As January winds down, Netflix has announced its crop of movie and TV titles coming to the streaming service next month.

Don't expect a lot of new romantic titles for Valentine's Day. Instead, we'll be getting the entire series of "American Pie" movies and "Kill Bill." Those getting excited for the "Ocean's" spin-off can catch up on all of the previous releases. 

There are also plenty of Netflix originals ranging from a "Queer Eye" reboot to an anticipated interview between David Letterman and George Clooney. "Community" star Joel McHale will return to the small screen with his own weekly show. Fans of "Fullmetal Alchemist" can look forward to a live-action movie of the popular anime series.

Finally, if you're following along with the Oscars, you can watch "On Body and Soul," which is nominated for best foreign language film. 

You can see the full list of what's coming to Netflix below. We've highlighted our favorites in bold.

Available 2/1/2018

"3000 Miles to Graceland"
"42 Grams"
"Aeon Flux"
"American Pie"
"American Pie 2" 

"American Pie Presents: Band Camp" 
"American Pie Presents: The Book of Love" 
"American Pie Presents: The Naked Mile" 
"Ella Enchanted" 
"Extract"
"GoodFellas"
"How the Beatles Changed the World" 
"John Mellencamp: Plain Spoken" 
"Kill Bill: Vol. 1" 
"Kill Bill: Vol. 2" 
"Lara Croft: Tomb Raider"
"Liberated: The New Sexual Revolution" 
"Lovesick" 
"Meet the Fockers"
"Meet the Parents" 
"Men in Black" 
"National Parks Adventure"
"Ocean's Eleven" 
"Ocean's Thirteen" 

"Ocean's Twelve" 
"Paint It Black" 
"Scream 3"
"The Hurt Locker" 
"Walk Hard: The Dewey Cox Story" 
"Z Nation: Season 4"

Available 2/2/2018

"Altered Carbon" Season 1 NETFLIX ORIGINAL
"Cabin Fever"
"Coach Snoop" Season 1 NETFLIX ORIGINAL
"Kavin Jay: Everybody Calm Down!" NETFLIX ORIGINAL
"Luna Petunia: Return to Amazia" Season 1 NETFLIX ORIGINAL
"On Body and Soul" NETFLIX ORIGINAL

Available 2/6/2018

"Fred Armisen: Standup For Drummers" NETFLIX ORIGINAL
"Valor" Season 1

Available 2/7/2018

"Imposters" Season 1
"Queer Eye" Season 1 NETFLIX ORIGINAL

Available 2/8/2018

"6 Days" 
"The Emoji Movie"

Available 2/9/2018

"Fate/Apocrypha: Part 2" NETFLIX ORIGINAL
"My Next Guest Needs No Introduction With David Letterman: George Clooney" NETFLIX ORIGINAL
"Seeing Allred" NETFLIX ORIGINAL
"The Ritual" NETFLIX ORIGINAL
"The Trader" (Sovdagari) NETFLIX ORIGINAL
"When We First Met" NETFLIX ORIGINAL

Available 2/14/2018

"Greenhouse Academy: Season 2" NETFLIX ORIGINAL
"Love Per Square Foot" NETFLIX ORIGINAL

Available 2/15/2018

"Deep Undercover Collection" Collection 2
"Re:Mind" Season 1 NETFLIX ORIGINAL

Available 2/16/2018

"DreamWorks Dragons: Race to the Edge" Season 6 NETFLIX ORIGINAL
"Evan Almighty"
"Everything Sucks!" Season 1 NETFLIX ORIGINAL
"Irreplaceable You" NETFLIX ORIGINAL
"First Team: Juventus" Season 1 NETFLIX ORIGINAL

Available 2/17/2018

"Blood Money"

Available 2/18/2018

"The Joel McHale Show with Joel McHale" NETFLIX ORIGINAL

Available 2/19/2018

"Dismissed"
"FullMetal Alchemist" NETFLIX ORIGINAL

Available 2/20/2018

"Bates Motel" Season 5
"The Frankenstein Chronicles" Season 1 and Season 2-- NETFLIX ORIGINAL

Available 2/21/2018

"Forgotten" NETFLIX ORIGINAL
"Lincoln"
"The Bachelors"

Available 2/22/2018

"Atomic Puppet" Season 1

Available 2/23/2018

"Marseille" Season 2 NETFLIX ORIGINAL
"Mute" NETFLIX ORIGINAL
"Seven Seconds" Season 1 NETFLIX ORIGINAL
"Ugly Delicious" Season 1 NETFLIX ORIGINAL

Available 2/24/2018

"Jeepers Creepers 3"
 
Available 2/26/2018

"El Vato" Season 2
"Heyday of the Insensitive Bastards" 
"People You May Know" 
"Sin Senos sí Hay Paraíso" Season 2
"Winnie"

Available 2/27/2018

"Derren Brown" The Push NETFLIX ORIGINAL
"Marlon Wayans" Woke-ish NETFLIX ORIGINAL

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NOW WATCH: Here's how the map of the United States has changed in 200 years

• John Nelson, the Oscar-winning visual effects supervisor on "Blade Runner 2049," walks through how he made a CGI version of the franchise's memorable Rachael character for the movie.
• The process took a year of trial and error, which was all done under secret shooting sessions and a code name.
• Sean Young, who played the character in the original movie, was also brought on to supervise.

With a total of 1,200 visual effects shots in “Blade Runner 2049” — that comes out to 1:45 of the movie’s total running time of 2:43 — Oscar-winning VFX supervisor John Nelson and his team logged in major hours to go a step beyond the 1982 original movie’s legendary sci-fi look.

But there was a particular scene in the movie that Nelson and director Denis Villeneuve paid special attention to — and it has led to Oscar nominations for the movie.

Toward the end of the movie when Deckard (Harrison Ford) meets Niander Wallace (Jared Leto), he is offered something very near and dear to him in exchange for information on where Wallace can find the only known child replicant. From the shadows appears Rachael, played by actress Sean Young, the beautiful replicant who is also Deckard’s love interest in the original movie. For the “2049” scene, Rachael looks like she hasn’t aged a day from when we saw her in the original movie, and that’s because Nelson and his team pulled off a flawless CGI version of Young to bring back the character for the sequel.

This is just the latest example of recent major blockbuster movies using computer graphics to de-age an actor. We’ve seen it with Kurt Russell in “Guardians of the Galaxy Vol. 2,” Johnny Depp in “Pirates of the Caribbean: Dead Men Tell No Tales,” Robert Downey Jr. in “Captain America: Civil War,” and Michael Douglas in “Ant-Man.” That's not even counting “Rogue One,” in which a younger version of deceased actress Carrie Fisher appears in her Princess Leia role and Peter Cushing, who had been dead for 22 years at the time of the movie’s release, shows up in CGI form reprising his Governor Tarkin role from “Star Wars: A New Hope.”

Nelson and Villeneuve were aware of most of these past VFX landmarks, but felt they could go a step beyond those. Nelson was tasked to make the best CGI human ever put on screen yet.

“I looked at all the digital human work and for the most part I could see where it all falls down,” Nelson told Business Insider. “We tried to build on the shoulders of everything that had been done before us.”

What Nelson found was that it’s not enough to use motion capture to create the face you want to portray. There are small details to include that can’t be ignored to pull off the task. But it took him a year of trial and error to realize that.

Here’s how CGI Rachael was achieved:

Creating the digital skull

Rachael was given the code name “Rita” during filming, and the scene was done often with a very small crew to ensure that what was being done would not get out to the public.

Nelson and his team started by creating a digital skull of the Rachael character. They scanned Young’s head and then were able to find a life cast of her that was done a few years after the original “Blade Runner." By combining both they created a CGI skull of her. Nelson and his team than began de-aging the CGI head using footage from the original “Blade Runner” as a guide.

Shooting the scene with a body double and Sean Young’s guidance

While all of that was going on, back on set Villeneuve shot the “Rita” scene with Ford and Leto. Actress Loren Peta was brought on as the Rachael body double. With Nelson and Young also on hand, the scene was done with dots all over Peta’s face, which would be needed when the footage went through the motion-capture phase. Peta’s face would be erased, and CGI Sean Young would be inserted.

“Sean would be sitting with Denis and they’d be talking about Loren’s performance as Rachael,” Nelson said. “She would advise him on the movements and the looks of Rachael. ‘I would have done it this way or that way,’ she would tell Denis.”

Back to the drawing board

At this point Nelson took the footage shot and inserted what they had done with CGI Rachael, and showed what they had to Villeneuve and the producers. But no one was that impressed.

“They were like, ‘Well, it really looks like a woman that looks a lot like Sean Young, but it doesn’t look like Sean Young,’” Nelson recalled. “So I went back to the drawing board.”

Nelson went even deeper, and that’s where he found pay dirt.

“What I found is it's her imperfections that make her beautiful,” he said. “Her eyes are not symmetrical, her eyes actually stick out of her head a little more than most people. We studied how makeup was done when 'Blade Runner' was made. In fact, we went to every woman on the crew and asked about how makeup was done in the 1980s. We learned about the right shade of lip stick. Just subtle things from the first movie that we could put into our Rachael.”

Nelson went back to Denis and the producers with four scenes from the original “Blade Runner” and inserted CGI Rachael into a single shot in each scene. But he didn’t tell them what he did.

“The producers and Denis were like, ‘John, this is great but why are we looking at the first movie?’ and I told them what I did and they couldn’t tell, they actually got upset,” Nelson said. “They were like, ‘Why didn’t you tell us?’ And I was like, ‘Isn’t that the point? It’s supposed to be like the real thing.’”

• Tom Cruise finally joined Instagram Thursday morning.
• His first two posts tease his next "Mission: Impossible" movie.
• The star revealed the name of the next movie will be "Fallout."
• Cruise also teased a stunt with him hanging from the side of a helicopter.

Tom Cruise joined Instagram Thursday to tease a first look at the next "Mission: Impossible" movie out this summer.

Cruise revealed the name of the sixth movie in the franchise will be "Fallout" with a simple caption, "Get Ready."

The 55-year-old actor also teased his next big death-defying stunt by showing a photo of him hanging off the side of a helicopter.

"We’ve upped the ante for the sixth #MissionImpossible. I can’t wait for you guys to see more," Cruise captioned the photo.

The 55-year-old actor has famously committed to doing his own stunts in movies. For the last movie, "Rogue Nation," Cruise trained to hold his breath under water for about six minutes. He also held onto the side of a moving plane. Hanging off the side of a helicopter in the new film? No big deal. 

According to Paramount, "Fallout" will reunite Ethan Hunt (Tom Cruise) and the Impossible Missions Force agency (Alec Baldwin, Simon Pegg, and Ving Rhames) "in a race against time after a mission gone wrong." Henry Cavill and Angela Bassett will join the cast.

"Mission: Impossible — Fallout" is set to hit theaters July 27, 2018. We're hoping for the first trailer to arrive in the coming weeks.

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• Oscar-winning actress Lupita Nyong'o plays Nakia in Marvel's "Black Panther" movie.
• Her character is a warrior and street fighter, so Nyong'o had to bulk up for the role.
• In an interview with The Hollywood Reporter, Nyong'o says she went to boot camp.
• I remember coming home for Christmas and I couldn't fit into my clothes," she said.
• Her training included practicing jujitsu and capoeira and ring blades.

Marvel's highly anticipated "Black Panther" movie features Oscar-winning actress Lupita Nyong'o. In a new interview with The Hollywood Reporter, Nyong'o explains how her preparation for the role of the warrior Nakia involved a lot of intense workouts and bulking up. 

"It started off four hours a day, then it was reduced to two when I started bulking up — I remember coming home for Christmas and I couldn't fit into my clothes," Nyong'o said. "We would have warm-ups together, then break off and do our individual techniques. Nakia is a street fighter, so I had jujitsu and capoeira and ring blades."

In a Marvel video showcasing the warriors of "Black Panther," Nyong'o explains how the character Nakia "challenges tradition" in the storyline. Her four hours of training a day was essential in order for Nyong'o to perform the stunts and fight choreography involved in the movie. 

Watch the video below to see Nyong'o in action:

During her conversation with THR, Nyong'o revealed that — despite her hard training — she actually injured herself on the first day of shooting for "Black Panther." 

"I was fighting some bad guys, and it involved doing this scissor move. So I jumped up, and my legs went out and grabbed his waist, but I ended up spraining my MCL [medial collateral ligament]," Nyong'o said. "I had to wear a brace for two weeks. Luckily, the next fight scene I had was two weeks later. I got hurt on schedule."

Nyong'o is from Nairobi, Kenya, where her father is a prominent politician. She signed onto "Black Panther" (which takes place in a fictional African nation called Wakanda) even before seeing the script. As explained in her THR profile, Nyong'o believes making this first black superhero movie a success is important.

"We were creating an aspirational world where an African people are in charge of their own destiny," she told THR. "And that really appealed to me and had the little girl inside me jumping for joy. To just have African people, black people, at the center of that narrative is so exciting."

"Black Panther" arrives in theaters on February 16. 

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• The "Star Wars: The Last Jedi" tie-in novelization will be released March 6.
• It will contain extended, new, and deleted scenes that weren't included in the movie.
• One of the scenes will feature Han Solo's funeral after he was killed off at the end of "The Force Awakens."

If you weren't satisfied with "Star Wars: The Last Jedi" or have been on the edge of your seat waiting for deleted scenes some of the wait is almost over. 

YouTube's "The Star Wars Show" confirmed the tie-in novelization for "The Last Jedi"will contain expanded and deleted scenes from the "Star Wars" sequel. Director Rian Johnson said he met with Jason Fry, the author behind "The Last Jedi" novelization, to write new scenes for the book.

What sort of scenes will be in the book?

• Han Solo's funeral scene
• Rose and her sister Paige together
• More scenes showing what goes on at the casino city of Canto Bight.

"We got to talk through some interesting additional scenes from the film," said Johnson. "That's kind of the fun stuff you can get into a novel that you can't always get onto the screen."

These shouldn't be the only deleted scenes fans can expect to hear about. We're still waiting for Disney to announce the home release of "Star Wars: The Last Jedi" for this year.

The "Star Wars: The Last Jedi" novelization will be released March 6 by Lucasfilm and Del Rey.

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As the 2018 Academy Awards draw closer, it's time to dive into the numbers and check out which of the best-picture winners are the biggest moneymakers of all time at the box office.

There are some obvious ones here, but thanks to inflation, there are a few titles that may surprise you.

Here are the top 15.

Note: All box-office figures are domestic grosses only and include any earnings from rereleases. All figures are from Box Office Mojo.

SEE ALSO: 5 reasons "Wonder Woman" was one of the most important films of 2017, and deserved a best picture Oscar nomination

15. "The Best Years of Our Lives" (1946) — $504.9 million

Unadjusted: $24 million

14. “Rocky” (1976) — $505 million

Unadjusted: $117 million

13. “Lawrence of Arabia (1962) — $508 million

Unadjusted: $45 million

Jimmy Kimmel will be hosting the 2018 Oscars, to be held Sunday, March 4, on ABC.

He'll probably do a great job. But there are other options.

For the most part, the hosts for major awards shows are the same people who host late night comedy talk shows. Seth Meyers just handled the Globes, Jimmy Kimmel emceed last year's Oscars, Stephen Colbert had the Emmys, and James Corden will host the Grammys again in January.

It makes sense. Hosting a major awards show is a tough job. They seem perpetually at risk of becoming stale, solemn affairs. It's up to the host to keep it energetic, manage egos of big stars, and honor the TV shows, movies, or songs at the same time. This is pretty much what late-night talk show hosts do on a smaller scale every night.

But in a Balkanized media landscape, where there are so many different kinds of shows, movies, and types of music on so many different kinds of platforms, there's also something to be said for ejecting the standard trope of having a white male late-night funnyman host the show.

There's plenty of talent in all corners of the industry. Take Tina Fey and Amy Poehler, two "Saturday Night Live" alumni who made the Golden Globes ceremonies a blast when they hosted. And while Anne Hathaway and James Franco flopped the year they hosted the Oscars, it doesn't mean the show should do away with having a pair of actors try it again.

Here are 27 potential Oscar hosts who could inject some more fun into the show while keeping it classy. Heck, come to think of it, they could work for the Golden Globes or Emmys as well.

Issa Rae

The showrunner, actress, and writer is best known for HBO's "Insecure," but she's ready for a bigger spotlight. Rae is charming and hilarious in every interview she gives, and she has the chops to put on a good show and give every star their due.

Samantha Bee

Give a female late-night talk show host a chance! The Jimmys are fine, but Bee's TBS show "Full Frontal" is just as funny and much, much sharper — particularly when it comes to the position of women in society, which is currently plaguing Hollywood. She could do a lot with a stage like the Golden Globes or Oscars.

Ellen DeGeneres and Jon Stewart

Ellen did a great job at the Oscars in 2014. Give her another go! In the past few years, her star has only risen as she's figured out how to grab viral moments from the web and translate them to everyone, or cause viral moments herself.

Jon Stewart is a little musty, but he's due for a return. His dry, cutting humor is a perfect compliment to Ellen's shrewd, bubbly approach. Pairing them together would be perfect.

• Many Disney animated film locations are based on or inspired by real-life destinations.
• Paradise Falls from Pixar's "Up" was based on the real Angel Falls in Venezuela.
• Both Cinderella's Castle and Sleeping Beauty's castle were inspired by Neuschwanstein Castle in Germany.

The most iconic Disney movie settings don't just come from animators' imaginations; they are usually inspired by actual places.

From the fjords in Norway that influenced the design of the Arendelle kingdom in "Frozen," to the real-life Cinderella's Castle that can be found in Bavaria, Germany, INSIDER has rounded up 16 of the most popular Disney movie locations that you can visit in real life. 

Keep scrolling to start your bucket list of Disney-inspired destinations that every fan should see in their lifetime. 

The Neuschwanstein Castle is a 19th-century palace overlooking the Bavarian Alps.

The pointed towers and turrets of this castle, which was built for the 19th-century Bavarian king, Ludwig II, are instantly recognizable to Disney fans. 

Both Cinderella's castle and Sleeping Beauty's castle were modeled after Neuschwanstein.

Neuschwanstein Castle is said to have been the major inspiration for Cinderella and Sleeping Beauty's castles, both on and off the screen.

In Disney World, you can see how closely the real and fictional castles resemble each other. 

The Notre Dame cathedral is one of the most recognizable landmarks in Paris.

The Notre Dame cathedral in Paris is well-known as the setting for Victor Hugo's "The Hunchback of Notre Dame" novel. 

• "Star Wars: The Last Jedi" director Rian Johnson said in a new interview that fan backlash to his "Star Wars" movie led him to "a very dark hour of the soul."
• Though "The Last Jedi" earned a 90% "Fresh" rating among critics on Rotten Tomatoes, audiences had mixed reactions to the film, some of which were fervently negative. 

"Star Wars: The Last Jedi" director Rian Johnson continued to discuss the fan backlash to his critically acclaimed "Star Wars" entry in a new interview with The /Filmcast. 

Days after "The Last Jedi" premiered in December, Johnson told Business Insider's Jason Guerrasio that the fan backlash he encountered on social media "always hurts," but that he didn't "take it personally if a fan reacts negatively and lashes out on me on Twitter."

Though "The Last Jedi" earned a 90% "Fresh" rating among critics on Rotten Tomatoes, audiences had mixed reactions to the film. While many praised Johnson's new direction for the franchise, there were also fervent detractors, including a group that petitioned to remove "The Last Jedi" from the "Star Wars" canon entirely. 

In his interview with The /Filmcast, Johnson further addressed how he initially had a tough time processing the negative fan response, which led him to "a very dark hour of the soul."

"The crazy thing is, I had no perspective on these tweets. I had no perspective in terms of how big a group of people this was, even what they were upset about specifically,” he said. "Over the next few weeks, I was able to contextualize it and feel much better about it. But at the time, I thought, 'Oh my god, does everybody hate this? Did I totally mess up, was I wrong?' And I had a very dark hour of the soul … because I had no context for this."

Johnson went on to say that he wouldn't change "The Last Jedi" in retrospect, despite some fans' disapproval.

"There’s nothing I’ve read or seen that’s made me think, 'Oh god, I did kind of mess that up, I would’ve done that differently if I could go back,'" he said. "I still genuinely believe in all the decisions I’ve made."

SEE ALSO: 'Star Wars: The Last Jedi' director Rian Johnson reacts to the backlash and addresses the movie's most shocking moments

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• Actress Lupita Nyong'o plays Maz Kanata in the new "Star Wars" trilogy.
• Before landing the role, she underwent an elaborate process in order to read the script.
• Nyong'o said she was on vacation in Morocco when the opportunity came up.
• Disney sent an assistant to her hotel with the script locked inside a "contraption."
• "I had a certain number of hours to read the script and the assistant was just waiting," she told The Hollywood Reporter.

When Lupita Nyong'o was first asked to join the cast of "Star Wars: The Force Awakens," she was vacationing in Morocco. But that didn't stop director J.J. Abrams from getting the super-secret script into her hands. 

"An assistant was flown to my hotel, with a script in a locked contraption," Nyong'o recently told The Hollywood Reporter. "It looked like something out of 'Star Wars.' And he made me sign something and gave me instructions."

Disney and LucasFilm had tight security when it came to "The Force Awakens" details. The scripts were even printed on red paper, since since the colored pages would come out as all-black on a regular photocopier.

"I had a certain number of hours to read the script, and the assistant was just waiting — waiting in Morocco for me to finish reading so that he could put it in that locked thing and take it back," Nyong'o said.

Once Nyong'o was officially brought onto the project, she filmed scenes for "The Force Awakens" while wearing motion-capture (or mo-cap) gear. The process of getting her into the suit and ready for filming reportedly took two full hours.

After her larger role in "The Force Awards," Nyong'o made a brief cameo as Maz in "Star Wars: The Last Jedi." She told THR she doesn't know yet if she's returning for the third and final movie in the franchise (which will once again be helmed by director J.J. Abrams).

For more on Nyongo's life and career, you can read the full THR profile here.

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• Emo Kylo Ren is a perfect parody of the popular "Star Wars" character.
• The Twitter account (@kyloR3n) has been around since December 2015, but no one knew who ran the account.
• Washington Post writer Alexandra Petri is behind the popular Twitter account.

If you're a fan of a galaxy far, far away and are actively on Twitter, you probably follow the Emo Kylo Ren parody account @kyloR3n. But you probably didn't know who runs the account, until now.

The face behind the account isn't a man. It's Washington Post writer Alexandra Petri (@petridishes).

The account, which launched December 21, 2015, following the "Star Wars: The Force Awakens" premiere, perfectly imagines what Ben Solo/Kylo Ren was like growing up. Sometimes he writes Dear Diary entries to his beloved grandpa and other times he's talking about his budding friendship with General Hux.

Other times, he's just being an angsty teen.

Petri told SyFy Wire she created the parody account after she didn't see anyone else creating something similar.

"I left the theater after 'Force Awakens' thinking, 'This guy is clearly ridiculous,'" Petri said. "I waited a while and [the internet] still wasn't full of jokes about how ridiculous Kylo Ren was, and that was the only content I wanted to consume. So, finally, I was like, 'I need to be the change I want to see in the world.' So I started the account. Because I just had so many jokes about this guy."

The parody account resurfaced in December after the release of "Star Wars: The Last Jedi." 

The film's shirtless Kylo scene and his Force conversations with Rey have served as fodder for Petri's growing list of Twitter material.

"There have been some changes," said Petri. "He's been working out. He made a friend on 'ForceTime' or Skype or whatever the term is people have decided to use for it. He's undergone stuff. He almost made a good choice. He's been growing and changing and now he's in a new phase. So I feel like there's this new side of him to explore because before it was like a whiny teenager who doesn't understand anything."

@KyloR3n currently has over 915,000 followers on Twitter. You can follow along with the account here.

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• The movie-theater subscription service MoviePass is getting into the distribution business, as it has teamed with The Orchard to acquire a Sundance Film Festival title.
• A day after the buy at Sundance, MoviePass announced its service would no longer be available at some AMC theaters.
• A media analyst believes MoviePass is "skating on thin ice."

It's been a roller-coaster ride this week for MoviePass.

On Wednesday, the movie-theater subscription service announced that it was teaming with a distribution company, The Orchard, to take the North American rights for "American Animals," a heist movie that premiered at the Sundance Film Festival. Then on Thursday, MoviePass revealed that it was pulling its service from some AMC theaters.

Entering the acquisition game with MoviePass Ventures, the company hopes that by investing in movies it can share in their box-office success. Such investments could help counter losses from the company's main business model, in which it pays the full price for tickets at most theaters where MoviePass subscribers use the app.

There's skepticism, however, that this is the right move for MoviePass.

"It's a diversion from their focus and a loss, as most film investments are," Hal Vogel, a media analyst who founded Vogel Capital Management, told Business Insider. "In my opinion, they're skating on thin ice."

Another move that will not be universally praised is MoviePass’ decision to pull its service from some theaters owned by AMC, the largest movie chain in the US. Subscribers will no longer be able to use the app at major theaters like Empire 25 in New York City, Universal CityWalk in Los Angeles, and AMC Loews Boston Common, according to Deadline.

In all, 10 AMC theaters have been pulled from the service, according to Ted Farnsworth, the CEO of Helios and Matheson Analytics, the parent company of MoviePass, in a statement to Business Insider.

In a statement about the move obtained by Business Insider, MoviePass CEO Mitch Lowe said: "As we continue to strive for mutually beneficial relationships with theaters, the list of theaters we work with is subject to change."

MoviePass covers over $2 million in ticket sales weekly to AMC, according to Deadline.

Though AMC is the country's biggest chain, MoviePass probably anticipated problems early on. Ever since the company decided to change its model in the summer to a $9.95-a-month subscription plan, a big price cut that in some cases would cause the company to lose money on subscribers who see just one movie a month, AMC has been lukewarm about being supportive.

The chain initially announced it was looking into whether it could block the service from its theaters, saying it would create unrealistic expectations about ticket prices, but it eventually decided to continue accepting MoviePass.

Lowe has said the company's goals going forward include making deals with exhibitors to get discounted tickets in exchange for promotion and using its data to help market movies. But that never seemed likely to happen with AMC.

On a earnings call in November, AMC CEO Adam Aron said: "AMC has absolutely no intention, I repeat no intention, of sharing any — I repeat, any — of our admissions revenue or our concessions revenue with MoviePass."

Farnsworth's statement to Business Insider, however, suggests MoviePass sees itself as having some leverage in relationships with theaters.

"We already know in past testing that MoviePass subscribers are not theater-loyal," Farnsworth said. "They're happy to drive by a theater that may be closer to a theater that will accept MoviePass — because of the MoviePass value."

At the same time, Vogel believes pulling out of some AMC theaters in major cities represents a "significant loss of traction."

Business Insider contacted AMC for comment but did not get a response.

SEE ALSO: The 15 Oscar best-picture winners that made the most money at the US box office

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• Once beloved by critics, Oscar frontrunner "Three Billboards" is facing a backlash.
• Critics find the movie overly forgiving of a racist police officer character.
• It also doesn't say much of substance about small-town America.
• The movie also has a cruel streak, pigeonholing Peter Dinklage for his dwarfism.
• Overall, it's important to keep in mind that people still mostly like the movie.

As the Oscar race heats up, a backlash is brewing.

Once largely loved by critics, "Three Billboards Outside Ebbing, Missouri" now has a target on its back.

"Three Billboards," directed by Irish playwright and filmmaker Martin McDonagh and starring Frances McDormand, is currently the Oscar frontrunner. It has seven nominations, behind "The Shape of Water" with 13 and "Dunkirk" with eight, but it's already secured important precursor awards, like the Screen Actors Guild best ensemble prize and last year's Toronto International Film Festival's audience award.

People aren't happy about it. Some critics find the movie — about a mother who challenges local police in her small town when they fail to find the person who raped and killed her daughter — as wildly inflammatory about race and generally tone-deaf. In an age of racism, they argue, awarding it the best picture Oscar would be inappropriate and a shame after the top prize went to "Moonlight."

Here's everything you need to know about the backlash for "Three Billboards."

One character is a racist — and gets undeservedly redeemed.

The biggest criticism of "Three Billboards" is about the supporting character, Officer Dixon, played by Sam Rockwell, who is nominated for an Oscar for his performance.

Dixon is loudly racist, isn't shy with racial slurs, and talks about how he's harmed black suspects in his custody. You'd think a movie would have some measure of criticism when dealing with racist cops, particularly in the age of Black Lives Matter, but it doesn't. Dixon's racism falls into the background, almost as a character quirk, and instead he has a redemption arc when he eventually helps Frances McDormand's character seek justice for her daughter.

The movie treats Dixon's racism as an abstraction: He's dealt with his frustration of his low-income upbringing and overbearing mother by asserting power as a police officer when he can get away with it. But there's no black presence onscreen to reckon with. Late in the movie, his department gets a new police chief, who is a black man. He quickly fires Dixon, leading Dixon to learn the error of his ways, but never becomes a substantial character in his own right. The only black character of note plays a supporting role in a white character's storyline about racism.

And why wasn't Dixon fired earlier for, say, being racist? As Woody Harrelson's Chief Willoughby explains, "You got rid of every cop with vaguely racist leanings, you’d have three cops left and all of them would hate the f-gs."Critics aren't willing to swallow that, and the movie doesn't interrogate that premise. Furthermore, Willoughby himself is painted as a sort of saintly man with a deep sense of decency. Letting Dixon's racism slide doesn't support that depiction.

The movie makes some jokes about racism and political correctness, but doesn't go anywhere with them. As Wesley Morris wrote for the New York Times: "There’s certainly a place for a white artist to poke, laughingly, at our racial and class messes. (Mel Brooks, for instance, excelled at it.) But Mr. McDonagh doesn’t want to do more than poke."

McDonagh has an inauthentic idea of small-town America.

The title and location of "Three Billboards,"Morris notes, makes it seem like the movie is saying something grand about human nature in small-town America. But none of it rings true.

The details seem off. Harrelson's character has an exoticized foreign bride. One character throws someone out a window, another drills a hole in someone's hand, and nothing happened to either of them. The whole idea of shaming the cops with three billboards doesn't ever seem convincing.

It's all incongruous, and ends up feeling hokey rather than have the sharpness of the Coen Brothers, whose movies operate in a similar dark comedy register. These quirks seem more particular to McDonagh, who also directed "In Bruges" and "Seven Psychopaths," than about a real town.

"McDonagh has proven time and again his taste for tee-hee, finger-to-the-mouth naughtiness, so this film’s litany of politically incorrect humor (words bandied about include 'f----t,' 'n----r,' 'c--t,' 'fat little Mexican boys,' and McDonagh’s favorite, if In Bruges is any indication, 'midget') comes across as an all-purpose mannerism of the filmmaker rather than a choice specific to this script and milieu,"writes Reverse Shot's Michael Koresky.

Even positive reviews say the movie feels artificially constructed, closer to a play than an immersive movie.

"You can take the playwright out of the theater, but you can’t take the theater out of the playwright,"Owen Glieberman wrote for Variety. "[McDonagh] built 'Three Billboards' around the kind of constructed encounters, the carefully layered motifs and metaphors, that are the hallmark of a well-made play. Ebbing is a small town, but in this movie it’s the kind of small town that feels as if it has just nine people in it."

It doesn't need to humiliate Peter Dinklage.

Dinklage has a supporting role in the movie, where he's frequently mocked because he has dwarfism. It's a thankless role that underlines the movie's cruelty.

It's also a bizarre role for Dinklage at this point in his career. Unfavorable depictions of people with dwarfism are nothing new in movies, but why would the star in "Game of Thrones" accept it? While George R. R. Martin's series uses Tyrion Lannister's dwarfism to explain his drive without making him a stereotype, Dinklage's "Three Billboards" character is his entire being.

"Hollywood’s ability to squander Dinklage’s talents isn’t the worst or only tragedy of the industry’s narrow-mindedness,"Alyssa Rosenberg wrote in The Washington Post. "Seeing Dinklage in one of these roles again, despite everything he has accomplished over the past seven years, is one of the most lacerating things about 'Three Billboards Outside Ebbing, Missouri.'"

Overall, reviews of the movie is positive.

It's worth noting that while "Three Billboards" has its haters, critics generally liked it. The movie has a 93% positive score from critics on Rotten Tomatoes, and McDormand's performance is almost universally praised as one of her best.

Still, the movie seems to worsen upon consideration, and enthusiasm for it is fading. Now that the final round of voting for the Oscars is in before the March 4 ceremony, its chances look dimmer. Dampened hype like this matters, as was proven last year when "Moonlight" won best picture while people started souring on "La La Land." Perhaps the best picture winner will be "The Shape of Water" after all.

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• Jonathan Watson directed the Sundance movie, "Arizona."
• It marks his directorial debut after over two decades being an assistant director for movies and TV.
• A big reason he got to make the movie was because Danny McBride passed on "Arizona," which was going to be his debut as a director.

For over two decades, Jonathan Watson has worked as an assistant director on some of the biggest movies to come out of Hollywood. On “Bad Boys,” “The Truman Show,” “21 Jump Street,” “The Disaster Artist,” and many more, he was the man responsible for not just managing the sets, but also assisting in the vision of high-profile directors. 

But with the extremely dark comedy, “Arizona,” which had its world premiere at the Sundance Film Festival last week, Watson has finally made it to the director’s chair, and a big assist by Danny McBride made it happen. 

Screenwriter Luke Del Tredici wrote the project as a vehicle for McBride. The story is set in Arizona during the midst of the housing crisis, and follows a single mother named Cassie who is tormented by a character called Sonny after she witnesses him commit a murder. This leads to a violent cat-and-mouse chase as Cassie tries to flee from Sonny in their neighborhood that is pretty much abandoned due to the housing crash.

Two year ago, McBride considered taking on “Arizona” as his directorial debut, and cast Seth Rogen in the role of Sonny. But after disagreements with the financier on who should play the lead actress, and Rogen admitting that McBride was more suited for the role of Sonny, McBride decided to pass the directing baton to his friend Watson. This gave the veteran AD his long-awaited opportunity to direct.

Baptism into the industry working on movies like "Bad Boys" and "The Truman Show"

Watson began working as an assistant director at 24, and in just a few years found himself on the biggest movie sets Hollywood had to offer.

He was a 2nd AD on “Bad Boys,” Michael Bay’s box-office smash debut, and looking back on it now he calls the experience a “baptism under fire.”

“Those movies are as tough as they get because if you run that set and you set something wrong people die — literally,” Watson told Business Insider.

He recalls setting up a shot on the movie where an actor driving a vehicle had to race past a row of cameras. But Watson got worried when he saw a group of guys rigging explosions nearby the shot. He told the guys to move. When the scene was shot, the actor mistakenly hit the gas instead of the brake and crashed. Everyone was fine, Watson said, but where the crash occurred was right were the guys had been setting up.

“I realized, don’t think that somebody else is going to ask those questions,” Watson said. “Trust your gut.”

A few years later, he took over the 1st AD role on director Peter Weir’s “The Truman Show,” and once again found that anticipating all scenarios is a requirement of the job. This was especially true when scenes needed 300 extras, and had specific places everyone needed to hit to display the made-for-television world Jim Carrey’s Truman Burbank character was unwittingly living in.

Then there was anticipating the mind of Carrey.

“It was intimidating,” Watson said of working with the actor. “When he would go there would be this explosion of energy, you just had to have everything ready. In one scene I realized I had to have stunt men in the shot, not extras. It was a scene that has some physicality in it, and I thought they can't just be extras because he's going to go at them full tilt like a linebacker.”

More 1st AD jobs would come — “The Thomas Crown Affair,” “Reign of Fire,” “Bruce Almighty” — and in many of those instances, he was also directing second unit. But he had to keep any aspirations of directing his own movies to himself. He learned the reality of being a good assistant director is to be ready whenever your director calls on you.

“When you get hooked up with a team, you don't say no,” Watson said. “I know guys who work for Steven Spielberg, when he's ready for prep, the people he needs, whatever movie they’re on, they are off to go work with Spielberg. That's how it is with a lot of big directors. And once you say 'no' to them you're off the train forever.”

Watson was getting steady work with a couple of directors, and it was pretty clear: “Most directors don’t want to hear the first AD talking about how he wants to direct,” Watson said.

Finally getting into the director's chair

Watson did almost direct movies a few times. In one instance, a script he wrote made the rounds but ended up in development hell. Another time he was all set to direct a project, with the full blessing of the big-name director he had worked with for numerous projects. However, when that big-name director’s (who Watson declined to name) latest movie bombed at the box office, Watson’s hopes to do the movie suddenly vanished.

“I would just put my hopes aside and go back to the day job,” Watson said.

Watson found his way to working with McBride, and his pals Jody Hill and David Gordon Green, at their Roughhouse Pictures shingle by first working with Seth Rogen and Evan Goldberg on “The Green Hornet.”

Sony’s 2011 movie about the beloved masked crime fighter, which starred Rogen in the lead (he also cowrote the script with Goldberg), was a box-office bomb. It was one of those instances, Watson said, that he was called at the last second to be the 1st AD. Sony didn’t like director Michel Gondry’s longtime AD and replaced him with Watson.

“It was a crazy shoot,” Watson said, but Rogen and Goldberg liked Watson and had him come and be 1st AD on their directorial debut, “This Is the End,” which McBride starred in. McBride and Hill then nabbed Watson to be 1st AD on the second season of “Eastbound & Down.”

“There’s a lot of joy in getting a big movie completed,” Watson said. “And working with Danny and Jody you get a similar joy because they create a real bond with everyone working with them because they want to make great movies.”

But working with Watson on season 2 of “Eastbound,” followed by "Vice Principals," in which Watson was a producer and shot second unit, McBride could tell Watson wanted more.

“I remember Danny asked me, ‘You want to direct, right?’” Watson recalled. “And in the past I would play it off but in reality, at that point, I was slowly thinking about it more and more. So I said I did and he handed me the script to ‘Arizona.’”

“Helping anybody who has talent get an opportunity to execute is rewarding," McBride told Business Insider in an email about passing the project to Watson. "Helping a friend and a good person who has seen and done as much as he has in the industry is a no brainer."

With McBride playing the Sonny role, Rosemarie DeWitt as Cassie, and a supporting cast made up of Kaitlin Olson, Luke Wilson, and David Alan Grier, “Arizona” is certainly an attractive title for buyers at Sundance. And now with the first one out of the way, Watson thinks he’s ready to quit his day job and stay put in the director’s chair.

“There’s something with Seth and Evan I might direct, Danny has a script, I don’t fully know yet, but I think the new dawn is here,” Watson said.

SEE ALSO: The 17 biggest Oscar snubs of 2018

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• Brie Larson was announced to star in "Captain Marvel," Marvel's first stand-alone female superhero movie in its cinematic universe, in 2016.
• The first photos of her in costume appeared online.
• Fans are applauding the costume's functional footwear.
• Other female comic-book characters ranging from Wonder Woman to Gamora ("Guardians of the Galaxy") have worn heels or wedges in battle.

We finally have our first look at Oscar-winner Brie Larson's Marvel superhero in costume after some photos from set hit the web.

Take a look:

In contrast, here's how Captain Marvel's costume usually looks in the comics:

While some fans are a bit mixed on the deviation from Captain Marvel's traditional red and blue costume, others are applauding the costume for one thing: her footwear.

Take a close look at Captain Marvel's boots in her costume and you'll notice there's no heel or built in heel to elevate her foot. They're flat and functional. And that's just how they should be for anyone who's fighting crime.

Fans who have noticed the push for form over fashion are very happy with Marvel's choice for the heroine.

This reaction is in direct contrast to when Wonder Woman's costume was first revealed in 2015 at San Diego Comic Con. Many fans were disappointed by the Amazonian's lack of appropriate footwear. Instead of a flat heel or more Gladiator-style type shoe, her foot was on a platform wedge.

As SuperheroNews.com executive editor Sean Garber pointed out, other recent female comic characters ranging from Catwoman in "The Dark Knight" trilogy to Gamora in "Guardians of the Galaxy" have all worn either heels or some sort of wedge while in combat.

Running in heels is near impossible. Now imagine kicking, jumping, or flipping around while in them and trying to maintain balance. It's not practical.

The boots are welcome on Larson's superhero Carol Danvers who has super speed, strength, and the ability to fly. In the comics, she has been a member of the Avengers.

"Captain Marvel" is expected to hit theaters March 8, 2019. 

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• Steven Soderbergh's next movie, "Unsane," was shot with just an iPhone.
• The director might never go back to traditional cameras again.

Steven Soderbergh has spent his career making maverick moves when it comes to how he shoots his projects. In the early 2000s he was a major promoter of shooting on digital film, now he's using iPhones.

For his next movie, "Unsane," in which Claire Foy (Netflix's "The Crown") plays a character who is involuntarily committed to a mental institution, the Oscar-winning director shot the entire movie on an iPhone. And it sounds like he loved it so much he wants to do it exclusively for now on.

“I think this is the future,” Soderbergh told Indiewire. “Anybody going to see this movie who has no idea of the backstory to the production will have no idea this was shot on the phone. That’s not part of the conceit.”

Soderbergh has loved to mess with new technology over his career. In 2005 he was one of the biggest directors to shoot on HD video with the low budget movie "Bubble." For many years he's shot using the RED camera, because it complemented his fast-paced workflow (the director is known for having scenes he shot in a day completely edited by that evening). Now it looks like the iPhone is his latest tech love affair.

“People forget, this is a 4k capture,” Soderbergh said of the iPhone. “I’ve seen ['Unsane'] 40 feet tall. It looks like velvet. This is a game changer to me.”

Soderbergh is hardly the first filmmaker to shoot a movie with a phone. Before making "The Florida Project," director Sean Baker used only iPhones to shoot "Tangerine." But to completely ditch traditional cameras for an iPhone would be a revolutionary next step in filmmaking, especially for someone of Soderbergh's caliber.

"There’s a philosophical obstacle a lot of people have about the size of the capture device," Soderbergh told Indiewire of shooting with an iPhone. "I don’t have that problem. I look at this as potentially one of the most liberating experiences that I’ve ever had as a filmmaker, and that I continue having. The gets that I felt moment to moment were so significant that this is, to me, a new chapter.”

You will get to see for yourself what Soderbergh is talking about when "Unsane" opens in theaters March 23.

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• HBO has bought the rights to "The Tale," a hit at Sundance, reportedly for $7 million.
• In the film, director Jennifer Fox recounts being sexually abused at the age of 13.
• Laura Dern plays Fox, who after coming across a story she wrote at 13, begins to uncover her "special" relationship with two adult coaches.
• The movie got an incredible response at the Sundance Film Festival.

HBO has picked up the worldwide rights to Sundance hit "The Tale" starring Laura Dern for $7 million, according to The Hollywood Reporter.

As THR notes, it's rare for HBO to buy a finished narrative film out of a festival. The company usually prefers to develop in-house.

The movie comes from director Jennifer Fox, who has spent her career making documentaries. With this movie, Fox turned to narrative storytelling and uses the structure to explore her experience with sexual abuse.

In the era of the #MeToo and Time’s Up movements, “The Tale” is a project that has shown up right when everyone in Hollywood is publicly grappling with sexual misconduct. But the process of making "The Tale" started long before the Harvey Weinstein sexual misconduct allegations kick-started the conversation.

Unlike documentaries, which can be shot and edited at a quick pace (while a hot-button issue is in the zeitgeist), narrative storytelling takes a lot longer. You have to develop a script, get the money, cast it, shoot it, edit it, and so on. It takes years, and can lead to movies with a social pulse feeling dated when finally released.

Fox didn’t anticipate our culture’s current examination of sexual misconduct when she decided to make “The Tale,” but sometimes a story and an issue link up.

"The Tale"

At 13 years old, Fox wrote a story titled “The Tale” for a school project. It addressed a girl talking about her “special” relationship with two adult coaches — one male, one female. She said the work was fiction, but in fact it was all too true. Fox has now taken it and adapted it into a movie.

In the film, Laura Dern plays Jennifer. Like Fox, she’s a thriving documentarian. But when her mother (Ellen Burstyn) comes across “The Tale” story she wrote at 13, she sends it to her daughter as she realizes, reading between the lines, that what Jennifer wrote was truth not fiction.

At first, Jennifer deflects her mother’s theory. Reading the story she composed 40 years ago, she doesn’t see anything that would suggest that the relationships she had with her coaches (the female, her horse riding coach; the male, her running and conditioning coach) were inappropriate. But quickly her childhood memories return, and eventually Jennifer heads out on a fact-finding mission that leads to her confronting the two coaches (played by Frances Conroy and the late John Heard in the present day, and Jason Ritter/Elizabeth Debicki in flashbacks).

But what is striking about “The Tale” is the unconventional way the story is told.

Flashbacks and unreliable memories

Fox uses flashbacks to recount her 13-year-old self in the 1970s. But she often replays scenes and sequences numerous times, as the character receives revelations from friends and family that change what she thought happened. This dramatizes how memory can never be 100% reliable, and shows how the brain can alter facts to cope with bad memories.

Fox also uses her documentary style, setting up scenes in which grown-up Jennifer asks questions to her younger self, and the two coaches, as if the scenes were revealing one-on-ones for a doc.

However, the part of the movie that’s going to get the biggest reaction is the graphic nature of the sexual content. Fox doesn’t hold back in showing how the coaches manipulate Jennifer into a sexual relationship with the male coach, with scenes depicting the coach having sexual encounters with her, even taking her virginity.

The scenes are very tough to watch, but they are essential to the movie. They are not there to glorify or titillate, but to lay out to the audience how the coaches made Jennifer feel she was the one with the power, and was becoming a woman through their guidance, when in fact she was just their pleasure toy.

Dern gives a powerhouse performance as a strong-willed woman who has to reexamine her life. Child actress Isabelle Nélisse plays 13-year-old Jennifer with a maturity that’s astounding to watch. Burstyn, Ritter, Debicki, Conroy, and Heard all give strong supporting performances (Common plays Jennifer’s boyfriend — but it’s not his best work).

“The Tale” is the first movie that really epitomizes the #MeToo movement. Though there will likely be a lot of talk about the sex scenes in the movie, this is a story that needs to show the horrors to tell it correctly.

The powerful stories of victims revealed in newspapers, magazines, and websites since last October is what has made the country take notice. This is not the time to water things down.

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CollegeHumor released its annual roundup of "honest movie posters," which satirize the year's biggest Oscar nominees.

The biggest Oscar nominees are mostly pretty great, shedding light on gems like "Lady Bird" and "Call Me by Your Name." But they do have some problems, and these Photoshopped posters cleverly pick them apart.

Here are College Humor's 10 posters satirizing the the nominees in 2018's best picture category, along with "I, Tonya" for good measure.

"The Shape of Water" is about a romance between a woman and a fish man.

Not everyone thinks that's OK.

"Get Out" doesn't feel very fictional.

Like Jordan Peele said, "Get Out" is more like a documentary.

"Phantom Thread" has beautiful dresses.

What is "Phantom Thread" — the movie where Daniel Day-Lewis plays a couture dressmaker — even about? It's complicated, but the movie sure has a bunch of beautiful shots of dresses.

As Netflix will be releasing 80 new original films over the course of 2018, it's worthwhile to take stock of all that the service currently offers. 

While the company's first entry into the realm of big-budget films, the Will Smith-led "Bright," has been scorched by critics, Netflix CEO Reed Hastings has hailed the fantasy-action thriller as a commercial success that critics are "disconnected" from. 

On the opposite end of the critical spectrum, Dee Rees' period drama "Mudbound" recently earned the company four Oscar nominations in a record haul that appears to have legitimized Netflix as an awards season contender for feature films.

To figure out which Netflix original films are actually worth watching, we turned to the reviews aggregator Rotten Tomatoes to rank each release by its composite critical reception. We excluded documentaries and any film that didn't have enough reviews to receive a designation of "Rotten" or "Fresh," and we used audience scores to break ties.

Here are 49 of Netflix's original films, ranked from worst to best, according to critics:

SEE ALSO: All 54 of Netflix's notable original shows, ranked from worst to best

49. “The Ridiculous 6” — 0%

Critic score: 0%

Audience score: 31%

Netflix description: "When his outlaw dad is kidnapped, Tommy 'White Knife' Stockburn sets off across the West on a rescue mission with five brothers he never knew he had."

48. “The True Memoirs of an International Assassin” — 0%

Critic score: 0%

Audience score: 42%

Netflix description: "After his publisher markets his crime novel as a memoir, a novice author finds himself forcibly recruited into a deadly political plot in Venezuela."

47. “The Do-Over” — 5%

Critic score: 5%

Audience score: 42%

Netflix description: "The life of a bank manager is turned upside down when a friend from his past manipulates him into faking his own death and taking off on an adventure."

The most interesting people in the world are those who become president. What does it take to get to the top? And what happens when we take them down from their lofty status and find the humans inside them?

The best movies and TV shows do just that. But it always helps to look the part. So we put together a list of actors who played former presidents and how they compared to real life.

We didn't include fictional presidents — apologies to the corny bloviator in "Independence Day" and the sexual predator in "Love Actually"— and some presidents, like James Madison and Thomas Jefferson, surprisingly haven't received very dedicated pop culture depictions. For all you William Henry Harrison fans who want something more than a glorified cameo in a Western movie, sorry, you'll just have to wait a little longer.

This list also doesn't include any parodies. So while "Saturday Night Live" has some excellent impressions, they're not on this list.

Here are 24 actors who played the President of the United States and how they compared to the real thing.

For America's first president, George Washington doesn't have too many dedicated biopics. The fullest adaptation of his life is the 1984 CBS miniseries "George Washington," where he was played by Barry Bostwick.

The series covered his life from age 11 to 51, just before he began his presidency, and is based on James Thomas Flexner's mammoth biography.

He's a bit more rosy-cheeked, with rounder features, in Gilbert Stuart's famous 1796 portrait.

The best image we have of Washington wss painted in 1796, where Washington looks pretty different from Bostwick.

For our second president, John Adams, we have Paul Giamatti's portrayal.

He played the American politician in the 2008 HBO miniseries "John Adams."