Articles on this Page
- 06/08/17--11:18: _How Joel Edgerton p...
- 06/08/17--12:59: _Legendary actor Sam...
- 06/08/17--13:51: _Here's the best way...
- 06/09/17--07:10: _'The Mummy' directo...
- 06/09/17--07:28: _Riley Keough and Ch...
- 06/09/17--09:23: _Warner Bros. was su...
- 06/09/17--11:04: _'The Mummy' is the ...
- 06/09/17--14:13: _One of the best sce...
- 06/10/17--07:20: _I went to a women-o...
- 06/10/17--09:04: _How 'The Mummy' dir...
- 06/11/17--08:35: _'Wonder Woman' wins...
- 06/11/17--09:06: _The 10 biggest box-...
- 06/12/17--07:19: _Why 'The Mummy' has...
- 06/12/17--10:48: _Cameron Diaz explai...
- 06/12/17--12:42: _How to see if someo...
- 06/13/17--06:27: _The 'Harry Potter' ...
- 06/13/17--07:45: _Here's what Kevin G...
- 06/14/17--06:26: _RANKED: The 10 high...
- 06/14/17--08:27: _13 famous father an...
- 06/14/17--09:00: _'Rough Night' is th...
- 06/08/17--11:18: How Joel Edgerton plans to get back into the 'Star Wars' movies
- 06/08/17--13:51: Here's the best way to see 'Wonder Woman'
- 06/09/17--14:13: One of the best scenes in 'Wonder Woman' was completely improvised
- 06/11/17--09:06: The 10 biggest box-office bombs of 2017 so far
- 06/12/17--07:19: Why 'The Mummy' has no post-credits scene
- 06/12/17--10:48: Cameron Diaz explains why she took a break from Hollywood
- 06/12/17--12:42: How to see if someone is mooching off your Netflix account
- Jany Temime did the costume design for most "Harry Potter" movies but didn't return for "Fantastic Beasts."
- She said her saga with "Harry Potter" was "finished" after ten years.
- "Beasts" would have been a different experience, because she wouldn't be dressing kids who were growing up.
- Now she's dressing Daniel Craig in the "James Bond" movies.
- 06/13/17--07:45: Here's what Kevin G. from 'Mean Girls' is up to today
- 06/14/17--06:26: RANKED: The 10 highest-grossing summer blockbusters of all time
- 06/14/17--08:27: 13 famous father and son duos who have been in movies together
- 06/14/17--09:00: 'Rough Night' is the woke R-rated female comedy we need right now
Before Joel Edgerton became a well-known actor with incredible performances in movies like "Warrior,""The Gift" (which he also directed), and last year's Oscar-nominated "Loving," the Australian played a young Uncle Owen in the "Star Wars" prequels "Attack of the Clones" and "Revenge of the Sith."
Though he got very little screen time and even less dialogue, Edgerton is part of the "Star Wars" saga and with Disney/Lucasfilm's endless plan for "Star Wars" sequels and anthology movies, the actor believes he can show up again.
"I like the idea that Uncle Owen is one of those guys who has done some super cool s--- but has just never bragged about it," Edgerton told Business Insider while promoting his new movie "It Comes at Night" (opening in theaters on Friday).
The character is best known as the moisture farmer who raised Luke Skywalker after Luke's father, Anakin, turned to the Dark Side and became Darth Vader. As Luke grew up, Owen kept him busy on the farm, though he had aspirations of going off and fighting the Empire.
A standalone movie fans want to see is one on Kenobi, which Ewan McGregor — who played Kenobi in the prequels — has said he wants to do. And Edgerton believes he should be in it, too.
"My idea is that he could go out and have some adventure and then he comes back and slips back into that unassuming moisture farmer role," Edgerton said. "Everyone talks about Obi-Wan being super cool, Owen secretly knows that he was there, and he did some of the cool s---, too."
But if Lucasfilm isn't into an Uncle Owen storyline, Edgerton has already made his case to "Star Wars: Episode IX" director Colin Trevorrow that he's willing to think outside the box.
"I saw Colin yesterday, I was like, 'Dude. "Star Wars." Me.' And he's like, 'You have already been in the "Star Wars" world,' and I was like, 'Yeah, I could be someone else,'" Edgerton said.
"My pitch to all of them is there's definitely some Owen possibilities," Edgerton went on to say, "but also, I was only in the movie for a pinch of time. How about I play someone else? I can do Boba Fett. I'll just never take off the mask."
Sam Elliott is known for his deep drawl and a look that seems to be right out of a John Ford Western, thanks in large part to that mustache. It's led to four decades of steady work that has given us memorable supporting performances in movies like “Mask,” “Road House,” “Tombstone,” and “The Big Lebowski.”
But now Elliott finally has the floor to himself with his new movie, “The Hero” (in theaters on Friday). Starring as Lee Hayden, a washed-up movie star of an iconic Western struggling with the grind of the business and mortality, Elliott delivers a tour-de-force performance.
Elliott talked to Business Insider about his own career struggles — including the time he thought he “f---ed” himself out of a career — how he’s finally come to terms with his cowboy typecasting, and what he thinks of working with Bradley Cooper, who is making his directorial debut with a remake of “A Star Is Born.”
Jason Guerrasio: Did it take some convincing to do this role or were you game from the start?
Sam Elliott: I was game from the beginning. I met [“The Hero” director] Brett Haley on another film a couple years prior. It was a picture that starred Blythe Danner called "I'll See You in My Dreams" and it was really a great experience working with Brett. We traveled a lot doing promotion for that film. We got to know each other fairly well and during the course of that, sitting next to each other on a plane or sitting around having a drink or dinner, we got to like each other and he and his writing partner Marc Basch came up with this idea for “The Hero.” I don't even know if Brett told me he was going to write something for me, but they gave me a presentation and I was in. It was very much close to home in some respects and in other respects not like me at all. I think every actor's dream is somebody writes something specifically for them. I've had people write parts for me over the years but I've never had anybody give me a script that I was on every page that was written with me in mind.
Guerrasio: And you got the plus of working with Nick Offerman again.
Elliott: I love Nick. I think on some level Nick is probably responsible for whatever's going on with my career right now.
Elliott: I think probably. I've never asked Nick this but when I went and did "Parks and Rec," it was to play Nick's doppelganger. I can't imagine that those writers and producers didn't got to Nick and say, "Who do you want to play this character, since it's a reflection of you?" And I think Nick was the one who came up with it.
Guerrasio: You guys have such a comfort together on screen —
Elliott: And it's off screen as well.
Guerrasio: I could almost see you two smoking weed and watching old movies on a lazy day like your characters do in the movie.
Elliott: Well, I think you're right.
Guerrasio: You mention that some things about Lee hit close to home. You said once in an interview that in promoting one of your first movies, 1976’s "Lifeguard,""I kind of fucked myself out of a career on that level from being too honest and too opinionated." Is it fair to say you gave Lee that?
Elliott: I think it was there in Lee in some level. Maybe not to the degree that I was speaking of myself. There's a third quotation to that scenario, it's "honest, opinionated, and not very smart." All at the same time. And that's a lethal combination and I'll tell you what it came out of — it was the way Paramount chose to market that film. I'd spent six weeks on set with a guy named Dan Petrie who I have the greatest respect for, he's no longer alive, he directed the film. And we took that whole movie serious, even though it was a fluffy treatment because it was set on a beach. But it was about a guy who was at a point in his life that he had to make up his mind about what he wanted to do: be a lifeguard or get a real job. And when the marketing campaign came out I was on the road for a long time and every time we'd go into a city and start an interview people would start the interview by saying, "This movie is nothing like I expected it to be," based on the marketing, and we would go into this long discussion about the f---ing marketing. [Laughs] It was never positive. So in the end I never worked for Paramount again.
Guerrasio: So you were bitter.
Elliott: I wasn't bitter, it just irked the s--- out of me is the truth of it. It wasn't personal to anybody.
Guerrasio: But did you bring some of that into the Lee character?
Elliott: I suppose so. In that one conversation in the beginning of the movie when his agent calls him in the car about this group that wants to give him a lifetime achievement award and Lee's like, “Great but how about a f---ing job, you got a script for me?" I've had those times. I've had those periods in my career when I was sitting around waiting for a phone call and had an agent who was doing the same thing rather than going out there to shake the bushes looking for a job for me. It's a frustrating game, that's the downside of this business — the rejection.
Guerrasio: It's a helpless feeling because, like you say, you don't know if your agent is doing their job.
Elliott: Right. That's just the reality of it. And I don't know if I f---ed myself out of a career, how you phrased it, but the truth of it is I'm glad it's come now. And I suppose the work I've done over the last couple of years, all of a sudden I'm getting more attention than I've gotten in a long time.
Guerrasio: In my opinion, that’s because everyone can see your work through streaming and it's always showing up on cable.
Elliott: I think you're absolutely right, it's like it never goes away.
Guerrasio: One standout is playing The Stranger in "The Big Lebowski."
Guerrasio: That will be played until the end of time. And that's one where the Coens didn't just write the part for you — your name was in the script when describing the character.
Elliott: That's right.
Guerrasio: I mean, you can't really say no to the job when your name is in the script.
Elliott: You can't. And how do you say no to the Coen brothers, period? Even when your name isn't in the script.
Guerrasio: And I believe you were on the set of John Milius' movie "Rough Riders" when you got the script.
Elliott: That's right.
Guerrasio: What's crazy about that is Milius was one of the people the Coens modeled The Dude after.
Elliott: Yes he was. It all interconnected on some level. This goes back to "Tombstone." A guy named Jim Jacks, who produced "Tombstone," was a friend of the Coens. He's no longer alive, but Jim told me once while we were sitting at a pool in Tucson, he said, "You know who really loves you is the Coen brothers." And I said, "Yeah, right." And he said, "No, one of these days they are going to write something for you." And I just passed it off. So I'm down there doing "Rough Riders" with Milius and here comes this script and they delivered it up to the set and I couldn't wait to read it. At the time, I felt I was boxed into this Western thing and I felt a Coens script will definitely be a total departure from this Western thing that's got me. And I f---ing open the script and there's that character. He's a drugstore cowboy but he's still a cowboy. But after that I never once had any feeling that I'm boxed in with Westerns. Looking back on the long haul in my career, little films, big films, TV, the Western thing has been really good to me.
Elliott:“Tombstone.” No doubt.
Guerrasio: Do you have any animosity toward “Road House”?
Elliott: Oh, none. Not at all. If I could sit down and watch all those scenes with Patrick [Swayze] and myself I would watch “Road House.” But “Tombstone” is a different animal.
Guerrasio: Have you shot "A Star is Born" yet?
Elliott: I’m working on it right now. I literally have one more day on it.
Guerrasio: Give me your thoughts of Bradley Cooper as a director.
Elliott: Bradley is more than capable as a director. I think he's a great director. I don't know how he does it. I've gone to set when I'm not working just to watch him in action. He covers it all and boy the pressure is on him and he's delivering this amazing performance in which he's singing and playing the guitar. I mean, that guy is driven. He's super intelligent, has an incredible work ethic. He just wants it to be real, that's what he's striving for, some kind of honesty. And he's pulling it off. And Stefani [Lady Gaga] is equally incredible. She's going to surprise a lot of people with her acting ability. It's an amazing experience to be with them both.
Guerrasio: And I'm assuming you aren't a cowboy in this one so I'm excited to see that.
Elliott: Me too!
Warning: mild spoilers.
As much as I wish I could be an Amazon, it's not possible. But watching "Wonder Woman" in 4DX was the closest I could come to making that dream come true, and it was worth it.
4DX is an immersive theater experience combining a 3-D movie with physical aspects, including moving seats, wind bursts, and misting water.
I went into "Wonder Woman" having never seen a movie in 4DX and I was slightly nervous for what was about to happen.
First, the $28 ticket is a bit of a hit to the wallet. Second, I'm generally not a 3-D movie girl, because I wear glasses and get annoyed by having to put the extra glasses over my normal pair. Third, there is a brief intro to the experience before the movie plays that intensely moves the seat and sprays you with a lot of water. Had the whole movie been like that preview, I would have gotten nauseous and drenched. But thankfully, it wasn't.
Instead, it was a mild, yet thrilling, experience for the senses that made me, at least for a few moments, feel like Wonder Woman.
Here's what to expect from seeing "Wonder Woman" in 4DX:
The seats react to what's happening on screen. For example, when the Amazons are riding horses, the bottom of the seats moved up and down to imitate the motion.
The seats have a wide range of motion, which included rocking back and forth like the boat in which Diana (Gal Godot) and Steve (Chris Pine) sail to London.
They also follow the camera motions to make you feel like you are flying through the air like the Amazons.
See the rest of the story at Business Insider
Universal's Dark Universe — a series of movies that features the studio's classic monsters like Dracula, Frankenstein, and The Wolf Man — is not getting off the ground smoothly with its first title.
"The Mummy," starring Tom Cruise as an adventurer who uncovers the crypt of an ancient cursed princess, is receiving awful reviews leading to its opening on Friday, with a current score of 20% on Rotten Tomatoes. One critic went so far as to call it "the worst Tom Cruise movie ever."
"Obviously, that's disappointing to hear," director Alex Kurtzman told Business Insider on Thursday when hearing about the negative response from critics. "The only gauge that I really use to judge it is having just traveled around the world and hearing the audiences in the theaters. This is a movie that I think is made for audiences and in my experience, critics and audiences don't always sing the same song."
Kurtzman, who is best known for his credits as a screenwriter ("Transformers,""Transformers: Revenge of the Fallen,""Star Trek,""Star Trek: Into Darkness") and producer ("Now You See Me," TV shows "Scorpion" and "Hawaii Five-0"), said he doesn't read reviews. That's thanks to advice he took from a director he would only describe as "far more experienced than I am who has a very significant track record."
And he got honest about what it's like to read negative press about a movie you just made.
"It is the thing that kills your soul when you have just gone through an experience like this one we just went through," Kurtzman said.
"I'm not making movies for them," he said of critics. "Would I love them to love it? Of course, everybody would, but that's not really the endgame. We made a film for audiences and not critics so my great hope is they will find it and they will appreciate it."
Critically, "The Mummy" movies, going back to when Brendan Fraser was starring in them, have never been appreciated by critics. The 1999 "The Mummy" received the highest Rotten Tomatoes score at 57%. But audiences have come out to see them and that looks to be the case with this latest one.
Though projections have the movie, budgeted at $125 million, only making $35 million domestically over opening weekend, it could be saved internationally, as projections have the movie taking between $125 million and $135 million globally. If projections come in on the high side, the movie could bring Cruise his biggest global opening weekend of his career, passing the $167.4 million earned for 2005's "War of the Worlds."
So despite the fun critics are having with the movie, Kurtzman may be getting the last laugh by Monday morning.
Though the names Christopher Abbott and Riley Keough may not ring a bell, you’ve likely seen their work. And now they are both together in director Trey Edward Shults' acclaimed horror movie “It Comes at Night” (opening in theaters on Friday).
Set in a world where an unknown sickness is slowly wiping out humanity, the movie stars Joel Edgerton as a man who has found refuge with his family in the woods. But when he takes in two young people (Abbott and Keough) and their child, paranoia leads to madness.
Abbott, 31, is known for being on the HBO series “Girls,” though he's also been in recent acclaimed indie movies like “Hello I Must Be Going” and “James White.” Keough, 28, was the star of the hit first season of “The Girlfriend Experience” and gave a powerful performance in last year’s indie hit “American Honey.” With raw and emotional performances in “It Comes at Night,” the two show why they're on the cusp of being major stars.
The actors talked to Business Insider in New York City recently about the instant chemistry they built on set, the challenge of finding work that challenges them, and how Keough kept it together on the set of Steven Soderbergh’s “Logan Lucky” when Daniel Craig never broke character.
Jason Guerrasio: Did you two know each other before filming started?
Riley Keough: No.
Guerrasio: Did you feel you two had to meet up before working together?
Keough: Trey wanted us to. We didn't want to.
Christopher Abbott: But that's why we knew we were going to get along. Trey talked about this idea of maybe the whole cast go camping for a few weeks and me and Riley separately, before we knew each other, were like “Nah, I think we're good.” [Laughs]
Keough: I actually think there's no scenario that I could imagine to be worse than being stuck camping with someone you don't like.
Abbott: And with another actor!
Keough: Who is an actor. [Laughs]
Abbott: So once we had the same opinion on that I was like, okay, she's cool.
Guerrasio: Because of the subject matter, did the set tend to be tense or was there a loose vibe?
Abbott: It was really loose.
Abbott: I mean, the scenes themselves, of course, were intense and sometimes physically exhausting to some extent, but outside of that, it was beautiful. It was summer up in the woods. The house was quite beautiful, though it doesn't look like it on camera. There were great places to eat.
Guerrasio: The movie has a horror vibe, but really it's more of a thriller about how we treat each other in society when things go wrong. Is that what you guys took away from it?
Abbott: I think that's exactly it. I think it's what one’s mind can create to actually be the monster. What you can create in your head that is scarier than what is actually out there. I think that's delving into one's own kind of psyche and how powerful the human mind is. What you can do to yourself is probably the scariest thing.
Keough: Yeah, I feel the same.
Guerrasio: Riley, in one of your scenes, you get into a frantic state. How hard is it to get into that kind of emotional zone?
Keough: I don't know. I think it's just adrenaline. I think we did three or four takes.
Abbott: I just feel there's something to the fact that you just have to do it.
Abbott: It's in the script so you just have to do it.
Keough: There's no option.
Abbott: I'm just speaking for myself, but egotistically, you don't want to be bad, you want it to be believable. So you either commit to it or you don't.
Keough: It's allowing yourself to actually be emotional.
Guerrasio: Both of you have done great in choosing unique and challenging roles to take on so far in your careers. How much of that is strategic and how much is just luck?
Abbott: I think it's a little bit of both. It's definitely luck when projects come around that are right for me age-wise. It's choice by me deciding to work with this person or them wanting to work with me. I don't necessarily believe in career path and having a trajectory. I like to just take it as it comes along and if it feels right to do in that moment, then I'll do it.
Keough: I think it's both. I definitely make it a point to not do things I don't want to do. I know that some people do things for different reasons, either they are told that's the right thing to do —
Guerrasio: Someone tells them, “This is the path you're on so you have to take this job.”
Keough: Yeah. It's really in the moment, for me. The way I felt last year is different from how I feel now.
Guerrasio: What's an instant no when roles come to you?
Keough: Anything that's boring. If the character or it's an underdeveloped female part. Like “the girlfriend.”
Abbott: If the script isn't good or cliche or the director's work I'm not a fan of. Those are red flags.
Keough: I actually wanted to direct before I wanted to act.
Keough: Yeah, I never really planed on acting. So that's something I wanted to go to school for and in the future that is something I would like to do because that was my first interest. But I'm also so aware of how hard it is. So that's very scary.
Guerrasio: Christopher, speaking of choosing roles, I always wanted to know, what led to you playing an Afghan fixer in "Whisky Tango Foxtrot"?
Abbott: I'm not denouncing the role at all, but it was one of those things where I still have to work. I'm not an A-list dude where I'm saying yes and no to a million things. I went in auditioning for a different role, I think I literally had a beard at the time that I went in, they asked me to go back in for the Afghan role, and I just went for it. And the directors were great, I love them. I said yes because it was going to be a challenge and I looked at it purely at an actor standpoint: This will be a challenge to do and I want to try it.
Guerrasio: I think you're one of the highlights of the movie, but did you get any backlash personally for doing that role at a time when whitewashing is such a major issue?
Abbott: Most people don't even know that's me. And I'm not saying I'm some kind of chameleon that just disappears in roles, but people just didn't connect the dots. And I also don't do a lot of press.
Guerrasio: Riley, was it hard keeping a straight face working across Daniel Craig doing that crazy character in "Lucky Logan"?
Keough: My hardest thing is I get the giggles really bad, when I start laughing I just can't stop. When I'm working, too. And it doesn't matter how serious the scene is. So that was really hard because they [costars Channing Tatum and Adam Driver] were all so funny. It was ridiculous. And they wouldn't stop bantering between takes.
Guerrasio: But Daniel went back to his regular voice once shooting ended, right?
Keough: No, he was doing the voice the whole time.
Guerrasio: Even when director Steven Soderbergh said cut, he would do the voice?
Keough: Yeah. If I saw him at the hotel after shooting he would be doing the voice. But I think the thing is because he's English he wanted to not lose the voice. It was really funny.
Guerrasio: Was there a scene during shooting of "It Comes at Night" that gave you the giggles?
Keough: I don't know. Oh, when Try had us doing sex noises.
Abbott: Oh, that was hilarious. There was no sex scene, we just had to make noises.
Guerrasio: For the scene when the Travis character is listening in on you guys.
Abbott: Yeah. I thought I had to go closer to the mic because I was just standing next to Riley and she was like, "Get away from me," but I was like, "You have to do it in the microphone."
Keough: [Laughs] That was funny.
It turns out Warner Bros. made a major error while making "Wonder Woman," and the studio is likely to pay for it.
Though Warner Bros. is overjoyed by the box-office success and acclaim of its latest DC Comics Extended Universe release, according to reports, it didn't sign on the movie's director, Patty Jenkins, for a sequel. Now the studio is under fire from fans who want to see Jenkins return to continue telling the adventures of Diana Prince (played by Gal Gadot).
It looks as if the studio undershooting how well "Wonder Woman" would perform, along with its making plans to develop "Justice League Dark" and a Batgirl movie, led to its lack of attention to a "Wonder Woman" sequel.
One sign of the studio's surprise at the overwhelmingly positive reaction to "Wonder Woman" was its decision to move up the review embargo. For most movies, especially blockbusters, studios give critics a date and time when they can go live with reviews. After early press screenings of the movie, Warner Bros. shifted that date to a few days earlier, making it clear it was confident in how the movie would be received.
Warner Bros. would have better footing in its sequel negotiations had it locked down Jenkins before the release of "Wonder Woman," but now the leverage is clearly on Jenkins' side.
And Jenkins is certainly up for another movie. She told Business Insider during a Facebook Live interview: "I would love to, and we're all definitely excited about it."
Warner Bros. did not immediately reply to Business Insider's request for comment.
Watch our entire interview with Jenkins:
"The Mummy" reboot starring Tom Cruise debuts this weekend as the first installment in Universal's Dark Universe franchise, and it's about as bad as its nauseating trailer, which uses The Rolling Stones' "Paint It Black" way too many times (five).
Critics agree that the movie isn't a promising start to the many Dark Universe movies that are already in the works.
It's a messy story packed with messier action, special effects, and exposition. Even veteran action star Tom Cruise can't save it from itself. While most critics are not loving the movie, some say that though it's a misstep, they're actually looking forward to the other movies in the Dark Universe.
Here's what the critics are saying about "The Mummy":
It's one of the worst movies Tom Cruise has ever done, if not the worst.
"This may be Tom Cruise's worst starring vehicle ever..."—Forbes
"Obviously the worst movie that Tom Cruise has ever made."—Indiewire
It prioritizes spectacle over story.
"It plays, in fact, like a movie directed by a producer, someone checking items off a to-do list rather than telling a story in a consistent tone."—The Boston Globe
"The movie is a pain in the sarcophagus. I fear that it will anger the gods."—Chicago Tribune
It's missing the excitement that made the Brendan Fraser trilogy fun.
"A messy and muddled product lacking even the carefree spirit of the Brendan Fraser Mummy trilogy."—AP
"Even Dwayne Johnson in the sequel of the 2002 reboot, 'The Scorpion King' is more fun than this."—Screen International
"Unlike the old movies that supposedly inspired it, 'The Mummy' has no atmosphere, no menace, no romance."—Newark Star-Ledger
See the rest of the story at Business Insider
Warning: There are spoilers ahead if you haven't seen "Wonder Woman."
One of the best parts of "Wonder Woman" is undeniably the chemistry between Wonder Woman (Gal Gadot) and Steve Trevor (Chris Pine).
Nowhere is this illustrated better than in an early scene where the two travel from Diana Prince's home of Themyscira to London where the two have one of the film's funniest exchanges about her parentage and sex.
There's this moment you've probably seen in the trailers:
Steve: What about your father?
Diana: I had no father. My mother sculpted me from clay and I was brought to life by Zeus.
Steve: Well that's neat.
The moment that really sells the scene is when Diana can't understand why Steve is uncomfortable sleeping next to her. When he assumes she doesn't understand the desires and pleasures of the flesh, she proceeds to tell him she has read all 12 volumes of Cleo's treatises on body and pleasure. The kicker is when she tells Steve that while men are essential for procreation, they are expendable for things like pleasure, rendering Steve speechless.
It's pretty impressive when you know the entire scene was ad-libbed.
According to Entertainment Weekly, Pine said he had the easy role of responding to how anyone would to a superhero. The scene really showed just how good Gadot is at improv.
"She has to be the straight woman, that’s the harder part,” Pine told EW. "She’s delivering lines like ‘My father is Zeus’ — that is just so ridiculous. And she has to say it with a straight face, with a certain amount of innocence and earnestness. I get to react like any human being would to hearing something as ridiculous as that. So I had easy."
I recently attended a showing of "Wonder Woman" exclusively for women and women-identifying viewers at the Alamo Drafthouse in Brooklyn, New York. When the Alamo Drafthouse announced its female-only screenings in May, the theater got backlash from men who were offended about the exclusion, as if they forgot that the 19th Amendment wasn't ratified until 1920, among other things like the wage gap.
While there was a man in attendance who began to ruin the experience for me and those around me, the hurt feelings got lost once the movie started. We were in this together, and we all united over our shared excitement for this amazing female-led and -directed superhero movie that means so much to us for so many reasons.
I could feel the camaraderie throughout the entire film, and have never felt more connected to dozens of strangers before. Not even when I saw "The Fate of the Furious" in 4DX, during which I made memories that will last lifetimes.
Here's what it was like to watch a women-only screening of "Wonder Woman":
Warning: Mild spoilers for "Wonder Woman" below.
The Alamo Drafthouse had entirely female staff work the screening.
I didn't see anyone dressed up, but there was a "Nasty Woman" T-shirt, and I saw a woman with a Wonder Woman koozie.
Since this screening was on a weeknight and more than a few days after the film's release, the hype to get dressed up for it wasn't there.
We had a host who led chants of “I am Wonder Woman!" and "We are Wonder Women!"
The host also asked the audience if we were excited for “Justice League,” which got a faint applause followed by a much louder laugh.
See the rest of the story at Business Insider
In Hollywood, Alex Kurtzman is known for many things. He helped pen the first two movies of Michael Bay’s “Transformers” franchise, is a producer on the “Star Trek” franchise, and is the executive producer on numerous TV shows like “Scorpion” and “Hawaii Five-O.”
But now he’s taking on his most ambitious venture yet, launching some of the most iconic movie monsters into a franchise.
It was five years ago when Kurtzman got a call from Universal that they wanted to reboot “The Mummy” franchise, which was a hit for the studio in the late 1990s-early 2000s for its fun adventure stories and likable stars Brendan Fraser and Rachel Weisz.
Kurtzman was into the idea, but he wanted to bring an original feel to the story while also paying homage to not just the Fraser movies, but the original 1932 movie starring Boris Karloff as the monster.
With that, Dark Universe was born: a franchise in which the classic monsters of cinema’s past — Frankenstein, Dracula, The Invisible Man, The Creature from the Black Lagoon, The Wolf Man — would all be brought back to the screen in a modern setting.
“‘The Mummy’ existing in a larger world of gods and monsters began to emerge as a key idea,” Kurtzman told Business Insider. “And Tom was the first actor we went to.”
Navigating the Tom Cruise machine
That Tom is Tom Cruise, of course. In an era where the Marvel Cinematic Universe and DC Comics Extended Universe is already up and running, Universal needed a huge start to get Dark Universe off the ground.
Kurtzman has worked with Cruise in a screenwriting capacity since penning “Mission: Impossible III” back in 2006, so he was well aware of the hands-on approach Cruise takes with all his projects. But now, as the director of a Tom Cruise movie, Kurtzman saw first hand what it really entails.
“It's a constant back and forth, a constant partnership,” Kurtzman said. “Breaking down how we approach the filmmaking, everything is a conversation, nothing is taken for granted. He’s extremely thorough, he's extremely knowledgeable, he'll step on set and he'll know exactly what is going on everywhere and that's a tremendous benefit. When you're making a movie this big it's a benefit because there's so much to handle in it and having his basic knowledge was great.”
And Kurtzman said he never felt Cruise would overstep his bounds, in fact, he found that Cruise needed him. “He’s an actor who really likes to be directed,” Kurtzman said. “He likes to take input and try different things and experiment. He’s never not done anything I’ve asked him to do.”
Showcasing broken characters
The notion of Tom Cruise in a reboot of “The Mummy,” that's also the first in a series of monster movies, brought instant buzz when news hit the internet. But Kurtzman also felt the movie needed to work as a stand alone, too.
First, he teamed with screenwriter Jenny Lumet a year into development to change the Mummy character from a male to a female. Then, he used a plot device from the Karloff movie, that the Mummy has the power to control people’s minds, to develop a flawed hero.
“We have over 30 years of knowing Tom Cruise is going to save the day, in order to make the movie unpredictable I loved the idea that suddenly his control over the situation would be taken away from him,” Kurtzman said.
In doing this, the story revolves around Cruise playing a soldier of fortune named Nick Morton who discovers the tomb of an ancient princess (played by Sofia Boutella) and is cursed by her. This leads to Nick struggling to fight off the Mummy’s control while trying to save the world. (The movie also features Russell Crowe as Dr. Jekyll and Mr. Hyde.)
“That got me excited, it felt like it served two purposes in that it honored a key Mummy power but it also made a Tom Cruise movie feel different and interesting,” Kurtzman said.
Where Dark Universe goes from here
Though Kurtzman is dealing with the critical backlash“The Mummy” is receiving, he’s focused on extending the Dark Universe.
“I’m working with the studio to begin to design the world and form a group of really smart writers and directors that I have grown up loving and admiring and use that collective experience to inform where we go from here,” he said.
The next movie set to come out of the franchise is “Bride of Frankenstein,” directed by “Beauty and the Beast” director Bill Condon (Kurtzman is a producer on the film). Also in the works is Johnny Depp as The Invisible Man and Javier Bardem as Frankenstein.
Kurtzman said the biggest challenge with this endeavor is finding a balance. The fans of the old monster characters should get a familiar feel and tone from the movies that brings them back to why they fall in love with them. But the movies should also have an original story that gives it a new and modern feel. That's where the collective of talent being brought on comes in handy.
“My hope is with Dark Universe we will be able to bring in filmmakers like Bill [Condon] who bring their own signature to these films,” said Kurtzman, who added he's open to directing another movie within Dark Universe in the future. “I want the directors to expand and build on the identity of the world.”
This week's domestic box office winner was pretty much decided before we even got to the weekend.
The acclaimed "Wonder Woman" followed up its record-breaking opening weekend last week by winning the United States box office for a second-straight weekend with an estimated $57 million, according to Exhibitor Relations, a dip of only 45% from last weekend. The movie has now brought in a total of $205 million domestically.
In a distant second place with $32 million is "The Mummy," which is both a Tom Cruise movie and the kick-off to another cinematic universe, this one being Universal's reboot of the classic monsters of decades past that its named Dark Universe.
On the surface, the pitiful US gross for "The Mummy" looks like the worst possible scenario for Universal in launching a franchise to go up against Marvel Studios and DC Films. But looking globally, the movie has the most interesting box office storyline of the weekend.
With a 20% rating on Rotten Tomatoes going into the weekend (it's now at 17%), "The Mummy" was going to be DOA domestically by Sunday, and Universal would have to hope for a strong outing overseas to save face. And that's exactly what happened.
It started on Friday when news hit that the movie opened in China (perhaps the most important international market) on Thursday with an $18.7 million take, the biggest opening day ever there for a Tom Cruise movie. The movie debuted in Russia on Thursday as well and took in $1.6 million, also the biggest first day ever there, too. In the 33 international markets where "The Mummy" opened between Wednesday and Thursday, the movie took in $20.5 million.
Combining that with its domestic take, "The Mummy," budgeted at around $125 million (tack on another $90 million or so for marketing), earned Cruise his biggest global opening ever with $174 million, passing the $167.4 million earned for 2005's "War of the Worlds."
"The Mummy" director, Alex Kurtzman, told Business Insider late last week he didn't make the movie for critics. It seems the audience he did make it for came to see the movie in droves.
But "The Mummy" being bulletproof from negative critical reaction is something the franchise even had back in its Brendan Fraser era. The three movies with Fraser and the spinoff starring Dwayne "The Rock" Johnson, "The Scorpion King," totaled close to $1.5 billion in its worldwide box office.
Add that with the box office clout Tom Cruise has, and you'll understand why "The Mummy" is far from a bust financially, and why Universal is still very bullish on its Dark Universe.
As we're halfway through 2017, we thought it would be a good time to look at the movies that pretty much no one has wanted to see in theaters this year.
While movies like "Get Out,""Logan,""Beauty and the Beast,""Guardians of the Galaxy Vol. 2," and "Wonder Woman" have all found love at the box office, there are some titles that were seeking major coin and Rotten Tomatoes "Fresh" ratings only to be playing in front of empty seats at the multiplex.
From "Baywatch" to "Monster Trucks," these are the 10 worst box-office earners of the year — so far:
Note: This selection is limited to only those titles released by the six major studios that have played in more than 2,000 screens for at least two weekends. Grosses below are all US earnings from Box Office Mojo.
10. "Smurfs: The Lost Village"— $43.8 million*
Reported budget: $60 million
(Note: Production budgets are estimates and do not include expenses for marketing and release.)
*Movie is still playing in theaters.
9. "Baywatch"— $41.7 million*
Reported budget: $69 million
*Movie is still playing in theaters.
8. "Ghost in the Shell"— $40.5 million
Reported budget: $110 million
See the rest of the story at Business Insider
If you went to see "The Mummy" over the weekend, you were probably waiting through the end credits to see if it had a post-credits scene. Seeing as it's the first in a franchise of monster movies known as Dark Universe, you'd assume Universal would want to tease that out. Sadly, there was no such scene to be found.
The movie's director, Alex Kurtzman, recently told Business Insider that he doesn't want Dark Universe to feel like another cinematic universe that's known for its post-credit scenes.
"It feels very much to me that this is Marvel's domain," Kurtman said.
The Marvel Cinematic Universe movies, from the standalone movies like "Iron Man" and "Ant-Man" to the bigger adventures like "The Avengers," all end with a scene (sometimes multiple) that teases what's coming next.
Dark Universe isn't the only franchise that's been shy about doing post-credit scenes. The DC Comics Extended Universe ("Suicide Squad,""Wonder Woman") also doesn't do them.
But Kurtzman admits he might rethink it.
"You are like the 50th person to ask me that question, which makes me feel that people want it," he said. "It's definitely worth reevaluating."
Cameron Diaz decided to walk away from her prolific movie career, because the frequent traveling wore her out.
"I just went, 'I can't really say who I am to myself,' which is a hard thing to face up to," Diaz said during a panel at the In Goop Health event on Saturday in Los Angeles, California, according to E! News.
The actress, whose last major role was Mrs. Hannigan in the 2014 "Annie" remake, said that two decades of travelling between film sets and her home took a toll on her well-being.
"I felt the need to make myself whole," she said at the event for Gwyneth Paltrow's wellness brand.
According to Vogue, Diaz's search for wholeness includes transcendental meditation.
Diaz has been nominated four times for a Golden Globe Award for "Gangs of New York,""Vanilla Sky,""Being John Malkovich," and "There's Something About Mary." As of now, she hasn't announced any upcoming projects.
Paltrow served as the moderator for the panel, which included Diaz, designer Tory Burch, model Miranda Kerr, and actress Nicole Richie.
Are your friends using your Netflix account without your permission? Here's a simple way to check if someone else is accessing your account, and how to quickly put a stop to it.
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The production of "Fantastic Beasts and Where to Find Them" was a reunion of sorts for the "Harry Potter" filmmaking team.
Sure, the movie didn't have Harry, Ron, and Hermione — it's set in New York in 1926, decades before the events of the main "Harry Potter" series — but it did mark the return of many names from behind the scenes. Director David Yates handled every "Harry Potter" movie from "Order of the Phoenix" onward. Stuart Craig, who designed Hogwarts and other magical sites, returned to build New York in the roaring '20s. And MinaLima, the design firm that made so many Easter eggs, made the stationary and newspaper headlines about the American magical community.
One major name, though, was absent: Jany Temime. She's led the costume design from every movie from "Prisoner of Azkaban" onwards, making Dumbledore's colorful cloaks and the Weasley's charmingly patched robes.
She declined, however, to work on "Fantastic Beasts." Instead, it was up to the estimable Colleen Atwood, who had to refine Newt Scamander's peacock blue peacoat and the rest of the costumes for the movie.
Why didn't Temime return for J.K. Rowling's prequel? She told INSIDER that, after a decade dressing up wizarding characters, she felt like her work was done. It didn't help that she knew she'd miss the chance to work with Daniel Radcliffe, Rupert Grint, and Emma Watson again.
"I had a ten-year relationship with the world of Hogwarts. That was that," Temime told INSIDER. "It was like the end of a big trip, a big saga. For me, it was finished then."
Temime watched "Fantastic Beasts" last year at its New York premiere. While watching it, she recognized that it would have been a completely different challenge than the "Harry Potter" movies, even though they have a shared universe. The way the characters aged throughout the series was unique.
"I was designing for kids," Temime said. "I was taking them from 12, 14, 16, 18. I was designing for them, around then. We had school uniforms. It's just such a different setup."
By the time "Fantastic Beasts" came along, Temime had moved on to other projects, anyway. She's working as an advocate for Prismacolor, a brand that produces colored pencils, markers, and other tools for professional artists. And she had moved on to costume design for another huge franchise: James Bond.
"After Potter, I started with Bond, and that was another world," Temime said. "It would have been hard to go back into the magical world."
Starting with "Skyfall," Temime revitalized the style to look more modern, and then continued that work with "Spectre."
Trying to recreate 007 with [director] Sam Mendes was a tremendous job," Temime said. "When I took that project on, I also changed the look of it tremendously. I'm making it more modern, more dynamic. That was in itself a contemporary, new job for me, a new challenge. I was quite happy to stick to that."
Rajiv Surendra, the author of "The Elephants In My Backyard: A Memoir," is best known for his portrayal of Kevin G in the Tina Fey-written "Mean Girls." He recounts his famous role, how he once ran away from home and became a nanny in Munich, starting a business in New York, and what else he's up to these days. Following is a transcript of the video.
"Oh please. It’s called 'Mean Girls' and it’s starring Lindsay Lohan. It’s going straight to DVD."
I’m Rajiv Surendra and many of you probably know me as Kevin G. the rapping mathlete from “Mean Girls.”
I can never forget that rap. No one will let me forget the rap. I didn’t think this rap was going to be a big deal. And I had no idea that was going to become one of the iconic moments of "Mean Girls." This two-minute ridiculous rap.
Sucka emcees ain't got nothin' on me!
From my grades to my lines
You can't touch Kevin G!
I'm a mathlete, so nerd is inferred.
But forget what you heard.
I'm like James Bond the Third
Sh-sh-shaken, not stirred. I'm Kevin Gnapoor.
The G is silent when I sneak in your door
And make love to your woman on the bathroom floor.
I don’t play it like Shaggy. You'll know it was me
‘Cuz the next time you see her, she be like,'Ohhh! Kevin G!'"
"Mean Girls" was a lot of fun to shoot because no one on set was a big star. So there were no divas on set. The only sort of big name on set was Lindsay. And Lindsay, at that point, wasn’t a huge star.
I remember sitting in the hair and makeup chair one morning and asking the hair stylist how she thought it would do. She had worked on some pretty big movies and she was like, "Oh please. It’s called 'Mean Girls' and it’s starring Lindsay Lohan. It’s going straight to DVD." Then "Mean Girls" came out and it became this big thing and I was shocked. And it still surprises me that 14-year-olds come up to me and say,"Oh my God! You’re Kevin G."
When I auditioned for "Mean Girls," I was at this point in my life as an actor where I was so frustrated with the stereotype. Parts like mine were atypical. This rapping math guy that didn’t have an Indian accent and bobble his head. And I felt like Tina Fey had written this accurate depiction of what it meant to be a first-generation Indian guy in North America.
On the set of "Mean Girls," the cameraman had read a book and he came up to me one day and was like,"You’re the lead character in this book I just finished."
And I was like,"Oh yea. Is he brown?"
And he’s like,"Actually, yea, he is."
The book happened to be "Life of Pi."
Cause here, finally, was that lead role that wasn’t playing the stereotypical, nerdy Indian kid. This was an authentic Indian kid. And I made it my mission to land that part. I dropped out of college. I flew to South India where the book takes place. I enrolled in the boy's school that Pi attends, this little seminary called Petit Seminaire. And I learned how to walk like those Indian kids. How to talk like them. I wanted to perfect that South Indian accent.
The adaptation of the book went through 5 different directors. All the while I continued researching for this part. This was something that was to continue for 6 years. This stop-and-go pattern. And then a few months later, after this six-year journey, I found out that Ang Lee, the final director, didn’t want an actor. He wanted the real thing.
So I was kind of crushed when I found out someone else was cast. So I actually ended up running away from home. I moved to Munich and I became a nanny for two little kids. Running away was actually kind of the best thing for me. It allowed me to kind of mourn the loss of this big dream that I had. This huge goal that I chased after. I really learned that you really shouldn’t let the fear of failure stand in your way. If you’re willing to take chances amazing things can happen.
I had come back to Toronto a couple of times and I had very casually started this calligraphy business. So I was doing to chalkboard menus at restaurants and cafes in Toronto and it kind of became a thing. So I run a calligraphy business out of New York called Letters In Ink, I’m now an author and I still continue to audition for tv shows and movies.
Well, people are looking at the book, considering turning it into a movie and I would love for that to happen. I think it would be so ironic if the role that I ended up playing was myself. Woody Allen. Where are you? What’s your next movie? It’s this right here Woody.
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The modern summer blockbuster began in June 1975, when a young director named Steven Spielberg made us scared to go back into the water thanks to the thriller "Jaws."
Since then, audiences have happily braved the dog days of summer for decades to stand in huge lines for movie spectacles like "Star Wars,""Raiders of the Lost Ark,""Jurassic Park," all its sequels, and more recently, all those Marvel movies.
By feeding people's hunger for franchises and action, this is the time of year when the movie business gets a good portion of its annual revenue. But only a handful of the blockbusters have stood the test of time as Hollywood's biggest summer earners ever.
Below are the highest-grossing summer movies at the domestic box office of all time:
Note: All figures are from Box Office Mojo and adjusted for inflation.
10. “Jurassic World” (2015) - $698 million
Unadjusted gross: $652 million
9. “Raiders of the Lost Ark” (1981) - $782 million
Unadjusted gross: $248 million
8. “The Lion King” (1994) - $788 million
Unadjusted gross: $422 million
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Father and son bonding comes in many forms. Maybe it's a fishing trip, or playing catch, but for actors with equally famous sons it can also mean starring in the same movie.
Some have waited years to find the right film to do together like Kirk and Michael Douglas. Then there's Ben and Jerry Stiller who have been on screen together four times.
In honor of Father's Day June 18, keep reading to see the famous fathers and sons who have been on screen together.
Will Smith and his son Jaden both appeared in 2013's "After Earth."
It wasn't the duo's first film together. Jaden Smith starred alongside his famous dad in 2006's "The Pursuit of Happyness," too.
In an interview from 2013 with Movies Ireland, Will Smith said after seeing Jaden have fun on set of "Karate Kid" with Jackie Chan he wanted to do another movie with his son.
"I started talking about some ideas and 'After Earth' was the first thing that Jaden really vibed [with] the ideas," said Smith.
The two appear to have a carefree relationship, which you can see more of in a clip from an "After Earth" press conference.
Comedic father-and-son duo Ben and Jerry Stiller have appeared together in several movies.
Ben and Jerry Stiller have been in four movies together: "The Heartbreak Kid,""Zoolander,""Heavyweights," and "Hot Pursuit."
Jerry said his son would always invite him and his wife on set when he was working on a project.
"We go, and it’s a wonderful moment for Anne and myself to watch Ben shooting a movie,"Stiller told the New York Post in 2012. "He’s really good at it. I don’t give him advice. I can’t say a word. He knows more about film than I could ever begin to think I knew. He never says, ‘Dad, what did you think of that?’ The only thing I’d ever take credit for is, when he was 10 years old, I gave him a Fuji Super 8 camera."
Stiller's wife Anne Meara died in May 2015.
Three generations of the Douglas clan — Kirk, Michael and Cameron — starred together in "It Runs in the Family."
Michael Douglas said his father never wanted him to go into acting. Kirk Douglas was quite critical after watching his son's first performance.
"I remember the first show I did, he came back and he said, ‘Michael you were absolutely terrible,’" Michael Douglas told ITV Lorraine’s Ross King in 2016, according to People. "And he was so relieved because he thought, ‘I don’t have to worry about my son becoming an actor, he was so bad.'"
This past February, after turning 100, Kirk Douglas told The Guardian he's proud of his son for not following his advice.
"I wanted him to be a doctor or lawyer, and the first time I saw him in a play I told him he was terrible,” Kirk Douglas said. "But then I saw him a second time and I said: ‘You were wonderful!’ And I think he is very good in everything he’s done.”
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Not unlike superhero blockbusters, R-rated comedies have been dominated by men. And when a female-centered comedy does get through the cracks ("Bridesmaids,""Neighbors 2: Sorority Rising,""Bad Moms"), they are generally directed by men.
That's what makes Sony's hard-R comedy "Rough Night" (in theaters on Friday) such a standout. And it’s just a lot of fun.
Directed and cowritten by Lucia Aniello (a writer and director on “Broad City”), this comedy has all the great gross-out humor that you’ll find in a party-like-we-did-back-in-the-day movie but with a unique, socially aware twist.
Scarlett Johansson, Jillian Bell, Ilana Glazer, and Zoë Kravitz play best friends from college who meet up in Miami for a wild bachelorette weekend. Johansson plays Jess, the bride, who has gotten into politics since leaving college. Bell is Alice, a teacher who longs for the college days. Glazer is Frankie, who spends her days fighting any cause that will keep her from getting a real job. And Kravitz plays Blair, who is dealing with a divorce and a custody battle over her child. Rounding out the group is Kate McKinnon, who plays Pippa, an Australian Jess became best friends with when she traveled abroad.
The movie gets right into the fun hijinks with the introduction of the characters and connecting in Miami, which leads to some bumps of cocaine and lots of partying. But things get out of hand when a man comes to the door of their rented condo. Presumably the stripper they ordered, he dies mid-performance.
This is where the real fun begins, with a "Weekend at Bernie's" scenario playing out. But instead of coming up with an unbelievable premise for how to dispose of the body — like dressing the guy in dildo sunglasses and driving him around South Beach (okay, that does happen) — Aniello tries to come up with challenges that the girls would have to go through in real life to ditch the body.
Meanwhile, Jess’s fiancé Peter (Paul Downs, also of “Broad City” fame) is worried sick about her while at his bachelor party after he believes her frantic call means she’s having cold feet about marrying him. This leads him to interrupt the mellow wine-tasting portion of his party and decide to pull a “sad Astronaut.” Which means strapping on an adult diaper, taking some uppers, and driving nonstop from South Carolina to Miami to win her back (imitating the lengths former astronaut Lisa Nowak famously took when attempting to kidnap her boyfriend and the woman he was cheating with in 2007).
There’s a lot of “The Hangover” vibe in the movie, but there are also smart callouts to female struggles: Jess is losing her race for office because people can’t get enough of her male opponent’s dick pics, Frankie cites real police cases in which women are the victims to explain why they can’t turn themselves in.
And the casting is perfect. Johansson dives right into the raunchy material and owns it. Bell, who's often the scene-stealer in movies, gets a little more character development than usual.
Aniello and Downs, who wrote the script between seasons of “Broad City,” give the movie an incredibly fun (and woke) update to the party-hard movies of the past.