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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2005 | 2004 | 2003 | 2002

18 items from 2017


'Singles' at 25: Cameron Crowe on Making the Definitive Grunge Movie

18 September 2017 8:50 AM, PDT | Rollingstone.com | See recent Rolling Stone news »

By the time Cameron Crowe made Singles in 1992, the 35-year-old director was already a decade into his career's second act. A former journalist for Rolling Stone, he'd pivoted towards the movies after adapting his book about going undercover at a Los Angeles high school – Fast Times at Ridgemont High – for the screen in 1982. And his directorial debut, Say Anything... (1989), proved that he had a knack for capturing teen spirit.

Crowe, however, wanted his audience to grow up with him, so for his follow-up movie, he turned his attention to twentysomethings. »

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Guest Post: Why the Lack of Women-Made Films in the National Film Registry Is a Problem — and How…

25 August 2017 7:01 AM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Guest Post: Why the Lack of Women-Made Films in the National Film Registry Is a Problem — and How We Can Fix ItDirector Gina Prince-Bythewood and star Sanaa Lathan on the set of “Love and Basketball”: New Line Cinema. “Love and Basketball” is one of Wifv’s nominations for the National Film Registry.

Guest Post by Maya Pearson

New strides towards equality are being made every year for women in Hollywood. This summer “Wonder Woman” shattered box office records and glass ceilings alike, in no small part thanks to director Patty Jenkins. And one can hope that films like “Atomic Blonde” will inspire more female-led action films in the coming years. While it is important that we celebrate the groundbreaking achievements of women filmmakers today, we also have a responsibility to pay tribute to the trailblazing women who have helped us get where we are.

One way to aid this effort is by nominating films to the Library of Congress’ National Film Registry (Nfr). Every year the Nfr accepts 25 films that are at least 10 years old and considered to be “culturally, historically, or aesthetically significant” to preserve. While the registry is conscious of the importance of female filmmakers, women-made films are still highly underrepresented in the registry. Out of 700 films archived as of 2016, only 40 — or roughly 5.7 percent — are directed by women. While severely lacking in representation for female filmmakers, the National Film Registry has found room for controversial films helmed by men over the years. For example, the notoriously racist “Birth of a Nation” (1915) was inducted in 1992.

For decades women have worked to effect change from both behind and in front of the camera. The importance of ensuring that their filmmaking contributions are not lost cannot be understated. The Nfr includes what are considered to be some of the most significant American films ever made. By ensuring that women-made films are among these ranks, we demonstrate that we value these works, stories, and experiences to the same degree as those created by men.

Women in Film and Video of Washington, D.C. (Wifv) selects several films written and directed by women to endorse for the National Film Registry every year. These are our suggestions:

He’S Only Missing (1978), written and directed by Robin Smith, is a highly personal documentary which follows the families of American soldiers attempting to track down their loved ones during and after the Vietnam War.Sleepless In Seattle (1993) is one of the most well-known films of writer-director Nora Ephron’s career. She directed the film and co-wrote the screenplay with David S. Ward and Jeff Arch.Eve’S Bayou (1997) centers on an African-American family in the 1960s. The film, written and directed by Kasi Lemmons, intertwines fraying relationships with elements of magical realism.Boys Don’T Cry (1999), written and directed by Kimberly Peirce, depicts the true story of Brandon Teena, who fell victim to an anti-transgender hate crime.Bring It On (2000), written by Jessica Bendinger, is a cult classic that highlights female friendships and rivalries in high school cheerleading.Love & Basketball (2000), writer-director Gina Prince-Bythewood’s revered feature debut, presents a unique hybridization of the sports and romance genres.Stranger With A Camera (2000) is a haunting documentary from Elizabeth Barret which, by looking into the murder of filmmaker Hugh O’Conner, examines moral questions about documentary filmmaking itself.Jesus Camp (2006) was directed by Heidi Ewing and Rachel Grady, and provides an unprecedented, objective look at evangelical Christianity in America through the eyes of children.Marie Antoinette (2006) was written and directed by Sofia Coppola and provides an atypical, female-driven take on the collapse of the monarchy leading up to the French Revolution.Juno (2007) was written by Diablo Cody and provides an unusual look at pregnancy from the perspective of its witty teenage protagonist.

You can learn more about each of these films and how to nominate them here. You can nominate up to 50 films before the September 15, 2017 deadline.

We can’t change the amount of female representation in the past, but by nominating films for the Nfr, we can help ensure that the contributions of female filmmakers are preserved for the future.

Maya Pearson is an intern at Women in Film and Video of Washington, D.C. She is studying Radio/Television/Film at Northwestern University.

Guest Post: Why the Lack of Women-Made Films in the National Film Registry Is a Problem — and How… was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Women and Hollywood

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Apparently Tom Hanks Was Super Cranky On The Set Of Sleepless In Seattle

21 August 2017 7:06 AM, PDT | cinemablend.com | See recent Cinema Blend news »

Tom Hanks and Meg Ryan didn't get to that point where they hated each other, but in a new book about Nora Ephron's Rom-Com contributions, it's revealed that Hanks was a bit of a pill while filming the legendary Sleepless in Seattle. »

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Marvel's Inhumans — IMAX's first TV show premiere

1 August 2017 6:17 AM, PDT | Den of Geek | See recent Den of Geek news »

Kayti Burt Aug 1, 2017

Our Us chums talked to IMAX's Greg Foster, Inhumans showrunner Scott Buck, and director Roel Ruiz about Inhumans' IMAX debut...

The way we watch TV is changing. For many, that means smaller, mobile screens and a more isolated viewing experience. These aren't necessarily bad advancements, but there are things we lose when the communal, big-screen viewing experience goes out of style.

See related  American Horror Story renewed for seasons 8 and 9 American Horror Story: Roanoke might be its best season yet American Horror Story season 6: Roanoke Chapter 10 Ryan Murphy: celebrating a showrunner who never holds back

Luckily, IMAX doesn't plan on letting the communal, big-screen viewing experience go out of style anytime soon.

Next month, IMAX, Marvel, and ABC will release the first two episodes of new TV series Marvel's Inhumans on IMAX screens around the world. Following the IMAX debut, Inhumans will be »

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Meg Ryan and John Mellencamp Are Back Together After Breaking Up Over 2 Years Ago

27 July 2017 8:47 AM, PDT | Entertainment Tonight | See recent Entertainment Tonight news »

Meg Ryan and John Mellencamp have rekindled their romance, a source tells Et.

The two started dating in 2010, but called it quits five years later. Back in March, Mellencamp went on Howard Stern's SiriusXM radio show, and implied that there was no way that he would ever have a shot at getting back with the 55-year-old actress.

"Oh, women hate me. I loved Meg Ryan," he said. "She hates me to death."

Watch: Meg Ryan Dismisses Speculation About Her Changing Face -- 'I Love My Age'

As to why Ryan would have such negative feelings toward him, the 65-year-old musician elaborated, "I think it’s because I’m a child. I throw fits, I gripe, I complain. I’m moody. Every bad thing that a fella can be, that’s me.”

Stern suggested that Mellencamp call and attempt to make amends with the Sleepless in Seattle star, but he insisted that he'd already attempted to do so »

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Meg Ryan And John Mellencamp Back Together, Says Source: ‘They Have A Bond’

27 July 2017 7:25 AM, PDT | ET Canada | See recent ET Canada news »

After splitting up nearly three years ago, rocker John Mellencamp, 65, and “Sleepless in Seattle” star Meg Ryan, 55, are reportedly back together, with the New York Post‘s “Page Six” column citing a source who claims the pair have rekindled their romance. “They are together,” said the source. “It’s been a few months.” According to reports, […] »

- Brent Furdyk

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Joe Versus the Volcano (1990) | Blu-ray Review

25 July 2017 11:15 AM, PDT | ioncinema | See recent ioncinema news »

One of the most celebrated on-screen couples during the 1990s were Tom Hanks and Meg Ryan thanks to Nora Ephron’s beloved 1993 title Sleepless in Seattle, followed by all three forces uniting for 1998’s You’ve Got Mail.

Continue reading »

- Nicholas Bell

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Female Directors Power List: See Which Filmmakers Grossed Over $100 Million

1 June 2017 12:35 PM, PDT | Indiewire | See recent Indiewire news »

Wonder Woman” is expected to top the weekend; claims that it will be the most successful film ever directed by a woman will soon follow. That’s possible, but far from guaranteed: While Hollywood’s pretzel logic would suggest that women rarely direct blockbusters, Patty Jenkins’ success story will have a lot of competition.

The dearth of women directors trusted by studios to helm top movies becomes even more suspect when adjusting grosses to current ticket prices. Despite limited opportunities, 14 have grossed over $200 million, and 40 total over $100 million when calculated at current numbers.

 

Below, we go into detail about the top directors and their movies; there’s a lot to see, with some compelling and surprising conclusions. However, more than any other statistic, here’s one that stands out: Among the most successful female directors, after adjusting to current ticket prices, the career average per film gross is over $100 million for several. »

- Tom Brueggemann

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Lynda Obst Testifies in Robert Durst Murder Case

27 April 2017 7:34 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

A Hollywood producer testified Wednesday that a friend claimed to have impersonated the first wife of real estate heir Robert Durst in a telephone call that prosecutors say took place after the wife was dead.

Lynda Obst, whose films include Sleepless in Seattle and Interstellar, took the stand during a pre-trial hearing for Durst, who is charged with shooting Susan Berman in 2000 at her Los Angeles home.

Obst said that Berman, a mutual friend, confided that she had pretended to be Kathleen Durst in a 1982 telephone call to the Albert Einstein College of Medicine in New York.

A »

- the Associated Press

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Lynda Obst Testifies in Robert Durst Murder Case

27 April 2017 7:34 AM, PDT | The Hollywood Reporter - TV News | See recent The Hollywood Reporter - TV News news »

A Hollywood producer testified Wednesday that a friend claimed to have impersonated the first wife of real estate heir Robert Durst in a telephone call that prosecutors say took place after the wife was dead.

Lynda Obst, whose films include Sleepless in Seattle and Interstellar, took the stand during a pre-trial hearing for Durst, who is charged with shooting Susan Berman in 2000 at her Los Angeles home.

Obst said that Berman, a mutual friend, confided that she had pretended to be Kathleen Durst in a 1982 telephone call to the Albert Einstein College of Medicine in New York.

A »

- the Associated Press

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Why Jennifer Lopez and Alex Rodriguez Are Proving the Skeptics All Wrong

1 April 2017 6:00 AM, PDT | E! Online | See recent E! Online news »

Sorry to have ever doubted you, J.Lo and A-Rod. If everything is meant to be, or all roads lead to where you need to go, or everything happens for a reason, or whatever, perhaps Jennifer Lopez and Alex Rodriguez were simply inevitable, like Tom Hanks and Meg Ryan in Sleepless in Seattle. Which means you can't linger too long on any pain, suffering or screw-ups that preceded this moment in time, and just remember that the obvious doesn't always present itself right away. Lopez and Rodriguez met 12 years ago, at Yankee Stadium before a game, but both were married—Mets fan Marc Anthony was right there in the picture with them after all. Only now does it mean a thing that »

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What Happened to the Women Directors in Hollywood? Part 4: 1984–1999

17 March 2017 2:02 PM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Mississippi Masala

by Carrie Rickey

This five-part Truthdig series by Carrie Rickey is published in partnership with Women and Hollywood. The series considers the historic accomplishments of women behind the camera, how they got marginalized, and how they are fighting for equal employment. Specifically, this series asks, why do females make up between 33 and 50 percent of film-school graduates but account for only seven percent of working directors? What happened to the women directors in Hollywood?

While female filmmakers waited for Judge Pamela Rymer to hand down a decision in the 1983 Directors Guild class-action suit against Warner Brothers and Columbia Pictures, alleging discrimination for not hiring women and ethnic minorities represented by the guild, there were positive signs of change in Hollywood.

In 1984, for the first time that almost anyone could remember, one needed two hands to count the number of feature films by women released in the U.S. market. One was Diane Kurys’ “Entre Nous” (1983), nominated for best foreign film at the Academy Awards in April 1984, making Kurys the second female director whose film was so honored.

Between 1950 and 1980, the number of movies directed by women in the Directors Guild of America (DGA) totaled 14. From 1984 to 1985 there were 12.

In 1984 many women were making their second features. Among them were Gillian Armstrong’s period drama “Mrs. Soffel,” Amy Heckerling’s gangster comedy “Johnny Dangerously,” Penelope Spheeris’ teenage-runaway saga “Suburbia,” and Amy Holden Jones’ romantic drama “Love Letters.” Martha Coolidge, beloved for “Valley Girl,” her 1983 debut, was on her third feature, “National Lampoon’s Joy of Sex.” With more women behind the movie camera in the United States than any time since the ’teens, it seemed that Hollywood was reopening the studio gates to women. Their movies featured women in lead roles.

The wave of optimism crested in 1985. Argentine director Maria Luisa Bemberg’s historical romance “Camila” (1984) was in contention for best foreign film. Susan Seidelman, an Nyu film-school grad who made a splash in 1983 with the indie “Smithereens,” released “Desperately Seeking Susan,” starring “It Girl” Rosanna Arquette and Madonna, cast when the latter was a relative unknown. It was a runaway hit. Heckerling and Spheeris each released third features, respectively “National Lampoon’s European Vacation” and “The Boys Next Door.” Coolidge released her fourth: “Real Genius,” a genuinely funny nerd comedy with a fully developed female character — and special effects.

Then came the crash.

In August 1985 Judge Rymer handed down her decision. While the class-action case was important and viable, Rymer ruled, she had to disqualify the DGA from leading the class due to a conflict of interest. White male members also competing for directing jobs dominated the guild, she said. Thus the DGA was in no position to represent the interests of its women and ethnic minority members. Out of exhaustion and lack of money, the Original Six, the group of female filmmakers that had first spurred the DGA to initiate the suit, did not pursue it any further.

As the DGA suit played out during the early 1980s, Hollywood’s business model was in flux. Studios abandoned the one-size-fits-all strategy of advertising a movie in general-interest publications and embraced segmented marketing — that is, making and marketing movies to a specific demographic. Fewer dollars were spent advertising movies in mainstream newspapers and more were spent on ads that ran during TV shows young males were said to watch. More and more, movies starred predominantly men and boys. Because actors had higher-profile roles, they could command higher salaries than actresses.

By dividing the market into sectors, studios divided the audience and the culture. Boys see movies about boys. Older people see movies about older people. Women see movies about women. Those in different demographics no longer watch the same stories.

In 1980, four of the 10 top box office stars were women: Sally Field, Jane Fonda, Sissy Spacek, and Barbra Streisand. In 1990 there was only one: Julia Roberts. According to 1990 statistics from the Screen Actors Guild, not only were actresses underpaid, but they were also “undercast”: 14 percent of the leading roles, and only 29 percent of all roles, went to women.

The “Indiana Jones” trilogy made in the 1980s reflected the progressively diminishing role of females in film during a decade when male action/adventures dominated the multiplex. In “Raiders of the Lost Ark” (1981), the character Marion Ravenwood (Karen Allen) plays Indy’s helpmate. In “Indiana Jones and the Temple of Doom” (1984), the Willie Scott character (Kate Capshaw) is helpless. And in “Indiana Jones and the Last Crusade,” archeologist Elsa Schneider (Alison Doody) is the enemy.

Despite such trends, the late 1980s and 1990s proved to be boom years for female directors in Hollywood and Indiewood, as independent film is known. In 1987, Kathryn Bigelow, a onetime sculptor and graduate of Columbia University’s film program, made her second feature, the “vampire Western” “Near Dark.” And though Elaine May’s studio film “Ishtar” was almost universally panned upon release, it earned belated respect. Richard Brody of The New Yorker correctly described it as “an unjustly derided masterwork.” In 1987, six percent of films were directed by women, higher than at any time since 1916.

The percentage dropped in 1988, but that was a watershed year for female filmmakers. “Big,” a comedy from Penny Marshall (co-written by Anne Spielberg), was universally acclaimed. It was the first movie directed by a woman that surpassed $100 million at the box office. With the romantic comedy “Crossing Delancey,” Joan Micklin Silver returned to making big-screen fare, and her modest hit was well received. Also in 1988, Silver’s daughter, Marisa, made her second feature, “Permanent Record,” about teen suicide. “Salaam, Bombay!”, the first feature from Mira Nair, the India-born, Harvard-educated documentarian, was a best foreign film Oscar nominee.

The following year, “Look Who’s Talking” from Amy Heckerling likewise surpassed the $100 million mark for box office sales in the U.S. and made nearly $300 million worldwide. For the most part, though, heads of studios regarded Marshall’s and Heckerling’s box-office smashes as flukes. Two heads of production told me in 1991 that “movies by women don’t make money.” Nevertheless, it turned out to be a exceptional year for the quality and range of releases from women. And it shaped up to be a year when movies by female filmmakers did make serious money.

Some of the highlights of 1991: Julie Dash’s “Daughters of the Dust,” an evocative portrait of generations of Gullah women off the South Carolina coast circa 1901; Jodie Foster’s “Little Man Tate,” about a child prodigy emotionally torn between his mother and a psychologist for gifted children; and Mira Nair’s “Mississippi Masala,” a sexy romance about a South Asian woman born in Uganda (played by then-newcomer Sarita Choudhry) in love with an African-American man (Denzel Washington). Both Kathryn Bigelow’s action film “Point Break” and Barbra Streisand’s psychological study “Prince of Tides” examined the emotional costs to men who struggle to prove their masculinity. Bigelow’s movie grossed $83 million and Streisand’s $110 million. (Adjusted for inflation, that’s $148 million and $196 million in today’s dollars.)

Not only can female filmmakers make movies that show a different side of men, but they also make movies that show different aspects of women. Penny Marshall’s “A League of Their Own” (1992), about the All-American Girls Baseball Leagues during World War II, celebrates the athleticism (rather than the sexuality) of the female body. Nora Ephron’s “This is My Life,” her 1992 directorial debut about a single mom whose choice of comedy career affects her daughters, shows that career and motherhood need not be in conflict. Like Ephron’s film, Allison Anders’ “Gas Food Lodging” (also 1992) explores what happens when the children of single moms reconnect with biological fathers. Male directors were, and are not, making movies like these.

During the 1990s, almost every year brought a new evergreen made by a female filmmaker. In 1993 there were two. One was Jane Campion’s “The Piano,” a haunting allegory about a mute woman that struck a chord internationally. It earned $62 million at the box office and multiple Oscar nominations, including one for best director, making Campion the third woman to be cited in this category. The other was Nora Ephron’s “Sleepless in Seattle,” the comedic romance between two people who don’t meet in person until the last scene, which scored a $227 million box office.

“Sleepless” additionally introduced the questionable concept of the “chick flick” to a broader audience. This is a non-genre that has come to be defined as any movie that, according to the term’s proponents, women want to see and that men think they don’t want to watch — or any movie directed by a woman. The division between “chick flick” and its corollary, the “dick flick,” is a perhaps unintended consequence of target marketing, implying that movies represent a gender-linked proposition.

Almost overnight, the perception was created that movies predominantly featuring women, or “women’s interests,” or directed by women would shrivel the manhood of the male moviegoer. In 1994 the head of a major studio told me, without irony or shame, that “Women on the screen means no men in the audience.” When I asked him for data to back up his claim, he said he had it, but it was proprietary.

Despite such signs of cultural and corporate sexism, the 1990s were a good time to be a female filmmaker. In 1994, Gillian Armstrong’s “Little Women” was immediately embraced as a classic. Newcomer Darnell Martin’s “I Like it Like That,” an urban comedy about a working mother juggling job, marriage, and parenthood, earned positive reviews. And Rose Troche’s “Go Fish,” the first indie comedy about girl-on-girl courtship, marked a milestone for the burgeoning genre.

The following year, 16 films by women were in U.S. release, setting another record for that era. Many of them were comedies. There was Amy Heckerling’s “Clueless,” a droll version of Jane Austen’s “Emma” set at a Beverly Hills high school. There is Betty Thomas’ “The Brady Bunch Movie,” in which the former actress sets the characters of the 1970s TV hit in the 1990s to great comic effect. Distinctly not a comedy was Kathryn Bigelow’s “Strange Days,” a science-fiction thriller about sex crimes, which lost money but became a cult favorite. At the 1996 Oscar ceremony, with “Antonia’s Line,” Dutch filmmaker Marleen Gorris became the first female filmmaker to direct the award-winning foreign film.

But apart from Bigelow and Mimi Leder, a director of episodic television who in 1997 directed “The Peacemaker” and in 1998 “Deep Impact,” female filmmakers were not making action films. For the most part women made comedies and human stories, movies with no explosions in the opening scene. Veteran filmmaker Martha Coolidge spoke for many women when she noted that the scripts the studios sent her were for comedies or family dramas. “About 90 percent of what comes my way are ten different kinds of breast cancer stories, ten kinds of divorce stories, and ten kinds of women-taking-care-of-their-fathers stories,” she said. “I do those. I care about those deeply. But one does want to do more.”

Female filmmakers were typecast in the way many actors and actresses have been, for the most part pigeonholed in family drama and comedy genres. For example, in 1997 actress Kasi Lemmons made her directorial debut with “Eve’s Bayou,” a haunting family drama, and Betty Thomas returned with the Howard Stern biopic “Private Parts.” In 1998, Ephron returned with the romantic comedy “You’ve Got Mail.” Nancy Meyers, a long-time screenwriter, made her directorial debut with the family-friendly comedy “The Parent Trap,” and Brenda Chapman, a Disney animator, was one of three directors on “Prince of Egypt,” the animated story of Moses.

In 1999, three female filmmakers made rookie features unlike anything in American movies. Two were romantic dramas about teenage sexuality, the other an imaginative Shakespeare adaptation. Sofia Coppola’s “The Virgin Suicides,” based on the novel by Jeffrey Eugenides, looked at how boys look at girls, subversively turning the female gaze on the male gaze. Kimberly Peirce’s “Boys Don’t Cry” dramatized the life story of Teena Brandon, who changed her name and gender to become Brandon Teena and fell victim to a hate crime.

Julie Taymor, the theater director who created “The Lion King” on stage, made her movie debut with “Titus,” an anachronistic version of the Shakespeare history play “Titus Andronicus,” underscoring its parallels to Italy under Mussolini.

At the end of the decade — and century — of the 11,000 filmmakers working both in television and film included in the Directors Guild of America, about 2,300 were women. While women made up 21 percent of the membership, they comprised only 9 percent of the filmmakers working in movies.

Most, including Martha Lauzen, a professor at San Diego State University and the head of the Center for the Study of Women in Film and Television, naturally assumed that in the new century the needle would move toward 50/50.

In addition to writing film reviews and essays for Truthdig, Carrie Rickey has been a film critic at The Philadelphia Inquirer and Village Voice, and an art critic at Artforum and Art in America. Rickey has taught at various institutions, including School of the Art Institute of Chicago and the University of Pennsylvania, and has appeared frequently on NPR’s “Talk of the Nation,” MSNBC, and CNN.

What Happened to the Women Directors in Hollywood? Part 4: 1984–1999 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Women and Hollywood

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A Woman Heartbreakingly Just Set Up a Real-life 'Sleepless in Seattle'

6 March 2017 7:53 AM, PST | Fandango | See recent Fandango news »

In the classic romantic comedy Sleepless in Seattle, Tom Hanks plays a man whose wife recently succumbed to cancer. His son wants him to get a new wife, so he calls into a radio show and sells the entire country on this wonderful widower, his father. One woman, played by Meg Ryan, becomes rather obsessed with the guy. Eventually they meet and, we assume, fall in love.   Almost 24 years later, a real-life version of Sleepless in Seattle may be brewing. Author Amy Krouse...

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- affiliates@fandango.com

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A Woman Heartbreakingly Just Set Up a Real-life 'Sleepless in Seattle'

3 March 2017 7:30 PM, PST | Movies.com | See recent Movies.com news »

In the classic romantic comedy Sleepless in Seattle, Tom Hanks plays a man whose wife recently succumbed to cancer. His son wants him to get a new wife, so he calls into a radio show and sells the entire country on this wonderful widower, his father. One woman, played by Meg Ryan, becomes rather obsessed with the guy, and eventually they meet and, we assume, fall in love.   Almost 24 years later, a real-life version of Sleepless in Seattle may be brewing. Author Amy Krouse Rosenthal, who is mostly known for children's books, wrote an article in the Style section of the New York Times pimping out her own husband. Rosenthal has been diagnosed with terminal ovarian cancer and is hoping to leave her man in good hands.  Unlike Hanks's character...

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- Christopher Campbell

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Meg Ryan’s Luxurious Home Could Be Yours For $11 Million

2 March 2017 9:24 AM, PST | ET Canada | See recent ET Canada news »

Meg Ryan’s lust-worthy New York City loft has hit the market and will have you dreaming up a renovation of your own! The “Sleepless in Seattle” actress is trading her sophisticated Soho apartment — envisioned by designer Monique Gibson, architect Joel Barkley and Ryan herself — for $11 million. Related: ‘Free Spirit’ Kristen Stewart Channels […] »

- Sylvia Ogweng

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Rita Wilson, Archie Panjabi Cast in Fox Pilot About Sexual Assault on College Campuses

28 February 2017 11:00 AM, PST | Variety - TV News | See recent Variety - TV News news »

Rita Wilson and Archie Panjabi have been cast in Fox’s drama pilot about sexual scandals on college campuses, Variety has learned.

The untitled university project — formerly titled “Controversy” — centers around the Junior Counsel of a prestigious Illinois school that must deal with an out-of-control scandal when a young co-ed accuses several star football players of sexual assault. From the football coaches and boosters who wield outsize influence, to a university administration under siege, the series explores the type of high-profile controversy all-too familiar on today’s college campuses, as well as the corrosive, dangerous nature of institutional power.

Wilson will play Constance Hawthorne, the dignified but fierce head of Uci Board of Trustees. Panjabi will play Jourdan Price, the crisis management consultant brought in to help with the scandal.

Previously announced, Austin Stowell will also star in the Fox pilot as the central character, Matt Kincaid, the Junior Counsel of the university.

The »

- Elizabeth Wagmeister

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An Affair To Remember Returns to the Big Screen for Valentine’s Day

31 January 2017 9:41 AM, PST | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

One of the screen’s most memorable romances,  An Affair to Remember, is coming back to the big screen for two days only … just in time for Valentine’s Day. Named the #5 most romantic movie ever by the American Film Institute, Cary Grant and Deborah Kerr star in the classic tale of love, fate and the Empire State Building (“the nearest thing to heaven!”).  Celebrating its 60th anniversary, An Affair to Remember has captured the hearts of generations of moviegoers and moviemakers — it was the inspiration for the blockbuster hit Sleepless in Seattle.  And it’s the ultimate Valentine’s weekend date for movie lovers. Showing at 2 p.m. and 7 p.m. (local time) each day in more than 700 theaters nationwide, An Affair to Remember combines movie glamour, mid-century style and gorgeous widescreen cinematography like no other film before or since.

The yearlong TCM Big Screen Classics series continues in »

- Tom Stockman

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‘Future ’38’ Exclusive Clip: A Man Time Travels From 1938 To 2018 to Save The World

17 January 2017 2:08 PM, PST | Indiewire | See recent Indiewire news »

The Slamdance Film Festival focuses on emerging filmmakers and low-budget independent films. Running parallel to Sundance in Park City, Utah, the festival has premiered films by directors like Christopher NolanMarc ForsterJared Hess, Oren PeliBenh Zeitlin, Seth GordonLynn Shelton and Lena Dunham. Now, the festival is soon upon us and will feature a variety of premieres, including the sci-fi comedy “Future ’38” about a time traveler who must save the world.

Read More: Slamdance 2017: 13 Must-See Films At This Year’s Festival

Filmed in early Technicolor, the film follows a man who time travels from 1938 to 2018 in order to save the world from evil forces. Written and directed by Jamie Greenberg (“Stags”), “Future ’38” celebrates and examines the past techniques of cinema. It stars Betty Gilpin (“Masters of Sex”), Robert John Burke (“Limitless”), Ethan Phillips (“Inside Llewyn Davis”), Sean Young (“Blade Runner”), Tom Riis Farrell (“Sleepless in Seattle”), Sophie von Haselberg »

- Vikram Murthi

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18 items from 2017


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