1-20 of 172 items from 2017 « Prev | Next »
In 2009, Sandra Bullock and Ryan Reynolds propelled “The Proposal” to nearly $165 million at the U.S. box office. The summer before, Cameron Diaz and Ashton Kutcher spun a profit with “What Happens in Vegas,” which earned $80 million on a $30 million budget. In 1998, Tom Hanks and Meg Ryan amassed $115 million for “You’ve Got Mail,” while Julia Roberts and Richard Gere pulled in $152 million for “Runaway Bride” a year later.
Read More: 11 Great Movies That Prove Indie Film Saved the Romantic Comedy
All of this is to say that there was once a time when the romantic-comedy genre was a slam dunk when it came to turning a profit at the box office. But in the age of superhero movies and big-budget tentpoles, there’s hardly room for rom-coms. And yet the genre never really died, it just went indie.
The last several years have made one thing very clear: Indie film is the savior of the rom-com. Click through the gallery for 11 great films that prove why.
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Related storiesAnupam Kher and Zoe Kazan Defend Criticism Of Female Characters In 'The Big Sick''The Big Sick' Producer Judd Apatow: Inside His Unlikely Comedy Empire'The Big Sick' Clip: Kumail Nanjiani's 9/11 Joke Doesn't Go Over So Well In This Scene From the Sundance Hit -- Watch »
- Zack Sharf
As we rapidly approach 2017’s midway point, there are already a number of films that deserve to be remembered by the Academy of Motion Picture Arts and Sciences when Oscar ballots go out at the end of the year. Academy voters notoriously have short memories, though it’s hardly their fault alone; studios are so obsessed with back-loading the year with prestige product that in the rush, earlier gems are often forgotten.
So we’re here to help. Perhaps members will take a moment to bear these contenders in mind before the awards season glut finally hits.
Note: This list spotlights films theatrically released to the paying public. There have been festival standouts that won’t hit theaters until the coming months, and a number would bear mentioning. Dustin Hoffman, Ben Stiller and Adam Sandler are all fantastic in Noah Baumbach’s “The Meyerowitz Stories (New and Selected),” for example. And David Lowery’s vision for “A Ghost Story” makes for one of the greatest motion pictures of the year. But we’ll stick to what will hit theaters as of June 30 for this piece’s purposes.
Best Picture: “The Big Sick”
Don’t dismiss it just because it’s the funniest movie of the year so far, it’s also the most heartfelt and intelligent. Willing to mix big issues with big laughs, the tone is held together perfectly by director Michael Showalter, the outstanding cast and an excellent script. (Jr)
Netflix’s Cannes entry is a whole lot of movie, and a whole lot of vision. Director Bong Joon Ho dazzles with his deft kinetic touch while also pulling an impressive performance out of young lead Seo-Hyun Ahn to anchor the zany satire. But as ever, Bong proves a master of balancing tonal shifts, ultimately crafting a moving piece of work. (KT)
The role of an aging star who never realized his greatness fits Elliott like a glove. It’s also a reminder of how underutilized he has been on the big screen. (Jr)
Hawkins is always excellent and reliable, but she outdoes herself portraying Canadian painter Maud Lewis. Crippled by arthritis, married to a rough fisherman (a great Ethan Hawke), Hawkins allows Maud’s joy to shine through. (Jr)
Let’s be honest; take away the superhero element and this would be an Oscar slam-dunk. Stewart’s portrayal of Charles Xavier in waning health with a broken mind will break your heart. (Jr)
Jordan Peele’s impressive directorial debut deserves a shout-out in virtually every category, but hopefully no one snoozes on Betty Gabriel’s unsettling work as a housekeeper trapped in “the sunken place.” She etches that inner turmoil across her face with such aplomb you simply cannot look away. (KT)
Best Screenplay: “Shimmer Lake”
Technically ineligible for Oscars as it didn’t receive a theatrical run, that doesn’t stop this twisty thriller from earning our consideration. What sounds like a gimmick — a crime drama told backwards — proves absolutely essential to telling a fascinating story. (Jr)
Best Cinematography: “Kong: Skull Island”
Jordan Vogt-Roberts’ simian sequel was a bit of a tonal omelette, but one element that gave it an unexpected level of iconography was Larry Fong’s striking photography. Sunburnt vistas and heat-rippled frames sometimes call back to “Apocalypse Now,” but more often they give the film its own intriguing visual identity. (KT)
Best Costume Design: “Wonder Woman”
Speaking of iconography, one of the eye-popping elements of Patty Jenkins’ landmark superhero entry is the iconic image actress Gal Gadot strikes as the eponymous Amazon. But beyond Diana Prince’s well-known threads, there’s a whole array of dazzling outfits on the screen, from the battle gear of Themyscira to 1920s fashion and World War I attire. (KT)
Best Film Editing: “LA92”
Lest we forget, National Geographic’s Emmy-contending L.A riots documentary is also eligible for Oscar consideration this year. Last year “O.J.: Made in America” garnered some attention for its handling of tons of material, and hopefully reminded voters that documentary editing ought to be recognized. Reams of footage were assembled from countless sources to drive this particular version of the story, which was also covered elegantly by director John Ridley in “Let It Fall: Los Angeles 1982-1992.” (KT)
Best Production Design: “Beauty and the Beast”
It’s a tall order to match the stunning animation of the original film, but the “Beauty and the Beast” team pulled it off. Every ornate touch, from the Beast’s castle to the world of Belle’s village, was a visual feast. (Jr)
Best Sound Editing: “Baby Driver”
Being something of a musical-slash-actioner, Edgar Wright’s latest owes everything to its soundtrack. But more than that, the precision with which sound is layered and cut to enhance the various tracks scattered throughout gives the film an innervating sense of propulsion. When there’s no sound, you’re desperate for it to scream back. (KT)
Best Visual Effects: “Guardians of the Galaxy: Vol. 2
It’s a pity we can’t throw “War for the Planet of the Apes” (July 14) in here, but more on that in due time. Marvel’s latest installment of the “Guardians” franchise doubles down on rendered environments. When you have a character who at times serves as the actual location (I guess you have to see the film to understand), the sky is the limit on VFX. (KT)
Related storiesWhy This Year's Cannes Lineup May Be Too Edgy for OscarOscars Producer Says She Wouldn't Want Anyone but Jimmy Kimmel to Host 90th Academy Awards »
- Kristopher Tapley and Jenelle Riley
27 years ago, with just a handful of movie roles to her name, Julia Roberts became America's sweetheart when Pretty Woman debuted in theaters. The iconic actress hasn't stopped working since, even taking her talents to the world of animation, voicing Smurfwillow in this year's animated sequel Smurfs: The Lost Village. Today we have word that the actress is revisiting her iconic role in Pretty Woman with a new commercial, which was filming in West Hollywood, California this week.
The Daily Mail reports that the actress was shooting a commercial for the Italian fashion company Calzedonia, with the actress wearing a black dress and carrying several Calzedonia bags as she walks down the sidewalk. The actress was seen "licking her lips and chatting with the crew" between takes of this commercial, which mirrors a scene from Pretty Woman, which was directed by the iconic Garry Marshall, where she is carrying several »
“Permission,” which world premiered at Tribeca to warm reviews, has drawn such high-profile distributors as Universal International Entertainment, which nabbed rights to the movie for the U.K., Australia, Scandinavia, Italy, Latin America, Eastern Europe, and select Southeast Asian territories; TF1 Studio for France; SYcomad for South Korea; Falcon Films for the Middle East; Red Appolo for China; Outsider for Portugal; Bir Films for Turkey; A Contra Corriente for Spain; Cai Chang in Taiwan; Captive Entertainment for airlines; and Pacific North West for Canada.
Film Constellation, which presented the film at Tribeca and hosted a screening at the Cannes Film Market, is now in negotiations to close deals in Germany and Japan.
- Elsa Keslassy
Fox Searchlight pushed Rachel Weisz melodrama “My Cousin Rachel” into national release this prime summer weekend, which boasts only one new wide studio opening. But the romantic mystery thriller failed to click with audiences.
On the other hand, Roadside Attractions kept Miguel Arteta’s Sundance hit “Beatriz at Dinner” in limited dates, where the edgy and compelling story of a mismatched dinner at a Southern California estate thrived in its first limited run. With a $30,000+ per theater average and a potential appeal beyond core art house audiences, this Salma Hayek starrer could make a significant impact in upcoming weeks.
Eleanor Coppola’s romance “Paris Can Wait” continues to lead wider releases, at a decent level for its theater break but significantly below such top 2016 crossover performers as “Love and Friendship” and “The Lobster” at this time.
My Cousin Rachel (Fox Searchlight) – Metacritic: 63
$954,000 in 523 theaters; PTA (per theater average): »
- Tom Brueggemann
The actor’s skilful performance as a desperate ‘fixer’ is slightly undermined by the film’s jaunty tone
The kind of scalpelled character study that strips away dignity along with each layer of artifice, Norman is an intriguing but uncomfortable watch. Richard Gere plays the title role, an ageing nobody who hustles a living by claiming to know everyone. Norman’s desperation makes him distasteful; his loneliness is a taint that rubs off on those around him. But then, one fumbled encounter strikes gold and Norman finds he has the ear of the new president of Israel. It’s a light-footed shimmy of a performance from Gere, who connects us with an unexpected dignity in the soul of this professional parasite. However, the sophistication of Gere’s work is slightly undermined by a chummy, jovial score that over-emphasises the wacky eccentricities of the characters on the screen.
Continue reading »
- Wendy Ide
Who’s the elderly chap in spectacles and a cloth cap? You may be surprised to learn this is intellectual heart throb Richard Gere, who takes arguably the role of a lifetime in new drama Norman (elaborate subtitle: The Moderate Rise and Tragic Fall of a New York Fixer). Gere is finally showing his age in an intriguing story of business and politics that feels like a true story, even though it’s the brainchild of writer/director Joseph Cedar.
Norman Oppenheimer (a character reportedly inspired by events in Nazi propaganda film The Jew Suess) is a veteran consultant, a mover and shaker who conjures up his own work day to day through sheer instinct and tenacity. When he ingratiates himself with Israeli politician Micha Eshel (Lior Ashkenazi) in pursuit of a deal an unlikely friendship develops. »
- Steve Palace
Daphne du Maurier’s books continue to work well on screen (Rebecca, The Birds, Don’t Look Now), and it’s hard to think of a better proto-femme fatale for this Cornish mystery than Rachel Weisz. She arrives, shrouded in black, at the estate of her cousin with a reputation as a murderess and a seductress but, of course, the truth is more complex.
Continue reading »
- Steve Rose
Author: Stefan Pape
Quietly, Richard Gere is consistently making rather good movies, telling interesting stories and taking on nuanced, intriguing roles. From The Benefactor to Arbitrage (let’s just forget The Second Best Exotic Marigold Hotel for now) – he’s tackling intimate character studies, and his latest, Joseph Cedar’s Norman, is no different.
Gere plays the eponymous protagonist, a professional chancer and over-enthused fixer – only problem is, nobody will actually let him get close enough to fix anything. Until he meets Eshel (Lior Ashkenazi), an Israeli politician spending some time in New York, touched by Norman’s offer to buy him a pair of shoes. Three years pass, and Eshel is now an influential world leader, as the Prime Minister of his native country, and when he returns to the States to meet the President, Norman shows up at a function – and they remember each other well. To have »
- Stefan Pape
Directed by Joseph Cedar.
From the outside, Norman Oppenheim (Richard Gere) looks like an eccentric businessman. But the truth is that he dreams up schemes that come to nothing, so he tries to be everybody’s friend, and doesn’t succeed at that either. Until he strikes up an unexpected friendship with an Israeli politician, one that brings him the attention and respect he craves. And one that encourages him to broker a series of deals that eventually start a political crisis ……
Let’s give the film its full title – Norman: The Moderate Rise and Tragic Fall of a New York Fixer. It’s no surprise that the distributors went for the one word title, but the longer version gives you a better idea of what the film is about. Sort of. Because the »
- Freda Cooper
Author: Scott Davis
One of the very best actors of his generation, Richard Gere has appeared in over 50 films in a career that spans four decades. Famed for his roles in such classics as An Officer and A Gentleman, Pretty Woman and Chicago, the Golden Globe winner has taken on some smaller films in recent years that have gained him a new audience such as Time Out of Mind, Arbitrage and his new film, Norman, which is released in UK cinemas this week.
The film tells the story of Norman Oppenheimer (Gere), a small time “fixer” who becomes close to a young Israeli politician. Over the course of three years, their relationship changes and when the politician becomes a hugely influential world leader, Norman’s life (and his lies) begin to unravel…
Speaking exclusively to HeyUGuys’ Scott Davis, Gere talks about his love of the quirky films he has been involved with recently, »
- Scott Davis
In cinemas this week is the new Richard Gere film Norman. The film revolves around a small time operator who befriends a young politician at a low point in his life. Three years later, when the politician becomes an influential world leader, Norman’s life dramatically changes for better and worse. To celebrate the release, we have a brand new, exclusive clip from the film to share with you ahead of its debut in UK cinemas on Friday.
Norman Oppenheimer (Richard Gere) lives a lonely life in the margins of New York City power and money, a would-be operator dreaming up financial schemes that never come to fruition. As he has nothing real to offer, Norman strives to be everyone’s friend, but his incessant networking leads him nowhere.
- Paul Heath
Over the weekend, the Veuve Clicquot Polo Classic returned to Jersey City, New Jersey. And while the event is always packed full of horse enthusiasts and ladies looking for an excuse to break out their collection of fascinators, this year, there was also a robust, star-studded contingent of guests in attendance, from Nicole Kidman to Alicia Keys. The fashion world represented, too, with appearances by a number top models, such as Kendall Jenner and Candice Huffine, who both relished the opportunity to live out their own personal Pretty Woman fantasies.
Kendall attended the event wearing a Dolce & Gabbana mini dress featuring an all-over green, »
- Emily Kirkpatrick
Ahead of its UK release this Friday (June 9th), we’ve got an exclusive clip from Norman: The Moderate Rise and Tragic Fall of a New York Fixer, the new drama from director Joseph Cedar (Footnote) and starring Richard Gere. Take a look at the clip below, or check it out over on our YouTube channel…
Norman Oppenheimer (Richard Gere) lives a lonely life in the margins of New York City power and money, a would-be operator dreaming up financial schemes that never come to fruition. As he has nothing real to offer, Norman strives to be everyone’s friend, but his incessant networking leads him nowhere. Always on the lookout for someone willing to pay attention to him, Norman sets his sights on Micha Eshel (Lior Ashkenazi), a charismatic Israeli politician alone in New York at a low point in his career. Sensing Eshel’s vulnerability, Norman reaches out »
- Gary Collinson
“Wonder Woman” captured the weekend zeitgeist with reviews as good as any new adult-appeal specialized opener — and gobbled up potential audience. But that’s not the sole reason the specialty box office went to hell this weekend.
“Churchill” (Cohen), with the pedigree of an arthouse crossover winner, went nationally in top theaters but failed to capture more than desultory business. A trio of niche releases showed some mid-level interest in New York and Los Angeles — “The Exception”(A24), “Letters from Baghdad” (Vitagraph), and “Band Aid”(IFC) — but none looks likely to cross over beyond the big-city arthouse market.
The scariest weekend news: the total lack of response to Ken Loach’s Cannes 2016 Palme d’Or-winner “I, Daniel Blake.” While it’s been a long wait after a year-end qualifying run, it’s shocking that the well-reviewed BAFTA-winner met with near total disinterest.
- Tom Brueggemann
To reduce it all to three syllables: We’re with her!
Gal Gadot’s Wonder Woman was the best thing about the swampy Batman v Superman, and now her solo outing is the far superior film: Wonder Woman, directed by Patty Jenkins, elevates her from third wheel to real deal.
Like Bruce Wayne and Clark Kent, Wonder Woman had a peculiar childhood. She was carved from clay by her mother, Amazon queen Hippolyta, and had the breath of life puffed into her tiny lungs by Zeus. Christened Diana, she was raised on a mystical, off-the-map island where you’d be »
- Tom Gliatto
The fifth edition of the Disney, Jerry Bruckheimer and Johnny Depp Pirates of the Caribbean franchise easily topped the Aussie box office last weekend although the debut was well below the previous installment.
Directed by Joachim Rønning and Espen Sandberg and shot in Queensland after an injection of $21.6 million in funding from the federal government plus state government incentives, Pirates of the Caribbean: Dead Men Tell No Tales captured $5.9 million on 292 locations, according to ComScore.
That.s 41 per cent below the $9.9 million debut of Pirates of the Caribbean: On Stranger Tides in 2011. The latter finished up earning $27.2 million, which may be out of reach of the new film.
Pirates 5 scored an estimated $US77 million over the four-day Memorial Day holiday in the Us and $208 million internationally for a global total of $285 million, so the studio may be hard-pressed to recoup the reported $230 million budget. »
- Don Groves
This Memorial Day weekend at the specialty box office is dominated by niche releases without much crossover theatrical appeal, often available for home viewing. The strongest performer: Sundance entry “Long Strange Trip: The Untold Story of the Grateful Dead” (Abramorama), which opened in two cities, combining Thursday night event shows and full-week dates to overcome its four-hour running time.
June will bring some top releases to flesh out a slow schedule, including Sofia Coppola’s Cannes success “The Beguiled” (Focus Features). Cannes competition films from Bong Joon Ho (“Okja”) and Noah Baumbach (“The Meyerowitz Stories”) will hit Netflix and select day-and-date theaters in June, and sometime after that, respectively.
- Tom Brueggemann
by Seán McGovern
Annie Hall turns 40 this year and Diane Keaton will be the recipient of the AFI Life Achievement Award next month (June 8th to be exact). Keaton, a perennial A-lister, reminds us every few years about the extent of her talents. She's been enjoying recent success in The Young Pope and her upcoming projects Hampstead and Book Club sound promising at least. Since Annie Hall turns 40 this year so too will Keaton's other '77 triumph, Looking For Mr. Goodbar.
Though Goodbar is remembered for Keaton in a dramatic role (which this author will pay attention to here at a later date), the film is definitely what we'd call in contemporary parlance "problematic". I recently watched Goodbar for my own podcast, but amongst the reprehensible moments I finally understood why so many women of a certain age (i.e. my mother) swooned over Richard Gere - who we get »
- Seán McGovern
Andy Cohen has taken his hit late night live talk show to the west coast for the week. And in an exclusive clip from Wednesday’s Watch What Happens Live with Andy Cohen, the 48-year-old recreates a scene from one of Hollywood’s most famous rom-coms — with the help of a Real Housewife, of course.
Shopping off Rodeo Drive in Beverly Hills for some new duds, Cohen — dressed in flip-flops, short shorts, and a sleeveless Erika Jayne Xxpen$Ive T-shirt — steps into a high-end fashion boutique where he’s greeted by a surly sales clerk who isn’t too excited to wait on him. »
- Dave Quinn
1-20 of 172 items from 2017 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners