The release of Warner Bros.'s latest DC Comics title, "Justice League," was more than a decade in the making and the payoff for the years of releasing standalone movies — from "Man of Steel" to "Wonder Woman."

But the mixture of poor execution and bad luck has led to a major disappointment in the movie's opening weekend.

"Justice League" opened over the weekend with a domestic box-office total of $96 million. That's the lowest opening of any DC Comics Extended Universe release. The movie was projected to earn about $110 million in North America.

In today's world, where superhero blockbusters keep the lights on at all the studios in Hollywood, an anticipated release like "Justice League"— powered by iconic characters like Superman, Batman, Wonder Woman, The Flash, Aquaman, and Cyborg — not cracking $100 million could lead to dramatic changes in the franchise.

So what the heck happened? Here are four reasons "Justice League" turned out to be a box-office dud.

SEE ALSO: 'Mudbound' is the best movie Netflix has released so far — and you can watch it today

1. The movie just wasn't good.

Yes, it's beating a dead horse, but it's the obvious reason. Sometimes a movie's marketing or release date can be blamed for a poor box office. "Justice League," however, didn't live up to the hype.

With a 39% score on Rotten Tomatoes, the movie didn't leave a good taste in the mouths of critics, and moviegoers who didn't like "Batman v Superman: Dawn of Justice" were given more reasons to stay clear of this one.

2. The Rotten Tomatoes score-reveal backfired for Warner Bros.

Rotten Tomatoes' experiment of revealing the scores of select titles on its Facebook Watch show "See It/Skip It" isn't gaining many fans in Hollywood.

Though the show had revealed the scores of a few other movies in the weeks leading up to "Justice League" opening — to zero controversy — it was that the site wouldn't reveal the score of the DC movie until hours before preview screenings began on Thursday that became a story.

And that Warner Bros. is a stakeholder in Rotten Tomatoes added to a narrative that the studio was working behind the scenes to bury the score. (I think Rotten Tomatoes was just trying to build an audience for its show.)

If this story found its way into your news feed last week, you probably assumed the movie wasn't good. It will be interesting going forward if studios will plead Rotten Tomatoes not to do the same score reveal with their upcoming anticipated titles.

3. "Thor: Ragnarok" stole some of the movie's mojo.

Warner Bros. probably thought that releasing "Justice League" the week before Thanksgiving would be far enough out to not be hugely affected by the run of "Thor: Ragnarok"— but it turns out the Marvel movie still has legs.

Three weeks in, the movie is still playing on over 4,000 screens. That most likely took a chunk out of the gross for "Justice League," as it earned $21.7 million over the weekend.

It's a blow Warner Bros. likely was somewhat prepared for, but the movie that beat "Ragnarok" for second place was something that surprised almost everyone in Hollywood, including the studio.

• "Coco" is a heartwarming movie that lives up to Pixar’s nearly flawless reputation.
• The story follows the young Miguel as he pursues his dream of playing music.
• The stunning exploration of Mexico's Dia de los Muertos traditions is well-executed.
• If you've enjoyed Disney's latest movies, definitely go see "Coco."
• Warning: Minor spoilers ahead for Pixar's "Coco."

Disney's new movie "Coco" is equal parts magic, family fun, and the deep emotional education fans have come to expect from a Pixar film. The movie follows the young Miguel, an aspiring musician forced to hide his love of playing guitar due to a deep-rooted family "curse."

Miguel confronts Abuelita's determination to stifle his musical dreams and accidentally enters the Land of the Dead on the evening of Dia de los Muertos. Miguel is then in a race against the clock as his journey among the dead leads to him uncovering the secrets of his family's history. 

What's hot:

"Coco" deftly handles the terrain of Dia de los Muertos by using convincing character exposition to reach any viewer unfamiliar with the Mexican holiday and its traditions. As Miguel comes to understand the deeper meaning of celebrating his ancestors, "Coco" explores death, the afterlife, and the concept that those we've loved and lost aren't truly gone until we stop remembering them. 

As fans and critics alike have come to expect from a Pixar movie, the animation and world-building in "Coco" is breathtaking. From the opening sequence's vibrant use of papel picados to the illustrious Land of the Dead, the colors and textures featured throughout the movie will leave you in awe. 

The music is also spectacularly crafted, with one song in particular, "Remember Me," cleverly transcending its initial romantic implications into a tear-jerking ode to family. Other musical numbers will leave you grinning and full of the warmth only a Disney song can provide.

"Coco" is also being praised for its authentic representation of Mexican and Latino culture without becoming derivative or engaging with stereotypes in a disingenuous way.

"Pixar looking to exalt the colorful folklore of Mexico in all its splendor and it succeeds," Vanguardia reviewer Carlos Diaz Reyes wrote. "The homage is up to the task and is so beautiful that one can not help but feel a certain pride."

People felt rightfully skeptical ahead of the movie's release. Disney was faced with a wave of backlash in 2013 when it filed an application to patent Dia de los Muertos for the release of "Coco." After petitions were circulated and many members of the Mexican and Latino community spoke out, the application was withdrawn.

Business Insider's Jason Guerrasio spoke with director Lee Unkrich ("Toy Story 3") about bringing in outside consultants to help produce a movie that was culturally respectful.

"We ended up bringing in periodically big groups of all sorts of folks from the Latino community, from artists to writers to political figures to media executives, because we wanted to get a lot of different perspectives,"Unkrich said. "What we quickly learned is there is no one right way to tell a story set in the Latino community, there are a lot of different opinions. Part of our challenge was trying to navigate all those different opinions to figure out our path forward."

Despite the early hiccups of backlash, Unkrich and co-director Adrian Molina seem to have found their footing. "Coco" has already become the highest-grossing film of all time in Mexico (where it was released earlier than in the US to coincide with Dia de los Muertos).

What's Not:

At times, the plot required the suspension of disbelief just a smidge too much, especially when it came to a couple mysteries that many adult viewers will likely connect the dots on long before the characters get there on screen. 

There are also a few underdeveloped characters and subplots that start weighing down the pace of the move about two-thirds of the way in, but the ending brings everything together in a way that will likely cause you to forget any qualms you had with the finer details.

But despite its predictability at points, the ending will leave you in a weepy state worth of Pixar's reputation. 

The Bottom Line:

"Coco" is a spectacular family-friendly feast for the eyes and the heart. While it doesn't quite reach the peaks of entertainment recent Disney animated hits like "Moana" and "Zootopia" have hit, "Coco" is a worthy addition to the Pixar catalogue. And of course, it should leave you feel weepy at least once, as per Pixar standards.

Grade: A- 

"Coco" arrives in theaters on Wednesday. Watch the final trailer below (though note that the modern pop music used to advertise "Coco" to US audiences is at odds with the actual music in the movie):

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• Armie Hammer's parents didn't let him watch TV when he was a kid.
• He grew up in the Cayman Islands, "macheteing coconuts,"according to The Hollywood Reporter.
• He later grew up to be a famous actor anyway.

Armie Hammer had a nontraditional upbringing. He grew up part of an extremely wealthy family in the Cayman Islands (his great grandfather was an oil tycoon) in a tight-knit community where he was "macheteing coconuts." And Hammer's parents, he told The Hollywood Reporter, didn't let him watch TV and he had limited access to films.

So when he moved to Los Angeles at the age of 12, his pop culture knowledge was a little rusty.

"I had zero pop culture references," he said. "It was like, 'I'm sorry, I don't know who Nirvana is. I don't know who the Lakers are.' People were like, 'Have you been living on an island?' 'Yes, I have, actually!'"

He was allowed to go to the town's single movie theater when he was younger, which gave him a frame of reference for moving pictures.

"When 'Titanic' came out, they put it on both screens for months. I probably saw it six or seven times," he said.

Hammer quit high school to pursue acting when he was 17 years old and, after a few years, made it work. His big break was playing the Winkelvoss Twins in 2010's "The Social Network." Afterward, he was cast in big-budget movies like "The Lone Ranger" and "The Man from U.N.C.L.E."

He's now starring in the romance movie "Call Me by Your Name," opposite "Timothée Chalamet," which is already one of the best-reviewed movies of the year. See? Never let your parents' TV ban stop you from following your dreams.

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• Armie Hammer may have missed out on an Oscar nomination for "The Birth of a Nation" because of a controversy surrounding director Nate Parker.
• Parker was charged with rape when he was a college student, but was later acquitted.
• For the 2017 Oscars, Casey Affleck won the best actor award despite two sexual harassment allegations. Both cases were settled.
• Hammer said there's a double standard between how the Oscars handled Parker compared to Affleck.

For the 2017 Oscars, Armie Hammer was supposed to be a contender.

He co-starred in "The Birth of a Nation," a slave revolt epic that was billed as an instant Oscar fronrunner when it premiered at the Sundance Film Festival in January of 2016. Things changed later that year when the news came out that director Nate Parker was charged with rape while he was a student at Penn State. Parker was acquitted by a jury in 2001, but the aftermath of the case, a mishandled "60 Minutes" interview, and a wave of bad reviews sunk the movie's chances.

While Hammer doesn't defend Parker outright, he told The Hollywood Reporter he found it strange that Parker was "in director's jail" for something that happened when he was 19 years old. At the same time, Casey Affleck — who settled two sexual harassment lawsuits seven years ago — ended up winning an Oscar for best actor.

"[Parker] had one incident — which was heinous and atrocious — but his entire life is affected in the worst possible way," Hammer said. "And the other guy won the highest award you can get as an actor. It just doesn't make sense."

In 2010, Affleck was sued by two women who worked on the set of the film "I'm Still Here." According to their lawsuits, Affleck allegedly snuck into one woman's bedroom while she was asleep and allegedly asked a crew member to take off his pants so he could show another woman his penis, among other inappropriate behavior. The lawsuits were settled in 2010 and Affleck has seldom directly addressed them, citing the terms of the settlements.

None of the allegations stopped the Academy for Motion Picture Arts and Sciences from giving him an Oscar for best actor for his performance in "Manchester by the Sea." Following the Harvey Weinstein scandal earlier in 2017, and because Affleck is expected to be invited as a presenter for the 2018 Oscars, there's been renewed attention paid to the case.

Hammer said that while the allegations against Parker may have been worse than the allegations against Affleck, there was still a double standard about how the two were treated by Hollywood.

"I'm not saying Nate should not have been in trouble. I'm saying that they got in different levels of trouble," Hammer said. "That's the disparity. It's like there are two standards for how to deal with someone who has this kind of issue in their past, you know?"

Though Hammer didn't specifically mention race in his comments to The Hollywood Reporter, others have talked about the double standard for how Parker, who's black, was treated differently from Affleck.

Hammer — who is starring this year in "Call Me By Your Name," which is expected to be nominated for multiple Oscars — also said he thinks the story against Parker was "orchestrated" in the press by someone who was competing against "The Birth of a Nation." He believes he was invited to the Academy this year "largely because of the way the 'Birth of a Nation' thing was handled."

"There was another person in the industry, who had a competing film for the Academy Awards, who decided to release all of the phone records and information," Hammer said. "I've been told who did it — by several people."

Instead of attending the Oscars at the Dolby Theatre, Hammer watched it at home from his couch. He was delighted that "Moonlight" beat "La La Land" for best picture.

"I don't think I've ever laughed so hard," Hammer said. "I literally stood up off my couch and applauded — in a schadenfreude way."

A representative for Affleck didn't immediately respond to INSIDER's request for comment on Hammer's statements.

SEE ALSO: 'Call Me by Your Name' is a moving and playful love story that showcases Armie Hammer's star quality

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• You should pack up the whole family to go see Pixar's new movie "Coco."
• And make sure to bring along tissues.

For its latest movie, “Coco,” Pixar tackled a real cultural celebration for the first time. But the result is the same as most of its other releases: a well-executed story that the whole family will love. 

“Coco” (in theaters starting on Thanksgiving) is centered around the Mexican holiday Dia de los Muertos, a day dedicated to celebrating family members who have passed away.

12-year-old Miguel and his family are preparing for the holiday, but the boy also tries desperately to sneak off to the center of town whenever he can and play his guitar, though his family forbids it. Miguel’s great great grandfather ran out on the family to pursue his dreams of being a famous musician. The story of his betrayal has been passed down by generation, and now the family, who make a living as shoemakers, has banned music.

However, Miguel can’t help being drawn to music. He’s made a guitar and hides it in the attic. And he secretly watches footage of a legendary musician who came from his village, Ernesto de la Cruz (voiced by Benjamin Bratt).

The discovery of a photo makes Miguel believe De la Cruz is his great great grandfather. Convinced he is destined for greatness, Miguel plans to take part in the village’s music contest to prove to his family they are wrong for their distaste toward musicians. But his family finds out his plans and destroys his guitar. So Miguel sneaks into the mausoleum the village has built for De la Cruz and takes his guitar that’s on display to use at the contest.

And like every great Disney/Pixar movie, that’s the moment when things really start moving. Miguel is suddenly transported to the Land of the Dead after holding the guitar. The only way he can get back is to receive a blessing from a departed family member. So who better than De la Cruz? Miguel decides to set forth to find him. Along the way, Miguel runs into his other deceased relatives and a loner named Héctor (Gael García Bernal) who helps Miguel in his search for De la Cruz.

Directed by Lee Unkrich (“Toy Story 3”), “Coco” hits all the correct beats that will make it become a memorable Pixar movie (despite it having a weak second act). There are a lot of great jokes, the family story is heartfelt from the start, and the evolution of the plot once Miguel is in the Land of the Dead builds to a powerful climax (prediction: the movie's song, "Remember Me," will win the best original song Oscar). And Unkrich does it all with a very aware sense of being respectful to Mexican culture (there was even a point in the making of “Coco” when cultural consultants were brought in to help out, which had never been done before on a Pixar movie). 

The movie may focus on Mexican heritage, but it's a story that will be universally adored.

Yes, bring tissues with you to the theater.

SEE ALSO: 4 reasons "Justice League" has flopped at the box office

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• Director Dan Gilroy will reteam with his "Nightcrawler" star Jake Gyllenhaal in an upcoming Netflix movie coming out next Halloween. 
• It will be set in the contemporary art world of Los Angeles.
• Gilroy says the movie will also have a large ensemble cast, similar to Robert Altman's "The Player."

Writer-director Dan Gilroy may be out promoting his new movie “Roman J. Israel, Esq.,” starring Denzel Washington (in theaters nationwide Wednesday), but his mind is on his upcoming Netflix movie where he reteams with his “Nightcrawler” star Jake Gyllenhaal.

Though the project is currently untitled, and Gilroy admits he’s been keeping what it’s about under wraps, he did divulge a little about it to Business Insider when we chatted with him in New York City on Monday.

“It’s set in the world of contemporary art in Los Angeles,” Gilroy said. “It’s got a Robert Altman-like large ensemble cast. It’s got a ‘The Player’ vibe to it.”

“There’s a large cast and we’re moving around from person to person as we move through this world,” Gilroy said of his movie. “The story is being told through these different characters.”

Altman’s Oscar-nominated "The Player" (1992) gives a satirical look at the Hollywood studio system. Centered around a executive (Tim Robbins) who is being sent death threats by an unknown screenwriter (it’s impossible to know who exactly as so many hate his guts), Altman filled the movie with countless stars in cameos and supporting roles.

As of now, the only cast Gilroy will reveal for his movie are the two people who were in his directorial debut, “Nightcrawler” — Jake Gyllenhaal and Rene Russo (who is Gilroy’s wife).

The director says filming will being on March 2 in Los Angeles.

Gilroy won’t confirm if the movie will be as dark as “Nightcrawler,” which followed a con man (Gyllenhaal) who finds his calling as a freelance video journalist who films violent events that occur late at night in the city, and then sells the footage to TV stations (watch the movie on Netflix before it leaves the site in December). But Gilroy did admit, “It’s not a drama.”

“It’s opening Halloween next year, that will give you some indication what kind of movie it is,” he said.

We cannot wait to learn more about what seems to be a movie that meshes the twisted worlds of “Nightcrawler” and Altman’s “The Player.”

SEE ALSO: Armie Hammer lashes out at Casey Affleck's Oscar win after sexual harassment accusations: "It just doesn't make sense"

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

With the recent release of its critically acclaimed historical drama "Mudbound," Netflix has its strongest shot yet at Oscar consideration.

Netflix has also released a number of quality movies that not many people have heard of, including the Stephen King adaptations "1922" and "Gerald's Game."

But then the company has had its share of critical flops as well, like the majority of its Adam Sandler films. 

To find out which Netflix original films are 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." We used audience scores to break ties.

Here are 42 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

42. “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."

41. “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."

40. “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."

• Warner Bros. is looking at a loss on "Justice League" that could near $100 million, according to Forbes.
• The total cost of the movie was around $600 million — counting production, marketing, and other fees and residual deals.
• The studio is estimated to only take home an estimated $545 million.

In the wake of negative reviews and a poor opening weekend at the box office, the next sad chapter in the life of “Justice League” is seeing how much Warner Bros. could lose on the mega-blockbuster.

Forbes did a deep dive into the numbers, and it doesn’t look good. The movie could lose in the ballpark of $50 million to $100 million, according to Forbes.

Taking the widely reported cost of the movie ($300 million), plus the $150 million to market it, and adding the fees, talent residuals, and talent participation costs, the movie needs to come around the $600 million global mark to break even.

Forbes estimated the movie’s worldwide theatrical lifetime gross will be around $635 million. That would make it the lowest-grossing movie of the studio's DC films released to date.

That doesn't sound bad on its face, but things get worse when you break it down.

Of that figure, Forbes estimated the studio will get to keep 52% of the domestic tally and 38% of the foreign coin. That comes out to $275 million total. Add global home entertainment, video on demand (VOD), online sales (estimated at $170 million), and global TV deals ($100 million), the movie’s total revenue will be around $545 million going to the studio.

Deduct the $600 million costs and the movie is looking at a $55 million loss.

But it doesn't stop there, since the production and marketing costs have already been spent, and the revenue from home video and TV takes years to recoup. To take this into consideration, Forbes added another $40 million to the loss.

That puts the movie at a total of $95 million in the red for “Justice League."

None of this counts merchandising, which will help, but in no way get the movie out of the red.

Business Insider contacted Warner Bros. for comment but did not get an immediate response.

SEE ALSO: 4 reasons "Justice League" has flopped at the box office

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• Natalie Portman said she's been frequently harassed and discriminated against in Hollywood.
• Following the Harvey Weinstein scandal, she said she has "100 stories" of harassment.
• She said that she's been dealing with the movie industry's misogyny since she was a teenager.

Natalie Portman opened up about her experience being sexually harassed in Hollywood at the Vulture festival on Sunday. Though she didn't name any of her harassers, she recalled her deep experience with discrimination in the movie industry.

"I’ve had discrimination or harassment on almost everything I’ve ever worked on in some way," Portman said on stage.

Portman reflected on her own experiences with the wave of sexual harassment and assault stories that emerged following the Harvey Weinstein scandal. The more she reexamined them, she said, the more she realized that some of the experiences she dismissed were things that Hollywood needed to reckon with.

"I went from thinking I don’t have a story to thinking, 'Oh wait, I have 100 stories,'" she said. "I think a lot of people are having these reckonings with themselves, of things that we just took for granted as like, this is part of the process."

On one occasion. Portman recalled, a film producer invited her on a private plane to fly to another location, only to find that only one bed was made on it. Portman said she wasn't assaulted, but the incident was representative of manipulative behavior of powerful men.

Portman has been working in Hollywood since she was 13 years old. When she was younger, she said, she frequently turned down roles because they would sexualize and objectify her. She's concerned that a hostile atmosphere in Hollywood toward women diminishes them and limits their opportunities.

"I think that’s also got to be part of our conversation now: When you’re defensive as a woman against being looked at that way, that you’re like, 'I don’t want to,'" Portman said. "What do we close off of ourselves or diminish in ourselves because we want to protect ourselves?"

SEE ALSO: 'CBS This Morning' hosts condemned Charlie Rose's alleged sexual misconduct on air: 'This has to end'

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• Jennifer Lawrence said she was shocked by the Harvey Weinstein scandal.
• Weinstein was "was always almost paternal" to Lawrence while she was an actress.
• Dozens of women are accusing Weinstein of rape, sexual harassment, or sexual assault.

Jennifer Lawrence said she was shocked by the sexual assault scandal that destroyed the career of Hollywood mogul Harvey Weinstein.

Weinstein, Lawrence said, was almost like a father to her.

"It was bizarre. I had heard that he was a dog,"Lawrence told the Awards Chatter podcast at the Hollywood Reporter. "But he was always almost paternal to me. He was never inappropriate with me."

Weinstein distributed Lawrence's 2012 movie, "Silver Linings Playbook," for which she won a best actress Oscar. The two both also appeared in the 2014 documentary "Dior and I."

Dozens of women have accused Weinstein of sexual assault, harassment, or rape. Through a network of spies, legal maneuvers, and settlements, he kept his alleged systemic abuse of women a secret, according to reports. Since news of Weinstein's alleged sexual improprieties broke, there have been more stories about reportedly abusive men in Hollywood.

Lawrence said she and Weinstein had a warm relationship before news of his allegedly abusive behavior broke.

"I thought that we had a nice relationship where, when he acted like an a------, I called him an a------. I actually think the word I used was 'a sadistic monster' — but it was just never of that nature, so that was really shocking," she said.

Lawrence also said that, while she has never been sexually abused in her career, she had been the victim of misogyny in Hollywood. After Sony Pictures was hacked in 2014, leaked emails showed that Lawrence was underpaid compared to her male costars. Nude photos of her were also hacked and leaked to the web.

"I had been objectified, I had been, you know, obviously, not paid equally, I had been violated by a hacker," Lawrence said. "But I have never had a man use his power to sexually abuse me."

If you are a victim of sexual assault, you can visit RAINN or call its hotline at 1-800-656-4673 to receive confidential support from a trained staff member.

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SEE ALSO: Jennifer Lawrence says a producer put her in a 'nude line-up' and told her to lose '15 pounds in 2 weeks'

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• "One of Us" is a Netflix documentary that gives a rare look inside New York City's insular Hasidic community.
• Directors Heidi Ewing and Rachel Grady spent three years making it.
• Two of the three people they spotlight in the movie said they suffered sexual or physical abuse before leaving the community.
• Since the movie became available on Netflix in late October, young people within the community are watching it, the filmmakers said.

 
Documentary filmmakers Heidi Ewing and Rachel Grady have spent their careers getting access to places most believed weren't possible to crack.

For their Oscar-nominated doc “Jesus Camp” (2006), they looked at a summer camp where kids were convinced that they had “prophetic gifts.” In “The Boys of Baraka” (2005), they chronicled the journey of 12 boys from Baltimore’s most violent neighborhoods who attended a boarding school in rural Kenya to get a chance at an education they couldn't receive back home.

So when Netflix caught wind that Ewing and Grady were making a movie about people trying to separate from New York City’s insular Hasidic community, it jumped at the chance to be involved.

“We were working under the radar for a year, we didn’t need to be pitching it,” Ewing told Business Insider.

The two had received foundation money to start the movie, which would go on to be titled “One of Us.” They were at the very beginning stages of trying to gain trust with people in the community, but Netflix saw the potential and wanted in.

Finding people who didn't want to be found

“We were very reluctant because we felt we hadn’t landed our final subjects,” Ewing said of talking to Netflix. “When they wanted to come on board we told them the people on the footage you saw probably aren’t going to be in the movie, we need a couple of years to make this. They were willing to do it.”

“One of Us” is a striking movie that looks at the lives of three Hasidic Jews who make the tough choice to leave the community. Twenty-something Luzer breaks ties with his entire family to pursue acting; Ari leaves while still suffering the trauma of alleged sexual abuse while in the community (which led to substance abuse); and Etty, the movie’s standout, leaves her children behind after saying she's had enough of the physical abuse from the man she was forced to marry at 19.

Ewing and Grady eventually chose to focus on these subjects after meeting them at the organization Footsteps, a support group for former Hasidic Jews that the filmmakers found out about.

“The Hasidic community was a topic Heidi and I were both very interested in but never thought there was a point of access because they have their own community and have their own language, literally,” Grady said. “It seemed out of the cards. But then we learned about Footsteps. They had been approached many, many times by many filmmakers, but we managed to persuade them to at least let us meet their membership and let us make our pitch. It’s essentially the same process that we always have had.”

But the get-to-know-you process was longer than anything they had gone through before with a reluctant group. It took the filmmakers six months of talking to the leaders behind Footsteps, but they were finally allowed to come to meetings without cameras three years ago. It then took another six months for them to find their three subjects.

“We really wanted to capture a transition,” Ewing said. “Some people we didn’t go forward with because they were too fragile and couldn’t endure being followed by us. Others were too far out in the world already.”

The three they eventually went with were a mix of both. Etty and Ari were literally a week or two from deciding to leave the community when the filmmakers met them at Footsteps. And Lozer had been out for over a year, so he could show how people adapt when they are more removed.

The sudden change of heart by one of the movie's most compelling characters

But the backbone of the movie is Etty.

At first she refused to have her face shown on camera, which led to a challenge Ewing and Grady had never encountered before, as they had never allowed someone in their films who didn’t agree to be shown. Yet the stories of women being abused within the Hasidic community were coming up more and more as the filmmakers got deeper into making the movie, they said. And they knew they needed to have a woman featured who would speak about it.

“We just struggled creatively how we were going to show her,” Grady said. “Animate her? Shoot her from behind? It was a horrible puzzle.”

The filmmakers decided to animate the Etty footage with a chalk outline look. Tests were done with footage to get it right. But then halfway through filming Etty decided to let Ewing and Grady show her face.

“She became a different person at one point of shooting,” Ewing said. “She shed a skin and someone else was there. As a filmmaker, this is one of those rare moments.”

The drama of the Etty reveal is shown in the movie. Her storyline begins with the viewer only seeing the back of her head, while she describes disturbing moments in her past. Then, halfway through the movie, there’s a moment when Etty turns and shows her face on camera.

It's the movie's most striking moment that shows Etty taking that first step into starting a new life for herself.

Since filming the movie, none of the three main subjects have returned to the community, Ewing and Grady said. Lozer has been acting on stage and in films, Ari has gotten sober after a stint in rehab, and Etty is going to community college and an educational trust fund has been started to get her to a four-year college.

Why Netflix's worldwide reach has mattered for the documentary

Though Ewing and Grady had almost no contact from leaders inside the Hasidic community while making the movie— though after two years, a Rabbi who is friends with Ari agreed to be interviewed on camera — word about the movie has grown since “One of Us” became available on Netflix in late October.

“A lot of young people are watching it on their iPhones in the bathroom,” Ewing said. “I was in a shop the other day and there were a group of Israeli girls there and they showed me their WhatsApp group in Hebrew that they were having with their conservative family members about the movie.”

The filmmakers said being involved with Netflix turned the movie from just another powerful documentary that people hear about (but isn't playing at a nearby theater), to one that can cause change because it’s so easily available to those who need to see it.

“Everywhere there is a Hasidic community there happens to be Netflix available: the United States, England, Canada, and Israel. We passed on a traditional theatrical release to have this movie drop globally on the same day.”

SEE ALSO: 4 reasons "Justice League" has flopped at the box office

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• Disney Animation head John Lasseter is taking a leave of absence from Pixar because of "missteps," he wrote in a memo to Disney employees.
• There are reported allegations of misconduct by Lasseter including "grabbing, kissing, making comments about physical attributes."

Disney Animation head John Lasseter is taking a leave of absence from Disney/Pixar due to "missteps," according to an internal memo that was sent to staff on Tuesday, as allegations of his inappropriate conduct broke.

"It’s never easy to face your missteps, but it’s the only way to learn from them," Lasseter wrote in the memo first obtained by The Hollywood Reporter. Business Insider has since received the memo.

Though Lasseter does not specify the missteps in his memo, THR published another story shortly after news of Lasseter's leave of absence broke on Tuesday. In THR's investigative report, Lasseter is accused of behavior including “grabbing, kissing, making comments about physical attributes." The story also cited sources who said actress Rashida Jones, who co-wrote the upcoming "Toy Story 4," left the project early because Lasseter "made an unwanted advance."

"I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be," Lasseter went on to write in the memo. "It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down."

Lasseter added in the memo that he's taking a six-month sabbatical in the hopes it will give him "the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve."

Lasseter is best known as a driving force of Pixar, and was the director on "Toy Story" 1 and 2, "Cars" 1 and 2, and "A Bug's Life."

In 2006, after Disney purchased Pixar, Lasseter became chief creative officer at Pixar and Walt Disney Animation Studios. Since then, both animation studios have flourished, releasing such recent Oscar winners as "Inside Out" and "Zootopia."

Pixar is releasing its newest movie "Coco" on Thanksgiving.

"We are committed to maintaining an environment in which all employees are respected and empowered to do their best work," a Disney spokesperson wrote in a statement to Business Insider. "We appreciate John’s candor and sincere apology and fully support his sabbatical."

Here is Lasseter's complete memo:

I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It’s built on trust and respect, and it becomes fragile if any members of the team don’t feel valued. As a leader, it’s my responsibility to ensure that doesn’t happen; and I now believe I have been falling short in this regard.

I’ve recently had a number of difficult conversations that have been very painful for me. It’s never easy to face your missteps, but it’s the only way to learn from them. As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.

In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios’ success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it’s the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.

I’m immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.

John

SEE ALSO: Warner Bros. could reportedly lose up to $100 million on "Justice League"

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Spike Lee has spent the last three decades making some of the most important movies in the modern era of filmmaking.

From the socially conscious “Do The Right Thing” to the powerful “Malcolm X,” Lee has used the medium to shed light on some of the most important (and often ignored) issues of our times.

The two-time Oscar nominee’s latest project is bringing one of his classics to streaming. He’s made his 1986 indie hit “She’s Gotta Have It” into a series for Netflix (starting November 23).

To celebrate his work, here we highlight 14 essential Spike Lee movies:

SEE ALSO: "Mudbound" is the best movie Netflix has released so far — and you can watch it today

1. “4 Little Girls” (1997)

Lee’s Oscar- and Emmy-nominated documentary delves into one of the most horrific moments during the Civil Rights Movement: the murder of four African-American girls when the Baptist church they were in was bombed.

2. “25th Hour” (2002)

Based on the David Benioff novel, Lee sets the story of the last 24 hours of a New York drug dealer (Edward Norton) before he goes to prison. It looks at race, friendship, family, and post 9/11 New York City.

3. “Bamboozled” (2000)

Perhaps Lee’s most underappreciated work — shot on mini DV cameras and featuring an ensemble cast that includes Damon Wayans, tap dance legend Savion Glover, Jada Pinkett Smith, Tommy Davidson, Mos Def, and Michael Rappaport — the director explores the hypocrisy in the entertainment business as we follow an African-American TV writer (Wayans) who in frustration pitches a minstrel show where black people put on black face. The show becomes a sensation. 

• Director Dan Gilroy had only Denzel Washington in mind to star in "Roman J. Israel, Esq." If the actor had declined to be in it, Gilroy wouldn't have made the movie.
• Gilroy also had an unconventional method of letting Washington be involved in every aspect of making the movie.

There’s always been an understanding on a Hollywood movie set: the director is king.

But that thinking gets a little blurred when a superstar actor is in the mix. Whether it is Tom Cruise or Meryl Streep, the director often has their job only because the star "okay’d" it.

If things go right, director and star work together, tolerate one another, and maybe even enjoy the experience enough to do it all over again on another movie. If things go wrong, a huge power struggle ensues and the studio heads pray every night the press doesn’t catch on.

Dan Gilroy has been around the business — first as a reporter for Variety, then as a screenwriter (“Reel Steel,” “The Bourne Legacy,” the scrapped Tim Burton Superman movie) — long enough to be very aware of all this. But he’s also aware of the trick to keep a project from being tainted by a power hungry star (or studio). And Gilroy pulled it off with “Roman J. Israel, Esq.” (opening in theaters on Wednesday).

The trick is this: You write the script without the studio’s involvement, and you write it with only one actor in mind to do it with.

The process began when Gilroy got an idea for a movie about a lawyer who, for most of his career, has been fighting the causes of the underdog. However, when his partner (and the face of the firm) is taken ill and may not recover, the lawyer has to come out of the shadows. And then what he faces makes him question what he’s been fighting for his entire career.

So Gilroy had an idea.

But instead of pitching the idea to a studio — many of which had been knocking down Gilroy’s door to work with him after his hit directorial debut “Nightcrawler” — Gilroy took a year and a half and wrote the entire script on spec. Then he presented the completed script to the only actor he wanted for the movie: Denzel Washington.

Convinced only Washington could play the role, Gilroy promised himself that if Washington passed, he would throw the script in a drawer and move on.

Giving Washington a setting where he could comfortably create

“I've never written so specifically for an actor that if they passed on it I wouldn't have done it,” Gilroy told Business Insider. “I always had a list of people I would have followed up with. This one I did not. I felt very strongly that the character is somebody who believes deeply in things, he's someone who believes there's something bigger than him, and Denzel is a guy who in real life believes in something bigger than himself. Him welding to that character was a quality I wouldn't be able to find in another actor. I felt very strongly about that.” 

Gilroy jumped through the usual rings: Getting the script to Washington’s reps, waiting patiently for a response, and shock when he got word several months later that Washington wanted to meet. In that meeting, Gilroy was even more shocked by the outcome.

“We sat down to have lunch and an hour into it he stuck out his hand and said, ‘Let's do this movie together,’” Gilroy said.

Now Gilroy had a finished script and one of the greatest living actors packaged for his movie. Sony won the auction to make and release the movie.

A major reason for this entire journey to make the movie was because Gilroy wanted Washington to be a collaborator with him on “Roman J. Israel, Esq.” And not just in the creation of the title character, but in every facet of production.

The two broke down every part of the script and tweaked things to Washington’s suggestions. When the two took a break so Washington could go direct and star in “Fences,” Gilroy said Washington returned with an understanding about the character that had gone beyond his own. This included everything from the character’s look on screen to things he would say in the middle of a take.

“There's a scene where he goes through a metal detector and before putting his iPod through it Denzel said the line, ‘I lost the bass range on Gil-Scott Heron's ‘Winter in America’ last time I put this in there.’ That was a line Denzel came up with on the spot,” Gilroy said. “So the choice of song — that's a very heavy song — but also apropos to what the guy is doing. He would do stuff like that in many scenes. I'm not looking for him to give that to me. There’s another scene when he’s looking for a job and he starts to cry. That wasn’t in the scene, but what he’s playing becomes real to him.”

Washington checked his ego at the door

But the collaboration didn’t end when filming stopped. Gilroy wanted Washington in the edit room with him as well.

“I couldn't have really conceived before this of letting an actor come into the cutting room. Most actors are not objective,” Gilroy said. “But I knew I wanted him to come in and look at the character and in the process we started asking each other, do we need this scene? Should we trim this? Egos really got checked at the door.”

Gilroy believes he was so comfortable in welcoming Washington into all the phases of the movie because he’s been married to actress Rene Russo for 25 years. He said watching her prepare and craft parts for years has left him with a comfort with actors that many directors do not have.

However, another reason was he was only going to make “Roman J. Isreal, Esq." with Washington, why wouldn’t he utilize him to the fullest?

“There are quite a few directors who would not welcome this process,” Gilroy said. “They would want to tell the actor their vision. I feel for myself, as much as I trust my instincts, you lose a tremendous asset when you're working with a great actor and you're not listening and rethinking or realizing this can be approved upon. I wanted to create a space that Denzel felt comfortable creating in. That was my biggest thing.” 

SEE ALSO: Pixar wins again with "Coco," which is beautifully told and culturally conscious

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The market is closed. The world is at a standstill. It's Thanksgiving Day, and you've probably just stuffed your face with turkey and pumpkin pie.

That doesn't mean you can't get a little Wall Street in your day, though. Why not kick back on the couch and watch one of these Wall Street movies?

You'll definitely enjoy yourself, and you might even learn something.

"It's A Wonderful Life" (1946)

In a sentence: It's a heartwarming classic that will never get old.

Plot: A guardian angel shows businessman George Bailey what life would be like if he never existed.

Genre: Family

"Trading Places" (1983)

In a sentence: No movie about Wall Street is funnier than the 1983 comedy "Trading Places."

Plot: Eddie Murphy and Dan Aykroyd are at their best as director John Landis tells the tale of how one man's fall from Wall Street is another man's blessing. Watching Murphy talk about futures and markets is hilarious and unparalleled in humor.

Genre: Comedy

"Trader" (1987)

In a sentence: Brilliant — if you can find it.

Plot: Made in 1987 during the raging bull market, this little-known documentary stars Paul Tudor Jones and chronicles his day-to-day life as an active investor. Jones uses techniques like historical chart reading, taken from Jesse Livermore, to predict the Black Monday crash. Even though it portrays Jones in a positive light, finding a legitimate and legal copy of this movie is nearly impossible to find, as it's rumored that Jones bought all 1,000 copies in existence.

Genre: Documentary

Warning: Minor spoilers ahead for "Coco."

Pixar's new animated feature "Coco" charts the journey of a young boy named Miguel as he accidentally journeys to the Land of the Dead on the evening of Dia de los Muertos. The cast assembled by Disney ranges from newcomers to familiar faces, some of whom both sing and do the voice acting in the movie.

Keep reading for a look at the cast of "Coco" in real life.

SEE ALSO: Pixar wins again with 'Coco,' which is beautifully told and culturally conscious

"Coco" follows the story of Miguel, a young boy born into a family of shoemakers who wants to be a musician.

12-year-old Anthony Gonzalez is the voice behind Miguel. He does all the singing for his character, too.

Abuelita, Miguel's grandmother, is the matriarch of the family

• Disney's new movie "Coco" has several hidden Easter eggs referencing other Pixar films.
• There's the iconic "Toy Story" Pizza Planet truck.
• But also characters from "Finding Nemo,""Monsters Inc.," and "The Incredibles."
• Warning: Minor spoilers ahead for "Coco."

Disney's Pixar animators are known for embedding movie references and Easter eggs within each new feature film they craft. The studio's latest movie "Coco" is no exception. We're going to run through all five Easter eggs spotted within the movie, starting with the first (and most obvious).

Towards the beginning of the movie, the "Toy Story" Pizza Planet delivery truck drives by Miguel's house.

As Miguel recalls times when Abuelita banned music, a Pizza Planet truck drives past the house while blaring tunes. The Pizza Planet truck, first introduced in "Toy Story," has appeared in almost every Pixar movie.

The next Easter egg is a tiny Nemo figurine sitting on a table Miguel passes while heading to the plaza:

On his way into town, Miguel dances by a table full of alebrijes — Mexican folk art sculptures. One of them is a small clown fish, referencing the titular character of "Finding Nemo."

The next two Easter eggs are placed on another market stall in the same scene.

Dolls of Woody from "Toy Story" and Mike Wazowski from "Monsters Inc." are hanging from the corner of a vendor's stand.

Last but not least, Hector and Miguel pass by an "Incredibles" poster on the alley wall when they're heading to the talent show.

This is likely a nod to the upcoming "Incredibles 2" sequel arriving next summer. 

"Coco" is currently in theaters. Read INSIDER's full review of the movie here.

Watch the scene containing the Pizza Planet Truck and Nemo figurine below.

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SEE ALSO: Pixar wins again with 'Coco,' which is beautifully told and culturally conscious

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• Margot Robbie does a great job as Olympic figure skater Tonya Harding in "I,Tonya."
• The movie is otherwise cruel to its real-life subject.
• Harding was abused by her mother and husband, never got an education, and had her life ruined by the men around her.
• The movie makes fun of all that.

There are lots of things that can go wrong when making a movie about a true story.

Some movies botch the casting. Some get key facts wrong. Most of them simplify reality’s shades of grey to cinema’s black-and-white.

“I, Tonya” messes up in a way I’ve never seen before: It condescends to the people it’s about.

The movie is about the Tonya Harding incident. It’s a convoluted true story, but it basically goes like this: Harding was figure skating rivals with Nancy Kerrigan in the 1990s. In the 1992 Winter Olympics, she got 4th place to Kerrigan’s bronze medal.

By a stroke of luck, the Olympic Committee added a Winter Olympics session in 1994 instead of waiting another four years, allowing Harding to compete again. Her ex-husband and bodyguard hired someone to break Kerrigan’s right leg so she wouldn’t qualify that year. Harding pleaded guilty to trying to hinder the prosecution against her ex-husband and bodyguard and was banned for life from the United States Figure Skating Association. Tabloids were obsessed with the story.

The movie also goes through Harding’s early years. Harding grew up in an abusive, rough situation in a poor town outside Portland, Oregon. Her parents are separated, her father is mostly absent, and her mother is abusive. There are rich, absurdist details, like Harding’s father designing a fur coat made out of small animals he hunted because he can’t afford to buy one, and her mother’s lively pet parrot. There are standout performances from Margot Robbie, who plays the adult Tonya Harding, Mckenna Grace, who plays the younger version of her, and Allison Janney, who plays Harding’s mother.

It’s clear that the details, as director Craig Gillepsie and screenwriter Steven Rogers presents them, are tragic. Harding grew up in poverty and was a high school dropout, focusing all of her energies on skating. Her husband, Jeff Gilooly (played by Sebastian Stan), beat her, and her bodyguard, Shawn Eckhardt (played by Paul Walter Hauser), was a narcissist and an idiot. They made a colossally stupid decision, put Harding in a terrible position, and ruined her life.

But Gillepsie plays it all as a dark screwball comedy. He punches down, laughing at her misfortune and the stupidity of everyone involved.

It doesn’t feel right. Yes, it’s funny in “Burn After Reading” when Brad Pitt’s character sneaks into someone’s home because he thinks he's in the middle of a Russian spy movie and then ends up dead. It’s not funny when Tonya Harding is a real-life person — an abuse victim who didn’t get a proper education and loses her career because the men around her are failures.

One of Gillepsie’s messages is that being famous is tantamount to being abused by the media, similar to her real-life experience with abuse. In one of her fourth-wall-breaking monologues, Robbie, as Harding, holds the movie’s audience complicit. Do you feel bad for laughing, she asks, now having seen everything I suffered through? I didn’t find much of the movie funny, but it sounds like Gillepsie did.

It’s a cheap trick. Gillepsie holds the movie’s audience accountable for finding the situation funny, not himself. He gives the movie a veneer of documentary, with its sit-down interviews, pretending that his own version of events is straightforward and without interpretation.

None of it works. It just feels like he’s snickering behind the camera.

Gillepsie can do and has done better. I really liked “Lars and the Real Girl,” his 2007 dark comedy where Ryan Gosling is in a romantic relationship with a sex doll. It managed a careful balance between deep empathy for a person in a depressing situation while still providing the occasional laugh. With “I, Tonya,” about an actual person, Gillepsie thinks he’s being edgier. He’s just mean.

After being banned from figure skating and stripped of her awards, Harding got a career in boxing, where she was beaten up every day. “America,” Robbie says, speaking the words of Rogers’s script, “loves someone to hate.” If Gillepsie really feels that way, I feel bad for him.

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• This is how stuntmen train for Hollywood movies.
• The "BLAST" course takes place over three days and costs £800.
• Previous students have gone on to work on blockbuster movies like "Transformers" and "Star Wars."

This is what Hollywood stuntman training looks like. The BLAST course– short for "British Live Action Stunt Training"– takes place in Purfleet, London over three days. 

The course is lead by Andreas Petrides, founder of the British Action Academy and stunt coordinator who has worked on films such as "Star Wars: Episode 1" and "28 Days Later".

You can find out more about the British Action Academy here. 

Produced and filmed by Jasper Pickering. Additional filming by David Ibekwe.

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• Actress Uma Thurman has fans anticipating a new report of sexual misconduct.
• In October she gave an interview where she said she was too angry to speak out yet.
• On Thursday, Thurman posted about Harvey Weinstein on Instagram and ended the caption with "stay tuned."
• Watch the video below to see why Thurman's anger is so palpable.

Uma Thurman, the powerhouse actress behind iconic "Kill Bill" character The Bride, appears to be building towards a bombshell statement on Harvey Weinstein and the ongoing Hollywood sexual misconduct news wave.

On October 18, Thurman gave a chilling statement to "Access Hollywood" when asked about her response to seeing women speak out against sexual harassment and assault by powerful men in the entertainment industry, particularly in regards to Harvey Weinstein.

In the clip, which you should watch below, Thurman's jaw is clenched and her mouth is trembling slightly with palpable anger. 

"I am not a child," Thurman says. "And I have learned that when I've spoken in anger, I usually regret the way I express myself. So, I've been waiting to feel less angry, and when I'm ready, I'll say what I have to say."

The clip went viral on Twitter when freelance journalist Yashar Ali shared the video, writing: "Uma Thurman's response when asked about the flood of sexual misconduct allegations....wow."

Now, more than one month later, Thurman dropped another hint on Instagram. While using the #MeToo hashtag, signaling that she has her own story of experiencing sexual harassment or assault, Thurman addressed her anger once more.

"I feel it’s important to take your time, be fair, be exact, so ... Happy Thanksgiving Everyone! (Except you Harvey, and all your wicked conspirators — I'm glad it's going slowly — you don't deserve a bullet)," Thurman wrote.

Then she added, "Stay tuned." 

On Thursday evening, Deadline also reported that Thurman had discharged her agency, CAA. 

More than 50 women have come forward accusing Harvey Weinstein of sexual misconduct. The allegations range from harassment to physical assault. In addition to the wave of reports on Weinstein's behavior, many other powerful men both in and out of Hollywood have faced similar allegations. 

Given her latest two statements on the ongoing news cycle, people are waiting for Thurman's evident anger to take the form of yet another bombshell accusation.

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