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The original film starred Sidney Poitier as an Africa-American detective named Virgil Tibbs, who is asked to investigate a murder in a racially volatile Southern town. Rod Steiger won an Oscar for playing the small-town sheriff who objects to Mr. Tibbs' presence.
The new series will be set in present day Mississippi, Tate Taylor's home state, examining race, inequality and prejudice through contemporary characters. The project will be shopped to cable networks over the next few weeks.
During his time as an NBC programming executive, Warren Littlefield developed an earlier version of In the Heat of the Night TV series which starred Carroll O'Connor and Howard E. Rollins Jr. The show ran between 1988 and 1995, with four seasons airing on NBC »
MGM is continuing plans to make money out of its old catalogue titles and has announced plans for a new TV series adaptation of 1967 cinematic classic "In the Heat of the Night".
Set in the present day, the series aims to examine issues of race, justice and inequality through the eyes of characters in Mississippi. "Fargo" TV series producer Warren Littlefield and "The Help" director Tate Taylor are serving as executive producers.
Norman Jewison's Oscar-winning original film starred Sidney Poitier as a police detective sent to investigate a murder in a small Southern town in the face of hostility from the local sheriff (Rod Steiger).
The film was previously adapted into a successful TV series which ran for eight seasons across NBC and CBS from 1988 to 1995 which Littlefield was also involved in.
Source: Variety »
- Garth Franklin
MGM, seemingly uninterested in fresh, novel, original ideas, continues to mine its library for remakes/reboots. You'll recall the recent "RoboCop" and "Carrie" reboots, with remakes of "Poltergeist," "WarGames," "Death Wish," "The Magnificent Seven" and others all in development. Today brings word that the studio is developing a drama series based on its 1967 classic drama "In the Hear of the Night," with none-other-than Tate Taylor (director of "The Help" and "Get on Up") directing. Keep in mind that there has already been a television series based on the film and novel of the same name, »
- Tambay A. Obenson
Taylor, writer and director of “The Help,” and director of the James Brown biopic “Get On Up,” is set to adapt and direct the new incarnation of “Heat.” Set in the present day, the series aims to examine issues of race, justice and inequality through the eyes of characters in Mississippi, where Taylor is from. Project is expected to be shopped to cable buyers in the coming weeks.
The 1967 pic (pictured), helmed by Norman Jewison, was a landmark film in the civil rights era as it starred »
- Shelli Weinstein
Social action producer Participant Media and DreamWorks Studios have partnered six times, including two Oscar contenders, Tate Taylor's "The Help" and Steven Spielberg's "Lincoln." So it's no surprise that Participant is joining DreamWorks on two upcoming films that will start filming next month. They are Spielberg’s “Untitled Cold War Spy Thriller,” written by Joel and Ethan Coen from an original script by Matt Charman, and starring Tom Hanks, Mark Rylance and Amy Ryan; and writer-director Derek Cianfrance's period drama "The Light Between Oceans," based on the fiction best-seller by M.L. Stedman, and starring Michael Fassbender, Alicia Vikander and Rachel Weisz.hanks Spielberg's spy thriller tells the true story of attorney James Donovan (Hanks), who is pushed into the Cold War when the CIA sends him on a mission to negotiate the release of a captured American U-2 pilot. It »
- Anne Thompson
Here's Matthew Eng on where we are in the career of one of the great screen actresses...
“Holy shit, I love watching this woman act!” is what I immediately thought during Viola Davis’s doozy of a “big scene” in Get on Up, which nearly every review of Tate Taylor’s surprisingly strong James Brown biopic has been well-inclined to praise. As Brown’s aged, long-estranged mama, Davis—with the aid of terrific star Chadwick Boseman and some pretty expert makeup artists whose numbers Clint Eastwood should find immediately—manages to reinvigorate a set-up familiar from any number of tortured artist-biopics (i.e. absentee parent comes groveling years later to abandoned child-turned-superstar at the peak of his fame) with the same smart, electrifying clarity of character and tender yet tough-minded emotionalism that should be long-recognizable by now to anyone who has seen Doubt or Antwone Fisher or Solaris or Won’t Back Down, »
- Matthew Eng
Last December, we reported that Sandra Bullock was in early talks to star in the political comedy Our Brand Is Crisis. The story is based on the 2005 documentary of the same name from Rachel Boynton, and revolves around the use of American political campaign strategies in Bolivia to help elect Gonzalo Sanchez de Lozada as president. According to Variety, Bullock has now signed on to star with David Gordon Green set to direct. Bullock, who will also serve as an executive producer, agreed to lead the project after meeting with Green "who has been in the mix for the directing job for some time," and "the actress was convinced to join the project on the strength of his vision." George Clooney and Grant Heslov are still executive producing from a script by Peter Straughan (Tinker Tailor Soldier Spy). Bullock is also attached to star in Tate Taylor's Tupperware Unsealed, »
- Matt Goldberg
Sources tell Variety that Warners has greenlit the political dramedy “Our Brand is Crisis,” which Bullock has committed to star in with David Gordon Green set to direct. The film is based on the 2005 documentary of the same name, which focuses on the use of American political campaign strategies in South America.
Bullock had been linked to the project as far back as awards season, but was still weighing her options. Insiders say that following a meeting with Green, who has been in the mix for the directing job for some time, the actress was convinced to join the project on the strength of his vision.
Bullock will also exec produce with George Clooney and Grant Heslov producing through their Smokehouse Pictures banner. Peter Straughan penned the script. Courtenay Valenti and Racheline Benveniste are overseeing the project for the studio. »
- Justin Kroll
The Deauville Film Festival heads have unveiled the make-up of the 40th edition of the fest, and naturally this coming September, we’ve got a Sundance-infused edition being readied for the North West coastal town. Celebrating several new American indie auteurs, noteworthy filmmakers from Park City include Ana Lily Amirpour (A Girl Walks Home Alone at Night), A.J. Edwards (The Better Angels), Mark Jackson (War Story) and Damien Chazelle’s much acclaimed Whiplash. Also found in the 14 In Comp slate we find Nathan Silver’s Uncertain Terms — which our Nicholas Bell called “uneasy, uncomfortable, and certainly uncertain”. Also on tap: the French premieres of Before I Go to Sleep and director Chris Messina’s Alex of Venice. Here is the full selection and you can make a detour here to see who is being celebrated at the fest.
A Girl Walks Home Alone at Night, Ana Lily Amirpour
I Origins, »
- Eric Lavallee
Haugesund, Norway– Deauville will celebrate its 40th anniversary with a strong competition lineup of U.S. indies, leading up with Anton Corbijn’s “A Most Wanted Man” and Reese Witherspoon starrer “The Good Lie.”
The Normandy-set festival will also play Cannes’ Directors’ Fortnight alumni: Damien Chazelle’s “Whiplash” and Jim Mickle’s “Cold in July,” as well as David Robert Mitchell’s “It Follows,” a Critics’ Week competitor. Other contenders include Nathan Silver’s “Uncertain Terms,” Mark Jackson’s “War Story,” Ira Sachs’s “Love is Strange,” Mike Cahill’s “I Origins,” Carter Smith’s “Jamie Marks is Dead” and Gregg Araki’s “White Bird in a Blizzard.”
Beyond “Whiplash,” which won Sundance’s grand jury prize, Deauville will play three other feature debuts: Ana Lily Amirpour’s “A Girl Walks Home Alone at Night,” A.J. Edwards’ “The Better Angels” and Saar Klein’s “Things People Do.”
Deauville will also »
- Elsa Keslassy
Michael has joined Nathaniel on weekend review duties so you get two. Here he is on Get On Up...
The opening scenes of Get On Up are so loose and dynamic they give the viewer reason to hope that Tate Taylor’s take on James Brown’s life story sidestepped the pitfalls that trap so many musical biopics. The film shuffles back and forth through Brown’s life with such breathless energy it’s as if the screenplay itself is possessed by the spirit of Soul Brother No. 1. It’s exhilarating, but the thrill dissipates quickly when it becomes clear that underneath the exploded chronology and the surface razzmatazz, Taylor’s film is operating from the same old biopic playbook. It turns out Get On Up is as square as the squarest prestige Oscar grab, right down to the dumb trope of pinning all of the star’s self-destructive behavior to a childhood trauma. »
- Michael C.
Peter Travers may not be dancing in his seat for Get on Up, the new James Brown biopic he highlights this week on At the Movies, but he's certainly offering a standing ovation for the film's star, Chadwick Boseman: "He's just 100-percent great, a powerhouse," Travers lauds.
With Mick Jagger on board as producer, Get on Up was able to secure the rights to Brown's music, and as with Jamie Foxx in Ray, the singing Boseman did on set was eventually replaced by the Godfather of Soul's actual vocal tracks. »
When it comes to recreating the world of iconic ’60/’70s chart toppers, Sharen Davis has become the go-to guru of sartorial splendor, especially when it comes to outfits that pop on stage.
For “Dreamgirls,” the musical inspired by the mercurial rise of the Supremes, and “Ray,” the cradle-to-the-grave biopic about bluesman Ray Charles, Davis’ costumes ranged from fanciful to picture-perfect accuracy. But for the James Brown movie “Get On Up,” her approach landed somewhere in between.
“On ‘Ray,’ even though it was the same time period, I kind of really stayed correct with him,” explains the two-time Oscar-nominee who reteamed with “The Help” director Tate Taylor on the Brown biopic. “But, for ‘Get On Up,’ the script is so wildly non-linear, I told Tate, ‘I think I need to take a few liberties when he’s not on stage.”
Even in performance, she spruced up Brown’s duds, altering the »
- Steve Chagollan
What’s most intriguing about the cinematic treatment of Brown’s life – both on- and off-screen – is that so much of it took place in front of a camera. In fact, Elvis Presley aside, it’s hard to think of a more physical performer that spent so much time being captured on film in the early days of the rock n’ roll/rhythm and blues era.
Brown’s popularity rose and sustained itself for so long that it’s often easy to forget that while he was a fixture well into his more funk-driven days of the 1970s alongside the likes of George Clinton, he got his start as a contemporary of Little Richard.
By time 1964 rolled around and The Beatles and The Rolling Stones »
- Shane McNeil
Hollywood thinks of summer as the time when kids buy most of the movie tickets, but this weekend's movies owed much of their sales to older audiences. Yep, even the comic-book adventure about the gun-toting raccoon and the laconic talking tree.
Sure, the success of "Guardians of the Galaxy" was a foregone conclusion. It had the widest opening of any August release ever (4,080 screens), resulting in the biggest August debut ever (not adjusted for inflation), an estimated $94.0 million. Even so, the movie did way better than even the most optimistic projections, which ran as high as $80 million.
Credit Disney's well-orchestrating marketing campaign, which introduced the five little-known heroes, played up the film's tongue-in-cheek tone, flooded the talk-show zone with its large cast (from leads like Zoe Saldana to supporting players like John C. Reilly), and even capitalized on the social media following of director James Gunn, whose online fanbase belies »
- Gary Susman
<< Continued from "Weekend Report"In second place, Lucy fell 58 percent to $18.3 million. That's a rough drop, though it's not horrible given the movie's mixed word-of-mouth and tough competition from Guardians. To date, Lucy has earned $79.5 million, and remains on track for over $110 million total.James Brown biopic Get On Up opened to $13.6 million this weekend. That's a bit above Jersey Boys ($13.3 million), but is less than half of the opening of star Chadwick Boseman's last biopic (42, $27.5 million). It's also significantly lower than director Tate Taylor's last movie, The Help ($35.9 million in five days). With good reviews and strong word-of-mouth ("A" CinemaScore), Get on Up should hold up well in the next month: a final total north of $50 million is likely.Hercules plummeted 63 percent to $11 million this weekend. To date, the movie has earned $52.7 million, and is on pace to wrap up somewhere between $70 and $80 million.Rounding out the Top Five, »
- Ray Subers <firstname.lastname@example.org>
Marvel’s got a new star (or five) in its roster: Guardians of the Galaxy launched to an estimated $94 million this weekend in 4,080 theaters, setting a new record for an August debut. (The previous winner was 2007’s The Bourne Ultimatum, with $69.3 million.) That’s the third biggest opening of 2014 so far, behind Transformers: Age of Extinction ($100 million) and Marvel’s Captain America: The Winter Soldier ($95 million). It’s also the seventh best opening in history for a non-sequel (or sixth if you count Marvel’s The Avengers as a mega-sequel), outpacing other superhero series debuts such as 2011’s Thor ($65.7 million »
- Adam Markovitz
"Guardians of the Galaxy" was expected to challenge the record for the biggest opening ever in August. No one thought it would completely blow it away. Earning a superb A Cinemascore from moviegoers and arguably some of the best reviews ever for a Marvel Studios film, "Galaxy" took in $94 million over its first three days. That completely obliterates the previous August champ, "The Bourne Ultimatum," which found $69.2 million in 2007. Marvel has already green lit a sequel for 2017 and you can expect star Chris Pratt to continue his ascension into one of Hollywood's biggest new movie stars. The 35-year-old will appear in "Jurassic World" next summer and, in a very convenient coincidence, say goodbye to "Park and Recreation" as the NBC comedy series ends with season seven. What the "Moneyball" and "Zero Dark Thirty" actor will decide to do with that newfound freedom will be one of the more intriguing entertainment »
- Gregory Ellwood
Marvel's "Guardians of the Galaxy" soared past the competition on Friday, earning $37.8 million. The space-set saga will earn around $90 million or so for the weekend, well ahead of initial estimates which had the film opening in the $70 million range. It will have no problem passing 2007's "The Bourne Ultimatum" to become the biggest August debut of alltime. That three quell opened to $69 million seen years ago. "Guardians" is in good company with 2014's previous superhero film debuts. Marvel's own "Captain America: The Winter Soldier" muscled up $95 million), while "The Amazing Spider-Man 2" swung to $91.6 million and "X-Men: Days of Future Past" picked up $90.8 million. Meanwhile, the Scarlett Johansson holdover "Lucy" took the silver, pocketing another $5.5 million. The other wide opener this week is the James Brown biopic "Get On Up," which placed in third with a decent $4.9 million. Directed by "The Help's" Tate Taylor, the film stars Chadwick Boseman »
- Dave Lewis
“Guardians of the Galaxy” is in a box office universe of its own.
Marvel-Disney’s sci-fi actioner opened to $37.8 million Stateside on Friday. It looks to sky-rocket to $92 million-plus this weekend, which would crush the record for August’s top debut, currently held by “The Bourne Ultimatum’s” $69.3 million launch in 2007. With the pic originally tracking for $65 million, this showing was far from unexpected.
The blockbuster also has the widest August opening in history, playing in 4,080 theaters (about 3,200 in 3D).
Only five movies have opened above $90 million this year — Paramount’s “Transformers: Age of Extinction” with $100 million, Marvel-Disney’s “Captain America: The Winter soldier” with $95 million, Warner-Legendary’s “Godzilla” with $93 million, Sony’s “Amazing Spider-Man 2″ with $91.6 million, and Fox’s “X-Men: Days of Future Past” with $90.8 million.
“Guardians” had the highest Thursday opening of the year earlier this week with $11.2 million, overtaking the “Captain America” sequel, which earned $10.2 million in April. »
- Maane Khatchatourian
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