Thirty-five years later the Oscar-nominated production design by Lawrence G. Paull, David L. Snyder and Linda DeScenna in 1982’s Blade Runner is still considered marvelous, so how do you top that in the film’s sequel? Oscar-winning cinematic architect Dennis Gassner was entrusted with that responsibility of jumping the Los Angeles skyline in that movie (set in 2019) 30 years forward to Blade Runner 2049. In our latest Crew Call podcast, Gassner describes the “brutality…
The posters started appearing in Los Angeles after Streep issued a public statement denying ever hearing about Weinstein’s alleged harassment and abuse.
Catt Sadler explained Tuesday why she left E Entertainment Television, citing a “massive disparity in pay” with her unnamed “male co-host.”
In a statement on her official website, she wrote: “There was a massive disparity in pay between my similarly situated male co-host and myself. More recently, when E reached out to renew and extend my deal, I learned that he wasn’t just making a little more than I was. In fact, he was making close to double my salary for the past several years.”
Sadler appeared to be referring to her “E! News” and “E! News Weekend” co-host Jason Kennedy.
In her statement, Sadler said she and her team repeatedly “asked for what I know I deserve,” but were denied each time. Citing a “close friend and colleague” who started at the network the same time she did, Sadler said “how can I operate with integrity and stay on at E if they’re not willing to pay me the same as him? Or at least come close?”
“How can I accept an offer that shows they do not value my contributions and paralleled dedication all these years? How,” she continued, “can I not echo the actions of my heroes and stand for what is right no matter what the cost? How can I remain silent when my rights under the law have been violated?”
Sadler also cited “countless brave women” who “have come forward this year to speak their truth,” adding “How can we make it better for the next generation of girls if we do not stand for what is fair and just today?”
Sadler announced her exit from E! on Monday; she joined the network in 2010. In addition to “E! News,” she also hosted several of E!’s “Live From the Red Carpet” shows, and was one of three hosts on the daytime talk show “Daily Pop,” which launched in May.
“We wish Catt Sadler all the best in her endeavors following her decision to leave ‘E! News,” the network said in a statement Monday confirming her departure.
Read her full statement.
WHY I LEFT E ENTERTAINMENT TELEVISION
I know first hand that dreams do come true. For the past twelve years, I’ve been living mine out loud as one of the hosts on E television. For more than a decade I’ve walked through the doors at E and traveled into people’s living rooms around the world. I’ve reported from a royal wedding, the Olympics, and the Oscars. I’ve been to film festivals in France, movie premieres in Rio, and fashion week in Paris. I’ve gotten chased by the paparazzi on camera while shopping with Kris Jenner, co-hosted shows with Khloe, Kim and Kourtney, and interviewed Kendall and Kylie back in those early Keeping Up days when no one could remember their names. It has been unpredictable, intoxicating, rewarding and hard work. Five days a week since February 2006. First, for The Daily 10 and later for E News.
Then, this year happened. Daily Pop was born. I was named host which meant double duty. Hosting a live, two-hour daytime show while also hosting E News most nights. It was creatively challenging but genuinely one of the most fulfilling years of my professional career. Coincidentally, around this same time an executive from E brought something alarming to my attention — namely, that there was a massive disparity in pay between my similarly situated male co-host and myself. More recently, when E reached out to renew and extend my deal, I learned that he wasn’t just making a little more than I was. In fact, he was making close to double my salary for the past several years.
Information is power. Or it should be. We are living in a new era. The gender pay gap is shrinking, although admittedly we have a long way to go. And well, I learned this first hand. My team and I asked for what I know I deserve and were denied repeatedly.
Know your worth. I have two decades experience in broadcasting and started at the network the very same year as my close friend and colleague that I adore. I so lovingly refer to him as my “tv husband” and I mean it. But how can I operate with integrity and stay on at E if they’re not willing to pay me the same as him? Or at least come close? How can I accept an offer that shows they do not value my contributions and paralleled dedication all these years? How can I not echo the actions of my heroes and stand for what is right no matter what the cost? How can I remain silent when my rights under the law have been violated?
It’s scary. I am a single mother of two boys. The unknown can be terrifying, but it can also be the most beautiful gift. Countless brave women have come forward this year to speak their truth. Females refuse to remain silent on issues that matter most because without our voices, how will we invoke lasting change? How can we make it better for the next generation of girls if we do not stand for what is fair and just today?
It was my desire to stay at my job. To continue entertaining our loyal viewers around the world. To keep working alongside some of the best writers, directors, and producers in the game. Everyone from the studio crew, hair and makeup artists, to the security at the front door are true friends of mine. They have been my work family and I love them dearly. Unfortunately, however, my decision was made for me and I must go.
I will find more work. I will create content with meaning. I will continue to pursue my passions while making my children proud. The way I see it, I have an obligation to be an agent for change.
It was important for me to explain my departure. I did not want to disappear from your television screens and have you wonder why. Thank you for your precious time all these years. Thank you for the support. Thank you for the constant exchange of ideas on social media as well. This chapter is over and a new one begins.
Big big love,
Movie goers are seeing a new, grown up Jamie Bell in “Film Stars Don’t Die In Liverpool” — and we like it.
The world first met Bell as the breakout star of “Billy Elliot,” playing a kid from the industrial northeast of England similar to his real-life upbringing. Over the past 17 years, the British actor has played everything from superheroes to art house darlings to move on from the ballet-dancing boy wonder.
“It’s taken basically until this movie for that to happen. It’s taken 17 years,” Bell told TheWrap’s Sharon Waxman at a screening of his latest film. “It’s tough-going to convince people that you are changing and you are growing and you are not this thing. You have to try and remove the idea that you’re something more than this kid, this thing they remember so intensely.”
Now Bell is returning to his northern roots for “Liverpool,” but this time with a classic Hollywood twist.
Speaking at the Landmark Theatres in Los Angeles Monday night, Bell recalled being 14 years old after “Billy Elliot” was completed and telling his manager he wanted to be an actor. Her advice made him realize just how much growing he still had to do.
“She said, ‘Well, you know nothing. About acting, about films. So go watch this movie, this director, go watch these actors,” Bell said. “I was at the Oscars on Sunday, back in math class in Wednesday.”
“Film Stars Don’t Die In Liverpool” could be the first mature role for the 31-year-old actor. He stars opposite Annette Bening as classic Hollywood film star and sex icon Gloria Grahame, in which the two spark a romance during Grahame’s twilight years. It’s a sobering performance by Bell portraying Peter Turner, another struggling actor trying to be more than just Grahame’s handsome boy toy.
The film is based on Turner’s own memoir, drifting between summer flings in Hollywood and Turner caring for Grahame at his home in Liverpool, with director Paul McGuigan staging lush, colorful transitions that seamlessly whisk you between time and place.
“What I love about this film more than anything is how it depicts memory,” Bell said. “It’s so fluid and so untrustworthy, and the triggers of it are so surreal, sensory, and you can be doing something so abstract and taken to another place in your mind.”
But fittingly, “Film Stars” is a movie about feeling young at heart and never giving up on your passion. It even has a quick moment of Bell reliving his glory days and dancing on screen for the first time in years.
“Gloria Grahame was so in love with acting that she was willing to chase it down a rabbit hole,” Bell said. “She wouldn’t give it up. She couldn’t give it up. She had nothing else. I empathize with her. I’ve never done any other job other than this job my entire life. I’d be screwed totally if I didn’t have this.”
Cliff Robertson, “PT 109” (1963)
Oscar winner Cliff Robertson (“Charly” and “Spider-Man” 1 and 2) portrayed JFK during his military years as a U.S. Navy officer in command of Motor Torpedo Boat PT-109 touring the waters of the Pacific amidst World War II.
William Devane, “The Missiles of October” (1974)
Devane (“Knots Landing,” “24”) portrayed JFK in this made-for-TV offering, which depicted the drama in the 1962 White House while the President’s administration decided the best course of action during the Cuban Missile Crisis.
Martin Sheen, “Kennedy” (1983)
Jed Bartlet on “The West Wing” wasn’t the only Democratic president Sheen has portrayed on screen. In 1983, he played JFK in the miniseries “Kennedy.” Nine years earlier he played “Jack’s” younger brother Robert opposite William Devane in “The Missiles of October.”
Steven Weber, “The Kennedys of Massachusetts” (1990)
The “13 Reasons Why” star played a young JFK in the ABC miniseries, which focused on the 54-year marriage on the family patriarch and matriarch, Joseph and Rose, the expanding of their family and Joseph’s wandering eye.
Stephen Collins, “A Woman Named Jackie” (1991)
Long before his stint as Rev. Eric Camden on “7th Heaven” (1996-2007), and even before he beguiled a young Keri Russell in “The Babysitter’s Seduction,” the actor played Kennedy. Collins did so opposite Roma Downey as Jackie Kennedy in the TV miniseries that focused on the FLOTUS.
Patrick Dempsey, “JFK: Reckless Youth” (1993)
Believe it or not, Dempsey had other roles before he became McDreamy on “Grey’s Anatomy.” This includes his performance as America’s dreamiest Commander-in-Chief during his early years before the presidency in this two-part TV miniseries, which aired on ABC.
Jed Gillin, “Forrest Gump” (1994)
Audiences didn’t see the actor in Robert Zemeckis’ Oscar-winning drama, but they did hear his voice when Gump (Tom Hanks) met the president at the White House after drinking 15 bottles of Dr Pepper. The picture features Gillin on film before the John F. Kennedy’s head was superimposed.
Bruce Greenwood, “Thirteen Days” (2000)
This Cuban Missile Crisis drama also starred Kevin Costner as Kenny O’Donnell, a top aide to JFK and the movie’s protagonist.
Tim Matheson, “Jackie Bouvier Kennedy Onassis” (2000)
The “Animal House” star played Kennedy in the TV movie starring Joanne Whalley as his First Lady, a woman of many names and facets, as the title implies.
Brett Stimely, “Watchmen” (2009)
The actor makes a quick appearance as Kennedy when the White House extends its thanks to Dr. Manhattan (Billy Crudup) for quickly ending the Vietnam War in Zack Snyder’s superhero movie. Stimely also made brief appearances as the same president in “Transformers: Dark of the Moon” and “Parkland.”
Greg Kinnear, “The Kennedys” (2011)
Kinnear played JFK opposite Katie Holmes as Jackie Kennedy and Barry Pepper as Bobby Kennedy on the eight-episode miniseries that aired on Reelz Channel. The piece went on to win four Primetime Emmys.
James Marsden, “The Butler” (2013)
The “X-Men” actor played one of the many powerful Commander-in-Chiefs in Lee Daniels’ civil-rights movement drama. The film centered on a White House butler who served eight presidents over the course of his career.
Rob Lowe, “Killing Kennedy” (2013)
The former “Parks and Recreation” star played the title role in Nat Geo’s adaptation of the nonfiction best-seller by Bill O’Reilly and Martin Dugard.
Caspar Phillipson, “Jackie” (2016)
The Danish actor who is most noted for his work in theater, played JFK in the critically acclaimed feature film that starred Natalie Portman as the First Lady during her husband’s presidency and immediately following his assassination.
Jeffrey Donovan, “LBJ” (2017)
The actor best known for the TV series “Burn Notice” will be seen as JFK in the upcoming Rob Reiner-directed film “LBJ,” starring Woody Harrelson as Vice President Lyndon Johnson, who stepped into the role of commander-in-chief after Kennedy’s assassination. “LBJ” will be in theaters Nov. 10.
My new Deadline video series Behind The Lens goes on location this week to the historic Hollywood Roosevelt Hotel, home of the first Oscars and so much movie lore. It is entirely appropriate, since my guest for this session is actor/director/writer/ and Knight, Sir Kenneth Branagh, who shows in all his films a deep love and knowledge of the things that made movies great.
Branagh is one of the very few who has been Oscar-nominated in as many as five different categories…
Bleecker Street has secured U.S. distribution rights to director Michael Noer’s fact-based drama “Papillon” starring Charlie Hunnam and Rami Malek, the company announced Tuesday.
Based on two best-selling memoirs, “Papillon” follows Henri “Papillon” Charrière (Hunnam), a safecracker from the Parisian underworld who is framed for murder and condemned to life in the notorious penal colony on Devil’s Island.
Determined to regain his freedom, he forms an unlikely alliance with quirky convicted counterfeiter Louis Dega (Malek), who agrees to finance Papillon’s
escape in exchange for protection, ultimately resulting in a bond of lasting friendship.
The story inspired a beloved 1973 movie starring Steve McQueen as Papillon and Dustin Hoffman as Dega. The film earned an Oscar nomination for Jerry Goldsmith’s score.
The film had its world premiere at the 2017 Toronto International Film Festival. Producers included Joey McFarland, David Koplan, Ram Bergman and Roger Corbi.
“Michael and the production team have created an epic retelling of Henri
Charrière’s original autobiography,” Bleecker Street CEO Andrew Karpen said in a statement.
Noer added, “I’m so thrilled that Papillon has found a home with
Bleecker Street for distribution. Charlie, Rami and the entire cast have worked so hard to bring a new take on a classic story.”
The actor says there would be “so much better films and so much more interesting stories” if white dudes weren’t running Hollywood.
Eight feature films, a Wes Anderson VR experience and a RuPaul retrospective have been added to the Sundance 2018 lineup, the Sundance Institute announced Tuesday.
RuPul is set to convene a retrospective of VH1’s “RuPaul’s Drag Race” and host a panel with executive producers and Sundance Film Festival veterans Randy Barbato and Fenton Baily, alongside Tom Campbell and SVP of Original Programming for MTV, VH1 and Logo Pamela Post. He will also serve as the NEXT Innovator Award juror and will present the award to his favorite film in the category.
The virtual reality experience, “Isle of Dogs Behind the Scenes (in Virtual Reality),” places the viewer inside the world of Anderson’s upcoming stop-motion film.
“Akicita: The Battle of Standing Rock, “Hereditary,” “Lords of Chaos,” “The Long Dumb Road, “Private Life,” “Sweet Country” and Joaquin Phoenix’s “You Were Never Really Here” join the program lineup.
“Hearts Beat Loud,” which was announced earlier in the Premieres section, is now confirmed as a Closing Night Film.
For the upcoming festival, which will be held in Park City, Utah, from Jan. 18 to Jan. 28, 121 feature-length films were selected, including 30 in competition. 108 feature films showing at the festival will have their world premiere.
Last month, the 2018 festival started coming in to focus. Chloe Sevigny and Kristen Stewart will bring ax-murdering intrigue with the Lizzie Borden drama “Lizzie,” Rupert Everett is stepping up as writer-director on an Oscar Wilde biopic with Academy Award winner Colin Firth; Steven Spielberg documentarian Susan Lacy examines Jane Fonda; and “Get Out’ and “Atlanta” breakout star Lakeith Stanfield will get a leading man turn in films this year.
It wasn’t long ago that history and old movies would have us believe that the settlers of the West were righteous, God-fearing people surrounded by savage, rampaging Native Americans. In reality, the American dream is much darker, with bigotry, lying and killing stretching back to the founding of the country, and before.
Seen in that light, “Hostiles,” Scott Cooper’s mournful meditation on human nature, is more than a revisionist Western; it’s a film that explores the roots of racism and the cost of redemption.
Starting out in 1892 New Mexico, “Hostiles” sets up a stalemate between soldiers and Native Americans who instinctively despise and distrust each other with no hope in sight. Not accidentally, it’s a situation that echoes any number of current standoffs in this country that are locked in place by blind hatred.
The long march from New Mexico to Montana starts when career officer Captain Joseph Blocker (Bale), on the verge of retirement after serving his country for 20 years, is ordered to escort ailing Chief Yellow Hawk (Wes Studi) to his ancestral Cheyenne burial grounds to die in peace. After a lifetime of battling Native Americans, and having many of his men slaughtered by them, it is not an assignment Blocker wants. But it is an order that comes from the top, the President of the United States himself. (Something that wouldn’t happen today.) So to preserve his honorable record and pension, Blocker grudgingly accepts the mission.
It is not long before the slow, sad line of men and indigenous persons on horseback encounters its first killings. A group of renegade Comanche has brutally slaughtered a farmer and his three young children, with only the farmer’s wife Rosalie (Rosamund Pike) making a narrow and suspenseful escape. The grief-stricken widow joins the company for her own safety, and the rest of the film is the story of the calamitous and bloody journey through the heartland of America.
Life in these parts is like moving through a lower rung of hell in that it continues to repeat itself, one death at a time. First the renegade Comanche must be hunted down and wiped out; then Rosalie and Yellow Hawk’s daughter-in-law Elk Woman (Q’orianka Kilcher, “The New World”) are abducted by fur trappers and must be rescued by Blocker and his men, precipitating more violence.
At an Army post pit-stop, the company takes on a prisoner (Ben Foster) to be delivered for court-martial for ax-murdering a family of Native Americans. He is unrepentant, and when he escapes, he proves it: His actions provide the first stirrings of awareness for Blocker. But the death that moves him to tears is that of his friend and longtime sidekick Metz (Rory Cochrane, “Argo”), who can’t take any more killing and goes off on a literal suicide mission.
Blocker is a simple man, on some level a stereotype, who has learned to take orders. It’s his job to kill, and all the killing has hardened him. But beneath the mustache that hides his mouth and feelings is a person of conscience. The beauty of “Hostiles” is that seemingly irredeemable people change, while others don’t.
With deliberate pacing, Cooper (“Black Mass,” “Out of the Furnace”) and editor Tom Cross (“La La Land”) creates the rhythms of broken lives. One isn’t so much swept up as lured in. The low-hanging clouds, rolling hills, sweeping plains, and endless horizon seem to go on forever, and in a sense they do. They give the film a timeless, almost biblical inevitability. And on this neutral canvas, man plays out the follies that all end in the same place, for some sooner than others.
Cooper effectively builds his tale layer upon layer, and cumulatively the chapters create a landscape of sorrow. Shots like the procession of soldiers on horseback are elegantly composed by cinematographer Masanobu Takayanagi (“Spotlight”) without being self-consciously arty. The performances by Bales and Pike are restrained but convincing. And there are subtle changes along the way; as the party gets closer to Montana, the look becomes greener and brighter with more breathing room. The overall effect is powerful: an immersion and, finally, a release from this world. Until some “real” Americans show up, claiming this is their property and that no Indians are going to take it away from them. That this story ends in violence is not surprising.
But under all this darkness there are sparks of human decency and kindness. A bond of grief develops between Blocker and Rosalie that could mean something. And somehow, Rosalie is still a believer. “If I did not have faith,” she says, “what would I have?” It’s a good question.
If Loving You Is Wrong‘s Heather Hemmens has booked a recurring role in Yellowstone starring Kevin Costner, Paramount Network‘s straight-to-series period drama set to premiere in 2018. From Oscar-nominated writer/executive producer Taylor Sheridan (Hell Or High Water, Sicario), Yellowstone follows the Dutton family, led by John Dutton (Costner), who controls the largest contiguous ranch in the United States, under constant attack by those it borders — land developers, an…
After a global opening weekend of $450 million, “Star Wars: The Last Jedi” added $43.8 million on its first Monday and will cross the half-billion mark on Tuesday after just five days in theaters.
Domestically, “The Last Jedi” has posted the third-highest Monday in box office history with $26.1 million, only behind its fellow “Star Wars” installments, “The Force Awakens” ($40 million) and “Rogue One ($32 million). It should be noted that more kids were on Christmas vacation when those two films came out, as “The Last Jedi” opened with 31 percent of schoolkids on break compared to 77 percent for “The Force Awakens.” Overseas, the film took in $22.3 million on Monday to bring its total to $253 million. The U.K. has been the film’s biggest market with $41.7 million, followed by Germany with $25.4 million, and France with $20.7 million. The film will be released in China on Jan. 5.
Despite not being released in China, “The Last Jedi” posted the fifth highest global opening of all-time, sitting behind “The Fate of the Furious” ($541 million), “The Force Awakens” ($529 million), “Jurassic World” ($525 million), and “Harry Potter and the Deathly Hallows, Part 2” ($483 million). The film is expected to cross the $1 billion mark worldwide by the end of its third weekend. “The Force Awakens” hit that milestone after 12 days in theaters, a box office record.
“The Last Jedi” is expected to easily stay No. 1 at the box office over Christmas weekend with a second weekend total of over $100 million despite over half a dozen new films entering theaters in wide and limited release, with each of the major Hollywood studios aside from Disney entering a new film into cinemas. Sony’s “Jumanji: Welcome To The Jungle” and Fox’s “The Greatest Showman” will enter on Wednesday, followed by Universal’s “Pitch Perfect 3,” Warner Bros.’ “Father Figures,” and Paramount’s “Downsizing” on Friday.
The Art Directors Guild said today that Oscar-nominated writer-directors Ron Clements and John Musker will receive its 2018 William Cameron Menzies Award.
The award recognizes the filmmaking partners’ innovative artistic work on numerous Disney animated movies of the past 30 years including Moana, The Princess and the Frog, Treasure Island, Hercules, Aladdin, The Little Mermaid and The Great Mouse Detective. They will accept their hardware January 27 during the 22nd…
The cable outlet’s announcement follows Saturday’s news that revered Nevins will step down in March 2018.
Nancy Abraham and Lisa Heller have been named co-heads of HBO Documentary and Family Programming, HBO programming president Casey Bloys announced Tuesday.
The news follows Monday’s official announcement Sheila Nevins will be stepping down from her post as the long-running president of HBO Documentary and Family Programming early next year.
“With Nancy and Lisa leading a stellar team, there will be a continued commitment to the excellence that was a hallmark of Sheila’s tenure,” Bloys said in a press release. “Our viewers can look forward to a compelling slate of programming.”
Nevins revealed the news of her exit in an in-depth interview with Maureen Dowd that went live on Saturday.
“There’s something exciting about leaving a job. I can’t explain it. I have deprived my life of a life. All I did was work. I was, like, born at HBO and I don’t have to die there,” Nevins told Dowd. “If I stayed any longer, I probably would have died at my desk. I just regret that there’s so little time left.”
The exec has helmed the network’s documentary division since 1979 and acted as president since 2004. In the time that Nevins has been running the show, HBO has won 26 Oscars, the most recent being for 2015’s “A Girl in the River: The Price of Forgiveness.”
Abraham and Heller, who will be taking on the roles of executive vice presidents, are both currently senior vice presidents in the division, tackling development, production and acquisition for HBO Documentary and Family programming.
Abraham has been with the HBO department since 1995 and was promoted to vice president in 1998. She became a senior VP in 2009. Abraham has been programming executive for projects like “Bright Lights: Starring Carrie Fisher and Debbie Reynolds,” “Cries from Syria,” “Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper,” “Life According to Sam,” “Six by Sondheim,” “The Loving Story,” “Ethel” and “Paradise Lost 3: Purgatory.”
Heller moved into HBO’s documentary division in 2000 from her role as executive producer for the PBS documentary series “POV.” She was promoted to vice president in 2001 and became senior vice president in 2012. Heller has taken point as programming exec on “Born into Brothels,” “Capturing the Friedmans,” “Everything Is Copy – Nora Ephron: Scripted & Unscripted,” “Spielberg,” “The Black List,” “The Words That Built America” and the series “The Jinx: The Life and Deaths of Robert Durst,” and family programs like “Sesame Street.”
“All the Money in the World” reminds us all, woe be the person who holds a powerful man’s beloved hostage. By which I mean Ridley Scott’s decision to replace Kevin Spacey as J. Paul Getty with Christopher Plummer, so that his movie about the 1973 kidnapping of Getty’s grandson could see the light of day — or the dark of multiplex, as it were — without an alleged sexual assaulter’s stigma gumming up the work.
(A competing Hollywood version of the saga is set to air on FX in January, so Scott surely wanted to make his juicy release date, too.)
Was the scrambling, intensity, and hoopla involved in replacing one Oscar winner for another — nine days of shooting while you were buying, prepping and eating Thanksgiving turkey — worth it? Absolutely, because not only was the visionary director’s continent-spanning movie clearly good to begin with, the 88-year-old Plummer’s Getty is now an indelible portrait of corrosive greed, the kind that can only view the challenges of the world, and within the oil tycoon’s own family, in terms of balance-sheet winners and losers.
As today’s tax-bill headlines deepen the sense that oblivious, wealth-obsessed old men are holding progress in captivity, “All the Money in the World” (and its unprecedented late infusion of talent capital in the form of Plummer) makes a valid case to be the movie of this miserly moment.
John Paul Getty III (Charlie Plummer, no relation to his onscreen grandfather) was a long-haired, easygoing teenager in Italy living with his single mother Abigail (Michele Williams) — long divorced from the elder Getty’s son Paul (Andrew Buchan, “Broadchurch”) — when a nightly stroll among Rome’s revelers and prostitutes ends with his being snatched off the streets. (As an opening sequence, it’s a killer, shot like beautiful lost footage from “Fellini Roma” that ends with a moment out of a ’70s international terrorist drama.)
His captors are a Calabrian gang led by scruffy Cinquanta (Romain Duris, “The New Girlfriend”), whose ransom call to mom for $17 million sends her to England, and the sumptuous, chilly estate of the ex-father-in-law she thought she’d never have to deal with again, to ask that he pay it. But as efficiently established by a whirlwind series of intercut background scenes that detail Getty’s shrewd accumulation of wealth (oil in the Middle East), skinflintiness (hand-washing his shorts to avoid tipping a hotel’s staff), and cold views of family (a money-draining nuisance or simply property), parting with cash is a greater hardship than an endangered descendant. Getty refuses to pay up, preferring instead to hire Fletcher Chace (Mark Wahlberg), an ex-CIA negotiator in his employ, to root out the kidnappers, ideally within a reasonable expense budget.
So plays out in David Scarpa’s tight screenplay a morally queasy scenario in which the shadow of conscience-less affluence puts a young man’s life in bloody jeopardy as it also opens the eyes of some to the limits of that privilege. Williams is as good as ever, sporting a quivering mid-Atlantic accent and coiled body language; she makes achingly clear who she considers the real antagonist in her efforts to free her son. (Williams’ reaction after trying to sell one of Getty’s ancient trinkets to raise money is, pardon the pun, priceless in its moment of absurd clarity.)
Wahlberg is solid, too, making his shift in perception about his stingy boss a subtle furrowing around the eyes before delivering the screed we need to Getty’s face at the appropriate moment. The great French actor Duris has a tough role, but handles it with aplomb: the abductor turned father figure, who increasingly sees his captive as less a cash cow than an emotional victim worth protecting. The young Plummer, meanwhile, always looks appropriately stricken and confused by a predicament he didn’t think would take so long.
Scott whips it all into shape: the tense action involving the kidnappers, the investigation’s twists, the maddening campaign to give Getty a financial incentive in freeing his grandson, and the emotional toll it takes on everyone (Getty included). The parallels to “Citizen Kane” are certainly evident in the movie’s depiction of an eccentric recluse’s rabid obsession with collecting; for Getty, objects, which don’t change, take precedence to people, who only disappoint. And Plummer gives this side of the portrayal the mean, doddering heft of Welles mixed with Lear.
But Scott has also made a worthy successor to Akira Kurosawa’s “High and Low” in imbuing a ransom saga about the divide between rich and poor with a historically relevant, moral weight. Needless to say it’s an exquisitely handsome film, too. Forever painterly about color and camera angle, Scott, with cinematographer Dariusz Wolski (“The Walk”), captures the stony patrician air of the Getty estate in England and the hot, teeming world of southern Italy like opposing forces of staleness and movement.
“What would it take for you to feel secure?” a character asks Getty at one point, rhetorically and sarcastically. But the petty billionaire has an answer: “More.” Ridley Scott, father of the “Alien” franchise, knows from soul-sucking baddies. But in “All the Money in the World” he’s also made the ultimate companion piece to all our superhero epics: a supervillain one.
Benicio del Toro and Josh Brolin are back to take down the drug cartels in the first trailer for “Sicario 2: Soldado,” directed by Stefano Sollima.
“You wanna see this thing through? I’m going to have to get dirty,” Brolin’s character, CIA agent Matt Graver says in the trailer. “No rules this time.”
After discovering that drug cartels are now smuggling terrorists across the U.S. border, Graver and former undercover operative Alejandro (del Toro) must stop the problem.
Jeffrey Donovan, Manuel Garcia-Rulfo, Isabela Moner, Catherine Kenner and Matthew Modine also star. Taylor Sheridan wrote the screenplay.
Last year, news broke that Emily Blunt would not star in the upcoming sequel to “Sicario” titled “Soldado.” Sheridan told TheWrap, “that was my decision, and at some point I’m going to have to talk to her about it. Her arc was complete … I couldn’t figure out a way to write a character that would do her talent justice.”
“Sicario” was nominated for Best Cinematography, Best Original Score and Best Sound Editing at the 2015 Oscars and grossed $84.9 million at the worldwide box office.
“Sicario 2: Soldado” will hit hit theaters on June 29, 2018.
Watch the trailer above.
IndieWire’s extensive year-end poll found overwhelming support for a handful of movies in major categories, but also singled out some of the less prominent titles worthy of celebration at the end of the year.
An original draft of Disney’s live-action “Beauty and the Beast” included a window for a sequel to the worldwide billion-dollar box office hit.
The screenwriters and producer of the lush Bill Condon fairytale said an earlier script did not deal Luke Evans’ homme fatale Gaston the grim fate he got — but left the door open for another film.
“The idea was not that he died in the end, but the enchantress would come and he would be cursed as the new beast,” Evan Spiliotopoulos, who along with Stephen Chbosky wrote the script, said at a Q&A for TheWrap’s Awards Screening Series in Los Angeles on Thursday.
The enchantress would be the same one who turned Dan Stevens’ elitist, shallow prince into a cloven-hoofed monster for not giving her shelter in his humongous palace during a storm.
Spiliotopoulos said talks went very far for Evans’ character to “run off into the world as the new beast, whether to be redeemed or come back as a villain.”
The studio reversed course on the decision in the “eleventh hour,” Spiliotopoulos said, to stick with the more traditional story.
Here are two other “Beauty and the Beast” secret we learned:
From Left: TheWrap’s Matt Donnelly, writers Stephen Chbosky and Evan Spiliotopoulos, producer David Hoberman
In the new version, Gaston Suffers From PTSD
Spiliotopoulos anchored his characters in a deep historical reality (the animated classic wasn’t that far off either, considering). “Beast” takes place at the turn of the 19th Century, Spiliotopoulos said, and Evans’ soldier Gaston has just returned from battle a different man than when he left.
“This is the end of the 100 years war, so Gaston was a soldier. Female illiteracy is at 80 percent, so Belle is teaching girls to read. Once you ground them and make them part of a historical context it grounds it in reality,” Spiliotopoulos said.
“For a Disney villain that’s pretty high brow,” chimed in Chbosky, who wrote a second draft.
Belle Entered the 21st Century Thanks to Daughter-Dad Movie Nights
Chbosky had been off the grid dealing with a family medical issue for eight months when the call came to write for the project.
“When I took on the project, my wife’s father had a stroke and went to New Jersey to get him on his feet. He’s great now, which is great, but I was off the gird for eight months not really working. In those eight months, I watched all these princess moves with my daughter,” he said.
“When I saw them through her eyes and her experience, it became very profound and personal to me. I realized how powerful these role models were, how she wanted to be like Belle and dress like Ariel,” he continued.
Chbosky was most proud of evolving Belle’s instincts.
“I tried to give my daughter advice. If a beast kidnaps you, maybe don’t cry. Try to escape. Also something David and Bill Condon let me do, I so wanted her to escape by ripping up a dress [to use as a rope],” he said.
“Beauty and the Beast” is proving an awards player this year, with four Critic’s Choice Award nominations. Two original songs from the film, “Evermore” and Celine Dion’s “How Does a Moment Last Forever,” are also on the shortlist in the Best Original Song Oscar race.
Disney has unveiled its lavish, magical first teaser trailer for “The Nutcracker and the Four Realms,” based on E.T.A. Hoffman’s classic “Nutcracker” Christmas tale.
Mackenzie Foy stars as Clara, a girl who receives the titular Nutcracker toy and is asked to take special care of it.
The film also stars ABT ballerina Misty Copeland — who is barely seen in the teaser footage — as well as Morgan Freeman as the inventor Drosselmeyer and Keira Knightley as the Sugar Plum Fairy. Helen Mirren and Eugenio Derbez also appear.
In the trailer, Clara finds a key that unlocks a parallel world. When the key disappears, she must find it in the Fourth Realm, home to the tyrant Mother Ginger (Mirren), to restore peace and harmony in her own world.
“The Nutcracker” has been a popular ballet since it was adapted to the stage in 1892, which was based on Hoffman’s classic story.
Last week, the studio announced it was planning a massive 32 days of additional photography on the ballet-inspired fantasy movie, bringing in “Captain America: The First Avenger” director Joe Johnston instead of original filmmaker Lasse Hallstrom.
The studio said Hallstrom was unavailable due to scheduling issues — though he has no other projected publicly lined up — but he will be involved with postproduction.
Mark Gordon is the project’s producer and Lindy Goldstein is executive producing. Oscar-winning screenwriter Tom McCarthy (“Spotlight”) wrote the material for the reshoots.
“The Nutcracker and the Four Realms” is slated for November 2, 2018.
Watch the trailer above.
Italian director Stefano Sollima replaces Denis Villeneuve in the director’s chair.