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The 25 worst movies of 2016, according to critics

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independence day resurgence

As Hollywood is in the midst of another award season — when studios and publicists are hard at work touting the best movies of the year — deep in the bowels of the review aggregator Metacritic, you can find something different: the movies with the dishonor of getting the worst reviews of the year.

From blockbuster duds like "Independence Day: Resurgence" and "Warcraft" to indie misses like "Man Down" and "The Sea of Trees," plus the epically bad A-list romantic comedy "Mother's Day," there are some movies this year that the critics really, really didn’t like.

Here are the 25 worst-reviewed movies of 2016, as rated by critics' scores on Metacritic:

Note: Movies here are limited to those that had a theatrical release.

SEE ALSO: The 50 best TV show seasons of all time, according to critics

25. "Alice Through the Looking Glass"

Metacritic score: 34/100

What a critic said:"I removed my eyeballs from my head as soon as I got back from 'Alice Through the Looking Glass' and cleaned them in a sink."— RogerEbert.com



24. "Ice Age: Collision Course"

Metacritic score: 34/100

What a critic said:"It's time to put this franchise on ice for good."— Time Out London



23. "Zoolander 2"

Metacritic score34/100

What a critic said:"The first film scored a few palpable hits, but the new one barely makes the effort."— The New Yorker



See the rest of the story at Business Insider

The next 'Fast and Furious' movie has a wild twist — here's the first trailer

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dom vin diesel fast 8

After a brief teaser Friday, the first official trailer for the next "Fast and Furious" movie is here and everyone has the same reaction after watching it — Dom's gone bad?

The eighth film in the series, called "The Fate of the Furious," takes place after Dom and Letty are on their honeymoon and the rest of the "Fast and Furious" team has returned to a somewhat normal life. That radically changes when Dom gets roped back into the crime world via a mysterious woman played by Charlize Theron. 

All of a sudden everyone from the previous films is gathering together to take down Dom. But what about family, Dom?

This is the answer his wife Letty receives:

fast and furious 8 trailer

Brutal. Is Dom being brainwashed? Blackmailed? What's going on?

The next installment in the franchise will have the crew head to New York City and Cuba to the arctic Barents Sea.

Dwayne "The Rock" Johnson, Jason Statham, Michelle Rodriguez, Tyrese, Ludacris, Nathalie Emmanuel, and Kurt Russell return alongside Vin Diesel for the sequel. Theron, Scott Eastwood, and Helen Mirren join the Fast crew.

F8 looks like it will be as action-packed and over-the-top as the most recent ones in the franchise. "The Fate of the Furious" will be in theaters April 14, 2017.

Check out the trailer below:

 

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Here are all the nominees for the 2017 Golden Globes

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La La Land Lionsgate

Nominations for the 2017 Golden Globes were announced Monday morning at the Beverly Hilton Hotel in Los Angeles.

Anna Kendrick, Laura Dern, and Don Cheadle announced the nominations in a live stream.

The musical "La La Land," starring Ryan Gosling and Emma Stone, led the heap with seven total nominations, while "Moonlight" had the most of any dramatic film (six). "American Crime Story: The People v. O.J. Simpson" led the pack of TV nominees, while hits like "Westworld" and "Stranger Things" also found multiple nominations. 

Below is the complete list of nominees. 

The 74th Golden Globes ceremony airs on January 8 at 8 p.m. EST on NBC, hosted by Jimmy Fallon.

Best motion picture, drama

“Hacksaw Ridge”
“Hell or High Water”
“Lion”
“Manchester by the Sea”
“Moonlight”

Best motion picture, comedy or musical

“20th Century Women”
“Deadpool”
“La La Land”
“Florence Foster Jenkins”
“Sing Street”

Best director

Damien Chazelle, “La La Land”
Tom Ford, “Nocturnal Animals”
Mel Gibson, “Hacksaw Ridge”
Barry Jenkins, “Moonlight”
Kenneth Lonergan, “Manchester by the Sea”

Best actor in a motion picture, drama

Casey Affleck, “Manchester by the Sea”
Joel Edgerton, “Loving”
Andrew Garfield, “Hacksaw Ridge”
Viggo Mortensen, “Captain Fantastic”
Denzel Washington, “Fences”

Best actor in a motion picture, comedy or musical

Ryan Gosling, "La La Land"
Ryan Reynolds, "Deadpool"
Colin Farrell, "The Lobster"
Hugh Grant, "Florence Foster Jenkins"
Jonah Hill, "War Dogs"

Best actress in a motion picture, drama

Amy Adams, “Arrival”
Jessica Chastain, “Miss Sloane”
Isabelle Huppert, “Elle”
Ruth Negga, “Loving”
Natalie Portman, “Jackie”

Best actress in a motion picture, comedy or musical

Annette Bening, “20th Century Women”
Lily Collins, “Rules Don’t Apply”
Hailee Steinfeld, “Edge of Seventeen”
Emma Stone, “La La Land”
Meryl Streep, “Florence Foster Jenkins”

Best supporting actor in a motion picture

Mahershala Ali, “Moonlight”
Jeff Bridges, “Hell or High Water”
Simon Helberg, “Florence Foster Jenkins”
Dev Patel, “Lion”
Aaron Taylor Johnson, “Nocturnal Animals”

Best supporting actress in a motion picture

Viola Davis, “Fences”
Naomie Harris, “Moonlight”
Nicole Kidman, “Lion”
Octavia Spencer, “Hidden Figures”
Michelle Williams, “Manchester by the Sea” 

Best original score

“Moonlight”
“La La Land”
“Arrival”
“Lion”
“Hidden Figures”

Best TV series, comedy

"Atlanta"
"Blackish"
"Mozart In The Jungle"
"Transparent"
"Veep"

Best TV series, drama

“The Crown”
“Game of Thrones”
“Stranger Things”
“This Is Us”
“Westworld”

Best actor in a TV series, drama

Rami Malek, “Mr. Robot”
Bob Odenkirk, “Better Call Saul”
Matthew Rhys, “The Americans”
Liev Schreiber, “Ray Donovan”
Billy Bob Thornton, “Goliath”

Best actress in a TV series, comedy

Rachel Bloom, "Crazy Ex-Girlfriend"
Julia Louis-Dreyfus, "Veep"
Sarah Jessica Parker, "Divorce"
Issa Rae, "Insecure"
Gina Rodriguez, "Jane the Virgin"
Tracy Ellis Ross, "Black-ish"

Best actor in a TV miniseries or movie

Riz Ahmed, "The Night Of"
Bryan Cranston, "All the Way"
John Turturro, "The Night Of"
Tome Hiddleston, "Night Manager"
Courtney B. Vance, "People v. O.J. Simpson"

Best TV movie or mini-series

“American Crime”
“The Dresser”
“The Night Manager”
“The Night Of”
“The People v. O.J. Simpson”

american crime story The People v. OJ SimpsonBest screenplay, motion picture

Damien Chazelle, “La La Land”
Tom Ford, “Nocturnal Animals”
Barry Jenkins, “Moonlight”
Kenneth Lonergan, “Manchester by the Sea”
Taylor Sheridan, “Hell or High Water”

Best animated film

“Kubo and the Two Strings”
“Moana”
“My Life as a Zucchini”
“Sing”
“Zootopia”

Best foreign language film

“Divines”
“Elle”
“Neruda”
“The Salesman”
“Toni Erdmann”

Best original song

“Moonlight,” Nicholas Brittell
“La La Land,” Justin Hurwitz
“Arrival,” Jóhann Jóhannsson
“Lion,” Dustin O’Halloran and Hauschka
“Hidden Figures,” Benjamin Wallfisch, Pharrell Williams and Hans Zimmer

Best supporting actress in TV miniseries or movie

Olivia Colman, "The Night Manager"
Lena Headey, "Game of Thrones"
Chrissy Metz, "This Is Us"
Mandy Moore, "This Is Us"
Thandie Newton, "Westworld"

Best actress in a TV miniseries or movie

Felicity Huffman, "American Crime"
Riley Keough, "The Girlfriend Experience"
Sarah Paulson, "People v. O.J. Simpson"
Charlotte Rampling, "London Spy"
Kerry Washington, "Confirmation"

Best actor in a TV series, comedy

Donald Glover, "Atlanta"
Jeffrey Tambor, "Transparent"
Anthony Anderson, "Black-ish"
Gael Garcia Bernal, "Mozart in the Jungle"
Nick Nolte, "Graves"

Best supporting actor in TV miniseries or TV movie

Sterling K. Brown, "The People v. O.J. Simpson" 
Hugh Laurie, "The Night Manager" 
John Travolta, "The People v. O.J. Simpson" 
Christian Slater, "Mr. Robot" 
John Lithgow, "The Crown"

Best actress in a TV series, drama

Winona Ryder, "Stranger Things" 
Claire Foy, "The Crown" 
Evan Rachel Wood, "Westworld" 
Catriona Balfe, "Outlander" 
Keri Russell, "The Americans"

Cecil B. DeMille Award for Lifetime Achievement in Motion Pictures

Meryl Streep

SEE ALSO: The 25 worst movies of 2016, according to critics

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The biggest surprise Golden Globe nominee is on Netflix, and you need to see it

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Sing Street Weinstein Company

Part of the fun of finding out the Golden Globe nominations, which were announced on Monday, is seeing what kind of surprises the Hollywood Foreign Press Association throws at us. And we're quite happy with one of them: The movie "Sing Street," directed by John Carney, was nominated for best comedy or musical movie.

Unless you're really steeped in the world of independent film, you likely missed this one when it was in theaters in April. But the word of mouth around it will certainly kick up, thanks to the nomination.

This isn't Carney's first time delivering a cult hit. He directed the 2007 movie "Once," which won an Oscar for best song and became a hit Broadway show.

If you've seen that and you liked it, then you have to check out "Sing Street." Like "Once," it's powered by original songs, which are used to delve into the characters' feelings.

"Once" looks at the loneliness of two people who find each other in Dublin and begin to write love songs together. "Sing Street" is much more playful. It's set in 1980s Dublin and follows a boy who starts a rock band to impress a girl.

Here, Carney takes the usual beats of a teen comedy and combines that form with songs influenced by the bands the main character, Conor, admires, like Duran Duran and The Cure. We follow Conor as he recruits his band and uses some DIY tricks to pull off a music video, which features the girl he's trying to impress.

You can watch the whole movie on Netflix now— we highly recommend it. But in the meantime, check out one of the songs featured in the movie:

SEE ALSO: The 5 biggest winners and losers at the box office in 2016

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NOW WATCH: Watch the trailer for the new Martin Scorsese film that took over 20 years to make

Idris Elba says he's tired of the James Bond rumors: 'I don’t get a kick out of it'

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Idris Elba Anthony Harvey Getty final

Idris Elba told “Good Morning America” over the summer that it would take “the will of a nation” for him to become the next James Bond. That's because as far as he knew there had been no talks about him taking on the role of 007 following Daniel Craig's run, despite the rumors and fan hype.

Business Insider talked to Elba over the weekend about his upcoming movie, “100 Streets” (which opens in theaters in January), and we asked if there have been any new developments in the Bond campaign.

“Are people still talking about that?” Elba asked. “No man, I don’t know anything. There’s no update whatsoever.”

For the last year Elba has been one of a handful of stars, including Tom Hiddleston and Henry Cavill, who have been rumored to be in talks for the role or who have said publicly that they want to play 007.

It’s still a conversation that won’t die on the internet, as there has been no confirmation that Craig will return to play the character.

When asked if he gets a kick out of the continued rumors of him playing the character, Elba dryly replied: “No, I don’t get a kick out of it.”

MGM is developing the 25th James Bond movie. It currently does not have a release date.

SEE ALSO: The biggest surprise Golden Globe nominee is on Netflix, and you need to see it

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NOW WATCH: Here are all the major clues in 'Westworld' that hint to the identity of the 'Man in Black'

Neil deGrasse Tyson explains how 'Star Wars' lightsabers could actually work

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"Star Wars" lightsabers are a novel idea. They're lightweight, portable, and their laser-like beams can cut through just about anything. Unfortunately, the reality isn't so simple. Astrophysicist and "StarTalk Radio" host Neil deGrasse Tyson explains how the fictional blade would work in real life.

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StarTalk Radio is a podcast and radio program hosted by astrophysicist Neil deGrasse Tyson, where comic co-hosts, guest celebrities, and scientists discuss astronomy, physics, and everything else about life in the universe. Follow StarTalk Radio on Twitter, and watch StarTalk Radio "Behind the Scenes" on YouTube.

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People have seen the new 'Star Wars' movie and the early reactions say it's one of the best ones yet

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Star Wars Rogue One Jyn Erso lightened

Full reviews for "Rogue One: A Star Wars Story"are under embargo until 12 p.m. EST Tuesday, December 13. But the film premiered in LA Saturday night, and a lot of the celebrities and journalists who watched it have good things to say.

"Rogue One" is the first anthology film in the "Star Wars" franchise, meaning it doesn't take place in the main storyline. Instead, it's a spinoff film that takes place before the events of "Star Wars Episode IV: A New Hope," about a band of rebels who unite to steal the plans for the Death Star from the Galactic Empire.

Here's what some of the people who watched the film have to say:

"Last night #rogueone premiere was really fun. And the movie is really good and really dark(in a very good way),"Moby wrote on Instagram.

Last night #rogueone premiere was really fun. And the movie is really good and really dark(in a very good way). @lorimajewski

A photo posted by moby XⓋX (@moby) on Dec 11, 2016 at 7:50am PST on

 

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Meet Riz Ahmed, the breakout star everyone will be talking about after his 'Star Wars' role

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Riz Ahmed split

If the acting world has a breakout star of 2016, it's Riz Ahmed.

Since getting good reviews for a supporting role in "Nightcrawler" in 2014, Ahmed capitalized on the attention and captivated audiences as a less-innocent-than-he-looks murder accused in HBO's miniseries "The Night Of," and picked up a role in "Jason Bourne."

And he's not done yet. On December 16, Ahmed will be starring in "Rogue One: A Star Wars Story" as a pilot who plans to fly a crew into the middle of the Empire and steal away the plans for the Death Star.

Here's how the son of Pakistani immigrants became the breakout star of 2016.

Riz Ahmed was born in London in 1982 and still lives there.



He's the son of two Pakistani immigrants who came to the UK in the 1970s.

Source: The Guardian



He graduated from Oxford University, where he majored in philosophy, politics, and economics.

Source: The Guardian



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How an award-winning documentary was allegedly blacklisted by Netflix

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In just four years, Netflix has become by far the most watched destination for documentaries, beaming titles to 190 countries and an astounding 83 million global subscribes.

That has given Netflix a lot of power in a relatively small corner of Hollywood to make or break titles — and for one director, that meant a dramatic setback in his movie's release.

Netflix's decision to come in early on documentaries like "The Square,""Virunga,""What Happened, Miss Simone?" and "Winter on Fire" led to Oscar nominations, while recent titles like "Making a Murderer" and "Amanda Knox" have fed subscribers' addiction for true-crime stories.

As Netflix's chief content officer, Ted Sarandos, boasted in 2015, "People who have never watched a documentary in their life are watching them on Netflix." And the Netflix Original branding has become an instant stamp of legitimacy for filmmakers.

But what's less talked about, beyond the mountains of cash Netflix dishes out for premium content, is when a filmmaker inevitably decides he or she doesn't want to make a deal with Netflix.

It may not happen often, but in one case, turning down a Netflix Original deal seemingly led a filmmaker's movie to be blacklisted from ever being shown on the streaming giant.

A Netflix deal gone bad

Much of what you hear about Netflix's nonfiction (as opposed to the TV series division) is that it gives immense freedom to artists. Werner Herzog told Business Insider of making "Into the Inferno" for Netflix: "They saw the film and liked it and that was that. They trusted me in a way that was very, very pleasant." The "Amanda Knox" codirectors told Business Insider that the leeway Netflix gave them was a "giant luxury."

So when Craig Atkinson got the attention of Netflix, he thought he had made it to the big time.

Best known for working as a cinematographer with Oscar-nominated filmmakers Heidi Ewing and Rachel Grady, Atkinson in 2013 decided to embark on his directorial debut, "Do Not Resist," in which he examines the militarization of the police in the US. Atkinson spent three years shooting around the country, gaining the trust of law enforcement so he could tell a vérité story.

But the protests in Ferguson, Missouri, following the shooting of Michael Brown by the police changed everything. Atkinson, 34, and his producer Laura Hartrick, 28, visited and captured footage of the tactics used by riot-gear-dressed officers that was more raw and unfiltered than what the evening news had been showing.

"Do Not Resist" was suddenly covering a topical story. And as Atkinson was in postproduction before the movie's world premiere at the Tribeca Film Festival in April, Netflix came calling.

"The Saturday before the premiere I got a call from one of the executives at Netflix," Atkinson told Business Insider. (He asked that the Netflix executive remain anonymous for this story.) "We spoke at great length about the project, the person said it was an incredibly timely film, and they were interested in it."

CraigAtkinson_HeadshotThe next day, Atkinson got a call from the same executive saying that Netflix wanted to make an offer to buy the film and brand it as a Netflix Original title, but the person asked whether Atkinson would be open to making changes to his film.

"I was still unsure about the film," Atkinson said. "I didn't think we made a perfect film, so I was open to collaboration, but the person told me the deal couldn't be made until I said I was open to this, so I said OK because I wanted to see what the deal was going to be."

On Monday, Atkinson received the offer from Netflix. He and his team were going to premiere at Tribeca on Thursday, and if they were to accept the deal, the offer stated they would have to agree by noon on the day of the film's premiere or the offer would be null and void.

The deal for worldwide rights to the film was in the mid-six figures, and the agreement stated that Netflix would retain all creative approvals over the final cut and the film's title. It also had a budget line of $70,000 for "finishing" (money for additional editing or other changes Netflix saw fit).

These are general terms most first-time filmmakers will encounter at any company looking to buy their film. Numerous filmmakers told Business Insider, however, that there's often an open dialogue between the filmmaker and the buyer about suggested changes before signing an agreement. Negotiations can, of course, vary from filmmaker to filmmaker, especially based on someone's experience and profile.

"So I'm reading the deal and it doesn't specify changes," Atkinson said. "It says that they have full control and they can change the title. The deal is time-stamped for high noon on the day of our premiere, so now the clock is ticking. In my mind I'm thinking maybe they are catering to a certain audience and they want to change the film. I was so overwhelmed and unprepared to be in this position."

'Trust us'

Atkinson was unable to land a sales rep, which at this point in a movie's life is an essential ingredient (though he was able to get an entertainment lawyer).

Sales reps have an understanding of the marketplace and use their connections within the industry to get the film they're representing the best deal both domestically and internationally. A rep would have told Atkinson that the figure he was offered was substantially higher than what he would get from any of the independent film distributors that would be tracking his film at the Tribeca Film Festival, or from a documentary-heavy network like HBO or A&E.

Atkinson told Business Insider that colleagues in the industry who have either worked with Netflix or know people who have worked with the company told him that Netflix was giving him a low offer.

Business Insider spoke with documentary insiders and sales agents who agreed that it was a low offer by Netflix standards but respectable for a first-time filmmaker (some filmmakers Business Insider spoke with said they would have taken the deal in a heartbeat).

With the deadline for the deal quickly approaching, Atkinson's lawyer, Jody Simon, a partner at the firm Fox Rothschild, was able to negotiate the price of the movie up $100,000 more, but the lawyer also relayed to Atkinson a sobering fact about how Netflix negotiates.

"During the course of the conversation our lawyer had with the Netflix lawyer, he got a lecture, as he described it, from the Netflix lawyer about the fee because he was pushing back about how it seemed incredibly low for an all-rights deal," Atkinson said. "The Netflix lawyer lectured him on how it was their algorithm that determined the price of the film and that there's really no discussion to be had because this algorithm determined how much the film should be worth and that basically was the end of discussion."

Simon confirmed the content of the conversation with Netflix's lawyer to Business Insider, adding that it was the first time he'd encountered a deal figure put together by an algorithm. Still, he said, he's not surprised by it.

"I find it as a culture clash between the tech people and the creative people," Simon said. "They really just do things differently — Hulu and Amazon and Netflix. They draft differently. A lot of it is inside baseball and pretty subtle, but it's a different approach and a different way of thinking."

When asked for a comment about Atkinson's recounting of events, a Netflix representative told Business Insider: "Every deal at Netflix is unique — we have no comment about the specifics of our deal negotiations."

The negotiation with Netflix was a sobering reality for Atkinson, who was getting his first taste of the way the company uses its analytics to make decisions that at traditional distributors often come through gut instinct and decades of trial and error. (Numerous sources in the acquisitions field told Business Insider they did have data they refer to when choosing movies to acquire but did not rely on it heavily.)

It wasn't just the money that concerned Atkinson, however. He could never get the Netflix executive to give him specifics on what the company wanted to change in his film.

Craig Shot Ferguson Vanish Films final"I have student loans to pay off, so the money would have been great," Atkinson said. "But the bottom line was if we couldn't put in some kind of provision where we mutually agree on changes, it's a deal-breaker."

Atkinson's inability to relinquish control of his film had to do greatly with the way he got access to make "Do Not Resist." Atkinson, the son of a police officer, and Hartrick promised the multiple law-enforcement agencies featured in the movie that the film would be an authentic portrayal of their job and that only the two filmmakers would edit the movie.

"So here we are again looking at this contract where I have to make a decision," Atkinson said. "If I'm going to compromise myself and say I don't care what I told these cops, just so I can get the deal. And I thought we were going to have a sympathetic ear because of the severity of the situation and it has to do with people's safety, and when we asked to just put in the contract specific changes you want so we can go forward, they wouldn't do that."

"Their response to that was basically, 'Trust us,'" Simon said.

After two sleepless nights, Atkinson finally told Simon on Wednesday to tell Netflix he was declining the offer. Atkinson would see what kind of offers the film would get from playing at Tribeca.

'There's only one way in'

"Do Not Resist" had five sold-out screenings at the Tribeca Film Festival and was beginning to find interest from distributors. Atkinson still couldn't find a sales agent to take it on (he later found a sales rep to handle his international sales).

Craig Atkinson Cindy Ord Getty

During the festival, Atkinson sat down with companies like Magnolia Pictures and Samuel Goldwyn Films to discuss potentially acquiring "Do Not Resist." The possibility of the movie still getting on Netflix wasn't dead, as any company that acquired the movie would have service deals with Netflix to make it available to stream on the service following its theatrical and home-video release.

On top of that, the movie won the best documentary prize at the festival: a $20,000 cash prize sponsored by ... Netflix.

But Atkinson came back down to earth when he learned after the festival that suddenly all the prospective buyers of the movie pulled out. He said he was told that Netflix blocks any service deals for movies on the streaming platform after they have turned down Netflix Original deals. Buyers told Atkinson that in today's market, in which being on Netflix and other streaming services is so important, his movie was no longer an attractive title because a company could no longer own all revenue streams.

Netflix did not comment when asked by Business Insider about a policy of blacklisting titles that reject an Original deal, or whether requiring creative control over its Original documentaries was standard.

"Around that time I saw the [Netflix] executive at a party and I said, 'What happened?' And the person answered, 'Yep, there's only one way in,'" Atkinson said.

'Is this how it goes down?'

Two months after the Tribeca Film Festival, and still trying to forget the bad taste from the Netflix experience, Atkinson moved forward by putting together a self-distribution theatrical release for "Do Not Resist." He also began a conversation with Amazon to be the film's home for a streaming release afterward.

Then suddenly Netflix contacted him again.

"I get a text from the Netflix executive," Atkinson said. "The person wanted to know if I had sold the rights to the film yet because they are still interested. The person felt bad for how everything went down and saw how great the film was doing on the festival circuit."

Atkinson and the executive came to an understanding, with the executive agreeing to relinquish some of the creative control, according to Atkinson.

But when Atkinson went back to Netflix's lawyer to hammer out the financial side of the new agreement, the lawyer had no idea of the new conversation.

"He said, 'We would never give up that control — I don't know what you're talking about.' Basically that the deal was still the original deal," Atkinson said. "He thought that I was coming back to Netflix begging to make a deal."

When Atkinson tried to get back in touch with the Netflix executive, he said, his texts and calls were never returned. He hasn't heard from the executive since.

"As a first-time filmmaker I was like, 'Is this how it goes down?'" Atkinson said. "Netflix can say they respect the artist all they want, but you can tell where their loyalties are, and it's not with the artists."

Atkinson moved forward with his own theatrical release. He said the $20,000 cash prize that Netflix sponsored at Tribeca helped greatly. And he signed a streaming deal with Amazon (for about a third of the amount he would have gotten from the Netflix deal). "Do Not Resist" will be available on Amazon on Wednesday.

'We dodged a bullet not taking the deal'

Atkinson said he wanted to go public with his experience because he wanted filmmakers and fans of Netflix to understand that for as much good as Netflix was providing mass audiences with exceptional content, he believed himself to be living proof of some cracks in its process.

"This will be a concern for filmmakers because Netflix are the titans," a major figure in the documentary industry who asked to remain anonymous told Business Insider after hearing of Atkinson's experience. "If the documentary community is to remain vital, it needs a multiplicity of voices and points of view, and by narrowing the pipeline Netflix is privileging a very few voices."

Prominent documentary filmmaker Robert Greene ("Kate Plays Christine"), however, isn't surprised at all by Atkinson's story.

"Netflix helped the video store to go out of business, and they have now replaced it with a fairly absurd business model that seems to only value certain kinds of things, and it's just depressing," Greene told Business Insider. "It has always been difficult to get films with a voice seen, and it used to be that Netflix represented something better. Another choice. Another possibility. But that seems to be going away, and I would just tell young filmmakers don't make decisions based on what's going to get on Netflix, because art survives and eventually Netflix is going to get boring."

Atkinson said that looking back, he had no regrets about turning down the more lucrative Netflix offer.

The film has played around the US, often in theaters filled with active police officers, who take part in Q&A sessions and interact with their communities, an experience that would have been lost if the film played only on Netflix.

"It's fantastic business by Netflix," Atkinson said. "Tell a filmmaker it's the most timely film you've ever seen, make an offer, and if you can't get it, do what you can so the film's not seen by anyone."

Atkinson pauses for a moment to compose himself.

"We dodged a bullet not taking the deal," he said. "They would have destroyed three years of work."

SEE ALSO: The 5 biggest winners and losers at the box office in 2016

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Review: 'Rogue One' is the most original modern 'Star Wars' movie — and one of the most thrilling

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star wars rogue one

The latest "Star Wars" movie, "Rogue One: A Star Wars Story," opens with quite a thrill. Unlike other movies in the saga and their opening crawls, this one jumps right into the action.

It's a sign that you're headed into a story different from the rest (well, as different as Disney will allow), and that's exactly what "Rogue One" is. The first-ever standalone "Star Wars" movie, its originality is apparent from the start and continues throughout its two-hour-plus running time.

Rogue One Lucasfilm finalSet before the events in "Star Wars: A New Hope," the movie follows the Rebels who set out to steal the plans of the newly completed Death Star, which has enough firepower to destroy planets.

But as with all the "Star Wars" movies, there is a more deep-seeded story buried here. For "Rogue One," it's main character Jyn Erso (played by Felicity Jones), the daughter of the architect behind the Death Star, Galen Erso (Mads Mikkelsen). An outsider since her father forced her to run away from home as a young girl when the Empire's director of advanced weapons research, Orson Krennic (Ben Mendelsohn), ordered Galen to return to finish the Death Star, Jyn has grown to only take care of herself. She ignores the flags of the Empire rising across the galaxy, which you can't notice, as she says, "if you don't look up."

But when the Rebel Alliance tracks her down with the hopes that she can lead them to Galen, who has sent out a message through a cargo pilot who works for him (Riz Ahmed) that there is a flaw in the Death Star he's created that can destroy it, Jyn realizes her purpose: bringing hope to the Rebels.

"Rogue One" director Gareth Edwards (2014's "Godzilla") delivers striking visuals, lots of action, and fun exchanges among the many characters (especially droid K-2SO, who is a scene-stealer), to create a movie that is thrilling, at times dark, but also extremely entertaining regardless of your "Star Wars" knowledge.

lucas film tarkinPart of that pleasure comes from the one-off nature of the story. Playing like a war movie in which you know most of the characters aren't going to make it out alive, "Rogue One" is satisfying because everything is laid out in one movie. There's no waiting a year or two to get questions answered, there is finality (a rarity in today's blockbusters).

And the cast diversity should also be applauded. Diego Luna, Donnie Yen, Riz Ahmed, and Wen Jiang — all actors of color — play characters who fight alongside Jyn.

But it wouldn't be a "Star Wars" movie without references to other chapters, and there are plenty in "Rogue One."

Darth Vader (voiced yet again by James Earl Jones) appears in a few scenes, and one in particular shows him at his most ruthless. Jimmy Smits reprises his role as Bail Organa from the prequels (the guy who raises Princess Leia), who's vital in the connection between "Rogue One" and "A New Hope." There's also an appearance by Grand Moff Tarkin, who is commander of the Death Star in "A New Hope."

Played in the 1977 film by legendary actor Peter Cushing, who died in 1994, the actor's face playing Tarkin in "Rogue One" is digitally replaced to look like Cushing. This will likely be the thing most "Star Wars" die-hard fans will argue over once the movie opens worldwide on Friday.

The first time you see Tarkin's face, it's a shock because the character clearly looks like CGI. It's admittedly a distraction and takes you out of the movie a little because you're paying so much attention to the detail (at least I was, as someone who grew up watching Cushing in "A New Hope"). It was an interesting decision to showcase Tarkin so much in the movie and not keep him to just a few wide shots like in "Episode III: Revenge of the Sith" (in which actor Wayne Pygram plays the character). It's an effect Disney has played with in Marvel's "Ant-Man" (a young Michael Douglas) and "Captain America: Civil War" (young Robert Downey Jr.), but in "Rogue One," it's an experiment that might cause a lot of disgruntled reactions.

And those worried about all of those reshoots, especially to strengthen the ending, should take a deep breath. Without giving anything away, the ending — especially the last few minutes — is very, very strong.

"Rogue One" opens in theaters on Friday.

SEE ALSO: The 5 biggest winners and losers at the box office in 2016

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'Rogue One' is aiming for a record-breaking box-office opening

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Expect "Star Wars" to dominate the rest of the year at the box office. 

The franchise's first standalone movie, "Rogue One: A Star Wars Story," opens in select international regions on Wednesday and nationwide in the US on Friday, and it's looking to be a big earner for Disney's run to collecting a record $7 billion at the global box office in 2016.

The movie is projected to make close to $150 million domestically its opening weekend and over $300 million globally, according to The Hollywood Reporter

Disney is still keeping expectations low, saying that it doesn't expect the movie, in which a group of Rebels seek out the plans of the Death Star, to come close to the record-breaking box office of last year's "Star Wars: The Force Awakens," which included a $248 million domestic opening.  

If "Rogue One" comes anywhere near its projections, it will easily become the second-highest opening of all time for December after "Force Awakens" (currently in second place is "The Hobbit: An Unexpected Journey" with $84.6 million).

It's kind of hard to see that not happening with the movie opening in over 4,100 theaters in North America, including 400 IMAX screens and over 500 large-format screens.

"Rogue One" will open in France, Sweden, Denmark, Netherlands, Indonesia, Norway, Switzerland, Belgium, Finland, and Turkey on Wednesday. On Thursday it opens in the U.K., Germany, Australia, Brazil, Russia, Mexico, Italy, Hong Kong, Poland, Malaysia, New Zealand, Argentina, Philippines, Singapore, and Taiwan. The film will not open in China until early January.

SEE ALSO: How an award-winning documentary was allegedly blacklisted by Netflix

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23 up-and-coming celebrities to watch in 2017

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2016 saw Chance the Rapper release his breakout album and work with Kanye West, Riz Ahmed grip viewers in HBO's "The Night Of," and Kate McKinnon steal every scene in "Ghostbusters" while continuing her hot streak on "Saturday Night Live."

Who will be 2017's breakout stars? It's always hard to predict — you never know who might come out of nowhere and take over the cultural imagination. But here are some good bets.

Tom Holland is the surest bet of 2017.

The 20-year-old is starring as Peter Parker in Marvel's "Spider-Man: Homecoming." He already shined in the role in "Captain America: Civil War," and he's won acclaim for his role in 2012's tsunami disaster movie "The Impossible." In 2017, he'll also be in James Gray's long-awaited "The Lost City of Z," opposite Charlie Hunnam.



Zendaya will play one of his classmates in "Spider-Man: Homecoming."

Zendaya Coleman, who goes by just her first name, has spent most of her career on Disney Channel projects, and now she'll get a starring role in one of the company's biggest movies. Her role as Michelle isn't totally clear, but we know that she'll be one of Peter Parker's friends and isn't set to be a love interest.



Corey Hawkins will fill Kiefer Sutherland's shoes in "24: Legacy."

Hawkins will also be in Legendary's "Kong: Skull Island." He played Dr. Dre in "Straight Outta Compton" and he currently has a recurring role in "The Walking Dead."



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Chris Evans is officially Hollywood's most bankable movie star

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In Hollywood, a star is only worth as much as they can haul in at the box office. Which would explain why Disney is happy to keep paying the big bucks to its Marvel stars.

One of those stars, Chris Evans, landed at the top of Forbes' list of the "best actors for the buck" for a second year in a row.

To come up with the list for 2016, Forbes looked at the most recent three films actors starred in prior to June 2016, and excluded cameos, animated films, and titles that didn't get a wide release. Forbes then divided the films' operating income by the total estimated earnings the star received for them.

By that calculation, Evans brought in an average of $135.80 at the box office for every $1 he was paid. His role in Marvel's blockbuster "Captain America: Civil War" this year certainly helped.

Fellow Marvel stars Chris Pratt and Scarlett Johansson came up just behind Evans on the list, at No. 2 and No. 3, respectively. Other who made the list include Vin Diesel, Mila Kunis, and Jennifer Aniston.

See the full list of the best actors for the buck at Forbes.

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Here’s why so many people connect with ‘Star Wars'

The reviews for 'Rogue One: A Star Wars Story' are out, and critics are impressed

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The INSIDER Summary:

• The first reviews are in for "Rogue One: A Star Wars Story."
• Critics are impressed with how thrilling the action is, and how diverse the cast is.
• Others wished it didn't fit so neatly into the "Star Wars" template.
• Overall, people think it's good!


 

The reviews for the first "Star Wars" spin-off movie, "Rogue One," are here.

"Rogue One" takes place before the events of "Star Wars Episode IV: A New Hope," and follows a band of rebels who plan to steal the plans for the Death Star from the Galactic Empire.

The reviews are mostly positive, but critics have some quibbles. The middle part moves a bit too slowly, and some critics think the film revisits too much of the same material found in the other "Star Wars" stories instead of staking out its own territory.

Mostly everyone, though, is impressed by how action-packed it is and by its commitment to cast diversity. Jyn Erso, the film's feminist hero (played by Felicity Jones) is a particular highlight.

Here's what the critics have to say. 

The Hollywood Reporter finds it an entertaining set-up for "Star Wars: Episode IV."

Director Gareth Edwards, whose low-budget debut feature Monsters was more than a few leagues better than his mixed-bag Godzilla redo, knows what he's up to here. Shooting in a more spontaneous-feeling manner than his series predecessors that keeps the energy high and both the actors and the audience on their toes, the director builds up to a gigantic third-act showdown that plays like a sci-fi version of the Battle of Iwo Jima, complete with tropical island.

Collider likes how the film is refreshingly different from its predecessors.

Director Gareth Edwards finally pushes the franchise outside of its comfort zone. It’s unmistakably a I movie, but the universe has been re-contextualized through a more sophisticated lens. We’re past the point now where we assume Rebellion = good, Empire = bad. Through Rogue One, we see a more recognizable conflict tinged with darkness that feels real rather than darkness that just wants to gritty up the joint so that people will take the movie seriously. 

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Variety noted how adult-friendly the movie is. 

There are no Ewoks or Jar Jar Binks-like characters here, thrown in just to appeal to pre-school-aged audiences. The plot is designed less like a flashy video game, and more like a down-and-dirty war movie ... And quite a few of the principal characters die, which would be upsetting for young viewers ... With all due respect to comic-book devotees, this is the “Suicide Squad” audiences have been waiting for this year.

Entertainment Weekly loves how the story dives into a new corner of the "Star Wars" story.

How did Princess Leia come to possess the plans to the Death Star that she hides in R2-D2 at the beginning of that film? Where did they come from? How were they obtained? Were they stolen or turned over by a traitor? Granted, these may not be the questions that keep a lot of us up at night. But thankfully, they do keep up people like Gareth Edwards. Because that one tiny missing puzzle piece is the entire narrative for Rogue One.

Newsday doesn't find the story very innovative.

Director Gareth Edwards takes a brave risk by staging several action sequences in Vietnam War-movie mode — it’s interesting to see laser-toting soldiers trudging through ankle-deep water against a backdrop of palm trees — but the final battle is overlong and very jumbled. “Rogue One” should thrill die-hard fans and placate casual ones, but this stand-alone story often seems to be standing in the same old place.

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The Daily Beast, on the other hand, thinks it's the best "Star Wars" movie since "The Empire Strikes Back."

Rogue One serves up plenty of political statements about what makes a hero—or rather, a heroine—and the timeless human imperative to stand up to bullying and injustice in the world. ... Where The Force Awakens leaned on a family-friendly appeal with its innocent do-gooder leads and tantrum-throwing baddie, Rogue One satisfies a darker itch.

The Los Angeles Times admires the movie's commitment to its characters' diversity.

It takes only a glance at this ragtag ensemble to notice the same striking commitment to on-screen diversity that marked “The Force Awakens.” Casting quotas, of course, don’t make a movie; actors do, and you are likely to leave “Rogue One” marveling less at its demographics than at Jones’ sympathetic ferocity, Luna’s flinty charisma and the kick-ass sangfroid of Yen, one of Hong Kong’s biggest action stars.

Screen Crush wishes the characters had more room to breathe.

Edwards is very good at crafting images that straddle the uncomfortable line between beauty and horror, and at dwarfing people with giant monsters and machines with powers beyond mortal comprehension. It’s his comprehension of mortals that sometimes feels lacking.

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The Guardian finds Jyn Erso a new feminist hero.

Felicity Jones is in the tousled-yet-game tradition of Star Wars female leads, like Carrie Fisher or Daisy Ridley: well-born but determined, with a sense of purpose befitting an heiress, if not a princess.

The Playlist says the reshoots make the movie seem disjointed.

Given the patchwork nature of the movie, even on a practical level, one cannot dismiss the impact of the reshoots. ... And while the new threading isn’t as obvious as something like “Suicide Squad” for example, the fragmented story beats suggest the presence of problem solving ringers brought in to aid the unwieldly sequences, many of which have trouble sustaining their poignant qualities.

IndieWire thinks the film is a balancing act between Lucas's prequel trilogy and Disney's takeover of the franchise.

The whole movie is compellingly balanced between old and new, determined to pave over the potholes that have been caused by corporate and creative upheaval over the years and force a feeling of cohesion upon Hollywood’s signature spectacle. This is about bringing peace to the galaxy in more ways than one.

Our own Kirsten Acuna says "Star Wars" fans will be very happy with the end result. You can read INSIDER's "Rogue One" review here.

 

SEE ALSO: The 25 worst movies of 2016, according to critics

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Chris Pratt and Jennifer Lawrence battled each other with insults, and it was perfect

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The INSIDER Summary:

• Chris Pratt and Jennifer Lawrence insulted each other on BBC Radio 1's "Playground Insults."
• Lawrence joked about Pratt's intelligence.
• Pratt made fun of Lawrence's likability.



Jennifer Lawrence and Chris Pratt, who are probably the two biggest stars in the world right now, are starring together in "Passengers" later this month. It's about two people who are travelling on a spacecraft to a colony planet on a 120-year journey, but who wake up 90 years early for mysterious reasons.

In real life, the two are going on a promotional tour for the film, which brought them to BBC Radio 1. On air, the actors played a game called "Playground Insults" where they exchange insults trying to make each other laugh, with the aim of winning when the other opponent collapses from laughing.

They wasted no time getting personal.

"You are so stupid that your three-year-old son has probably taught you everything you know," Lawrence said.

"It's such a shame to meet somebody you thought you'd like," Pratt replied.

Later, the two insulted each other on professional terms.

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"I recently told you that you act like Adele sings," Pratt said. "I hate Adele."

"Where do you keep your Oscar?" Lawrence fired back.

Pratt won in the end with an NSFW joke about a scene they shared in "Passengers." The whole exchange is pretty funny. Watch it below:

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The 10 biggest box-office bombs of 2016

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The 2016 box office had some incredible performers, like Disney's "Finding Dory" and "Captain America: Civil War," which both earned over $1 billion worldwide, and the surprise success of Fox's "Deadpool."

But there were also some major flops that just didn't connect with audiences.

With as varied a mix as "Ben-Hur" and "Bridget Jones's Baby," here are the lowest-earning movies at the box office in 2016.

Note: These titles are limited to only those from the six major studios and those that have played in more than 2,000 screens. Grosses below are all domestic earnings from Box Office Mojo. Reported budgets are estimates and do not figure into the rankings.

SEE ALSO: The 25 worst movies of 2016, according to critics

10. "Hail, Caesar!"— $30 million

Reported budget: $22 million

(Note: Production budgets are estimates and do not include expenses for marketing and release.)



9. "Zoolander 2"— $28.8 million

Reported budget: $50 million

 



8. "The Finest Hours"— $27.5 million

Reported budget: $80 million



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The trailer for Christopher Nolan's war movie 'Dunkirk' is here, and it's stunning

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We know a lot more about director Christopher Nolan's next movie that's shrouded in mystery, "Dunkirk," thanks to the first full trailer that came out Wednesday.

Set during World War II, the movie (out July 21, 2017) follows Allied soliders who are surrounded by the German army on a beach and must evacuate in a harrowing battle.

Cillian Murphy seems to have a prominent role in the movie, while other big names like Tom Hardy and Mark Rylance show up in the trailer.

More than anything, it's clear Nolan (the "Dark Knight" movies, "Interstellar") wants to command sound and picture to make you feel like you're hunkered in the terrifying action with the Allied members (especially since "Dunkirk" will be shown in IMAX and 70mm projection).

The stunning images of war here rival what Steven Spielberg accomplished with "Saving Private Ryan."

Watch the "Dunkirk" trailer below:

 

SEE ALSO: The 30 best movie endings of all time, ranked

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Watch the intense trailer for Christopher Nolan's new WWII film featuring One Direction's Harry Styles

THEN AND NOW: The cast of 'Love Actually' 13 years later

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"Love Actually" hit theaters just in time for the holiday season of 2003, and audiences immediately deemed it a modern Christmas classic. Though some people — notably author and columnist Lindy West— have since realized that the movie has a problematic treatment of women, "Love Actually" remains a holiday staple for many.

Keep reading for a look at how the star-studded cast looked then, what they look like now, and what they've been up to in between.

We all remember Liam Neeson as the heartbreaking character of Daniel — a man whose wife had just recently died after battling an illness.



Neeson went on to portray a man with a very special set of skills in "Taken" (and "Taken" 2 and 3), as well as dozens of other notable roles. You can see him in the acclaimed "Silence" starting December 23.



In "Love Actually," Neeson's character had a young stepson named Sam, played by Thomas Brodie-Sangster.



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