Dave (The Stars Fell on Henrietta). It was Dennehy’s second collaboration with Stallone that put him on the national stage: First Blood, playing relentless Sheriff Will Teasle, who torments John Rambo to the breaking point.

And he would memorably play another sheriff in the western Silverado. Dennehy would frequently be on the side of the law, with police roles in Gorky Park, F/X, and the Assault on Precinct 13 remake. But Dennehy’s enormous range and distinct everyman quality kept him from being typecast, along with strong theater work to rely on and hone his craft. (He won two Tony awards, including one for his Broadway performance as Willy Loman in Death of a Salesman in the late ’90s.) You can see his lighter side in Ron Howard’s sci-fi dramedy Cocoon, and when playing Chris Farley’s dad in Tommy Boy.

More career highlights include playing the shifty DA opposite Harrison Ford in Presumed Innocent, performing live in the network broadcast of Fail Safe with George Clooney and a whole slew of other caliber actors, and voicing Remy’s father in Pixar’s Ratatouille. In his final decade of work, Dennehy collaborated with Terence Malick on Knight of Cups, appeared in the pleasing Chekhov adaptation The Seagull, and bridged the generation gap in Andrew Ahn’s second feature, the tender Driveways. —Alex Vo

As we near the end of the summer movie season, you may start to notice that there are fewer and fewer worthy choices at the multiplex, and you might just want to spend the weekend at home instead. If that’s the case, and movies like The Meg, The Happytime Murders, Crazy Rich Asians, or Alpha aren’t particularly appealing to you, here’s a list of some solid new choices streaming on Netflix in August.

---

---

---

---

---

---

---

---

---

---

---

---

---

---

---

---

---

---

---

---

---

---

Best Western Movies of All Time

Welcome to Rotten Tomatoes’ list of the 100 best-reviewed Western movies of all time, sorted by Adjusted Tomatometer with at least 20 reviews for each selection. Additionally, we picked only classical period films, so you get outta here with that Best Picture-winning neo-Western nonsense! Now, it’s time to put on your best pa-avenging chaps, slide a bad hombre down the saloon bar top, and ride on to see how the West was Fresh! —Alex Vo

Kevin Costner has played Robin Hood, Bull Durham, and Superman’s dad, but this weekend, he scales things down a little in Black or White, a family drama with a timely storyline that attempts to explore modern racial dynamics in America. Costner’s latest project gives us the perfect chance to take a fond look back at some of the many movies that helped make him the Academy Award-winning actor and director he is today — an impressively diverse list that we’re betting might include a few surprises. It’s time for Total Recall!

---

10. Silverado (1985) 78%

Once you cast Brian Dennehy as your movie’s bad guy, you’ve won half the battle. Fortunately for Silverado director/co-writer Lawrence Kasdan, he also managed to line up a pretty capable cast of heroes for his stylishly assembled Western. Kevins Costner and Kline, Scott Glenn and Danny Glover all saddled up and rode against Dennehy’s crooked sheriff, and even the supporting cast managed to shine, with memorable turns from Jeff Goldblum, Linda Hunt, and Rosanna Arquette. Westerns weren’t exactly in vogue during the mid-1980s — especially ones as unabashedly retro as this one — but according to most critics, Silverado made it work; as Roger Ebert wrote, “This is a story, you will agree, that has been told before. What distinguishes Kasdan’s telling of it is the style and energy he brings to the project.”

---

9. Open Range (2003) 79%

Following 1999’s For Love of the Game and Message in a Bottle, Costner laid relatively low for a few years, appearing in offbeat fare like 3000 Miles to Graceland and Dragonfly — and re-indulging his passion for Westerns with 2003’s Open Range, which found him directing and starring in the tale of a cattleman (Robert Duvall) who winds up tangling with a villainous land baron (Michael Gambon) in a pitched battle for the soul of a small town. An unlikely medium-sized hit, Range resonated with critics like Blake Wright of ComingSoon.net, who wrote, “Costner as director goes to great lengths to make sure the audience sees people here. Real people. Not some caricature of prototypical gunslingers.”

---

8. The Untouchables (1987) 83%

In 1987, we had Stallone and Schwarzenegger for action heroes, so it wouldn’t have been unreasonable to ask why we needed Kevin Costner joining the ranks — as Eliot Ness, no less, battling Al Capone (Robert De Niro) in an old-school feds ‘n’ gangsters saga whose outcome was well-known to even the dullest grade-schooler. Brian De Palma answered that question in style with The Untouchables, an artfully slick, thoroughly well-cast dramatic thriller that surrounded Costner and De Niro with a crew of capable veterans (including Sean Connery and Andy Garcia) and propped the whole thing up with a screenplay from the talented David Mamet. “It goes to that place that all films aspiring to greatness must attain,” nodded an appreciative Richard Schickel for Time. “The country of myth, where all the figures must be larger and more vivid than life.”

---

7. A Perfect World (1993) 77%

In 1993, any movie starring Clint Eastwood and Kevin Costner would have seemed like an automatic hit — and when you throw in that it was directed by Eastwood and scripted by John Lee Hancock (The Blind Side), it’s sort of puzzling that A Perfect World failed to drum up much excitement at the box office. Then again, it’s a quiet little picture, with an escaped convict for a protagonist (Costner) and a drawling lawman for a hero (Eastwood). Content to let its conflicts develop slowly — and end in rather anticlimactic fashion — it proved a hard sell with filmgoers while earning plenty of critical praise. “A Perfect World,” argued ReelViews’ James Berardinelli, “is evidence that Hollywood is still capable of producing the kinds of moving, intelligent movies that have increasingly become the province of independent filmmakers.”

---

6. Dances With Wolves (1990) 87%

A three-hour Western with subtitles, budget problems, and a first-time director who also happened to be the star and producer, Dances with Wolves was pegged by many pundits as one of 1990’s biggest cinematic disasters; before it arrived in theaters on November 9, it had already been nicknamed Kevin’s Gate — a derisive reminder of the career disaster that befell director Michael Cimino after making the similarly epic Heaven’s Gate. Of course, we all know how things worked out: Costner’s faith in the Michael Blake novel fueled five years of development and inspired him to shell out millions of his personal fortune in addition to mounting a difficult outdoor shoot while starring in the leading role, and all that passion spilled over onto the screen, helping turn Wolves into a $424 million hit and seven-time Academy Award winner. Although Costner’s taste for sprawling dramas would eventually get him into trouble with Waterworld and The Postman, he struck a chord with this sensitive saga of a Civil War soldier who retreats into frontier solitude; as Sheila Benson wrote for the Los Angeles Times, “Dances with Wolves is a clear-eyed vision. Authentic as an Edward Curtis photograph, lyrical as a George Catlin oil or a Karl Bodmer landscape, this is a film with a pure ring to it.”

---

5. Thirteen Days (2000) 83%

Nearly a decade after he scored a huge hit with JFK, Kevin Costner starred in another film that drew inspiration from events surrounding the Kennedy administration: Thirteen Days, which found Costner playing presidential aide Kenneth O’Donnell alongside Bruce Greenwood (JFK) and Steven Culp (Bobby Kennedy) in a tense behind-the-scenes dramatization of what went down in the White House during the Cuban Missile Crisis of 1962. While it wasn’t a huge hit during its theatrical run, Days scored with critics such as Eric Harrison of the Houston Chronicle, who mused, “Who would’ve thought this nearly 40-year-old piece of history could be turned into such a riveting motion picture?”

---

4. JFK (1991) 85%

A two-time Oscar winner and controversial, career-rejuvenating smash hit for Oliver Stone, JFK reconstructs John F. Kennedy’s assassination and then spends most of its epic 189-minute length sifting through the wreckage, treating the killing as a murder mystery that New Orleans D.A. Jim Garrison (Kevin Costner) doggedly attempts to solve at any cost. With an impeccable supporting cast that included Sissy Spacek, Kevin Bacon, Tommy Lee Jones, and Gary Oldman, as well as a screenplay that challenged long-held assumptions about Kennedy’s death, JFK reignited interest in the assassination, eventually leading to new legislation that ordered a reinvestigation and promised that all documents related to the killing would be made public by 2017. And while many critics agreed that the movie could have benefited from a more rigorous approach to the facts, it remains, in the words of the Washington Post’s Desson Thomson, “A riveting marriage of fact and fiction.”

---

3. Field of Dreams (1989) 88%

Go on and say it: If you build it, they will come. An unlikely-seeming catchphrase from an unlikely-seeming hit, it served as the mission statement for farmer Ray Kinsella (Costner), whose mystical journey toward healing the long-buried scars of his past started after he heeded those whispered words and plowed under his corn to build his own ballfield. It’s the kind of movie that doesn’t necessarily play well on paper, but whose themes are guaranteed to tug at the heartstrings of nine out of every 10 filmgoers who ever had a father. As Phil Villarreal put it for the Arizona Daily Star, it’s “A movie for a thorough tear-duct cleansing – the only film that makes tears stream down the cheeks of this hardened critic, and it gets me at least twice every time.”

---

2. No Way Out (1987) 92%

A year before he officially entered the ranks of swoonworthy Hollywood leading men with Bull Durham, Costner helped create one of the better political intrigue thrillers of the 1980s in No Way Out. Adapted from Kenneth Fearing’s 1946 novel The Big Clock, it’s fairly florid stuff, involving a young Navy officer (Costner) whose affair with a D.C. socialite (Sean Young) complicates his life when he discovers she has another lover (Gene Hackman) who just happens to be the Secretary of Defense — and who ends up assigning him to investigate her death after she’s murdered. The twists and secrets pile up, but they’re anchored in believable behavior and fine performances from the cast; as Roger Ebert wrote, No Way Out is “A superior example of the genre, a film in which a simple situation grows more and more complex until it turns into a nightmare not only for the hero but also for everyone associated with him.”

---

1. Bull Durham (1988)

It’s nominally a movie about baseball, and one whose most important relationship arguably lies between an aging catcher (Kevin Costner) and the young pitcher (Tim Robbins) he’s been tasked with mentoring — but Bull Durham is also a love triangle that rests on the primal, irresistible magnetism of the woman in the middle (Sarandon). Though it was initially something of a minor hit that netted Sarandon a Golden Globe nomination, Durham has steadily grown in stature over the years; today, it’s regarded as a sports cinema classic, a high point of ’80s romantic comedy, and the apex of writer/director Ron Shelton’s career. “Shelton locates the tension and the humor between pitches, between ball games, between the sheets,” applauded TIME’s Richard Corliss. “It helps too that he has written the wittiest, busiest screenplay since Moonstruck, and that his three stars do their very best screen work.”

 

---

Finally, here’s a pre-fame Costner in a commercial for the Apple Lisa II::

---

 

• Click here for Kevin Costner’s complete filmography
• Read more Total Recall.

 

As any student of popular American cinema knows, the name Lawrence Kasdan is synonymous with some defining movie experiences among audiences of a certain age. One of Hollywood’s hot young screenwriters in the ’70s, Kasdan was enlisted by George Lucas to help pen The Empire Strikes Back, the film that — along with the Kasdan co-written Return of the Jedi — helped transform Star Wars from blockbuster movie into cultural myth. Soon after, Kasdan’s second film as director, The Big Chill, effectively captured — for better or worse — the feelings (and musical tastes) of a generation of Baby Boomers entering thirtysomething adult life. And between those films, Kasdan’s screenplay for Raiders of the Lost Ark was turned into another massive hit — and enduring piece of movie iconography — by Steven Spielberg.

As a director, Kasdan has moved from thrillers (Body Heat) to Westerns (Silverado, Wyatt Earp) to drama (Grand Canyon) and comedy (The Accidental Tourist), picking up four Oscar nominations along the way. He returns after a lengthy hiatus with this week’s Darling Companion, a comedy starring Kevin Kline and Diane Keaton about the search for a lost dog that brings on some typically Kasdan-esque moments of life assessment.

We sat down for a chat with Kasdan earlier this week, in which he talked about his new film, his long collaboration with Kline, and his favorite memory writing on Empire. Read on for that, but first, he talks about his five favorite movies.

Next, Kasdan chats about his new movie Darling Companion and reflects upon his favorite parts of writing The Empire Strikes Back.

 

Darling Companion revolves around the frantic search for a lost dog. The story is that you were inspired by you and your wife finding and losing your own dog, Mac?

Lawrence Kasdan: Yes, Mac. We rescued him and then we had him for a couple of years and then we lost him, in the mountains. We had gone away for a wedding with a friend and he got scared and he ran away. And we searched and searched and did all the things that are in the movie: We put it on the radio, we put signs everywhere, and we almost gave up, and then a woman we knew said, “Don’t give up — he’s out there.”

Was she similar to Ayelet Zurer’s psychic character in the film?

She is similar. She felt that she had an affinity for animals that was beyond the normal thing. She felt that she could tell that he was alive. But what she did that was most valuable for us, was she said, “You must not give up on this.” That really was the difference, I think.

And he’s still with you?

Yes. He’s at home, a few miles from here. He’s 14 years of age.

Some are calling this movie a part of a trilogy, along with The Big Chill (1983) and Grand Canyon (1991). Is there something in your mind that circles around every decade or so that makes you take stock of where you are in life?

I don’t think it’s a conscious thing, but obviously there is some sort of rhythm going on, because when I was in my ’30s I did make The Big Chill and in the ’40s I made Grand Canyon. And it’s not about generation. It’s about people that I knew, and concerns that we had, and raising two children in Los Angeles, and what’s it like to have your children move out — and that’s in Darling Companion.

It’s about How do you find that companion that’s gonna last you a lifetime? What makes someone special to you that you can trust them, that they’re gonna be there forever? They may not look right — like Richard Jenkins doesn’t look right to other people, but he’s the perfect man for the Dianne Wiest character. It’s about young love and it’s about old love. It’s about all the varieties of companionship.

Will you and Kevin Kline reunite in another 20 years for your Cocoon or On Golden Pond?

[Laughs] I don’t know — we may be ready for that sooner. [Laughs] The one thing I’ve realized is that you don’t know what’s gonna happen, and every time you get to make a movie, and every time you get to work with people you like, you’re really lucky. And that’s happened six times with Kevin. It’s been a real delight. I think he’s wonderful, and he’s really fun to work with. He can do anything. He was a great cowboy, he was a great rider, in Silverado (1985); he handled the guns really well. And then he was a Frenchman, and an Italian, and an American for me — he’s done everything. He’s the funniest guy I know.

The scene I liked best in the film is when Diane Keaton is trying to pop his dislocated shoulder back in, because it shows how good he is — how good both of them are — at simultaneously playing comedy and drama in the same moment.

I’m so glad you said that; that’s my favorite scene in the movie.

What is it about you and Kevin two that works as a collaboration?

I think it’s the trust: I trust his instincts, he trusts mine. If I say “Give me a little less, do a little less, do a little more,” he will do it. He’s all about the work. No ego. He’s all, “What’s the best way to do it?”, “What about this, what about that.” He gives you a million choices. You’re happy to see him when you get there in the morning.

How did you guys meet, originally?

I was casting Body Heat (1981) and there was an amazing explosion of talent in new York theater. I had seen a lot of people out in LA; I went to New York and I met Bill Hurt and Kevin Kline and John Heard and Chris Walken, they were all that age, they were all emerging at that moment. Quite a line up — and there were more. It was incredible period of acting in this country. I hired Bill Hurt for Body Heat, but I remembered Kline and said, “I gotta work with this guy.” He’d already won two TONYs at that point, I think. He could do anything: He’s an athlete, a dancer, a singer; everything. When I put together The Big Chill I wanted him at the center of it.

 

There’s an unmistakable line in Darling Companion, I think it’s spoken by Dianne Wiest’s character: “The dark side is strong…”

[Laughs]

You’d have to be one of the few writers to reference your own work like that and get away with it, because it’s now part of the popular lexicon. When you include a line like that, does it feel like you’re just pulling something out of the cultural ether or do you consciously remember, “I worked on that script”?

[Laughs] Oh, I remember it very well. That’s a very vivid time for me. I had just written Raiders of the Lost Ark (1981) for those guys, and I went to give it to George [Lucas] and he said, “Do you wanna write Empire?” And I said, “Don’t you wanna read Raiders first?” He literally offered it to me as I handed it to him, and he said, “I’m gonna read it tonight, and if I don’t like it I’m gonna take back this offer for Empire.” But he liked it. [Laughs]

Lucky he liked it.

Yes. [Laughs] I remember working on it. We did it really fast. [Director Irvin] Kershner was involved. He was a fascinating guy. An odd choice for Empire, but he wound up making the best Star Wars movie, I think — even though the first one is really the breakthrough. That’s astounding, the first movie, ’cause no-one had thought like that before; but Empire, I think, is maybe the best one.

I’m not gonna argue with you.

[Laughs]

Do you have a favorite line that you wrote for that film?

Well there were a lot of things, you know. We invented the way Yoda would talk. When I started talking to George about it, he said, “We’ve got this character and I don’t know how he should talk. Should he talk backwards? How should he talk?” And I wrote all that stuff, and Frank Oz did that voice and he was spectacular. It’s amazing, to create something like that, and then have the whole world sort of embrace it.

---

Darling Companion opens in New York and LA this week, with more locations to follow.

It’s terrible, but there’s something hot about bad cops. They’re authoritative, powerful, within arms reach of the worst villains life can throw and, they’re only occasionally redeemable. What a challenge.

In honor of David Ayer‘s Street Kings we did a little bad-to-worse survey of the boys who soil their blue. Some of them are hot, some of them caustic, but all of them are fascinating. The cops on this list might shame those who loyally “Protect and Serve” but you know what they say, it’s hard to look away from a train wreck.

10. Web Smith (Wesley Snipes) in Rising Sun

Web Smith (Wesley Snipes) is a good cop. He’s mostly clean, except for one little incident in his past, involving a drug dealer, a crib, and a small stack of bills. Web’s been walking around with this secret for a long time, and the bad news is that someone else knows about it, and it eventually gets used as leverage against him. But compared to the plans and conspiracies surrounding the murder he’s investigating, the old bribe is really just small change.

9. Everybody but Al Pacino in Serpico

Frank Serpico was an honest cop in a sea of corruption. The entire NYPD may not have been completely corrupt, but in Serpico it sure feels like it. Even the low-level officers are on the take, and hush money from bookies and dealers is passed around between cops with such banality that when Frank refuses a bribe, his brother officers think that there is something wrong with him.

8. Colin Sullivan (Matt Damon) in The Departed

It’s one thing when a cop goes bad, seduced by the power and authority that comes with the job. But it’s something else entirely when the cop in question wasn’t good to begin with. Colin Sullivan (Matt Damon) becomes a police officer so that he can work as mole within the Boston PD, and feed information back to his gangster pal Frank Costello (Jack Nicholson). So instead of making the streets safer, he’s just making them safer for crooks.

7. Alonzo Harris (Denzel Washington) in Training Day

The only thing more frightening than a bad cop is a bad cop responsible for others. When Alonzo (Denzel Washington) takes Jake (Ethan Hawke) out on his Training Day the day looks more like a trip into a nightmarish revisioning of The Wizard of Oz than a beat cop instructional tour. Some crimes seem easy to overlook (Alonzo’s incessant drinking while driving) but others (like extortion or drug trafficking) are harder to overlook. And it’s this play between the upholding of the law and its use that makes the situation between Alonzo and his pupil such a challenging one.

6. Pete Davis (Ray Liotta) in Unlawful Entry

Before Ray Liotta played Hank Hill in Goodfellas he used that baby face to play Officer Pete Davis in Unlawful Entry. Kurt Russell and Madeline Stowe play happy and successful couple who open their doors to Davis just in time for him to slowly devolve into a stalking, hooker-brutalizing monster. Liotta plays his cards close to his chest, alternating between irksome and alluring, conscientious and reckless, honorable and deviant, all without skipping a beat.

5. Sheriff Cobb (Brian Dennehy) in Silverado

We meet Cobb early on in Silverado, and it’s clear than he and one of the heroes, a somewhat reformed outlaw named Paden (Kevin Kline) have a history together. Cobb comes off as menacing, and since he’s played by Brian Dennehy, you know he’s going to come back later. Sure enough he does come back, as the sheriff of Silverado, and the other members of his gang are now his deputies. But in spite of his position, Cobb isn’t much of a tyrant; he may be sheriff, but the cattle baron that’s bribing him is the one that’s really calling the shots.

4. Captain McCluskey (Sterling Hayden) in The Godfather

After multiple turns playing crooks in Noirs from The Asphalt Jungle to The Killing, Sterling Hayden had perfected the diligent working-class villain. Who then could be more evocative as the mob-complicit Captain McCluskey in Coppola’s Godfather? Hayden’s establishment in the industry along with his kindly good looks made him an easy choice for McCluskey, and his performance in this part is short but leaves a lasting impression (on more than just the tablecloth).

3. Norman “Stan” Stansfield (Gary Oldman) in Leon the Professional

Norman Stansfield (Gary Oldman) is corrupt on almost all levels. He’s a pill-popping, mob-affiliated DEA agent that uses his position to run his own little drug empire. He uses his own officers to rub out the competition, but he’s not above hiring a professional from time to time either. And he’s not simply ruthless; he’s crazy enough to really enjoy hurting or killing anyone that stands against him. Between this film and Romeo Is Bleeding, Gary Oldman seemed to embody the half-crazed cop role in the early 1990s.

2. Captain Dudley Smith (James Cromwell) in L.A. Confidential

Captain Dudley Smith (James Cromwell) isn’t as crazy Oldman’s Stansfield in Léon, but he’s working on a much larger scale. The seemingly upstanding Captain Smith asks purist recruit Ed Exley (Guy Pearce) to rat out corrupt cops, in what seems to be a genuine effort to clean up the department, but Smith is merely covering his bases. He’s also using the brutish Bud White (Russell Crowe) on a goon squad that runs mobsters out of L.A so that Smith can maintain control of the city’s drug traffic. James Cromwell is frighteningly believable as the “man in charge,” especially once we see how corrupt he really is.

1. The Lieutentant (Harvey Keitel) in Bad Lieutenant

The title for Abel Ferrara‘s completely unredeemable drama is perfect: unambiguous, straightforward, and completely without explanation. This Bad Lieutenant abuses his power in the most unrelenting and disturbing ways, offering us only slivers of insight into his conscience. (Perhaps this is because he only has a sliver of a conscience.) In addition to watching Keitel wantonly abuse his authority by randomly pulling guns on cops and citizens alike, you can actually catch him smoking stolen crack, naked. In fact, you only need to see the poster art to get the idea — and to see proof he’d been working out. He may not be working on a grand scale, but his behavior is so shocking that you can’t imagine any cop being worse that this.

That’s our list of the 10 most corrupt cops in the movies. Who would you add to the list? And do you think any cop is more corrupt than Kietel in Bad Lieutenant?

If you want Cinematical’s take on the subject, check out their Cinematical Seven feature on Out of Control Cops.

Sophia Myles is probably best known to international audiences as Erika in the popular – if not critically hailed – Underworld series. She was also the only good thing in Thunderbirds where she chewed scenery as Lady Penelope, and has starred in features Art School Confidential and Tristan + Isolde. RT‘s Joe Utichi caught up with the actress on the eve of the release of her latest film, Hallam Foe. Directed by David Mackenzie she stars alongside Jamie Bell – the titular Hallam – in a moving and darkly comic tale of lost innocence.

Hallam Foe is released in the UK on August 31st. A US release is currently TBA.

Even if you know next to nothing about screenwriters, I bet you’re a fan of Lawrence Kasdan … even if you don’t know it. The guy’s biggest successes include "The Empire Strikes Back," "Return of the Jedi," and "Raiders of the Lost Ark," and now he’s returning to adventure genre to pen the "Clash of the Titans" remake.

Adored by a lot more people than you might think, "Clash of the Titans" is an old-fashioned adventure epic that details the heroic travels of Perseus and features a whole bunch of Greek gods and goddesses. Plus it’s got flying horses, snake-haired woman, and three-headed dogs. (Pegasus, Medusa, and Cerberus, respectively.) Here’s hoping Mr. Kasdan removes Bubo the Owl when he writes his first draft.

No word yet on who’ll be directing the new "Titans" for Warner Bros., but they should probably keep Mr. Kasdan on writing detail only. His last directorial effort was "Dreamcatcher," and I’ve yet to meet one person who likes that movie. To be fair, Mr. Kasdan has written and/or directed a lot more good movies than bad: "Body Heat," "The Big Chill," "Silverado," and "The Accidental Tourist" pretty much speak for themselves.

Source: The Hollywood Reporter