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Tom Petty Has Died at 66

Tom Petty, the Grammy-winning rock legend and frontman for Tom Petty and the Heartbreakers, has died at 66 after suffering cardiac arrest. The musician was found unconscious in his Malibu home Monday morning and was rushed to UCLA Santa Monica Hospital, where he was put on life support. According to reports, Petty was not showing any signs of brain activity and was taken off life support. Petty’s longtime manager confirmed his death Monday night.

Petty sold more than 80 million records worldwide over his nearly five decades in the music business. He is best known as the lead singer of Tom Petty and the Heartbreakers, but he was also involved in other bands such as Mudcrutch and the Traveling Wilburys. He was nominated for 18 Grammy Awards throughout his career and won three, including Best Rock Vocal Performance in 1996 for “You Don’t Know How It Feels.” As an actor, Petty was
See full article at Indiewire »

‘Nashville’ Actor Charles Esten Remembers His Start in Music

For Charles Esten, creativity has been a constant battle among the muses of music, acting and comedy. He’s exercised his acting muscle in movies like “The Postman” and “Swing Vote” as well as TV series like HBO’s “Big Love” and Disney Channel’s “Jessie.” Comedy improv show “Whose Line Is It Anyway?,” with co-star Wayne Brady, let him use all three talents at once, and since 2012, he’s played lead guitarist Deacon Claybourne on “Nashville.” Last year, Esten racked up lots of attention with his music project “Every Single Friday,” for which he released a new song each week for more than a year. And in June he served as host of the Cmt Music Awards. But his initial break in the biz came on the small screen, in Fox’s 1995 sitcom “The Crew,” which led to his first mention in Variety in the Aug. 30, 1995, issue.

What do you remember about “The Crew”?

That was
See full article at Variety - TV News »

Screenwriter Set for New Dune Movie

Last November, Legendary Entertainment acquired movie and TV rights to Frank Herbert's Dune. Then, in December, it was revealed that Arrival and Blade Runner 2049 director Denis Villeneuve was being eyed to helm a new Dune movie, and now the screenwriter for the project has been revealed.

Variety reports that Eric Roth (Forrest Gump, The Postman, The Curious Case of Benjamin Button) is set to pen the adaptation of the seminal 1965 sci-fi novel, which was the first in a series of books. Although Villeneuve was previously "in talks" to helm the Dune movie, Variety and THR mention that Villeneuve is taking on the new take on Herbert's ambitious story.

Villeneuve is also set to produce the new Dune movie with Mary Parent and Cale Boyter. Executive producers will include Thomas Tull, Brian Herbert, Byron Merritt, and Kim Herbert, with sci-fi author Kevin J. Anderson on board as a creative consultant.
See full article at DailyDead »

Newswire: Forrest Gump writer Eric Roth to tackle the Dune remake

According to Variety, Forrest Gump writer Eric Roth has signed on to Denis Villeneuve’s Dune remake, lending the project the distinct air of Oscar prestige. Roth is also the writer behind The Curious Case Of Benjamin Button and Munich, and this Dune adaptation will be his first sci-fi project since The Postman in 1997 (if that even counts). Basically, Roth signing on to Dune is like jumping right into hard mode on a brand new video game. He might do just fine, but there’s very little indication that he even knows how to play.

This Dune movie will naturally be based on Frank Herbert’s original novel, which is one of the most famously dense and complex sci-fi sagas ever. There have been multiple attempts to adapt it in the past, including Syfy’s TV miniseries in 2000 and David Lynch’s film in 1984.
See full article at The AV Club »

Kevin Costner Returns: How the ‘Hidden Figures’ Star Tackled a Fictitious Role in Fact-Based Crowdpleaser — Consider This

Kevin Costner Returns: How the ‘Hidden Figures’ Star Tackled a Fictitious Role in Fact-Based Crowdpleaser — Consider This
The crowd-pleasing “Hidden Figures” might be based on a true story in an unknown chapter of American history, but not every detail was drawn from real life. The film follows a trio of Nasa mathematicians and engineers during the early sixties “Space Race” era, including Taraji P. Henson as Katherine Johnson, Octavia Spencer as Dorothy Vaughn and Janelle Monae as Mary Jackson, but it also required the invention of at least one crucial character.

To create the fictional role of Space Task rroup director Al Harrison, screenwriter Allison Schroeder used three different Nasa past chiefs – including two of Johnson’s own bosses – to round out the character. She gave special attention to the inclusion of personality traits from John Stack, a lauded Nasa aeronautical engineer who Schroeder billed as “kind of this perfect chauvinist feminist,” a forward thinker who was compelled by finding the best person for the job, no matter their race or gender.
See full article at Indiewire »

Kevin Costner planning to direct again, new western possible

Simon Brew Jan 3, 2017

Kevin Costner is planning a new western. In fact, he might just be planning three or four new westerns...

In recent years, Kevin Costner has been ramping his film career back up again, with a mix of projects, the next being the terrific Hidden Figures. Hidden Figures tells the story of the women of Nasa in the 1960s, and in particular their contribution to the space race. Costner takes on a supporting role in that project, which lands in UK cinemas in February.

See related The Losers: revisiting an overlooked comic book movie

Chatting to Variety to promote Hidden Figures, Costner has admitted too that he’s set to return to feature directing, for just the fourth time. Following Dances With Wolves, The Postman and Open Range, Costner admitted that “I have one”, when quizzed about another directorial project.

It’s a new western too. “I’ve been working on it.
See full article at Den of Geek »

Kevin Costner Wants To Direct A 10 Hour Western

Kevin Costner is best utilized as an actor these days, which is why it’s easy to forget that he’s also an Academy Award-winning director. A filmmaker with both Dances with Wolves and The Postman credited to his name, among others, his career behind the camera hasn’t been without high and low points, but he still has a couple of stories that he wants to tell. Notably, a 10 hour Western, which might live to see the light of day in the world of Peak Television, or might live inside the movie theater.

Costner hasn’t kept this project a secret. He’s mentioned it in the past and knows that it’s ambitious and lengthy, especially in a time when Westerns aren’t necessarily profitable. But he hasn’t pushed it aside, nor will he be giving up on it. Promoting his recently released Hidden Figures, the actor
See full article at We Got This Covered »

Kevin Costner Wants to Direct a 10-Hour Western

Kevin Costner Wants to Direct a 10-Hour Western
If there’s one actor we’d like to see direct far more often, it’s Kevin Costner. It’s been 13 very long years since Costner helmed the terrific Open Range, which followed The Postman, an ambitious and puzzling misfire, and his grand directorial debut, Dances with Wolves. His first film clearly established he’s a real deal filmmaker, not an actor testing the […]

The post Kevin Costner Wants to Direct a 10-Hour Western appeared first on /Film.
See full article at Slash Film »

Kevin Costner Says He Has An Epic 10-Hour Western He’d Like To Direct

Kevin Costner Says He Has An Epic 10-Hour Western He’d Like To Direct
When Kevin Costner decides to direct something, he doesn’t do small. His first two efforts were the Oscar-winning “Dances With The Wolves” and the flop “The Postman,” which each clocked around three hours (with ‘Dances’ going even longer in the director’s cut). His last directorial outing was over a decade ago with the western “Open Range,” which ambles to nearly two-and-a-half hours long.

Continue reading Kevin Costner Says He Has An Epic 10-Hour Western He’d Like To Direct at The Playlist.
See full article at The Playlist »

Playback: Kevin Costner on ‘Hidden Figures,’ ‘Dances’ Memories and More

Playback: Kevin Costner on ‘Hidden Figures,’ ‘Dances’ Memories and More
Welcome to “Playback,” a Variety podcast.

In this week’s episode, the last of 2016, Jenelle Riley and I are tapped out. So we toss it out to the listeners for a few questions. How will the guilds change the conversation this Oscar season? What Golden Globe surprises are lurking around the corner? Is it time for an ensemble category at the Oscars, and in a year full of so many great cast accomplishments, what is truly the best of them?

A little bit later (16:40) I’m talking to the star of one of those ensembles, the great Kevin Costner. He plays a composite character in the film, the head of a group tasked with the problem-solving of putting astronauts into space. That meant there wasn’t a single person he could talk to and mold his performance around, but that simply allowed him and director Theodore Melfi to make
See full article at Variety - Film News »

Why We All Love Flops

Neil Calloway argues that we enjoy it when a film fails at the box office…

This week brought the news – unsurprising to most – that this year had been less than stellar at the box office, with several films disappointing in terms of their grosses The Bfg, Alice Through The Looking Glass and Ben-Hur have joined Ghostbusters in not pulling in the crowds.

Much of this has been blamed on sequel and franchise fatigue, though two of the biggest films of the year have been Captain America: Civil War and Finding Dory, so it certainly doesn’t explain everything, but of course we all love a good flop.

Part of it is that we like to see big studios come a cropper when they remake beloved classics; schadenfreude at seeing Hollywood studios ailing and part of it is just that disasters have more interesting stories behind them. Recent documentaries have been
See full article at Flickeringmyth »

Proud Papa! Kevin Costner's Daughter Annie Costner Marries Danny Cox

  • PEOPLE.com
Proud Papa! Kevin Costner's Daughter Annie Costner Marries Danny Cox
He's a proud father of the bride. Kevin Costner poignantly watched his daughter Annie Costner exchange "I do"s with fiancé Danny Cox this past weekend at an outdoor wedding on his private estate in California. Annie, 32, wed Cox, a California-based doctor, on Saturday on the Oscar-winning filmmaker's sprawling property in Carpinteria surrounded by family and friends. Annie, who is Costner's daughter with ex-wife Cindy Costner, wore the Vicenta gown from Atelier Pronovias' 2016 collection, which featured rebrodé lace appliqué and a tulle bodice, finished off with a flowing mermaid skirt and crepe belt. The groom looked dapper in a navy suit,
See full article at PEOPLE.com »

Proud Papa! Kevin Costner's Daughter Annie Costner Marries Danny Cox

  • PEOPLE.com
Proud Papa! Kevin Costner's Daughter Annie Costner Marries Danny Cox
He's a proud father of the bride. Kevin Costner poignantly watched his daughter Annie Costner exchange "I do"s with fiancé Danny Cox this past weekend at an outdoor wedding on his private estate in California. Annie, 32, wed Cox, a California-based doctor, on Saturday on the Oscar-winning filmmaker's sprawling property in Carpinteria surrounded by family and friends. Annie, who is Costner's daughter with ex-wife Cindy Costner, wore the Vicenta gown from Atelier Pronovias' 2016 collection, which featured rebrodé lace appliqué and a tulle bodice, finished off with a flowing mermaid skirt and crepe belt. The groom looked dapper in a navy suit,
See full article at PEOPLE.com »

11 strange or ill-advised abandoned movie sequels

Ryan Lambie Jun 30, 2016

Jessica Rabbit kidnapped by Nazis. Costner rescuing Princess Diana. We look back at a few strange movie sequels that were never made…

The multi-million dollar success of any movie will inevitably leave Hollywood executives clamouring for a sequel. And while there are plenty of movies whose stories are open-ended enough to warrant a return to the creative well, there are many times when coming up with a follow-up idea requires all sorts of imaginative leaps. Just look at something like Alien: Resurrection, which had to come up an elaborate reason why Ripley had (spoiler alert) managed to survive a swan-dive into a lead foundry in Alien 3.

Which brings us to this list, which is devoted to a few of the weirder sequel ideas that never made it to the big screen. An E.T. sequel in which little Elliott gets tortured by aliens? Forrest Gump dancing with Princess Diana?
See full article at Den of Geek »

Warner Bros, and its disastrous movie summer of 1997

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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
See full article at Den of Geek »

Team Screen’s best films of 2015

Team Screen’s best films of 2015
Find out what made our top 10 films of 2015 - and which films racked up the most mentions from Team Screen.Scroll down for Screen’s overall top 10

Screen’s esteemed critics have had their turn. Now, Screen staff, contributors and correspondents reveal their favourite films of 2015.

Matt Mueller (Editor)

Force Majeure (dir. Ruben Ostlund)Mad Max: Fury Road (dir. George Miller)The Look Of Silence (dir. Joshua Oppenheimer)The Revenant (dir. Alejandro Gonzalez Inarritu)Ex Machina (dir. Alex Garland)Amy (dir. Asif Kapadia)Sunset Song (dir. Terence Davies)Tangerine (dir. Sean Baker)The Martian (dir. Ridley Scott)Anomalisa (dirs. Duke Johnson, Charlie Kaufman)Michael Rosser (Managing editor)

Son Of Saul (dir. Laszlo Nemes)Star Wars: The Force Awakens (dir. Jj Abrams)Ex Machina (dir. Alex Garland)Room (dir. Lenny Abrahamson)The Martian (dir. Ridley Scott)Inside Out (dirs. Pete Docter, Ronnie Del Carmen)Amy (dir. Asif Kapadia)45 Years (dir. Andrew Haigh)Slow West (dir. John Maclean)[link=tt
See full article at ScreenDaily »

Why Sandra Bullock, Bradley Cooper Couldn’t Save ‘Our Brand is Crisis’ and ‘Burnt’

Why Sandra Bullock, Bradley Cooper Couldn’t Save ‘Our Brand is Crisis’ and ‘Burnt’
The passion project is as old as Hollywood itself.

Film icons like Charlie Chaplin, Orson Welles and Steven Spielberg have all cashed in chits, mortgaged their prestige and wrung their last ounces of influence to bring their visions to the big screen. The results are often mixed, both artistically and commercially. For every “Dances With Wolves” that a driven actor like Kevin Costner can get made at the zenith of his power, raking in riches and Oscar glory in the process, there’s a “Waterworld” or “The Postman” that brings an actor’s star crashing back to earth.

Through it all, the calculus of “one for them and one for me” continues to guide many actors. Someone like Robert Downey Jr. will play Iron Man and Sherlock Holmes into retirement home age if it means getting to stretch his acting muscles in a talky drama like “The Judge.”

That exchange
See full article at Variety - Film News »

Kevin Costner has found his middle-of-the-road niche – and it suits him

McFarland, USA is another identikit sports movie in the actor’s repertoire but, aside from a few worthy exceptions, the mediocre is where he seems most comfortable

Kevin Costner deserves my sincerest congratulations: for over three decades now he has been boring me, irritating me and pissing me off. For the first 10 years of his career, I used to joke that his finest performance was as the corpse in Lawrence Kasdan’s odious boomer nostalgia-orgy The Big Chill. Then he won the best director Oscar for Dances With Wolves over Scorsese and Goodfellas and my enmity quadrupled, especially since those same acclaimed helming skills later gave us The Postman.

Related: Kevin Costner: Waterworld is 'beloved around the world'

Continue reading...
See full article at The Guardian - Film News »

10 Post-Apocalyptic Films That Prove Mankind Is Doomed

Cj Entertainment

It’s a theme as old as Mankind. Whether it’s the Bible’s Book of Revelation foretelling the Four Horsemen crushing the Earth under hoof or the Y2K bug playing Snake with our nuclear bunkers; we’ve got it all covered – plagues, ecological disasters, nuclear war, alien invasions, asteroids. You might say we’re somewhat obsessed with our own ends.

In the last century, when the threat of nuclear war looked like a real possibility, there was a surge in popular science fiction that looked at the implications of such a catastrophe, asking ‘what happens to humanity when the finally dust settles?’ This is an intriguing notion, especially when you consider the word ‘Apocalypse’ means ‘to uncover or reveal.’ It goes someway to explain why our culture often looks to its grim finale to depict our contemporary troubles and social ills.

There’s something ultimately positive about watching these films,
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Oscar-Nominated Film Series: Stone (Thrillingly) Assassinates Truth While Investigating Kennedy Assassination

'JFK' movie with Kevin Costner as Jim Garrison 'JFK' assassination movie: Gripping political drama gives added meaning to 'Rewriting History' If it's an Oliver Stone film, it must be bombastic, sentimental, clunky, and controversial. With the exception of "clunky," JFK is all of the above. It is also riveting, earnest, dishonest, moving, irritating, paranoid, and, more frequently than one might expect, outright brilliant. In sum, Oliver Stone's 1991 political thriller about a determined district attorney's investigation of the assassination of U.S. president John F. Kennedy is a slick piece of propaganda that mostly works both dramatically and cinematically. If only some of the facts hadn't gotten trampled on the way to film illustriousness. With the exception of John Williams' overemphatic score – Oliver Stone films need anything but overemphasis – JFK's technical and artistic details are put in place to extraordinary effect. Joe Hutshing and Pietro Scalia's editing
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