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The War of the Worlds (Variant)
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Each year, the All American High School Film Festival selects the best short films from student filmmakers across the country and showcases them for attendees at its annual, New York City-based festival. Moviefone is proud to call itself a partner of the festival, and this year, "The Exes" star David Alan Basche will be a judge and a presenter.
Basche has an extensive career in film, appearing most notably in "War of the Worlds" (2005) and "United 93" (2006). Today, however, the actor stars on the TV Land series "The Exes," a comedy about a group of divorced friends who try to get back to the single life. With a career that spans both TV and film, Basche was the perfect person to give us 5 awesome movies with sitcom stars.
Check out the five picks below, complete with Basche's commentary!
From October 24 - 26, the 2014 All American High School Film Festival will celebrate »
- Moviefone Staff
You can blame the huge success of Fargo for this. Hollywood, even before that, had been moving more and more to exploiting movie properties on the small screen. But since Fargo married up critical acclaim to a good audience? All bets are off.
Here are 23 - count 'em! - currently in differing stages of production...
The film: Earning Tom Hanks his first Oscar nomination, the beloved 1988 comedy drama Big saw him as Josh Baskin who, courtesy of a Zoltar machine, turns into an adult. Romance, work, and playing on a big piano follow.
Ty Simpkins, at the young age of 13, is in high demand for two of Hollywood’s biggest film franchises.
Simpkins starred in Iron Man 3 alongside Robert Downey Jr. as Harley Keener, a character that’s more or less a younger version of Tony Stark. Marvel has locked Simpkins into a deal in which they have priority for three sequels in the franchise.
For Jurassic World, which is currently in postproduction, Ty was tapped to play Gray. For the part, the established young actor earned a $200,000 base salary and stands to make another $125,000 if the film does well at the box office, reported TMZ. Furthermore, Simpkins will be paid a $400,000 base for a sequel and double that for a third Jurassic film – if filming doesn't conflict with Iron Man.
Born in Memphis, raised in Mississippi, four years in the Air Force, acted off- and then on-Broadway, spent the '70s on The Electric Company, spent the early '80s on Another World, earned one Oscar nomination as the street smart one in Street Smart, earned another Oscar nomination as the one who wasn't Miss Daisy in Driving Miss Daisy, stole Robin Hood from Kevin Costner, almost stole Unforgiven from Clint Eastwood: This is what Morgan Freeman did for his first 57 years on this planet. Technically. But even if you know that Freeman had been a working actor for close to three decades beforehand, »
- Darren Franich
The slippery, multi-tentacled creatures seen in Gareth Edwards’ “Monsters” have adapted to Earth’s harshest environments, migrating from their Central American infected zone to other parts of the planet in “Monsters: Dark Continent.” Not so much a sequel as another stultifying character drama set in a world overrun by aliens, this 10-years-later spinoff switches directors and genres, as first-timer Tom Green (building on experience from British TV’s “Misfits” and “Blackout”) helms a taxingly over-earnest war movie set in an unspecified Middle Eastern country, where American soldiers deal with insurgents while the menacing MTRs (as they’re now called) lumber about in the background.
Though the human characters from “Monsters” are long gone and only a modified version of the creatures remain, Green’s film should benefit from brand recognition worldwide, sparking international sales and audience curiosity for a film that otherwise wouldn’t much interest moviegoers. Genre shingle Vertigo »
- Peter Debruge
Q. What do Lincoln, E.T., The Color Purple, War of the Worlds, Jurassic Park, 12 Years a Slave, Eat Pray Love, A Mighty Heart, World War Z, Jane Eyre, Saving Mr. Banks, Proof, Elizabeth, The Master, American Hustle, Zero Dark Thirty, Her, The Dark Knight, Man of Steel, Inception, Hustle & Flow, The Hunger Games, Monsters, Inc., A Bug's Life, and Toy Story 3 have in common? A. They were all produced by women. Look around. Female producers are everywhere: Shepherding the new Star Wars trilogy. Bringing the latest Hunger Games to theaters. And in February, when Oscar night rolls around, 11 women »
- Nicole Sperling
Cinematographer Janusz Kaminski works on about one film per year and has collaborated with Steven Spielberg on over a dozen films, including "Schindler's List," "War of the Worlds," "Munich," "Indiana Jones and the Kingdom of the Crystal Skull," and "Lincoln." He recently completed work on Robert Downey Jr's "The Judge" and is already planning something for 2015. In an interview with Variety, he revealed that his next movie will be a re-teaming with Spielberg for "Indiana Jones 5." We've heard of lots of hints that "Indiana Jones 5" is moving forward, but mostly from crew members and leaked schedules. But now that Kaminski has confirmed the project, it's only a matter of time before filming begins. »
The folks over at /Film have discovered an interesting new piece of the Indiana Jones 5 puzzle, that points back to cinematographer Janusz Kaminski, who’s worked with Steven Spielberg on a handful of films including Indiana Jones and the Kingdom of the Crystal Skull, Schindler’s List, War of the Worlds, Catch Me If You Can, Minority Report and Saving Private Ryan among others.
Variety first posted an article titled Top Cinematographers Offer Online Course on Filmmaking, that concluded this little nugget of info about Kaminski…
“Since then, Kaminski has made more than a dozen films with Steven Spielberg, earning two Oscars along the way. His credits include Schindler’s List, Saving Private Ryan, and The Diving Bell & the Butterfly. His next project is the upcoming fifth Indiana Jones movie.”
While a paragraph from an article completely unrelated to the news item itself isn’t exactly the most credible of sources, »
- James Garcia
As something of a connoisseur of horror films I’ve seen many, many of them over the years. Some have been good, some great, some downright terrible and then there are those that just defy definition. They’re so bad that they’re good, and there are few finer examples of these kinds of movies than 1988’s Killer Klowns From Outer Space.
The title alone should let you know what you’re in for, and it doesn’t disappoint, delivering exactly what it says on the tin. The plot, such as it is, has a race of aliens that happen to resemble the titular funny folk touching down in the sleepy town of Crescent Cove and proceeding to kill the townsfolk. Why here? We’re not really sure, but it’s suggested that they’ve made the equivalent of a pit stop at an intergalactic fast food joint for a »
A few months after Universal announced a restructure of its international operations that intended to see a then-unnamed head of international theatrical operations located in Los Angeles, the studio has decided to keep the point person for overseas in London. Duncan Clark, who has been President of Distribution for Universal Pictures International since June 2011, will expand his role to lead the international team from his current perch in the British capital.
The announcement regarding Clark, who was named International Distributor of the Year at CineEurope in June, was made at an internal worldwide summit of Universal marketing and distribution execs in L.A. this morning (read the memo below). The move follows closely on the heels of Friday’s appointment of Universal Evp Worldwide Acquisitions Peter Kujawski to the newly created position of Director of Universal Pictures International Productions. It also follows Josh Goldstine’s May promotion to President of Worldwide Marketing. »
- Nancy Tartaglione
The studio leadership has abandoned its search for an executive to fill the void left by David Kosse and slotted London-based Duncan Clark into a jigsaw of executives who will fufil operational oversight.
Clark, the president of distribution at Universal Pictures International, will keep his job title and oversee theatrical operations from his base in London.
His expanded remit rounds out a core of three executives who will perform distribution, marketing and production roles that previously fell under Kosse’s purview.
Clark, described by chairman of Universal Filmed Entertainment Jeff Shell and chairman of Universal Pictures Donna Langley in an internal memo to staff as “a key contributor and strategist who provides enormous value to our company”, took on his title in June 2011.
Reporting to Shell, he will work closely with Peter Kujawski, the freshly minted managing director of Universal Pictures International Productions, and recently promoted president of worldwide marketing Josh Goldstine.
Shell and Langley »
- firstname.lastname@example.org (Jeremy Kay)
“When television is good, nothing – not the theater, not the magazines or newspapers – nothing is better. But when television is bad, nothing is worse. I invite each of you to sit down in front of your own television set when your station goes on the air and stay there, for a day, without a book, without a magazine, without a newspaper, without a profit and loss sheet or a rating book to distract you. Keep your eyes glued to that set until the station signs off. I can assure you that what you will observe is a vast wasteland. You will see a procession of game shows, formula comedies about totally unbelievable families, blood and thunder, mayhem, violence, sadism, murder, western bad men, western good men, private eyes, gangsters, more violence, and cartoons. And endlessly commercials – many screaming, cajoling, and offending. And most of all, boredom. True, you’ll see »
- Mindy Newell
Wild’s End #1
Written by Dan Abnett
Art by I.N.J Culbard
Publisher: Boom! Studios
Boom! Studios describes Wilds End as something fans of Edgar Wright’s Cornetto Trilogy (Shaun of the Dead, Hot Fuzz, The World’s End) will love. Seeing as this is only the first issue, it is too early to tell, but apart from some cursory similarities, the two don’t have much in common yet. But there is something uniquely interesting about Wild’s End; Its debut issue this week follows a rural English community of the 1930s populated by anamorphic villagers, whose quiet village is upset when menacing mechanical aliens descend. Inspired by the sci-fi aesthetic of War of the Worlds and the anthropomorphic characters of Blacksad and Mouse Guard, Wilds End is a restrained but magnificent treat. This odd blend of styles and genres is brought to you by Dan Abnett and I. »
The September 11 attacks, which took the lives of 2,977 innocent people, are the defining moment of the 21st Century thus far. The world was irreversibly changed and although over a decade has passed, the attack still cuts deep.
The tragedy had a big effect on popular culture. Suddenly wide-spread terror wasn’t an abstract concept. The mass-monument destruction of Independence Day only a few years before wasn’t the realm of sci-fi and movies increasingly found themselves skewing close to reality, with War Of The Worlds and Cloverfield being two noteworthy examples of films that utilised visual elements from the tragedy to create a sense of realism.
On top of providing some new cinematic language, the events of September 11, 2001 themselves have been prominent in the medium over the past thirteen years. Whether they’re representing the day’s events, delving into the politics of what happened »
- Alex Leadbeater
<< Continued from "Grading Mojo's Summer 2014 Forecast"NeighborsForecast: $140 millionActual: $150.1 millionDifference: 7.2%Grade: ANeighbors always seemed well-positioned to be a comedy hit: the concept was relatable and easily explainable, the previews were laugh-out-loud funny, and early reactions were very positive. Still, to out-gross fellow Seth Rogen comedy Knocked Up ($148 million) is pretty impressive.22 Jump StreetForecast: $135 millionActual: $192 million (est.)Difference: 42%Grade: FIt was clear that 21 Jump Street movie was very well-liked, and that the sequel's previews delivered the laughs. We incorrectly assumed, though, that a more competitive Summer schedule would keep 22 Jump Street on roughly the same level as its predecessor. Instead, it wound up dramatically exceeding the forecast on its way to becoming the highest-grossing live-action comedy of the year so far.Teenage Mutant Ninja TurtlesForecast: $130 millionActual: $190 million (est.)Difference: 46%Grade: FAt the time these predictions were made, there was only a brief teaser trailer available for Teenage Mutant Ninja Turtles that focused »
- Ray Subers <email@example.com>
Summer movie season is a magic time of year when Hollywood traditionally rolls out its most appealing merchandise. It’s true that some summer movie seasons are better than others. This is our ranking of all the summer movie seasons since 1980 from worst to best.
On January 20th, 1975, Steven Spielberg and Universal Studios released Jaws. The movie landscape would be forever changed from that date. Jaws is widely credited as being the first blockbuster film because it was the first movie to make over $100 million (non-adjusted). The fact that the film had a meager $8 million budget meant that it was a huge cash cow for the studio and rocketed Spielberg to the the forefront of a new generation of filmmakers for a new era of movie mass-consumption. George Lucas and Spielberg followed up in 1977 with Star Wars, which became a sensational and very profitable hit. It helped to convince production »
- firstname.lastname@example.org (G.S. Perno)
Doug Liman's Edge of Tomorrow was probably one of the biggest surprises of the summer. The critically acclaimed film was based on the Japanese novel All You Need Is Kill and starred superstar Tom Cruise as Lt. Col. William Cage & the very talented Emily Blunt as the Full Metal Bitch, Rita Vrataski. It may have taken a while, but this past Labor Day weekend has helped the film cross the $100M domestic mark, making this Tom Cruise's first non-Mission: Impossible film to cross $100M domestic in nine years, since War of the Worlds (not counting Tropic Thunder). The film stumbled at its opening, grossing $28.7M, and was quickly written off by many as a box office bomb. However, thanks to Cruise's international appeal and good word of mouth, it managed to show its worth throughout the summer and became a sleeper hit, grossing over $364M worldwide, making »
The critics really liked it, international audiences checked it out, but in the United States it seemed no-one was catching the Tom Cruise-led "Edge Of Tomorrow" in cinemas and many wrote it off as a flop on launch.
Yet, rather sneakily, the film has stuck around and this week officially crawled past the $100 million mark at the U.S. domestic box-office. That is significant as according to Box Office Guru, this marks the first Cruise-led film outside the "Mission: Impossible" franchise to have done so since 2005's "War of the Worlds".
Yes, 'Edge' has outpaced "Jack Reacher" ($80M) "Knight and Day" ($76M), "Oblivion" ($89M), "Rock of Ages" ($38M), "Valkyrie" ($83M) and "Lions for Lambs" ($15M) domestically. "Tropic Thunder" ($110M) did pass the mark, but Cruise was not the lead in that and it wasn't marketed on his involvement.
Considering 'Edge' opened to around $28 million, it has made three-and-a-half times »
- Garth Franklin
Bang Bang Baby, developed by Jeffrey St. Jules in the Cannes Film Festival’s Cinéfondation, is an otherworldly musical about Stepphy (Jane Levy), who is trapped in the sleepy 1960′s town of Lonely Arms taking care of her alcoholic father (Peter Stormare). Stepphy dreams of escaping to a better life on the stage and screen, and when rock star Bobby Shore’s (Justin Chatwin) car breaks down in Lonely Arms, it seems her impossible dream might actually be coming true. But when Fabian (David Reale), the town creep, tells Stepphy that the local chemical factory is leaking dangerous purple fumes that can cause human mutations, Stepphy becomes obsessed with hiding these dark secrets from Bobby until they can escape together and make all of her fantasies a reality.
- Tom Stockman
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