Maverick (1994) - News Poster

(1994)

News

Clint Walker, Star of TV Western ‘Cheyenne,’ Dies at 90

Clint Walker, Star of TV Western ‘Cheyenne,’ Dies at 90
Clint Walker, who starred in the television Western “Cheyenne” and had a key supporting role in the WWII film “The Dirty Dozen,” died on Monday in Northern California, according to the New York Times. He was 90.

For seven seasons from 1955-61, he played Cheyenne Bodie, a rambunctious wanderer in the post-Civil War West, on the ABC series “Cheyenne.” (He also guested as the character on “Maverick.”)

The actor’s seriocomic confrontation with star Lee Marvin was one of the highlights of the classic 1967 war picture “The Dirty Dozen.”

After “Cheyenne” ended, Walker made some guest appearances on TV — “77 Sunset Strip,
See full article at Variety - TV News »

How Goose Got His Nickname in Top Gun

How Goose Got His Nickname in Top Gun
Top Gun celebrated its 30th anniversary 2 years ago, and since then, Tom Cruise has announced that the sequel is in the works with filming set to begin soon. However, there are a lot of questions concerning this sequel, and number one is: Will Val Kilmer be back as Ice Man? Ice Man can most certainly return, but Anthony Edwards' Goose can't unless he comes back as Goose Ghost, which the actor pitched on late night TV last year. While Goose can't come back to hang with his literally old friend Maverick now, he's opted to explain where the nickname Goose came from.

In a new interview, Anthony Edwards discussed the iconic 1986 movie Top Gun. Specifically, Edwards talked about where the name Goose originated from for his character. As it turns out, Nick "Goose" Bradshaw wasn't that great of a pilot, or at the very least had a poor memory.
See full article at MovieWeb »

Top Gun 2 Will Finally Begin Production This Summer

Top Gun 2 Will Finally Begin Production This Summer
Top Gun 2 is gearing up to begin filming this summer. This is really happening and it's time to accept that fact. Talk of a possible Top Gun sequel has been brewing for a very long time, but things never really got going. However, starting last year, talks started getting serious and Tom Cruise decided to make it his next official project, following Mission: Impossible - Fallout, which is set to hit theaters on July 27. It looks like he'll be hopping straight from the press tour for that movie to Top Gun 2, as a new report reveals that the studio hopes to begin filming on the sequel in July.

Paramount and Skydance Productions are said to be getting production going on Top Gun 2, which is officially titled Maverick, by July, which should give them just enough time to get the movie finished. They've already set a release date for July 12, 2019, meaning
See full article at MovieWeb »

Battlestar Galactica & The Flash Actor Donnelly Rhodes Passes Away

Donnelly Rhodes, the actor perhaps best remembered for his role as the gruff Doctor Cottle on the Battlestar Galactica reboot, passed away Jan. 8 at age 80. A representative said he passed away after a battle with cancer at Baillie House Hospice in Maple Ridge, British Columbia.

A Winnipeg native, Rhodes began his acting career in the mid-1950s, and appeared in guest roles on such classic television series as Maverick, Cheyenne, Wagon Train, The Alfred Hitchcock Hour, The Wild Wild West and Mission: Impossible. He went on to land starring roles on Soap and on the Canadian family-adventure series Danger Bay and the drama Da Vinci’s Inquest.
See full article at Comic Book Resources »

Top 5 Films About Poker

Anyone will tell you, there is something special about poker. Poker players across the world can play with each other from the comfort of their own home, with online poker sites to embrace the popular card game. With this popularity, poker was then introduced into the film and television world, where poker is to be seen full of mystery, romance and intrigue. Poker is a game of skill and not luck, as demonstrated in these top 5 films about poker…

5) Maverick (Richard Donner, USA 1994)

With an all-star cast like Mel Gibson, Jodie Foster and James Garner, this high-stake poker movie could only keep poker fans entertained. The film itself, was based around a 1960s television show, Mel Gibson who plays Bret Maverick has to prove he’s the best poker player in the American Old West by beating the competition at a poker game. This entertaining comedy features some delightful performances,
See full article at The Hollywood News »

Sayonara

Back when interracial marriage was a shady topic (are those dark days coming back?) the U.S. military had some adjustment issues. Full integration of the ranks didn’t remove the anti- Japanese bigotry. James Michener’s novel has been transformed into a big-scale romance, with Marlon Brando coming to terms with a split in loyalty between the flag and his private life. The big shock is that the Paul Osborn’s screenplay doesn’t let the military off easy.

Sayonara

Blu-ray

Twilight Time

1957 / Color / 2:35 widescreen / 147 min. / Street Date November 14, 2017 / Available from the Twilight Time Movies Store / 29.95

Starring: Marlon Brando, Patricia Owens, James Garner, Martha Scott, Miiko Taka, Miyoshi Umeki, Red Buttons, Kent Smith.

Cinematography: Ellsworth Fredericks

Film Editors: Philip W. Anderson, Arthur P. Schmidt

Production Design: Ted Haworth

Original Music: Irving Berlin, Franz Waxman

Written by Paul Osborn from the novel by James Michener

Produced by William Goetz
See full article at Trailers from Hell »

Hour of the Gun

It’s the one saga of the Gunfight at the O.K. Corral that puts Western legend into proper perspective as to the nature of money, power and the law: Edward Anhalt’s vision is of a gangland turf war with sagebrush and whiskey bottles. James Garner is a humorless Wyatt Earp, matched by Jason Robards’ excellent Doc Holliday. It’s one of John Sturges’ best movies.

Hour of the Gun

Blu-ray

Twilight Time

1967 / Color / 2:35 widescreen / 101 min. / Street Date September 19, 2017 / Available from the Twilight Time Movies Store 29.95

Starring: James Garner, Jason Robards, Robert Ryan, Albert Salmi, Charles Aidman, Steve Ihnat, Michael Tolan, William Windom, Lonny Chapman, Larry Gates, William Schallert, Jon Voight.

Cinematography: Lucien Ballard

Art Direction: Alfred C. Ybarra

Film Editor: Ferris Webster

Original Music: Jerry Goldsmith

Written by Edward Anhalt

Produced and Directed by John Sturges

Producer-director John SturgesHour of the Gun was a dismal non-performer in
See full article at Trailers from Hell »

Deathstroke Returns, Akira Kurosawa, Zatoichi, And The Man With No Name -- The Lrm Weekend

By David Kozlowski | 28 July 2017

Welcome to Issue #6 of The Lrm Weekend, a weekly column highlighting cool and unique videos about film, TV, comics, Star Wars, Marvel, DC, animation, and anime. We also want to hear from you, our awesome Lrm community! Share your favorite videos to: @LRM_Weekend and we'll post your Tweets below!

Previous Issues: 7.21.17 | 7.14.17 | 7.7.17 | 6.30.17 | 6.23.17

Hey Lrm Weekenders, we survived San Diego Comic-Con 2017 -- did you have a favorite moment? Thor: Ragnarok's latest trailer was a big hit at Lrm (Hulk speaks!). As July comes to a close, we're ramping up for the big movies and TV shows of the late summer through the holiday season.

This week our emphasis is on Akira Kurosawa, the legendary Japanese filmmaker who's works have inspired generations of directors, screenwriters, and actors. Kurosawa's films have been adpapted and remade dozens of times, and we hope that this week's column gives you
See full article at LRM Online »

A Few Little Known Facts about Gambling in Films

Movies set around casinos and gambling have mostly been a fair bet to success for the film industry. The drama and tension that naturally occurs within a gaming environment, and that can include the glitz and glamour of a big Las Vegas Casino, or the smoke filled back room, transfers over to the silver screen very well.

The opulent feel of the casino has always intrigued gamblers and spectators alike, and as soon as technology advanced far enough online casinos made their appearance. Now statistically more people user their mobile phone to play on their favourite games on sites like Swanky Bingo online which provide that feeling of excitement and entertainment we all crave whenever and wherever we choose.

The history of gambling and casinos is a fascinating one, and so are the not so well known facts that surround some of our most favourite films set in and about casino life.
See full article at Blogomatic3000 »

Film News: Roger Moore, Who Portrayed James Bond, Dies at 89

Switzerland – Of all the breathless hype that comes with each new James Bond movie, the man who played Bond the longest (and in the most films) is often forgotten. Sir Roger Moore – he was knighted for his charity work – portrayed Bond from 1972 to 1985, and died in Switzerland on May 22, 2017. He was 89.

The roguish Moore portrayed Britain’s most famous spy with a air of sophistication and humor, eschewing the harder edge that the first Bond, Sean Connery, had established. From the first film, “Live and Let Die” (1972) to 13 years later with “A View to a Kill,” Moore defined Bond for a generation of 1970s and ‘80s filmgoers. He had been an established British TV actor before taking on his most famous role, and even made inroads in America on the popular series “Maverick” in 1960.

Roger Moore Strikes a Familiar Pose as James Bond

Photo credit: Eon Productions

Roger Moore was
See full article at HollywoodChicago.com »

Beyond Bond: Roger Moore’s 7 Most Memorable Non-007 Roles, From ‘The Saint’ to ‘Spice World’ (Photos)

Beyond Bond: Roger Moore’s 7 Most Memorable Non-007 Roles, From ‘The Saint’ to ‘Spice World’ (Photos)
Roger Moore, who died Tuesday at age 89, is best remembered for playing superspy James Bond in seven movies from 1973 to 1985. But he had a storied career in Hollywood before and after his record turn as 007. Maverick (1960-61) Roger Moore was born in the U.K. but got his start as an MGM contract player in the 1950s. His first big breaks came in television, including this Western starring James Garner as a frontier cardsharp. The Saint (1962-69) Moore became a household name as the star of this hit small-screen spy thriller, which was based on Leslie Charteris’ books about the.
See full article at The Wrap »

Roger Moore, Legendary James Bond Actor, Dead at 89

Roger Moore, Legendary James Bond Actor, Dead at 89
Roger Moore, whose 12-year run as James Bond in the ’70s/’80s turned him into a Hollywood icon, has died. He was 89.

Moore’s family confirmed on social media early Tuesday that the veteran actor died after a “short but brave battle with cancer.”

With the heaviest of hearts, we must share the awful news that our father, Sir Roger Moore, passed away today. We are all devastated. pic.twitter.com/6dhiA6dnVg

Sir Roger Moore (@sirrogermoore) May 23, 2017

Moore — who remains the longest-serving Bond actor — succeeded Sean Connery as 007 No. 3 in the early ’70s. All told, he appeared in seven
See full article at TVLine.com »

Roger Moore, James Bond Star, Dies at 89

Roger Moore, James Bond Star, Dies at 89
Roger Moore, the handsome English actor who appeared in seven films as James Bond — the most of any Bond actor — and as Simon Templar on “The Saint” TV series, has died in Switzerland after a short battle with cancer. He was 89.

His family issued an announcement on Twitter: “It is with the heaviest of hearts, we must share the awful news that our father, Sir Roger Moore, passed away today. We are all devastated.”

With the heaviest of hearts, we must share the awful news that our father, Sir Roger Moore, passed away today. We are all devastated. pic.twitter.com/6dhiA6dnVg

Sir Roger Moore (@sirrogermoore) May 23, 2017

Moore appeared in more official Bond pics than his friend Sean Connery over a longer period of time, and while Connery’s fans were fiercely loyal, polls showed that many others favored Moore’s lighter, more humorous take on 007.

In 1972, Moore was
See full article at Variety - Film News »

Roger Moore, James Bond Star, Dies at 89

Roger Moore, James Bond Star, Dies at 89
Roger Moore, the handsome English actor who appeared in seven films as James Bond — the most of any Bond actor — and as Simon Templar on “The Saint” TV series, has died in Switzerland after a short battle with cancer. He was 89.

His family issued an announcement on Twitter: “It is with the heaviest of hearts, we must share the awful news that our father, Sir Roger Moore, passed away today. We are all devastated.”

With the heaviest of hearts, we must share the awful news that our father, Sir Roger Moore, passed away today. We are all devastated. pic.twitter.com/6dhiA6dnVg

Sir Roger Moore (@sirrogermoore) May 23, 2017

Moore appeared in more official Bond pics than his friend Sean Connery over a longer period of time, and while Connery’s fans were fiercely loyal, polls showed that many others favored Moore’s lighter, more humorous take on 007.

In 1972, Moore was asked to join Her Majesty’s Secret Service
See full article at Variety - TV News »

That Time Danny Glover Had A Cameo in Maverick which is a Hilarious Nod to Lethal Weapon

If you haven’t seen the movie Maverick then I highly recommend that you do. It’s a very underrated comedy starring Mel Gibson, James Garner, and Jodie Foster loosely based on a TV show that Garner starred in of the same name. Looking back on the film there are a ton of hilarious lines as well as actors with parts in the film that were memorable. James Coburn was awesome in this film, as was Alfred Molina and Graham Greene. But perhaps the best appearance in the film was a short cameo by none other than Danny Glover. Moviephone best described

That Time Danny Glover Had A Cameo in Maverick which is a Hilarious Nod to Lethal Weapon
See full article at TVovermind.com »

36 Hours

Long before movies routinely created ‘worlds’ with their own twisted fantasy logic, only a few paranoid thrillers, usually odd genre items, tried out twisted stories of deceptive ‘hidden realities.’ Like an extended Twilight Zone entry, this lively James Garner war pic morphs into a bizarre conspiracy worthy of Philip K. Dick. If only it weren’t so “L-a-o” — Literal And Obvious.

36 Hours

Blu-ray

Warner Archive Collection

1965 / B&W / 2:35 widescreen / 115 min. / Street Date April 11, 2017 / available through the WBshop / 21.99

Starring: James Garner, Eva Marie Saint, Rod Taylor, Werner Peters, John Banner, Russell Thorson, Alan Napier, Oscar Beregi, Ed Gilbert, Sig Ruman, Celia Lovsky, Karl Held, James Doohan.

Cinematography Philip H. Lathrop

Art Direction Edward Carfagno, George W. Davis

Film Editor Adrienne Fazan

Original Music Dimitri Tiomkin

Written by George Seaton, Carl K. Hittleman, Luis H. Vance from a story by Roald Dahl

Produced by William Perlberg

Directed by George Seaton

Released
See full article at Trailers from Hell »

5 Fun, Action-Packed Westerns To See Before The Magnificent Seven

Gotta love a good old-fashioned Western. It’s a genre that’s been an American staple for decades. The image of the lone gunslinger is one that’s inspired countless novels, films, comics, and TV shows — and it’s one that’s bound to continue to do so for countless years. Though while as kids the genre may have been synonymous with fun adventure, the reality is that the majority of these flicks are slow, meditative character studies.

That’s all well and good, but I’m gonna chuck every one of those movies out the window today. You won’t find me talking about The Assassination of Jesse James, Once Upon A Time In The West, or The Unforgiven here. Granted, I acknowledge the quality of those films, but today, I wanted to highlight a handful of flicks that may be more in line with what we’ll be
See full article at LRM Online »

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 »

‘Nobody Knows Anything (Except William Goldman)’: First Look At Docu About Groundbreaking Writer

‘Nobody Knows Anything (Except William Goldman)’: First Look At Docu About Groundbreaking Writer
Here’s a first look at a documentary on “arguably the greatest American screenwriter,” as Rob Reiner calls William Goldman. He’s the guy Aaron Sorkin says “is responsible for inventing the modern screenplay as we know it.” Also a novelist and nonfiction writer, he’s the pen behind such Hollywood classics as Butch Cassidy and the Sundance Kid and All the President’s Men — scoring Oscars for both — along with such disparate films as Misery, Heat, The Stepford Wives, Maverick
See full article at Deadline Movie News »

Bill Henderson, Jazz Vocalist and Actor, Dies at 90

Bill Henderson, Jazz Vocalist and Actor, Dies at 90
Bill Henderson, jazz vocalist and actor, died of natural causes in Los Angeles on Sunday. He was 90.

Henderson’s break came in 1957 when he recorded for the Vee-Jay label and recorded his first album “Bill Henderson Sings” in 1959. Henderson sang with the Ramsey Lewis Trio, Dizzie Gillespie, Count Basie, Frank Sinatra, Tony Bennett, Quincy Jones, and the Charlie Haden Quintet. His 1963 recording “Bill Henderson with the Oscar Peterson Trio” remains a classic in the jazz vernacular. He was a fixture on the Playboy circuit in the 1970s and appeared often at many jazz festivals, including Playboy Jazz at the Hollywood Bowl, Monterey Jazz and the Litchfield Jazz Festival.

“Henderson’s phrasing is virtually his own copyright,” Leonard Feather observed. “He tends to space certain words as if the syllables were separated by commas, even semicolons; yet everything winds up as a perfectly constructed sentence.” Henderson’s voice was deliberate and thoughtful,
See full article at Variety - TV News »
loading
An error has occured. Please try again.

See also

Showtimes | External Sites