With the director of "Suicide Squad" and the writer of "Victor Frankenstein," Netflix wants to create a new magical franchise to compete with the likes of the Marvel Cinematic Universe and "Fantastic Beasts."

"Bright" is a $90 million fantasy movie with a planned sequel already in the works. It stars A-lister Will Smith in a world where magic is real and humans live side-by-side with orcs, elves, and faeries.

Also, everyone is extremely racist. Smith plays a human cop in the Los Angeles Police Department whose paired up with an orc cop played by Joel Edgerton. Orcs are depicted like black stereotypes, where they're all in gangs but there are a few "good ones." Elves are depicted as 1%-ers who control the world.

The two cops stumble into a prophesied plot where a mythologized magical wand is sought after by various underground cults and can change the world.

Is "Bright" any good? Let's take a look.

Why you should care: If Netflix is the future of movies, then "Bright" could be the future of the blockbuster.

From an industry level, it's important to think about what "Bright" means for the future of big-budget blockbusters.

Netflix has produced films before, but this is its first one with a massive budget. With "Bright," Netflix wants to get audiences used to the idea of fantasy films being produced for the small screen. The company is planning to spend $8 billion on content next year, so you can expect to see more projects like this.

Netflix hired Will Smith, one of the biggest stars in the world, to pull it off. He's in the movie alongside Joel Edgerton, Noomi Rapace, and a few other recognizable names.

To make the Netflix movie, they hired David Ayer, the director best known for "Suicide Squad" — which received terrible reviews, particularly for how Ayer directed his actors — but who also made the well-reviewed war film "Fury" and cop drama "End of Watch." Max Landis — most famous for his toxic misogyny and a string of failed sci-fi films after 2012's "Chronicle" — wrote the script.

What's hot: There's a solid "Shrek" reference.

Most of "Bright" is really bad. But there's one part where Will Smith yells at an orc and tells him to take his "fat Shrek-looking ass back to your vehicle and drive the f--- home to Fiona."

I laughed.

Otherwise, Joel Edgerton provides a surprisingly good performance as an Orc cop. When you're caked in makeup and have terrible dialogue to work with, it's no easy feat to play a convincing character, but Edgerton does it. There's also no denying Smith's magnetic screen presence, which still shines through such a drab movie.

What's not: Gosh this movie is dumb.

Before it even begins, you know you're about to watch a movie that's both offensive and silly.

Its first title card announces that it's produced by "Trigger Warning Entertainment." The next card has the text, citing "The Great Prophecy 7:15," that "Only a bright can control the power of the wand." Within the first few minutes, Smith's character tells a bunch of Orcs that "faerie lives don't matter."

It only gets worse from there.

The mythology is just incredibly lame. The script for "Bright" resembles the novel you tried to write when you were 13 years old and just read a bunch of bad fantasy novels to feed your "Harry Potter" addiction, but David Ayer tweaked the story because he only agrees to direct movies if it's about corruption in law enforcement.

There are all sorts of images that seem like they sprang from the mind of a horny teenager who plays too many video games. The cops come across a naked elf lady attached to a wall with magical tubes. A bunch of elves keep nattering away about fulfilling a prophecy. Orcs cut their hands for a blood pact. Will Smith shoots a gas canister that causes a big explosion.

Much of it makes no sense. Everyone knows about how powerful magical wands are, but only a random pattern of people seem to know that only a "Bright" can wield them. Orcs are really strong and can lift cars, but there's a whole plot point based on characters disputing that it's possible for an orc to jump really high.

One of the most interesting characters on paper — an elf who's part of a cult that "destroyed the Illuminati 100 years ago" and is trying to summon the dark lord or whatever, is presumed to not be able to speak English until close to the end of the movie — where she suddenly does speak English and fills in her backstory with a flashback scene.

In the end, the film turns out to be astonishingly close to "Suicide Squad," where a bunch of people have to stop someone using a powerful, brightly glowing magical force from summoning a dark force that would destroy the planet or something. The consequences aren't totally clear.

Many of the film's plot details are puzzling. The dynamic between Smith's and Edgerton's characters is initially tense because Edgerton apparently didn't run fast enough to catch a criminal earlier. "The whole world is watching" their relationship, a superior warns them? What? Why? Who cares?

There's also a scene where an orc gang beats up the two characters and interrogates them to find the magical wand. Afterwards, an orc checks their bag to look for it. They didn't think to check the bag first?

"Bright" moves at a blessedly quick pace. Normally, it's a good thing if a dreary, uncomfortably violent movie like this at least goes by quickly. But some unwise lines and moments are shoved into the rush. At one point in the movie, Smith's character instructs another to "swipe left" to remotely detonate a bomb to kill a woman.

The bottom line: "Bright" wallows in Hollywood's worst instincts.

It's no secret that Netflix is trying to eventually become the biggest movie studio in Hollywood. But if they want to make blockbusters, they need to do better. "Bright" may have been meant to be a vehicle for David Ayer's vision, but it resembles the worst dreck of the studio system.

Ayer's obsessions are getting tiresome. His movies have some consistent themes. He looks at the moral compromises of regular people in power, like police officers and soldiers, and how systemic abuse and corruption harms the disadvantaged communities below them. They're noble ideas and great to see in mainstream movies. But in his last couple of projects, whatever point he wants to make gets lost in poorly lit gunfire and people shouting about a cop named "Rodriguez."

Will Smith also needs to branch out a bit more. How many movies is he going to make where he plays an everyman with a gun who makes moral compromises so his daughter can have a better life?

"Bright" ends with a rap over the rolling credits. But, disappointingly, it's not by Smith. If you're not going to have Will Smith summarize the entire plot of the movie in a rap song at the end, what's even the point?

Grade:

D-

"Bright" is on Netflix now.

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• With "The Last Jedi" making over $900 million worldwide at the box office, Disney-owned "Star Wars" movies have combined to earn over $4.5 billion.
• That's how much Disney paid for Lucasfilm, the company that makes the "Star Wars" movies, in 2012.

In 2012, Disney bought Lucasfilm for $4.06 billion and took full control of the "Star Wars" empire. 

Five years later, the studio has made that amount back from just the ticket sales from the new "Star Wars" films.

With the saga's lastest movie, "The Last Jedi," passing $900 million worldwide at the box office on Thursday, the Disney-owned releases of "Star Wars" ("The Force Awakens,""Rouge One,""The Last Jedi") have combined to surpass the $4.06 billion pricetag Disney spent on San Francisco-based company, according to The Hollywood Reporter.

Though this doesn't count the millions spent to make and market the movies, this figure also doesn't count the money Disney has already made from "Star Wars" merchandising and attractions at its theme parks (both of which are more lucrative than what the studio gets from ticket sales). 

Any way you cut it, there can be no argument about the amount Disney paid for Lucasfilm (which means it now owns the "Indiana Jones" franchise; a new movie with Harrison Ford once again in the title role is in development). And you can only imagine what can be accomplished with the company's recent acquisition of the movie studio and TV properties of 21st Century Fox for $52.4 billion.

The news comes as "The Last Jedi" performs strong in theaters, but not to the level of 2015's "The Force Awakens," which broke numerous box office records.

The mixed reaction by fans, its two-and-a-half hour running time, and the fact that Christmas Eve landed on a Sunday this year are all factors for the historic $151 million drop at the domestic box office for "The Last Jedi" in its second weekend in theaters. But some things are too big to fail, and a "Star Wars" movie is one of them.

"The Last Jedi" is currently the second-highest domestic grossing movie of 2017 with over $445 million (it's only been in theaters for two weeks!) and has its sights on being the top-grossing domestic movie of the year by December 31.

SEE ALSO: All 36 characters in "Star Wars: The Last Jedi," ranked from worst to best

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As 2017 comes to a close, a few movie trends are clear.

It was a banner year for superhero movies. "Justice League" aside, "Logan,""Thor: Ragnarok,""Spider-Man: Homecoming," and "Wonder Woman" were all excellent.

It was a great year for horror movies, too. "It" and "Get Out" both terrified audiences this year and became critically beloved.

The year had some disappointments, like "Beauty and the Beast" and "I, Tonya." But there were also a bunch of other great movies that came out of nowhere— from critical darlings like "Lady Bird" to rom-coms like "The Big Sick."

Here are the 19 best movies of the year.

Gritty superhero movies are nothing new, but "Logan" steps it up.

The X-Men spin-off movie about Wolverine in his twilight years was both intensely violent and deeply moving, providing a satisfying end to Hugh Jackman's portrayal of the character.

"Get Out" hit a nerve.

No movie captured 2017 like "Get Out," a racially conscious horror film by comedian-slash-genius Jordan Peele. It came out all the way back in February, shortly after the presidential inauguration, but we haven't stopped thinking about it since.

They don't make movies like "The Lost City of Z" anymore.

Grand, epic adventure movies are seldom made without superheroes or spaceships anymore. But "The Lost City of Z" is based on the incredible true story of Percy Fawcett, a British explorer who went searching for an ancient lost city in the Amazon before disappearing in 1925. It's a story about obsession that you'll never forget and the period details are perfect.

Another year is about to end, and as we all praise the movies that we loved (and made billions), it's also a time to look back on the ones that didn't turn out so great.

The list of 2017's worst-reviewed movies has a little bit of everything in it: the colossal box office duds, the movies that became nothing more than a joke on social media, and the one that cost its director a "Star Wars" movie.

Here are the 25 worst-reviewed movies of 2017, as rated by critics' scores on Metacritic:

SEE ALSO: RANKED: The 11 best movies of 2017

25. “The Book of Henry”

Metacritic score: 31/100 

What a critic said:“‘The Book of Henry’ is the most misguided film since the 2003 Gary Oldman abomination ‘Tiptoes.’ [Director Colin] Trevorrow is slated to helm an upcoming ‘Star Wars’ film, so y’all have fun with that.” — The Austin Chronicle (Editor’s Note: Three months after the release of this movie, Lucasfilm announced it had “mutually chosen to part ways” with Trevorrow on “Star Wars: Episode IX.”)

24. “Absolutely Anything”

Metacritic score: 31/100 

What a critic said:“[A] depressingly inept comedy.” — Screen Daily

23. “Friend Request”

Metacritic score: 31/100

What a critic said:“An utterly idiotic movie that uses social media as a conduit for witchcraft and mayhem.” — The Wrap

Every year, Hollywood plucks great stories from books to turn them into big-screen experiences.

Whether they're a true story based on a biography or a sci-fi extravaganza based on a novel, adaptations often end up being Hollywood's best movies.

But before the movies come out, do yourself a favor and dive into the world of the books instead. Stay ahead of the curve by reading "Fifty Shades Freed" and "A Wrinkle in Time" before everyone's talking about the movies.

Here are the book-to-movie adaptations coming out this year.

"Paddington 2" continues the charming adventures of Paddington Bear.

Studio Ghibli adapted the children's book "The Little Broomstick" by Mary Stewart into an internationally acclaimed anime film called "Mary and the Witch's Flower."

"12 Strong: The Declassified True Story of the Horse Soldiers" by Doug Stanton is about an elite group of CIA officers sent to Afghanistan after the September 11 attacks.

Psychopathy, loosely defined, is a combination of cold-heartedness and violence. The most extreme psychopaths may kill without remorse, mutilating victims with as much emotion as you or I might brush our teeth.

This is known as "classic" or "idiopathic" psychopathy, but sometimes the disorder is more covert, as with some manipulative smooth talkers who aren't necessarily violent.

In 2014, Belgian psychiatry professor Samuel Leistedt wanted to find out which movie characters embodied psychopathic traits best.

Leistedt called on 10 of his friends to help him watch 400 movies over the course of three years. The films spanned nearly a century, from 1915 to 2010. When the team finished watching all the films, they'd found 126 psychopathic characters. 

Here's a breakdown of their findings.

SEE ALSO: Bill Gates and Steve Jobs raised their kids tech-free — and it should've been a red flag

Anton Chigurh of "No Country for Old Men" was the most realistic psychopath.

Javier Bardem's character in "No Country for Old Men" is a classic psychopath, Leistedt and his colleagues concluded in their report.

Chigurh approaches murder with an uncanny sense of normalcy, perfectly happy to empty his trademark bolt pistol without so much as a wince.

"He seems to be effectively invulnerable and resistant to any form of emotion or humanity," the researchers wrote.

Honorable mentions went to two characters: Hans Beckert in "M" and Henry Lee Lucas in "Henry: Portrait of a Serial Killer."

In the 1931 German film "M," Peter Lorre plays a child-killer who embodies many of the traits now thought of as belonging to a child predator, Leistedt and his colleagues observed. 

"Lorre portrays Beckert as an outwardly unremarkable man tormented by a compulsion to murder children ritualistically," the researchers wrote.

In the 1986 John McNaughton film "Henry: Portrait of a Serial Killer," the titular character's inability to plan ahead, coupled with his turbulent personal life and poor family relationships, make him a textbook idiopathic psychopath, Leistedt said.

Early representations of psychopaths weren't very accurate.

Characters like Tommy Udo in the 1947 film "The Kiss of Death" and Cody Jarrett in "White Heat" (1949) played to people's misunderstanding that "genre villains," such as gangsters or mad scientists, typified psychopathy.

"They were often caricatured as sadistic, unpredictable, sexually depraved, and emotionally unstable with a compulsion to engage in random violence, murders, and destruction," the team wrote, "usually presenting with a series of bizarre mannerisms, such as giggling, laughing, or facial tics, often creating famous and unreal characters."

• The total number of movie tickets sold in 2017 was 1.239 billion.
• That's the lowest total since 1992.
• Many are choosing to stay home and watch streaming content.

The numbers don't lie. No one went to the movies in 2017. 

Sure, you probably went to see "Star Wars: The Last Jedi,""Wonder Woman," or maybe a Marvel movie, but the ticket totals are in and that's the true barometer of the state of the exhibition business. And it's not a pretty picture. 

The total number of tickets sold at the domestic box office in 2017 was 1.239 billion, according to Box Office Mojo. That's a 5.8% drop compared to 2016. But it's also the lowest total since 1992 (1.173 billion).

The domestic box office gross barely crossed the $11 billion mark this year with $11.065 billion (thanks to December releases "The Last Jedi" and "Jumanji: Welcome to the Jungle"). That doesn't look like a major drop, as it's just 3% lower than the all-time best domestic mark hit last year ($11.377 billion), but that figure gets a lot of help from bloated ticket prices — not just for regular 2D movies (last year the average hovered just under $9), but also the expensive price to see movies on IMAX, RealD, and MX4D screens.

If you look at just the butts in the seats, the movie business needs a revamp. 

"Studios are lagging behind for the very simple reason that they are relying on retreads and reboots, and most of those aren't being well received," Jeff Bock, senior analyst for Exhibitor Relations, told Business Insider.

The top 10 domestic grossers of 2017 were all just that. And there were plenty released this year that underperformed as well ("Alien: Covenant,""Transformers: The Last Knight,""Pirates of the Caribbean: Dead Men Tell No Tales"— though all three of these titles did much better overseas). Now pile on top of that titles that were supposed to launch new franchises for years to come but ended up being DOA ("The Mummy,""Power Rangers"), and you have a lot of releases in the multiplex this year that were full of empty seats. 

So instead of going to the movies, audiences stayed home and watched what was on streaming services. 

"Audiences are continuing to flock to streaming in droves for challenging content and that doesn't look to change in 2018, or the near future," Bock said. "The studios are up against the wall, and the next few years they'll have to produce a plethora of quality films to win back favor with audiences."

Or they could do what's been common in Hollywood for 100-plus years: "If you can't beat 'em, join 'em."

With Disney's announcement last summer that it will soon launch its own streaming service, more studios could do the same.

We may truly be at the moment where the moviegoing experience drastically changes forever.

SEE ALSO: The 25 worst movies of 2017, according to critics

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• Netflix has officially announced that it's making a sequel to its Will Smith movie "Bright."
• A fantasy-action film with a reported budget of $90 million, "Bright" premiered on Netflix on December 22.
• Netflix said in a release that "Bright" was the "highest viewed Netflix film ever on the service in its first week."
• "Bright" director David Ayer will write and direct the sequel, while stars Will Smith and Joel Edgerton are expected to return. 

Netflix has ordered a sequel to its Will Smith-led original movie, "Bright," the company confirmed Wednesday. 

A fantasy-action film starring Will Smith and Joel Edgerton as LAPD cops in a world where humans, orcs, and elves coexist, "Bright" was made for a reported budget of over $90 million.

Netflix said in a release that "Bright" has been the "highest viewed Netflix film ever on the service in its first week of release." The film has also been critically panned: It currently sits at a 28% "Rotten" rating on the reviews aggregator Rotten Tomatoes.

"Bright" director David Ayer ("Suicide Squad") will write and direct the film's sequel, while stars Will Smith and Joel Edgerton are expected to return. The original film was written by Max Landis ("American Ultra").

"Bright" represents the company's strongest push yet into the world of big-budget films — an effort that will see the company release 80 original movies in 2018. 

Watch a video announcing the sequel below:

SEE ALSO: Netflix's content boss listed 5 big upcoming Netflix originals you should be excited for

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The 75th Golden Globe Awards are happening Sunday on NBC. Forgot who the nominees are? It's a good time to catch up.

Guillermo del Toro's unique love story "The Shape of Water" led everyone with seven nominations. Steven Spielberg's "The Post" and "Three Billboards Outside Ebbing, Missouri" each nabbed six. On the TV side, HBO's hit "Big Little Lies" picked up six nominations.

The Globes ceremony will air at 8 p.m. EST on NBC, with Seth Meyers hosting.

Here are the nominees:

Best motion picture, drama

"Call Me by Your Name"
"Dunkirk"
"The Post"
"The Shape of Water"
"Three Billboards Outside Ebbing, Missouri"

Best motion picture, comedy or musical

“The Disaster Artist"
"Get Out"
"The Greatest Showman"
"I, Tonya"
"Lady Bird"

Best director

Guillermo del Toro, "The Shape of Water"
Martin McDonagh, "Three Billboards Outside Ebbing, Missouri"
Christopher Nolan, "Dunkirk"
Ridley Scott, "All The Money in the World"
Steven Spielberg, "The Post"

Best TV series, drama

"The Crown"
"Game of Thrones"
"The Handmaid's Tale"
"Stranger Things"
"This is Us"

Best TV series, comedy

"Black-ish"
"The Marvelous Mrs. Maisel"
"Master of None"
"SMILF"
"Will & Grace"

Best actor in a motion picture, drama

Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Tom Hanks, “The Post”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”

Best actor in a motion picture, comedy or musical

Steve Carell, “Battle of the Sexes”
Ansel Elgort, “Baby Driver”
James Franco, “The Disaster Artist”
Hugh Jackman, “The Greatest Showman”
Daniel Kaluuya, “Get Out”

Best actress in a motion picture, drama

Jessica Chastain, “Molly’s Game”
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Meryl Streep, “The Post”
Michelle Williams, “All the Money in the World”

Best actress in a motion picture, comedy or musical

Judi Dench, “Victoria & Abdul”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Emma Stone, “Battle of the Sexes”
Helen Mirren, “The Leisure Seeker”

Best actor in a TV series, drama

Sterling K. Brown, “This is Us”
Freddie Highmore, “The Good Doctor”
Bob Odenkirk, “Better Call Saul”
Liev Schreiber, “Ray Donovan”
Jason Bateman, “Ozark”

Best actor in a TV series, comedy

Anthony Anderson, “Black-ish”
Aziz Ansari, “Master of None”
Kevin Bacon, “I Love Dick”
William H. Macy, “Shameless”
Eric McCormack, “Will and Grace”

Best actress in a TV series, drama

Caitriona Balfe, “Outlander”
Claire Foy, “The Crown”
Maggie Gyllenhaal, “The Deuce”
Katherine Langford, “13 Reasons Why”
Elisabeth Moss, “The Handmaid’s Tale”

Best actress in a TV series, comedy

Pamela Adlon, “Better Things”
Alison Brie, “Glow”
Issa Rae, “Insecure”
Rachel Brosnahan, “The Marvelous Mrs. Maisel”
Frankie Shaw, “SMILF”

Best supporting actor in a motion picture

Willem Dafoe, “The Florida Project”
Armie Hammer, “Call Me by Your Name”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Best supporting actress in a motion picture

Mary J. Blige, “Mudbound”
Hong Chau, “Downsizing”
Allison Janney, “I, Tonya”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Best TV movie or mini-series

“Big Little Lies”
“Fargo”
“Feud: Bette and Joan”
“The Sinner”
“Top of the Lake: China Girl”

Best actor in a TV miniseries or movie

Robert De Niro, “The Wizard of Lies”
Jude Law, “The Young Pope”
Kyle MacLachlan, “Twin Peaks”
Ewan McGregor, “Fargo”
Geoffrey Rush, “Genius”

Best actress in a TV miniseries or movie

Jessica Biel, “The Sinner”
Nicole Kidman, “Big Little Lies”
Jessica Lange, “Feud: Bette and Joan”
Susan Sarandon, “Feud: Bette and Joan”
Reese Witherspoon, “Big Little Lies”

Best supporting actor in TV miniseries or TV movie

Alfred Molina, “Feud”
Alexander Skarsgard, “Big Little Lies”
David Thewlis, “Fargo”
David Harbour, “Stranger Things”
Christian Slater, “Mr. Robot”

Best supporting actress in TV miniseries or movie

Laura Dern, “Big Little Lies”
Ann Dowd, “The Handmaid’s Tale”
Chrissy Metz, “This is Us”
Michelle Pfeiffer, “The Wizard of Lies”
Shailene Woodley, “Big Little Lies”

Best animated film

“The Boss Baby”
“The Breadwinner”
“Ferdinand”
“Coco”
“Loving Vincent”

Best original score

“Three Billboards Outside Ebbing, Missouri”
“The Shape of Water”
“Phantom Thread”
“The Post”
“Dunkirk”

Best screenplay, motion picture

“The Shape of Water”
“Lady Bird”
“The Post”
“Three Billboards Outside Ebbing, Missouri”
“Molly’s Game”

Best foreign language film

“A Fantastic Woman”
“First They Killed My Father”
“In the Fade”
“Loveless”
“The Square”

Best original song

"Remember Me," Coco

"This Is Me," The Greatest Showman

"Home," Ferdinand

"Mighty River," Mudbound
"The Star," The Star

SEE ALSO: The 10 biggest box office bombs of 2017

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This year's Golden Globe winners will be announced on Sunday. And, as usual, the nominations are pretty weird.

It's great to see some universally beloved movies get a lot of nominations, like "The Shape of Water" and "The Post." And it was nice to have some overlooked performances get highlighted, like Denzel Washington in "Roman J. Israel, Esq."

But other movies are shockingly snubbed, like "Wonder Woman" and "The Big Sick." You can chalk it up to the eccentric tastes of the Hollywood Foreign Press Association (HFPA), the 90 or so foreign journalists who run the Golden Globes every year and decide the nominees.

The winners will be announced when The Golden Globes airs Sunday at 8 p.m. ET on NBC.

For now, here are 10 baffling inclusions in this year's round of nominations.

"The Boss Baby"? Really?

To be fair, "The Boss Baby" wasn't actually all that bad. And neither is, I'm sure, "Ferdinand," which looks like it's the most generic animated movie about animals ever made. But it's hard to believe these two rank among the "best" animated movies of the year.

"The LEGO Ninjago Movie" was much more clever than "The Boss Baby," for example, and the charming "Captain Underpants: The First Movie" deserves a shot. Heck, even "Cars 3" was miles better than "Cars 2" and had some of that classic Pixar spark.

Why on Earth did the Golden Globes nominate "In the Fade"?

The Golden Globes has a tendency to nominate people who are famous even when they haven't made anything good that year. This year, one of those movies is "In the Fade," for best foreign language film.

The weird thing is director Fatih Akin isn't even that famous and he hasn't been since he last made a good movie, which was "The Edge of Heaven" 10 years ago. Instead, the HFPA could have nominated something like "BPM (Beats Per Minute)" or "Foxtrot."

"Molly's Game" is far from Aaron Sorkin's best work.

Aaron Sorkin is one of the few movie screenwriters you'll recognize just by listening to his distinctive, rapid dialogue. But while "Molly's Game" — also his first directorial effort — is a solid movie, it's hard to argue that it has one of the best screenplays of the year. It's far from Sorkin's best effort (I'd give that to "The Social Network"), and something like "Coco,""Phantom Thread,""Get Out," or "The Big Sick" would be more deserving in the best screenplay category.

• Actress-turned-director Quinn Shephard was 20 when she made her debut feature film "Blame" in 2015.
• The movie went on to win the best actress prize at the 2017 Tribeca Film Festival and later found theatrical distribution.
• Shephard had to cash in her college fund to self-finance the movie after her sole investor disappeared a week into shooting.

“It’s a really crazy story!”

That’s how 22-year-old actress-turned-director Quinn Shephard began when she sat down at a coffee shop in Manhattan’s East Village to talk with Business Insider about her feature directing debut, “Blame” (opening Friday in theaters and On Demand).

Shephard has acted professionally since she was five years old, and has the personality and looks that could easily get her on an upcoming series made by The CW, but these days she's more interested in music rights and color correction. That’s because for the last two years, she has dedicated her life to making a feature-length movie that’s been developing in her mind since she was 15.

A storyteller since birth

Growing up in Metuchen, New Jersey, Shephard’s teenage years were filled with telling stories. When she was 12 she hand wrote a 300-page novel. It’s currently in a binder somewhere in the basement of her parents’ house. Also around that time, she began to make short films after taking a filmmaking class at school. Then at 15, after reading “The Crucible,” she decided she would do a feature-length modern retelling of Arthur Miller’s classic play.

“I’ve always loved writing,” Shephard said. “This movie is me making something that I really wanted to do since I was a teenager.”

Shephard’s script for “Blame” went through numerous phases in the years before shooting began, but the basic story was always there — a girl (played by Shephard) is fixated on her high school drama teacher, and that leads a jealous classmate to concoct a witch hunt-like investigation to reveal the alleged taboo relationship.

To get the script from an unmakable 130 pages to a point where she was able to cast “The Mindy Project” star Chris Messina in the teacher role, and Nadia Alexander (USA series “The Sinner”) as the jealous classmate (Melissa), Shephard honed her storytelling technique by writing more feature scripts. She also made short films, including “Till Dark” in 2015, about a boy’s obsession with his childhood friend.

“Till Dark” was an exciting moment in the process for Shephard. Many of the crew on the short would make “Blame” with her the summer of that year. There was finally a light at the end of the tunnel.

Looking back, Shephard said making “Till Dark” was a great calling card to land Messina and other key crew members, but in getting ready for the rigors of feature filmmaking, “it doesn’t prepare you at all” she said.

When everything that could go wrong, does

Shephard produced “Blame” with her mother, Laurie. The only career experience they had making movies was their time on set as actresses — Laurie's main highlight was being on a few episodes of “Days of Our Lives” in 1993; Quinn has been in numerous TV series and movies since she was five, her biggest being a regular on CBS’ “Hostages” in 2013.

Despite their efforts to land an experienced producer to come on the movie, it never materialized. This left the Shephards to learn on the fly what producers do behind the scenes.

“Everything that possibly could go wrong did go wrong,” Shephard said, recalling her mom constantly reading the book “Producer to Producer: A Step-By-Step Guide to Low-Budget Independent Film Producing” for guidance.

“That was her go-to,” Shephard said. “It was that level of inexperience on how to produce.”

Then the movie was hit with what all producers fear the most — its sole investor suddenly disappeared.

It happened the first week of shooting “Blame.” With cast and crew flown to Metuchen, where the movie would be shot, a wire transfer of money that was promised to the Shephards never appeared.

“It was literally, ‘Wire transfer coming on Tuesday,’ and never heard from him again,” Shephard said (she would not give the investor’s name, only saying he was a filmmaker that she and her family had known for a long time).

“We never got an explanation, he just ghosted one day,” Shephard continued. “I never heard from him again.”

Shephard then had to make a vital decision: pull the plug or continue on with the movie.

“We felt we couldn’t turn back,” she said. “This was something we had spent so many years trying to get off the ground, if we had to bail on it when we were right there it would have been the most heartbreaking thing.”

Shephard decided to cash in her college fund and take the money she had from being on “Hostages” to self-finance her movie.

“I felt, I would rather be totally broke than have a broken spirit,” said Shephard, who would not give a specific budget for “Blame,” only saying it is under $250,000.

Finishing the movie at any cost

The money got Shephard through the 19-day shoot — which was mostly shot in her old high school in Metuchen — but it pretty much left no funds for post production.

So Shephard edited the movie herself.

Thanks to discounts and in-kind support from a post-production house in Montreal, and the kindness of a few crew members, Shephard took two trips to Montreal to edit, score, and do other post-production elements (sound mix and color correction).

For her first trip, Shephard stayed in the studio of composer Pierre-Philippe Côté as they created the score. She then lived with his aunt while editing at the post-production house. On the second trip, she stayed in the basement of Sylvain Brassard, her sound mixer.

“The second trip I couldn’t afford a plane ticket so I took the Megabus to Montreal,” Shephard said. “I did this thing at any cost.”

The post-production hustle paid off. When Shephard began to show the movie around people were shocked by its look, which to someone who doesn’t know the backstory looks like it was made for the high six-figures to $1 million.

“Blame” got its world premiere at the 2017 Tribeca Film Festival, where Alexander won the best actress award for the Melissa role. Soon after the festival, Samuel Goldwyn Films bought the North American rights to the movie.

Telling teen stories with adult topics

Alexander told Business Insider she believed it was the comfort of being directed by someone the same age as her that led to her acclaimed performance.

“It gives you your own unique power that you wouldn’t necessarily get on a set with a 45-year-old director and producers running around,” Alexander said of working with a peer. “Making Melissa a lot more crass with the boys was my suggestion to Quinn, so I had a comfort to come forward and say to her, ‘I want to do this with the character.’”

Actress Sarah Mezzanotte, who plays Melissa’s friend Sophie, said she could feel the movie’s authenticity right from the pages she read for her audition.

“I knew immediately that it was written by a young female,” she said. “You can tell when something isn’t written authentically. I could tell this was by someone who understands what it’s like to be a young woman struggling with identity and fitting in.”

Shephard is now preparing to tell her stories on a larger scale.

Following Tribeca, she landed an agent at WME and plans to cut down her acting considerably to focus on writing and directing. She said she’s close to landing a feature directing project at a studio as well as a TV project.

“‘Blame’ is a proof of concept,” Shephard said. “It has shown that there's a place for me to do my genre, which is teens dealing with adult topics. Giving three-dimensional plotlines to young women in a way that I don't think is represented right now. Many of my favorite shows and movies are these complex stories about middle-aged men. I think it's time to tell complex stories focused on teenage girls.” 

Shephard is at that moment in a career when being in the same room with movie stars, and taking meetings with executives, can lead to getting too caught up in the glossy side of Hollywood. But she said she’s stayed grounded. She only recently created an Instagram account, and it was because she wanted to better connect with teens who are searching for inspiration.

“I've gotten emails from girls who are 15, 16 years old, who said they read about me and now have signed up for a filmmaking course or started working on a script with their friends,” Shephard said. “They said, ‘I didn't think there was any point for me trying to do this at this age because I thought I would have to go to college or film school.’ It's important that we have young women in the media. I’m not trying to say I'm a role model, but it's important if you have an opportunity to reach young women you make them see that they can be businesswomen and run the show. So if my story makes them feel that in any way then it was worth it.” 

SEE ALSO: Movie attendance his a 25-year low in the US in 2017, as viewers "flock to streaming in droves"

Join the conversation about this story »

NOW WATCH: Everything we know about 'porgs' — the penguin-like creatures from 'Star Wars: The Last Jedi'

On Sunday night, the biggest stars in TV and movies unite for the silliest and most thrilling awards show of the season: the Golden Globes. 

2017 was a great year for both film and television, so the competition is fierce. It's hard to know who to root for, and a little difficult to predict, especially because the Golden Globes has a history of being unpredictable, with some quirky choices in nominees and winners. 

In movies, Guillermo del Toro's creature love story "The Shape of Water" led everyone with seven nominations this year. Steven Spielberg's "The Post" and "Three Billboards Outside Ebbing, Missouri" each have six.

In television, the frontrunners are Hulu's "The Handmaid's Tale" in the drama category, Amazon's "The Marvelous Mrs. Maisel" for comedy, and HBO's "Big Little Lies" for miniseries. But that doesn't mean they're the only shows that will win: the Golden Globes is a mixed bag every year, so anything could happen — such as Freddie Highmore winning best actor for "The Good Doctor," one of the worst reviewed new shows of 2017.

Here's who we think will be winners (and who should win) at the 2018 Golden Globes:

Best Motion Picture, Drama

"Call Me by Your Name"

"Dunkirk"

"The Post"

"The Shape of Water"

"Three Billboards Outside Ebbing, Missouri"

Who will win: "The Post"

You can't underplay the fact that this award is being handed out by the Hollywood Foreign Press. Journalists love movies about journalists. Spielberg's movie has a good chance to take home the top prize of the night.

Who should win: "Dunkirk"

There honestly was no better made movie this year. Everything about Christopher Nolan's latest movie is incredible. Hopefully the voters haven't forgotten about its greatness (it did open in the summer).

Who could surprise us: "The Shape of Water"

It has the most nominations of any movie. That could lead to a surprise by the end of the night.

Best Director

Guillermo del Toro, "The Shape of Water"

Martin McDonagh, "Three Billboards Outside Ebbing, Missouri"

Christopher Nolan, "Dunkirk"

Ridley Scott, "All The Money in the World"

Steven Spielberg, "The Post"

Who will win: Steven Spielberg, "The Post"

This prize usually coincides with the movie that ends up with the big prize of the night, so Spielberg will likely get it. 

Who should win: Christopher Nolan, "Dunkirk"

Are you starting to see a theme here? "Dunkirk" is one of the movies Nolan will be remembered for. 

Who could surprise us: Ridley Scott, "All the Money in the World"

Scott has been working the press since his shocking decision to replace Kevin Spacey with Christopher Plummer. That could lead to a surprise win.

Best Actor in a Motion Picture, Drama

Timothée Chalamet, “Call Me by Your Name”

Daniel Day-Lewis, “Phantom Thread”

Tom Hanks, “The Post”

Gary Oldman, “Darkest Hour”

Denzel Washington, “Roman J. Israel, Esq.”

Who will win: Gary Oldman, "Darkest Hour"

Oldman delivers a performance that just screams, "Give me all the awards!" 

Who should win: Gary Oldman

In a career filled with amazing performances, this is certainly one of his best.

Who could surprise us: Daniel Day-Lewis, "Phantom Thread"

It's supposedly his final acting performance. That could have hooked voters to give him a fond farewell. 

• Meryl Streep said in an interview with The New York Times that Dustin Hoffman slapping her in the filming of 1979's "Kramer vs. Kramer" was "overstepping."
• Hoffman has been accused of sexual misconduct by multiple women since November. 
• In 1979, Streep told Time that Hoffman groped her breast in her audition for "Kramer vs. Kramer."

In the wake of numerous sexual misconduct allegations against Dustin Hoffman, Meryl Streep discussed with The New York Times an incident between her and Hoffman in the filming of 1979's "Kramer vs. Kramer," when Hoffman slapped her on the face without warning.

In a joint interview with Tom Hanks, promoting their new film "The Post," Streep told the Times that Hoffman's slap in the first scene of the Oscar-winning film "Kramer vs. Kramer" was "overstepping." 

"This is tricky because when you're an actor, you're in a scene, you have to feel free," Streep said. "I'm sure that I have inadvertently hurt people in physical scenes. But there's a certain amount of forgiveness in that.

"But this was my first movie, and it was my first take in my first movie, and he just slapped me," she continued. "And you see it in the movie. It was overstepping."

Streep added that such behavior is "being corrected in this moment" because "people won't accept it anymore."

In a Time article from 1979 that resurfaced in November, following the allegations against Hoffman, Streep said Hoffman groped her breast in the audition for her role in "Kramer vs. Kramer."

Multiple women have accused Hoffman of sexual misconduct since early November, including two women who accused the actor of sexual assault. 

Hoffman's lawyer described the sexual assault allegations published by Variety in December as "defamatory falsehoods." 

Read the Times interview here.

SEE ALSO: All the women who have accused Dustin Hoffman of sexual misconduct

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• Slender Man is a fictional horror character who originated in online forums. 
• In 2014, two 12-year-old girls lured a classmate into the woods and stabbed her.
• The girls later said the attack was carried out in order to serve Slender Man. 
• Sony Pictures is making a fictional horror movie based on the legend of Slender Man.
• The father of one of the 2014 attackers has spoken out against Sony's choice.
• "It's popularizing a tragedy is what it's doing," Bill Weier said. "I'm not surprised, but in my opinion it's extremely distasteful."

The first trailer for Sony Picture's horror film "Slender Man" is sparking outrage among the family of one teenage girl involved in a 2014 attack carried out in service of the supernatural character.

Bill Weier, the father 15-year-old Anissa Weier, spoke with the Associated Press following the premiere of the "Slender Man" trailer on Wednesday.

"It's absurd they want to make a movie like this," Bill Weier said. "It's popularizing a tragedy is what it's doing. I'm not surprised, but in my opinion it's extremely distasteful. All we're doing is extending the pain all three of these families have gone through."

The 2014 Slender Man stabbing case 

In 2014, Anissa Weier and Morgan Geyser brought their classmate Payton Leutner into a wooded area of a Wisconsin suburb. With encouragement from Weier, Geyser stabbed Leutner 19 times. She survived the attack after crawling out to a path where a bicyclist came upon her.

All three girls were 12 years old at the time of the attack. Weier and Geyser said the attack was done in order to please the fictional Slender Man.

Slender Man began as an online meme of sorts, spreading from Photoshopped images created by Eric Knudsen in 2009 into other forums and mediums. He's a supernatural figure often depicted as an unnaturally tall and thin man with a blank face.

According to various mythologies created about him, Slender Man abducts children (often in forested areas) and can cause paranoia and delusions.

In December 2017, Weier was sentenced to 25 years in a psychiatric institution after pleading guilty to "being a party to attempted second-degree intentional homicide." She claimed she wasn't responsible for her actions because she was mentally ill.

According to a report from CBS News, Geyser made a deal with prosecutors. She pleaded guilty to "attempted first-degree intentional homicide with the agreement that she isn't criminally responsible and shouldn't go to prison."

Sony's horror movie is a story inspired by the original legend

Now a horror movie based on the original internet meme is set to premiere in May this year.

Sony Picture's film tells the story of high school girls who are trying to prove Slender Man doesn't exist. The movie's tagline is: "He gets in your head like a virus."

Here's the official synopsis:

"In a small town in Massachusetts, four high school girls perform a ritual in an attempt to debunk the lore of Slender Man. When one of the girls goes mysteriously missing, they begin to suspect that she is, in fact, his latest victim."

You can watch the trailer for "Slender Man" below.

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NOW WATCH: What those tiny rivets on your jeans are for

Who will be the next Ryan Reynolds, Anne Hathaway, Katy Perry, or Drake?

INSIDER took a look at the careers of already bright stars and up-and-coming talent under the ago of 30 and we realized the entertainment world has an embarrassment of riches. We then nominated the musicians, actors, and celebrities who we believe will be the next generation of the entertainment industry.

The members of INSIDER's culture team of writers and editors then voted and ranked the entertainers according to those votes.

Here are the 29 stars under 30 who we believe will be the next generation of Hollywood.

29. Yara Shahidi is only 17 and is destined for greatness.

Shahidi's career began when she was only 6 years old in TV and print ads for various companies, but most people know her for her hilarious role on ABC's "Black-ish." Her relatable presence and perfect comedic timing led to her own spin-off, "Grown-ish," with her character heading off to college for her own collegiate adventures. 

On top of her budding career, the teen is an activist. Her powerful words on representation and race resonate with other teens who don't see themselves represented in the media landscape. She also had her own mentoring group in high school and announced that she would be attending Harvard University. But first, she's taking a gap year. Can't wait to see what Shahidi does in her life and career. She is destined for great things. 

28. Gigi Hadid, 22, has a combined total of over 45 million followers on Instagram and Twitter, as well as a makeup collection and clothing line.

Gigi Hadid is undoubtedly one of the most popular models in the world. Aside from walking runways, she also released her own makeup collection with Maybelline and a clothing line with Tommy Hilfiger.

In addition to being a trendsetter, Hadid uses her platform to positively impact others. In 2016 and 2017, she collaborated with Pencils of Promise and Stuart Weitzman to design exclusive shoes, whose proceeds helped to fund the development of schools around the world. 

27. Model and actress Cara Delevingne, 25, is branching out into various careers.

Delevingne has been modeling since she was 10 years old and was named "model of the year" at the British Fashion Awards by 20. She started her acting career that same year with her first role in "Anna Karenina." Since then, she has been in bigger movies, like DC's (panned) "Suicide Squad" and "Valerian and the City of a Thousand Planets." 

In between her acting, she sings and has released a couple of songs, has designed her own fashion and accessories with name brand designers, and released her own novel in 2017 titled "Mirror, Mirror." Though not all of her projects have been critical hits, Delevingne shows how hard work pays off. 

• Rose McGowan wrote in an upcoming memoir, previewed by Vanity Fair, that director Robert Rodriguez used knowledge of her alleged Harvey Weinstein rape against her in the filming of 2007's "Planet Terror," which Weinstein produced.
• Rodriguez denied McGowan's claims in a statement to Business Insider, saying there were "some key factual errors" in McGowan's account. 
• Rodriguez said in October that he cast McGowan in "Planet Terror" to get back at Weinstein for the alleged rape.

In an upcoming memoir previewed by Vanity Fair, Rose McGowan wrote that Robert Rodriguez, her former romantic partner and "Grindhouse" director, used McGowan's confiding in him about her alleged raped by Harvey Weinstein as a "tool for mind games" against her (as Vanity Fair described it).

McGowan wrote that Rodriguez used his knowledge of the alleged rape against her in a "Grindhouse" scene in which Quentin Tarantino, playing a character in Rodriguez's half of the double-feature,"Planet Terror," attacks McGowan's character.

She wrote that Rodriguez then "sold our film to my monster," meaning the Weinstein-owned Dimension Films.

Rodriguez denied McGowan's claims in a statement to Business Insider on Thursday. He said there were "some key factual errors" in the Vanity Fair story and McGowan's account, including that Weinstein's Dimension Films had already begun funding "Planet Terror" at the time of shooting. 

"These inaccuracies may appear to put me at odds with Rose, but I have no quarrel with her," Rodriguez wrote. "It's when publications don't fact check these basic things, you end up with something inaccurate that then has to be disqualified. And I don't want to have to disqualify it because I agree with what Rose is trying to do overall, which is continue to push for change both in our industry and beyond."

In October, Rodriguez said that he cast Rose McGowan in "Planet Terror" to get back at Harvey Weinstein for the alleged rape, which she had told him about. Rodriguez said Weinstein subsequently tried to "bury" the film, which had a tepid box office performance for Dimension Films.

In his statement on Thursday, Rodriguez said that he stood by his October statement. He added that the attack scene McGowan described was always in the script and that McGowan never expressed concerns with performing it.

Read Rodriguez's full statement below:

"It is unfortunate that Vanity Fair reporter Evgenia Peretz did not reach out to me for comment or clarification, even after my widely reported statement in October 2017 regarding Rose McGowan and Harvey Weinstein. It is deeply disappointing that the fact checkers at publishing house HarperOne did not reach out to me either.  As a result, there are some key factual errors in the piece. 

These inaccuracies may appear to put me at odds with Rose, but I have no quarrel with her. It’s when publications don’t fact check these basic things, you end up with something inaccurate that then has to be disqualified. And I don’t want to have to disqualify it because I agree with what Rose is trying to do overall, which is continue to push for change both in our industry and beyond.

That said …

• I did not sell the movie to the Weinsteins, they had a first look on my next project, and I owed them two more after that.  (Grindhouse, Spykids 4 and Sin City 2 fulfilled my obligations to them.)
• I met Rose in April of 2005. The Weinsteins began funding Grindhouse by at least the first week of November of 2005 because I was shooting the fake Machete trailer for the film on November 16, 2005. I then started scouting locations and designing the production for Grindhouse with key crew members, hired and paid for by the Weinsteins, before Thanksgiving 2005.
• Full preproduction on Grindhouse with the entire crew began on January 23^rd 2006, and Principal Photography began on March 17, 2006. Rose began filming March 26, 2006. The point is that it was already an official Weinstein movie for at least 5 months before principal production even began on the Planet Terror segment of Grindhouse. There was certainly ample time for Rose to decide not to be in a film funded by the Weinsteins and reject the movie and the script before shooting ever began. And if she ever had a problem with making the movie for them I would have completely understood, changed the role, and cast someone else.
• The scene described in the Vanity Fair article where the rapist taunts the character played by Rose (before she turns around and stabs him in the eye and kills him) was in every draft of the script since the first draft issued to cast and crew dated January 24, 2006. Furthermore, that very scene wasn’t even filmed until 5 months later, on June 28, 2006. Again, if there was any objection to the scene there was plenty of time to address it. It was never brought up as being an issue. In fact, the point of the scene was always to be empowering because it’s when her character turns the tables against her oppressors."

SEE ALSO: Robert Rodriguez says he cast Rose McGowan in 'Grindhouse' to get back at Harvey Weinstein

Join the conversation about this story »

NOW WATCH: Everything we know about 'porgs' — the penguin-like creatures from 'Star Wars: The Last Jedi'

• The Golden Globes nominated "Get Out" in its "musical or comedy" categories this year.
• It's part of its rich history of mis-categorizing movies. "Three Billboards," a comedy, is also marked as a drama this year.
• The comedy nomination for "Get Out" is especially patronizing, since it's a horror movie about racism.

The Golden Globes has a lot of bizarre traditions, but there's one it can't quit. Every year, it considers random movies a "musical or comedy" when they clearly aren't.

If you look at this year's nominations, for example, the horror movie "Get Out" is competing in the musical and comedy categories, while the dark comedy "Three Billboards Outside Ebbing, Missouri" is a drama for some reason.

Unlike most other major awards groups, the Hollywood Foreign Press Association (HFPA) — the consortium of around 90 foreign film journalists who decide the Golden Globe nominees and winners — categorize movies as either "drama" or "musical or comedy" for its awards. It's an exciting idea: More categories means more movies and actors can be nominated. But every year, the organization makes categorizations that defy reason.

The categorizations for "Get Out" and "Three Billboards" are, in fact, part of the HFPA's rich history of putting movies in the wrong category.

The Golden Globes does this all the time.

In 2016, for example, "The Martian" — a science fiction movie about a man trapped on Mars and trying to return back to Earth — won the best movie award in the comedy or musical category, despite being neither, and winning over the likes of "Trainwreck" and "The Big Short." Furthermore, Matt Damon won the best actor award in a musical or comedy category.

This happens pretty much every year: "20th Century Women" was nominated for best musical or comedy last year, even though it isn't one. "My Week With Marilyn" got a nomination in the category in 2011, and "The Tourist" in 2010 (by the way, why was that movie nominated for anything?).

In fact, the nomination and win for "The Martian" was so egregious that the HFPA changed its rules a few weeks after the awards, telling studios that "dramas with comedic overtones should be entered as dramas," not comedies, when submitted for nominations.

But they seemed to ignore that this year, when nominating "Get Out" in the categories designated for musicals or comedies. Studios are the ones who choose a category when submitting a movie, which they may do because one category may be less competitive than another, but the HFPA could still nominate a movie in whatever category they want.

Nominating "Get Out" as a comedy is a patronizing move.

It's especially insulting to "Get Out," even if the movie does have some funny moments, since director Jordan Peele wasn't happy about a genre categorization.

"The reason for the visceral response to this movie being called a comedy is that we are still living in a time in which African American cries for justice aren’t being taken seriously,"Peele said in a statement last month. "It’s important to acknowledge that though there are funny moments, the systemic racism that the movie is about is very real."

Sometimes, the way the Globes categorizes certain movies makes some sense. While some people didn't think "The Wolf of Wall Street" wasn't a comedy, it has enough laugh-out-loud moments to make the category work. And often, the "musical or comedy" category simply have fewer good contenders (hence mashing together "musical" and "comedy" in the first place), so lighter fare like "The Martian" is pushed in there.

Jordan Peele doesn't seem too upset right now. "I’m so damn proud of Daniel and the cast and crew of GET OUT for these nominations!✊🏾,"he diplomatically tweeted after the nominations were announced.

But "Get Out" is not a comedy. The movie may offer a few nervous laughs, but it's patronizing to consider a horror movie about racism on the same level as "The Greatest Showman" or "I, Tonya." Sometimes, you just have to call a spade a spade.

The 2018 Golden Globes will air Sunday at 8 p.m. EST on NBC.

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NOW WATCH: An exercise scientist reveals exactly how long you need to work out to get in great shape

Regardless of if you love watching the Oscars or love to hate-watch it, the highlight is always when there's an upset winner.

With months of being told why a person or film is going to win, there's nothing like watching the genuine surprise and spontaneous, authentic reaction when someone seems to steal away Hollywood's biggest prize. That can range from Roberto Benigni standing on his seat after winning best actor in 1999 to Adrien Brody planting a big kiss on presenter Halle Berry when he won the award in 2003. And let's not forget the way "Moonlight" shocked the world last year.

Here are the 21 biggest upsets in Oscar history ranked:

SEE ALSO: RANKED: The 10 worst movies to win the best picture Oscar — and what should have won

21. Marcia Gay Harden wins best supporting actress for "Pollock" (2001)

A big indicator of who will win on Oscar night comes from the nominations and wins before that night, which is what makes Harden's win so shocking. Her performance as Lee Krasner did not get recognized at the Golden Globes, SAG Awards, or BAFTAs. But her name was called on the biggest night.

20. Anna Paquin wins best supporting actress for "The Piano" (1994)

Rarely does the Academy award children, but at 11 years old Paquin took the award, beating out Emma Thompson ("In the Name of the Father"), Winona Ryder ("The Age of Innocence"), Rosie Perez ("Fearless"), and Holly Hunter ("The Firm"), who was also nominated in the best actress category for playing opposite Paquin in "The Piano." She would win in that category.

19. "The King’s Speech" wins best picture (2011)

What was thought to be a film that would showcase Colin Firth's talents to earn him an Oscar (and it did), the movie shocked the likes of nominees "The Social Network,""The Fighter," and "127 Hours" to win the top prize.

• The Weinstein Company could reportedly be sold for $500 million.
• The small figure is in the wake of the scandal surrounding its cofounder, Harvey Weinstein, who was fired after sexual misconduct allegations were revealed last year.
• Six companies are reportedly in the running.

Following a December 22 deadline, The Weinstein Company is currently in the process of being sold and has narrowed down the potential buyers to six companies, according to The Wall Street Journal.

However, in the wake of the colossal controversy surrounding the company following the sexual assault and harassment allegations against its cofounder Harvey Weinstein, who was fired in October, whichever company takes TWC will be getting it for a bargain price.

The Wall Street Journal reports that the company could go for less than $500 million and its shareholders may lose all of their equity.

TWC received about 20 offers and its board of directors has narrowed down the list to six potential buyers, which includes Lionsgate and production company Killer Content, which is working with filmmaker/philanthropist Abigail Disney, according to The Wall Street Journal.

The top bid of $500 million is an underwhelming figure for the company that Harvey and brother Bob Weinstein launched in 2005 after leaving the previous company they founded, Miramax, which became a mega power in the independent film world in the 1990s.

With the company reportedly carrying $500 million-plus in debt, the only thing that’s attractive is its library (which includes Quentin Tarantino movies “Django Unchained,” “Inglourious Basterds,” and “The Hateful Eight”), but it’s clearly not as lucrative as it once was.

“A company’s library of titles depreciates faster than they used to,” Hal Vogel, media analyst and founder of Vogel Capital Management told Business Insider. “With so much production on the streaming side now, older libraries don’t trade for so much.”

Then there’s also the legal bills against Harvey Weinstein and the company that the buyer will have to take on. Weinstein’s alleged sexual misconduct over three decades has led to lawsuits against TWC and Weinstein being the subject of criminal investigations.

“One of the companies will eventually win out, but money is only one consideration,” Vogel said. “You can expect that the litigation will come out for years to come. It’s going to be costly and it’s going to drag on.”

The Weinstein Company had no comment for this story.

SEE ALSO: Who will win big at the 2018 Golden Globes — and who should win

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NOW WATCH: Celebrities flocked to these underground poker games where someone once lost $100 million in one night

New year, new you, and new movies. 

2018 is here and it's time to get ready for the next "Avengers" movie, another return to "Jurassic World," spin-offs to popular franchises, and women will be at the forefront of several big movies.

It’s not all big Hollywood blockbusters we’re looking forward to this year. There are a lot of highly-anticipated book adaptations coming and Joaquin Phoenix might just be making a comeback.

If you weren't happy with the crop of movies last year, surely there's something for everyone to get excited for in 2018. 

1. "The Post"

Release date: January 12 (wide release date)

What it's about: The movie follows how "The Washington Post" covered the Pentagon Papers.

Why to see it: If you love Steven Spielberg, the director's latest is a testament to how great he is at what he does. Meryl Streep and Tom Hanks give some of their best performances. As my colleague Jacob Shamsian noted in his review, it's "a timely movie about the past."

Read our review here.

2. "Fifty Shades Freed"

Release date: February 9

What it's about: The third and final chapter in the "Fifty Shades" franchise sees a married Ana (Dakota Johnson) and Christian (Jamie Dornan) stalked by her former boss, Jack. They'll also have to ward off Christian's former dominant, Elena (Kim Basinger).

Why to see it: If you've been following the franchise along for this one, you may as well head out for one final Valentine's Day outing with Ana and Christian. Love it or hate it, you know everyone is going to be discussing some of the film's dialogue and funniest parts. It's (hopefully) the final movie in the franchise. 

Watch the trailer here.

3. "Black Panther"

Release date: February 16

What it's about: Remember the Black Panther character introduced in "Captain America: Civil War"? This movie will take place after the events of that movie as T'Challa (Chadwick Boseman) returns home to take over for his father as the King of the fictional Wakanda. Of course, that's not going to go over so well as he butts heads with an old foe.

Why to see it: Fans have been waiting since his first comic book appearance in 1966 for the character get some recognition on the big screen. And what a spectacle it will be. The star-studded cast includes Forest Whitaker, Angela Bassett, Andy Serkis, Lupita Nyong'o, Michael B. Jordan, and "The Walking Dead" actress Danai Gurira.

And with Kendrick Lamar producing the movie's album, you know it's going to have some good tracks.

Watch the trailer here.