برچسب: David

Revisiting David Fincher’s Dark Masterpiece

Introduction

It’s hard to believe that David Fincher’s Se7en has been around for thirty years. Released in September 1995, the film continues to hold the power to shock, disturb, and fascinate. With its unforgettable ending and relentless mood, it has carved out a permanent place in film history. A dark, disturbing yet visually stunning film, Se7en was one of the defining films of the 1990s cinema renaissance—a decade where horror and noir merged.

The story of two detectives tracking a killer who uses the seven deadly sins as a pattern for his murders was bold, unsettling, and unlike anything audiences had ever seen. At a time when many thrillers favored action and happy endings, Se7en leaned into darkness and despair.

Upon release, Se7en didn’t just stand out, it stood alone, and thirty years later, the film continues to provoke debate and admiration. Its influence can be seen in countless crime dramas and psychological thrillers that followed in the ensuing decades. But few have matched its impact. On this milestone anniversary, we look back at how Se7en came to be, the people who brought it to life, and the chilling legacy it has left behind.

Morgan Freeman and Brad Pitt star in “Se7en” (1995). Photo courtesy of New Line Cinema.

Beginnings

The roots of Se7en trace back to screenwriter Andrew Kevin Walker, who penned the script in 1991 while working at Tower Records in New York City. Walker’s time in the city left him bitter and disillusioned, a mood that bled into every word of his screenplay. The script, which was grim, unrelenting, and audaciously downbeat, was passed around Hollywood, initially drawing interest but little commitment. Andrew Kevin Walker spoke to Uproxx in 2015:

“I had moved from a very suburban upbringing in Pennsylvania, so New York City, for me, was a real culture shock. I was in New York from ’86 to ’91, so it was the height of a lot of New York City-specific stuff, like the crack cocaine epidemic on the rise…The idea — “seven deadly sin murders” — was a reaction to living in New York and putting myself in a John Doe head space where you could walk down the street and see every “deadly sin” on every street corner”

In 1992, Walker met producer Arnold Kopelson (Platoon, The Fugitive). Kopelson saw the raw power of the script, but studios thought it was too downbeat and balked at the film’s now-iconic ending, which involved a certain someone’s head in a box. Se7en lingered in limbo with Walker rewriting the ending to be more upbeat. Then, a critical miscommunication changed everything. Walker’s original script (with the head in the box) accidentally made its way to director David Fincher. He loved it and was immediately on board.

Gwyneth Paltrow and Brad Pitt in a scene from “Se7en” (1995). Photo courtesy of New Line Cinema.

David Fincher

David Fincher came to Se7en licking the wounds of his disastrous experience on Alien 3, his directorial debut. The studio interference and on-set chaos of that production nearly drove him out of filmmaking entirely. When Se7en came along, Fincher saw an opportunity to tell a story without compromise. Fincher, who had made a name for himself directing music videos, had once famously said:

“I’d rather die of colon cancer than make another movie”

While turned off by studio interference, Fincher saw the dark and brooding potential of Walker’s script and was intrigued. When New Line Cinema sent Fincher the corrected screenplay, the director balked and insisted that he would only direct Walker’s original vision. De Luca, the head of production at New Line Cinema, also agreed that filming should begin as soon as possible to subvert studio interference, which Fincher was wary of.

Kopelson and executives at New Line continued their efforts to make changes to the original script, while Fincher and de Luca pushed back, forming a united front against the studio. The duo got the leverage they needed when big-name actors became attached to the project, including Morgan Freeman, Brad Pitt, and Kevin Spacey. Pitt specifically agreed to join the cast on the condition that the head-in-the-box ending remained in place.

Arnold Kopelson, Brad Pitt, and Morgan Freeman on the set of “Se7en” (1995). Photo courtesy of New Line Cinema.

Casting

Offered to and rejected by both Denzel Washington and Sylvester Stallone, the script for Se7en arrived on Brad Pitt’s doorstep at a critical time in his career. Following the release of both Interview with the Vampire: The Vampire Chronicles and Legends of the Fall (both 1994), Pitt was becoming typecast into the hunky, one-dimensional leading man roles that he railed against for much of his career. Fincher didn’t initially consider Pitt for the role of Detective Mills. But that changed after the two met. Fincher believed Pitt’s likable personality would be the perfect counter-balance to some of the character’s questionable actions.

Walker named the character of Detective Somerset after writer W. Somerset Maugham. Initially, he saw actor William Hurt (Kiss of the Spider Woman, Body Heat) playing the character. However, Fincher and de Luca both decided on Morgan Freeman after Robert Duvall and Al Pacino rejected the part. Still, New Line was hesitant to pair a black detective with a white one, as that might be seen as copying the successful Lethal Weapon franchise formula.

Robin Wright and Christina Applegate both auditioned for and turned down the role of Tracy, Detective Mill’s wife, before being offered to Pitt’s real-life partner at the time, Gwyneth Paltrow. About 100 other actors also tested for the role. The number of big-name actors who either auditioned for or turned down the part of serial killer John Doe is impressive. Ned Beatty, Val Kilmer, Gene Hackman. R. Lee Ermey and R.E.M. front man Michael Stipe were all considered before finally landing on Kevin Spacey. Spacey insisted his name be omitted from the film’s marketing and opening credits to protect the killer’s identity from viewers.

Filming

Principal photography on Se7en began in December 1994 and took place primarily in Los Angeles. Select locations were dressed to resemble a generic urban landscape. The production design emphasized deterioration, anonymity, and atmospheric gloom. Fincher opted to use rain machines in outdoor scenes to establish a sense of constant doom and oppression. Fincher had a deliberate visual and tonal strategy for the film. He sought to depict a setting devoid of hope and defined by entropy and decay.

Brad Pitt, Kevin Spacey, and Morgan Freeman star in “Se7en” (1995). Photo courtesy of New Line Cinema.

Working with cinematographer Darius Khondji, Fincher created a visual environment that was characterized by low-key lighting, saturated shadows, and persistent rainfall. These elements contributed to an intentionally ambiguous setting, one without clear geographic or temporal markers. In addition, Walker was on set throughout the production to provide suggestions or quick rewrites, if needed. However, he did not contribute much as Walker wanted Fincher to adapt the script with the director’s artistic vision intact.

Aesthetically, Se7en was influenced by films such as All That Jazz (1979), The Silence of the Lambs (1991), Klute (1971), The French Connection (1971), and others. Darius Khondji named Klute as his biggest influence in terms of what he was going for stylistically. Khondji spoke with American Cinematographer in 2018:

“Back when we were doing Se7en it (Klute) was a major discovery for me since Gordon Willis’ work on that movie has everything in it: the use of toplight, using widescreen compositions for intimacy rather than big vistas, the way that vertical strips of the city are shown in horizontal mode, the fragments of faces and bodies”

Brad Pitt, who was only available for fifty-five days before he began filming 12 Monkeys (1995), insisted on performing his stunts throughout the filming of Se7en. The result was slipping on the rain-slickened hood of a car and crashing through its windshield. The actor suffered cut tendons and nerves in his left hand. Pitt returned to the production a few days later, having received stitches and a cast on his forearm, which had to be written into the script. You’ll notice throughout parts of the film that Pitt keeps his left hand obscured from view.

https://www.youtube.com/watch?v=KPOuJGkpblk

Post-Production

New Line was less than thrilled when they saw how dark the dailies were, and Khondji suggested that the footage be printed brighter. Fincher, learning from his experiences on Alien 3, refused to compromise. Subsequently, Fincher and Kopelson turned early footage into a promotional showreel that they had screened for all the theater owners at the ShoWest convention in Las Vegas. The footage tested positively, and the interference from New Line quickly stopped.

Editor Richard Francis-Bruce worked closely with Fincher to achieve the right pacing and tone. The opening title sequence, designed by Kyle Cooper, featured startling jump cuts, handwritten typography, and disturbing imagery from the journals of the killer. All of this was scored by a fantastic remix of the Nine Inch Nails song “Closer.” All of it is classic Fincher, and the result is one of the best title sequences in film history.

Composer Howard Shore worked closely with Fincher to develop an ominous yet subdued score that would match the visually grim aesthetic. Shore’s music, coupled with the film’s sound design, emphasized ambient noise and heightened the atmosphere of dread. Dialogue was mixed with care to maintain clarity in scenes often filled with rain, ambient city noise, or emotional tension. Along with Nine Inch Nails, David Bowie, The Statler Brothers, Gravity Kills, Marvin Gaye, Gloria Lynne, Haircut One Hundred, Billie Holiday, Charlie Parker, and Thelonious Monk all contributed to the eclectic soundtrack.

What’s In The Box?

One of the most debated aspects of Se7en is its harrowing conclusion. The film ends with Detective David Mills discovering that the killer, John Doe, has orchestrated the murder of Mills’s wife, Tracy, and had her head delivered in a box to provoke Mills into fulfilling the final deadly sin, wrath. Needless to say, Kopelson and the suits at New Line were not thrilled with this downbeat ending and made every effort to have it changed.

Promotional still of Brad Pitt and Morgan Freeman for “Se7en” (1995). Photo courtesy of New Line Cinema.

Kopelson and New Line suggested multiple alternative scenarios, including one in which Tracy survived or that the box contained something less graphic. They believed that the audience might not accept such a grim final twist. However, both Pitt and Fincher were adamant that the original ending be unaltered. Pitt, in particular, made it a condition of his continued involvement with the film. Otherwise, he would drop out of the project. Fincher agreed, maintaining that the entire narrative structure depended on the inevitability of that final moment.

Michael De Luca also played a pivotal role in preserving the script’s integrity. As a senior executive at New Line, he was one of the few who supported the filmmakers and resisted internal pressure to modify the ending. In the end, the combined efforts of Fincher, Pitt, and De Luca prevailed. The result was one of the most iconic endings to a film in modern cinema history. To satisfy the execs at New Line, Fincher tacked on a brief voiceover at the end, narrated by Freeman and quoting Ernest Hemingway:

“Ernest Hemingway once wrote, ‘The world is a fine place and worth fighting for.’ I agree with the second part”

Release and Reception

Se7en was released on September 22, 1995, in North America. It earned $13 million in its opening weekend. It eventually grossed over $327 million worldwide against a $33 million budget, New Line’s most expensive film to date. Needless to say, it was a commercial success and received widespread media coverage. Much of the early box-office success can be attributed to Pitt’s popularity across the US, as well as a lack of strong films going up against it. An unexpected smash hit, Se7en was one of the most profitable films of 1995.

Critical reactions varied. Some reviewers praised the film’s style, tone, and performances. Others found its subject matter disturbing or excessive. Janet Maslin of The New York Times cited its atmosphere and craftsmanship, while Roger Ebert initially criticized its bleak worldview, yet later acknowledged its lasting impact in retrospective commentary. Particular praise went to Freeman and Spacey, with some reviewers also noting Pitt’s continued successful transition to more serious roles as opposed to those based on his good looks.

Morgan Freeman and Brad Pitt on the set of “Se7en” (1995). Photo courtesy of New Line Cinema.

Se7en received an Academy Award nomination for Best Film Editing (Richard Francis-Bruce). Although it didn’t win, the nomination underscored the film’s technical achievements. In subsequent years, it has appeared on numerous critics’ lists of top thrillers. It’s also been included in film curricula and retrospectives throughout the world. New Line re-released the film in Los Angeles on December 26 and in New York City on December 29, 1995, in an unsuccessful attempt to gain Oscar nominations for Freeman, Pitt, and Fincher.

Legacy

Since its release, Se7en has been cited as a major influence on crime dramas and psychological thrillers. Its narrative structure, centered around a sequence of symbolic murders based on the Seven Deadly Sins, has been echoed in films such as The Bone Collector, Saw, and television series including True Detective and Mindhunter. The film also marked the emergence of David Fincher as a major director. His later works, including The Game, Fight Club, Zodiac, Gone Girl, and The Social Network, were all critical and commercial hits. The three-time Oscar nominee was also largely responsible for bringing the award-winning Netflix series House of Cards to life.

With one of the most shocking and jaw-dropping endings in film history, Se7en continues to blow audiences away. Thirty years after its initial release, the film also continues to be praised by critics and audiences alike. Recent 4K releases have allowed viewers to appreciate their stunning visuals and immersive experience. Brilliant direction by Fincher, chilling atmosphere, and a compelling narrative have cemented its status as a timeless and influential film classic that continues to captivate and provoke audiences.

If You Enjoyed This Article, We Recommend:

Scholars’ Spotlight: Steve McQueen (Click Here)

Scholars’ Spotlight: Burt Reynolds (Click Here)

The Making of ONCE UPON A TIME IN THE WEST (Click Here)

Keep up with Cinema Scholars on social media. Like us on Facebook, subscribe on YouTube, and follow us on Twitter, Threads, Instagram, and Bluesky

Like this:

Like Loading…

Related

Source link

08/07/2025
David Cronenberg: ‘You don’t want to bore people…

With 55 years in the business and 23 films to his name, David Cronenberg has made an indelible mark on the face of cinema. Not only is it impossible to imagine horror as a genre without him, his far-ranging interests, tenacity as an independent filmmaker and unmistakable sense of humour have solidified him not only a favourite among critics, but audiences and fellow filmmakers as well. His latest film, The Shrouds, is his most personal to date, inspired by Cronenberg’s own process of mourning after the death of his wife. To celebrate the film finally reaching UK audiences via Vertigo Releasing, we hopped on a call with one of Canada’s most beloved exports for a chat.

Get more Little White Lies

LWLies: I was in Cannes last year when [The Shrouds] premiered, and it was a real delight to be there. I feel like seeing a Cronenberg at Cannes is kind of the peak for me, as a Cronenberg fan.

Cronenberg: Hey, it is for me too.

I always love the names that you give your characters. There have been some real classics over the years. We had Saul Tenser in Crimes of the Future, we had Bianca O’Blivion in Videodrome, and now Karsh Relic. I would love to know where you find inspiration for your names, and do you keep a list every time you hear a name that you find interesting?

I do. I often do. I’m struck by a name, and I will make a note of it. I have a little file for names, and then I put a little note, if it’s a real person whose name it is, or whether it’s a compound name. Maybe I like Karsh for the first name, and Relic for the second name, and they come from two different notes that I made. It’s really just a matter of texture. It’s not significant, symbolically, let’s say. I mean, Karsh Relic obviously is not a Western, Anglo-Saxon type name, and that’s meant to indicate that his genealogy comes from someplace else, which he mentions in the movie at the beginning. It just adds something. If the character doesn’t have the right name, it feels to me like it won’t work.

It’s funny, because with Stephen King, once I had read ‘The Dead Zone’, and the lead character’s name is Johnny Smith — that’s a very extremely common sort of cliched name — and I said to a journalist, “I would never do a movie where there was a character named Johnny Smith.” Then, of course, I ended up adapting ‘The Dead Zone’, and I didn’t want to change the name because it was Stephen King’s name for his character. So yes, I have made a movie with a character named Johnny Smith.

It particularly strikes me in Crash, there’s some great names as well, so it feels like you and Ballard were on a kind of same wavelength with great names for characters.

Yeah, it took me a while to realize that Ballard and I were on the same wavelength, because I didn’t have a very good reaction to ‘Crash’ when I first read it. But then, a year later, I realized that I did get it, and I did like it, and wanted to make the movie. One of the things was, it was Ballard’s dialogue that first really attracted me. It was quite unique and tough and simple and disturbing. And then, of course, his imagery. So I realized eventually that there were a lot of things that he and I had in common, even though we came from very different places. And so it came together in the kind of fusing of our blood in the movie, which he did like a lot and supported it when we were being criticized by everybody in the world.

I was going to mention this later, but I think the fact that something like Crash was so reviled when it came out – and people were really quite vehement – and now the kind of things that get passed are so far beyond what is in Crash. I’m 32, and there’s a lot of people younger than me that are massive fans of your work. I’m curious to know if you found that younger audiences through the years have been more receptive to the ideas that are in your films.

Well, I think Crash is a good example, because when we showed it at Venice many years later, it was just a couple of years ago, because there was a new 4K version of it, and we screened it at Venice, and the audience there was very young. And they were totally not shocked and not outraged and not mad at me. And they all stayed for Q&A, and they were very welcoming and totally seemed to get the movie perfectly. Times do change, and reactions to art traditionally. I mean, Shakespeare was not well thought of in the Victorian era, and now he is a god. So if you live long enough, you will see some reversals in terms of the way your work is received.

And it can go the other way; it could be considered great and powerful, and then later considered inconsequential. That has happened to many artists also, so you never know. That’s why when I hear that Quentin Tarantino is mulling three or four options for what he says is his final film, the film that will establish his legacy — and I think you don’t have control over your legacy. In fact, you might not even have a legacy. The other aspect of that is it might be significant to you because you’ve decided it’s your last film, but your fans later, I’m sure they won’t know which film came when. If they love your films, they’re not going to worry about which was the last one, and which was the middle one, you know. So it’s, to me, not worth worrying about that sort of thing, because you really don’t have control over it.

This is so interesting. A few weeks ago I was interviewing another filmmaker, and he said that he thinks about legacy a lot, and particularly since he had a daughter, he thinks about it, because she will one day be responsible for everything that her father has created. And he said that he does think of his films as a sort of complete vision, a complete body of work that’s in conversation with each other. But I’m curious for you, you’ve been doing this a considerable amount of time now, and you’ve made so many films. Do you think of them as an entire organ with many limbs? Or do you think of them as separate kind of things that occasionally will interconnect with one another?

I actually don’t think of them. [laughs] I really don’t. They’re wayward children who, once they grow up and they’re out in the world and have their own life, maybe they’ll send me a text every once in a while, but that’s it. I know they’re linked, of course, because of my sensibility. Each time I make a movie, I really think of it as the first movie I’ve ever made, honestly. And I focus only on it and making it work. I know that there are directors who are self-referential and deliberately make references to their other work very consciously. If I have references that work that way, they’re definitely unconscious.

I’m not thinking about them. Obviously things that I’m interested in, that fascinate me — I hesitate to use the word “obsessed” because I think of an obsession as a very specific, powerful thing, and I think the word is used in places where it really doesn’t belong because they’re talking about more superficial connection. When people say I’m obsessed with the body, well, I mean, everybody’s really obsessed with their bodies, you know? Because that’s what we are. So you better be, you better pay some attention to your body, because other people will, including microbes and viruses. So you’ve got to think about it.

But yeah, I really don’t think about my other movies. I’m forced to. I don’t watch them. I don’t think about them. Like I say, if they’re alive and they have a life, then they have a life of their own, which is the way children should be. And interestingly, talking about knowing that your kid is going to be taking care of your legacy, well, your kid might not; your kid might say, “Whatever happens to my father’s work is not my job.” It’s not their job to nurture your legacy in the world to come. To me, that’s actually quite a strange attitude.

That’s a good way to talk about The Shrouds, because obviously Vincent Cassel and you have worked together before. I am always really curious to know when a director chooses to work with someone that they’ve worked with before, if that is something that comes out of happenstance, or if they have been working on this project with the person in mind. So, was Karsh written with Vincent in mind, or did it just kind of happen that way? And is that something you tend to do or tend to try and avoid?

No, I deliberately avoid thinking of an actor when I’m writing, because at that point I think I would unconsciously start to shape it for the strengths of that actor, and that might not be the best thing for the character. So I deliberately shut that part of my mind off when I’m writing; I don’t think about what actor would be best for it. Only once the character has really come to life on the page, then I try to match that character with an actor who will bring more things to it. You know, Vincent wasn’t the only one I considered, because there are many aspects to casting that most people don’t know, and they don’t need to know.

For example, what is the actor’s passport? That’s a crucial thing. This movie was a Canada-EU coproduction — basically a Canada-France coproduction. So, naturally, I started to think about some French actors. If I had wanted someone from the US, it would have been a big problem because they’re deliberately shut out of that. And unfortunately, Brexit has made the UK be also country non grata for the kind of coproductions I do. It’s really too bad. I had to work, shape everything in a particular way to get Guy Pearce in the movie because he’s Australian. When I work with Viggo, it’s not a problem because he has a Danish passport as well as an American one, so he works on his Danish passport.

These are things, as I say, that are crucial to making a movie. I often tell film students, I point out to them that casting is a crucial part of directing. It’s not very well publicised, it’s not very glamorous, but you have to consider all of these things, financing and nationality and passports and coproductions, before you even can start to think of the actor as an actor. Half your battle as a director is over if you cast the right person. And if you cast the wrong person, you are in big trouble, just creatively, if not otherwise, emotionally and psychologically. So I pay a lot of attention to the casting. It’s never frivolous, but there’s a lot that’s very subjective also. Someone else who would have thought of directing the script of The Shrouds would have come up probably with very different actors, you never know.

Oh, yeah, absolutely. And I think that those considerations you’re talking about, about visas, about scheduling, about all the other things, they’re unglamorous, but they’re so interesting to hear about, particularly as a filmmaker who has had to navigate your way through the industry in a very particular way, because you don’t have access to kind of a Spielberg budget or a Christopher Nolan budget. You’re working within independent filmmaking constraints, which is a tricky thing to do. And I think for film students, maybe there’s sometimes this notion that when you get to make a film with a studio, that’s kind of the end of the problem. But it’s like, well, then all these other considerations that come in and ways that you have to try and save money and ways that you have to work around constraints, or work with constraints.

Yeah, no, absolutely. A lot of it starts with, “Gee, I would love to be a director. I’ll be on the red carpet in a tuxedo, and it’ll be really fun, be very glamorous.” But there’s a lot that goes before that. And of course, I started off as a completely independent filmmaker, and I’ve always been. I mean, my interactions with the studios have been very — there’s always been a distance, there’s always been a producer, a strong producer, between me and the studio, like De Laurentiis on The Dead Zone, and Jeremy Thomas on Crash, and so on. I’ve never really made a pure studio movie. I think maybe A History of Violence might come closest to it with New Line. But even then, New Line wasn’t sort of the same as Universal or Paramount – it was a minor studio, let’s put it that way.

Yeah, talking about budgets, a very sore point these days, it’s even harder now. The budget of The Shrouds was half the budget of Crimes of the Future. There were more special effects involved in Crimes of the Future, but still, it’s very difficult to maintain the budget levels right now that we had some time ago, even for independent films. It has to do with the pandemic, with streaming, and Netflix, and all kinds of other things that are in the global economy in general. Cinemas are closing, distributors are going crazy. That’s very difficult. So even the fact that I’m talking to you now after the movie has already opened in most of Europe and North America has to do with finding the right distributor or even a distributor for the UK.

Source link

05/07/2025
Jurassic World Rebirth | The Shrouds + David Cronenberg | Videodrome (1983)

On Truth & Movies this week, we discuss new releases Jurassic World Rebirth and The Shrouds, and speak to David Cronenberg about his latest film. Finally, for film club it’s a Club Little White Lies members’ pick – we revisit 1983’s Videodrome.

Joining host Leila Latif are Hannah Strong and David Jenkins.

Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.

Email: truthandmovies@tcolondon.com

BlueSky and Instagram: @LWLies

Produced by TCO

The post Jurassic World Rebirth | The Shrouds + David Cronenberg | Videodrome (1983) first appeared on Little White Lies.

Source link

04/07/2025
5 David Corenswet Roles to Catch Before He Stars as Superman

The new Superman stars David Corenswet as a new, vulnerable, dog-loving Man of Steel.

Besides playing Superman, Corenswet will of course play his version of Clark Kent in the new film, coming July 11 from Guardians of the Galaxy director James Gunn.

Corenswet, who is Philadelphia-born and Julliard-educated, will romance Rachel Brosnahan’s Lois Lane, match wits with Nicholas Hoult’s Lex Luthor, and nuzzle cute super-canine Krypto.

But before David Corenswet becomes known for Superman, here are some other roles in which he stood out.

The Projectionist in Pearl

Mia Goth and David Corenswet in Pearl – Credit: C/O

You may remember David Corenswet as the smarmy projectionist from Pearl. It’s actually a pretty significant, though short-lived, role in the Ti West horror masterpiece.

Not only does he show Pearl (Mia Goth) her first dirty movie, but he also has the audacity to break up with her with these fateful words: “You’re scaring me, Pearl.”

River Barkley in The Politician

David Corenswet as River Barkley in The Politician – Credit: C/O

In Netflix’s Ryan Murphy co-created comedy-drama series The Politician, Corenswet has an 11-episode arc across both seasons as River Barkley, a student at Saint Sebastian High School who has, at different times, romantic relationships with Payton Hobart (Ben Platt) and Astrid Sloan (Lucy Boynton).

River is a popular boy at school, but he feels empty inside — we won’t spoil anything more here.

Also Read: Superman Teaser Trailer Finds the Man of Steel Bloodied in the Snow

David McDougal in We Own This City

David Corenswet and Larry Mitchell in We Own This City – Credit: C/O

In this six-episode HBO crime drama, Corenswet played Investigator David McDougall of the Harford County Narcotics Task Force. The show follows Jon Bernthal as Sgt. Wayne Jenkins of the Baltimore Police Department’s Gun Trace Task Force, which is being investigated for corruption.

We Own This City covers true events, and is based on the nonfiction book of the same name by Baltimore Sun journalist Justin Fenton.

Reed in House of Cards

Corenswet and Willa Fitzgerald in House of Cards – Credit: C/O

Though he only appears in one episode of House of Cards, it’s worth mentioning here because it’s the penultimate episode of the entire series — and it has a lot to do with the past of Madame President Claire Underwood (Robin Wright).

In a flashback, Corenswet plays Reed, Claire’s former boyfriend when she was 20 years old. Though Reed urged her to turn down a proposal from Frank Underwood (Kevin Spacey), Claire turns him down and marries Frank in the hopes that he will open doors for her.

For better or worse, he does.

Jake in Look Both Ways

Corenswet and Lili Reinhart in Look Both Ways courtesy of Felicia Graham/Netflix – Credit: C/O

In this recent Netflix romantic comedy, Corenswet appears opposite Lili Reinhart‘s Natalie as Jake, the guy she could have been with if she had moved to Los Angeles to pursue her dreams instead of getting pregnant by her good friend Gabe (Danny Ramirez). The movie looks at both ways Natalie’s life could have turned out if that one life-changing moment had gone differently.

Main Image: David Corenswet as River Barkley in The Politician courtesy of Netflix.

Liked This List of 5 David Corenswet Roles to Enjoy Before Seeing Him as Superman?

Christopher Reeve as Superman. Warner Bros. – Credit: C/O

The Man of Steel is one of those roles that can come to define an actor’s career, in good ways and in bad. Here are 5 Roles Christopher Reeve turned down after playing Supes.

You might also like this list of the 12 Best Superhero Movies Before the MCU.

Main image: Corenswet in Superman. Warner Bros.

Source link

28/06/2025