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Shoot has wrapped on Simon Pegg and Juno Temple starrer Lost Transmissions.

Writer-director Katharine O’Brien’s feature also stars Alexandra Daddario, Tao Okamoto, Rosanna Arquette, and Bria Vinaite.

Temple portrays Hannah, an aspiring singer/songwriter, whose mentor, a respected music producer Theo Ross, (Pegg) is struggling with schizophrenia. When Theo goes missing, she and her group of friends search for him throughout Los Angeles, hoping to get him the help he so desperately needs, while navigating the complexities of the mental health care system.

Cast is rounded out by Jamie Harris, Rebecca Hazelwood, Daisy Bishop, Danny Ramirez, Grant Harvey, Jacob Loeb, Nana Ghana and Robert Schwartzman.

Royal Road Entertainment and Underlying Tension are financing and producing the film with Pulse Films. UTA is repping domestic rights.

Producers are Filip Jan Rymsza and Olga Kagan for Royal Road Entertainment, Brigsby Bear producer Al Di for Underlying Tension and Tory Lenosky for Pulse Films.

This year, the regular and often reliable comedy team of James Franco, Seth Rogen, and Danny McBride will reunite for The Sound and the Fury – but not as you know them.

For those hoping for the spontaneous energy a la Pineapple Express or This is the End, you may exit the trailer with a profound feeling of disappointment – or you may feel that regardless of your expectations. You see, this adaptation of William Faulkner’s seminal novel of the same name isn’t nearly as impressionable as it needs to be, and even from our review it’s clear that the Franco-directed adaptation is one you could easily pass up.

Charting the trials and tribulations faced by the Compsons, a once tight-knit Southern family, The Sound and the Fury is, on paper, an understudy on familial drama and the universal challenges that each of us can relate to in our own unique way.

Yes, James Franco, Seth Rogen, and Danny McBride are in a new movie together. However, for those expecting another Pineapple Express or This is the End, you may leave disappointed. The Franco-directed adaptation of William Faulkner‘s The Sound and the Fury premiered at Venice Film Festival last year and now it’s finally getting a theatrical release.

Also starring Jacob Loeb, Ahna O’Reilly, Tim Blake Nelson, Joey King and Loretta Devine, the film follows the lives and passions of the Compsons, a once proud Southern family caught in a tragic spiral of loss and misfortune. While it’s already been in limited release for a little bit, the first trailer has now dropped, which gives us a glimpse at Franco’s passion project and his second Faulkner adaptation following As I Lay Dying, as well as a heavy dose of the Beasts of the Southern Wild score.

Check it out below,...

But a Walking Shadow: Franco’s Faulkner Redux Merely Serviceable

Continuing to thumb his nose at naysayers, James Franco plunges onward into his own particular directorial abyss with his second William Faulkner adaptation, The Sound and the Fury. Much like its predecessor, 2013’s As I Lay Dying, the actor-filmmaker manages a troubled synopsis of Faulkner’s enigmatic text but still remains unable to strike a visual resonance necessitating his undertaking.

Ambitious and a bit pretentious, Franco’s cinematic hubris may know no bounds, though it’s still refreshing to see him shirk the limiting lasso of mainstream sensibility in his personal crusade to create something meaningful. That said, there are several moments reaching a certain poetic pitch, collapsing a quartet of perspectives into a simplified triptych. Complex characterizations and the narrative resonance of Faulkner aren’t quite intact with this otherwise faithful transplant, but its first and third acts maintain a watchable melodramatic energy.

True Story: Kelly’s Objective Exploration of Sensational Subject

For his directorial debut I Am Michael, Justin Kelly takes a provocative, controversial subject and crafts it into an objective case study that has more to say about the possibilities of socially sanctioned personalities than it does innate aspects of nature vs. nurture in the grand gay debate. Based on the magazine article by Benoit Denizet Lewis, which detailed the transformation of gay activist and magazine founder Michael Glatze as he transitioned into a Christian fundamentalist, Kelly’s austere handling sometimes seems overly sanitized and almost emotionally thankless. Neglecting to take any kind of stance about Glatze as a person or the situation, Kelly nobly skirts around demonizing him, though viewed as a tangle of slippery slopes this interpretation is still subject to outside projection. Glatze still comes across as either a grossly manipulative sociopath, or an emotionally conflicted human with a significant personality disorder,...

James Franco’s desire to prove himself in almost every medium of art merits serious discussion, especially when his eagerness puts him on a path to direct an adaptation of William Faulkner’s The Sound and the Fury with screenwriter Matt Rager. The novel is widely considered to be one of the greatest English-language works of the 20th century, praised for its successful use of stream of consciousness writing, unorthodox structure, and difficult characters. It’s not a simple book, to say the least, and if it’s going to be adapted, it deserves more than a simple movie. To make matters exponentially riskier for Franco, he himself plays one of the film’s leads, Benjy, a 33-year-old man with an unidentified cognitive disability. Franco holds about a third of the screen time, though he has essentially no dialogue with the exception of moans, shouts, and whispers. Rager’s screenplay is split into three parts, similar...

Prior to James Franco’s first adaptation in 2013, no one had taken on the daunting task of adapting a William Faulkner novel for film since 1983’s A Rose For Emily. Successfully adapting Faulkner is nearly impossible, and Franco learned this the hard way as scathing reviews for As I Lay Dying surfaced after its premiere. One would hope that Franco would have learned from that disaster, but less than a year later, the filmmaker is back with his adaptation of Faulkner’s most esteemed novel, The Sound and the Fury.

There are many reasons why the revered American author’s novels are often called “unfilmable.” While they are certainly experimental and cerebral, the most difficult part about adapting a Faulkner novel is capturing the stream-of-consciousness style of writing he often used. To elaborate, many of Faulkner’s novels are written in first person perspectives, with their narrator’s thoughts written...

William Faulkner’s impressionistic novel The Sound and The Fury was published to little initial acclaim or success in 1929, and tells of the dissolution of a genteel family in the American south from the end of the Civil War into the first decades of the 20th century. The novel set the template for the down-at-heel Southern aristocratic tropes (incest, mental illness, alcoholism, etc) which has been endlessly replayed and parodied in popular culture, but the impressionistic, stream-of-consciousness prose and overlapping four-part narrative makes it a less than obvious choice for film adaptation.

The seemingly workaholic James Franco should have left well enough alone; his adaptation (following on from a poorly received 1959 film version by director Martin Ritt) is a laughable mis-fire on all fronts. The film reduces the novel’s four-part narrative to a three-part structure told from the points of view of brothers Benjy (Franco), Quentin (Jacob Loeb) and Jason (Scott Haze) Compson.

Not only is James Franco due to receive the Jaeger-LeCoultre Glory to the Filmmaker Award at the Venice Film Festival in September, but he’s also got a film screening out-of-competition too, his adaptation of the William Faulkner novel, The Sound and the Fury. With the 71st edition of the festival set to kick off on Wednesday, August 27th, promo material for the official selections is starting to surface and we’ve got four new stills from Franco’s film in the mix. The assortment features Danny McBride and Seth Rogen looking strikingly different donning their period wardrobe, a shot of Franco’s Child of God star, Scott Haze, looking far more put together than he did as Lester Ballard, and then two more of Franco himself as Benjy Compson. Hit the jump to check out those The Sound and the Fury images. The film also stars Jacob Loeb, Ahna O’Reilly,...