Private Parts (1997) - News Poster

(1997)

News

Slideshow, Audio: Red-Carpet Portraits from The Second City Roast of George Wendt

  • HollywoodChicago.com
Previous | Image 1 of 12 | NextHonoree George Wendt gets ‘roasted.’ Norm!

Chicago – On September 9th, 2017, it seemed like the whole of The Second City theater on Wells Street in Chicago let out a collective cry of “Norm!” The favorite barfly of TV’s “Cheers,” George Wendt, came back to his old comedy stomping ground at The Second City to participate in “I Can’t Believe They Wendt There: The Roast of George Wendt.”

The roasters included the hottest current TV and movie stars, including Bob Odenkirk (“Better Call Saul”), Keegan-Michael Key (“Key & Peele”) and Jason Sudeikis (“Saturday Night Live”), along with The Second City alumni and celebs Julia Sweeney, Betty Thomas and Joel Murray. The roast was a benefit for Gilda’s Club Chicago, the cancer support community named for the late comic legend, Gilda Radner.

In Part One of the Red Carpet interviews, honoree George Wendt does some reminiscing with Jason Sudeikis,
See full article at HollywoodChicago.com »

From ‘Girls’ to ‘Glow’: Casting Director Jennifer Euston on the Importance of ‘Authenticity’

From ‘Girls’ to ‘Glow’: Casting Director Jennifer Euston on the Importance of ‘Authenticity’
Casting director Jennifer Euston is responsible for finding the faces for some of the most unique ensemble casts on television. From “Girls” to “Orange is the New Black” to “Glow,” the multi-Emmy award winner has one specific goal: to populate the TV landscape with reflections of what she sees on the streets and stages of New York.

“All I want to do is tell it as it is. That’s the bottom line. I just want to be as authentic as possible in everything I do,” Euston says.

Here, Euston tells Variety how she translated her childhood hobby of studying film and television into a successful career, the importance of apprenticeship in her line of work, and how she almost turned down the job that got her her first solo Emmy.

How did you get into casting?

I was working on Howard Stern’s movie “Private Parts” as an office intern, and
See full article at Variety - TV News »

Kendra Wilkinson flips after mom’s secret publisher meeting on Kendra on Top

Kendra Wilkinson hits the roof on Kendra on Top this week — after finding out that her mom Patti has met with a famous book publisher in secret. Kendra thought that her mom’s plans for a tell-all book was “all talk” but when she meets with her manager Troy she finds out that Patti is much further down the line with her plans than thought. Troy tells her how Patti has met with Judith Regan, the head of Phaidon Press’s Regan Arts division and the person behind a string of big books. They include Howard Stern’s Private Parts and Son...read more
See full article at Monsters and Critics »

‘Rough Night’: How Two Screenwriters Broke Boundaries to Make an R-Rated Female-Centric Comedy

  • Indiewire
‘Rough Night’: How Two Screenwriters Broke Boundaries to Make an R-Rated Female-Centric Comedy
It comes as little surprise that Lucia Aniello and Paul W. Downs are a lot of fun to be around, laughing easily and finishing each other sentences when it comes to talking about their work. And there’s a lot of work to talk about, particularly their feature film debut, the Sony comedy “Rough Night.” Aniello directed the hard-r female-centric feature from the pair’s screenplay – they’re often splitting duties this way, though Aniello emerged early on as the director – which also features Downs in a supporting role.

Read More: ‘Rough Night’: Filmmaker Lucia Aniello Breaks Into the Male-Dominated R-Rated Comedy — Watch

Written as a spec script, “Rough Night” sparked a minor bidding war in the spring of 2015 when Sony Pictures picked up their then-untitled screenplay (the film later appeared on the Black List that same year). “Rough Night” follows a motley group of old friends, reunited for
See full article at Indiewire »

'Rough Night's' Comedy Couple on Tackling "Men-Only" Genre

'Rough Night's' Comedy Couple on Tackling
Half Baked for Universal (Betty Thomas' Private Parts for Paramount came out in 1997). But Lucia Aniello, whose raunchy Rough Night opens June 16, is determined to boldly delve into genres that have been largely off-limits to female helmers: She and boyfriend Paul Downs penned Rough Night together (they're also co-head writers on Comedy Central's Broad City) and are fast at work on a follow-up, a mob story. "Basically, The Godfather but a comedy version," says Aniello, 34, who sources say was...
See full article at The Hollywood Reporter - Movie News »

Love Connection Flashback: 5 Totally '80s Dates From the Classic Show

Love Connection Flashback: 5 Totally '80s Dates From the Classic Show
True love never fades… and neither do old Love Connection clips.

With Fox rebooting the classic dating show this week, we thought we’d dig into the archives to find a few memorable dates from the 1983-94 Chuck Woolery original. And three decades later, it’s still a fascinating watch. The hair! The clothes! The outdated social norms!

RelatedLove Connection Review: Andy Cohen Can’t Save Fox’s Awkward Reboot

Read on for five dates — some good, some horrible — that capture the kitschy, corny charm of Love Connection at its very best.

Louis Likes His Date’s “Private Parts
See full article at TVLine.com »

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

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.
See full article at Women and Hollywood »

Howard Stern’s ‘Private Parts’ at 20: How It Went From a Raunchy Memoir to a Crossover Hit

Howard Stern’s ‘Private Parts’ at 20: How It Went From a Raunchy Memoir to a Crossover Hit
Turning a memoir into a film is never simple. Internal monologues need to be translated cinematically and the scope of an entire life has to be narrowed down to a three-act structure. Not surprisingly, the task becomes even trickier when the author spends as much time discussing his penis as Howard Stern did in his bestselling book “Private Parts.”

Released 20 years ago on March 7, 1997, the film adaptation of Stern’s memoir took the No. 1 spot at the box office the weekend it opened, eclipsing Disney’s PG-rated family film “Jungle 2 Jungle,” which debuted at the same time. The total box office gross only ended up at $41 million, but it went on to become a cult favorite on TV and video.

The culmination of a challenging development process that originally saw Oscar-winning director John G. Avildsen (“Rocky”) attached, the film’s early delays were primarily centered on story issues. Stern,
See full article at Variety - Film News »

Mike Myers to Play Improv Mentor Del Close

Mike Myers will play improv mentor Del Close in the upcoming biopic “Del,” to be directed by Betty Thomas.

Covert Media’s CEO Paul Hanson will produce the film alongside Thomas, The Second City’s Diane Alexander, State Street PicturesRobert Teitel, and Thruline Entertainment’s Ron West. Covert Media is fully financing and launching international sales at the Berlin Film Festival.

Executive producers are Harold Ramis Film School/Second City’s Andrew Alexander, Covert’s Elissa Friedman, Media Content Capital’s Sasha Shapiro, and Anton Lessine, along with Thruline’s Chris Henze.

Thomas will direct “Del” from a script by Nick Torokvei. The film follows an aspiring comedian who is counseled by Close, who was notorious for pushing his students to their limits. He’s best known for teaching students at Chicago’s Second City, including Myers, John Belushi, Chris Farley, Dan Aykroyd, Bill Murray, and Tina Fey. Close
See full article at Variety - Film News »

Berlin: Mike Myers to Star in Film as Comedy Coach Del Close (Exclusive)

Berlin: Mike Myers to Star in Film as Comedy Coach Del Close (Exclusive)
In a new film called Del, Mike Myers will portray one of his own mentors, Del Close, an early influencer of improv comedy who also was known for training many notable comic actors.

Betty Thomas (Private Parts, 28 Days) will direct the comedy, in which Myers plays the legendary teacher notorious for pushing his students to their limit. Close takes an aspiring comedian under his wing, and the relationship, which is first disastrous, eventually transforms each of them.

in the 1970s, Close coached many aspiring comedians at the Chicago improv powerhouse Second City, and in the early 1980s he served...
See full article at The Hollywood Reporter - Movie News »

Jennifer Lawrence Sports Celestial Sweater Dress at 'Passengers' Photocall -- See the Look!

Jennifer Lawrence Sports Celestial Sweater Dress at 'Passengers' Photocall -- See the Look!
Jennifer Lawrence definitely knows how to stick to a theme.

The 26-year-old actress looked out-of-this-world as she walked the red carpet at the photocall for her new movie, Passengers, in Paris on Tuesday. 

Watch: Jennifer Lawrence Calls Rumored Boyfriend Darren Aronofsky 'a Visionary,' Reveals She Texted Emma Stone Every Day For a Year

Lawrence dressed in head-to-toe Dior for the occasion, keeping with the film's celestial theme while sporting a starry gray sweater embellished with "L'Etoile," which she paired with an icy blue sheer tulle skirt.

Getty Images

Related: Jennifer Lawrence Says Her Biggest Fear Is That Her Private Parts Turn Into a 'Wet Sponge'

Lawrence sported a much more streamlined wardrobe for Passengers, where she stars opposite Chris Pratt as a spaceship passenger on a 120-year journey to another planet when her and Pratt's hibernation pods wake them up 90 years too early.

Et visited the set of the sci-fi film, where Lawrence
See full article at Entertainment Tonight »

The Age of Ire: How Marvel & DC fan the flames to sell comics

  • Flickeringmyth
Anghus Houvouras on how Marvel and DC fan the flames to sell comics…

The classic age of comics were called ‘The Golden Age’. Pretty much from the moment Superman showed up hurling an Edsel at criminals. The Silver Age was ushered in when DC created a brand new Flash passing the mantle to Barry Allen. Classic characters were being reformatted for more modern times. The Bronze Age was when the medium matured and stakes were raised for our heroes. Speedy was a drug addict. Tony Stark was a drunk. Spider-Man didn’t save the day and poor Gwen Stacy paid the price. The Modern Age was signified by Watchmen and The Dark Knight Returns; stories that brought a darker, grittier type of hero to the medium. A trend that has continued very much to this new day.

However, I think the modern age has ended, and a new era has begun.
See full article at Flickeringmyth »

Microwave Massacre

'Worst Movie Ever?'   No way. But neither is Wayne Berwick and comic Jackie Vernon's tacky cannibalism tale a piece of art. When I say it's interesting, it's more as a study item than entertainment. Bad movie -- but a terrific restoration! Microwave Massacre Blu-ray + DVD Arrow Video 1983 / Color / 1:85 widescreen / 76 min. / Street Date August 16, 2016 / 34.95 Starring Jackie Vernon, Loren Schein, Al Troupe, Claire Ginsberg, Maria Simon, Lou Ann Webber, Anna Marlowe. Cinematography Karen Grossman Makeup Effects Robert A. Burns Original Music Leif Horvath Editor Steve Nielson Written by Thomas Singer, Craig Muckler Produced by Craig Muckler, Thomas Singer Directed by Wayne Berwick

Reviewed by Glenn Erickson

"Well, the only problem is, I can't make love to a woman, unless I eat her." Just as there are celebrities famous simply for being famous, there are movies that are famous for being bad. Last March I took the curiosity plunge and reviewed the notorious Manos,
See full article at Trailers from Hell »

Miss California Reveals She Was 'Endlessly' Body Shamed and Became Anorexic

  • PEOPLE.com
Miss California Reveals She Was 'Endlessly' Body Shamed and Became Anorexic
Nadia Grace Mejia confidently strutted across the stage in a colorful two-piece bathing suit at the Miss USA pageant Sunday, landing her a spot in the competition's final five. However, Miss California didn't always feel so comfortable in her skin. The 20-year-old daughter of '90s one-hit-wonder rapper Rico Suave and a former beauty queen revealed during her interview package that she once suffered from anorexia. In a blog post from earlier this year on Not So Private Parts, Mejia talks about just how severe her eating disorder got due to the pressues of working as a model in Los Angeles.
See full article at PEOPLE.com »

Miss California Reveals She Was 'Endlessly' Body Shamed and Became Anorexic

  • PEOPLE.com
Miss California Reveals She Was 'Endlessly' Body Shamed and Became Anorexic
Nadia Grace Mejia confidently strutted across the stage in a colorful two-piece bathing suit at the Miss USA pageant Sunday, landing her a spot in the competition's final five. However, Miss California didn't always feel so comfortable in her skin. The 20-year-old daughter of '90s one-hit-wonder rapper Rico Suave and a former beauty queen revealed during her interview package that she once suffered from anorexia. In a blog post from earlier this year on Not So Private Parts, Mejia talks about just how severe her eating disorder got due to the pressues of working as a model in Los Angeles.
See full article at PEOPLE.com »

Movies & TV Shows Leaving Netflix: June 2016

  • Moviefone
No big plans for Memorial Day? Then get busy watching these Netflix titles before they vanish in June. Among the great films leaving Netflix streaming are Disney '90s classics "Mulan," "The Hunchback of Notre Dame" and "Hercules" (don't worry, you'll see more from Disney on Netflix Very Soon).

And say goodbye to comedies "About a Boy," "Bridget Jones's Diary," "Wayne's World," and "Groundhog Day."

Also leaving: Harrison Ford as Jack Ryan in "Clear and Present Danger," horror film "The Others," the Robert Rodriguez "aliens take over a high school" flick "The Faculty," and tearjerker "Ghost."

Here's the complete list of titles leaving Netflix in June 2016. As always, all titles and dates are subject to change.

Leaving June 1

"A Wrinkle in Time" (2003)

"About a Boy" (2002)

"Bounce" (2000)

"Bridget Jones's Diary" (2001)

"The Chronicles of Riddick: Dark Fury" (2004)

"Clear and Present Danger" (1994)

"Click" (2006)

"Darkman" (1990)

"Disney Animation Collection: Vol. 5: Wind in the Willows

"Dude,
See full article at Moviefone »

Last Call! All the Movies Leaving Netflix in June

  • BuzzSugar
Hopefully you got a chance to watch the movies that left Netflix in May, because now there's a whole new crop leaving the streaming service. Great movies like The Sisterhood of the Traveling Pants and Bridget Jones's Diary are disappearing, along with several TV seasons. Don't be the one who logs onto your account next month all ready to finally watch Wayne's World and find that it's gone! Take a look, and make sure you catch all the new movies hitting Netflix in June, as well. Expiring June 1 A Wrinkle in Time About a Boy Bounce Bridget Jones's Diary The Chronicles of Riddick: Dark Fury Clear and Present Danger Click Darkman Disney Animation Collection: Vol. 5: Wind in the Willows Dude, Where's My Car? Duplex Elias: Rescue Team Adventures, season one The Faculty Far from Home: The Adventures of Yellow Dog Ghost Groundhog Day Hamlet Hercules In the Bedroom Jersey
See full article at BuzzSugar »

Watch David Letterman's Rejected Airplane! Audition

  • MovieWeb
Watch David Letterman's Rejected Airplane! Audition
Before launching his late-night legacy in the 1980s, David Letterman had a few forays into the acting world, appearing in an episode of Mork & Mindy, The Mary Tyler Moore Show and a few other programs in the late 1970s and the early 1980s. As it turns out, though, the actor/comedian actually auditioned for a role that may have changed his career. The iconic 1980 comedy Airplane!. Through the magic of the internet, the video of his screen test for the Ted Striker role has surfaced, which is well worth watching.

The video surfaced on YouTube last week, and is actually taken from a 1982 episode of Late Night with David Letterman, the first year of this landmark NBC program, where the host welcomed Airplane! writer-directors Jim Abrahams, David Zucker and Jerry Zucker as guests. During the episode, the filmmakers showed the audience David Letterman's 1979 screen test for Ted Striker, a
See full article at MovieWeb »

A Prog-Rock Bonanza: Anthony Phillips Reissued

Anthony Phillips The Geese and the Ghost Wise After the Event Sides Private Parts & Pieces I-iv Harvest of the Heart (Esoteric/Cherry Red)   Anthony "Ant" Phillips, an original member of Genesis, left after their second album (Trespass, 1970) because of stage fright -- an especially problematic situation, one supposes, for the lead guitarist. He spent the ensuing years studying music at the Guildhall School of Music and Drama (which is to say classical music), along with occasionally recording demos of new material at home. It would be seven years before his first solo album would appear, but after that he would be fairly prolific. Though he never achieved mainstream success -- which sadly makes sense given that this progressive rock legend didn't issue anything in 1971-76, the peak prog years -- aficionados of the style have long admired his work. Cherry Red's Esoteric imprint is now in its third year of
See full article at CultureCatch »

Frank Sinatra Jr.'s Kidnapper Revealed Chilling Details to People in 1998: 'I Can See Junior Looking at the Bullets'

  • PEOPLE.com
Frank Sinatra Jr.'s Kidnapper Revealed Chilling Details to People in 1998: 'I Can See Junior Looking at the Bullets'
[Brightcove "4804745844001" "" "" "auto"] Frank Sinatra Jr. - the son of late icon Frank Sinatra - died at the age of 72 on Wednesday. After following in his father's footsteps as a singer, Frank Jr. became a kidnapping victim in 1963. Barry Keenan, who had a connection to the Sinatra family, demanded a ransom for the legend's only son. Speaking to People in 1998, Keenan recalled the kidnapping and claimed to run into Frank Jr. at cocktail parties years later. Read People's original story here:He was in a haze then, flying to the moon on booze and Percodan, but Barry Keenan recalls indelibly the night of Dec.
See full article at PEOPLE.com »
loading
An error has occured. Please try again.

See also

Showtimes | External Sites