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Weiter geht’s mit dem „Metzger“ bei ServusTV: Am 12. Oktober strahlt der Privatsender „Der Metzger – Mordstheater“ aus, den zweiten Film mit Simon Schwarz in der Titelrolle. Die Krimi-Komödie wurde wieder von Heinrich Ambroschs Satel Film produziert.

Simon Schwarz während der Dreharbeiten zu „Der Metzger – Mordstheater“ für ServusTV (Credit: Philipp Carl Riedl / ServusTV)

Am 12. Oktober um 20.15 Uhr strahlt ServusTV die zweite „Metzger“-Krimikomödie aus. „Der Metzger – Mordstheater“ wurde wieder von Satel Film (Heinrich Ambrosch) produziert und basiert auf der Romanreihe von Thomas Raab. Film Nummer eins, der „Der Metzger traut sich“, wurde vor genau einem Jahr erstmals ausgestrahlt. In der Titelrolle des schrulligen Restaurators ist wieder Publikumsliebling Simon Schwarz zu sehen. Teil zwei basiert lose auf Raabs Vorlage „Der Metzger holt den Teufel“ und entführt den Zuschauer mit Willibald Adrian Metzger in die Grazer Theaterwelt. Mit zum Ensemble gehören neben Schwarz, Valery Tscheplanowa als Herzdame Danjela und Christoph Krutzler als...

In Monschau ist jetzt die letzte Klappe zu zwei Filmen der Ard-Freitagsreihe „Eifelpraxis“ gefallen, in denen Mads Hjulmand sein Debüt als neuer Chef der Praxis feiert.

Jessica Ginkel und Mads Hjulmand in „Die Eifelpraxis“ (Credit: Ard Degeto Film/Julian Withalm)

Nach Drehbüchern von Sabine Glöckner und Marc Terjung bzw. David Ungureit hat Petra K. Wagner die Filme 16 und 17 der „Endlich Freitag im Ersten“-Reihe „Eifelpraxis“ mit den Arbeitstiteln „Vertraue mir“ und „Der Lauf des Lebens“ inszeniert, zu denen jetzt in Monschau die letzte Klappe gefallen ist.

Nachdem Dr. Chris Wegner (Simon Schwarz) die Eifelpraxis verlassen hat, bekommt Versorgungsassistentin Vicky Röver (Jessica Ginkel) in der Folge „Vertraue mir“ (At) mit Dr. Moritz Wiesbaum (Mads Hjulmand) einen neuen Chef, der wie sein Vorgänger seit einem Unfall vor zwei Jahren ebenfalls im Rollstuhl sitzt. Mit ihrem neuen Chef hatte Vicky vor einiger Zeit einmal eine Beziehung, die sie jedoch schnell beendet hatte.

Hiermit ist es offiziell. Nach zweijähriger Pause kündigt Constantin Film endlich den zehnten Eberhofer an: „Steckerlfischfiasko“ wird mit dem bewährten Team ab 2025 gedreht.

Na dann Prost: Sebastian Bezzel und Simon Schwarz, hier in „Guglhopfgeschwader“, sind bald wiedervereint (Credit: Constantin)

Die Gebete von ganz Bayern (und dem Rest des deutschsprachigen Raums) wurden erhört: Constantin Filmkündigt (endlich) einen zehnten Eberhofer an: Nach unerhört langer zweijähriger Pause beginnen 2025 die Dreharbeiten zu „Steckerlfischfiasko“. Nach einer Vorlage von Rita Falk. Mit Sebastian Bezzel, Simon Schwarz, Lisa Maria Potthoff und Co. Von Regisseur Ed Herzog, der das Drehbuch wieder mit Stefan Betzschreibt. Produziert von Kerstin Schmidbauer. Alles ist gut.

Die ersten neun Filme konnten seit 2013 knapp elf Millionen Menschen in die vornehmlich bayerischen Kinos locken, wobei die Fangemeinde auch jenseits des Weißwurstäquators im Lauf der Jahre immer größer wurde. Weshalb Film Nummer neun, „Rehragout Rendezvous“, mit 14,2 Mio. Euro Einspiel nicht nur der umsatzstärkste und mit 1,5 Mio.

Mit „Messer“ dreht Harald Krassnitzer aktuell seinen 60. „Tatort“ in Wien. Kollegin Adele Neuhauser löst damit ihren 36. Fall. Zum Cast zählt dieses Mal auch Simon Morzé, der jüngst für „Der Fuchs“ die Lola als bester Darsteller gewonnen hat.

Drehstart für „Tatort – Messer” in Wien (v.l.): Kameramann Gero Lasnig, Sonja Chan, Yan Cheng, Produktionsleiter Albert Agostini, Regisseur Gerald Liegl, Harald Krassnitzer, Produzent Wolfgang Rest, Adele Neuhauser, Bernhard Natschläger, Kerstin Bertsch (Credit: Orf/Hubert Mican)

Das österreichische „Tatort“-Kommisarsduo Harald Krassnitzer und Adele Neuhauser verschlägt es in „Messer“ in das Haubenlokal „Efeukron“. Der Orf hat heute den Drehstart der neuen Folge bekanntgegeben, die Gerald Liegel nach einem Drehbuch von Sarah Wassermair inszeniert. Für Krassnitzer ist „Messer“ der bereits 60. Fall! Für Neuhauser der 36.. Für die Produktion zeichnet Film27 verantwortlich.

Zum Inhalt von „Messer“ heißt es beim Orf: Mehr Schein als Sein ist das Motto im Haubenlokal „Efeukron“, denn während im Gastraum neben...

In Graz und Wien entsteht derzeit die Verfilmung eines weiteren „Metzger“-Krimis von Thomas Raab mit Simon Schwarz in der Hauptrolle als Restaurator und Hobby-Detektiv Willibald Adrian Metzger.

(Credit: ServusTV / Satel Film / Andrea Flo Hanatschek)

Nach „Der Metzger traut sich“ im vergangenen Jahr entsteht derzeit in Graz und Wien eine weitere Verfilmung eines „Metzger“-Krimis von Thomas Raab mit dem Titel „Mordstheater“. Wie ServusTV, wo die Ausstrahlung Ende des Jahres geplant ist, heute mitteilt, führt erneut Michael Podogil Regie, das Drehbuch stammt von Peter Koller frei nach Raabs Roman „Der Metzger holt den Teufel“.

In der Hauptrolle des kauzigen Restaurators und Hobby-Detektivs Willibald Adrian Metzger steht erneut Simon Schwarz vor der Kamera, dem erneut sein bester Freund Petar Wollnar (Christoph Krutzler) zur Seite steht.

Während Willibald Adrian Metzger die Einrichtung eines Grazer Tanztheaters restaurieren soll, sterben kurz hintereinander die Hauptdarstellerin des Stücks und die Zweitbesetzung. Das macht den Hobby-Detektiv stutzig...

Ed Herzog’s comedy-crime movie “Rehragout Rendezvous” is on the verge of supplanting “Oppenheimer” as the No. 2 film in Germany, behind box office champ “Barbie.” In Austria, “Rehragout Rendezvous” is the top film.

“Rehragout Rendezvous” is the ninth in the Bavarian Eberhofer franchise, centering on laid-back cop Franz Eberhofer, who battles crime in a small town in the state of Bavaria, Southern Germany.

The trio of “Barbie,” “Oppenheimer” and “Rehragout Rendezvous” have become a cultural phenomenon, with German exhibitors playfully calling the summer combo “Barbenheimhofer,” according to Martin Moszkowicz, executive chairman of Constantin Film, which produced and distributed “Rehragout Rendezvous.”

“Rehragout Rendezvous” was released on Aug. 10, and chalked up more than 420,000 admissions in the first four days. This was not only the best start of the franchise, but also the second most successful opening weekend of a German film this year.

In its first week in Germany, “Rehragout Rendezvous” had...

Woman of the Dead (Totenfrau) is a series created by Benito Mueller, Wolfgang Mueller and Barbara Stepansky. It stars Anna Maria Mühe. It is based on a novel by Bernhard Aichner and It is directed by Nicolai Rohde.

Another noir series offered to us by the streaming platform for this weekend. This Austrian drama, thriller series is a story of revenge set in the Alps. An earthy production, and with good performances this will be to the liking of noir thriller fans.

About the Series

In six episodes we follow Brünhilde, a Leichendiener (a morgue employee). As her beloved husband dies in a strangely off accident, she starts to suspect this was after all no accident. An so, starts her quest.

It is an unassuming series that is quite classic in narrative style, slow paced and no grand effects, we are given a realistic setting, but not much profundity in character study.

“Day One” is a wartime drama the likes of which we have not seen before, with a marvelous Layla Alizada as an interpreter with U.S. forces in Afghanistan. I’m “biast” (pro): nothing

I’m “biast” (con): nothing

(what is this about? see my critic’s minifesto)

It’s really tough for me to pick a single best film among the excellent crop of Oscar nominees for Best Live Action Short. They are all very personal, even when the backdrops of some are huge conflicts. That’s probably necessary when telling a story in a small space, but it helps to make all of them feel very intimate; even the ones most remote from my own experience instantly felt recognizable. If these five films — the longest of which is only 30 minutes, and most are much shorter — can be said to have a unifying theme, it’s this: We’re not alone.

Ahead of the Academy Awards, we’re reviewing each short category. See the Live Action section below and the other shorts sections here.

Ave Maria – Palestine/France/Germany – 15 minutes

Director Basil Khalil and co-writer Daniel Yáñez have come up with a cutely comic conceit for their short film Ave Maria. It’s the West Bank—miles from civilization—and a car carrying a Jewish man, his wife, and his mother crashes into a Catholic church run by five Arab nuns who have taken a vow of silence. If everyone follows the rites of their religion, the women able to help the family mustn’t talk and the family, who realize that it’s now the Shabbat, can’t operate any machinery necessary to move along. It’s quite the conundrum for the devout and a perfect recipe for discovering a common ground as human beings with enough laughs to keep us entertained for the duration.

The American Film Institute announced today the films that will screen in the World Cinema, Breakthrough, Midnight, Shorts and Cinema’s Legacy programs at AFI Fest 2015 presented by Audi.

AFI Fest will take place November 5 – 12, 2015, in the heart of Hollywood. Screenings, Galas and events will be held at the historic Tcl Chinese Theatre, the Tcl Chinese 6 Theatres, Dolby Theatre, the Lloyd E. Rigler Theatre at the Egyptian, the El Capitan Theatre and The Hollywood Roosevelt.

World Cinema showcases the most acclaimed international films of the year; Breakthrough highlights true discoveries of the programming process; Midnight selections will grip audiences with terror; and Cinema’s Legacy highlights classic movies and films about cinema. World Cinema and Breakthrough selections are among the films eligible for Audience Awards. Shorts selections are eligible for the Grand Jury Prize, which qualifies the winner for Academy Award®consideration. This year’s Shorts jury features filmmaker Janicza Bravo,...

Originally ran November 12th, 2009 as part of the St. Louis International Film Festival

It.s not much of a qualifier, but writer/director Philipp Stolzl.s North Face, Nordwand in its native German, could very well be the greatest story about mountain climbing put to film. Full of staggering cinematography, incredible performances, and an epic sense of bravery in the face of tragedy, it is a truly engaging tale of man versus nature that never fails to rise to the heights set forth by its natural antagonist.

The film is based on the true story of Toni Kurz, played by Benno Furmann, and Andreas Hinterstoisser, played by Florian Lukas, two, young German men who always had a knack for climbing things, challenging themselves all along the way. In the summer of 1936, as Germany was preparing to host the Olympic Games, these two men set out to do something none had ever accomplished.

Directed by Philipp Stölzl from a screenplay by Stölzl, Christoph Silber, Johannes Naber, and Rupert Henning, the stunningly shot mountain-climbing drama North Face is currently playing in the Los Angeles area at Encino’s Town Center 5, West La’s Royal Theatre, and Pasadena’s Playhouse 7, in addition to Irvine’s University Town Center. The adventure drama stars Benno Fürmann, Johanna Wokalek, Florian Lukas, Simon Schwarz, Georg Friedrich, and Ulrich Tukur (one of the leads in The White Ribbon). A tale entwining melodrama, Nazis, Aryan superiority ideology, mind-blowing vistas, and some pretty awesome stunts, North Face won the best screenplay and best cinematography (Kolja Brandt) awards from the German Film Critics Association, and best cinematography and sound awards from the German Film Academy. The [...]...

Benno Furmann Scales A Slippery Slope

By

Alex Simon

German actor Benno Furmann was born in Berlin-Kreuzberg in 1972, cutting his acting chops on two high-profile German miniseries in his late teens, and then moved to the States shortly thereafter to study acting at the Lee Strasberg Theater Institute in New York. After appearing in high-profile titles such as Richard Loncraine's My House in Umbria, the Oscar-nominated Ww I drama Merry Christmas, the Wachowski brothers' Speed Racer, and Christian Petzold's Jerichow, Benno Feurmann's star is further on the rise with the U.S. release of North Face, director Philipp Stoelzl's harrowing drama about two moutaineers (Furmann and Florian Lukas) in 1936 attempting to scale Switzerland's foreboding Eiger moutain, with the Nazi propaganda machine prodding them on what is seemingly a suicide mission for the glory of the Fatherland. Winner of the 2009 German Film Critics Award for Best Screenplay, the film co-stars Johanna Wokalek,...

Taking your vacation at the beach is Ok for tourists, if you can tolerate the sand and the dampness, but visiting the mountains is for travelers. The mountains can offer the kinds of demands that the ocean rarely does, and we.re not talking about the challenge of meeting fellow singles at the Concord in New York.s Catskills ranges. We.re talking extreme sport: climbing the heights, which can be something else if your most exhausting task has been to ascend the endless stairs on the F line in New York.s 63rd Street station. Nor do we refer to using a walking stick to amble up a sierra that points up from the ground at a thirty-degree angle. Philipp Stölz shows the way in his documentary-style drama based on an actual event that finds pairs of athletes who defy death (or do not as the specific case may...

It’s not much of a qualifier, but writer/director Philipp Stolzl’s The North Face, Nordwand in its native German, could very well be the greatest story about mountain climbing put to film. Full of staggering cinematography, incredible performances, and an epic sense of bravery in the face of tragedy, it is a truly engaging tale of man versus nature that never fails to rise to the heights set forth by its natural antagonist.

The film is based on the true story of Toni Kurz, played by Benno Furmann, and Andreas Hinterstoisser, played by Florian Lukas, two, young German men who always had a knack for climbing things, challenging themselves all along the way. In the Summer of 1936, as Germany was preparing to host the Olympic games, these two men set out to do something none had ever accomplished. In July of that year, they set out to climb...

The Panorama section will comprise a total of 50 titles with about a third of those being documentaries and here's the first 21 of the list. Oddly enough Dominic Murphy's White Lightnin' will be playing although it's having it's premier at Sundance. Another film we reported on, Uli Lommel's Absolute Evil starring David Carradine will also be playing, and I'm still wondering how the hell they got that in there.

You can check out the list of all 21 titles after the break.

Absolute Evil by Ulli Lommel, USA (world premiere)

With David Carradine, Carolyn Neff, Ulli Lommel, Chris Kiesa

Ander by Roberto Castón, Spain (directorial debut and world premiere)

With Josean Bengoetxea, Cristhian Esquivel, Mamen Rivera, Pilar Rodríguez, Leire Ucha

At Stake by Iwan Setiawan, Muhammad Ichsan, Lucky Kuswandi, Ucu Agustin, Ani Ema Susanti, Indonesia

Panorama Dokumente

Coyote by Chema Rodríguez, Spain (world premiere)

Panorama Dokumente

Der Knochenmann (The Bone Man) by Wolfgang Murnberger,...

AFI Fest

A satire that takes aim at conventional movie romances, "Adam & Eva" begins with a Hollywood ending -- literally -- complete with accompanying closing credits.

From there, Austrian director Paul Harather and writer Ivo Schneider proceed to skewer, flip or otherwise turn inside out the standard romantic comedy template. And while the genre could certainly stand a little shaking up, all the wacky goings-on tend to get in the way of audience identification.

Four years after rescuing a young woman named Eva Marie Baeumer) from a burning building, former firefighter Adam (Simon Schwarz) is wondering whatever happened to the Happily Ever After part.

Finding that their lives have become boring and predictable, they both yield to temptation when it presents itself. Adam has an affair with his brother's nanny, while Eva succumbs to the charms of an executive, who, unlike her husband, really wants to have kids.

But even though they agree to go their own separate ways, they still find themselves drawn to each other.

The resulting sexual roundelay keeps things lively, and -- thanks to the film's refusal to take a linear path -- at times confusing. In fact, by the end, all that loopy restlessness makes one sort of yearn for a good old-fashioned, conventional romantic comedy.

AFI Fest

A satire that takes aim at conventional movie romances, "Adam & Eva" begins with a Hollywood ending -- literally -- complete with accompanying closing credits.

From there, Austrian director Paul Harather and writer Ivo Schneider proceed to skewer, flip or otherwise turn inside out the standard romantic comedy template. And while the genre could certainly stand a little shaking up, all the wacky goings-on tend to get in the way of audience identification.

Four years after rescuing a young woman named Eva Marie Baeumer) from a burning building, former firefighter Adam (Simon Schwarz) is wondering whatever happened to the Happily Ever After part.

Finding that their lives have become boring and predictable, they both yield to temptation when it presents itself. Adam has an affair with his brother's nanny, while Eva succumbs to the charms of an executive, who, unlike her husband, really wants to have kids.

But even though they agree to go their own separate ways, they still find themselves drawn to each other.

The resulting sexual roundelay keeps things lively, and -- thanks to the film's refusal to take a linear path -- at times confusing. In fact, by the end, all that loopy restlessness makes one sort of yearn for a good old-fashioned, conventional romantic comedy.

NEW YORK -- Set in rural Austria between the two world wars, Stefan Ruzowitzky's feature concerns the efforts of a group of peasant workers to take over the land they have inherited from a wealthy farmer who has possibly been murdered. They attract the enmity of the local landowners, who resent this intrusion into their class system. Social chaos and extreme violence result.

A serious, well-intentioned effort at a social drama with strong political overtones -- the film is described as a modern attempt at a "Heimatfilm", sentimental dramas extolling the virtues of the homeland -- "The Inheritors" is ultimately too stylized, incoherent and murky to have much impact. Recently showcased at the New York Film Festival, it opens commercial engagements today.

Shot in sepia tones that give it the visual feel of an old painting, the film eschews clear narrative and dialogue in favor of a more expressionistic approach. Visually outlandish and often dialogue-free, it also displays little in the way of nuanced characterization; most of the principals in the story are little more than archetypes.

The best-drawn characters are Lukas (Simon Schwarz), a foundling who becomes the leader of the "one-seventh farmers," as they come to call themselves, and Emmy (Sophie Rois), a headstrong single mother. A more mysterious figure is the old woman (Elizabeth Orth) who suddenly shows up in the dead man's chicken coop and is arrested for his murder.

Straining to give the film a mythic feel, Ruzowitzky tries to throw in undercurrents of various social issues, but his approach lacks focus, and "The Inheritors" is ultimately a tedious exercise.

THE INHERITORS

Stratosphere Entertainment

Director-screenplay: Stefan Ruzowitzky

Producers: Danny Krausz, Kurt Stocker

Cinematographer: Peter Von Haller

Editor: Britta Burkert-Nahler

Color/stereo

Cast:

Lukas: Simon Schwarz

Emmy: Sophie Rois

Severin: Lars Rudolph

Alte Nane: Julia Gschnitzer

Danninger: Ulrich Wildgruber

Running time -- 95 minutes

MPAA rating: R...