This blog is only unofficial, non-profit fan page, not published ads, just for sharing photos, news, links about Edward Norton for fans and has no official affiliation with Mr. Norton. I'm trying to prepare this blog, because I love him.


Exclusive Clip From Stone ---- Stone -- Film Review ------ De Niro Versus Norton In This CB Exclusive Clip From Stone ---Edward Norton: the hero with a thousand faces................

New clip from "Stone"

Stone - Clip No. 1

Stone - Trailer No. 1


Exclusive Clip From Stone
Source: CraveOnline September 9, 2010

CraveOnline has your exclusive first look at a clip from Stone, starring Robert De Niro, Edward Norton, Milla Jovovich and Frances Conroy.

In the film, directed by by John Curran and opening Oct. 8th, parole officer Jack Mabry (De Niro) is counting the days toward a quiet retirement, when he is asked to review the case of Gerald "Stone" Creeson (Norton), in prison for covering up the murder of his grandparents with a fire. Now eligible for early release, Stone needs to convince Jack he has reformed, but his attempts to influence the older man's decision have profound and unexpected effects on them both. Jovovich plays Lucetta, Stone's sexy, casually amoral wife.

You can watch the clip here!

Read more: Exclusive Clip From Stone -


Stone -- Film Review
By Kirk Honeycutt, Eylül 09, 2010 03:05 ET
Bottom Line: A thoroughly unconvincing melodrama about a sexual triangle that few viewers are likely to buy.
TORONTO -- Premiering in Toronto less than two months after the demise of Overture Films, "Stone" reminds you not only how willing that short-lived indie distributor was to take risks but how easy it was for it -- or for anyone -- to miscalculate those risks in an indie market that is exceedingly dicey.

"Stone" stars Robert De Niro and Edward Norton, so one can anticipate critics and adult filmgoers will take notice. Plus the story deals with corruption, dark impulses and moral bankruptcy -- so, again, one imagines it will at least be thought-provoking.

Ennui-provoking is more like it.

There is not a credible moment in this overly calculated melodrama. And though Jon Brion's score -- a steady beat that feels less like music than an unnerving noise from a nearby room -- labors to produce tension among the characters, the actors deliver uneven performances. De Niro trudges through the dramatic muck in workmanlike fashion, and Norton's portrayal of a white-trash sociopath is all tricked out with nervous mannerisms, vocal distortions, a weird accent and startling hairdos.

While not likely to attract those looking for a conventional thriller, the film misses the art house mark, too. Anemic box office should greet "Stone" when the film opens Oct. 8 in Los Angeles and New York before a national rollout.

Maybe there needs to be a moratorium on stories about a protagonist about to embark on one last mission or one last crime or one last anything. For an audience just knows one monumental screw-up is heading his way.

De Niro plays Jack Mabry, a parole officer reviewing, yes, one last case before his retirement. This involves Norton's Gerald Creeson, a sniveling convict who wants to be called "Stone." If that name doesn't send up red flags, then his abundant self-pity and disturbing lack of remorse for his participation in his own grandparents' murders should.

Stone plays his trump card right away. That would be his sexually voracious wife Lucetta (played by Milla Jovovich as if she wandered on to the set from a porn shoot). The couple plays this card in as blatant a manner as possible; nonetheless, Jack falls for it, or can't resist Lucetta's charms, or misplaced his parole officers' manual at a crucial moment. Who the hell knows, but if you buy this plot turn, you probably also respond to those e-mail queries from dying widows who want to give you $5 million.

The movie actually begins with a flashback to Jack's early years as a married man to tip you off that he nearly committed a crime as heinous as Stone's. In another movie, this might have been an effective way to contrast two men on opposite sides of the law who are more alike than a superficial glance would indicate. But "Stone" is so signposted like this all the way through that the movie does all the work for a viewer: You hardly need to keep track of such things.

Now in present day, Jack is undergoing a spiritual crisis. You know this because -- more signposts -- he listens in the car to nonstop religious talk shows. But none of this sinks in. He and his long-suffering wife (Frances Conroy) are a faded, lackluster couple who clutch their Bibles and attend church with a hopelessness they no longer even question.

Everything you think might happen does, so it all comes down to what two unstable men will do when one springs the other from prison as a "favor" to the convict's wife. Here the movie becomes oddly vague with a dramatic climax whose origin is unclear and outcome uncertain. Not that a viewer is invested in any of this anyway.

Angus MacLachlan's screenplay, which John Curran directed, supposedly is set in suburban Detroit, but everything feels slightly Southern, including Norton's peculiar accent.

Venue: Toronto International Film Festival (Overture Films)
Production: A Mimran Schur Pictures/Hollywiersma production
Cast: Robert De Niro, Edward Norton, Milla Jovovich, Frances Conroy, Enver Gjokaj, Pepper Binkley, Sandra Love Aldridge
Director: John Curran
Screenwriter: Angus MacLachlan
Producers: Holly Wiersma, Jordan Schur, David Mimran
Executive producers: Avi Lerner, Danny Dimbort, Trevor Short, Rene Besson
Director of photography: Maryse Alberti
Production designer: Tim Grimes
Music: Jon Brion
Costume designer: Vicki Farrell
Editor: Alexandre de Franceschi
Rated R, 105 minutes
Sales: Nu Image


Posted: Thurs., Sep. 9, 2010, 6:05pm
U.S. Release

An Overture Films release presented with Mimran Schur Pictures of a Mimran Schur Pictures/Holly Wiersma production. Produced by Wiersma, Jordan Schur, David Mimran. Executive producers, Avi Lerner, Danny Dimbort, Trevor Short, Rene Besson. Co-producer, Ed Cathell III. Co-executive producers, Will French, Stephen Roberts. Directed by John Curran. Screenplay, Angus MacLachlan.

Jack Mabry - Robert De Niro
Gerald Creeson - Edward Norton
Lucetta - Milla Jovovich
Madylyn - Frances Conroy
Young Jack - Enver Gjokaj
Young Madylyn - Pepper Binkley
Aided by a pair of dead-on lead performances from Robert De Niro and Edward Norton, director John Curran takes the high road with a Jerry Springer-ready "My girlfriend slept with my parole officer!" scenario, elevating "Stone" beyond the "Primal Fear" redux suggested by its cast (Norton once again plays a prisoner attempting to manipulate the system). Though nearly sabotaged by the ridiculous sexual subplot at its center, this soul-searching drama works best at the character level, couching insights about sin and forgiveness under the guise of conventional genre entertainment. With this cast, "Stone" should gather greenbacks on the specialty circuit.
"Stone" opens with an unsettling domestic scene, as corrections officer Jack Mabry (seen here as a young man, but later played by De Niro) responds to his wife's divorce request by threatening the life of their infant daughter. Cut to the present day: The couple has somehow carried on the charade of their loveless marriage. Though the characters reveal no memory of that pivotal confrontation, the cloud of Mabry's actions hangs over the rest of the film, implying a capacity for genuine evil.

Ironic, then, that this man who has never atoned for his own sins should find himself a parole officer, playing confessor to repentant criminals. With retirement just days away, Mabry insists on finishing up his last few cases, including a white-trash type named Gerald Creeson (Norton), aka "Stone," who torched his grandparents' house after an accomplice killed the old couple -- an "In Cold Blood"-worthy crime for which Creeson shows no regret.

Creeson badly wants out of prison, and he's willing to say or do whatever it takes to get early release, even if it means talking his g.f., Lucetta (Milla Jovovich), into seducing the stoic old cop. It's a development that all but destroys "Stone's" much-needed sense of plausibility; the idea of using sexual favors for leverage is cheap potboiler stuff and feels out of character for all the players involved. Mabry may be a chauvinist, but he's no dummy, and Creeson may be a dummy, but he's not that masochistic.

The more interesting relationship is the one between Mabry and his wife (a cowed Frances Conroy), which seems to exist in a state of suspended dysfunction. To his credit, Curran downplays the more melodramatic aspects of the script, avoiding the operatic in favor of a more introspective approach. The script reps another closely observed Middle American portrait from "Junebug" scribe Angus MacLachlan, confirming him as a writer with a novelist's keen sense of character.

The actors have ample opportunity to dig deep here, with De Niro playing a bottled-up monster who's all the more frightening for what he doesn't let show. Curran augments this inner disturbance by enlisting docu-trained d.p. Maryse Alberti ("The Wrestler"), who uses a more unbalanced shooting style around Mabry, and sound pros Eugene Gearty ("The Aviator") and Skip Lievsay ("No Country for Old Men"). The latter pair helps texture the film with a sophisticated, mostly subjective aural wallpaper, overcrowded with the white noise of Mabry's world -- a mix dominated by evangelical Christian talkradio.

Religion factors prominently in both the Mabrys' lives and Creeson's get-out-of-jail scheme (the inmate investigates an obscure faith called Zukangor, hoping it will help with his parole, only to be blind-sided by an unexpected, honest-to-God religious experience behind bars). Mabry has worked the parole beat long enough to spot the con men among these convicts, so it's only natural that he should suspect Creeson's conversion. And by casting Norton (who appeared in Curran's last film, "The Painted Veil"), the director instantly sows distrust for those who saw the actor's career-making turn as a scammer in "Primal Fear."

The trouble is, though we can tell what Curran is going for when Mabry starts to melt down, the director doesn't calibrate the tension and tone correctly, which compromises each of De Niro's outbursts -- from the opening one (tipped oddly off-balance by the decision to highlight a wasp on the scene's periphery) to a drunken, dark-alley confrontation near the end of the film. De Niro convincingly demonstrates his character's short temper and capacity for violence, though much of what the film does to provoke him rings false, especially Lucetta's seduction -- a misuse of Jovovich, who clearly wants to give a more serious performance than "Stone" is ready to allow.

Lured to Michigan by tax credits, the pic benefits from its fresh Middle American backdrop. Combined with the unique sound design, Jon Brion's score helps to give the drama an unsettling psychological intensity.


De Niro Versus Norton In This CB Exclusive Clip From Stone
By Josh Tyler: 2010-09-10 01:09:45 Share |
This weekend you’ll be able to watch Milla Jovovich take on zombies with a shotgun but on October 8th she’ll have to use much more subtle methods when she’s stuck between Robert De Niro and Edward Norton in Stone. And by subtle methods I mean sex.

The movie stars Norton and De Niro as a prisoner and a corrections officer in a battle of manipulation as Norton’s inmate character Stone Creeson attempts to influence his way out of prison. In the middle is Milla Jovovich as Stone’s sexy, amoral wife.

In the following Cinema Blend exclusive clip from Stone below, you won’t see Milla, but you will see plenty of Norton and De Niro facing off in the midst of a heated argument. Take a look:
For more on Stone including a full plot synopsis, poster, and images visit our preview page.


Toronto Review | De Niro Versus Norton: John Curran’s “Stone”
by Eric Kohn (Updated 9 hours, 16 minutes ago)
A scene from John Curran's "Stone."A bizarre, messy tale of religious philosophy and guilt, John Curran’s “Stone” has several unique parts that never entirely fit together. Robert De Niro stars as Michigan-based parole officer Jack Mabrey, an unnervingly cold man with inner demons to spare. His latest subject is Stone (Edward Norton), a convicted arsonist up for parole. Mabrey finds himself drawn into a dangerous liaison with the prisoner’s troublemaking wife (Milla Jovovich), willfully subjecting himself to a destructive situation. His motives continually unclear, Jack provides the movie with enough of a tantalizing enigma to make for an engaging viewing experience in individual moments—but the bigger themes never come together.

Curran (“The Painted Veil”) apparently puts all his efforts into the haunting first act, which establishes a marvelous sense of mystery embedded in the movie’s design. A fleeting prologue finds early versions of Jack and his wife (later played by Frances Conroy) embroiled in a marital dispute that leads Jack to threaten the life of their own child. As the soundtrack grows overwhelmed by hissing insects and a whispering breeze, Curran creates a palpable sense of discomfort that carries through the story even as it staggers about in search of a purpose. Flashing forward to the brink of Jack’s retirement, Curran closes in on the professional burnout visible in Jack’s eyes. Having spent his days controlling the fate of broken men and women—both the prisoners and his spouse—he appears to struggle with finding a means of personal satisfaction. The church, a major presence in his private life, apparently doesn’t do the trick.

Curran artfully establishes the figure of a broken man in ambitious cinematic terms. But once the story (written by Angus MacLachlan, initially as a play) pits De Niro against Norton, “Stone” turns into a confusing morality tale. Sitting in Jack’s office over the course of several meetings, the men face off in tight exchanges that form the narrative backbone of the movie. Norton’s character, a seemingly malicious schemer intent on ensuring his release, unleashes rapid-fire dialogue about atonement for his past sins. Speaking in a harsh Southern accent, Norton’s trashy persona is almost too nutty for his own good, and takes some time to credibly settle into the role. Still, it’s a focused, calculated performance—although it’s never quite apparent what he’s focused on.

At a certain point, “Stone” takes a sharp turn into film noir territory with the threat of blackmail. The criminal sends his lovesick wife to seduce Jack, a feat she accomplishes with remarkable ease. Jack’s unconvincingly fast susceptibility to Jovovich’s sultry femme fatale takes the movie a few more steps beyond reality and into the realm of a psychological nightmare (not to mention a monumentally awkward sex scene between Jovovich and De Niro).

Despite the odd tone, the heart of “Stone” is an obvious set-up with no place to go. The dialogue suggests all sinners are created equally—“How long do you have to keep judging someone for one bad thing they’ve done?” asks Stone—but since Curran makes it clear from the beginning that Jack himself is no angel, his extramarital affair never feels like it complicates the issues at hand. It’s a dark, murky picture from the first frame to the last.

As a thriller, “Stone” has loads of potential and not enough momentum to pull it off. It does, however, maintain a consistent redeeming factor: De Niro, putting on a legitimately unsettling performance, delivers his best work in years as a man growing increasingly exasperated by an inability to express his fears. Even so, he can’t salvage the movie from its muddled depictions of justice and spirituality. Curran obviously has a lot of ideas, but fails to stick with one that works.

posted on September 10, 2010


Edward Norton: the hero with a thousand faces
By Jay Stone, Postmedia News September 10, 2010

TORONTO - Edward Norton folds his long, lean frame into an armchair, runs his hand through a mop of black hair, and begins to talk about what it is about his new movie - a drama called Stone - that got him into the prison garb, Southern accent, and ambiguous motives of a character who might seem familiar.

The character's name is Stone, a convicted arsonist, and, in the movie, he's trying to persuade a parole officer, played by Robert De Niro, to let him go. And he has some bait: Stone's sexy wife (Milla Jovovich) is willing to seduce a release.

It sounds like a version of the role that made Norton famous, the accused killer conning his way to freedom in Primal Fear, but, as Norton says, calling Stone a con movie is a "reductive" way of seeing it. And before he is finished, we will be talking about Joseph Campbell, the spiritual crisis in America, and much more.

Stone, which is being screened at the Toronto International Film Festival, goes in unusual directions. Norton's character is a hard-line convict in a Detroit prison who, at first, seems irredeemable. De Niro plays a middle-American religious man who nonetheless has some doubts about his beliefs. And slowly, they begin to exchange positions, with Jovovich's character as a manipulative sexual being on the sidelines.

"I didn't respond to it when I first read it," Norton says of the screenplay by Angus MacLachlan (Junebug). He wanted to work with director John Curran again - they made The Painted Veil together - but "I didn't get what the hook was for him on this one. He had a lot of thinking to do, and I was like a sounding board for him." They spent a year talking about the movie and trying to dig out what it was that appealed to Curran: "feelings of moral hypocrisy in this country, or moral decay, or the veneers of spirituality that people sit with, and the consequences of denial," Norton says.

He got interested when the movie transformed into something less about a character pulling a fast one, and more like a movie that would ask an audience to decide what it was saying about the nature of revelation and spiritual epiphany.

"John was doing the thing that I like the most, which is, he was trying to aim at a film that was going to ask very, very difficult questions without answering them. . . . John has posed a lot of really, really intense questions, and asked you to do the work of sorting out what you had thought was at play in the film. And that's very exciting to me. That's almost my favourite place to be."

Stone is set in a background of old-time religion - a Detroit radio station that broadcasts discussions about God and evil form its soundtrack - that underlines another of its themes. "John said that, as a country, we proselytize our values to a lot of people, but are we living them? What if we could make a story about a person who's been judging people for such a long time, they've lost sight of whether they've got any of that inside themselves any more? At that allegorical level, it sounded really neat."

The role of Stone was meant to slowly transform, and almost change positions with, that of the parole officer, a prospect Norton thought would be interesting to do with De Niro, with whom he previously worked on The Score. He loved the give and take of their scenes.

"Bob's so authentic about it, that his attitude comes out: 'OK, let's play the game. Rattle me. Get under my skin. Make me feel bad about something I said.' So a dynamic starts to build. In some ways, it's my job to get more and more close to the bone."

It's a different kind of acting challenge than Norton faces in some of his movies - The Incredible Hulk, say, a role that's been in the news, because he has dropped out reprising it in The Avengers - but he says, "Sometimes you get pulled into things for reasons that are less complex. . . . It calls for different types of creativity."

There's a connection, however, and it comes in the thoughts of Campbell, the mythologist and author of The Hero with a Thousand Faces.

"Campbell has that one great riff about transparency, and I've never forgotten it," Norton says. "He says a myth or a story starts to really take on functionality for people when it becomes transparent, when you see through it to see that it's really about you.

"And I remember the first time I heard that, it almost became my life. That should be the goal of everything. It can be fun, it can be entertaining, but at the end of the day, if you can make something where people see through it and say, yes, I get it, I see myself in that, I see my life in that, I see my country in that, I see whatever, then you're starting to hit at the nerve. When a film sears itself into you, you realize that's what happened: It's named you to yourself or you see yourself in it, or it's helped you put a name on something."

And to Norton, Stone is one of those movies.

"I think you're being asked to really, really, really think about what just went down, and who moved most authentically toward a more enlightened kind of view of life."

Stone to be released Oct. 8.


Exclusive: Robert Deniro Photo STONE
Posted by: Michael
From the studio we have an exclusive first look at Robert Deniro in his new upcoming film STONE which co-stars Edward Norton. Academy Award® winner Robert De Niro and Oscar® nominee Edward Norton deliver powerful performances as a seasoned corrections official and a scheming inmate whose lives become dangerously intertwined in Stone, a thought-provoking drama directed by John Curran (The Painted Veil, We Don’t Live Here Anymore) and written by Angus McLachlan (Junebug).

As parole officer Jack Mabry (De Niro) counts the days toward a quiet retirement, he is asked to review the case of Gerald “Stone” Creeson (Norton), in prison for covering up the murder of his grandparents with a fire. Now eligible for early release, Stone needs to convince Jack he has reformed, but his attempts to influence the older man’s decision have profound and unexpected effects on them both.

Stone skillfully weaves together the parallel journeys of two men grappling with dark impulses, as the line between lawman and lawbreaker becomes precariously thin. The film’s superb ensemble features Milla Jovovich (The Fifth Element) as Lucetta, Stone’s sexy, casually amoral wife, and Golden Globe® winner Frances Conroy (Six Feet Under) as Madylyn, Jack’s devout, long-suffering spouse.

Set against the quiet desperation of an economically ravaged community and the stifling brutality of a maximum security prison, this tale of passion, betrayal and corruption examines the fractured lives of two volatile men breaking from their troubled pasts to face uncertain futures.


Motherless Brooklyn (2010) (announced).....Lionel Essrog
Leaves of Grass(2009) (pre-production) (rumored)
The Incredible Hulk(2008) (post-production) .... Bruce Banner
Pride and Glory(2008) (completed) .... Ray Tierney
The Painted Veil (2006) .... Walter Fane
The Illusionist (2006) .... Eisenheim
Down in the Valley (2005) .... Harlan
Kingdom of Heaven (2005) .... King Baldwin
The Italian Job (2003) .... Steve
25th Hour (2002) .... Monty Brogan
Red Dragon (2002) .... Will Graham
Frida (2002) .... Nelson Rockefeller
Death to Smoochy(2002) .... Sheldon Mopes
The Score(2001) .... Jack Teller
"The Simpsons" .... Devon Bradley (1 episode, 2000) - The Great Money Caper (2000) TV episode (voice) .... Devon Bradley
Keeping the Faith (2000) .... Father Brian Finn
Fight Club (1999) .... The Narrator
American History X(1998) .... Derek Vinyard
Rounders (1998) .... Lester 'Worm' Murphy
Everyone Says I Love You (1996) .... Holden Spence
The People vs. Larry Flynt (1996) .... Alan J. Isaacman
Primal Fear (1996) .... Aaron Stampler
Only in America (1994) (V) (as Ed Norton) .... Duane/James/Bruno/Eric/The Museum Guard