Oliver Jackson-Cohen Charms, Mystifies in Thriller ‘Surface’

This image released by Apple TV+ shows Oliver Jackson-Cohen in “Surface." (Apple TV+ via AP)
This image released by Apple TV+ shows Oliver Jackson-Cohen in “Surface." (Apple TV+ via AP)
TT
20

Oliver Jackson-Cohen Charms, Mystifies in Thriller ‘Surface’

This image released by Apple TV+ shows Oliver Jackson-Cohen in “Surface." (Apple TV+ via AP)
This image released by Apple TV+ shows Oliver Jackson-Cohen in “Surface." (Apple TV+ via AP)

Hey, casting agents, listen up. Oliver Jackson-Cohen is interested in lighter roles. That doesn’t mean he hasn’t enjoyed the darker, sometimes scarier fare he’s mostly appeared in throughout the past few years — but his mother says he needs a break.

Mom’s commentary came last year when Jackson-Cohen arrived in Vancouver to film the new series “ Surface ” now streaming weekly on Apple TV+. She said to him, “‘You’re not going to play one of your sad boys, are you?’

“I went, ‘What?’ She said, ‘You’re always (expletive) sad. Do something light that I can go and enjoy watching,’” Jackson-Cohen laughed. “So that sort of stuck with me.”

It’s been a busy few years. Jackson-Cohen’s recent career highlights include Netflix’s “The Haunting of Hill House” series and its follow-up “The Haunting of Bly Manor.” He also terrorized Elisabeth Moss in “ The Invisible Man ” and played Dakota Johnson’s controlling husband in “The Lost Daughter.” He did get a respite, however, in this summer’s rom-com “Mr. Malcom’s List,” an experience he describes as “a joyful romp.”

In “Surface,” Jackson-Cohen stars opposite Gugu Mbatha-Raw as James, a husband desperately trying to keep the pretenses of a happy marriage afloat after an accident caused his wife, Sophie (Mbatha-Raw), to lose her long-term memory. The more James tries to masquerade past problems, the more suspicious and distant Sophie becomes.

“There’s something so interesting when someone’s sitting on a bunch of secrets,” he said. “That creates so much tension, and if you’re not allowed to say certain things and you’re holding so much back, it can be read in a multitude of different ways. Hopefully it’s worked and it does come across as overprotective or controlling or whatever it is — or, sinister. But hopefully, you know, as the show goes on and the layers are sort of peeled, you realize what is all underneath that.”

Veronica Webb, the creator and showrunner of “Surface,” says it’s the balance of mystique and likeability that makes “something super special about Olly’s performance” in the series.

“He’s got an intensity that can feel very dangerous, but also extremely charismatic and magnetic and draw you in. I remember the first time we got to meet in person. There was a song playing and he started doing a little shoulder dance and I was like, ‘That is the most goofy, charming thing on earth.’ And we ended up writing it (in a scene,) he seems a little bit menacing in the subtext, but also has this immense charm to him. I think that’s the duality of James.”

Jackson-Cohen says he finds that playing flawed people is therapeutic.

“I don’t know what it says about me, but I’m drawn to the pain that’s in people. I find the release of that incredibly comforting, which sounds so messed up. It really does feel like an outlet which sounds like a complete and utter actor.”

For now, Jackson-Cohen is back in Vancouver filming a series for Prime Video called “Wilderness” opposite Jenna Coleman, which he describes as “not lighthearted at all.” Next up, he’s hoping there will be another season of “Surface” which he enjoys, in part, because he’s known Mbatha-Raw for years.

“I did one of my first ever jobs with Gugu when I was 19. We did like an episode of some very questionable BBC thing, We’ve known each other since then, and she’s such a wonderful human being.”



‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
TT
20

‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)

Neither Pixar nor zombies were enough to topple “How to Train Your Dragon" from the No. 1 slot at North American box offices over the weekend. The Universal Pictures live-action remake remained the top film, bringing in $37 million in ticket sales in its second weekend, despite the sizeable new releases of “Elio” and “28 Years Later” , according to studio estimates Sunday. “How To Train Your Dragon” has rapidly amassed $358.2 million worldwide, The Associated Press reported.

Six years after its last entry, the Dean DeBlois-directed “How To Train Your Dragon” has proven a potent revival of the DreamWorks Animation franchise. A sequel is already in the works for the $150 million production, which remakes the 2010 animated tale about a Viking boy and his dragon.

Pixar's “Elio” had a particularly tough weekend. The Walt Disney Co. animation studio has often launched some of its biggest titles in June, including “Cars,” “WALL-E” and “Toy Story 4.” But “Elio,” a science fiction adventure about a boy who dreams of meeting aliens, notched a modest $21 million, the lowest opening ever for Pixar.

“This is a weak opening for a new Pixar movie,” said David A. Gross, who runs the movie consulting firm FranchiseRe. “These would be solid numbers for another original animation film, but this is Pixar, and by Pixar’s remarkable standard, the opening is well below average.”

“Elio,” originally set for release in early 2024, had a bumpy road to the screen. Adrian Molina — co-director of “Coco” — was replaced mid-production by Domee Shi (“Turning Red”) and Madeline Sharafian. Back at Disney’s D23 conference in 2022, America Ferrera appeared to announce her role as Elio’s mother, but the character doesn’t even exist in the revamped film.

Disney and Pixar spent at least $150 million making “Elio,” which didn’t fare any better internationally than it did in North America, bringing in just $14 million from 43 territories. Pixar stumbled coming out of the pandemic before stabilizing performance with 2023’s “Elemental” ($496.4 million worldwide) and 2024’s “Inside Out 2” ($1.7 billion), which was the company's biggest box office hit.

“Elemental” was Pixar's previously lowest earning film, launching with $29.6 million. It rallied in later weeks to collect nearly half a billion dollars at the box office. The company's first movie, “Toy Story,” opened with $29.1 million in 1995, or $60 when adjusted for inflation. It remains to be seen whether “Elio's” decent reviews and “A” from CinemaScore audiences can lead it to repeat “Elemental's” trajectory.

With most schools on summer break, the competition for family audiences was stiff. Disney’s own “Lilo & Stitch,” another live-action remake, continued to pull in young moviegoers. It grossed $9.7 million in its fifth weekend, bringing its global tally to $910.3 million.

“28 Years Later” signaled the return of another, far gorier franchise. Director Danny Boyle reunited with screenwriter Alex Garland to resume their pandemic apocalypse thriller 25 years after “28 Days Later” and 18 years after its sequel, “28 Weeks Later.”

The Sony Pictures release opened with $30 million. That was good enough to give Boyle, the filmmaker of “Slumdog Millionaire” and “Trainspotting,” the biggest opening weekend of his career. The film, which cost $60 million to make, jumps ahead nearly three decades from the outbreak of the so-called rage virus for a coming-of-age story about a 12-year-old (Alfie Williams) venturing out of his family’s protected village. Aaron Taylor-Johnson, Jodie Comer and Ralph Fiennes co-star.

Reviews have been good (90% fresh on Rotten Tomatoes) for “28 Years Later,” though audience reaction (a “B” CinemaScore) is mixed. Boyle has more plans for the zombie franchise, which will next see the release of “28 Years Later: The Bone Temple” next year from director Nia DaCosta.

“28 Years Later” added another $30 million in 59 overseas markets.

After its strong start last weekend with $12 million, A24’s “Materialists” held well with $5.8 million in its second weekend. The romantic drama by writer-director Celine Song and starring Dakota Johnson, Pedro Pascal and Chris Evans has collected $24 million so far.

Next weekend should also be a competitive one in movie theaters, with both “F1,” from Apple and Warner Bros., and Universal’s “Megan 2.0” launching in cinemas.