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Chicago – Thomas Haden Church has the recognizable name, and a long career of character roles in comedy and drama. His laid-back persona gets a bit more intense as a conflicted father in the new film “Max,” about a military dog who comes home to an uncertain future with a grieving family.
What may look like a standard family film is actually an exploration of the mourning and the healing process, and the waste of war. Church is Ray Wincott, an early 1990s “Desert Storm” veteran, who sees his son Kyle (Robbie Arnell) follow in his Marine Corp footsteps to the Afghanistan conflict. One of the Kyle’s duties is to care for Max, a German Shepard who sniffs out bombs in the region. When Kyle is killed in action, Max is sent back to the Wincott family to get over his companion’s demise, but will only respond to Ray’s other son, »
- firstname.lastname@example.org (Adam Fendelman)
Dads are great. They watch TV with you. They play catch with you. And, most of all, they impart great wisdom and life lessons. This is especially true of movie dads, who always seem to say the perfect things. Let’s look at some things we’ve learned from movie dads. You Gotta Be Brave Matt Damon's “20 seconds” theory in We Bought a Zoo perfectly encapsulates both the difficulty and ease of finding courage, something every kid – and grown-up...
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This week on The Collider Podcast, Adam and I talk about the films of writer-director Cameron Crowe. We go through and discuss the strengths and weaknesses of all of Crowe's features--Say Anything, Singles, Jerry Maguire, Almost Famous, Vanilla Sky, Elizabethtown, We Bought a Zoo, and Aloha--as well as his breakthrough screenwriting work for Fast Times at Ridgemont High. Over the course of our talk, we try to figure out what defines a Cameron Crowe film and why the quality of his work has declined over his past several films. Click here to download the latest episode of The Collider Podcast or listen below; click here for last week’s episode ("Tomorrowland"); and click here to find us on iTunes. And if you like the podcast, please leaves a positive review on iTunes. We’ll think you’re a terrific person! If you don’t like the podcast, feel »
- Matt Goldberg
Writer/director Cameron Crowe was on fire early on in his career, dishing out coming-of-age tales Say Anything and Singles right out the gate. He then dived into major critical success with Jerry Maguire before delivering the fan-favorite Almost Famous, thus cementing himself in the minds of cinephiles everywhere. Many years later came Elizabethtown, then We Bought A Zoo and now we have Aloha. As you can see,... Read More »
- Sean Wist
Everyone complains that Hollywood doesn't make original movies anymore, but when the studios actually do, they don't always know how to sell them. That was the lesson of "Tomorrowland" last weekend, and it's the source of this weekend's cautionary box office tale involving two more original wide-release movies, "San Andreas" and "Aloha."
Neither movie got very good reviews, but "San Andreas" was generally considered a sure thing, while "Aloha" was expected to disappoint. In fact, "San Andreas" opened on top with an estimated $53.0 million, well above the $35-to-$40 million pundits had predicted. Conversely, "Aloha" debuted in sixth place with an estimated $10.0 million, at the bottom end of its meager $10-$13 million expectations.
Though one is a big-budget disaster movie and the other a mid-budget romantic dramedy, the two films had a lot more in common than you might think. And yet, those elements proved an asset to one and a detriment to the other. »
- Gary Susman
Even a starry cast led by Bradley Cooper and Emma Stone, a counter-programming bid against action-heavy “San Andreas,” a romantic Hawaiian setting and a beloved director weren’t enough to keep “Aloha” afloat in its opening weekend.
Sony’s long-awaited Cameron Crowe romantic comedy, which washed ashore laden with a heavy cargo of bad buzz and brutal reviews, landed in sixth place this weekend with $10 million at 2,816 locations in the U.S.
But Sony distribution chief Rory Bruer said the opening was “within the studio’s expectations,” and pointed to the B+ CinemaScore for the Cooper, Stone and Rachel McAdams starrer as indication that the troubled film could hold well in coming weeks.
“We’re proud of the film,” he said Sunday. “Our very talented cast is great and we believe it will leg out nicely. There are so many special moments, so it’s very satisfying for audience members. »
- Dave McNary
[Update] Dwayne 'The Rock' Johnson proved he can open a tentpole film all by his not-so-little lonesome with San Andreas's estimated, beefy $54.6M domestic take. That $14K per theater average, in 3,777 venues, was much better than the predicted $40M for the Warner Bros. disaster flick. 44% of that was attributed to 3D and, with an A- CinemaScore, it looks like the film will have domestic box-office aftershocks for some weeks to come. But the U.S wasn't the only place that the tremors were felt. Overseas, in 60 markets, San Andreas ranked #1 in 55 of those markets, opening with an international cume of $60M (on 14.5k screens) resulting in a worldwide cume of $113.2M.The real winner in this story, however, is Johnson. San Andreas is the best opening for him where he was not part of an ensemble, such as the Fast and Furious or the G.I. Joe flicks. Last year's »
- Keith Simanton <email@example.com>
Warner Bros.’ “San Andreas” is no box office disaster, with the 3D action film drawing $18.2 million on Friday, setting it on track for a projected weekend haul of $47 million at 3,777 locations and smashing past early estimates that put it around the $40 million mark. Cameron Crowe’s “Aloha,” meanwhile, was left in the dust, eyeing a modest $10-11 million weekend after a slow Friday that drew approximately $3.6 million at 2,815 sites.
Critics may not be giving “San Andreas” points for its brains, but the Dwayne Johnson film is certainly demonstrating its brawn — its strong performance is the best of Johnson’s career outside the “Fast & Furious” franchise, handily beating the opening weekend haul for “Hercules” ($29.8 million), “Pain and Gain” ($20.2 million) and “G.I. Joe: Retaliation” ($40.5 million).
- Laura Prudom
Cameron Crowe‘s “Aloha” is expected to get very few greetings from ticket buyers at the box office this weekend, and the already disappointing numbers Sony is expecting may dwindle due to terrible reviews from critics. The Hawaii-set romantic comedy starring Bradley Cooper, Emma Stone, Rachel McAdams and Bill Murray has a mere 15 percent approval rating from 94 reviews counted, so far, on Rotten Tomatoes. TheWrap’s Alonso Duralde was among those chiming in with negative thoughts, and cited “Aloha” as another disappointment from the “Almost Famous” filmmaker who went on to whiff most recently with “We Bought a Zoo” and “Elizabethtown. »
- Greg Gilman
Though widely praised for his first few films including greats like "Almost Famous," "Jerry Maguire" and "Say Anything," filmmaker Cameron Crowe has not had a good run since the turn of the millennium.
"Vanilla Sky" was not well-regarded, "Elizabethtown" even less so and the more recent "We Bought a Zoo" seem to come and go without a whisper. Now he's back with the rom-com "Aloha" which includes the beloved Emma Stone and well-liked Bradley Cooper teaming for something fairly formulaic that should be an easy sell. Chuck in great supporting talent like Rachel McAdams, Bill Murray, Danny McBride, Alec Baldwin and John Krasinski and it should be - even at worst - non-offensive.
Unfortunately it's not going down that way. Critical reviews haven't just been bad, they've been scathing with the film scoring a 19% and 4.3/10 on Rotten Tomatoes along with a 40/100 on Metacritic. Trying to combat the bad buzz, Sony »
- Garth Franklin
Summer’s settling in, the kids are out of school, so how about a vacation? Or at least a visit to the multiplex to take in a very popular vacation spot. And you wouldn’t be leaving the good ole’ Us of A! I’m referring to our 50th state, Hawaii. So who will you be traveling with on this cinematic stay in the Pacific’s paradise? Well, it’s a gaggle of true, “big deal” Hollywood actors and actresses. So, was it the mild temps and gorgeous beaches that lured this impressive cast here? It didn’t hurt, but the main lure may have been the chance to work with the celebrated author/director Cameron Crowe. After leaving the pages of Rolling Stone magazine, he contributed the script for the seminal 80’s teen comedy/drama Fast Times At Ridgemont High. When he took on directing in 1989, he made a »
- Jim Batts
Say hello to the first eight minutes of “Aloha.”
Sony has released a sneak peek of writer-director Cameron Crowe’s upcoming rom-com, starring Bradley Cooper, Emma Stone and Rachel McAdams. The opening scene introduces viewers to the the three main characters, who are about to be tangled in a messy love triangle.
Cooper plays a disgraced ex-pilot torn better his long-lost love (McAdams), who’s now married with two kids, and the Air Force watchdog (Stone) assigned to him upon his return to the U.S. Space program in Honolulu.
The film is already being bashed by critics, earning it a putrid 8% on Rotten Tomatoes (based on 50 reviews). “Unbalanced, unwieldy, and at times nearly unintelligible, ‘Aloha’ is unquestionably Cameron Crowe’s worst film,” Variety‘s Andrew Barker wrote in his review.
- Maane Khatchatourian
If you’re a dedicated Cameron Crowe fan, you may have been forced to spend part of the last 15 years repeatedly explaining why. Since Almost Famous, Crowe’s non-documentary feature output has included two movies instantly/violently rejected by both critics and the public (Vanilla Sky, Elizabethtown) and one semi-soft family film that got a parody Twitter account and endless derision months before release solely due to the admittedly risible title We Bought a Zoo. His latest, Aloha, also has a dumb title and arrives savaged by Amy Pascal in emails made public as part of the Sony hack and ominously unscreened for press until the week […] »
- Vadim Rizov
In the Aloha press notes writer/director Cameron Crowe (Almost Famous, We Bought a Zoo) says the movie is "about second chances at life." Maybe that's how Crowe sees it, but that's sort of the sickly sweet Cameron Crowe way of looking at things, which is sort of the biggest issue facing this movie. The more realistic approach to Aloha is to recognize it as a film saying, "Life is sh*tty, people are sh*tty, and if you can find any measure of happiness in this sh*tty existence hold on and don't let go." I don't say this to suggest there's anything wrong with this sentiment. In fact, I agree with it. However, in the context of this film it serves as a conflicted approach. Crowe lacquers on a sugary facade over some rather -- I don't want to say "dark" -- tough life lessons, but it takes more than constant, »
- Brad Brevet
Cameron Crowe has turned into George Lucas, and not in a good way. After an acclaimed, beloved trilogy as a writer-director (“Say Anything,” “Almost Famous,” “Jerry Maguire”), Crowe has blown his opportunities, and the good will of his audience, with disappointment after disappointment: “Vanilla Sky,” “We Bought a Zoo,” and the astoundingly unbearable “Elizabethtown.” “Aloha” doesn’t reverse that trend, offering a script so contrived and artificial that not even the combined sparkle of Bradley Cooper, Emma Stone and the state of Hawaii itself can save it. See Video: Bradley Cooper and Emma Stone Say 'Aloha' in First Trailer for Cameron Crowe. »
- Alonso Duralde
Unbalanced, unwieldy, and at times nearly unintelligible, “Aloha” is unquestionably Cameron Crowe’s worst film. Paced like a record on the wrong speed, or a Nancy Meyers movie recut by an over-caffeinated Jean-Luc Godard, the film bears all the telltale signs of a poorly executed salvage operation disfigured in the editing bay. But as far as misfires from great American filmmakers go, it’s a fascinating one, less a simple failed Cameron Crowe film than a total deconstruction. Given its rather extraordinary bad pre-release buzz and what is sure to be poor word of mouth from any viewer expecting a new “Jerry Maguire” (or even a new “Elizabethtown”), the film’s commercial prospects look murky. But when faced with a work this fatally misguided, one can only hope it will serve an emetic purpose, a cleansing of the system before Crowe can get his mojo working again.
Speaking of that pre-release buzz, »
- Andrew Barker
San Andreas will do well this weekend, at least in terms of everything else that's out. I of course want to look at 2012's (hey, did that prophesy ever come to passc) number back in 2009 - it opened at a healthy $65 million. But then you check out Into the Storm and realize disaster films are a matter of personal taste, no sure thing. The Rock brings in the peoples, and if they can nail the "family" angle here the marketing will have done its job. Still, I'm clearly middling this at $37 million flat, $10 million in either direction wouldn't shock me. Aloha won't make a huge splash this weekend, though it's nicely differentiated for the "adult" crowd. As much as I love Cameron Crowe, it's been nearly 20 years since he had a financial hit with Jerry Maguire, and for as well as Almost Famous did on home video, it definitely hemorrhaged money upon theatrical release. »
- Laremy Legel
“San Andreas” hits theaters this weekend, hoping to provide a jolt to the summer box office after Memorial Day ticket sales barely registered on the Richter Scale.
The 21st century answer to Irwin Allen’s disaster films of yore is on pace to debut to $40 million domestically when it bows in 3,777 locations. The Warner Bros. release deploys the latest CGI razzle dazzle in the service of depicting a massive earthquake that threatens to turn much of California into ocean bottom. The best special-effect at its disposal may be Dwayne “The Rock” Johnson, who has been a reliable draw at the box office thanks to appearances in the “Fast and Furious” and “G.I. Joe” movies.
Those films, however, paired him with an ensemble cast, so this will be a real test of Johnson’s ability to open and carry a movie on his prodigious back during the most competitive time of year. »
- Brent Lang
The latest film from writer-director Cameron Crowe tells the story of Brian Gilcrest, a defence contractor sent to Hawaii to install a weapons system.
Along the way, Gilcrest finds himself drawn to a quirky air force pilot (Stone) tasked with assisting him with his defence project.
"I wanted to tell the story of a guy who's been looking over his shoulder with a certain amount of regret," Crowe explains in a new teaser. "[He] becomes somebody who can really embrace second chances in life."
"[This is] somebody who is lost, somebody is trying to put his life back together," Cooper adds.
This is Crowe's first big-screen project since the release of family comedy We Bought a Zoo four years ago.
Aloha - which has been the subject of controversy over its portrayal of »
He joined the literary agency AP Watt in London and became a director, representing the sale of books to film such as Philip Pullman’s “The Golden Compass,” Giles Foden’s “Last King of Scotland” and Benjamin Mee’s “We Bought a Zoo.”
The London-born Harris and his wife Melissa, an on-air television host, moved to Los Angeles in 2006, and he joined Rws Literary Agency that year and became a partner. He became a manager and joined Mosaic in 2009, then joined ICM Partners to head their media rights department, where he worked with Josie Freedman to package literary properties for film and television.
In 2012, he created his own company, the Story Foundation, with his wife and brother-in-law Jason Traub to bring ideas to the page and the screen, »
- Dave McNary
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