Emerald Fennell explains how she got the idea for her film Promising Young Woman and talks about her role as Camilla Parker Bowles on The Crown.
Emerald Fennell explains how she got the idea for her film Promising Young Woman and talks about her role as Camilla Parker Bowles on The Crown.
Of the three iterations of Groot we see in the MCU, the OG middle-aged Groot is the biggest drag. Sure, this Groot gives up his life to save his frens. Rebecca Hall deserved better when she was cast as Maya Jensen, a Tony Stark one-night-stand whose scientific prowess helped give way to Extremis and Aldrich Killian’s plan to arm super-soldiers to take over the U.S. Not only is her presence in the movie an unnecessary hurtle for Iron Man to cross, but she makes matters worse most of the time.
The actor says James Gunn had written a role for him, but working with Zack Snyder was a better opportunity When James Gunn’s “The Suicide Squad” drops this August, Dave Bautista won’t be in it — but he could have been. According to the actor, there was a spot for him in the DC Universe, he just turned it down to work with a DC director. In an interview with Digital Spy, Bautista revealed that in the early planning stages of “The Suicide Squad,” he was very much part of the discussion to reunite with his “Guardians of the Galaxy” director. He only ended up turning it down because he was cast in Netflix’s “Army of the Dead.” “James Gunn wrote a role for me in The Suicide Squad, which I was all fired up about, not only because he was making a huge comeback,” Bautista said. “He’s come back with The Suicide Squad and was rehired by Marvel, and has really been vindicated as far as that whole thing went.” Of course, “The Suicide Squad” is an ensemble film (albeit a massive one). And in the end, that was a big part of why Bautista turned it down. The other part came from wanting to work with a director he hadn’t gotten a chance to work with yet. “I was all up for it, and then I got Army of the Dead, which was not only a lead role for me, but also I really wanted to work with Zack Snyder,” Bautista said. “I’ve been wanting to work with him for years.” According to Bautista, calling Gunn to turn him down was hard, but ultimately, Bautista was playing the long game for his career. The two will still work together again on “Guardians of the Galaxy Vol. 3,” which has officially been set for release on May 5, 2023. Bautista noted that he still hasn’t seen the script for that film though, so who knows what’s to come for Drax? Read original story Why Dave Bautista Turned Down ‘The Suicide Squad’ Role for ‘Army of the Dead’ At TheWrap
A24 has released the first trailer for David Lowery's The Green Knight, a take on the Arthurian legend of Sir Gawain. It looks especially creepy, just the way we like it. The post THE GREEN KNIGHT Trailer Shows a Grim Take on Arthurian Legend appeared first on Nerdist.
"All we told her to do was just welcome her son home," Scorsese said about the direction he gave his mother.
Blade, the daywalking half-vampire badass, will make his Marvel Cinematic Universe debut in a surprise film, starring two-time Oscar-winner Mahershala Ali. The post Everything We Know About Marvel’s BLADE Movie appeared first on Nerdist.
The Knocked Up star related the tale on Conan O'Brien's podcast.
Singer-actor Tyrese Gibson is asking $3.5 million for his Woodland Hills home with a Transformer replica in the backyard.
Michelle Monaghan played Julia Meade, the fiancée of Tom Cruise's Ethan Hunt, in the 2006 film
A clever example of creativity thriving within the strict protocols of the coronavirus pandemic, tense confinement thriller “Oxygen” plays like “Buried” in outer space: a ticking-clock sci-fi survival drama centered on a single character (“Inglourious Basterds” star Mélanie Laurent) trapped in a spiffy, coffin-like cryochamber with critically low reserves of breathable air. The blank-brained “bioform” […]
Streaming service Paramount+ has decided that you need more movies in your life. In fact, you need a proverbial “Mountain of Movies” to the tune of a new one every week. No longer satisfied with filling the platform with Yellowstone spinoffs (that will keep dads on the phone with their kids for the next three years asking if they’ve seen something called 6666 or Y:1883), ViacomCBS plans to debut one new movie every week on the streaming service in 2022 and more than 1,000 titles next month.
It’s 25 years since Fargo – “a homespun murder story”, as it was then billed – premiered in Cannes. We think of it now as quintessential Coen Brothers, and part of the pantheon of great American crime movies. Belatedly, it spawned the spin-off TV series on FX in 2014, which has run by now to four seasons and counting. If you asked the average filmgoer to put on a Minnesotan accent, there’s a sizeable chance they’d attempt an impression of Marge Gunderson, Frances McDormand’s pregnant cop, with her litany of “you betcha”s and “real good then”s and “oh yaah”s. Thanks to Marge and every one of its finely etched characters, Fargo is part of the cultural furniture at this point – as enshrined as any 1990s classic you could name. In a serious way, it saved the Coen Brothers, and guaranteed a longevity they might not otherwise have had. Five films deep into their careers, they were critical darlings, but only their second film, Raising Arizona (1987), had been a notable success with the public. The last three – Miller’s Crossing (1990), Barton Fink (1991) and The Hudsucker Proxy (1994) – had all lost money, and in the final case, a fortune, recouping a small fraction of its $25m budget. The industry was impatient for them to justify their glowing press: a certain perception of them as aloof eggheads, wise-cracking about cinema’s past, was beginning to chafe. 1994 was a particularly unfortunate time for them to strike out, just as Quentin Tarantino muscled in with Pulp Fiction – a winking, postmodern genre exercise which managed the triple feat of dazzling critics, gobbling up awards and catapulting him to the very mainstream success that kept eluding the Coens.
Get ready to go to the movies this summer as titles like "F9," "Black Widow," "Cruella," and "The Suicide Squad" finally show in theaters.
The director found their chemistry "Spectacular, spectacular!"
Believe it or not, Rodriguez and Brewster's characters never interacted onscreen until now.
When I was at the Tokyo Film Festival in 2014, an opportunity for an interview came up that would have made my 10-year-old heart pop with excitement. Shigeru Miyamoto, the creator of the Mario video-game franchise, had produced three whimsical animated shorts in the programme, and had made himself available to talk to the Telegraph at a towering, Lost in Translation-like hotel in the city’s Marunouchi district. Miyamoto’s standing in video-game culture is hard to overstate: in cinematic terms, think George Méliès, John Ford, Walt Disney and Steven Spielberg rolled into one. Among the subjects we covered was the common ground between films and video games, which in Miyamoto’s view was all but non-existent. He’d never regarded games as vehicles for storytelling, and saw the convergence of the two mediums as a cause for concern. Of course, he had every reason to. The original video-game film, 1993’s Super Mario Bros, was based on Miyamoto’s most beloved creation, and arguably remains the worst high-profile entry in what can only be described as a competitive field. From Lara Croft: Tomb Raider to the Resident Evil series and the latest adaptation of Mortal Kombat, Hollywood’s love affair with video games has spawned many horrible monsters over the years. Yet the studios are committed to making it work. Before the year is out, a new Resident Evil reboot will have shuffled into view, followed in February by the Indiana Jones-like Uncharted, with Tom Holland. Currently filming in eastern Europe is the Cate Blanchett and Kevin Hart-starring Borderlands, an adaptation of the dystopian first-person shooter series. Illumination Entertainment, the animation house the Minions built, has a new CG Mario feature in production for next year. Films based on such mighty gaming properties as Metal Gear Solid, Gears of War, Ghost of Tsushima, Saints Row, Just Cause and even Space Invaders – the boxy, bloopy one from 1978 – are all currently in development. Why? Because the studios regard games in the same way they do superheroes: as a vast cache of dizzyingly popular source material that could yield decades of profit, if they can only work out how to unlock it.
While he hasn't appeared in a movie in over 10 years, Jack Nicholson's six-decade-plus career has made him one of the most famous and acclaimed actors of all time. His performances in films like Chinatown, One Flew Over the Cuckoo's Nest, The Shining, and Terms of Endearment earned him awards and adulation that has lingered long after he last graced our screens. But surely his film choices can't all be good. So, what are the worst Jack Nicholson movies of all time?To find out, we consulted Rotten Tomatoes to see how critics have scored every Jack Nicholson film. We sorted by their ratings and headed to the bottom, opting to include any films that earned 65 percent approval or less. Read on to find out which of the movies Nicholson starred in—from ones made before he was famous to his most recent releases—earned him the worst reviews of his career. And for another Best Actor winner's film flops, check out The Worst Anthony Hopkins Movies of All Time, According to Critics. 17 The Two Jakes (1990) Rotten Tomatoes score: 65 percent 16 Wolf (1994) Rotten Tomatoes score: 61 percent 15 Blood and Wine (1996) Rotten Tomatoes score: 61 percent 14 Studs Lonigan (1960) Rotten Tomatoes score: 60 percent 13 Ironweed (1987) Rotten Tomatoes score: 58 percent 12 Mars Attacks! (1996) Rotten Tomatoes score: 54 percent 11 Hoffa (1992) Rotten Tomatoes score: 52 percent 10 Heartburn (1986) Rotten Tomatoes score: 45 percentAnd for more movie mistakes featuring Nicholson's co-star, find out The Worst Meryl Streep Movies of All Time, According to Critics. 9 The Last Tycoon (1976) Rotten Tomatoes score: 43 percent 8 Anger Management (2003) Rotten Tomatoes score: 42 percent 7 The Bucket List (2007) Rotten Tomatoes score: 41 percentAnd for another star with this film on their résumé, check out The Worst Morgan Freeman Movies of All Time, According to Critics. 6 The Terror (1963) Rotten Tomatoes score: 36 percent 5 How Do You Know (2010) Rotten Tomatoes score: 31 percentAnd for more fun content delivered straight to your inbox, sign up for our daily newsletter. 4 Hell's Angels on Wheels (1967) Rotten Tomatoes score: 29 percent 3 The Evening Star (1996) Rotten Tomatoes score: 22 percentAnd for more flawed follow-ups, discover The Worst Movie Sequels of All Time, According to Critics. 2 The Fortune (1975) Rotten Tomatoes score: 17 percent 1 Man Trouble (1992) Rotten Tomatoes score: 7 percentAnd for more of the worst films ever made, discover The Worst Movie That Came Out the Year You Graduated.
Taylor Sheridan, initially brought on to rewrite the mountain thriller “Those Who Wish Me Dead,” gradually got more invested in the movie. “I said if I can get Angie to do this with me, I’ll direct it for you,” Sheridan says. Angelina Jolie, whose priorities have centered on filmmaking, international work and family, hasn’t starred in a live-action film in six years.
The Keegan family has been recreating classic films like The Big Lebowski and The Silence of the Lambs at home during quarantine. The post Kids Star in Family’s Impressive Classic Movie Remakes appeared first on Nerdist.
On the latest episode of 'EW's BINGE: The Fast Saga,' Ludacris talks '2 Fast 2 Furious,' from stepping in for Ja Rule to the evolution of Tej.
Well Go USAIt was the final days of our Kickstarter crowdfunding campaign, when we were still trying to meet our $110,000 goal in order to make our independent movie The Paper Tigers. I received a letter from two of my aunties. They had no idea what the heck a Kickstarter was and probably have never done an online transaction with credit cards, but they knew we needed money fast. Stuffed in the envelope was $300 cash and a handwritten note in Vietnamese: “Bao, we hope this will help you achieve your dream. You represent the generations of Vietnamese who sought refuge and have passed safely through the golden gate of America.”While their cash gift didn’t officially count toward our Kickstarter goal (which we eventually met and surpassed), my aunties’ words carried a significant weight of its own. “You represent…”You represent our hopes and our dreams, the reason we escaped oppression and a war-torn home for safety and an opportunity to live. Here I thought I was making a goofy comedy about out-of-shape kung fu fighters who couldn’t touch their toes anymore, and now all of a sudden I have the weight of all my ancestors watching and judging to see if their sacrifice was truly worth it. So hey, no pressure.We had turned to crowdfunding and private financing out of desperation. Before then, we thought we could make our movie the old-fashioned way. You know the fairy tale. We waltz into a big Hollywood studio executive’s office and wow them with our moxie and our passion. They write a fat check to make our dreams a reality.We had a rude awakening. There were many noes. I guess they couldn’t understand the appeal of three-dimensional Asian and Black American characters carrying a crowd-pleasing, tragi-comic kung fu flick. And when there was genuine interest, one of the stipulations we actually got was to change the ethnicities of the main characters to white guys to make it more “marketable.” They needed names that you can take to the bank.There’s a list of usual suspects from the direct-to-video world that all these companies seem to pull from—the logic being that their name recognition automatically guarantees a minimum gross worldwide, regardless of the film’s quality. So, we thought that if we sensibly set the budget low enough, we could likely make our money back even without any big stars attached and still maintain creative control.We would make this point clear during every pitch, because in our mind, a lower budget minimizes risk, but that’s not how their math works. A production company once told us, “Look, if you bring on Bruce Willis, not only will your movie get sold right away, we can get you a $4 million budget easy. Or hey, how about you write a role for Nicolas Cage?” Now, I love Die Hard and Raising Arizona as much as the next guy, but we’re almost certain none of them actually read our script. Chloé Zhao Is Making History. But Hollywood Is Still a Nightmare for Asian Women.If you’re gluttons for punishment like us, getting these kinds of genius studio notes is delicious enough when we are spilling the tea, but the fact that they’d usually send their mid-level POC executives to be the messengers of whitewashing is a special chef’s kiss. As the saying goes: skinfolk ain’t always kinfolk. It ended up being a lot of hot-air advice from people who had no brown skin in the game. We said thanks, but no thanks.Mind you, we were on the grind long before the success of Black Panther and Crazy Rich Asians, which have proved the box office potential of films and stories featuring characters of color. In recent years there’s been a whole spate of studio movies and shows with diverse casts. And while it’s great that non-vanilla folk are starting to have a seat at the table, when we first set out to make our movie 10 years ago, we might as well have been treated as the waiter.Right now, “representation” is a buzzword used to bolster brands. Hollywood studios like to chest-puff their great strides in representation and diversity, but it’s usually in the form of a reboot or adaptation of well-known, pre-existing intellectual property. “Count Chocula? Hmm, sounds vaguely ethnic. How about a gritty, modern re-imagining—only now with 100% more color!”When “representation” is bandied about by a Hollywood studio, it usually means that we’ve been allowed to have a voice from the powers that be. So, you better be #Grateful for the platform, because they giveth as much as they taketh away. Just remember while you’re standing on this plank, Hollywood’s commitment to “representation” is fleeting and fickle. When that multi-million dollar “Suave Latino Count Chocula meets Taken” reboot flops, they’ll throw up their arms and say, “It was that devil Diversity’s fault! America’s just not ready to see so many colors on their screen.”Even when we turned to our own Asian American community for support, some would lecture us that we weren’t “representing” our people in the right way. Asian American men have been long portrayed as random ninja henchmen in Hollywood. And as much as Bruce Lee is seen as an iconic hero, there are many of us who have complicated feelings growing up in his shadow—constantly targeted and bullied or mocked with random cries of “waa-taaa!”Their fear was that yet another kung fu movie would set our progress backwards by reinforcing stereotypes. Even our lead actor Alain Uy shared with me his initial hesitance in taking up a role in a martial arts film, because if the movie was just and only that, he’d be forever typecast and written off—the kiss of death for a working actor. Well Go USA But with our story, I wanted to shine a light on the martial arts world beyond only vengeance and violence—there was also family, friendships, failures, jobs, and obligations.It’s easy enough to lump The Paper Tigers together with Mortal Kombat, Shang-Chi, or CW’s Kung Fu because of the martial arts genre (in fact, some folks who saw our trailer have mistakenly called us a Cobra Kai ripoff even though we’ve been working on this many years before). But those are existing franchises that everyone is aware of already. Ever see Warner Brothers or Disney ask you to back their Kickstarter?As an independent film, we have more in common with original Asian American stories like Better Luck Tomorrow, Saving Face, Searching, The Farewell, or Minari. These films were all made outside the studio system, having taken several years to find the right supporters and partners to make it happen. All our stories have strong themes of family and duty and fighting for safety and security. In fact, Minari and The Paper Tigers were the only Asian American films to screen at South Korea’s renowned Busan International Film Festival this year.We suddenly find ourselves in a country where my senior aunties are especially vulnerable to hate attacks. But I understand now what they meant when they wrote to me about “representing.” Their meaning went beyond just diversity-as-branding-tool or avoiding negative stereotypes. It means telling our story of survival. They gave me cash-money permission to tell my dreams. That’s not a weight on our shoulders, that’s wind behind our backs. “Don’t play to lose, son! We went into mass exodus and scattered halfway around the world—all for you. Whatever story that you tell from your heart, you tell our story. We made it here and we are not going anywhere.”Read more at The Daily Beast.Get our top stories in your inbox every day. Sign up now!Daily Beast Membership: Beast Inside goes deeper on the stories that matter to you. Learn more.