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Sally Hawkins (‘Maudie’): Critics praise her Oscar-worthy performance in new Aisling Walsh film

23 hours ago | Gold Derby | See recent Gold Derby news »

Sally Hawkins is emerging as an early Best Actress candidate at the 2018 Oscars for her role in the film “Maudie.” Directed by Aisling Walsh, “Maudie” tells the true story of the humble beginnings of artist Maud Lewis, who was afflicted with arthritis at a young age and lived in poverty in Nova Scotia in […] »

- Robert Pius

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Inside the Minion-Filled 'Despicable Me 3' Premiere With Steve Carell, Kristen Wiig

21 hours ago | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

For Despicable Me 3's world premiere, Universal Pictures pulled out all the stops with a full-on carnival to celebrate the movie.

And while Kristen Wiig, Steve Carell, Pharrell Williams and Trey Parker joined each other on the yellow carpet in Los Angeles on Saturday, it was really the minions from the movie who stole the show.

The trio of Bob, Stuart and Kevin hammed it up on the carpet as they danced and later posed for pictures with fans. (Fun fact: Given how hot it was the day of the premiere, there were two sets of life-size minions on hand to »

- Brian Porreca

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‘The Big Sick’ and ‘The Beguiled’ Rescue Indie Box Office, Top All 2017 Specialty Openers

22 hours ago | Indiewire | See recent Indiewire news »

Things are looking up at the specialty box office as two festival hits, Sundance breakout “The Big Sick” (Amazon/Lionsgate) and Sofia Coppola’s Cannes director-winner “The Beguiled” (Focus Features) both beat all the 2017 limited openings to date. With $87,000 and $60,000 per theater averages respectively, they both accomplished something only one platform film (“Cafe Society”) achieved all last summer. And they did so the same weekend in some of the same theaters.

This shows that core specialty audiences are starving for cinematic nourishment they aren’t getting from mainstream studio fare.

The two new films join “Beatriz at Dinner” (Roadside Attractions), which expanded well in its third week. A box office rebound for specialized non-mass-audience film is finally under way.


The Big Sick (Lionsgate) – Metacritic: 87; Festivals include: Sundance, South by Southwest, Seattle 2017

$435,000 in 5 theaters; PTA (per theater average): $87,000

Amazon strikes again with its $12-million Sundance acquisition marking the biggest limited opening of the year, »

- Tom Brueggemann

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That Super-Sad ‘Toy Story’ Video About Andy’s Dad Has Been Debunked, Thankfully

19 hours ago | Indiewire | See recent Indiewire news »

The internet was abuzz with a video explaining the sad, sad backstory to “Toy Story” yesterday; unfortunately — or maybe not, given what a bummer it was — the video has been debunked by Pixar’s Andrew Stanton, who co-wrote all three movies in the series. “Complete and utter fake news,” he tweeted. “Everyone go back to your homes. Nothing to see here, folks. #Iwasthere”

Read More: Pixar’s Sequel Problem: Studio Tells Audiences Not to Worry About Franchises in Its Slate — Sf International Film Festival

Still, it’s a good story. According to Mike Mozart, who served as a toy consultant on the original film, Pixar’s former head writer Joe Ranft (now deceased) confided in him the tragic backstory of Andy’s dad. The long version can be found in the video below, but here’s the gist of it: Andy’s father, also named Andy, had polio as a child. »

- Michael Nordine

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'Transformers 5' Opens with Franchise Low as 'Wonder Woman' Surpasses 'Batman v Superman' Domestically

25 June 2017 8:27 AM, PDT | Box Office Mojo | See recent BoxOfficeMojo.com news »

Paramount's Transformers: The Last Knight took the #1 spot this weekend as expected, but that opening was the lowest the franchise has seen thus far by a rather significant margin as a lot of attention will now turn toward the film's international run. Meanwhile, WB's Wonder Woman is still tearing up the box office as it has now become the highest grossing release within the DC Extended Universe and it is showing little sign of stopping. Only one of the previous four Transformers features opened on a Wednesday and that was 2011's Transformers: Dark of the Moon, the third feature in the now five-film franchise, and it debuted with $162.6 million over its first five days in release, $97.8 million of that from the three-day weekend. By contrast, Transformers: The Last Knight brought in a mere $69.1 million over its first five days in release, an estimated $45.3 million of which over the three-day weekend. »

- Brad Brevet <mail@boxofficemojo.com>

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‘The Big Sick’ and ‘The Beguiled’ Set Records at Indie Box Office

22 hours ago | The Wrap | See recent The Wrap news »

This past January, Kumail Nanjiani and Emily Gordon wowed Sundance audiences with their romantic comedy “The Big Sick,” and at Cannes, Sofia Coppola made history by becoming the first woman to win the festival’s Best Director prize for her remake of “The Beguiled.” Now, both films have finally arrived in theaters with Los Angeles/New York limited releases this weekend, and the results have been stellar. “The Big Sick” grossed an estimated $435,000 from five screens, giving it the best per screen average of the year so far with $87,000 per screen. “The Beguiled,” also performed very well with $240,545 from four screens. »

- Jeremy Fuster

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‘Feud’ Stars Susan Sarandon, Jessica Lange on Plight of Hollywood Women: ‘We Were Aged Out’

24 June 2017 4:35 PM, PDT | The Wrap | See recent The Wrap news »

This story about “Feud: Bette and Joan” first appeared in the Miniseries/Movies issue of TheWrap Emmy magazine. There’s a line that pops up several times in the limited run of “Feud: Bette and Joan,” and repetition does not make its sentiment any less true: “Feuds aren’t about hate, they’re about pain.” Ryan Murphy’s latest FX franchise digs deep into the mutually-inflicted wounds of show business icons Joan Crawford and Bette Davis, and the corporate and societal machinery that pitted them against each other. Murphy’s frequent leading lady Jessica Lange plays Crawford, and Susan Sarandon »

- Matt Donnelly

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‘Spider-Man: Homecoming’ First Reactions: ‘Total Home Run’

23 June 2017 8:00 PM, PDT | The Wrap | See recent The Wrap news »

Spider-Man: Homecoming” won’t have any trouble getting a date to the big dance: Early reactions hit the internet on Friday evening, and many in the superhero film press are deeply enmeshed in its charming web. “#SpiderManHomecoming gets it right. It’s gets it All right. It is the greatest, funniest, most exciting Spidey movie. A total home run,” tweeted Cinemablend’s Sean O’Connell after a New York City media screening. #SpiderManHomecoming gets it right. It's gets it All right. It is the greatest, funniest, most exciting Spidey movie. A total home run. — Sean O'Connell (@Sean_OConnell) June 24, 2017 Film critic Mike Ryan from Uproxx. »

- Umberto Gonzalez

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Trailer Watch: Women Directors Step in Front of the Camera in “Seeing Is Believing”

23 June 2017 12:01 PM, PDT | Women and Hollywood | See recent Women and Hollywood news »

Deborah Riley Draper in “Seeing Is Believing: Women Direct”: Cady McClain

“I’m not afraid to say, ‘I don’t know,’” says Leslie Hope, director of TV and docs, in a trailer for “Seeing Is Believing: Women Direct.” “I’m also not afraid to say, ‘This is what I want…Can you please make it the way I want? Because, by the way, I’m the director.’” Hope is one of the characters featured in Cady McClain’s upcoming documentary, which turns the camera on female filmmakers and interviews them about their career experiences, their goals, and the roadblocks they have encountered as women in the film industry.

The full feature doc version of “Seeing Is Believing” made its world premiere at the Soho Film Festival on June 19 and took home the Audience Award. McClain’s project, which was partially a crowdfunding effort, has been presented in many forms. In addition to the feature documentary version, the subjects’ commentary has been developed as a limited series and as individual interviews. McClain and her team are also writing a book from their conversations with directors like Hope (“Murdoch Mysteries”), Deborah Riley Draper (“Olympic Pride, American Prejudice”), Lesli Linka Glatter (“Homeland”), Marianna Palka (“Bitch”), Sarah Gavron (“Suffragette”), and Meera Menon (“Equity”).

“I am really excited about the audience reaction to this piece and thrilled that we just won the Audience Award at the Soho Film Festival. Viewers of the piece always tell me that they are inspired after watching it, which to me is a major win,” McClain told us. “The statistics and stories of how women are silenced are too many, and it makes me really happy to give something to them that will help them feel there is a way forward, and that there is hope.”

McClain’s other directing credits include episodes of “Suzy F*cking Homemaker” and “Venice the Series” as well as short films “Flip Fantasia” and “The World of Albert Fuh.”

Check out the “Seeing Is Believing” website for a full list of the women interviewed for the project as well as “some good guys” who are vocally supportive of their female colleagues. You can watch the trailer below.


Trailer Watch: Women Directors Step in Front of the Camera in “Seeing Is Believing” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »

- Rachel Montpelier

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Box Office: ‘Transformers: The Last Knight’ Assembles $37.5 Million in Three Days’ Time

24 June 2017 8:30 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Transformers: The Last Knight” had a slightly unconventional Wednesday night opening this week, but its Friday numbers aren’t anything for the Autobots to actually write Cybertron about.

Despite its franchise-low opening, the fifth film in the “Transformers” saga is expected to easily win the first official weekend of summer 2017, while “Wonder Woman” and “Cars 3” will be in a tight race for second place.

Transformers 5” had already pulled in $23.7 million from Wednesday and Thursday showings going into the weekend, but Michael Bay can now add another $13.8 million from 4,069 theaters to his total. This brings the Mark Wahlberg, Josh Duhamel, and Stanley Tucci vehicle from Paramount to just over $40 million so far, with an expected $64 million domestic cume by Sunday’s end for the 5-day.


As ‘Wonder Woman’ Soars, Movies Starring Men Fail to Connect at Box Office

Wonder Woman” continues to prove impenetrable as Patty JenkinsDC Comics adaptation lassoed another $7.35 million on Friday »

- JD Knapp

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‘The Leftovers’ & ‘Fargo’ Star Carrie Coon Joins Steve McQueen’s ‘Widows’

23 June 2017 9:30 AM, PDT | The Playlist | See recent The Playlist news »

Carrie Coon has made quite a name for herself on the small screen recently. Her roles in “Fargo” and “The Leftovers” are putting her in the Emmy discussion. Now, it seems, she’s ready to make that transition to the big screen, and she’s signed up for her next big film. According to The Hollywood Reporter, Coon will soon begin production on “Widows.”

Widows” is based on the 1980’s British TV series about a group of armed robbers who are killed during a heist attempt.

Continue reading ‘The Leftovers’ & ‘Fargo’ Star Carrie Coon Joins Steve McQueen’s ‘Widows’ at The Playlist. »

- Charles Dean

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'All Eyez on Me' Prompts Journalist to Admit Having "Embellished" Tupac Articles

23 June 2017 12:03 PM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

Journalists are supposed to be factual. Then again, copyright law doesn't protect the naked recitation of historical facts. Alas, a quandry showcased in a new lawsuit against Lionsgate, Morgan Creek and others associated with All Eyez on Me, the biopic about the late rapper, Tupac Shakur.

In a complaint filed on Friday in New York federal court, Kevin Powell claims the movie infringes upon several of his articles for Vibe Magazine published in the 1990s. But again, if Shakur's life events are in the public domain, how does a journalist possibly get around copyright limitations to sue filmmakers who tread similar »

- Eriq Gardner

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Edgar Wright Gives a Very Diplomatic Answer for Why He Left Ant-Man

24 June 2017 7:45 AM, PDT | Vulture | See recent Vulture news »

What could’ve been. »

- Devon Ivie

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Marvel’s ‘Inhumans’ Fall Premiere Date, New Posters Revealed

30 minutes ago | Collider.com | See recent Collider.com news »

ABC has released the premiere date(s) for its Inhumans series, and already there are problems. As we already knew, the series' premiere will debut in IMAX first, on September 1st, for two weeks. One new poster for the show also suggests that it will air (two back-to-back episodes) on Friday, September 21st ... but a press release from ABC today says it will be Friday, September 29th. A second poster then confirmed the September 29th date. Stay tuned! These are just a few of the dark omens for this show, the most telling one being that it is … »

- Allison Keene

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Ridley Scott’s ‘All the Money in the World’ Sold to Lucky Red for Italy

38 minutes ago | Variety - Film News | See recent Variety - Film News news »

Rome — Italy’s Lucky Red has acquired Italian rights to Ridley Scott-directed kidnap drama “All The Money in the World” from Stx in the first announced sale of the hotly anticipated kidnapping thriller about the true 1973 abduction for ransom of J. Paul Getty III.

The potentially harrowing crime drama, which is currently shooting in Rome, stars Kevin Spacey as oil billionaire J. Paul Getty, who was reluctant to pay the ransom demanded by Italian kidnappers for his grandson; Michelle Williams as Gail Harris, the kidnapped teenager’s mother; Mark Wahlberg as the ex-cia negotiator brought on board to help negotiate; and rising star Charlie Plummer in the role of J. Paul Getty III (pictured after his release) whose ear was cut off to coerce the family into paying.

In one of the standout deals of the Cannes market Stx in May took international rights to the potentially harrowing crime drama produced by Imperative Entertainment and Scott-Free »

- Nick Vivarelli

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‘Silicon Valley’: T.J. Miller Appears to Despise Producer Alec Berg and Will Never Return to the Show

39 minutes ago | Indiewire | See recent Indiewire news »

Silicon Valley” Season 4 came to its conclusion last night on HBO, and with it came the end of an era for Erlich Bachman. The notorious investor played by T.J. Miller had been one of the most popular and quotable characters on the Mike Judge-created comedy series, and he said his final goodbye as the series left Bachman stoned out of his mind in an opium den in Tibet. Miller was an iconic presence on the series, and the announcement of his departure last month came as a huge surprise for fans. Many were left wondering what exactly caused Miller to leave the series, and he finally teased why in a wide-ranging exit interview with The Hollywood Reporter

Read More: How ‘Silicon Valley’ Swapped Its Hero and Its Villain And Saved the Show’s Future

One point Miller kept returning to throughout the interview was his complete dislike of executive producer Alec Berg. »

- Zack Sharf

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Watch: Colin Trevorrow on Making the Move from ‘Jurassic World’ to ‘The Book of Henry’

45 minutes ago | Collider.com | See recent Collider.com news »

Director Colin Trevorrow is amassing a pretty diverse resume making the move from his feature directorial debut, the independent comedy Safety Not Guaranteed, to the box office juggernaut Jurassic World, and that trend is only going to continue with Star Wars: Episode XI when it opens on May 24, 2019. But first, he's got The Book of Henry in theaters right now. This one brings Trevorrow back to a smaller, more intimate production. It stars Naomi Watts as the mother of two young boys, one of which is incredibly smart for his age and supports the family in ways … »

- Perri Nemiroff

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Jack Black Comedy ‘The Polka King’ Lands at Netflix

45 minutes ago | Variety - Film News | See recent Variety - Film News news »

Netflix has picked up global rights to Jack Black’s comedy “The Polka King” and plans to launch the film later this year.

The Polka King” premiered at the Sundance Film Festival in January. Maya Forbes directed the film from a script she wrote with Wally Wolodarsky.

Jenny Slate, Jason Schwartzman, Jacki Weaver, J.B. Smoove, and Vanessa Bayer also star in the story of local Pennsylvania polka legend Jan Lewan. The movie is based on the Joshua Brown and John Mikulak documentary, “The Man Who Would be Polka King,” which detailed Lewan’s rise and fall after persuading fans to invest in a Ponzi scheme, which landed him in jail.

Producers are David Permut, Stuart Cornfeld, Shivani Rawat, Monica Levinson, Wally Wolodarsky, Jack Black and Priyanka Mattoo. Production companies are ShivHans Pictures, Red Hour Film, Permut Presentations, and Electric Dynamite.

Dennis Harvey gave “The Polka King” a strong review at Sundance: “One of those conspicuously talented comics »

- Dave McNary

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Sundance Jack Black Comedy ‘The Polka King’ Acquired By Netflix

45 minutes ago | Deadline | See recent Deadline news »

Netflix has taken global rights to Maya Forbes and Wally Wolodarsky’s comedy biopic The Polka King starring Jack Black as local Pennsylvania polka legend Jan Lewan. Deadline hears that Netflix paid seven figures for the movie, which premiered at the Sundance Film Festival back in January. A deal has been in the works since the movie premiered at Sundance. A streaming date has not been determined yet, but Polka King will hit Netflix before the end of this year. No word on… »

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Don't get cocky, kid: why Star Wars' Han Solo movie needs a safe pair of hands

50 minutes ago | The Guardian - Film News | See recent The Guardian - Film News news »

Lucasfilm’s controversial decision to fire the maverick directors of The Lego Movie and replace them with industry veteran Ron Howard may turn out to be the best thing Star Wars fans could wish for

We have no specific term, in film criticism, for the auteur producer. The French came up with the auteur concept, later amplified by the American critic Andrew Sarris, in the 1940s to specifically describe directors who maintained artistic control of their own films – in contrast to the general practices within the Hollywood studio system of the time. The term implicitly hints that a movie’s artistic credibility suffers when the director is sidelined: it becomes bland and impotent, like a soufflé that has failed to rise. But what happens when the producer of a movie is as artistically determined and laudable in endeavour, if not more so, than the person in charge of the cameras? »

- Ben Child

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