Vegas Vacation (1997) - News Poster

News

The Most Famous Las Vegas Casinos Used In The Movies

Las Vegas is a wonderful town. Positioned in the middle of the desert and often known simply as ‘Vegas’, the town boasts to be the ‘entertainment capital of the world’, and if you’ve ever visited, you can see why. The sprawling strip is home to many of the city’s most famous casinos and hotels, and vary from very small to absolutely huge – the MGM Grand boasts 5,124 rooms alone, and is one the biggest hotels in the world.

Vegas has been thriving for many years now, the city bringing in an estimated 40 million visitors every year, something which makes the town the economic life-blood of the state of Nevada, where it lies. Of course there are many ways to gamble online now, and a lot of the sites offer an exclusive casino bonus just to sign up, but Vegas is also home to many concerts, theatre shows and spectacles
See full article at The Hollywood News »

Inside Channing and Jenna Dewan Tatum’s $5 Million Las Vegas Airbnb

Inside Channing and Jenna Dewan Tatum’s $5 Million Las Vegas Airbnb
Channing Tatum and his family are the new Vegas Vacation!

The actor, 36, his wife Jenna Dewan Tatum, 36, and their daughter, Everly, recently took a trip to Sin City for Tatum’s latest role — producing the Magic Mike Live show on the Las Vegas strip.

During their visit to the Nevada hotspot, the Tatums crashed at this $5 million Spanish-style estate, courtesy of Airbnb. There was plenty of room for the young family, as the plush pad can accommodate over sixteen people in its 7-bedroom, 8-bath layout.

Related: Aaron Paul Surprised His Wife with a Trip to Thailand — See Inside the Amazing
See full article at PEOPLE.com »

Inside Kym Johnson and Robert Herjavec's First Vegas Vacation as Newlyweds

  • PEOPLE.com
Kym Johnson and Robert Herjavec were dancing on air - and on stage - during their first Las Vegas vacation as a married couple. The former Dancing with the Stars pro dancer and her Shark Tank star husband headed to Sin City over Labor Day weekend and took in a show at the Venetian. Johnson, 40, and Herjavec, 53, stopped by Human Nature: Jukebox - which stars Australia's top-selling pop vocal group - but didn't just enjoy the show from the audience.The newlyweds were brought on stage for the "Dancing with Human Nature" section of the show where they performed
See full article at PEOPLE.com »

Warner Bros, and its disastrous movie summer of 1997

facebook

twitter

google+

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...

Follow our Twitter feed for faster news and bad jokes right here. And be our Facebook chum here.

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 »

'Sharknado 4' trailer: Ian Ziering attacks shark with his crotch

  • Hitfix
'Sharknado 4' trailer: Ian Ziering attacks shark with his crotch
There’s at least one truism when it comes to film franchises: at some point, some part of your sequel will have to take place in Las Vegas. Don’t believe me? Well there’s Godfather II, Rush Hour 2, Vegas Vacation, Think Like a Man Too, Leprechaun 3 and the list goes on. The latest to follow this rule is Sharknado 4. And now we’re getting a look as to what happens when flying sharks attack Sin City. SyFy has released its first trailer for the made-for-tv movie. It’s exactly what you’d expect, assuming you’d expect Ian Ziering doing a pelvic thrust to the nose of a shark. If you didn’t expect that, perhaps I’ve spoiled that surprise. Sorry about that. Sharknado 4: The 4th Awakens features Ziering, Tara Reid and a bevy of D-listers and people you’d completely forgotten about. But this
See full article at Hitfix »

Vacation review: National Lampoon's Hangovered reboot is funny even if Chevy Chase isn't

Vacation review: National Lampoon's Hangovered reboot is funny even if Chevy Chase isn't
Directors: John Francis Daley, Jonathan M Goldstein; Screenwriters: John Francis Daley, Jonathan M Goldstein; Starring: Ed Helms, Christina Applegate, Chris Hemsworth, Leslie Mann, Chevy Chase; Running time: 99 mins; Certificate: 15

As entirely unnecessary reboots go, Vacation isn't half bad. When held up to the ridiculously harsh ratings coming out of the Us for this Chevy Chase vehicle Mot, it seems positively good. But then it's probably worth remembering that the 1983 original wasn't overly well received either. Fart gags, it seems, are never in fashion.

And as you'd expect from a film starring Ed Helms, it's been Hangovered for a new generation by writer/directors John Francis Daley and Jonathan M Goldstein - one in-gag has his kids slyly, but quite understandably, saying they've never heard of the original - with the shit and puke dial turned right up. Yet there are still enough genuine laughs throughout to make it a worthwhile
See full article at Digital Spy - Movie News »

Vacation: The Evolving Faces Of Audrey Griswold

This week, the Vacation movie hits UK cinemas with Leslie Mann in the role of an all grown up Audrey Griswold. It’s a role which will have been played by no less than five actresses (of differing ages) across six movies over the years, and because we’re a sucker for all things Vacation, we thought we’d bring you up to speed on who has played the only daughter of Clark and Ellen Griswold in these fabulous motion pictures, before revealing the identity of a 40-plus-year-old Audrey, who has apparently just been cast earlier on today.

Fyi, Vacation (2015), stars Ed Helms as Rusty Griswold, Christina Applegate, a returning Chevy Chase and Beverly D’Angelo (Yes!), Chris Hemsworth (who will play Stone, the husband to Audrey) and Charlie Day.

The film opens on Friday 21st August.

Let’s have them Audreys.

Dana Barron (below, right) – Vacation (1983)

Dana Hill (below,
See full article at The Hollywood News »

The Most Overprotective Dads in Film

  • HeyUGuys
Next Monday sees the UK home entertainment release of Paul Blart: Mall Cop 2. This time around, Paul Blart heads on a Vegas vacation, with his teenage daughter in tow. Blart is hoping to spend some time with his little princess before she goes away to college, but his mall cop instincts kick in, and

The post The Most Overprotective Dads in Film appeared first on HeyUGuys.
See full article at HeyUGuys »

Teen Wolf season 5 episode 8 review: Ouroboros

Teen Wolf's central group is slowly but surely fracturing in season 5, making for great drama alongside all the gore...

This review contains spoilers.

5.8 Ouroboros

Teen Wolf continues to double down on the two advantages it has over other shows of its ilk on television: a large cast that is actively developing chemistry, and a willingness to slaughter extras by the dozens in the name of body horror and gore. Teen Wolf makes great use of both things this week, splitting the team up on various missions while highlighting the growing fractures in the group. Some want to go on a brave rescue mission, others opt for protecting the weak, and still others are actively working to take the fractured group and shatter it completely. There's a lot going on and the conflict grows with every passing moment. All the while, people die horribly.

The titular teen wolves are pulled
See full article at Den of Geek »

How Ed Helms Will Feel If He's Replaced For The Next Vacation Movie

Tradition dictates that Ed Helms be recast as Rusty Griswold should Warner Bros. move ahead with another Vacation movie. The charcter was played by Anthony Michael Hall in National Lampoon’s Vacation, Jason Lively in European Vacation, Johnny Galecki in Christmas Vacation, and Ethan Embry in Vegas Vacation. There was even a Vacation short film called Hotel Hell that featured Travis Greer as Clark’s son. If this does in deed happen, however, Helms wouldn’t be too happy. Yahoo Movies caught up with the actor while he was out promoting the latest Vacation to ask him some questions posed by fans on social media. One Twitter user, Kevin Crossman, asked Helms if he’d be sad for any potential recasting. Helms replied: If there’s another Vacation movie and there’s another Rusty, I will understand… ...
See full article at Cinema Blend »

Vacation Review

Vacation – another discombobulated assortment of immaturity, nostalgic pandering and weightless storytelling. The slow death of mainstream comedy, if you will. Every stupid graffitied phallus and perverse lake of shit is calculated with the cheapest of intentions, because juvenile potty humor seems to have become an underwhelming norm across comedy’s repetitive landscape. John Francis Daley and Jonathan M. Goldstein promise early on that their unwarranted reboot will stand completely on its own (through yet Another meta-laced conversation), but their efforts are less convincing than Randy Quaid’s fake sex tape. Why? Because No Vacation movie has treated its audience with this little respect. And Vegas Vacation is nothing to brag about, I might add.

In this year’s vacation-from-hell comedy, Rusty Griswold has transformed from a tall, lanky nutcase (played most recently by Ethan Embry) to his All-American-Joe fate as an economy airline pilot (played now by Ed Helms
See full article at We Got This Covered »

A ‘Vacation’ in Hell

Vacation

Written & Directed by Jonathan M. Goldstein & John Francis Daley

USA, 2015

It’s taken almost seven months, but one movie has finally emerged from the dreary pack as the worst of 2015. That film is Vacation, and it’s absolutely dreadful. Writer-directors Jonathan M. Goldstein and John Francis Daley have created something so loathsome that each ticket sold should include a complementary shower. Desperate, hateful, and stridently unfunny, this vacation in Hell bypasses ‘lowest common denominator’ and plummets straight to zero. If you miss one movie this summer, make that movie Vacation.

The original National Lampoon’s Vacation and subsequent ‘80s sequels (let’s just forget Vegas Vacation, shall we?) perfectly straddled the fine line between buffoonery and sincerity. We followed the hapless exploits of super-father Clark Griswold in his unending quest to achieve familial perfection. We cringed at his failures and rejoiced with each fleeting victory. He was the satirical
See full article at SoundOnSight »

Review: 'Vacation' runs out of gas long before it reaches its destination

  • Hitfix
Review: 'Vacation' runs out of gas long before it reaches its destination
1983's "National Lampoon's Vacation" is a film I have an enormous fondness for, and I have no doubt part of why I feel that way is because of when I saw the film. After all, I was 13 when it came out, and the script by John Hughes felt like it was shockingly transgressive at the time. A few weeks back, I saw the film again for the first time in a while, and while I smiled at most of the familiar scenes and lines, I also saw the film with fresh eyes, and I was struck by the fact that, overall, it's a little shabby. I think Harold Ramis gets great performances out of his entire cast, but as actual filmmaking? It's a step forward from the "held together with bitter tears and cocaine" aesthetic of "Caddyshack," but not a giant step. As an overall series, this is about as
See full article at Hitfix »

Vacation review

The big screen reboot of National Lampoon's Vacation hits the mark. It's one of the funniest films of the summer...

There’s a sequence near the start of Vacation, the seventh sequel to 1983 comedy National Lampoon’s Vacation – the first since Vegas Vacation in 1997­­ - where Rusty Griswold (Ed Helms) makes a speech to his wife (Christina Applegate) about their planned family getaway being able to stand on its own against that of his own family’s adventures back in the 80s.

As you can imagine the scene, and the film, has no qualms about talking to its audience in this indirect but direct way, telling the viewer who remains sceptical about a modern-day interpretation of the concept that this will be its own thing. Yes, there’s a family, and they too are heading to Walley World in search of unity and reconnection, but rest assured that things will be different.
See full article at Den of Geek »

Vacation Red Band trailer: The Griswolds go to Walley World

Next week, North America territories will get the first Griswolds movie since the absolutely terrible Vegas Vacation in 1997. Vacation sees the series get a much deserved reboot with Ed Helms taking the reigns as patriarch Rusty Griswold. The Warner Bros. movie has just got itself a new red band trailer. Christina Applegate, Chris Hemsworth, Leslie Mann, Beverly D’Angelo and the legendary Chevy Chase co-star.

Vacation red band trailer

Here’s the synopsis:

Following in his father’s footsteps and hoping for some much-needed family bonding, a grown-up Rusty Griswold (Helms) surprises his wife, Debbie (Applegate), and their two sons with a cross-country trip back to America’s “favourite family fun park,” Walley World.

As we said, the film arrives in Us cinemas on July 29th, and in the UK a little later on August 15th.

Check out the new Vacation red band trailer below.

Rounding out the cast are
See full article at The Hollywood News »

Listen to Jerry Weintraub’s Final Public Speech at HBO Premiere of ‘The Brink’ (Audio)

Listen to Jerry Weintraub’s Final Public Speech at HBO Premiere of ‘The Brink’ (Audio)
Jerry Weintraub made his last Hollywood industry-related public appearance at HBO’s premiere of the Jack Black and Tim Robbins comedy “The Brink” on the Paramount Studios lot on June 8, 2015. Weintraub died in Santa Barbara of heart failure on Monday, July 6. He was 77. At that premiere, the super-producer behind classics like “The Karate Kid,” “Vegas Vacation,” and “The Oceans Eleven,” who also worked with musicians like Elvis Presley, Frank Sinatra, and John Denver, cracked a joke about his own mortality and long career. “I only have one favor to ask HBO,” Weintraub said before HBO’s familiar static logo credit rolled at the premiere that.
See full article at The Wrap »

Hollywood Producer Jerry Weintraub Has Passed Away at Age 77

There are only a handful of movie producers that have ever come to be known by name in the general public, perhaps Jerry Bruckheimer, Avi Arad, Albert Broccoli or Saul Zaentz. One of those iconic producers is Jerry Weintraub, who produced a number of Hollywood features including the original The Karate Kid trilogy, the new Ocean's Eleven trilogy with an amazing ensemble cast, the comedy Oh, God!, the comedy Vegas Vacation, Soldier, the new Nancy Drew, Barry Levinson's Diner. Mr. Weintraub passed away from a heart attack on Monday, July 6th at the age of 77 at his home in Palm Springs, reported via Deadline. He was producing David Yates' Tarzan and was also an executive producer on HBO's new comedy The Brink. Early on in his entertainment management career in The Bronx, a young Jerry Weintraub decided to start his own company and worked with the likes of musicians Joey Bishop,
See full article at FirstShowing.net »

Jerry Weintraub Appreciation: A Hollywood Mogul Straight Out of Central Casting

Jerry Weintraub Appreciation: A Hollywood Mogul Straight Out of Central Casting
Even if you discount the movies he made and the artists he managed and the tours he promoted and all the rest, you have to give Jerry Weintraub this: He looked, talked and acted just like a Hollywood mogul was supposed to look, talk and act. Weintraub, who died at the age of 77 on Monday, played that part on screen a few times, both in the “Ocean’s Eleven” movies he produced and in “National Lampoon’s Vegas Vacation,” where he played the fast-talking, high-rolling, smooth-operating “Jilly From Philly” with such ease that you figured he was really just playing Jerry.
See full article at The Wrap »

Ocean's Eleven and The Karate Kid producer Jerry Weintraub dies, aged 77

Ocean's Eleven and The Karate Kid producer Jerry Weintraub dies, aged 77
Ocean's Eleven and The Karate Kid producer Jerry Weintraub has died at the age of 77.

Weintraub passed away in California earlier today (July 6) after a lengthy period of ill health, according to widespread reports.

In a career that stretched back to the 1960s, Weintraub was both a film producer and a music promoter for the likes of Led Zeppelin, Elvis Presley, Neil Diamond and Frank Sinatra.

Among the major films that he produced were Academy Award-winning musical drama Nashville, writer-director Barry Levinson's Diner and National Lampoon's Vegas Vacation.

The producer – who was married to singer-actress Jane Morgan - was at one time the chairman of film studio United Artists, and also headed up the Weintraub Entertainment Group in the 1980s.

Weintraub's most recent accolade was an Emmy Award for the HBO television movie Behind the Candelabra.

He produced the first season of the premium channel's political comedy The Brink.
See full article at Digital Spy - Movie News »

Rip Producer Jerry Weintraub: He Navigated Hollywood 'His Way'

Rip Producer Jerry Weintraub: He Navigated Hollywood 'His Way'
"Oceans Eleven" producer and one-time United Artists chairman Jerry Weintraub died on Monday at his home in Palm Springs. He was 77. His film credits include “The Karate Kid,” “Nashville” and “National Lampoon’s Vegas Vacation.” He won Emmys for 2014 climate change documentary “Years of Living Dangerously” and Steven Soderbergh's HBO Liberace biopic, “Behind The Candelabra.” Weintraub was one of those larger-than-life Hollywood figures who helped to define the image of what a movie producer is. Well into his 70s he was enjoying a resurgence that began with Steven Soderbergh's "Oceans Eleven" series and continued with his bestselling autobiography "When I Stop Talking, You'll Know I'm Dead" and the entertaining 2011 Doug McGrath HBO doc "His Way." "I'm an event guy," Weintraub told me on the phone from his desert hideaway. "Billy Friedkin used to call me 'Presents.' I'm not afraid to roll up my sleeves and...
See full article at Thompson on Hollywood »
loading
An error has occured. Please try again.

See also

Showtimes | External Sites