Articles on this Page
- 01/08/17--18:28: _Michael Keaton tota...
- 01/08/17--18:53: _New 'Beauty and the...
- 01/08/17--20:12: _Here are all the wi...
- 01/09/17--08:00: _There's something d...
- 01/09/17--09:35: _The actor behind th...
- 01/09/17--10:00: _Another movie final...
- 01/10/17--11:02: _Only 27 movies have...
- 01/10/17--12:35: _29 books to read be...
- 01/11/17--11:46: _Woody Harrelson is ...
- 01/12/17--09:11: _How to be successfu...
- 01/12/17--10:36: _30 movies we can't ...
- 01/12/17--14:39: _This artist is conf...
- 01/13/17--07:00: _The 'Deadpool' writ...
- 01/13/17--13:06: _The famously grueso...
- 01/15/17--08:29: _'Hidden Figures' wi...
- 01/16/17--06:15: _What the secretive ...
- 01/17/17--07:33: _Tom Hardy hints tha...
- 01/17/17--09:09: _Why the worst movie...
- 01/17/17--10:45: _The 18 most excitin...
- 01/18/17--07:17: _The hilarious scene...
- 01/08/17--20:12: Here are all the winners of the 2017 Golden Globes
- 01/10/17--12:35: 29 books to read before they become movies in 2017
- 01/11/17--11:46: Woody Harrelson is starring in the Han Solo movie — here's his role
- 01/12/17--10:36: 30 movies we can't wait to see in 2017
- 01/12/17--14:39: This artist is confusing the internet with his illusions
- 01/15/17--08:29: 'Hidden Figures' wins a dismal MLK weekend at the box office
- 01/17/17--09:09: Why the worst movies of the year always come out in January
The INSIDER Summary
• Michael Keaton said Viola Davis won a Golden Globe for "Hidden Fences."
• The movie is "Fences.""Hidden Figures" is another film with a mostly black cast.
• He's not the only one to make a similar mistake.
While announcing the winner for best supporting actress in a movie during Sunday night's Golden Globes, Michael Keaton flubbed the name of the film.
He said Viola Davis won for the movie "Hidden Fences."
The name of the movie she's in is titled "Fences."
"Hidden Figures" is the title of a different movie that's running the awards circuit, also with a predominately black cast.
Keaton isn't the only one to make this kind of mistake. An NBC red carpet reporter said that Pharrell Williams, who's nominated for composing the score of "Hidden Figures," is nominated for the non-existent movie "Hidden Fences."
#HiddenFences has since started trending on Twitter, where people mocked Keaton's mistake.
spoiler alert: in the end they find the fences.— 32 across (@aoscott) January 9, 2017
Disney just released a new trailer for the live-action "Beauty and the Beast" during the Golden Globes, and it shows off more of Emma Watson's singing talents as Belle. She sings the opening tune "Little Town"— complete with a shot of her standing on the mountain tops of her small French village.
The first trailer for the upcoming remake showed off shot-for-shot recreations of scenes from the 1991 movie. Another TV spot released by Disney shows Belle and the Beast flirting after the iconic "wolf rescue" scene fans of the original movie will remember well.
Watch the new trailer below:
Disney also released a new poster for the upcoming movie, and it features all of the human versions of each character (except for the Beast, of course).
In the lower section of the poster you can see Luke Evans as Gaston alongside Josh Gad as LeFou. Across from them is Ewan McGregor as Lumière, and Kevin Kline as Belle's father — Maurice.
Ian McKellen is barely recognizable as Cogsworth, while Emma Thompson (Mrs. Potts) holds the still-teacup version of Chip. You can also make out Stanley Tucci as Maestro Cadenza and Audra McDonald as Madame de Garderobe (the wardrobe). Last but not least there's Gugu Mbatha-Raw as Plumette (the feather duster).
"Beauty and the Beast" arrives in theaters on March 17.
The 74th Golden Globes ceremony is the biggest night in entertainment as it honors the top talent and projects in both film and television.
Jimmy Fallon hosts the big celebration from the Beverly Hilton in Los Angeles, California on Sunday.
Going into Sunday's awards, the musical "La La Land," starring Ryan Gosling and Emma Stone, led the heap with seven total nominations, while "Moonlight" had the most of any dramatic film (six).
FX's "American Crime Story: The People v. O.J. Simpson" led the pack of TV nominees, while hits like "Westworld" and "Stranger Things" also found multiple nominations.
Additionally, Meryl Streep will be honored with the Cecile B. DeMille award for outstanding contributions to entertainment.
Below is the complete list of winners in bold (updated live):
Best motion picture, drama
“Hell or High Water”
“Manchester by the Sea”
Best actress in a motion picture, drama
Amy Adams, “Arrival”
Jessica Chastain, “Miss Sloane”
Isabelle Huppert, “Elle” *Winner*
Ruth Negga, “Loving”
Natalie Portman, “Jackie”
Best actor in a motion picture, drama
Casey Affleck, “Manchester by the Sea” *Winner*
Joel Edgerton, “Loving”
Andrew Garfield, “Hacksaw Ridge”
Viggo Mortensen, “Captain Fantastic”
Denzel Washington, “Fences”
Best motion picture, comedy or musical
“20th Century Women”
“La La Land” *Winner*
“Florence Foster Jenkins”
Best actress in a motion picture, comedy or musical
Annette Bening, “20th Century Women”
Lily Collins, “Rules Don’t Apply”
Hailee Steinfeld, “Edge of Seventeen”
Emma Stone, “La La Land” *Winner*
Meryl Streep, “Florence Foster Jenkins”
Best actor in a TV series, comedy or musical
Donald Glover, "Atlanta" *Winner*
Jeffrey Tambor, "Transparent"
Anthony Anderson, "Black-ish"
Gael Garcia Bernal, "Mozart in the Jungle"
Nick Nolte, "Graves"
Damien Chazelle, “La La Land” *Winner*
Tom Ford, “Nocturnal Animals”
Mel Gibson, “Hacksaw Ridge”
Barry Jenkins, “Moonlight”
Kenneth Lonergan, “Manchester by the Sea”
Best TV series, drama
“The Crown” *Winner*
“Game of Thrones”
“This Is Us”
Best actress in a TV series, drama
Winona Ryder, "Stranger Things"
Claire Foy, "The Crown" *Winner*
Evan Rachel Wood, "Westworld"
Catriona Balfe, "Outlander"
Keri Russell, "The Americans"
Best actor in a TV miniseries or movie
Riz Ahmed, "The Night Of"
Bryan Cranston, "All the Way"
John Turturro, "The Night Of"
Tom Hiddleston, "The Night Manager" *Winner*
Courtney B. Vance, "People v. O.J. Simpson"
Best Motion Picture, Foreign Language
"Elle," France *Winner*
"The Salesman," Iran/France
"Toni Erdmann," Germany
Best animated film
“Kubo and the Two Strings”
“My Life as a Zucchini”
Best screenplay, motion picture
Damien Chazelle, “La La Land” *Winner*
Tom Ford, “Nocturnal Animals”
Barry Jenkins, “Moonlight”
Kenneth Lonergan, “Manchester by the Sea”
Taylor Sheridan, “Hell or High Water”
Best actor in a motion picture, comedy or musical
Ryan Gosling, "La La Land" *Winner*
Ryan Reynolds, "Deadpool"
Colin Farrell, "The Lobster"
Hugh Grant, "Florence Foster Jenkins"
Jonah Hill, "War Dogs"
Best supporting actress in TV miniseries or movie
Olivia Colman, "The Night Manager" *Winner*
Lena Headey, "Game of Thrones"
Chrissy Metz, "This Is Us"
Mandy Moore, "This Is Us"
Thandie Newton, "Westworld"
Best supporting actress in a motion picture
Viola Davis, “Fences” *Winner*
Naomie Harris, “Moonlight”
Nicole Kidman, “Lion”
Octavia Spencer, “Hidden Figures”
Michelle Williams, “Manchester by the Sea”
Best original song
“Gold” from Gold (Music & Lyrics by: Brian Burton, Stephen Gaghan, Daniel Pemberton, Iggy Pop)
“Faith” from Sing (Music & Lyrics by: Ryan Tedder, Stevie Wonder, Francis Farewell Starlite)
“City Of Stars” from La La Land (Music by: Justin Hurwitz; Lyrics by: Benj Pasek, Justin Paul) *Winner*
“Can’t Stop The Feeling!” from Trolls (Music & Lyrics by: Justin Timberlake, Max Martin, Shellback)
“How Far I’ll Go” from Moana (Music & Lyrics by: Lin-Manuel Miranda)
Best original score
“La La Land” *Winner*
Best supporting actor in TV miniseries or TV movie
Sterling K. Brown, "The People v. O.J. Simpson"
Hugh Laurie, "The Night Manager" *Winner*
John Travolta, "The People v. O.J. Simpson"
Christian Slater, "Mr. Robot"
John Lithgow, "The Crown"
Best TV movie or limited series
“The Night Manager”
“The Night Of”
“The People v. O.J. Simpson” *Winner*
Best actress in a TV miniseries or movie
Felicity Huffman, "American Crime"
Riley Keough, "The Girlfriend Experience"
Sarah Paulson, "People v. O.J. Simpson" *Winner*
Charlotte Rampling, "London Spy"
Kerry Washington, "Confirmation"
Best TV series, comedy
"Mozart In The Jungle"
Best actress in a TV series, comedy
Rachel Bloom, "Crazy Ex-Girlfriend"
Julia Louis-Dreyfus, "Veep"
Sarah Jessica Parker, "Divorce"
Issa Rae, "Insecure"
Gina Rodriguez, "Jane the Virgin"
Tracy Ellis Ross, "Black-ish" *Winner*
Best actor in a TV series, drama
Rami Malek, “Mr. Robot”
Bob Odenkirk, “Better Call Saul”
Matthew Rhys, “The Americans”
Liev Schreiber, “Ray Donovan”
Billy Bob Thornton, “Goliath” *Winner*
Best supporting actor in a motion picture
Mahershala Ali, “Moonlight”
Jeff Bridges, “Hell or High Water”
Simon Helberg, “Florence Foster Jenkins”
Dev Patel, “Lion”
Aaron Taylor Johnson, “Nocturnal Animals” *Winner*
Cecil B. DeMille Award for Lifetime Achievement in Motion Pictures
The INSIDER Summary
• Disney and Hasbro released a Belle "Beauty and the Beast" princess doll.
• It's supposed to look like Emma Watson.
• It looks more like Justin Bieber.
Emma Watson will be starring as Belle in Disney's live-action "Beauty and the Beast" remake, out on March 17. As part of the marketing and merchandising campaign, the company released a series of new "Beauty and the Beast" toys.
One of their dolls for Belle is supposed to look like Emma Watson. But ... something's not quite right, as ozthegreatandpowerful noted on Flickr when he took a few pictures of the doll.
Here's what Emma Watson really looks like:
In the quest to replicate Emma Watson's visage on a plastic surface, it looks like the manufacturers got the proportions wrong. As many people are noting, the doll looks a lot more like Justin Bieber in a dress.
they thought they made a nice emma as belle doll but instead they made a justin bieber doll pic.twitter.com/lbApA05pu0— maryam (@seIinaivy) January 7, 2017
justin is now secretly living his life as a belle doll pic.twitter.com/zIQnV5Ld2O— frances (@voguesbizzIe) January 7, 2017
when you order an emma watson doll online but a justin bieber doll in a yellow dress & a wig arrives instead pic.twitter.com/PUQUBXyufT— rebekka (@dolanschistad) January 7, 2017
They got Emma Watson's Belle doll looking like Lord Farquaad with a mix of the Queen of Hearts & a sprinkle of Justin Bieber. Who did this? pic.twitter.com/4rUIxmrzYo— Whit O'Brien (@I_Slayy) January 7, 2017
This doll looks like Jennifer Garner trying to disguise herself as Emma Watson in an episode of Alias. pic.twitter.com/c071qeSdXN— Ol' QWERTY Bastard (@TheDiLLon1) January 7, 2017
According to ozthegreatandpowerful, the dolls are sold at JC Penney, but they aren't listed on JC Penney's website at the time of this post.
This isn't the first time a doll version of Emma Watson's face has looked strange. For the Harry Potter movies, Mattel made a Hermione Granger doll in 2002 that doesn't quite capture her countenance either.
INSIDER has reached out to Disney for comment, but had not heard back at the time of this post.
Before "Rogue One: A Star Wars Story," 56-year-old English actor Guy Henry was best known for his work on the BBC and in classical theater (he was also Pius Thicknesse in "Harry Potter and the Deathly Hallows"). But now he has played one of the "Star Wars" saga's best-known characters, even though his face was not in a single frame of the movie.
Henry is the man and voice behind the most talked-about character in "Rogue One": Grand Moff Tarkin, who was brought to the screen through the magic of motion-capture computer graphics after being played by Peter Cushing in 1977's "Star Wars: A New Hope." Cushing died in 1994.
The events in "Rogue One" happen just before what we see in "A New Hope," and to connect the dots, "Rogue One" director Gareth Edwards wanted to prominently feature Tarkin because of the character's role in the main plot point of both movies: the Death Star. But to do that, he and the team at Industrial Light & Magic decided to do something unprecedented: use a living actor to basically be the skeleton of their Tarkin and then replace the actor's face with a digital version of Cushing's.
On May 5, 2015, "Rogue One" casting director Jina Jay contacted Henry's agent and asked whether the actor could meet up for lunch in London with Edwards.
"They chose a very secret lunch in one of the most public media places in town, the Dean Street Townhouse, which I thought was very clever of them," Henry recently told Business Insider of getting the role. "So we talked very quietly."
In fact, Henry remembers that a table beside them recognized him from a show he does on the BBC and the diners came over to say hi. But this was one of the rare moments when visibility wouldn't help an actor land a role, since it was Edwards’ job at the lunch to persuade Henry to play the CGI Tarkin.
"It was a very strange thing to get your head around," Henry said about the offer. "Normally as an actor you're presented to be another character, but there's another added complication here — it's me pretending to be Peter Cushing pretending to be Grand Moff Tarkin."
Before Henry agreed to the role, he suggested that Edwards do a screen test of him, just to confirm the director's hunch that he would be right for the role. Henry acted out a Tarkin scene from "A New Hope," doing his best Cushing voice with his hair slicked back and makeup to make him look older.
Edwards was convinced by what he saw, as were others at Disney and Lucasfilm. But Henry, who says he was always told he sounded more like his idol Peter O'Toole than Peter Cushing, was still very nervous when he agreed to take the job.
"I wasn't comfortable throughout the whole process," said Henry, who spent a month of prep constantly watching Cushing's Tarkin in "A New Hope.""I was constantly plagued by the thought that I was going to be the tall idiot from London who let the whole thing down. When they look you in the eye and say, 'This has never been done before in the history of film, but we think we can do it,' you really don't want to muck it up. For them but also Peter Cushing, who was an actor that I always admired genuinely. I didn't want to go through this slightly weird process and let him down."
Henry's Tarkin scenes were shot during principal photography in the summer of 2015. During his three-week schedule, a car picked him up at 4:30 a.m. every day for the hour-long drive to London's Pinewood Studios ("Rogue One" production was under the code name "Los Alamos"). After putting on the gray Imperial officer's uniform, Henry would then go to the makeup room where he would get his hair slicked back and a transparent mask with small holes all over it on his face. Then with a black eyeliner stick, the makeup artist would mark dots through the holes onto Henry's face. A person from ILM would then put the motion-capture dots over the marks on his face. Then right before a scene was about to start, a head cam would be placed on him, which would capture every facial movement Henry made.
Before every take, Henry would repeat a Tarkin line from "A New Hope": "You would prefer another target? A military target? Then name the system."
"It would just get me into the flow of the Cushing voice," Henry said of repeating the line.
Henry would then perform the Tarkin scenes on the set with the other actors. Henry said he didn't always do the Cushing voice — sometimes Edwards would ask him to do takes "as Guy."
"I did as much of a Peter Cushing [voice] with the rolling Rs as I could, which was f---ing difficult," Henry said. "I'm pleased that people don't find it a jarring voice and it seems to have worked, but I'm not a mimic. I did every take every day, including reshoots, and all along I just tried to do my best."
Henry said that he actually told Edwards and the "Rogue One" producers numerous times that he would not be offended if they wanted to bring in a voice actor who could do a better Cushing voice. Henry even insisted on doing an ADR session during postproduction so he could have another pass at the dialogue.
"I can't pretend that it wasn't really frightening," he said. "When I offered the option of having someone else do the voice, they said, 'We don't want that, we want your performance, we chose you because of who you are, and we want you to inhabit the performance.' For better or worse, it's my performance."
Henry wrapped on his three weeks, but that turned out to just be the start of his time on "Rogue One." With constant rewrites of the film's plot during production, along with reshoots, Henry said he was called back every other month or so up until November 2016.
"I would always think, 'Back to the dots, back to the fear,'" Henry said.
The highlight for Henry was working with Ben Mendelsohn, who played Tarkin's rival in claiming credit for the Death Star, Orson Krennic.
"We played all the scenes together, we rehearsed together, we'd go outside and have a cigarette together and go over lines," Henry said. "It was a one-on-one acting relationship as opposed to me being a stand-in."
One of Henry's favorite moments was when Tarkin had to be his typical authoritative self and get under the skin of Krennic.
"He gets into the mood and has got all guns blazing," Henry said of Mendelsohn's process. "So there was one scene where I play Tarkin particularly imperialist behind the camera to get him worked up, which I succeeded at beyond my wildest dreams. Ben thought I was looking at a monitor behind him, but in fact I was just being dismissive and he suddenly shouted, 'Don't look into the fucking monitor, Guy!' But honestly, we got along famously."
Other than a brief look at a rough assembly of a Tarkin scene while the movie was in postproduction (which eased his anxiety about what the filmmakers were trying to achieve), Henry didn't see the finished CGI Tarkin until he went to the film's London premiere a few weeks ago. Having to keep his involvement in the movie a secret to everyone he knew for over a year, he finally saw the fruits of his efforts.
"I didn't eat all day," Henry said of the premiere. "I went in full of white wine and my heart in my mouth, but after the first Tarkin scene, I enjoyed it. I mean, I didn't get the whole script, so I was working in the dark. I was watching a film that I knew little about. I'm proud and relieved that it has been positive."
Well, for the most part the response has been positive. Though some "Star Wars" fans loved Tarkin's prominent placement, and some with less "Star Wars" knowledge didn't even realize the Tarkin character was CGI, there are others who feel the character is a distraction. Some critics even brought up the question of whether it was ethical for Disney and Lucasfilm to use the magic of computer graphics to bring a dead actor back to life.
Lucasfilm received permission from the Cushing estate to show his likeness in the movie, and Henry said he had heard that Cushing's longtime secretary had seen "Rogue One" and enjoyed the Tarkin scenes.
"If it had been done as a joke or a gimmick, that would have been stupid," Henry said when asked about the ethics issue. "But in this case it was an honorable attempt to tell a story with one of the most famous characters from the 'Star Wars' saga. I thought it was worth doing. If it doesn't impinge on the real living or dead person's sensibilities, I think it's another tool in the box. But I'm not in a hurry to repeat the process — I'll tell you that."
Despite the anxiety around the role, Henry has no regrets and says the experience is unlike anything else he's done in his career. He looks forward to seeing the movie again — with less white wine in his system.
"I think it was an honorable tribute to Peter Cushing, and I'm very happy for that," he said.
"Rogue One: A Star Wars Story" is currently playing in theaters.
When Sunday's box-office estimates were released, "Rogue One: A Star Wars Story" was $100,000 ahead of the drama "Hidden Figures" to win the weekend box office for a fourth consecutive week.
But the final figures have come in and "Hidden Figures" surpassed "Rogue One" on Sunday to finally knock the "Star Wars" standalone movie from its perch.
"Hidden Figures," released by 20th Century Fox, stars Taraji P. Henson, Octavia Spencer, and Janelle Monáe as the unsung African-American women who were essential to NASA's victory in getting a man to the moon in the 1960s space race. It took in $22.8 million over the weekend, according to Deadline. "Rogue One" brought in $21.9 million over the weekend.
The movie was in its first weekend in wide release and has been fueled by critical praise (the movie has a 93% rating on Rotten Tomatoes) and awards talk. It's made $24.7 million at the box office to date.
Though "Rogue One" has finally been knocked off the top spot, it has accomplished what Disney wanted it to do. The movie has passed the $900 million mark globally and with over $477 million domestically, it should surpass "Finding Dory" to be highest-grossing film of 2016 by this weekend.
With movie ticket prices increasing and the resurgence of franchises like "Star Wars," films earning over $1 billion worldwide may become commonplace. But, for now, there are only 27 movies from the last 25 years that have managed to join this exclusive club. Using data from Box Office Mojo, we compiled a list of the highest-grossing movies that made $1 billion or more.
From "Minions" to "Furious 7" and more, keep reading for a look at the box-office hits.
27. "The Dark Knight" (2008)
Total gross revenue: $1,004,600,000
Back in July of 2008, people began speculating that Christopher Nolan's "Batman Begins" sequel starring Heath Ledger as the Joker might have the box-office power to set a world record. "There are even whispers starting whether 'Dark Knight' can beat the incredible worldwide numbers posted by the all-time $1.8 billion benchmark of 'Titanic,'"Deadline reported.
Unfortunately "The Dark Knight" remains in the 27th spot when it comes to highest-grossing movies of all time.
26. "The Hobbit: An Unexpected Journey" (2012)
Total gross revenue: $1,021,100,000
When Peter Jackson's first "Hobbit" movie crossed the $1 billion mark, it appeared a good indication the subsequent two sequels would perform equally well, if not better, at the box office. But neither of the second two "Hobbit" films wound up crossing that box-office landmark. Both "The Desolation of Smaug" and "Battle of the Five Armies"made around $960,000,000 each.
25. "Zootopia" (2016)
Total gross revenue: $1,023,800,000
Disney's "Zootopia" is one of four animated features the studio has made that have crossed the $1 billion mark.
"Not only did it earn Disney Animation's biggest opening ever — debuting to $75 million," Entertainment Weekly reported in July 2016. "But it also set a record for the biggest animated March opening of all time."
See the rest of the story at Business Insider
Few things are original in Hollywood, and that's totally fine. Some of this year's most anticipated movies are based on acclaimed books.
So before "The Shack" or "The Circle" hit theaters this year, be sure to read the book so you know what everyone's talking about.
Just note that new movie release dates tend to be added or shuffled around throughout the year, so some of the dates here might change.
Keep reading to see the book-to-movie adaptations coming out this year.
Anastasia Steele and Christian Grey try to have a "normal" relationship in "Fifty Shades Darker," based on the novel by E.L. James. We'll see how that works out.
Release date: February 10
The Wolverine solo movie "Logan" is inspired by the "Old Man Logan" X-Men comic series, with the superhero in a postapocalyptic future.
Release date: March 3
The YA novel "Before I Fall" by Lauren Oliver is about a teenager who relives the day of her death seven times while she tries to discover the mystery of her death. Zoey Deutch stars in the movie adaptation.
Release date: March 3
See the rest of the story at Business Insider
It's official: Woody Harrelson will be part of the Disney "Star Wars" universe.
The yet-to-be-titled movie, which will star Alden Ehrenreich as the young Solo, will be the latest movie that will take place outside of the main "Star Wars" saga. It's a standalone entry in the vein of "Rogue One: A Star Wars Story," which focused on the mission prior to "A New Hope" to capture plans for the Death Star.
Harrelson is reported to be playing a mentor of Solo's in the new film.
The movie will also star Donald Glover as Lando Calrissian. "Game of Thrones" star Emilia Clarke will also be in the movie, which is directed by Phil Lord and Christopher Miller ("The LEGO Movie").
The young Han Solo movie will be released in 2018.
Independent film producer Roger Corman is known the world over for being one of the most successful producers ever in the movie business, thanks to his ability to create popular low-budget films since the 1950s.
Whether working on cult B-horror movies like “Attack of the Crab Monsters” and “Teenage Cave Man” or helping future iconic directors like Francis Ford Coppola and Martin Scorsese get their start, Corman has always had a knack for making movies that are relevant to the times we live in while also turning a profit.
At 90 years old, Corman hasn’t slowed down. His latest, “Death Race 2050” (released on Blu-ray January 17), is a sequel to the 1975 cult classic he produced, “Death Race 2000,” which starred David Carradine and a then-unknown Sylvester Stallone. Like the original, “2050” is a political satire that’s also an action race-car movie in a dystopian future where the winner is the driver who runs over the most people.
We asked Corman to give four tips to filmmakers on how to succeed in the movie business. Here’s what he told us:
SEE ALSO: The 20 most popular shows on Hulu.
1. Make a sly statement in your movie.
“‘Death Race 2050’ above all is an action car-racing futuristic picture with some black humor connected with it,” Corman said. “That's what I hope the audience will come to see it. But there are some thoughts behind it. I always try when possible to put some theme of my own into the picture. Always in the subtext. The audience will come to see a car-racing black-humor action film, but there's some social commentary, which is something science fiction is very good at doing. For instance, the United States of America is now the United Corporations of America. The president is now the chairman. Make statements at how society is going.”
2. Understand making movies is a business.
“Somebody who is working on a basis of pure art is forgetting the fact that it costs a lot of money to make a motion picture,” he said. “You must be aware of what is going on in the world and what is going on in the business of motion pictures. You must recognize certain genres, certain pictures that have records of winning and losing, and you must think about that in your planning right from the beginning. Yet at the same time you must be aware that just repeating what has been successful in the past doesn't work. Even from a business standpoint you must have something original, you must include the creativity. It's good business to include creativity into your business planning.”
3. Don’t be complacent.
“‘Death Race’ started out as a futuristic car-racing picture in which drivers knocked each other off the road,” Corman said. “Car-racing pictures have always done well yet at the same time I feel I must bring something original, I can't make the same car-racing picture over and over. Cars knocking each other off the road brought an element of originality, but then I thought it needed something even more outrageous and that brought in the killing of the pedestrians. Nobody had ever made a car-racing picture where the drivers got points for killing pedestrians, so it followed some of my thinking in that I was working in a genre of car-racing pictures but I was bringing something new to a successful genre.”
See the rest of the story at Business Insider
Here are the films we're most looking forward to seeing in 2017, from big tentpole sequel films to adventurous indies. When available, we included a link to the trailer, too.
"The Lego Movie" gets a superhero-themed spinoff with "The Lego Batman Movie."
Release date: February 10
Christian Grey and Anastasia Steele will try — and definitely succeed — to have a relationship again in "Fifty Shades Darker."
Release date: February 10
"John Wick" was one of the biggest surprises of 2014, a low-budget, badass, and totally fun revenge thriller starring Keanu Reeves. "John Wick: Chapter 2" looks like it's going to be just as fun.
Release date: February 10
See the rest of the story at Business Insider
For six years, screenwriters Rhett Reese and Paul Wernick had one mission in life: to get "Deadpool" made. Before the film starring the eponymous foul-mouthed superhero broke box-office records in 2016 and became a 2017 award-season darling (including Golden Globes and a good chance at an Oscar), just getting a film made about the Merc with a Mouth was considered a million-to-one shot.
But thanks to the perseverance of Resse, Wernick, director Tim Miller, and of course Ryan Reynolds — who had been trying for over a decade to give the character a worthy standalone movie — they are now the toast of Hollywood, spawning imitators of their surprise R-rated blockbuster.
Reese and Wernick talked to Business Insider in a wide-ranging interview about what they're planning for the sequel, the shocking exit of Miller from the franchise over "creative differences," how James Cameron played a big part in keeping the movie alive, and why they would most likely have walked away from their screenwriting careers if "Deadpool" never got made.
Jason Guerrasio: When did you two start talking about a sequel? Or were you told to get started?
Rhett Reese: Yeah, it was June of 2015.
Paul Wernick: We were on set in May shooting the first one. The studio came out, they weren't out on set much, but they all came out and one of the executives said, "We need to start talking to you guys about a sequel." They had been watching dailies and were feeling bullish. A lot of times studios will start thinking about a sequel and say to the screenwriter: "We're thinking about a sequel. We're not going to pay you, but keep it in the back of your mind." With Fox, the next week we made a deal to write the sequel and started in June while the movie was still shooting.
Reese: Well, we were outlining.
Reese: We didn't start writing until a couple of months before the movie came out. We started writing around December and we're still writing. It's been a year process of slowly honing, trying this, trying that. It's really coming together. I think we're onto a draft that's going to be the movie.
Guerrasio: How many drafts deep are you currently in?
Reese: It's not that simple because we do so many revisions. They aren't really discrete drafts because it's constantly being revised.
Guerrasio: But you guys are feeling you're close to something that has a foundation?
Reese: We're feeling very good. It will shoot this year for sure.
Guerrasio: IMDb currently has the release date as March 2, 2018. Is that correct?
Wernick: Fox hasn't set a release date. We got to shoot this thing. But that's well beyond our pay grade.
Guerrasio: Will Cable be in the sequel?
Wernick: He will be in the sequel. The comic book fans will be pleased. It's going to feel authentic and of the world and tone that Cable was created and conceived in, and I think he will fit perfectly into the Deadpool universe in a way that will excite fans and non-fans who don't know who he is and fall in love with him by the end.
Guerrasio: Was Cable an early idea even back when Fox came to you saying they wanted to do a sequel?
Wernick: There was even talk of having Cable be in the first movie because he's so tied into that universe and he's such a fan favorite. People were like, "You can't make a 'Deadpool' movie without Cable," and our feeling was let's make the first one and establish Deadpool and then once the audience knows who Deadpool is let's then build out his universe. Fortunately, we have a second movie, and we will introduce him in a real way and he will be integral in the story in this next one.
Guerrasio: Can you talk a little about the exit of director Tim Miller from your vantage point?
Reese: The clean and true answer is exactly what first came out in the press: It was simple creative differences. It was true that ultimately Tim's vision for the movie was a little different from the studio's and Ryan's and ours. The paths felt like they were diverging a little bit, and ultimately Tim made the decision to walk away and it's not something anyone wanted to happen — it just happened, and it was unfortunate. But I think we're energized, we have a wonderful new director in David Leitch ("John Wick"). We all still love Tim, we're all still on good terms, but David is diving into it in a real way. We're excited about him.
Guerrasio: Anything to add, Paul?
Wernick: No, I think Rhett handled that perfectly. I don't have anything to add so I'm not saying a f---ing thing. [Laughs]
Guerrasio: What about the report that Tim wanted a version that was three times the budget of the original?
Reese: That was totally false. That was not the case. It was creative differences, but it wasn't at all about the scale or scope of the movie. That was crazy.
Guerrasio: What was with that story about Deadpool showing up in "Logan"?
Reese: I don't know. Tonally "Logan" is wildly different. I think secretly in their hearts of hearts Ryan and Hugh [Jackman] would love to work together —
Wernick: And so would we and so would the fans. Honestly we would love to write it and maybe one day will.
Reese: It feels like everyone's dream, but they may not just be compatible with what we're doing with Deadpool. But we're trying to look long term.
Guerrasio: Looking back on the first movie, you guys won over Ryan in 2009 and started working on a script. What happened when Ryan got the "Green Lantern" job?
Wernick: It's interesting, we had a script done before he tested for "Green Lantern" and right before he tested — and I'm not sure how public this story is — right before he tested, he called Fox and said, "Guys, I'm testing for 'Green Lantern,' and if I go in, I'm a frontrunner and I'm confident that the movie is mine to lose and all you need to do is sign me into a holding deal on 'Deadpool' and I won't show up for the 'Green Lantern' test. Give me some commitment that you guys are as passionate as I am." Ultimately, I don't think Fox could get their s--- together in time, and Ryan went in and tested and obviously the rest is history. We were hurt by the tepid response to "Green Lantern" because after that it was impossible to get a Ryan Reynolds superhero movie off the ground.
We actually flew to New Orleans where they were shooting "Green Lantern" and continued to hone the "Deadpool" script with Ryan. So Ryan did go off and do "Green Lantern," but he never gave up on "Deadpool." He was all in. We all were. Since 2009 we had written a draft of "Deadpool" in every calendar year until 2015.
Reese: Tim Miller was a pit bull, as were we and Ryan. None of us would let it go, and once a month one of us would email or call the others and ask, "What are we doing this month to try to get it off the ground?"
Wernick: We were shameless. In a town where you hear no constantly and walk with your tail between your legs and think about what's next, this was a project that we refused to lose passion in. We were so sure we had something unique and original. We couldn't predict how this movie would do commercially or critically, but at our core we believed in it. There was a time at our lowest point that I said to Rhett, "Look, if we can't get this movie made, maybe we should just stop writing movies."
Guerrasio: I've heard you guys say that in other interviews. Is that a joke, or were you serious? You would have walked away from the business?
Reese: Well, we talked about going back to television. [Laughs]
Wernick: Jason, we're not that skilled to do anything other than this.
Reese: But that said, I honestly have had over the last five years where I was so creatively despondent that you ask, is it worth it? I had a conversation with other writers and I thought I would find that they felt the same way and it turned out I was the only one, but I asked, "How many of you in the last year have questioned whether you want to move onto something else in your lives?" And it was like, no hands went up. And I was like, "Oh, that's surprising because I actually have." So much of it is out of your control. When you are dealing with budgets this big and corporations and very powerful actors and directors who have changes of heart, the things that go on above you that you can't control, it's called learned helplessness in psychology, where you learn that you're helpless and you curl into a fetal position and you give up. So there were definitely moments in this that I thought if "Deadpool" can't get made, we should give up because we can't do any better. Thankfully every four or five years that thing would happen that makes you go, it's all worth it.
Guerrasio: One of those things is the support of David Fincher and James Cameron. How did they help the movie?
Wernick: In one of those bimonthly phone calls where we would have to figure out what next to do to get the movie made, Tim said, "I'm friendly with Fincher and Cameron and Fox listens to them," so I know for a fact that they read the script during one of those moments when it stalled with the powers that be at Fox.
Guerrasio: And did that help at all?
Wernick: It did! Many, many times this project was dead at Fox, like not even on life support, and at one of those times Tim slipped the script to Jim [Cameron] and he was in the middle of writing one of the "Avatar" sequels, probably the next one, so we thought we aren't going to hear him for months, if ever. And Tim got a call from Jim the next day. And as writers we laughed because we thought we know what that's like — you're procrastinating to write the script, you're looking to do anything else, and that's what must have happened. "F--- it, I don't want to write tonight, I'll read this." He read it and went into [20th Century Fox head] Jim Gianopulos' office the next day and said, "This is something special." And within a week we got rehired by Fox to do a PG-13 version of the script.
Guerrasio: Looking back, was that PG-13 script as strong as the final one?
Reese: No, but I think it would have been better than people think. We did the PG-13 draft. I felt a little unclean doing it because we really wanted to do the R —
Guerrasio: Hey, it was that or it being dead, right? What choice did you have?
Reese: Right. It was that or nothing at all. I think we felt when we finished it that this would still be a fun movie. Really, it would have been more in line with the tone of the Marvel comics because those "Deadpool" comics are not rated R — that's a misconception that we kept the tone of the comics. That said, we really think that the R version was better. When it was time to make the movie, [producer] Simon Kinberg really made the push at Fox. "Because we're making this at $59.999 million as opposed to $120 million, let's just do it the way the script originally was." To Fox's great credit.
Wernick: Simon's sell to Fox on the R was that there is a hole in the marketplace, let's do something that Disney and Marvel can't do. Let's embrace that. Let's be different. I think the audience responded to that.
Guerrasio: While you're writing the PG-13 version, is Ryan on his end going to the studio pushing for the R, or was he fine with doing a PG-13 version?
Reese: I think he was receptive to seeing it, but I think at the end of the day he liked it but didn't love it. We all felt the same.
Guerrasio: Did you get the vibe that Simon had tried to get a previous Wolverine or X-Men movie an R rating and wasn't successful? Or was "Deadpool" his first time pushing the studio to do it?
Wernick: I don't know. Obviously since "Deadpool" it's opened doors. Though I don't think "Logan" is R-rated because of "Deadpool."
Guerrasio: You really think that?
Wernick: I do, in fact, I know that. I know Simon and Hugh wanted to make that movie an R-rated movie, even from the very start. I think the success of "Deadpool" mitigated some of that risk for Fox.
Reese: But I do think Simon was jonesing to make an R-rated movie. If it hadn't been "Deadpool," he would have pushed for "Logan."
Guerrasio: There must have been so much temptation to change dialogue of Deadpool in postproduction because he's wearing a mask. Did that happen?
Reese: Deadpool being behind a mask and Colossus being CG were both incredible blessings and incredible curses for us. It was an incredible blessing for the movie because we really were testing out new lines in front of test audiences and plugging things into the cut right up to picture lock. Even after picture lock, because you can still mess with it. We were writing lines well late into the process. And the nature of technology now is so much easier to do that. You used to have to wait for an ADR session and for an actor to record something new. That would mean waiting a week or two and getting it into the cut. But Ryan would often use his iPhone in New York, we were in Los Angeles, and he would record the line in his phone, email it to us, and 10 seconds later it's in the cut. Invariably he would go back into an ADR session and rerecord that line to get it a little higher quality, but we could have dropped the phone line into the movie and it would have worked. You would really have to listen for it to notice.
Guerrasio: So that's the blessing — what was the curse?
Reese: Me and Paul worked harder in post than on set or writing the movie, almost. We tried so many things. It was like making an animated movie. I think the movie benefited, but it felt like there was no finish line.
Wernick: But that being said, we would be tinkering to this day. The movie didn't turn out perfect, there are things we would have changed.
Guerrasio: That's interesting —
Reese: Yeah, I would be interested what you would change. Not that I think it's perfect, but I don't watch it thinking, I wish we had done that instead.
Wernick: Well, there's a scene in the deleted scenes that I fought like crazy for, which was the moment where he and Vanessa travel to Guadalajara, Mexico, to get treatment on his terminal cancer.
Reese: It is a great scene.
Wernick: I loved it so much and it didn't make the cut just because tonally the movie got dark for a long period of time in that space and it felt like that scene could come out without losing story. I would have put that back in if it had been my cut.
Reese: I don't have anything like that, but I think if we watched the movie together, certainly with Ryan, you would hear us going, "I hate that moment." You can say that of any filmmaker, though.
Wernick: And there's "The Gambler," the Kenny Rogers song. I shouldn't say this because we may put it into the sequel, but there was a moment where Ryan is karaokeing "The Gambler" to an action sequence where he is kicking major ass. He and I just absolutely loved it, and I have a cut of it on my phone. I sometimes watch it. Again, "Deadpool" is a movie where you break all of the rules, where you can do things that you couldn't do in any other movie.
Guerrasio: In that time in post when you were constantly changing dialogue, what are the lines you're most proud of adding?
Reese: One was what Ryan came up with in an ADR session. Somebody said, "What if you did a Hugh Jackman impression?" when talking about Wolverine, and Paul had written the line something like, "Whose balls did I have to fondle to get this movie made — it rhymes with 'pullverine." We got Ryan going doing an Australian Hugh Jackman impression in ADR, and he's so funny that tears were streaming down our faces as he's doing it. It's something he's actually done around Hugh, which Hugh gets a kick out of.
Another one, this is one of my favorite lines, it's one of Paul's: the "McAvoy or Stewart" line. When Colossus said, "We're going to meet Professor X," and he's like, "McAvoy or Stewart — these timelines get so confusing," that was ADR, that was not in the script. Paul just threw that out, and we all cracked up.
Guerrasio: I remember that line getting the biggest laugh in the screening I was in.
Reese: It's one of the biggest laughs in the movie. One that Ryan came up with the night before an ADR session, it was the, "It's funny how I never see any other X-Men around the mansion, it's like the studio couldn't afford it." That was something he thought of in bed the night before. We had another fun runner, but we tried that, too. In front of audiences they vastly preferred "McAvoy or Stewart" than the other runner.
Guerrasio: What was the other one?
Reese: It was a communism runner, I think. Deadpool went on a communism runner about Colossus. Just berating him for being a communist. Oh, and there was another one — wait! I'm not going to tell you because we're going to use it in the sequel.
Guerrasio: It seems like there were a lot of bullets left in the clip. There's stuff that didn't make it in the first one that you can use in the sequel.
Wernick: Yeah, there's a ton of stuff that didn't make it into the first movie that will be in the second movie. There's new stuff coming up all the time, too.
Guerrasio: It looks like your next script we'll see, "Life" (opening March 24), is very different than not just "Deadpool" but also your scripts before that, "Zombieland" and "G.I. Joe."
Reese: Yeah, we wrote that in 2014. [Producer] David Ellison came to us with an idea, so it's his concept. I think it tapped into a different side of us. People know us for the comedies, but if you look into our pilots, you'll find dark drama, and in this case it's more of a thriller. We love to write all kinds of movies, and this was an exhilarating change of pace for us. It's got a little humor, but it's an R-rated, intense, and violent thriller. It couldn't be more different than "Deadpool." And Ryan went and shot it right after "Deadpool."
Guerrasio: Was Ryan the first to sign on?
Wernick: He was the first, then Jake [Gyllenhaal] signed on, and then Rebecca [Ferguson].
Guerrasio: Any nervousness with this coming on the heels of "Passengers"? That the audience might be burnt out on space movies?
Wernick: No, not really.
Reese: Everything is an individual movie, there are no real lessons to be learned, no trends to be followed.
Guerrasio: But you two are in a business where success is copied almost across the board.
Guerrasio: Since the success of "Deadpool," have you heard or seen the business try to create content that has a "Deadpool" tone?
Wernick: We have been hearing that some of the mandates from studios now is, "Let's 'Deadpool' it up," and that's the wrong lesson to be learned from the success of "Deadpool." The lesson to be learned is be passionate, be original. Take risks. Those are the lessons, not let's tell a raunchy antihero story. When you chase a trend versus set it, it definitely doesn't always work to your advantage. The success of "Deadpool" came because we weren't chasing the trend. It felt original and fresh. Hopefully the lesson learned is take those risks and do something fresh.
Reese: An overall movie succeeds or fails by any number of elements contributing to it. We tend to draw very enormous conclusions often, and it drives me a little nuts. Yet we can't help it because, out of fear, we're trying to avoid making a bomb, so we're drawn to things that have done well before and we shun things that have done poorly. That, to me, always feels like a mistake.
The ending of David Fincher's 1995 classic psychological thriller "Seven" is one of the greats, with John Doe (Kevin Spacey) delivering the head of Detective Mills' (Brad Pitt) wife in a box.
But if everything had gone as planned, that ending would never have seen the light of day.
The screenwriter of "Seven," Andrew Kevin Walker, recently told the Hollywood Reporter that it was a mix-up in the draft Fincher got when being offered the movie that led to the movie being made with Walker's original ending.
Before Fincher, the script, which Walker wrote on spec while working at Tower Records in New York City in the early 1990s, was optioned by "Christmas Vacation" director Jeremiah Chechik. And Chechik wanted the ending changed.
Walker doesn't go into detail on what he changed the ending to, but there was definitely no head in a box.
Chechik moved on from the project and the script kicked around Hollywood until it got to Fincher, but it was the original version with the head-in-a-box ending that was given to him.
"[Fincher] expressed some interest, but in expressing his interest to them, had mentioned there was a head in the box," Walker told THR. "And they were like, 'Oh, no, no, no. We sent you the wrong draft.' And then they sent him the vastly rewritten, Jeremiah Chechik draft, which had a completely different ending and Fincher said, 'No, I wouldn't be interested in doing that.'"
But then Fincher got his way and the original conclusion came back. And the rest is history.
"Seven," thanks to its insane ending, became a classic, and Walker had himself a career. Walker has since done uncredited work on Fincher-directed projects like "The Game" and "Fight Club," and most recently he wrote the screenplay for the animated movie "Nerdland."
But let's look back one more time at that great ending of "Seven."
Oscar contender "Hidden Figures" won the weekend box office for a second straight week taking in an estimated $20.45 million ($25.3 million by Monday), according to boxofficepro.com, but the real story over this Martin Luther King Jr. holiday weekend is how poorly the new releases did. And we mean historically awful.
MLK weekend has never been a big one for the movie business but this year is filled with bombs. Paramount's kids action movie "Monster Trucks," Ben Affleck's "Live By Night," Mark Wahlberg's look back on the Boston Marathon bombing "Patriots Day," Martin Scorsese's "Silence," and the Jamie Foxx action movie "Sleepless" did not impress anyone as all five titles underperformed big time.
Some of these titles were doomed from the start. "Monster Trucks" has been on the shelf for over a year and the studio was already preparing for over a $100 million loss on the movie late last year. The movie took in $10.5 million this weekend ($13 million by Monday). While "Sleepless" has more of the feel of a straight-to-video title. And it performed like one, only taking in around $10 million by the end of MLK weekend.
"Patriots Day" was one title box office analysts thought could win this holiday weekend and get into the $20 million range, but it had a weak showing, only taking in $12 million ($14.3 million by Monday).
Because Scorsese's latest is unlike his f-bomb-charged gangster movies of the past, Paramount knew it was in for a hard opening weekend. Especially given that the movie didn't receive the Oscar attention the studio hoped for. So the $2.5 million for "Silence" over MLK holiday weekend isn't a huge shocker.
But "Live By Night" is the biggest dud of the weekend, well, because it's a Ben Affleck project. The A-lister has the power to fuel the box office for his directing/starring movies, and "Live By Night" was supposed to be like "Argo" and "The Town" before it. However, the movie was ignored during award season and slaughtered by critics (it has a 32% on Rotten Tomatoes), leading to its paltry $5.42 million weekend (it's budgeted at $65 million).
Well, here's hoping next weekend is better for Hollywood.
We're currently living in an entertainment world that is absolutely dominated by comic book franchises. From TV to movies, it seems like you can't turn a corner without seeing another hero in tights saving the day. Because this trend is nearly a decade in the making, many critics and fans alike are concerned with superhero fatigue; so many comic book adaptations are being produced that they have the potential to blend together and become stale.
But the genre is evolving, as “Deadpool” destroyed expectations for how an R-rated comic book movie could succeed both financially and critically. The “X-Men” franchise will continue exploring R-rated blockbusters with the upcoming “Logan,” featuring Hugh Jackman's final performance as Wolverine. Now we have a better idea of what the movie will be about.
Since the first frames of “Logan” were released to the masses, actor Hugh Jackman has been communicating through his social media with updates and new images about the upcoming spinoff. Jackman just posted a new “Logan” synopsis via Twitter, and it sheds some light on plot details that we haven't been privy to. Check it out.
Color me intrigued. I was already excited about “Logan,” but knowing a few more details regarding the overall plot has only increased my anticipation for Hugh Jackman's final adventure.
To start, we finally know “Logan”’s setting. The movie will pick up near the Mexican border- someplace unexplored in the “X-Men” franchise. “Logan”’s mysterious Instagram had previously shared a few black and white images featuring text in Spanish, but it wasn't clear exactly where Logan's adventure would be taking place. Alas, there will be some mixture of both Mexico and the United States in the spinoff, so I hope that Wolverine has been practicing his español. If not, he does have the most powerful psychic in the world with him, who could likely help translate.
Hugh Jackman's tweet also revealed a bit more about Logan and Professor Xavier's relationship in the movie. While we knew that Patrick Stewart would be returning to the role in a supporting role, it turns out that Xavier and Logan are even more close than we thought. Because rather than Logan seeking out Professor X, it turns out the duo have already been surviving and hiding together.
It does appear that Hugh Jackman's signature character has become a bit of a hermit throughout the years. While we aren't privy to the fates of our favorite franchise characters, we can assume that Logan has seen a fair amount of his loved ones killed- despite the new timeline established in “X-Men: Days of Future Past.” He's hidden himself and Charles from the world, but that's all about to change.
Logan will be released in theaters on March 3rd, 2017.
It's time for the first who-could-be-the-new-James-Bond story of 2017.
Tom Hardy was asked about his interest in the 007 role by The Daily Beast while doing press for his new TV show "Taboo" and he got very cryptic with his answer.
"You know, there’s a saying amongst us in the fraternity of acting, and in the fellowship of my peer group, that if you talk about it you’re automatically out of the race," Hardy said. "So I can’t possibly comment on that one! If I mention it, it’s gone."
Now this could be a major hint that Hardy is gunning for the role, or he could just be having fun with a reporter. But what will happen now is Hardy will jump Tom Hiddleston and Idris Elba (both have said they are not going after the Bond role) as the most recognized name to flirt with the Bond rumors.
However, this is still only playful fun as MGM/Sony have neither confirmed nor denied that the current Bond, Daniel Craig, will return for another movie. Though, one of the film's producers has said he's their "first choice" for the role.
The 25th James Bond movie is currently in preproduction.
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January might be known for having NFL playoffs and the Sundance Film Festival, but it's also when movie theaters become flooded with titles the studios have little hope of success for — in the movie business, it's known as the "dump month."
This January is no different. Paramount's $125 million kids action movie "Monster Trucks" was made in 2014 and after changing the release date three times, the studio finally settled on the dump month to release it. And to no one's surprise, the movie opened this past holiday weekend with only $14.6 million on over 3,000 screens.
And misery loves company. Coming out later this month is "Resident Evil: The Final Chapter," which also had numerous false starts before finally getting a January 27 release date.
January isn't just home for big-budget duds. Movies that didn't cut it during award season are also thrown into the mix. Ben Affleck's disappointing gangster movie "Live by Night" also opened over the weekend to just a paltry $5.7 million on 2,822 screens. And Matthew McConaughey's lackluster "Gold" opens wide January 27.
In the past, February has also been considered a dump month, but things have improved of late. "Deadpool" opened over President's Day weekend last year and broke box-office records (it's more astounding that it's an R-rated movie). This year also looks promising for February as titles like "John Wick: Chapter Two,""The Lego Batman Movie,""A Cure for Wellness," and Jordan Peele's directorial debut "Get Out" are all highly anticipated.
But why has January still been a dumping ground for Hollywood? Rotten Tomatoes editor-in-chief Matt Atchity points out that it's a combination of things. Bad weather and folks tightening the belt financially after spending a lot during the holidays are a couple reasons audiences steer clear of the multiplex. However, Atchity points out that the studios also have other priorities this time of year.
"The awards contenders hit wide release this month," he told Business Insider, "so I think the studios release their weaker films to stay out of the way of their awards contenders hitting national platforms."
Oscar contenders like "La La Land" and "Hidden Figures" have both had strong national rollouts since the calendar turned to 2017.
Sometimes studios find diamonds during dump month: Back in 2009, "Taken" opened in the last weekend of January with few figuring it would make any noise. However, the Liam Neeson revenge movie won its opening weekend and went on to earn over $225 million worldwide (it had a $25 million budget) and spawned two sequels. In 2014, the Ice Cube/Kevin Hart comedy "Ride Along" turned out to be a big winner. Also budgeted at $25 million, it took in over $150 million worldwide. It also spawned a successful sequel.
Studios aren't willing to plant one of their huge tentpole movies in January, but Atchity believes mid-level movies like "Taken" and "Ride Along," titles that can be appealing worldwide, are the best movies to release this time of year.
"I think there's fertile ground there for the right film," Atchity said. "But it's still pretty risky."
It’s that time again when Hollywood heads to the ski town of Park City, Utah, to showcase the best that independent film has to offer at the Sundance Film Festival.
Last year’s fest gave us the world premieres of current award-season staples like “Manchester by the Sea” and “OJ: Made in America.” We’ll find out when the festival kicks off on Thursday what titles will jump from obscurity to our must-see list for the rest of 2017, and we'll be writing about it in real-time.
Here are 18 movies we think you’ll want to seek out.
“A Ghost Story”
Following his first studio movie, Disney’s “Pete’s Dragon,” indie-film titan David Lowery has secretly made a low-budget thriller starring Casey Affleck as a ghost who returns home to watch over his grief-stricken lover, played by Rooney Mara. Expect a gothic feel, which Lowery has built his career mastering.
A24 will release later this year.
“An Inconvenient Sequel”
A decade after Al Gore brought climate change to the nation’s attention with the Oscar-winning “An Inconvenient Truth,” his follow-up comes to Sundance at a crucial moment in the history of climate-change awareness. With the Trump administration perceived to push back on the progress made to save the environment in the last 10 years, Gore returns to shed light on a topic that can’t be ignored.
Paramount will release later this year.
“The Big Sick”
Produced by Judd Apatow and directed by Michael Showalter (“Wet Hot American Summer”), this comedy follows the hilarious but poignant relationship a Pakistan-born man (Kumail Nanjiani, “Silicon Valley”) has with his American girlfriend (Zoe Kazan). The movie is based on the real-life relationship Nanjiani has with fellow comic Emily V. Gordon. With all the talent involved, expect to hear a lot about this one.
See the rest of the story at Business Insider
Given that they worked on the “Deadpool” script for six years, it’s easy to understand that some of the material from screenwriters Rhett Reese and Paul Wernick didn’t make the final cut.
But the good news is there’s a sequel on the way.
The two took a break from working on the script for “Deadpool 2,” which should begin shooting this year, to talk to Business Insider, and they reveled a scene that will show up in the sequel.
“I shouldn’t say this because we may put it into the sequel, but there was a moment where Ryan is karaokeing ‘The Gambler’ to an action sequence where he is kicking major a--,” Wernick said, referring to the 1978 hit Kenny Rogers song.
“He and I just absolutely loved it and I have a cut of it on my phone,” Wernick continued. “I sometimes watch it.”
One reason “Deadpool” became a breakaway success of 2016 (taking an opening-weekend record with its $132.4 million, and going on to earn $783 million total worldwide) is that audiences loved the Marvel character’s self-deprecating, meta style that broke all the rules of how we watch comic-book movies.
Reese, Wernick, director Tim Miller, and star Ryan Reynolds constantly created material on the spot for their character. The Kenny Rogers bit is just one example of the treasure trove of material at their disposal for the sequel.
“There’s a ton of stuff that didn’t make it into the first movie that will be in the second movie,” Wernick said. “There’s new stuff coming up all the time, too.”