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- 07/03/17--07:33: _Michelle Rodriguez ...
- 07/03/17--11:35: _16 actors who lost ...
- 07/04/17--06:00: _The 30 most anticip...
- 07/04/17--06:30: _24 military movies ...
- 07/05/17--09:20: _'Fate of the Furiou...
- 07/06/17--07:54: _The director of 'Va...
- 07/06/17--10:26: _There are 6 differe...
- 07/06/17--12:54: _Tom Holland is abou...
- 07/07/17--07:00: _Michael Keaton in '...
- 07/07/17--08:37: _'Spider-Man: Homeco...
- 07/07/17--12:38: _Meet Luke Hemsworth...
- 07/07/17--14:46: _15 celebrity siblin...
- 07/09/17--08:50: _'Spider-Man: Homeco...
- 07/10/17--07:04: _Daniel Craig will r...
- 07/10/17--08:22: _If you're searching...
- 07/10/17--09:22: _'Dunkirk' director ...
- 07/10/17--10:38: _How the opening wee...
- 07/11/17--05:00: _Christopher Nolan e...
- 07/11/17--05:30: _RANKED: All the Mar...
- 07/11/17--07:33: _These construction ...
- 07/03/17--11:35: 16 actors who lost weight for movie roles
- 07/04/17--06:00: The 30 most anticipated movies for the rest of 2017
- 07/04/17--06:30: 24 military movies to watch over the 4th of July
- "Dunkirk" will be released in six different formats.
- The format you see it in will be dictated a lot by where you live.
- Only certain locations will play the film in 70mm IMAX, 70mm, and IMAX with Laser.
- Director Christopher Nolan filmed most of the film on 70mm and IMAX film. We recommend seeing it in 70mm or 70mm IMAX to get the most bang for your buck.
- INSIDER has listed the locations for those formats.
- 07/06/17--12:54: Tom Holland is about to become the world's most unlikely action star
- 21-year old Tom Holland stars as Peter Parker/Spider-Man in 2017's "Spider-Man: Homecoming."
- Tom Holland's performance career started in dance when he was a child. His first big role was as the lead in "Billy Elliot the Musical."
- His career in film started as a voice actor in Studio Ghibli's "The Secret World of Arrietty." He then starred in indie live action films such as "Edge of Winter" and "Locke."
- His first blockbuster role was with Chris Hemsworth in "In the Heart of the Sea." He first appeared as Spider-Man in "Captain America: Civil War" and is now signed on for a Spider-Man trilogy and "The Avengers: Infinity War."
- 07/07/17--12:38: Meet Luke Hemsworth – Chris and Liam's brother and a rising star
- Luke Hemsworth is the third Hemsworth brother, older than Chris and Liam.
- He's most famous for starring on "Westworld" as the head of security, Ashley Stubbs.
- He's starring in the movie "Hickock," which opens this weekend.
- 07/07/17--14:46: 15 celebrity siblings you had no idea existed
- 07/10/17--07:04: Daniel Craig will reportedly return as James Bond
- Former One Direction singer Harry Styles wanted to act in "Dunkirk" so he could work with Christopher Nolan
- Nolan previously directed movies like "The Dark Knight,""Inception," and "Interstellar."
- Nolan also had no idea Styles was so famous before casting him.
- "My daughter had talked about him. My kids talked about him, but I wasn’t really that aware of it," Nolan told The Hollywood Reporter.
Though Vin Diesel has been the face and biggest cheerleader of the "Fast and the Furious" franchise since returning to the "family" with 2009's "Fast & Furious," fellow franchise star Michelle Rodriguez has now made it clear that her recent comment about possibly leaving if future "Fast" movies don't "show some love to the women" wasn't directed towards Diesel.
In a video posted on Diesel's Instagram, Rodriguez spoke to her longtime costar and clarified her comments.
“Vin, for many years you’ve been the biggest supporter of strong women,” Rodriguez said in the video. “I’ve always appreciated that about you throughout the years… Just know that if I ever post anything, that it’s not you I’m talking to.”
Diesel, who is also a producer on the "Fast" movies, responded by kissing Rodriguez on the forehead and saying, "Of course it's not me."
The caption in the Instagram post read: “Proud of Our saga… but we must try to reach higher each time. The challenge is what makes it fun and exciting. It’s also why this saga has reached the level that it has… you have been the best fans in film history and we are forever grateful… Dom and Letty,” the end referring to Diesel and Rodriguez's character names in the franchise.
The day after Rodriguez posted on Instagram last week that "I hope they decide to show some love to the women of the franchise on the next one. Or I just might have to say goodbye to a loved franchise,"Business Insider spoke to "The Fast and the Furious" director F. Gary Gray, who responded to her comment.
"I thought there was a strong representation of women in the movie when you bring on what I thought was one of the strongest antagonists in Charlize Theron. And then you have Helen Mirren, who has a cameo that's strong," Gray told Business Insider. "I can't speak for Michelle, she has a very specific point of view and I can't take anything away from that, but I would like to think that with 'The Fate of the Furious' specifically, I can't speak to the other films, I thought the combination of female characters was pretty strong."
Watch Rodriguez's comments to Diesel below:
Lily Collins lost weight to play an anorexic woman in Netflix's upcoming original movie, "To the Bone."
It was a role the actress was apprehensive about taking on, since she dealt with eating disorders in the past. But she's not alone. Plenty of actors will transform their bodies to get in character for a role.
INSIDER recently took a look at actors who have gained weight for movie and TV roles. Some of the same actors who have gained an extreme amount of weight for roles have also gone on diets and even stopped eating for their Oscar-nominated and winning roles as ballerinas, journalists, AIDS patients, and more.
Keep reading to see 15 actors and actresses who have lost weight for movie roles.
Jake Gyllenhaal went all-out to lose 30 pounds for his role in "Nightcrawler."
The actor told Variety he didn't take on any special diet. Instead, he just stopped eating.
"I would try to eat as few calories as possible," said Gyllenhaal. "I knew if I was hungry that I was in the right spot. Physically, it showed itself, but chemically and mentally, I think it was even a more fascinating journey. It became a struggle for me."
Gyllenhaal added that he would often go on 15-mile runs from his home to the film's set.
Natalie Portman dropped 20 pounds to play a ballerina in "Black Swan."
The 33-year-old actress revealed the extent of her preparation for the role to Entertainment Weekly.
"There were some nights that I thought I literally was going to die," Portman told EW. "It was the first time I understood how you could get so wrapped up in a role that it could sort of take you down."
After filming ended, the singer quickly returned to carbs. She also announced a pregnancy with her now-husband, choreographer Benjamin Millepied, who she met on set.
Mila Kunis also lost 20 pounds for her role in "Black Swan."
Kunis was pretty vocal about her dismay with her frail body.
"I could see why this industry is so f----d up, because ... I would literally look at myself in the mirror and I was like: 'Oh my God! I had no shape, no boobs, no a--...,'" she told the Daily Mail. "All you saw was the bone. I was like 'this looks gross.'"
After filming, the actress binged out at a Panda Express in JFK Airport and an In-N-Out Burger in Los Angeles.
Kunis joked, "It took me five months to lose 20 pounds, and it took me hours to gain it back!"
See the rest of the story at Business Insider
Passing the halfway point of the year, we leave behind surprise hits at the movies like "Get Out," record-breakers like "Wonder Woman," but also a lot of bombs, like "The Mummy" and "Transformers: The Last Knight."
After "Spider-Man: Homecoming" hits theaters this Friday, the next six months brings with it blockbusters and the start of award season hype for other upcoming films.
From "Dunkirk" to "Thor: Ragnarok" (and we can't forget "Star Wars: The Last Jedi"), here are 30 movies you should be excited to go see by the end of the year:
"War For the Planet of the Apes" - July 14
The latest movie in the acclaimed reboot of the "Planet of the Apes" franchise is its most audacious yet. Showcasing incredible battle sequences and top-of-the-line motion-capture graphics, if you're seeking a more mature summer movie, this is it.
"Dunkirk" - July 21
Christopher Nolan's lush look at the Battle of Dunkirk in World War II promises to be as unique as anything the famed director has done. It will also feature the talents of Tom Hardy, Cillian Murphy, and Kenneth Branagh.
"Valerian and the City of a Thousand Planets" - July 21
It's the movie Luc Besson ("The Fifth Element") has been dreaming of making his entire life. Based on the famed French comic book, Dane DeHaan ("A Cure for Wellness") and Cara Delevingne ("Suicide Squad") play special agents assigned to saving the universe. Expect Besson's fun character play and lots of strange creatures.
See the rest of the story at Business Insider
The US will celebrate its Independence Day from Great Britain on Tuesday.
America's initial split from the British crown, which was codified in the Declaration of Independence, took a lot of political will and negotiation by the members of the Continental Congress, since many states were not open to the split at first.
But it was the Continental Army, and the militias that took up arms in support, that would go on to win the war — not to mention a little help from the French Navy.
In honor of their service, here is a list of some of the best military movies to watch on the 4th of July.
Jeremy Bender contributed to an earlier version of this post.
"The Patriot" (2000)
"The Patriot" tells the fictional tale of a colonial father who gets swept up in the American Revolution.
Haunted by his exploits during the French and Indian Wars, and initially unwilling to serve, he eventually goes on to form and lead a militia against the British.
"Top Gun" (1986)
Starring Tom Cruise and Val Kilmer, "Top Gun" follows Cruise as he attends the Top Gun aviation school. An aggressive but extremely competent pilot, Cruise competes throughout his training to become the best pilot in training. The film was selected in 2015 by the Library of Congress for preservation due to its cultural significance.
"The Longest Day" (1962)
"The Longest Day" tells the story of heroism and loss that marked the Allies' successful completion of the Normandy Landings on D-Day during World War II.
The film stands out due to its attention to detail, as it employed many Axis and Allied D-Day participants as advisers for how to depict the D-Day landings in the movie.
See the rest of the story at Business Insider
Making any movie is hard, but being the director of a multi-million dollar blockbuster is really, really hard.
That's been most evident in recent weeks when much of the chatter in Hollywood has been about the shocking firing of 'Star Wars' directors Phil Lord and Chris Miller from the untitled Han Solo movie over creative differences with Lucasfilm head Kathleen Kennedy (Ron Howard has since been brought on to complete the movie).
With so much at stake for a studio, the day-to-day job of a director isn't easy. They're the one who has to shoulder the burden of pulling off the (often times) short production schedule, all the while doing it in a way that satisfies his or her own creative impulses and appeases the high-powered cast, producers, and studio heads. And on top of it all, they're on the hook for the ticket sales of a movie expected to rake in a whole lot of money at the box office.
Many have pulled it off (and been paid handsomely for it). But there are definite scares that pop up during the process of making a film.
Following the success of "Furious 7," the 2015 hit from Universal's profitable "Fast and the Furious" franchise that earned over $1.5 billion worldwide at the box office, director James Wan declined the studio's offer to return for the eighth movie in the popular franchise, "The Fate of the Furious." According to The Hollywood Reporter, one reason Wan passed was because the two-year production on "Furious 7" was so daunting (and included late rewrites following the death of franchise star Paul Walker) that it compromised Wan's health.
F. Gary Gray ("Straight Outta Compton,""The Italian Job") signed on to direct "The Fate of the Furious," and the movie went on to earn over $1.2 billion worldwide and is currently the fifth-highest grossing movie of 2017 domestically ($225.4 million).
Gray is sucking in the accolades. He now has the distinction of being the first black filmmaker to make a $1 billion movie, and he's even getting a star on the Hollywood Walk of Fame next year. But he'll be the first to tell you that making "Fate of the Furious" wasn't easy, and at times he certainly felt the pressure of the franchise pushing down on him.
"It's kind of a schizophrenic thing," Gray told Business Insider. "When you create you don't want to be influenced by that. But in those waking, sobering moments you're like 'Oh, s---! This movie has to perform!' Especially given the performance of the last few. Then you take that hat off and jump back into creative mode. I let the creativity influence me. I don't allow the numbers to influence me but I would be lying if I said it doesn't pinch you every once in a while, while you're in the process of making a movie. You have to acknowledge that it has to do business in order to be successful."
But then there's also managing the egos that come with a blockbuster. Gray walked into a franchise that was already showing signs of unrest, and it hit a breaking point for two of its stars in the middle of production on "Fate of the Furious."
Last August, during his final week of shooting, Dwayne "The Rock" Johnson, a star in the franchise since 2011's "Fast Five,"took to Facebook to call out some of his male costars for being "candy a--es," writing that some don't “conduct themselves as stand up men and true professionals.” It turned out Johnson was calling out the franchise's main star and producer, Vin Diesel. There had been rumors for years since Diesel rejoined the franchise, after a two-film hiatus with 2009's "Fast & Furious," that he was a distraction on set.
Though some felt the whole thing was a publicity stunt, the proof is in the movie. Johnson and Diesel are literally never on screen at the same time. The storyline of Diesel's Dom character going rogue on his "family" made it easier for them to be apart, as Johnson's Hobbs character spends most of the movie trying to track down Dom while Dom is seemingly doing evil acts with the movie's villain, Cipher (Charlize Theron). But at the end of the movie when they all reunite, it's almost comical how the shots are positioned so it's not evident that neither star is present at the rooftop gathering at the same time.
It's certainly something Gray had to navigate, through he won't divulge how much.
"I really can't," Gray said, when asked to comment on the feud. "First, because I'm a professional. It's something I will always steer everyone to Dwayne and Vin. When you make a movie on this level, with this size, it's so massive. You're taking about four continents, seven different units, and in some cases being filmed simultaneously. Hundreds of millions of dollars at stake. It's going to be a challenge. And everyone has their process. So I can't judge them. I'm very, very proud of the movie. And I hope they are, too. In terms of just their process, I don't have much to say. I'm happy we made it to the other side."
Now the question becomes where Gray goes from here. The "Fast and Furious" franchise certainly isn't done yet. Is he up for another movie?
"Who knows what the future holds," Gray said, noting that he's currently focused on getting his production company off the ground. "I can say right now at this very second, I'm happy with 'Fate of the Furious.' I'm very happy with that movie. That's the one I poured my life and heart into and anything above and beyond that, who knows."
"The Fate of the Furious" is now available to buy digitally and will be on Blu-ray/DVD beginning July 11.
If there's one thing Luc Besson is known for, it's creating incredible images on screen that we've rarely, if ever, seen before.
"The Fifth Element" director has done that once more with his new movie, "Valerian and the City of a Thousand Planets," which hits theaters July 21. But Besson's vision at the idea phase can be confusing to those around him, including his crew. And that's exactly what happened when he attempted to explain to them the incredible 18-minute action sequence he wanted to do in the beginning of the movie, in which a vast dessert is actually a giant intergalactic market.
“After I wrote the sequence, I explained it to the crew for an hour,” Besson told Entertainment Weekly. “They were smiling, but I could see on their faces that they didn’t understand a thing.”
Basically, the movie's hero Valerian (Dane DeHaan) and his partner Laureline (Cara Delevingne) are brought to a desert planet that, when you wear special glasses, reveals a massive city filled with zigzagging streets and many, many stores.
With his special glasses, Valerian enters the city to complete his mission while Laureline, who is not wearing glasses, only sees him walking around the dessert looking like he's doing some kind of mime performance. At one point, Valerian is chased through the city and finds himself stuck between the desert and city dimensions, leading to a dramatic conclusion.
Now you might understand the crew's confusion.
So to make it simpler for them, Besson enlisted the help of the students at his film school in Paris, L’École de la Cité. The director, who launched the free school in 2012, made part of the year's school curriculum for the 120 student body to create a demo of the scene. Besson then brought them to the soundstage where the movie was being made and had them shoot it.
“They were the actors, they were the cameramen, the lighting people, the grips. Costumes, accessories," Besson said. "We put the 600 shots on the wall and one by one we shot them. They did everything in three weeks, and then we edited and put in some temp music.”
"And then the crew understood the scene," Besson said with a laugh:
Having seen the movie, we can tell you, this action sequence is one of the highlights.
The INSIDER Summary:
"Dunkirk," the latest movie from Christopher Nolan ("The Dark Knight" trilogy, "Inception") is in theaters July 21, and there will be six different ways you can view the movie.
None of the ways will be in 3D — Nolan's not a big fan of the format and has said he has never met anyone who likes it. Nolan's a big proponent of IMAX and traditional film. He shot "Dunkirk" on both 70mm and IMAX film.
You'll be able to see the film on IMAX 70mm film, IMAX with Laser, IMAX Xenon, traditional 70mm, 35mm, and DCP, which translates to a standard digital cinema packaging.
How should you see it?
You're getting the best bang for your buck if you see the film in 70mm IMAX. While "Dunkirk" will appear in 125 70mm theaters, the widest release in that format in 25 years, it won't be available everywhere. (In comparison, Nolan's "Interstellar" played in 50 IMAX theaters capable of showing 70mm film.)
We've outlined the theaters that will be playing the film in 70mm, 70mm IMAX, and IMAX Laser below.
31 theaters in 16 states and Canada will show "Dunkirk" in 70mm IMAX. These are true IMAX screens. INSIDER hasn't seen the movie yet, but this is the way I saw "Interstellar" and was blown away by the scenes shot in IMAX. Nolan shot about 75% of "Dunkirk" with IMAX film cameras, so despite a more expensive ticket, you know you're at least getting what you paid for.
If you live in California or New York, here's where you can see it in 70mm IMAX.
Dublin: Regal Hacienda Crossings Stadium 20 & IMAX
Irvine: Edwards Irvine Spectrum 21 & IMAX
Ontario: Edwards Ontario Palace Stadium 22 & IMAX
Sacramento: Esquire IMAX Theatre
San Francisco: AMC Metreon 16 & IMAX
San Jose: Hackworth IMAX Dome, The Tech Museum
Universal City: AMC Universal CityWalk Stadium 19 & IMAX
New York City
AMC Lincoln Square 13 & IMAX
Average ticket price in NY: $25.29
More theaters are playing the film in this format. Nolanfans.com found a full list of theaters showing "Dunkirk" in 70mm hidden on the film's website.
If you're in California or New York, here's where you can see it:
Burbank: AMC Burbank 16
Daly City: Century Daly City
Hollywood: ArcLight Hollywood
La Jolla: ArcLight 14
La Mesa: Grossmont Center 10
Long Beach: Regal Long Beach Stadium
Los Angeles: Cinemark 18
Los Angeles: Landmark 12
Palm Springs: Sagewood Camelot
Sacramento: Tower Theatre
San Diego: AMC Mission Valley
San Francisco: Cinemark San Francisco Center
San Jose: Century Oakridge
Santa Clara: AMC Mercado
Sherman Oaks: ArcLight Sherman Oaks
Torrance: AMC Del Amo 18
Union City: Cinemark Union City 25
Brooklyn: Alamo Drafthouse Downtown Brooklyn
Farmingdale: Farmingdale 14
New Rochelle: Regal New Roc City
New York City: City Cinemas East 86th St.
New York City: Cinema 1,2,3
New York City: Village East 7
New York City: Regal E-Walk Stadium
Average ticket price in NY: $15-$20
You can see the full list of theaters playing the film in 70mm here.
IMAX with Laser
Nine theaters are playing "Dunkirk" in the US and Canada. You'd have to really make a trip if you want to see it in this format. IMAX Laser theaters are supposed to show even brighter, clearer, and more sharper images on screen.
TCL Chinese Theatres IMAX – Hollywood
Sunbrella IMAX 3D Theater - Reading
Boeing IMAX, Pacific Science Center
Scotiabank Toronto & IMAX
Average ticket price in CA: $20
INSIDER has reached out to IMAX about the number of theaters showing the film in IMAX Xenon.
The INSIDER Summary
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Warning: Minor spoilers ahead if you haven’t seen “Spider-Man: Homecoming”
If you're fed up with the boring bad guys in superhero movies that are completely forgettable, then this is another reason why you need to see "Spider-Man: Homecoming" (in theaters Friday).
Michael Keaton as one of Spidey's oldest rivals, Adrian Toomes (aka Vulture), delivers a performance that is playfully chilling and seeped with real stakes. Days after seeing the movie, I'm still recalling moments from Keaton's performance, which I feel is kind of a big deal. I couldn't tell you the names of the villains from most of the superhero movies I've seen the last few years.
If there's one thing all the recent movies based on comics have in common, whether it's Marvel or DC Comics, it's that there isn't much thought put into how to portray the villains — outside of making sure they are pure evil.
Dormammu ("Doctor Strange"), Enchantress ("Suicide Squad"), Yellowjacket ("Ant-Man"), Doomsday ("Batman v Superman: Dawn of Justice") — yes, I had to look up the names of these villains because they were that forgettable — all looked really menacing, but that's about it. The most tolerable of late have been David Thewlis as Sir Patrick/Ares in "Wonder Woman," and Kurt Russell's Ego in "Guardians of the Galaxy Vol. 2." But Keaton gave Vulture a style and wicked swagger that puts him up there as one of the best villains in recent memory.
Since his first appearance in "The Amazing Spider-Man" #2 comic back in 1963, Toomes has been a favorite for his blue collar roots and motivation to give payback to those who tried to pull a fast one on him.
"Spider-Man: Homecoming" director Jon Watts and the Marvel Studios brass did a fantastic job of taking those roots of the character and updating them to fit the Marvel Cinematic Universe.
Toomes, in the movie, is a guy who is on the ropes financially. But thanks to all the Chitauri technology left behind after The Battle of New York, which took place in 2012's "The Avengers," he has a contract with the city to clean up the mess that will bring in some serious cash. Tony Stark's creation of the Department of Damage Control, however, strips Toomes and his team of the work.
All they are left with is some of the Chitauri tech.
With no other options, Toomes and his team begin to make weapons out of the material, and for years sell it on the black market at a hefty price. Toomes also builds jet-powered wings for himself to create his Vulture alter-ego. This leads to the present day when Spidey (Tom Holland) comes on the scene in New York.
To embody that character, Keaton is perfect casting. Well aware of the pressure that goes into these movies, having been the face of the "Batman" franchise in the late 1980s/early 1990s, the stage isn't too big for him. In fact, sometimes during his performance he seems to be working at half-effort (not a knock, but hey, this isn't heavy "Spotlight" material here). And he also possess the comedic talents needed for the lighthearted moments in the movie.
Keaton's greatness is personified in the scene when Peter Parker comes to pick up Toomes' daughter, Liz (Laura Harrier), for the homecoming dance, and Toomes realizes Parker is really Spider-Man. Keaton changes Toomes from a loving father busting the chops of the boy on a date with his daughter, to a serious killer. Sitting in the car with Parker as Liz runs off to see her friends, Toomes turns cold, and with a gun in his hand, attempts to scare Parker into keeping out of his affairs. But what's most scary isn't the situation, but how Keaton delivers the threat: He's a man who no longer has options. Society has forced him to a life of crime, and to provide for his family he can't stop. Keaton brings that across in such a way that you, as an audience member, are scared for Parker. Sadly, you don't get that kind of feeling with most superhero movie villains these days.
In a movie where Holland dazzles as the latest version of Peter Parker/Spider-Man, Keaton as Toomes really gives it that extra jolt it needs to be a fantastic moviegoing experience.
It's been a long time, but Sony is back to making great Spider-Man movies.
"Spider-Man: Homecoming," the latest reboot by the studio of the legendary Marvel superhero, took in an impressive $15.4 million at Thursday preview screenings, according to The Hollywood Reporter. This gives the movie a good chance for it to have an opening weekend of $100 million domestically, or more.
The Thursday figure is the third-highest of the year, only "Guardians of the Galaxy Vol. 2" ($17 million) and "Beauty and the Beast" ($16.3 million) did better. Both of those movies went on to have domestic opening weekends north of $150 million: $146.5 million for "Guardians" and $174.7 million for "Beast."
The only other movie so far in 2017 to hit the $100 million mark its opening weekend is "Wonder Woman" ($103 million).
"Homecoming" certainly has the weapons to get near the openings "Guardians" and "Beast" had, as Sony is releasing the movie on over 4,000 screens, and 392 of them are IMAX. Also helping the movie will be its great word of mouth, as it has a 94% rating on Rotten Tomatoes.
Tom Holland plays Spidey, who goes up against Michael Keaton as Vulture in this latest look at the comic book legend, which brings the story back to the character's high school days. This is the first time Sony and Marvel Studios have teamed up on the character (Sony previously went at it solo).
The previous version of Spider-Man, starring Andrew Garfield in the role, did not live up to the high standards his predecessor Tobey Maguire set.
Garfield's 2012 "The Amazing Spider-Man" only opened at $62 million (and went on to take in $757 million worldwide). The sequel in 2014 opened at $91 million ($708 million worldwide). These figures didn't cut it for a studio pushing out a blue chip IP.
It's looking like this time around, Sony is back on track.
The INSIDER Summary:
You know Chris Hemsworth (of "Thor" fame) and Liam Hemsworth (of "Hunger Games" and Miley Cyrus fiancé fame). But you may not know that there is a third, older Hemsworth: Luke.
He's 36 years old and, like his two younger brothers, he's an actor.
Luke Hemsworth has generally starred in thriller and science-fiction television shows and movies, like "Kill Me Three Times" and "Infini." His biggest role to date is Ashley Stubbs, the head of security on "Westworld."
He also stars as the titular outlaw in "Hickock," which hits theaters this weekend. Unfortunately for Luke, the reviews aren't very good. In a review for the Los Angeles Times, Michael Rechtshaffen wrote that Hemsworth "doesn’t add anything of character note to the extensive Hickok screen catalog, including portrayals by Jeff Bridges, Sam Elliott, and Sam Shepard."
Hemsworth is one of many in a long tradition of siblings with drastically unequal levels of celebrity. There's also, for example, the third of the "Property Brothers," JD Scott, and little Frankie Jonas, of the Jonas Brothers.
Luke told Us Weekly that the siblings keep an eye on each others' careers.
"We have a healthy rivalry with everything that we do," he said.
Whether it's falling in love on set or being friends with only other celebrities, celebrities tend to stick together. And no one's closer than family, so it's not too surprising when you find celebrities who follow their parents' or siblings' footsteps into stardom.
But there are also other siblings who, for whatever reason, fly under the radar. Mary Kate and Ashley Olsen have a sister named Elizabeth, and Chris and Liam Hemsworth are brothers. But did you realize there was yet another Olsen, and yet another Hemsworth?
These are the 15 siblings who aren't as famous as their famous brothers and sisters. Chances are, unlike their celeb relatives, you wouldn't recognize them if you passed them on the street.
Chris and Liam get a lot of attention, but they have an older brother named Luke Hemsworth.
The 36-year-old actor is a little shorter than his brothers — Luke is 5'11'' while Liam and Chris are both 6'3''. While he may not be as famous yet, Luke is on his way — he stars on HBO's "Westworld" as head of security, Ashley Stubbs, and in the movie "Hickock."
In addition to Elizabeth, Mary-Kate, and Ashley Olsen, did you know the three have an older brother named Trent Olsen?
Kate and Pippa are fashion icons, but their 29-year-old brother James Middleton is also stylish.
James ran a cake-making business and is trying to start a company called Boomf that makes marshmallows with edible pictures on them. It might sound silly, but he has reportedly raised £1 million in funding.
See the rest of the story at Business Insider
Sony has proven it can still produce money-making Spider-Man movies.
After two tries with Andrew Garfield as Spidey in 2012's "The Amazing Spider-Man" and its sequel in 2014 — both of which were financial and critical duds — the studio pressed the reset button on the franchise and enlisted the help of Marvel Studios to bring the character into its coveted universe.
The result is a monster hit.
"Spider-Man: Homecoming," budgeted at around $175 million with Tom Holland in the title role, opened over the weekend with an estimated $117 million domestically, according to the studio.
That's the second-largest opening for the franchise, behind the $151 million earned by 2007's "Spider-Man 3" (starring Tobey Maguire in the lead). It's also the second-largest opening weekend ever for a Sony picture. "Homecoming" surpassed 2002's "Spider-Man" opening of $114 million to claim second place all-time.
The movie kicked things off strong on Friday with $50.5 million earned on the day (including $15.4 million from Thursday previews) and the weekend has only gotten better for Sony as the movie, which played on over 4,300 screens, continued to exceed all industry projections to easily win the weekend box office.
It also didn't hurt that the rest of the releases this weekend weren't major, so the rest of the top earners were in their second weekends. "Despicable Me 3" came in second with $34 million, and "Baby Driver" took third with $12.8 million.
This time around, it's clear fans are excited to get more movies featuring their friendly neighborhood Spider-Man.
It looks like Daniel Craig isn't giving up his license to kill just yet.
According to The Daily Mirror, Bond producer Barbara Broccoli has finally secured the actor to come on board and play 007 for a fifth time.
"It’s taken time but Daniel has come round and the strong consensus in the Bond offices is that Mr. Craig is 007 again," a source told The Daily Mirror.
Craig famously said while doing press for the last Bond movie, "Spectre," that he'd rather "slit my wrists" than play Bond again. But time and a lot of money can heal wounds. Last September it was reported that Craig has been offered £150 million to continue playing 007 for two more films. And later that month Callum McDougall, an executive producer on the last four Bond movies, told the BBC that Craig is still their "first choice" for the role.
The Daily Mirror also reports that Broccoli is "determined" to get Adele to return to sing the upcoming movie's title track. Her song for the opening of 2012's "Skyfall" earned her an Oscar for original song. The movie was one of the franchise's most profitable titles, earning over $1 billion worldwide at the box office.
The 25th movie in the James Bond franchise currently has no release date. MGM declined to comment to Business Insider about Craig and Adele's involvement in the project.
"Spectre" grossed over $880 million worldwide.
In the reboot of the “Planet of the Apes” franchise, we’ve gone through two movies that depict the events leading to apes taking over the world. And in the third, “War for the Planet of the Apes” (opening in theaters Friday), we receive the most somber chapter yet.
With “Rise of the Planet of the Apes” and “Dawn of the Planet of the Apes,” the ape Caesar (Andy Serkis) has gone from a baby raised with love by humans, to the reluctant leader of an evolved ape army that is overpowering the human race (which is dwindling drastically thanks to a deadly flu). But for “War,” director Matt Reeves (who also directed “Dawn of the Planet of the Apes”) delivers a dark and powerful look at humanity's last stand.
Reeves combines the feel of a war movie like “Apocalypse Now” or “Platoon” with the flashy special effects you find in most summer movies. This gives us a rare Hollywood blockbuster that is as deep in story as it is dazzling to watch.
If you don’t fully recall the previous two movies, it would probably be good to rewatch them, but it's not required. “War” does well not leaning too heavily on characters and events that happened previously. The biggest thing to know is Caesar never wanted to fight the humans, but he’s been given no other choice.
In “War,” the apes have buried themselves deep in the forests near San Francisco trying to stay clear of any humans. But an elite special forces team, led by “The Colonel” (Woody Harrelson), is driven to find them and take out the mythical Caesar, who they haven’t heard from or seen in years.
The movie opens with an incredibly tense attack by the humans on a group of Caesar’s apes. When the humans look to have the upper hand, Caesar and his reinforcements appear on horseback and take back their turf. Those captured by Caesar’s apes, including an ape who is a scout for the The Colonel’s platoon (referred to as “Donkey”), are all set free. Caesar tells them to send a message back to The Colonel that they won't kill humans if they agree to no longer come after them. But The Colonel doesn't care for the message.
Later that evening, The Colonel and his men come back to finish the job, and in doing so kill Caesar’s wife and son. Caesar vows revenge, and leaves the other apes behind to go in search of The Colonel. His trusty friends Maurice, Luca, and Rocket come along.
The new "Apes" movies have always been about Caesar’s journey, but this one really drives home his internal conflict. He’s forced to kill men and apes, leading to him finding more pain than satisfaction following the death of his own family. And just like the previous two, Andy Serkis delivers a powerful performance that’s as heart-wrenching and complex as any performance by a human character you’ll see this year.
“War” also introduces us to some new characters. A young girl Caesar and his team come across named Nova (she goes on to become the woman who befriends Charlton Heston’s George Taylor in 1968’s “Planet of the Apes”), and another talking ape known as “Bad Ape” (played by Steve Zahn). Both will certainly become a bigger part of the movies going forward.
The studio behind the “Apes” movies, 20th Century Fox, looks to be building a niche of blockbusters geared towards those who are searching for more mature stories. With “Deadpool,” “Logan,” and now “War for the Planet of the Apes,” it’s fun to see what else they have in store, as audiences certainly seem to be into it.
And with “War” expected to make some strong box office returns, more “Apes” movies are certain to be on the horizon. The big question is with Reeves moving over to direct the upcoming standalone “Batman” movie, starring Ben Affleck as The Dark Knight, can Fox keep him at the helm?
The INSIDER Summary:
Writer-director Christopher Nolan admits that he didn’t know how popular Harry Styles was before casting him in "Dunkirk." Styles is, of course, best-known to most teens and millennials as one-fourth of the British pop quartet (formerly quintent) One Direction, whose hits include such global smashes as “What Makes You Beautiful,” “Best Song Ever” and “Story of My Life.”
Outside of Morgan Spurlock’s 2013 documentary, "One Direction: This is Us," Styles has never made any appearances in front of the camera as an actor – which perhaps the reason Nolan didn’t realize who the singer was, exactly, when it came to auditions for his upcoming World War II epic.
According to The Hollywood Reporter, Nolan says he was only aware of Styles thanks to his kids, but had no idea of the sort of global appeal the singer – whose about to embark on a solo tour across the world – had with pop music fans. Nolan says:
“I don’t think I was that aware really of how famous Harry was. I mean, my daughter had talked about him. My kids talked about him, but I wasn’t really that aware of it. So the truth is, I cast Harry because he fit the part wonderfully and truly earned a seat at the table.”
There’s really no reason to doubt Nolan is sincere in his remarks since through his 19-year film career he’s generally cast talented actors in his projects in favor of brand name celebrities or movie stars. In fact, Nolan not only assembles his casts from the best actors available in the pool of talent from today, he has a knack for remembering venerable performers like Rutger Hauer ("Batman Begins"), Tom Berenger ("Inception") and Matthew Modine ("The Dark Knight Rises") who have otherwise sadly fallen off of other big name directors’ radars.
Whether Styles has the chops to make it as a film actor is yet to be seen, but given the confidence Nolan has in the singer-turned-actor, Dunkirk is as good a first chance to prove himself worthy as Styles could have hoped for. Of course, there will always be skeptics who claim Nolan cast the singer to help market his film, but the truth of the matter is, the director’s films have always contained concepts (like "Inception" and "Interstellar") or iconic figures (Batman and The Joker) who are far bigger than any actor who has appeared in them. Dunkirk will be no different.
"Spider-Man: Homecoming" came out this past weekend to critical acclaim. It also performed well at the US box office, earning $117 million in its opening weekend.
But despite the anticipation for Spider-Man's first solo entry into the Marvel Cinematic Universe, "Spider-Man: Homecoming" didn't win the title of best opening weekend for a Spider-Man movie, according to Box Office Mojo.
And it didn't even get close.
That said, the latest movie is the runner-up for Spider-Man opening weekends, narrowly beating out the first one in 2002.
It might be surprising to hear how the Spider-Man movies stack up for opening box office weekends. The one holding the record for the best opening weekend is the worst Spider-Man movie, and the most emo one: "Spider-Man 3," which earned $151 million.
Considering terrible reviews from critics and audiences, that's quite surprising. But the very, very excellent "Spider-Man 2" (seriously, it is so good) probably built a lot of hype for people to see the next installment as soon as it came out. However, "Spider-Man 2" had the second lowest opening weekend turnout at $88 million.
"The Amazing Spider-Man," starring Andrew Garfield and Emma Stone, had the lowest at $62 million.
Here's how they all stack up:
From instant classics like “Memento” and “Inception,” to his flawless “The Dark Knight” trilogy, director Christopher Nolan has spent his career telling unique stories while pushing the medium. And for his latest movie, “Dunkirk” (opening July 21), he’s pushed it further than most ever have.
Recounting the evacuation of close to 400,000 British soldiers from Dunkirk, France during World War II, Nolan tells the story in three parts: soldiers on the Dunkirk beach trying to survive as German planes drop bombs on them, British Spitfire aircraft trying to shoot down the German bombers, and civilian boats taking a day trip to assist in the evacuation.
In typical Nolan fashion, he goes beyond the norms to depict the events. Filmed with little dialogue and a non-linear story, powered by the ticking clock score of composer Hans Zimmer, it’s the incredible images filmed on an IMAX camera that move the story.
Business Insider spoke to Nolan about the challenges of making “Dunkirk,” using as little CGI as possible to pull off the action, casting Harry Styles in one of the main roles, and why he can’t get enough of the comedy “MacGruber.”
Jason Guerrasio: One of the big things I took away from the movie was how intimate the setting and characters were compared to the subject matter and the IMAX format. I hope that reaction doesn't disappoint you.
Christopher Nolan: No. I refer to it as an intimate epic. That was very much my ambition for this film. To immerse the audience in aggressively human scale storytelling, visually. And by contrasting multiple points of view but each told in a disciplined way. Try and build up a larger picture of the extraordinary events at Dunkirk.
Guerrasio: So was that one of the biggest challenges of pulling off this project? Condensing the events at Dunkirk into intimate storytelling.
Nolan: Well, the tension between subjective storytelling and sort of the bigger picture is always a challenge in any film, particularly when you're taking on, which I never have done before, historical reality. So I really wanted to be on that beach with those guys. I wanted the audience to feel like they are there. But I also need them and want them to understand what an incredible story this is. I never wanted to cut out generals in rooms pushing things around on maps, so I settled on a land, sea, and air approach. I settled on subjective storytelling shifting between very different points of view. You're there on the beach with the soldiers, you're on a civilian boat coming across to help, or you're in the cockpit of the Spitfire dogfighting with the enemy up above.
Guerrasio: That's what's crazy, though the story is told on a huge IMAX screen, the shots from inside the cockpit of the Spitfire feel claustrophobic.
Nolan: What I love about IMAX is with its extraordinary resolution and color reproduction it's a very rich image with incredible detail. It lends itself wonderfully to huge shots with much in the frame. Thousands of extras and all the rest. But it also lends itself to the intimate, the small, the detail, incredibly well. The high aspect ratio on those screens, you're getting the roof of the set, the water creeping in from the bottom, you can get a very tactile sense of the situation we're trying to present.
Guerrasio: You've done more with an IMAX camera on this movie than anyone has yet, is there something you will never try to attempt again with this equipment in a future movie?
Nolan: I think, to be perfectly honest, everything we managed to do with the IMAX camera has encouraged us to try more and more.
Guerrasio: So there wasn't one thing you were like, "Nope, never again."
Nolan: No. I think in truth the only real limitation for me of those cameras is we haven't found a way to make them sufficiently soundproof to record dialogue. For other filmmakers this wouldn't be a problem, but I personally really like to use the dialogue that's recorded live on set. I don't like to ADR [additional dialogue replacement] things. I think you lose something in the performance. So that means that any time there's a really intimate dialogue scene, I need to use another format. In this case, for "Dunkirk," we used 5 perf-65mm. So our kind of smaller format was the format “Lawrence of Arabia” was shot on.
Guerrasio: What is your approach to editing? It's important for every filmmaker but your stories are often told in a unique way where editing really must be a high priority. Do you edit while shooting?
Nolan: My approach to the edit is I have a great editor in Lee Smith who I have worked with for years, he edits as we go along. He assembles the film. I tend not to look at any of that. I don't cut while I'm shooting. I'm too busy shooting. I watch dailies every day the old fashioned way, which I'm surprised so few filmmakers do anymore. It used to be a requirement of the job. But we project our dailies on film everyday and we sit there and talk about what we've done and sort of steer the ship. Lee goes ahead and edits but I tend not to look at those cuts unless there's a problem. If he sees a problem and thinks we've missed something at that point I'll go in and look at stuff. But generally what I do is I wait until filming has finished and then we get into the edit suite and start again from scratch. We view all the data and we start building it up from the beginning.
Guerrasio: Was there any specific sequence in this movie that was a challenge in the edit?
Nolan: The aerial sequences were particularly challenging because the reality of aerial sequences is they are tremendous eye candy. You watch the dailies you just want to use everything. But you have to be constantly aware in the edit that story drives everything for an audience. And if there isn't a new story point being made you have to be disciplined, so in the aerial sequences we were throwing away some of the most incredible aerial footage that I've ever seen and not putting it in the film because that's what you have to do. You have to trust that with what you are putting in there you are going to convey that sense of visceral excitement and wonderment that you felt in the dailies. That's always a challenge and it takes a long time to hone the whole thing down from a longer cut to a shorter cut.
Guerrasio: I couldn't tell what was visual effects and what was practical in this movie, particularly the sinking destroyers and dogfights. How much visual effects were used?
Nolan: I’m very proud with the visual effects being as seamless as they are. I worked very closely with my visual effects supervisor, who was there shooting with me on set. He basically was doing himself out of a job because he was able to help me achieve things in-camera that would have actually been visual effects and then didn't need to be. So, there's really nothing in the film that isn't in some way based in some kind of practical reality that we put in front of the camera. We didn't want anything to go fully CG and I'm very proud to be able to say that of my films this is the first time when we've been able to make a film that I actually can't remember which of the shots are visual effects and which aren't in some of the sequences. We've never been able to get to that point before.
Guerrasio: So the Spitfire doing the water landing, that was a replica plane?
Nolan: Yeah, we built a full size replica Spitfire and landed it on the water for real. And we actually strapped an IMAX camera to it for the crash and the thing sank much more quickly than we anticipated, because you never know, no one has done this before. And in the hours it took to retrieve the IMAX camera its housing, which was a big plastic barrel, actually had a hole in it and the entire thing filled with water. So the camera was completely submerged. But we called the lab and they clued us into an old fashioned technique that used to be used on film shoots. You keep the film wet, you unload the camera, and you keep it damp the whole time. We shipped it back to Los Angeles from the set in France, and they processed it before drying it out and the shot came out absolutely perfect and it's in the film.
Nolan: Try doing that with a digital camera! [Laughs]
Guerrasio: The scores in your movies are always so memorable, how did the second hand on a clock ticking theme come to you, and how did that evolve with your composer Hans Zimmer?
Nolan: The screenplay had been written according to musical principals. There's an audio illusion, if you will, in music called a "Shepard tone" and with my composer David Julyan on "The Prestige" we explored that and based a lot of the score around that. And it's an illusion where there's a continuing ascension of tone. It's a corkscrew effect. It’s always going up and up and up but it never goes outside of its range. And I wrote the script according to that principle. I interwove the three timelines in such a way that there's a continual feeling of intensity. Increasing intensity. So I wanted to build the music on similar mathematical principals. Very early on I sent Hans a recording that I made of a watch that I own with a particularly insistent ticking and we started to build the track out of that sound and then working from that sound we built the music as we built the picture cut. So there's a fusion of music and sound effects and picture that we've never been able to achieve before.
Guerrasio: You certainly gained your auteur status some time ago, but you also manned a huge Hollywood franchise, I want your perspective on today's blockbuster making. Has the director's voice been lost in today's blockbuster? It seems producers like Kathleen Kennedy at Lucasfilm and Kevin Feige at Marvel Studios are making all the creative moves.
Nolan: I think the Hollywood machine as an industrial process, there's always been a tension between art and commerce in Hollywood filmmaking, so the machine itself is often looking for ways to depersonalize the process so that it is more predictable as an economic model. But in truth, thankfully for directors it never works. [Laughs] Not long term. The director is, I think, the closest thing to the all-around filmmaker on set. You need a point of focus, a creative point of focus, through which the rest of the team's input can be focused on and I think the director is the best person suited to do that. At the end of the day, I think directors have always been absolutely driving the creative process.
Guerrasio: But the argument can be made that currently the producers on particular tentpole projects are the creative point of focus and they then hire a crew, including a director, who will follow that vision. I'm sure you had to listen to your share of notes from Warner Bros. while making your Batman movies, could you make a franchise movie in today's conditions?
Nolan: I think those conditions are being overstated. Like, everyone talking about "Star Wars" as an example are willfully ignoring what J.J. Abrams did in the process. Which isn't appropriate, J.J. is a very powerful creator. Not to mention, George Lucas, by the way. [Laughs] I mean, there is a bigger reality here in terms of where these things actually come from.
Guerrasio: Obviously, there's always the originator. Which, thankfully, is an individual and not something done by committee.
Nolan: Well, and I don't think anybody thought that Jon Favreau was doing a sensible thing by casting Robert Downey Jr. as Iron Man, but what an incredible decision he made. There's an entire industry based on that now.
Guerrasio: Very true. And we can pivot that a little to you casting Harry Styles. Many were scratching their heads about that casting and I think many will see you’ve really discovered a talent. Do you pat yourself on the back with this one or was it casting director magic?
Nolan: Oh, I'm very much patting myself on the back. [Laughs] Well, I'm the guy who is always taking it on the chin if I make the wrong decision. The truth is ever since I cast Heath Ledger as The Joker and raised all kinds of eyebrows, I've recognized that this is my responsibility and I really have to spot the potential in somebody who hasn't done a particular thing before. Because whether you're taking about Harry Styles or Mark Rylance you don't really want to cast them in a position where they are doing something they've already done. You want to give the audience something different. So you're looking at their talent and how that can be used. The truth is, Harry auditioned for our casting director, he sent the tape along. The casting director rightly pointed out how good it was. We threw him into the mix with many, many other young men and he earned his seat at the table over a series of very hard-fought auditions.
Guerrasio: He's very good in the movie.
Nolan: I’m very excited for people to see what he has done in the film. I think it's truthful and it's a very tough role he's playing, too.
Guerrasio: Do you get to watch a lot of new releases? Do you try to keep up on everything?
Nolan: I do when I'm not working. It depends on what phase I'm working. Obviously, this year I've been very buried in my own process. But in between films I absolutely try to catch up on everything.
Guerrasio: When's the last time you've laughed uncontrollably while watching a movie.
Nolan: Oooo. [Pause]
Guerrasio: There has to be one.
Nolan: Oh, there are many, but I'm trying to think if there's a recent. You know, I've been outed in the past as a "MacGruber" fan and I have to say there are a couple of moments in that film that had been howling uncontrollably.
Guerrasio: Give me one in particular, I have to know.
Nolan: [Laughs] I'm not going to go any further!
The Marvel movie ends, and the credits start to roll. You see some people in your row start to gather their things and leave. Amateurs.
But not you. You stay in your seat, just like you have since you first saw "Iron Man" in 2008 and heard whispers of an extra scene after the credits. It seemed unlikely — why would anyone want to stay that long once the film is over? But you waited, and your patience was rewarded. Now you know not to leave the theater until every last name has scrolled past and employees are starting to sweep up popcorn.
Now 16 movies deep, the Marvel Cinematic Universe is famous for its post-credits scenes. Some are used to tease new characters and plotlines, while others are there to give a wink to hardcore comics fans.
Viewers of Marvel's latest, "Spider-Man: Homecoming," are treated to two more. They're worthy additions to Marvel's already extensive collection.
Here is the definitive ranking of Marvel's post-credits scenes:
Note: This list contains spoilers for "Spider-Man: Homecoming."
28. "Thor: The Dark World"— The kiss
Look, I'll be honest, I haven't seen "Thor: The Dark World." It's the only Marvel movie that I've missed, and at this point I haven't heard anything that makes me want to go back and watch it.
That said, I'm confident that this is the worst post-credits scene that Marvel has put out. It doesn't tease a future plotline or character, and it's not remotely funny. I'm glad I didn't sit through the credits to watch this.
27. "Captain America: The Winter Soldier"— The twins
A generally underwhelming scene is buoyed somewhat by the appearance of two new characters: Quicksilver and Scarlet Witch.
26. "Doctor Strange"— "Too many sorcerers"
Doctor Strange was a niche, unfamiliar property for many moviegoers. Perhaps a post-credits scene focusing on the creation of a niche, unfamiliar villain was not the best way to go. Unlike most Marvel post-credits scenes, this one did not leave me wanting to see what was going to happen next.
See the rest of the story at Business Insider
Have you ever stared at a movie theater screen and wondered, What the heck is going on behind that thing?
If so, a few Reddit users have answered your inquiry with two pictures that reveal the inner workings of that crucial centerpiece of the movie theater experience: the screen.
Redditor acamu5x first posted the following image on the site:
The surprising detail, for those who are unfamiliar with what goes on behind the screen, is that there are speakers in the screen itself, projecting the deafening sounds of (more than likely) the Marvel Cinematic Universe, right at your face.
In the spirit of one-upmanship, Redditor Sid_00 then posted an image of an IMAX screen, "for scale."
Notice the construction workers in the top right corner of the screen, seemingly risking their lives to bring you a high-quality experience of "Spider-Man: Homecoming."