HBO and HBO Max will be home to new original films, highly anticipated streaming debuts of new releases, and the finales of three popular series throughout February. Below, we’ve assembled a complete list of everything new on HBO and HBO Max in February 2022, and it includes a new thriller from director Steven Soderbergh and starring Zoe Kravitz called “Kimi.” The original feature takes place in a Covid-19 pandemic Seattle and follows an agoraphobic tech worker who discovers violent crimes have occurred in a data stream. The Max Original film premieres on Feb. 10.
Also coming in February is the “Raised by Wolves” Season 2 premiere on Feb. 3, with new episodes released weekly, as well as the season premiere of “Last Week Tonight with John Oliver” on Feb. 20. And coming to a close in February are the original series “Euphoria,” “And Just Like That…” and “Peacemaker,” which all air finales this month.
Also coming in February is the “Raised by Wolves” Season 2 premiere on Feb. 3, with new episodes released weekly, as well as the season premiere of “Last Week Tonight with John Oliver” on Feb. 20. And coming to a close in February are the original series “Euphoria,” “And Just Like That…” and “Peacemaker,” which all air finales this month.
- 2/1/2022
- by Adam Chitwood
- The Wrap
For its list of new releases of February 2022, HBO Max is bringing back one of its biggest original series.
The Ridley Scott-directed sci-fi epic Raised by Wolves helped launch HBO Max back in 2020 and now it’s finally back for another season. Raised by Wolves season 2 premieres with three episodes on Feb. 3. This season will continue the conflict between future atheists and theists on a remote planet, while two androids raise some kids.
February 2022 also sees the end of another, more recent HBO Max hit. Peacemaker airs its finale on Feb. 17. Thankfully that same day sees the premiere of another exciting original. Dream Raider is a Mandarin-language sci-fi thriller that carries some big Inception vibes.
There aren’t many original movies of note this month, but there are a lot of recent hits coming to HBO Max as library titles. Nightmare Alley arrives on Feb. 1, followed by The Many Saints of Newark on Feb.
The Ridley Scott-directed sci-fi epic Raised by Wolves helped launch HBO Max back in 2020 and now it’s finally back for another season. Raised by Wolves season 2 premieres with three episodes on Feb. 3. This season will continue the conflict between future atheists and theists on a remote planet, while two androids raise some kids.
February 2022 also sees the end of another, more recent HBO Max hit. Peacemaker airs its finale on Feb. 17. Thankfully that same day sees the premiere of another exciting original. Dream Raider is a Mandarin-language sci-fi thriller that carries some big Inception vibes.
There aren’t many original movies of note this month, but there are a lot of recent hits coming to HBO Max as library titles. Nightmare Alley arrives on Feb. 1, followed by The Many Saints of Newark on Feb.
- 2/1/2022
- by Alec Bojalad
- Den of Geek
September usually means the beginning of the traditional fall TV season. As such, Hulu’s list of new releases for September 2021 contains some impressive TV swings.
For starters, all of ABC and Fox’s (both now united under the Disney banner alongside Hulu) fall season offerings will be made available to stream on Hulu the next day. More impressively, however, two FX on Hulu originals make their way to the streaming world this month.
The first is the long-awaited adaptation of the classic comic Y: The Last Man. The story of a virus that destroys every mammal with a Y-chromosome (save for one escape artist and his monkey) is set to premiere on September 13. Shortly after that, the B.J. Novak-produced anthology series The Premise arrives on September 16. Even those who are fatigued from timely anthology concepts will want to check this one out.
Read more TV How Y: The...
For starters, all of ABC and Fox’s (both now united under the Disney banner alongside Hulu) fall season offerings will be made available to stream on Hulu the next day. More impressively, however, two FX on Hulu originals make their way to the streaming world this month.
The first is the long-awaited adaptation of the classic comic Y: The Last Man. The story of a virus that destroys every mammal with a Y-chromosome (save for one escape artist and his monkey) is set to premiere on September 13. Shortly after that, the B.J. Novak-produced anthology series The Premise arrives on September 16. Even those who are fatigued from timely anthology concepts will want to check this one out.
Read more TV How Y: The...
- 8/31/2021
- by Alec Bojalad
- Den of Geek
Time and time again during this year’s pandemic, movie studios have had to make the best of a bad situation. HBO Max’s list of new releases for December 2020 comes along with the most extreme example yet.
WarnerMedia undoubtedly had big plans for Wonder Woman 1984 when it scheduled it for a holiday release last year. After moving it to the summer, however, the conglomerate had to delay its theatrical release time and time again. Now HBO Max is the lucky winner of the saga, as it gets to premiere the long-awaited sequel on its servers on Dec. 25.
While Wonder Woman 1984 is definitely the headline this month, there are some other intriguing streaming options for HBO Max in December. The month plays host to a whole host of high-powered documentaries like Heaven’s Gate: The Cult of Cults (Dec. 3), Alabama Snake (Dec. 9), and the Tiger Woods documentary Tiger (Dec.
WarnerMedia undoubtedly had big plans for Wonder Woman 1984 when it scheduled it for a holiday release last year. After moving it to the summer, however, the conglomerate had to delay its theatrical release time and time again. Now HBO Max is the lucky winner of the saga, as it gets to premiere the long-awaited sequel on its servers on Dec. 25.
While Wonder Woman 1984 is definitely the headline this month, there are some other intriguing streaming options for HBO Max in December. The month plays host to a whole host of high-powered documentaries like Heaven’s Gate: The Cult of Cults (Dec. 3), Alabama Snake (Dec. 9), and the Tiger Woods documentary Tiger (Dec.
- 11/30/2020
- by Alec Bojalad
- Den of Geek
Just like Netflix, Hulu, Amazon and Disney Plus, HBO Max is adding a ton of great new titles to give you some festive treats this holiday season. The Warner streaming service’s December haul isn’t necessarily full of Christmas content – there’s a lot of that already available – but there are definitely a ton of must-see films and TV shows on the lineup, so let’s take a look at the highlights.
December 1st brings a glut of newly licensed titles, including everything from horror prequel Annabelle: Creation to the original Westworld movie. In terms of franchises, you’ll be able to find a bunch of The Crown films, some Final Destinations and the whole Free Willy trilogy on the site next month. And if you’re looking to chow down on some of the best movies around, you won’t be disappointed. Just a few of the acclaimed...
December 1st brings a glut of newly licensed titles, including everything from horror prequel Annabelle: Creation to the original Westworld movie. In terms of franchises, you’ll be able to find a bunch of The Crown films, some Final Destinations and the whole Free Willy trilogy on the site next month. And if you’re looking to chow down on some of the best movies around, you won’t be disappointed. Just a few of the acclaimed...
- 11/25/2020
- by Christian Bone
- We Got This Covered
HBO Max is out with its list of everything coming and going from the new streaming service, and the list includes the 2019 film “Harriet” starring Cynthia Erivo as Harriet Tubman.
The HBO Originals coming next month include season four of “Room 104,” HBO Europe’s “Foodie Love,” and documentaries like “Stockton on My Mind” and “Showbiz Kids.” Other films joining include “Motherless Brooklyn,” “Midway,” and “Last Christmas.”
Leaving at the end of the month are “Aquamarine,” “Crazy Rich Asians,” “Long Shot,” “Crimson Peak,” “The Sun Is Also a Star” and “X-Men.”
Also Read: iHeartMedia, WarnerMedia to Co-Produce Companion Podcasts for HBO Max Shows
Here is the full list of everything new and leaving in July:
July 1
Absolute Power, 1997
The Adventures of Pinocchio, 1996
The Amazing Panda Adventure, 1995
American Graffiti, 1973 (HBO)
American History X, 1998
Angels in the Outfield, 1951
Angus, 1995
August Rush, 2007
The Bachelor, 1999
Batman & Mr. Freeze: SubZero, 1998
Batman and Harley Quinn , 2017
Batman vs.
The HBO Originals coming next month include season four of “Room 104,” HBO Europe’s “Foodie Love,” and documentaries like “Stockton on My Mind” and “Showbiz Kids.” Other films joining include “Motherless Brooklyn,” “Midway,” and “Last Christmas.”
Leaving at the end of the month are “Aquamarine,” “Crazy Rich Asians,” “Long Shot,” “Crimson Peak,” “The Sun Is Also a Star” and “X-Men.”
Also Read: iHeartMedia, WarnerMedia to Co-Produce Companion Podcasts for HBO Max Shows
Here is the full list of everything new and leaving in July:
July 1
Absolute Power, 1997
The Adventures of Pinocchio, 1996
The Amazing Panda Adventure, 1995
American Graffiti, 1973 (HBO)
American History X, 1998
Angels in the Outfield, 1951
Angus, 1995
August Rush, 2007
The Bachelor, 1999
Batman & Mr. Freeze: SubZero, 1998
Batman and Harley Quinn , 2017
Batman vs.
- 6/23/2020
- by Margeaux Sippell
- The Wrap
HBO Max is set to enter into its second month of existence. And you know what that means: it’s Christmas in July!
HBO Max’s list of new releases for July 2020 is highlighted by one prominent Christmas movie: last year’s Emilia Clarke-starring Last Christmas. But the real cause for Christmas in July is all the exciting animated DC content coming our way on the first of the month. July 1 sees the arrival of just about every animated Batman project ever created. July 1 also features the arrival of just about every Justice League animated series ever created as well.
If that weren’t enough, July 1 is also when every live-action Superman movie (save for Man of Steel) makes it streaming debut. July is starting to look like a month where HBO Max establishes its real potential and geek culture bonafides…despite an at-times difficult rollout.
The HBO original...
HBO Max’s list of new releases for July 2020 is highlighted by one prominent Christmas movie: last year’s Emilia Clarke-starring Last Christmas. But the real cause for Christmas in July is all the exciting animated DC content coming our way on the first of the month. July 1 sees the arrival of just about every animated Batman project ever created. July 1 also features the arrival of just about every Justice League animated series ever created as well.
If that weren’t enough, July 1 is also when every live-action Superman movie (save for Man of Steel) makes it streaming debut. July is starting to look like a month where HBO Max establishes its real potential and geek culture bonafides…despite an at-times difficult rollout.
The HBO original...
- 6/23/2020
- by Alec Bojalad
- Den of Geek
When HBO Max launched last month, DC fans hoped it would be the premiere place to go to watch all their favorite DC content. While the streaming service did have an impressive array of films and TV shows available on launch, there were a lot of notable missing titles, too, due to pre-existing licenses getting in the way. As time goes on, though, more DC properties will end up on the site. Case in point: this July will see a whole heap of superhero content go up on HBO Max.
Below you can find the full list of every movie and TV series coming to HBO Now, Go and Max next month, broken down by day of release. It includes an enormous amount of DC animated movies, mostly featuring Batman, the Justice League and Green Lantern. All of the Christopher Reeve Superman films will be up on HBO Max as of July,...
Below you can find the full list of every movie and TV series coming to HBO Now, Go and Max next month, broken down by day of release. It includes an enormous amount of DC animated movies, mostly featuring Batman, the Justice League and Green Lantern. All of the Christopher Reeve Superman films will be up on HBO Max as of July,...
- 6/23/2020
- by Christian Bone
- We Got This Covered
There are few surefire successes in television. It just so happens that with its new releases for May 2020, Hulu almost certainly found itself one. May 8 sees the debut of all eight episodes of Solar Opposites, the latest sci-fi animated effort from Rick and Morty co-creator Justin Roiland. This is a brand new story featuring a family of aliens crashing to Earth and learning to live amongst the rest of us weirdos. But the animation style and sci-fi themes hew so closely to Rick and Morty that there’s no way this won’t be a hit.
On the off chance Solar Opposites doesn’t set the world ablaze, Hulu has some other intriguing content lottery tickets for May. The Great premieres on May 15 and is a comedic period piece about Catherine the Great starring Elle Fanning and Nicholas Hoult. You can’t accuse Hulu of not taking big swings this month!
On the off chance Solar Opposites doesn’t set the world ablaze, Hulu has some other intriguing content lottery tickets for May. The Great premieres on May 15 and is a comedic period piece about Catherine the Great starring Elle Fanning and Nicholas Hoult. You can’t accuse Hulu of not taking big swings this month!
- 4/30/2020
- by Alec Bojalad
- Den of Geek
Hulu is out with its list of new additions coming in May, and everything that will be leaving the streaming service at the end of the months.
Highlights include Season 2 of “Ramy,” from Muslim American comedian Ramy Youssef, a new episode of “Into the Dark” called “Delivered,” in which a pregnant woman’s life is thrown into jeopardy when she realizes someone close to her has dark plans for her and the baby, and the series premiere of Hulu original series “The Great” about Catherine the Great, the famous Empress of Russia.
Leaving at the end of the month is “Good Will Hunting,” all three “Free Willy” films, 2006’s “Night of the Living Dead” and 2012’s “Night of the Living Dead: Resurrection,” “Zombieland,” 2002’s “Spider-Man,” and more.
Also Read: Julia Child Documentary From 'Rbg' Directors Acquired by Sony Pictures Classics
Here is the full list of everything coming and going...
Highlights include Season 2 of “Ramy,” from Muslim American comedian Ramy Youssef, a new episode of “Into the Dark” called “Delivered,” in which a pregnant woman’s life is thrown into jeopardy when she realizes someone close to her has dark plans for her and the baby, and the series premiere of Hulu original series “The Great” about Catherine the Great, the famous Empress of Russia.
Leaving at the end of the month is “Good Will Hunting,” all three “Free Willy” films, 2006’s “Night of the Living Dead” and 2012’s “Night of the Living Dead: Resurrection,” “Zombieland,” 2002’s “Spider-Man,” and more.
Also Read: Julia Child Documentary From 'Rbg' Directors Acquired by Sony Pictures Classics
Here is the full list of everything coming and going...
- 4/17/2020
- by Margeaux Sippell
- The Wrap
Hulu is out with its list of everything new coming and going in March, and the new additions include the three-episode series premiere of “Little Fires Everywhere” starring Kerry Washington and Reese Witherspoon, and the premiere of the Hillary Clinton documentary “Hillary.”
Those two shows premiere March 18 and March 6, respectively. Other highlights include “Into the Dark: Crawlers,” about body-switching aliens and also out on March 6; the complete second season of “Love Island: Australia” coming March 13, and the two-episode series premiere of “Devs” starring Nick Offerman on March 6.
Movies leaving the site on March 31 include “When Harry Met Sally…,” “Precious” and “Big Fish.”
Also Read: Hulu's 'Into the Dark' Sets Body-Switching Aliens Thriller 'Crawlers' as March Movie (Exclusive)
Here’s everything coming and going to and from Hulu in March:
Arriving March 1
Ok K.O, Let’s Be Heroes!: Complete Season 3 (Cartoon Network)
50/50 (2011)
Abduction (2011)
Blue City (1986)
Cantinflas (2014)
Charlotte’s Web...
Those two shows premiere March 18 and March 6, respectively. Other highlights include “Into the Dark: Crawlers,” about body-switching aliens and also out on March 6; the complete second season of “Love Island: Australia” coming March 13, and the two-episode series premiere of “Devs” starring Nick Offerman on March 6.
Movies leaving the site on March 31 include “When Harry Met Sally…,” “Precious” and “Big Fish.”
Also Read: Hulu's 'Into the Dark' Sets Body-Switching Aliens Thriller 'Crawlers' as March Movie (Exclusive)
Here’s everything coming and going to and from Hulu in March:
Arriving March 1
Ok K.O, Let’s Be Heroes!: Complete Season 3 (Cartoon Network)
50/50 (2011)
Abduction (2011)
Blue City (1986)
Cantinflas (2014)
Charlotte’s Web...
- 3/1/2020
- by Margeaux Sippell
- The Wrap
Alec Bojalad Feb 18, 2020
We have a list of the new Hulu movies and shows arriving in March 2020.
March sees the beginning of one of TV's more interesting experiment in 2020. Hulu's new releases for March 2020 are highlighted by the launch of the torturously-named "FX on Hulu" in which certain FX shows will premiere exclusively on Hulu.
Yes, when Disney set out up the entertainment industry, it gained more brands than it knew what to do with. And that's how you get stuff like FX on Hulu. The streaming/cable hybrid begins in earnest in March with two series, Alex Garland's sci-fi Devs and the weird Lil Dickey comedy Dave. More FX on Hulu is set to arrive in April as well.
Hulu's only $5.99/month now, grab the deal here!
In addition to FX's offerings, Hulu has some intriguing originals of its own for March 2020. Hillary Clinton docuseries, Hillary, premieres on...
We have a list of the new Hulu movies and shows arriving in March 2020.
March sees the beginning of one of TV's more interesting experiment in 2020. Hulu's new releases for March 2020 are highlighted by the launch of the torturously-named "FX on Hulu" in which certain FX shows will premiere exclusively on Hulu.
Yes, when Disney set out up the entertainment industry, it gained more brands than it knew what to do with. And that's how you get stuff like FX on Hulu. The streaming/cable hybrid begins in earnest in March with two series, Alex Garland's sci-fi Devs and the weird Lil Dickey comedy Dave. More FX on Hulu is set to arrive in April as well.
Hulu's only $5.99/month now, grab the deal here!
In addition to FX's offerings, Hulu has some intriguing originals of its own for March 2020. Hillary Clinton docuseries, Hillary, premieres on...
- 2/18/2020
- Den of Geek
Hulu has announced the new titles that will be available to stream on the platform in May. Next month will see the streaming release of Oscar-nominated films such as Debra Granik’s 2010 drama “Winter’s Bone,” starring Jennifer Lawrence, and Tim Burton’s 2003 fantasy drama “Big Fish.”
Read More: Hulu and Annapurna Announce Streaming Partnership, With Kathryn Bigelow’s Detroit Project First in Line
Hulu’s origial series “Casual” returns for a third season on May 23. The original documentary “Becoming Bond,” about the life of George Lazenby, who played James Bond in the 1969 film “On Her Majesty’s Secret Service,” will debut on May 20. Find the list of all titles coming to Hulu in May below.
May 1
Line of Duty: Complete Season 4 (BBC One)
South Park en Español: Complete Season 20 (Comedy Central)
48 Hrs. (1982)
Another 48 Hrs. (1990)
Arrowhead (1952)
A View to a Kill (1985)
The Bad News Bears (1976)
Bad Influence (1990)
Bait Shop...
Read More: Hulu and Annapurna Announce Streaming Partnership, With Kathryn Bigelow’s Detroit Project First in Line
Hulu’s origial series “Casual” returns for a third season on May 23. The original documentary “Becoming Bond,” about the life of George Lazenby, who played James Bond in the 1969 film “On Her Majesty’s Secret Service,” will debut on May 20. Find the list of all titles coming to Hulu in May below.
May 1
Line of Duty: Complete Season 4 (BBC One)
South Park en Español: Complete Season 20 (Comedy Central)
48 Hrs. (1982)
Another 48 Hrs. (1990)
Arrowhead (1952)
A View to a Kill (1985)
The Bad News Bears (1976)
Bad Influence (1990)
Bait Shop...
- 4/17/2017
- by Yoselin Acevedo
- Indiewire
As longtime fans of knowing what’s coming to (and going from) Hulu every month will recall, February was Love Month, March was Karate Month, April was Misogyny Month, and now we’ll soon be moving into May, which is apparently Sequel Month. This May, Hulu subscribers will be able to enjoy all of their favorite sequels, including Another 48 Hrs., Barbershop 2: Back In Business, Cabin Fever 2, Free Willy 2: The Adventure Home, Free Willy 3: The Rescue, Free Willy 4: The Revenge, Naked Gun 2 & 1/2: The Smell Of Fear, Teenage Mutant Ninja Turtles: Out Of The Shadows, a bunch of James Bond movies, Beauty Shop, and What About Bob?, which could be a sequel to any number of Bill Murray movies if you believe the fan theories.
Sequels aside, you’ll be able to stream the Hulu Originals Batman & Bill, Casual season three ...
Sequels aside, you’ll be able to stream the Hulu Originals Batman & Bill, Casual season three ...
- 4/17/2017
- by Sam Barsanti
- avclub.com
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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...
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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...
- 6/13/2016
- Den of Geek
July 16 marks the 20th anniversary of the release of "Free Willy," the emotional family film which stole the hearts of viewers. Starring Jason James Richter as a young man who becomes friends with an Orca whale named Willy (played by famous whale Keiko), "Free Willy" brought in $77.69 million at the box office and was followed by two sequels: "Free Willy 2: The Adventure Home" and "Free Willy 3: The Rescue."
In celebration of the anniversary of "Free Willy," remember Keiko the Orca Whale and eight other famed animal actors.
Keiko the Orca Whale: Fans fell in love with Keiko when he starred in "Free Willy."
Buddy the Golden Retriever: Buddy starred as the family dog Comet in "Full House," as well as the athletic pup in the "Air Bud" movies.
Uggie the Jack Russell Terrier: A campaign was launched after Uggie starred in the Oscar-winning film "The Artist" to give the dog an Academy Award.
In celebration of the anniversary of "Free Willy," remember Keiko the Orca Whale and eight other famed animal actors.
Keiko the Orca Whale: Fans fell in love with Keiko when he starred in "Free Willy."
Buddy the Golden Retriever: Buddy starred as the family dog Comet in "Full House," as well as the athletic pup in the "Air Bud" movies.
Uggie the Jack Russell Terrier: A campaign was launched after Uggie starred in the Oscar-winning film "The Artist" to give the dog an Academy Award.
- 7/16/2013
- by Madeline Boardman
- Huffington Post
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