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Anthony Michael Hall, a member of the 1980s Brat Pack, was convicted of assault after an altercation with his neighbor over a gate left ajar. You'd have thought after all of these years he'd be standing up to defend Larry Lester to keep from getting his buns taped, but sadly, that was not the case. Hall and his neighbor have gotten into some arguments in the past, but this was the first altercation that got physical, according to the neighbor.
AOL reports that the entire incident was caught on film via the gated community's security cameras and it features Anthony Michael Hall shoving his neighbor, apparently over a gate that was left open. The neighbor then fell and broke his wrist and also suffered a back injury as well. Hall's neighbor obtained a temporary restraining order against Hall after the incident, but did not seek a permanent injunction, according to court records. »
Anthony Michael Hall has been sentenced to three years of probation after pleading no contest to charges he assaulted his neighbor during an argument.
On Wednesday, he pleaded no contest to a misdemeanor assault charge and was given three years of probation and 40 hours of community service, according to The Los Angeles Times.
“ got into a tussle with someone else in the complex. I heard yelling out my »
- Alexia Fernandez
Harry Dean Stanton stole more scenes than most other actors even appeared in. Over his six-decade career, the late, great actor managed the improbable feat of being as recognizable from his highbrow fare (like “Paris, Texas”) as he was from his high-school movie (“Pretty in Pink”) — and that was just in the mid-‘80s.
Stanton also worked with David Lynch, Francis Ford Coppola, Martin Scorsese, John Carpenter, and Monte Hellman, among many others; he left his indelible mark on all their movies, as he did on those who watched them. Here are some of our favorites.
“Right.” Harry Dean Stanton doesn’t say much else in “Alien,” but he doesn’t need to. Along with Yaphet Kotto’s Parker, his Brett provides some much-needed levity aboard the Uscss Nostromo — it may be true that in space no one can hear you scream, »
- Michael Nordine, Kate Erbland, Anne Thompson, William Earl, Jude Dry and Chris O'Falt
Some of the most entertaining moments on film are when a show gives us those fabulous self-aware moments. Usually, this is the show making some good natured fun of their show and us, the people who watch it. This even happens in movies, like when in “Sixteen Candles” Anthony Michael Hall in the persona of Farmer Ted turns to the audience for reaction or Bill Murray’s audience sings along at the end of “Scrooged”. This trick is also known as “breaking the 4th wall”. Breaking the 4th wall is different than “fan service” in that fan service includes an element
A Great Compilation of Cartoon Shows Being Cleverly Self Aware »
- Virginia Repka-Franco
Anyone who has ever taken it upon themselves to brave Montreal`s Fantasia film festival leaves with some scars. These scars can be subconscious, from the reptilian awakening that comes with sitting in a dark room occupied by porous, spongy, filmy humanoids. These scars can also be cerebral ones, the result of being subjected to a mind-numbing onslaught of light and sound. They can be existential as well, left from a shattered mind, fractured by having to chose between two films screening at the same time, like a parent having to chose between two drowning children. Or maybe the scars are literal ones, from sores left open by slow, methodical shifting on theatre seat cushions.
In the fifteen years and counting since I`ve been covering this festival, my scars have included any combination of the above. This year however, I found a new source of injury. While I had »
- Andy Triefenbach
After the success of last year’s “Bad Moms,” there has been a slew of raunchy, female-driven comedies like “Rough Night,” “Little Hours,” and “Girls Trip.” The most recent addition to this genre, “Fun Mom Dinner,” opened last Friday. The film — made by and starring a cast of mainly women — was written by first-time screenwriter Julie Rudd, helmed by Alethea Jones in her feature directorial debut, and produced by veteran Naomi Scott (“Other People,” “The Overnight”). “Fun Mom Dinner” stars Toni Collette, Molly Shannon, Bridget Everett, and Katie Aselton as four very different moms who come together for a night out on the town — and eventually discover that they have a lot more in common than motherhood.
“Fun Mom Dinner” is now playing in select theaters and is available On Demand and on iTunes.
W&H: What appealed to each of you about this film’s genre?
Ns: I’ve done a couple different types of comedy, so this was one that I hadn’t done before, especially with so many of the protagonists being women. This was kind of a dream come true for me — to just keep telling stories like these that haven’t been told before. If this is the beginning and this keeps opening the door to another story or a flood of stories, then I want to be onboard, especially if they’re comedic and entertaining.
Aj: I think we’re in a really special time where there are a lot of options to portray women in a more honest way, in a way that we haven’t seen before, and I want to keep being part of that. I’ve been lucky. My next two projects are super empowering, funny, colorful, elevated, big concept stuff. I just signed on to the “Barbie” movie. I’ve found myself working with extraordinary women to bring this script to life. It’s very imaginative and unexpected. Then after that, I’ll hopefully be doing a musical. I just like elevating stuff, just big, imaginative stuff.
W&H: Where did the idea for “Fun Mom Dinner” originate?
Jr: The genesis of the idea came from my own life. When I put my kids in school, I made an amazing group of school mom friends. I was really surprised at how much they had come to mean in my life, how they had enriched my life, how appreciated I felt in this group, and how much I looked forward to being with them. The initial idea was just — I wanted to celebrate that feeling and those friendships, which I feel like, in a lot of movies with a lot of women, we hadn’t seen that yet.
W&H: What was it like working with this group of actresses?
Aj: I had no expectation that my first feature would have so many glorious [actresses] in it. That was a really big psychological hurdle to overcome very quickly, because I came onboard and we were shooting just a little under six weeks later. It was actually good to have that time crunch, because I didn’t have time to dwell on the fact that I would be working with people that I had admired for years.
W&H: The characters are all dramatically different. Which one did you find yourself relating to the most?
Jr: I think as a mom, I can relate to each of those women at different points in my life, at different points of my [experiences of] motherhood. I think they’re all a little bit me.
Aj: I relate to two. I was definitely an Emily [played by Aselton]. I was married and I really identified with her. Then I became a Jamie. I felt really protective of her [who is divorced] and very passionate about putting Molly Shannon in that role. I thought it was really important to put that line in about the married women. When you become single, suddenly you lose some of your married friends because they don’t want you around their husband. That sort of happened to me.
Ns: I think I’m a little Emily as well, how you miss the romanticism of even just being young or unmarried or the freedom that comes with it. There is also a little Melanie [played by Everett]. I like the rules. I feel like she’s just such a unique character because she’s not just a one dimensional, she’s not like the stay at home mom who is militant. She’s so complex. All of these women have so many layers, and they’re complicated and interesting.
W&H: The film is an homage to 1980s films, to the work of director John Hughes (“Sixteen Candles,” “Ferris Bueller”) in particular. Where did the idea that these movies meant so much to these women come from?
Jr: I’m 48, so I grew up with John Hughes movies. I loved this idea that these women were of that age, and that on this night they find themselves feeling again like how they were before they were wives, before they were moms. The talk of the John Hughes movies, in a way, is like that touchstone to who they were when they were younger and how their ideas of romance were formed. It was important to feel like they were sort of going back to a more reckless time, the time when they were teenagers.
With the look of the movie, we definitely wanted it to have an 1980s feel and have that be a layer in there because that’s the mindset I think we wanted these women to sort of reconnect with on this night with each other.
W&H: What do you think is the key message of the film?
Jr: We all want moms specifically to leave the movie feeling like maybe they see themselves up there and that it celebrates the importance of female friendships.
The “Fun Mom Dinner” Team on Depicting Friendship Between Mothers Onscreen was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Holly Rosen Fink
Got a scoop request? An anonymous tip you’re dying to share? Send any/all of the above to firstname.lastname@example.org
Question: If you’re not going to solve your blind item about the series that was so bad it was nearly pawned off on a streaming service, can you at least give us another hint? —Sarah
Ausiello: It’s a broadcast network show. And it’s currently airing.
Question: Any intel on potential ’80s homages on The Goldbergs this season? —Craig
Ausiello: You’re going to want to break out the chips, dips, chains and whips for Season »
It’s no secret that “Spider-Man: Homecoming” intentionally harkens back to John Hughes’ iconic teen movies of the 1980s, including “The Breakfast Club” and “Sixteen Candles.” The comic book movie, in theaters now, even directly references the writer-director’s famed ditch-day comedy “Ferris Bueller’s Day Off” in one sequence. What’s more, Spidey director Jon Watts instructed his cast of young actors, including star Tom Holland, to watch the aforementioned Hughes films, with the addition of “Pretty in Pink.” Click through for 15 moments in “Spider-Man: Homecoming” that reminded us of Hughes’ indelible ’80s movies. Warning: Spoilers ensue! Zendaya is Allie Sheedy circa 1985’s. »
- Meriah Doty
Jon Watts is on the verge of becoming Hollywood's hottest director. His work on Spider-Man: Homecoming is absolutely brilliant. He's not only made the best Spider-Man movie to date, but a truly exceptional coming of age story. I liken it to a John Hughes inspired superhero. Imagine Sixteen Candles or Breakfast Club with ass-kicking Spider-Man action. It's a fantastic take on the web slinger that captures the character of Peter Parker/Spider-Man at the nascent stage.
Jon Watts is a Colorado native that studied film at New York University. He had success directing commercials and a series of clever shorts. His big break was the low budget, indie thriller Cop Car. The leap from that film to Spider-Man: Homecoming is extraordinary. Watts won the directing job by blowing away the Marvel executives and Kevin Feige with his Spider-Man presentation. He had a clear, concise vision for the story that was apparently very impressive. »
Spider-Man: Homecoming is a magnificent triumph that will obliterate fans expectations. Sony Pictures and Marvel Studios have achieved greatness here. They have not only made the best Spider-Man by far; they have created a funny, heartfelt, coming of age story that deftly captures the awkwardness of being a teenager. Every aspect of this film has been touched by brilliance. This review is completely spoiler free, but I will tease you with these two golden nuggets. The last scene of the film, and the very end post-credits scene, are...utterly...ingenious.
When last we saw Peter Parker (Tom Holland), he was helping Tony Stark (Robert Downey Jr.) fight Captain America (Chris Evans) in Civil War. Peter did his bit. But instead of being ushered into the esteemed ranks of The Avengers, he was unceremoniously dropped home. Go back to school kid, get your skills in order, here's Happy Hogan's (Jon Favreau) number. »
When you cut through all of the spandex and special effects, superhero movies are really just high school movies with bigger muscles, bigger budgets, and bigger constraints. Indeed, the best moments in the giddy, fitfully entertaining “Spider-Man: Homecoming” are the ones that gleefully conflate the likes of Stan Lee and John Hughes, delighting in the extent to which both of their signature genres tend to revolve around emotionally unsure young people who are struggling to juggle their double lives.
“Homecoming” takes Peter Parker all the way back to his sophomore year, (re)re-introducing the endlessly rebootable web-slinger (a wide-eyed and overeager Tom Holland) as a 15-year-old pipsqueak who splits his time between anchoring the the academic decathlon team and auditioning to be an Avenger. The Queens sophomore can barely bring himself to talk to the girl he likes (Laura Harrier as Liz), but once he puts on his signature red »
- David Ehrlich
Forget the tacky tie or the new golf clubs, the best gift you can give dad this Father’s Day is to listen to what he has to say. Here are some great bits of advice from our favorite movie dads. Jim Baker in Sixteen Candles “That’s why they call them crushes. If they were easy, they’d call them something else.” When her "sweet 16th" birthday becomes anything but, movie dad Jim Baker (Paul Dooley) tenderly reminds his daughter Sam...
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This member of The Breakfast Club is spilling the tea. Anthony Michael Hall, a notable figure of the '80s Brat Pack, stopped by Watch What Happens Live With Andy Cohen to share some secrets about the iconic group during a juicy round of "Plead the Fifth." First up, "Marry, Shag, Kill" with his former co-stars, Molly Ringwald, Ally Sheedy and Demi Moore. Of the three, the 49-year-old decided he would marry Moore and shag Sheedy. "I love you Molly, but I'd have to kill you," he quipped. He and Ringwald starred in both The Breakfast Club and Sixteen Candles together and reportedly briefly dated. While they rose to meteoric »
Henry Bevan on the modern teen movie…
Jerky jocks; nebbish nerds; the girl next door who is unfairly called a whore; the hot girl; the bitchy cheerleader; the ugly girl who’s actually a swan; the self-loathing teachers; teachers who sleep with students; teachers who are bad at their jobs; crowded school corridors; cool kids who drive; losers who get the bus; clueless mums; perfect siblings; house parties with professional DJs; sex (sometimes); beer; horny virgins; and prom.
Teen movie tropes are well known. Whether the teenagers are forming a witches coven, or if promises are kept, being superheroes, they abide by rules that haven’t changed much since John Hughes.
Hughes created our perception of how fictional and real teenagers should act in high school. He understood how deeply emotional teenagers are and he wasn’t afraid of his films being emotionally truthful. Every main character in a Hughes movie is an outsider, »
- Henry Bevan
Greenlight International will be introducing the project, to be shot in Alabama this summer, to buyers at the Cannes Film Festival.
Lucky McKee is directing from a script by Raul Inglis and Joshua Wagner. The story is set in the Great Smoky Mountains and follows two brothers who investigate a series of murders. The producers are Matthew Robert Kelly, Rob Weston and Gerry Pass.
Cusack and McKee teamed up in the chase thriller “Misfortune,” which was shot last year in Georgia and is currently in post-production. “Don’t Breathe’s” Daniel Zovatto and Willa Fitzgerald also star, with Cusack portraying a quick-witted businessman who had left everything behind, including his family, to start a new life after embezzling a client’s money.
- Dave McNary
Author: Zehra Phelan
John Hughes is pretty much a legend to those who grew up through the 80s. He was the man responsible for coming-of-age classics such as Pretty in Pink, Sixteen Candles, Ferris Bueller’s Day off and many more including one of which is getting a remake, The Great Outdoors which originally starred Dan Aykroyd and John Candy.
Almost twenty years after the Howard Deutch directed original was released, it has now been confirmed that a remake is in the works with the pint-sized force of silly comedy nature, Kevin Hart well and truly attached to star. In what capacity of character, we don’t know as yet, but we dread to think which character he could possible ruin.
Related: Kevin Hart news and interviews
Hughes penned the original but Randall Green has been brought on board to give the script a 21st century make-over, the synopsis for »
- Zehra Phelan
When I look back at raunchy 80s comedies I can’t help but to smile at how amazing they were. Let’s take a little dive into exactly what I’m talking about. First of all, I’m not referring to anything John Hughes. Those are all well-written high quality films that don’t scream “comedy” all in one breath. Movies like Sixteen Candles, Ferris Bueller’s Day Off, and The Breakfast Club all had serious elements to them. I’m referring to the super duper cheesy 80s flicks that featured a ton of nudity, lewd behavior, and usually some amount of spring break, school, or resort
80’s Nostalgia: Check Out Johnny Depps First Lead Role in “Private Resort” »
- Nat Berman
Molly Ringwald knows all about teen drama.
"It's Archie. I mean, I loved Archie growing up," Ringwald told Et on Wednesday, one day before she makes her debut on Thursday night's episode. "I was always really interested, you know, 'Am I more Betty or am I more Veronica? What am I gonna be like when I grow up?' but it turns out I'm Archie's mom."
Archie's dad is played by Luke Perry, whom »
Comedy currently shooting in Brooklyn.
Ringwald and d’Arcy James star in All These Small Moments as parents of a teenage boy who develops a crush on a woman he sees on a bus.
All These Small Moments is currently shooting in Brooklyn and will debut in 2018. UTA Independent Film Group represents Us rights.
d’Arcy starred in Spotlight and the Netflix original series 13 Reasons »
- email@example.com (Jeremy Kay)
There are plenty of movies today that discuss the troubles of being an adolescent as well as a 20-something trying to make it in the world. But if you are a little bit older you’ll know that the 80s absolutely ruled that department once upon a time. Movies like The Breakfast Club, Ferris Bueller’s Day Off, Pretty in Pink, Sixteen Candles and basically anything by John Hughes that featured The Brat Pack were humongous hits among the 16-35 demographic. Another movie that defined the 80s was none other than Joel Schumacher’s St Elmo’s Fire. According to Cinemablend: The cast of
Demi Moore Discusses Her Most Cringeworthy Moment In St Elmo’s Fire »
- Nat Berman
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