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21-40 of 343 items from 2016   « Prev | Next »


‘Orange Is the New Black’ Season 4: Lori Petty Talks Lolly’s Fate

26 June 2016 2:00 PM, PDT | Variety - TV News | See recent Variety - TV News news »

[Spoiler alert: The following interview discusses plot points from the entire fourth season of “Orange Is the New Black.” Do not read until you’ve watched.]

Lori Petty’s Lolly Whitehill is such a central part of “Orange Is the New Black” season 4, that it’s easy to forget she hasn’t been there all along.

After a brief guest turn in the second season premiere (when Piper was on the plane to Chicago), Lolly returned last season to spook Alex (Laura Prepon), who thought she was sent to kill her. As it turned out Lolly was simply following the voices in her head — a paranoid schizophrenic, Lolly is convinced all government agencies are united in a conspiracy to kill her.

This season, Lolly saves Alex’s life by knocking out the prison guard who turned out to be an undercover assassin, helps Alex bury the body, and later bonds with Healy (Michael J. Harney), who convinces her that it was all in her head. Sadly, it wasn’t, and when the truth is revealed Healy is forced to escort Lolly to psychiatric »

- Geoff Berkshire

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Hollywood tributes continue to pour in for Star Trek's Anton Yelchin

20 June 2016 1:49 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

Stars, including Nicolas Cage and Jodie Foster, have been sharing their condolences for the actor, who has died at the age of 27

Tributes across Hollywood have continued to pour in for actor Anton Yelchin, who has died in a car accident at the age of 27.

Related: Anton Yelchin: actor of cherubic charm who inspired huge affection | Peter Bradshaw

Continue reading »

- Benjamin Lee

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Bo report: Finding Dory swims well clear of Warcraft, Me Before You

19 June 2016 7:07 PM, PDT | IF.com.au | See recent IF.com.au news »

Finding Dory

Disney-Pixar.s Finding Dory debuted well on top of the Australian box office last week, ringing up over a whopping $10 million.

Duncan Jones.s Warcraft: The Beginning followed behind, opening to $3.4 million. Romantic drama Me Before You, starring Emilia Clarke and Sam Clafin, also bowed this week on 230 screens, raking in $2.8 million over the weekend to sit in third. James Wan.s horror flick The Conjuring 2 fell 42 per cent in its second week, bringing its total gross to $7.2 million.

Now You See Me 2 also fell over 50 per cent, now on a total of $7.7 million after three weeks. Teenage Mutant Ninja Turtles: Out of The Shadows dropped 61 per cent, sitting on $4.6 million after two weeks, while Taiki Waititi's Hunt for the Wilderpeople fell 32 per cent in its fourth week, taking in $802,535 over the weekend to bring its total to $5.52 million. Jodie Foster.s Money Monster took in $772,329 over the weekend. »

- Jackie Keast

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Hollywood Reacts to the Tragic Death of Anton Yelchin

19 June 2016 1:34 PM, PDT | MovieWeb | See recent MovieWeb news »

The Hollywood community is in mourning once again, after news broke earlier today that Anton Yelchin has died from a freak car accident. The actor was found dead at his home in the San Fernando Valley early this morning, pinned between his car and a concrete mailbox. As news of this tragic death started to spread, several of the actor's co-stars, friends, colleagues and others in the Hollywood community mourned his death on social media. Paramount Pictures also released the following statement regarding the beloved actor's death.

"All of us at Paramount join the world in morning the untimely passing of Antony Yelchin. As a member of the Star Trek family, he was beloved by so many and he will missed by all. We share our deepest condolences with his mother, father and family."

The actor is probably best known for playing Chekov in J.J. Abrams' 2009 Star Trek, its »

- MovieWeb

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Jodie Foster Pays Tribute to Anton Yelchin, A ‘Rare & Beautiful Soul’

19 June 2016 1:33 PM, PDT | Indiewire | See recent Indiewire news »

Jodie Foster, who directed Anton Yelchin in her 2011 film “The Beaver,” has commented on the up-and-coming actor’s untimely passing in an accident outside his home early this morning. In a statement provided to Indiewire, she called the 27-year-old a “rare and beautiful soul” she was honored to have worked with. Read her full statement below.

Read More: Anton Yelchin Dead at 27: ‘Star Trek’ Actor Dies in ‘Freak Accident’

“Anton… What a rare and beautiful soul with his unstoppable passion for life. He was equal parts serious thinker and the most fun little brother you could ever dream of. I am so honored to have been able to direct such a deep actor, so committed and genuine. I will forever be grateful for all of those little exchanges we shared, his contagious enthusiasm, his questions, his company. My heart breaks for his mom and dad who were a part of every anecdote. »

- Michael Nordine

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Anton Yelchin Dead at 27: ‘Star Trek’ Actor Dies in ‘Freak Accident’

19 June 2016 11:10 AM, PDT | Indiewire | See recent Indiewire news »

Star Trek” actor Anton Yelchin has died in what’s being called a freak accident. According to TMZ, a friend went to the performer’s home in the San Fernando Valley late last night after Yelchin missed a rehearsal hours earlier; once there, he found Yelchin “pinned between his car and a brick mailbox, which was attached to a security gate.” Yelchin was 27.

Read More: Anton Yelchin (1989 — 2016): A Career Retrospective in Photos

Law-enforcement officers, who do not suspect foul play, further told TMZ that the engine was running when Yelchin’s body was discovered and that the car was in neutral. They do not know why the actor, whose driveway is on a steep incline, exited his vehicle in the first place. Paramount released the following statement: “All of us at Paramount join the world in morning the untimely passing of Anton Yelchin. As a member of the ‘Star Trek’ family, »

- Michael Nordine

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‘Making A Murderer’ Creators & George Clooney Teaming Up For Scripted Drama

16 June 2016 11:41 AM, PDT | Indiewire Television | See recent Indiewire Television news »

George Clooney and Grant Heslov’s production company Smokehouse Pictures has just inked a deal with Sonar Entertainment to produce television content.  For their first project, they will team up with “Making a Murderer” creators, Laura Ricciardi and Moira Demos, on the scripted drama “America’s Most Admired Lawbreaker.”

Based on the Huffington Post series of articles by journalist Steven Brill, the true story followed a venerable pharmaceutical company that created a powerful drug and marketed it aggressively to children and the elderly while allegedly manipulating and hiding data about its terrible side effects. The drug company made a reported $30 billion in sales of the drug worldwide but was later investigated and agreed to pay more than $2 billion in penalties and settlements. Ricciardi and Demos will adapt the series along with Nicki Palugawill. The “Making a Murderer” duo are also on board to direct.

Read More: Coen Brothers New Documentary — Watch George Clooney, »

- Liz Calvario

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‘Making A Murderer’ Creators & George Clooney Teaming Up For Scripted Drama

16 June 2016 11:41 AM, PDT | Indiewire | See recent Indiewire news »

George Clooney and Grant Heslov’s production company Smokehouse Pictures has just inked a deal with Sonar Entertainment to produce television content.  For their first project, they will team up with “Making a Murderer” creators, Laura Ricciardi and Moira Demos, on the scripted drama “America’s Most Admired Lawbreaker.”

Based on the Huffington Post series of articles by journalist Steven Brill, the true story followed a venerable pharmaceutical company that created a powerful drug and marketed it aggressively to children and the elderly while allegedly manipulating and hiding data about its terrible side effects. The drug company made a reported $30 billion in sales of the drug worldwide but was later investigated and agreed to pay more than $2 billion in penalties and settlements. Ricciardi and Demos will adapt the series along with Nicki Palugawill. The “Making a Murderer” duo are also on board to direct.

Read More: Coen Brothers New Documentary — Watch George Clooney, Jeff Bridges & More Pay Tribute to the Dynamic Duo

“We couldn’t be more excited to be in business with George and Grant and their talented team at Smokehouse,” Sonar CEO Thomas Lesinski said. “Smokehouse has a stellar track record of delivering commercial and critically acclaimed content. Smokehouse will be a great partner for Sonar Entertainment, as the two companies align perfectly in our approaches to premium TV programming.”

A network is not yet attached to the project and the number of episodes it will have is unknown at this time.

Read More: Jennifer Lawrence To Star In Adam McKay’s Theranos Medical Drama

Clooney and Heslov’s deal with Sonar will have their company produce drama and comedy series for cable and streaming outlets. Currently on Smokehouse’s roster is “Ms,” a miniseries about Gloria Steinem and the founding of Ms Magazine, set up at HBO, and set up at Showtime, they have “The Studio,” an ongoing series about a movie studio in the 1990s. Previous film work includes “The Ides Of March,” “The Monuments Men,” “Argo,” “Money Monster” and “Our Brand Is Crisis.”

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Related storiesCoen Brothers New Documentary -- Watch George Clooney, Jeff Bridges & More Pay Tribute to the Dynamic Duo'Money Monster' Shortchanges SuspenseWatch: The Rage Is Real In 3 Clips From Jodie Foster's 'Money Monster' Starring George Clooney »

- Liz Calvario

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Japan Box Office: ’64: Part 2′ Wins Weekend

13 June 2016 9:18 PM, PDT | Variety - Film News | See recent Variety - Film News news »

“64: Part 2,” the second part of a duology about a cop’s lone crusade to solve a 1989 kidnapping and murder case, topped the Japanese box office for the weekend of June 11-12.

Based on a bestselling 2012 novel by Hideo Yokoyama and directed by former adult film maestro Takahisa Zeze, “64: Part 2” debuted on 321 screens with Toho distributing. It earned $3.3 million from 283,000 admissions in its first two days. This was a 37% improvement on the opening of the first part and the film is on track to finish near the $20 million mark. The total box office of both parts is predicted to be $33 million.

Also bowing at the weekend, at number eight, was Jodie Foster’s thriller “Money Monster.” Opening on 182 screens with Sony distributing, the film recorded $565,000 on 45,700 admissions. The outlook is for a $3 million finish.

Number two “Zootopia” drove its cumulative total to $61 million and the Disney hit is now forecast to end its Japan run with $66 million.

»

- Mark Schilling

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Bo Report: James Wan bests the Ninja Turtles as The Conjuring 2 debuts

13 June 2016 4:48 PM, PDT | IF.com.au | See recent IF.com.au news »

The Conjuring 2 director James Wan.

Australian director James Wan is sitting pretty at the top of the Australian box office, with The Conjuring 2 bowing on 203 screens and ringing up around $3.5 million by Cob Sunday.

Paramount's Teenage Mutant Ninja Turtles: Out of the Shadows opened on 260 screens and raked in $2.4 million to come in second, while eOne's Now You See Me 2 proved it was a good weekend for number two's, coming in third with a weekend gross of around $2 million.

John Chu's sequel added Daniel Radcliffe and replaced Isla Fisher with Lizzy Caplan, dropping twenty-nine percent in its second week to bring its cume to $5.8 million.

Jodie Foster's Money Monster dropped about the same (twenty-eight percent) in week two, bringing its total to $4.5 million, while Taiki Waititi's Hunt for the Wilderpeople dropped a mere one-percent in its third week to take $1.1 million Thursday to Saturday.

The Madman release has now made $4.1 million (and no doubt more when Queen's Birthday numbers are tallied), and is still on 169 screens.

Also in its third week though on substantially more screens - 291 - Disney's Alice Through the Looking Glass was nevertheless narrowly beaten by Wilderpeople over the weekend, with the sequel to Tim Burton's original film now sitting on $7.3 million overall.

Fox's X-Men: Apocalypse dropped forty-one percent and has pulled in $14.3 million after four weeks, while Shane Black's The Nice Guys has made $4.9 million after three..

Sony's The Angry Birds Movie has racked up $8.6 million after five weeks, while Captain America: Civil War rounded out the top ten, with weekend takings of $180,295 and a total gross so far of $33.5 million after seven weeks. »

- Harry Windsor

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Warner Bros, and its disastrous movie summer of 1997

13 June 2016 2:21 PM, PDT | Den of Geek | See recent Den of Geek news »

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Warner Bros has struggled with its blockbusters of late. But back in summer 1997 - Batman & Robin's year - it faced not dissimilar problems.

Earlier this year it was revealed that Warner Bros, following a string of costly movies that hadn’t hit box office gold (Pan, Jupiter Ascending, The Man From U.N.C.L.E., In The Heart Of The Sea), was restructuring its blockbuster movie business. Fewer films, fewer risks, more franchises, and more centering around movie universes seems to be the new approach, and the appointment of a new corporate team to oversee the Harry Potter franchise last week was one part of that.

In some ways, it marks the end of an era. Whilst it retains its relationships with key directing talent (Ben Affleck, Clint Eastwood, Christopher Nolan for instance), Warner Bros was, for the bulk of the 1990s in particular, the studio that the others were trying to mimic. It worked with the same stars and filmmakers time and time again, and under then-chiefs Terry Semel and Robert Daly, relationships with key talent were paramount.

Furthermore, the studio knew to leave that talent to do its job, and was also ahead of the pack in developing franchises that it could rely on to give it a string of hits.

However, whilst Warner Bros is having troubles now, its way of doing business was first seriously challenged by the failure of its slate in the summer of 1997. Once again, it seemed to have a line up to cherish, that others were envious of. But as film by film failed to click, every facet of Warner Bros’ blockbuster strategy suddenly came under scrutiny, and would ultimately fairly dramatically change. Just two summers later, the studio released The Matrix, and blockbuster cinema changed again.

But come the start of summer 1997? These are the movies that Warner Bros had lined up, and this is what happened…

February - National Lampoon’s Vegas Vacation

Things actually had got off to a decent enough start for the studio earlier in the year, so it's worth kicking off there. It brought Chevy Chase and Beverly D’Angelo back together, for the fourth National Lampoon movie, and the first since 1989’s National Lampoon’s Christmas Vacation. Interestingly, it dropped the National Lampoon moniker in the Us, and instead released the eventual movie as Vegas Vacation. It was a belated sequel, back when belated sequels weren’t that big a thing.

The film was quickly pulled apart by reviewers, but it still just about clawed a profit. The production budget of $25m was eclipsed by the Us gross of $36m, and the movie would do comfortable business on video/DVD. Not a massive hit, then, but hardly a project that had a sense of foreboding about it.

Yet the problems were not far away.

May – Father's Day

Warner Bros had a mix of movies released in the Us in March and April 1997, including modest Wesley Snipes-headlined thriller Murder At 1600, and family flick Shiloh. But it launched its summer season with Father’s Day, an expensive packaged comedy from director Ivan Reitman, starring Robin Williams and Billy Crystal. It had hit written all over it.

Father’s Day was one of the movies packaged by the CAA agency, and its then-head, Mike Ovitz (listed regularly by Premiere magazine in the 1990s as one of the most powerful men in Hollywood, if not the most powerful man). That he brought together the stars, the director and the project, gave a studio a price tag, and the studio duly paid it. Given Warner Bros’ devotion to star talent (Mel Gibson, then one of the biggest movie stars in the world, and a major Warner Bros talent, was persuaded to film a cameo), it was a natural home for the film. It quickly did the deal. few questions asked.

That package, and CAA’s fees for putting it together, brought the budget for a fairly straightforward comedy to a then-staggering $85m. The problem, though, was that the film simply wasn’t very good. It’s one of those projects that looks great on paper, less great when exposed on a great big screen. Warner Bros has snapped it up, without - it seems - even properly reading the script. 

Premiere magazine quoted a Warner Bros insider back in November 1997 as saying “when [CAA] calls and says ‘we have a package, Father’s Day, with Williams and Crystal and Reitman, we say ‘great’”, adding “we don’t scrutinise the production. When we saw the movie, it took the wind out of us. We kept reshooting and enhancing, but you can’t fix something that’s bad”.

And it was bad.

The movie would prove to be the first big misfire of the summer, grossing just $35m in the Us, and not adding a fat lot more elsewhere in the world. Warner Bros’ first film of the summer was a certified flop. More would soon follow.

May - Addicted To Love

A more modestly priced project was Addicted To Love, a romantic comedy starring Meg Ryan and Matthew Broderick. Just over a year later, Warner Bros would hit big when Meg Ryan reunited with Tom Hanks for Nora Ephron’s You’ve Got Mail. But here? The film was a modest success, at best.

Directed by Griffin Dunne (making his directorial debut), and put together in partnership with Miramax, Addicted To Love was based around the Robert Palmer song of the same name. But whilst it was sold as a romcom, the muddled final cut was actually a fair bit darker. There was an underlying nastiness to some moments in the film, and when the final box office was tallied, it came in lower than the usual returns for pictures from Ryan or Broderick. Counter-programming it against the release of The Lost World: Jurassic Park didn’t massively help in this instance either, especially as the Jurassic Park sequel would smash opening weekend records.

Addicted To Love ended up with $34.6m at the Us box office. It would eke out a small profit.

June - Batman & Robin

And this is when the alarm bells started to ring very, very loudly. Summer 1997 was supposed to be about a trio of sure-fire hit sequels: Batman 4, Jurassic Park 2 and Speed 2. Only one of those would ultimately bring home the box office bacon, the others being destroyed by critics, and ultimately leaving far more empty seats than anticipated in multiplexes.

Batman & Robin, it’s easy to forget, came off the back of 1995’s Joel Schumacher-steered Batman reboot, Batman Forever that year's biggest movie). It had one of the fastest-growing stars in the world in the Batsuit (George Clooney), and the McDonald’s deals were signed even before the script was typed up. You don’t need us to tell you that you could tell, something of a theme already in Warner Bros' summer of '97.

That said, Batman & Robin still gave Warner Bros a big opening, but in the infancy of the internet as we know it, poisonous word of mouth was already beginning to spread. The film’s negative cost Warner Bros up to $140m, before marketing and distribution costs, and it opened in the Us to a hardly-sniffy $42m of business (although that was down from previous Batman movies).

But that word of mouth still accelerated its departure from cinemas. It was then very rare for a film to make over 40% of its Us gross in its first weekend. But that’s just what Batman & Robin did, taking $107.3m in America, part of a worldwide total of $238.2m. This was the worst return for a Batman movie to date, and Warner Bros had to swiftly put the brakes on plans to get Batman Triumphant moving.

It would be eight years until Batman returned to the big screen, in Christopher Nolan’s Batman Begins. Warner Bros would undergo big changes in the intervening period.

As for the immediate aftermath of Batman & Robin? Warner Bros co-chief Robert Daly would note at the end of '97 that “we’d have been better off with more action in the picture. The movie had to service too many characters”, adding that “the next Batman we do, in three years – and we have a deal with George Clooney to do it – will have one villain”.

Fortunately, Warner Bros’ one solid hit of the summer was just around the corner…

July - Contact

And breathe out.

Warner Bros bet heavily again on expensive talent here, with Robert Zemeckis bringing his adaptation of Carl Sagan’s Contact to the studio for his first film post-Forrest Gump. Warner Bros duly footed the $90m bill (back when that was still seen as a lot of money for a movie), a good chunk of which went to Jodie Foster. It invested heavily in special effects, and gave Zemeckis licence to make the film that he wanted.

The studio was rewarded with the most intelligent and arguably the best blockbuster of the summer. I’ve looked back at Contact in a lot more detail here, and it remains a fascinating film that’s stood the test of time (and arguably influenced Christopher Nolan’s more recent Interstellar).

Reviews were strong, it looked terrific, and the initial box office was good.

But then the problem hit. For whilst Contact was a solid hit for Warner Bros, it wasn’t a massively profitable one. Had Father’s Day and Batman & Robin shouldered the box office load there were supposed to, it perhaps wouldn’t have been a problem. But when they failed to take off, the pressure shifted to Contact.

The movie would gross $100.9m in the Us, and add another $70m overseas (this being an era were international box office rarely had the importance it has today). But once Warner Bros had paid its bills, there wasn’t a fat lot over for itself. Fortunately, the film still sells on disc and on-demand. Yet it wasn’t to be the massive hit the studio needed back in 1997.

July - One Eight Seven

From director Kevin Reynolds, the man who helmed Robin Hood: Prince Of Thieves and Waterworld, came modestly-priced drama 187, starring Samuel L Jackson (in a strong performance). Warner Bros wouldn’t have had massive box office expectations for the film (although it can't have been unaware that the inspirational teacher sub-genre was always worth a few quid), and it shared production duties on the $20m movie with Mel Gibson’s Icon Productions. But still, it would have had its eye on a modest success. What it got in return was red ink.

The film’s not a bad one, and certainly worth seeking out. But poor reviews gave the film an uphill struggle from the off – smaller productions arriving mid-summer really needed critics on their side, as they arguably still do – and it opened to just $2.2m of business (the less edgy, Michelle Pfeiffer-headlined school drama Dangerous Minds had been a surprise hit not two years before).

By the time its run was done, 187 hadn’t even come close to covering its production costs, with just under $6m banked.

Warner Bros’ summer slate was running out of films. But at least it had one of its most reliable movie stars around the corner…

August - Conspiracy Theory

What could go wrong? Mel Gibson and Julia Roberts were two of the biggest movie stars in the world in 1997, at a time when movie stars still equated to box office gold. Director Richard Donner, one of Warner Bros’ favourite directors, had delivered the Lethal Weapons, Maverick, Superman, The Goonies and more for the studio. Put them altogether, with Patrick Stewart (coming to wider public consciousness at the time off the back of his Star Trek: The Next Generation work) as a villain, and it should have been a big hit.

Conspiracy Theory proved to be one of the more ambitious summer blockbusters of the era. It lacks a good first act, which would be really useful in actually setting up more of what’s going on. But Gibson played an edgy cab driver who believes in deep government conspiracies, and finds himself getting closer to the truth than those around him sometimes give him credit for.

Warner Bros was probably expecting another Lethal Weapon with the reunion of Gibson (who had to be persuaded to take Conspiracy Theory on) and Donner (it’s pretty much what it got with the hugely enjoyable Maverick a few years’ earlier), but instead it got a darker drama, with an uneasy central character that didn’t exactly play to the summer box office crowd.

The bigger problem, though, was that the film never quite worked as well as you might hope. Yet star power did have advantages. While no juggernaut, the film did decent business, grossing $137m worldwide off the back of an $80m budget ($40m of which was spent on the salaries for the talent before a single roll of film was loaded into a camera). That said, in the Us it knocked a genuine smash hit, Air Force One, off the top spot. Mind you in hindsight, that was probably the film that the studio wished it had made (the cockpit set of Warner Bros' own Executive Decision was repurposed for Air Force One, fact fans).

Still: Warner Bros did get Lethal Weapon 4 off Gibson and Donner a year later…

August - Free Willy 3: The Rescue

Yeah.

Warner Bros opened its third Free Willy film on the same day as Conspiracy Theory (can you imagine a studio opening two big films on the same day now), but it was clear that this was a franchise long past its best days (and its best days hardly bring back the fondest of memories).

Still, Free Willy movies were relatively modest in cost to put together, and Warner Bros presumably felt this was a simple cashpoint project. But in a year when lots of family movies did less business than expected (Disney’s Hercules, Fox’s Home Alone 3, Disney’s Mr Magoo), Free Willy 3 barely troubled the box office. It took in just over $3m in total, and Willy would not be seen on the inside of a cinema again.

August - Steel

Not much was expected from Steel, a superhero movie headlined by Shaquille O’Neal. Which was fortunate, because not much was had.

It had a mid-August release date in the Us, at a point when a mid-August release date was more of a dumping ground than anything else. And even though the budget was set at a relatively low $16m, the film – and it’s an overused time – pretty much bombed. It took $1.7m at the Us box office, and given that its appeal hinged on a major American sports star whose fame hardly transcended the globe, its international takings did not save it (it went straight to video in many territories).

It was a miserable end to what, for warner bros, had been a thoroughly miserable summer.

So what did hit big in summer 1997?

Summer 1997 was infamous for big films failing to take off in the way that had been expected – Hercules, Speed 2, and the aforementioned Warner Bros movies – but there were several bright spots. The big winner would be Barry Sonnenfeld’s light and sprightly sci-fi comedy Men In Black, starring Will Smith and Tommy Lee Jones. Star power too helped score big hits for Harrison Ford (Air Force One), Julia Roberts (My Best Friend’s Wedding) and John Travolta (Face/Off).

This was also the summer that Nicolas Cage cemented his action movie credentials with Face/Off and Con Air. Crucially, though, the star movies that hit were the ones that veered on the side of 'good'. For the first of many years, the internet was blamed for this.

Oh, and later in the year, incidentally, Titanic would redefine just what constituted a box office hit...

What came next for Warner Bros?

In the rest of 1997, Warner Bros had a mix of projects that again enjoyed mixed fortunes. The standout was Curtis Hanson’s stunning adaptation of L.A. Confidential, that also proved to be a surprise box office success. The Devil’s Advocate didn’t do too badly either.

However, two of the studio’s key filmmakers failed to really deliver come the end of 1997. Clint Eastwood’s Midnight In The Garden Of Good And Evil failed to ignite (although many felt he was always on a hiding to nothing in trying to adapt that for the screen), and Kevin Costner’s The Postman would prove arguably the most expensive box office disappointment of the year. No wonder the studio rushed Lethal Weapon 4 into production for summer 1998. Oh, and it had The Avengers underway too (not that one), that would prove to be a 1998 disappointment.

The studio would eventually take action. The Daly-Semel management team, that had reigned for 15 years, would break up at the end of 1999, as its traditional way of doing business became less successful. The pair had already future projects that were director driven to an extent (Eyes Wide Shut), and it would still invest in movies with stars (Wild Wild West). But the immediate plan of action following the disappointment of summer 1997 – to get Batman 5 and Superman Lives made – would falter. It wouldn’t be until 1999’s The Matrix (a film that Daly and Semel struggled to get) and – crucially – 2001’s Harry Potter And The Philosopher’s Stone that the studio would really get its swagger back...

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Movies Feature Simon Brew Warner Bros 16 Jun 2016 - 05:19 Conspiracy Theory Father's Day Addicted To Love Contact National Lampoon’s Vegas Vacation One Eight Seven Steel Batman & Robin Free Willy 3: The Rescue »

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Best Shot: Trevor (1994)

7 June 2016 6:35 PM, PDT | FilmExperience | See recent FilmExperience news »

For Pride Month... A great moment in Oscar gayness

This week's Best Shot spotlight shines on an adorable miniature. Since June is Pride Month we're looking at Great Moments in Cinematic Gayness throughout the month. Great Moments in Oscar Gayness are rarer things and usually come with significant caveats. When they award actors for playing Lgbt characters it's literally only when they are straight and labelled "brave" for playing the character and the character is either dying or victimized in some way. Their ultimate Best Picture rejection of a universally acclaimed frontrunner in Brokeback Mountain (2005) left another stain on the Academy's rainbow colors.

But in Oscar's gay history, there is a beautiful moment that comes without so many uncomfortable footnotes.

Trevor, a sweet funny short about a boy who realizes his schoolmates have figured out his gayness took home an Oscar in a surprise tie, one of only six in their history, »

- NATHANIEL R

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Top Movies for Adults Who Are Kids at Heart

7 June 2016 3:00 PM, PDT | Moviefone | See recent Moviefone news »

Being an adult is hard: There are bills to pay, jobs to go to, and families to care for. Everyone has days when they wish they could go back to high school -- or elementary school -- and live in a world where the only responsibility is turning in homework on time. Most adults feel like overgrown teenagers at some point in their lives. If this sounds like you, these five movies should have a permanent spot in your DVD rotation.

'Big' (1988)

The seminal classic for any adult who feels like a kid, "Big" tells the story of Josh Baskin, a 13-year-old who makes a simple wish on a creepy machine at a carnival. He wants to be "big." The next morning, he wakes up in the body of Tom Hanks and has to learn to navigate the waters of being an adult until he can reverse his wish. Tom Hanks »

- Kim Rogers

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Ridley Scott to Receive American Cinematheque Honor

7 June 2016 11:08 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Director-producer Ridley Scott will receive the 30th American Cinematheque award.

The presentation will take place on Oct. 14 at the Beverly Hilton.

Scott received Academy Award director nominations for “Black Hawk Down,” “Gladiator” and “Thelma and Louise.” Othe directing credits include “Alien,” “Black Rain,” “Blade Runner,” “The Duelists,” “Exodus: Gods and Kings,” “G.I. Jane,” “Kingdom of Heaven,” “Legend,” “The Martian,” “Matchstick Men,” “Prometheus,” “Robin Hood,” “Someone to Watch Over Me” and “White Squall.”

The American Cinematheque is extremely pleased to honor Ridley Scott as the 30th recipient of the American Cinematheque award at our celebration this year,” said American Cinematheque Chairman Rick Nicita. “To state it simply, Ridley Scott is one of the greatest directors in the history of the motion picture.”

“From his first feature, ‘The Duelists,’ to his most recent, ‘The Martian,’ the films of Ridley Scott have combined keenly observed humanity with dazzling state-of-the-art effects and design in »

- Dave McNary

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Top Movies That Launched Actors' Careers

6 June 2016 12:00 PM, PDT | Moviefone | See recent Moviefone news »

It's the role all actors dream of -- the one that puts them on the map. Breakout movie moments are born from a combination of factors, including raw talent, the movie's reception, and a little bit of showbiz luck. When the elements are all there and the sun is shining just right, an actor can go from "Hey, didn't I see her in ...?" to household-name status in no time.

These performances are examples of movies that hit the "launch" button on an actor's career. A couple of these performers may have had credits stretching back years before that defining role, but this was the one that made the entire industry and the movie-going public sit up and take notice. Read on to remember when six of the most bankable actors saw their careers take off.

Tom Cruise in 'Risky Business' (1983)

There's a reason every Halloween party ever brings »

- Sage Young

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Bo Report: Now You See Me 2 and Money Monster pip Alice, X-Men

5 June 2016 7:49 PM, PDT | IF.com.au | See recent IF.com.au news »

Julia Roberts and George Clooney in Money Monster.

eOne's Now You See Me 2 and Jodie Foster's Money Monster were top of the pops at the box office last week, beating out the likes of Alice Through the Looking Glass and X-Men: Apocalypse.

Now You See Me 2 rang up $2.9 million, opening on 250 screens, while George Clooney-Julia Roberts starrer Money Monster debuted on 251 screens and took $2.2 million.

In its second week, Disney's lacklustre.Alice Through the Looking Glass.dropped thirty-four percent to take $1.9 million over the weekend, bringing the film's cume to $5.8 million.

Fox's latest X-Men installment dropped forty-seven percent in its third week of release, making $1.5 million over the weekend off 283 screens. The film, starring Jennifer Lawrence, Michael Fassbender and Oscar Isaac, is now sitting on $13.2 million overall.

In their respective second weeks, Shane Black's The Nice Guys and Taika Waititi's Hunt for the Wilderpeople were neck and neck, »

- Staff Writer

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Money Monster review

30 May 2016 4:09 AM, PDT | Den of Geek | See recent Den of Geek news »

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George Clooney stars and Jodie Foster directs: here's our review of Money Monster...

“We don’t do gotcha journalism here,” says TV executive producer Patty Fenn (Julia Roberts) near the beginning of Money Monster, before wearily adding, “We don’t do journalism, period.”

Taking Network and Dog Day Afternoon as reference points, the new film by Jodie Foster uses a straightforward thriller format to examine the loss of trust between the powerful, the powerless and the media in recent times. It's less mischievous about it than Adam McKay's The Big Short, which sustained its articulate rage about the financial crisis to devastating comedic effect, but as the above line suggests, it's also accordingly more multiplex-friendly in its satirical leanings.

Money Monster is the live cable show presented by financial guru Lee Gates (George Clooney), who pitches himself as an entertainer rather than a journalist, much to Patty's frustration. »

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George Clooney Adorably Leads the Way For Amal During a Romantic Rendezvous in Rome

29 May 2016 10:48 AM, PDT | Popsugar.com | See recent Popsugar news »

Amal Clooney held on tight to husband George's hand as they stepped out after dinner at Dal Bolognese in Rome on Saturday night. Amal - who was clad in a sexy black dress - flashed her pearly whites as she let George lead the way to their car. The pair's outing comes a little over two weeks after they turned heads with their glamorous appearance at the Cannes Film Festival, at which they linked up with George's longtime pal Julia Roberts and Money Monster director Jodie Foster. While there, Julia opened up about Amal in an interview with Et, saying that she's changed George "in a beautiful way that all wives kind of have a beautiful, loving influence over their husbands." Keep reading to see more of the duo, then relive 21 times George and Amal looked madly in love. »

- Monica Sisavat

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Money Monster review – a shouty blend of The Big Short and Network

29 May 2016 12:00 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

Jack O’Connell makes a lot of noise to little effect in Jodie Foster’s crude media satire

Jodie Foster directs this shouty satire, which blends the glib economic cynicism of The Big Short with Network’s skewering of an unscrupulous media. But while it makes a lot of noise – largely courtesy of Jack O’Connell’s sweaty, high-decibel panic attack of a performance – this is a film that lacks the authentic anger of the former and the sniper-like accuracy of the latter.

George Clooney wears a smirk, an expensive suit and a complete lack of sincerity as the showboating host of a financial TV show titled Money Monster. Lee Gates is a one-man bull market, dispensing profligate financial advice to an audience conditioned to think that their slice of the pie is there for the taking. When one of his tips turns bad, losing $800m in a single day, »

- Wendy Ide

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Money Monster Review

27 May 2016 1:00 PM, PDT | www.themoviebit.com | See recent TheMovieBit news »

George Clooney and Julia Roberts, now there's a dream cast. Throw in Jodie Foster as director and a story that hit's home. What could go wrong? A Financial TV host Lee Gates (Clooney) and his producer Patty (Roberts) are put in an extreme situation when an irate investor (Jack O' Connell) takes over their studio, threatening to blow Gates into a million pieces, after losing all his money after hedging all his bets on Gate's financial advice. Think Phone Booth, in a TV studio, with more clichés. And that's the issue with Money Monster. While ultimately, it shows the little guy always gets fucked over, it does it in a way that never really lifts above average. No pun intended, but this is a by the numbers thriller. The story, while adequate yet clichéd, never really raises the tension levels that the trailer promised. There are very few moments where »

- noreply@blogger.com (Vic Barry)

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